The graphic novels loved by children and adults alike
Jan 5th, 2012, 11:37 pm
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Title: The Cowboy Wally Show (Click to go to the release post)
Writer(s): Kyle Baker (Click to see other books from this writer released on this site)
Review source: zompist (Don't click it, read the review here... ;) )

" It is, as Baker would say, vastly entertaining."

Review:
    OK, so I'm on a Kyle Baker kick. This one also looked unpromising, especially because of the nasty-looking cover. Fortunately, it's drawn in a different style inside, and it is, as Baker would say, vastly entertaining.

    In form it's a review of the Cowboy Wally's career, which as his manager says is dedicated to removing the stigma of "being fat, loud, and stupid." Wally, interviewed by the nebbishy Oswald 'Glassy' Stairs, seems to have parlayed no discernible talent into an array of profit-making enterprises: variety shows, an amusement park, hair tonics, and feminine hygiene products. Wally, Lenny, and their backers

    The media satire is amusing enough, but where Baker really gets going is the longer extracts from Cowboy Wally's oeuvre, starting with his French Foreign Legion epic, Sands of Blood, featuring Wally's friend Lenny Walsh, who's as lugubrious as Wally is jovial. In Baker's surrealistic version of the Foreign Legion, everyone is issued balloons, stalwart defenders ask for the really good cannonballs, and the soldiers debate whether a manly glow or the pathetic little boy act is a better way to pick up chicks.

    But the absolute highlight is Wally and Lenny's version of Hamlet, filmed in a week, for tax reasons-- entirely in a prison cell. (Wally's ingenious use of the limited means available rather belies Dick Cavett's description of him as "the stupidest man on the planet".) To facilitate the understanding of Shakespeare, Wally has rewritten the play-- this is supposed to be a bad thing, but Baker is really incapable of writing without wit:

      Francisco: Accidental death, says the Queen. The King fell on his sword.
      Bernardo: Wow.
      Francisco: Eight times.
      Bernardo: Sounds fishy to me.
      Francisco: Hey, I don't see nothing, I don't hear nothing. That's what they pay me for.
      Bernardo: You're the palace guard.
      Francisco: And I want to keep it that way.

    The art isn't quite as impressionistic and repetitive as Why I Hate Saturn Image , but it's a good cartoony style (indeed, as the cover shows, a more realistic style wouldn't work as well with the material; Wally would look grotesque rather than comic). The strange thing is that parts of the drawings look photographed, as if Baker was using rotoscoping.

    I suppose I should pick up Baker's latest graphic novel, You Are Here. But like Scott McCloud, he's got bit by the Photoshop bug. I really don't know that comics needs to go in that direction. If photorealism was so great, then fotonovelas and the National Lampoon's old Foto-Funnies would be the pinnacle of the medium. (P.S. They're not.)

    Update: I did pick up You Are Here Image , eventually. It's good: it's essentially a screwball comedy with an undercurrent of menace. Like any such comedy, it starts slowly, so don't be put off (as I was, above) by the first few pages.

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More info:
    Kyle Baker writer, penciler, letterer, inker, cover

Publisher:
    Image

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Jan 5th, 2012, 11:37 pm
Jan 6th, 2012, 12:36 pm
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Title: Robocop (Click to go to the release post)
Writer(s): Frank Miller (Click to see other books from this writer released on this site)
Review source: Dan X (Don't click it, read the review here... ;) )

" Not one of Frank Millers best, but still worth reading"

Review:
    Not many people know the names Edward Neumeier and Michael Miner, but I’m sure you all recognize the name Paul Verhoeven. Well these three worked together on a little known movie called RoboCop. Of course, Paul Verhoeven was the director of one of the greatest sci-fi movies ever to grace the silver screen, but the other two were the writers of the screenplay. When RoboCop was released in 1987, it was a huge hit, and the movie company was eager to follow it up with a sequel. Without hesitation Orion Pictures commissioned someone who was keen on the sci-fi genre; someone they thought would help tell the incredible story of a half man half robot, all cop. They hired than a nerd’s wet dream, and BATMAN: THE DARK KNIGHT RETURNS scribe, Frank Miller. It is said that Frank Miller penned an amazing script, but the producers fount the script lackluster and costly to produce. Writers Edward Neumeier and Michael Miner were recruited to punch-up the script, and ended up hacking it apart; they took out some interesting elements, and substituted many more questionable elements. The screenplay was changed so much that it had become it’s own personal RoboCop metaphor; taking part of the original and fusing it with newer parts to complete the script. Discouraged, Frank Miller didn’t abandton his original vision (This where this all comes in), and instead this vision was brought to a nine-part comic series on Dark Horse Comics.

    I didn’t come across this until recently; the comic itself was released back in 2003. I came across this little gem while I was trying to get some information on the re-make of RoboCop. Finding nothing out there, I decided to look into the comic series.

    In the series, the city of Detroit has dramatically changed following the events of the RoboCop movie. The city has been in ruins since the OCP police officers went on strike. Violence is at an all-time high; people are murdered, children are kidnapped and almost no one is willing to do anything to stop this, except RoboCop and a few select officers; these officers believe that no matter how small the number of officers there are left, they are still making a difference in the community. RoboCop, who has no option to strike, is doing as much as he can to police the city. The problem is he’s out there for days on end and comes in battered, only to be fixed up and out the door in as little as 2 hours.

    A family psychiatrist by the name of Dr. Love, who has been lobbying against the current “bad” image of RoboCop, is recruited by OCP. Her job: to help change RoboCop’s image, and to apply her knowledge towards building a more loyal and respectable version of RoboCop. It takes her no time at all to put together her own conclusion of the reason behind OCP’s failure in trying to create another super-human police officer; they were using officers’ brains.

    During this time, OCP decides to hire mercenaries as temporary police to help clean up the problems with the city, while most of their police force is on strike. The remaining police officers that are still working find these mercenaries nothing more then thugs themselves, who are acting more like criminals and less like trained officers.

    Dr. Love examines the clan of mercs, and amongst them finds a specimen; a take-no-prisoners, cutthroat, crazy merc. This specimen seems to match her description of someone with the perfect brain for the next evolution in cybernetic police officers. She sends out the mercs to try to kill RoboCop, knowing damn well that he could rip them to shreds. Which is exactly what she wants.

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    After an epic stand-off between RoboCop and the mercs, Robo goes back to the OCP police station and gets himself repaired. Instead of just a basic repair, Dr. Love thinks that society would benefit by applying a few changes to RoboCop, and forces the scientists give him a whole new set of parameters. The new programing forces RoboCop to take alternatives to any given situation. If he refuses, his programing and nerves that are still intact are given an electroshock that causes him pain. RoboCop is then sent back out into the streets and tries to teach good manners and morals, thanks to his new programming. Finding a loophole in the programming, RoboCop uses some extreme measures in capturing or teaching lessons to the public. This in turn causes an uproar from the people of Detroit city, setting up the perfect time to release OCP’s little-known project, RoboCop 2.

    While Robocop is on a routine patrol of the subway system, OCP sends out RoboCop 2 to help dispense of RoboCop and help bring peace to a torn-up city. Unfortunately, the brain they used in Robocop 2 has retained it’s original instincts, and as a result, RoboCop 2 goes on a crazy killing spree. RoboCop is forced out of hiding to help save innocent bystanders. As soon as RoboCop shows up, the new stronger, faster, more lethal RoboCop 2 stops his foolish killings and begins to throw Robo around like a ragdoll. As they battle, there is massive damage dealt to the subway structure, leaving bystanders in their wake.

    Soon enough RoboCop 2 loses his target after being nailed by a train, and subdues to the forces of OCP. Back at the labs, Dr. Love and scientists try to erase his brain due to the screw up in the subway. Dr. Love then decides to upload a personality she personally hand-picked to replace RoboCop 2.

    At this time, RoboCop can no longer tolerate OCP, and decides to torture himself and go after they very company that granted him a new lease on life. He infiltrates the facility, with almost no problem at all, and just before the information was to be uploaded to RoboCop 2, he busts into the lab, preventing anyone (including Dr. Love) from creating a back up RoboCop 2, and continues to burn down the facility.

    As you can tell, it follows a different path than the final film. Still, although FRANK MILLER’S ROBOCOP is a great series, the timeline in the series seemed really short. It seemed to take place over two days, but the events in the series probably did take much longer to develop.

    Not one of Frank Millers best, but still worth reading. I just wish I had heard about it a few years ago. If your a fan of RoboCop, like myself, I suggest finding a copy of FRANK MILLER’S ROBOCOP and sitting yourself down for a good read.


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More info:
    Cover: Frank Miller
    Story: Frank Miller
    Art: Juan Jose Ryp
    Readership: Mature Readers

Publisher:
    Image

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Jan 6th, 2012, 12:36 pm
Jan 6th, 2012, 12:44 pm
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Title: Robocop: Road Trip (Click to go to the release post)
Writer(s): Rob Williams (Click to see other books from this writer released on this site)
Review source: CBR News Team (Don't click it, read the review here... ;) )

" This is Robocop's world as you've never seen it before."

Review: Robocop: Road Trip #1
    In December 2011, Dynamite Entertainment proudly returns to the future of law enforcement to clean up the mean streets of Detroit. "Serve the public trust, protect the innocent, uphold the law." And it all begins in the all-new, high-octane adventure of RoboCop: Road Trip #1.

    Based on the cult classic film of the same name, Dynamite's RoboCop: Road Trip series combines director Paul Verhoeven's original world of a futuristic dystopian Detroit with a larger, overarching conspiracy theory (in the spirit of All the President's Men) and high action, extreme violence and satire. Once again spearheading RoboCop is the acclaimed writer, Rob (GHOST RIDER) Williams, with art by Unai and covers by the amazing Fabiano Neves! Be sure to pick up RoboCop: Road Trip #1 this December!

    "Road Trip is our first chance to take a look at Robocop's twisted version of America outside the confines of Old Detroit," says series writer Rob Williams. "But OCP isn't going to just let Murphy and what's left of the Old Detroit Police Department run off to get help. An entirely new deadly robot prototype is on their tail. And with Murphy's mind fracturing following the death of his partner, Lewis, Road Trip has a somewhat psychedelic double meaning. This is Robocop's world as you've never seen it before."

    For art and more information, please visit:

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More info:
    Story by: Rob Williams
    Art by: Unai de Zarate
    Colors by: Oscar Manuel Martin
    Letters by: Marshall Dillon
    Cover by: Fabiano Neves

Publisher:
    Image

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Jan 6th, 2012, 12:44 pm
Jan 6th, 2012, 2:48 pm
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Title: RoboCop: Mortal Coils (Click to go to the release post)
Writer(s): Steven Grant (Click to see other books from this writer released on this site)
Review source: fondle (Don't click it, read the review here... ;) )

" This issue does have some imagination to it."

Review:
    RoboCop: Mortal Coils
      Robocop: Mortal Coils takes the cyborg policeman Robocop far from his native Detroit. The FBI asked him to follow up on the fall of mega-corporation OCP, sending him to Denver as a special Federal Agent to investigate a key figure in the OCP break-in.

      The man he seeks is John Coffin, a huge enforcer now working for Edward Agincourt, a weapons magnate who had supplied Robocop’s enemies in the past. Robocop and robotics expert Dr. Marie Lazarus head to Denver and take on Coffin. But when Robocop storms onto the scene, Agincourt saw the chance to realize his ultimate dream—to live forever.

      Agincourt decides to appropriate Robocop’s technology and force Lazarus to build him an immortal robotic body. He swears he’ll have his way—even if he has to have Coffin take Robocop apart with a butter knife!

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    Robocop: Mortal Coils 1
      How to start… maybe licensing Robocop 3 instead of Robocop is a bad idea. I mean, it’s not like The Terminator, where licensing got all split up, sequel after sequel. Dark Horse could have gotten Robocop and not had to do sequels to Robocop 3, right?

      This issue is Robocop in Denver. It’s kind of like Passenger 57 is Die Hard on an airplane. No, it’s not. Look at how hard I’m trying to figure out how to talk about this tripe.

      Denver is apparently worse off than Detroit, which is stupid and doesn’t fit into the movie mythology–it’s another Judge Dredd lift, or maybe a Road Warrior one. I don’t know. I don’t care. It’s amazing how lifeless licensed properties got for Dark Horse just a few years after they revolutionized the genre with Aliens.

      Mortal Coils is going to be awful; banal and inane. Three more issues….

    Robocop: Mortal Coils 2
      The problem, occasionally, here at Comics Fondle is the length constraint. Each review of a standard issue is one hundred and fifty words. I have five words to say about Robocop: Mortal Coils issue two. What a piece of crap.

      So how to fill the other hundred words?

      Does it matter what’s wrong with it?

      I mean, does one even have to read further to figure out why a licensed property comic from the nineties is a piece of crap? Doesn’t it go without saying the writing is awful and stupid and misogynistic? I did like seeing some reference to the Robocop movies before Robocop 3, however; I guess that slipped past the editors, since the license is apparently only for Robocop 3. They’re arguably discrete references.

      Or the art? Is it a surprise nineties art isn’t exactly… visually tolerable?

      No.

      There’s nothing worth saying about this comic at all.

    Robocop: Mortal Coils 3
      Holy cow, Robocop, it’s almost an okay issue!

      It doesn’t take much for an issue of this series to be better than before, since the first two issues–and lots of this one–are so exceptionally terribly, but this issue does have some imagination to it.

      No, not imagination, sorry, what was I thinking… not imagination. Storytelling competence. Steven Grant’s probably written two thousand comic books, it’d be hard for him not to have one acceptable moment and he does, here in the third issue, and it’s a pretty good moment.

      Robocop saves some crooks who are going to strip him for parts and it pays off for him.

      Amid Grant’s idiotic Denver as lawless future robot city with Grapes of Wrath bad guys (in terms of setting up labor camps), there’s that one decent moment. Oh, wait, there’s Grant’s super-buff, super-tough guy too. He loves those lamers.

    Robocop: Mortal Coils 4
      It’s so, so bad. I mean, I thought since Grant turned in a decent third issue, he might be able to pull off a fourth too, but no. It’s just awful. It’s hard to explain how bad it is without sitting down and reading it because it’s just so unbelievable.

      Grant goes for this melodramatic ending and then somehow gives his terribly paced limited series too many endings, the first time showing the inspiring human spirit of Robocop with his girlfriend–sorry, sorry, his female lab technician friend–and then having a comedic finale with the U.S. government about to kill Robocop and him getting saved by some asinine nineties punk criminal guy who he teamed up with for a bit.

      It’s so funny Dark Horse let their licensed properties tarnish the image. I mean, I always thought Dark Horse at least tried at this point, but not at all.

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More info:
    Writer: Steven Grant
    Penciller: Nick Gazzo
    Inker: Bruce Patterson
    Letterer: Patrick Owsley
    Colorist: Matt Hollingworth
    Editor: Anina Bennett & Bob Cooper
    Cover Artist: Ray Largo

Publisher:
    Image

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Jan 6th, 2012, 2:48 pm
Jan 6th, 2012, 3:47 pm
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Title: Robocop: Wild Child (Click to go to the release post)
Writer(s): Steven Grant (Click to see other books from this writer released on this site)
Review source: fondle (Don't click it, read the review here... ;) )

" It’s really awful."

Review:
    While attempting to arrest a gang of thugs, Officer Alex J. Murphy was murdered in the line of duty. His body was resurrected as the cyborg Robocop to fight crime in an increasingly violent world.

    In this fast–moving one–shot, Murphy and his partner Officer Anne Lewis are hot on the trail of an obnoxious street gang, led by a wild child named Lucy. Not bothering to hide, Lucy and her gang take pleasure in confronting and taunting the authorities, especially Robocop and Anne. After Lucy’s disturbing relationship with Lewis is revealed, will Robocop let her continue her reign of terror?

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    What can I possibly say about this comic book? This partial comic book (it only runs twelve or thirteen pages, though Avatar charge three bucks for it). It barely features Robocop and does so in what I assume was going to be the Avatar Robocop continuity, which never got off the ground (the company, OCP, is in ruins, the cops are on strike–Robocop and Lewis are the only two working cops).

    It’s a deep dark secret from the past coming into the present story, only the exact nature of the secret is never clear. A relative of Lewis’s returns to wreck havoc on Detroit and it’s up to Lewis and Robocop to stop her. Without killing her because she might be Lewis’s sister or her cousin or her neighbor’s second cousin’s mailman’s sister’s step-child.

    I’m sure Grant was being intentionally opaque, but it’s really awful. The whole thing.

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More info:
    Cover: Juan Jose Ryp
    Story: Steven Grant
    Art: Carlos Ferreira

Publisher:
    Image

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Jan 6th, 2012, 3:47 pm
Jan 6th, 2012, 4:47 pm
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Title: Robocob: Killing Machine (Click to go to the release post)
Writer(s): Steven Grant (Click to see other books from this writer released on this site)
Review source: fondle (Don't click it, read the review here... ;) )

" About the best Robocop story I’ve read from them..."

Review:
    Computer hackers are a problem for all of society, but they can be especially problematic for Robocop, the man/machine combo that has been law enforcement’s greatest asset since his creation. When an angry young punk gets tired of Robocop ruining his various schemes to disrupt society, he tries to go over the hero directly—first through Robocop’s own computer brain, then through a similarly destructive force. The result is one spectacular confrontation certain to end badly for one party.

    This violent one–shot is presented in full color, written by Steven Grant and drawn in graphic detail by Anderson Ricardo.

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    Avatar was charging three bucks for twelve pages of story? When’s Marvel going to get on that bandwagon?

    Amusingly enough, Killing Machine‘s about the best Robocop story I’ve read from them. It’s just a simple adventure of Robocop. It establishes its ground situation, it aggravates the situation, it just works. More, there’s even some actual character stuff with Robocop and Lewis.

    The artist, Ricardo, he draws a lousy Robocop, way too cartoonish, nowhere near enough detail (or height, Ricardo draws a short Robocop). But other than Robocop–and the evil robot, which I’m pretty sure is actually a Spider Slayer (Marvel must’ve missed it)–Ricardo does a good job. He gives Lewis a fair amount of personality and his composition is solid.

    Instead of releasing stuff like this one-shot to placate fans waiting for the Frank Miller series, Avatar should have put out (fairly priced) comics like this one.

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More info:
    story STEVEN GRANT
    art ANDERSON RICHARDO
    covers JUAN JOSE RYP, JACEN BURROWS
    color GREG WALLER

Publisher:
    Image

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Jan 6th, 2012, 4:47 pm
Jan 6th, 2012, 6:09 pm
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Title: RoboCop: Roulette (Click to go to the release post)
Writer(s): John Arcudi (Click to see other books from this writer released on this site)
Review source: fondle (Don't click it, read the review here... ;) )

" It’s a surprisingly okay issue."

Review:
    A desperate man speeds over an empty highway while being pursued by his worst nightmare. Moments later, his flight comes to an explosive halt. Detroit homicide detective Gary Haas has a problem. People are missing but they aren’t mere ordinary citizens. They’re former OCP scientists that created the “new” face of law enforcement: Robocop. But that’s not the problem as no one escapes Haas‚ insensitive comments—women, minorities including the city’s best known cyborg. He doesn’t have a clue until you-know-who lends a cybernetic hand. Meanwhile, on the mean streets, life has become more precarious as small-time gangsters use erratic ED-209 robots for petty crimes. For a moment, consider roulette as your life’s metaphor. A small ball (you) falls at random into compartments on a spinning wheel. If that’s true—who is spinning your wheel?

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    Robocop: Roulette 3
      Byrd’s art is pretty awful, but it’s a surprisingly okay issue. Even taking all the stupidity into account, Arcudi does manage a couple all right moments here, like when Robocop goes back to the scene of his own murder.

      There’s also a lot of cop talk, not related to Robocop, and it passes the panels. It’s not exactly filler, just more of Arcudi doing whatever he can to avoid making Robocop the protagonist in his own comic (which isn’t bad, necessarily, the first Robocop spent a lot of time with other characters–except they were interesting, Arcudi’s are not).

      Maybe the time between reading the previous issue and this one has something to do with it. They certainly weren’t written “for the trade,” so a delay–just to let the brain cells regrow–is a must.

      Still, shame they can’t do anything with Robocop; it’s a waste of a license.

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More info:
    Writer: John Arcudi
    Penciller: Mitch Byrd
    Inker: Brian Garvey
    Letterer: Pat Brosseau
    Colorist: James Sinclair
    Editor: Jennie Bricker
    Cover Artist: Nelson & Juda Tverski
    Genre: Science-Fiction

Publisher:
    Image

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Jan 6th, 2012, 6:09 pm
Jan 6th, 2012, 6:22 pm
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Title: Chaos War (Click to go to the release post)
Writer(s): Greg Pak and Fred Van Lente (Click to see other books from this writer released on this site)
Review source: Doug Zawisza (Don't click it, read the review here... ;) )

"It promises to break new ground..."

Review: Chaos War #1
    A comic book packed with gods fighting other gods, laden with sound effects such as “HUUMBLLD,” “MYOOONRRR,” and “BUGCRACK,” could only be made better if it were extra-sized. This comic is all that, hold the bag of chips.

    The basic premise behind this story -- the “Chaos War” event itself -- is that Amatsu-Mikaboshi, King Chaos, has chosen to strike out against the Marvel Universe, rendering it back into the nothingness that was once Mikaboshi. That’s right, when there was nothing, it was Amatsu-Mikaboshi. Then things happened (creationism, Big Bang, whatever) and Mikaboshi became less than he once was. Now he wants to return to what once was. Except Hercules has returned imbued with more power than he can control, let alone imagine. Hercules’ power is exponential from what he once knew and catches him so by surprise that he shatters the very ground he walks on.

    This story has a kinship of some kind with “Secret Wars” or, perhaps more correctly, “Secret Wars II” (except with less jumpsuit-wearing astonishingly-powered individuals) in that an omnipotence has challenged the heroes and threatens their very existence lest they rally against the unknown. Or maybe not. This story packs a lot into a single issue, but Van Lente and Pak temper the onslaught with humor, sometimes at Hercules’ expense or through subtleties like the outrageous sound effects produced when these gods clash.
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    Khoi Pham’s work he is quite unlike anything I have grown accustomed to expecting from Pham. The storytelling is still straight-forward and powered by heroism, but the finish on the figures is more like Leinil Yu’s work on “Superman: Birthright” than it is like Khoi Pham’s work on “Mighty Avengers.” That’s not necessarily a bad thing, as it demonstrates Pham’s ability to grow and change. The style is also fitting for the story, as the figures themselves seem less tangible and more ethereal. It is a perfectly suited change to match the change in powers, abilities, and perception from Hercules. Sunny Gho plays with the finish of the pages, giving the final piece a diluted watercolor appearance. It’s not the most striking crossover story in recent history, but it is certainly distinctive from others of this era. My biggest gripe, however, is that Pham’s Mikaboshi isn’t as visually striking as the character was drawn by Rafael Sandoval, but that’s a minor quibble considering the vastness of the tale Pham is delivering in between the covers here.

    The inside page lists the nineteen – yes nineteen! – books that contribute to the story of “Chaos War” despite the fact that the main series itself is five issues. That seems excessive to me, especially given that a number of the supplemental titles are stretched over two and three issues. While I am tempted to ignore those pieces, a story that spawns “Dead Avengers,” “God Squad,” and “Alpha Flight” specials can’t be considered completely bad.

    This is a romp through the Marvel Universe that promises to change things. It promises to deliver an exciting story. It promises to break new ground as King Chaos pits god against god, forcing new alliances and treatises to be enacted. It promises a great deal, and based on the first issue, it looks like “Chaos War” will be delivering on a regular basis.

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More info:
    Story by Greg Pak and Fred Van Lente
    Art by Khoi Pham, Tom Palmer, Reilly Brown and Terry Pallot
    Colors by Sunny Gho, Val Staples
    Letters by Simon Bowland
    Cover by Ed McGuiness and Morry Hollowell

Publisher:
    Image

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Jan 6th, 2012, 6:22 pm
Jan 6th, 2012, 8:45 pm
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Title: RoboCop: Prime Suspect (Click to go to the release post)
Writer(s): John Arcudi (Click to see other books from this writer released on this site)
Review source: tankgrrrrl (Review 1) and atomicavenue (Review 2) (Don't click it, read the review here... ;) )

" Check it out!"

Review:
    Review 1 - Check it out!

    This review is from: Robocop: Prime Suspect Collection (Paperback)
    If you , like me ,are a huge robo-fan than this is the collection for you. Prime suspect is a well written murder mystery that utilizes the character of Robocop in an entertaining fashion. While the villian of the piece is quite easy to spot it's still a gripping read and highly enjoyable.

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    Review 2 - Isaiah Tucker went by the name “Insane Izzy” and ran a chain of electronics stores. He was also the leader of an anti-Robocop protest group that sought to shut the cyborg policeman Robocop down for good. Shortly after appearing on TV to espouse his cause, Izzie was murdered. In Old Detroit, murder is a common occurrence. What makes this case significant is that all clues point to Robocop as the person who pulled the trigger.

    The chief evidence against Robocop is the unusual rifling on the bullets that killed Izzy. Ballistic test show that only one known gun—Robocop’s gun—has similar characteristics. Moreover, Robocop’s gun is specially designed so it will only fire under his personal control. Is the cyborg law-enforcer guilty of murdering a foe? Or is someone trying to frame Robocop? And if so, why? Find out the answers to all of these questions in Robocop: Prime Suspect.

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More info:
    Writer: John Arcudi
    Penciller: John Paul Leon
    Inker: Jeff Albrecht
    Letterer: Clem Robins
    Colorist: Matt Webb
    Editor: Kij Johnson
    Designer: Brian Gogolin
    Cover Artist: Nelson
    Genre: Science-Fiction

Publisher:
    Image

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Jan 6th, 2012, 8:45 pm
Jan 7th, 2012, 12:52 pm
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Title: Legion of Super-Heroes: The Great Darkness Saga + Deluxe Edition (Click to go to the release post)
Writer(s): Paul Levitz (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... ;) )

" This is a great amount of fun..."

Review:
    When friends got me hooked on the Legion of Super-Heroes back in the early ’90s with Keith Giffen, Tom and Mary Bierbaum, and Al Gordon’s infamous "Five Years Later" run, I eventually started moving backwards through the team’s history, reading all of the previous Legion of Super-Heroes comic that began in 1984. I never went any further back at that time, though, and in doing so I missed what remains one of the most well-known stories involving the characters: The Great Darkness Saga. With the softcover collection having gone out of print years ago, this new deluxe hardcover seemed to be a perfect time to see if it still holds up to all the praise heaped on it over the years.

    Unlike the previous edition (which began with a brief prologue from Legion of Super-Heroes #287 and then jumped to #290), this hardcover starts with Paul Levitz’s return to the title as writer with issue #284. It’s an interesting decision, but ultimately a smart one. "The Great Darkness Saga" officially kicks off with #290, but there are multiple story threads from the previous issues that are still moving when it begins: Chameleon Boy’s attack on the Khund homeworld that has him arrested, friction between Light Lass and Timber Wolf, and the introduction of the new Invisible Kid to name a few. Here we get to see where these stories come from, and how they continue to move forward even as Darkseid begins his attack on the galaxy. Legion of Super-Heroes is in many ways one of DC Comics’s soap operas, with a large cast and most characters getting even a brief scene to remind you of their presence before moving onto the next ones in line. For the most part, Levitz juggles the number of characters he’s been handed well, although some fare better than others. The only character which seems to ultimately fall to the wayside is Blok, a new member introduced a year earlier after a brief run as a villain, and whom Levitz clearly has no plans for at this early stage of the game. (Interestingly enough, with the help of some Legion-loving friends, I got to see the issues in-between Blok’s joining and Levitz taking over the book, in which Blok does… absolutely nothing at all, and in fact barely appears in those issues. Clearly Levitz was not the only person who had no idea what to do with this new member.) Otherwise, everyone gets a chance to shine in this volume, and in many ways it’s a good primer on why Levitz’s run on the book is so fondly remembered. No matter whom your favorite character was, sooner or later they got a good moment to keep you happy.

    That said, some of the pre-"Great Darkness Saga" stories don’t quite jump out at the reader the way the later ones do. Maybe it’s due to Levitz still finding his footing now that he had returned to the title, but space pirates and mystery aliens in those first few issues aren’t clicking into place. Before long, though, Levitz is getting into some slightly more interesting territory; showing that a member of the team can’t just go for revenge against an alien race without taking into account peace treaties, for instance, or stranding some of the members on a frozen world and having the real conflict be personality clashes and jealousy. Even what could have felt a bit trite, like the return to Princess Projectra’s medieval-themed world of Orando, has a bit of bite to it. It’s also around this time that penciler Pat Broderick is replaced by Keith Giffen, and Levitz and Giffen’s co-plotting quickly spikes the pace of the book into high gear in these early issues.

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    And then, of course, the main event kicks in. Knowing that Darkseid is the villain (he’s on the cover so this isn’t exactly a big spoiler) doesn’t actually harm the story, even though it’s not until the final cliffhanger that his identity is revealed. Instead, the masked Darkseid actually becomes a greater threat, because as a reader you know just how much power the Legion is up against, and their cluelessness is clearly leading them into additional danger that could easily destroy them. It’s almost like watching a mouse in a cage not knowing that it’s being stalked by a python. You spend your time wincing, knowing that the snake will eventually strike and it’s going to be ugly when that happens. And as the characters continue to talk in excited, innocent dialogue, it serves almost as a contrast for the nastiness in store for them.

    The one weak point of "The Great Darkness Saga" proper is, I think, the deus ex machina that wraps things up. There’s something about dredging up a magician character from 16 years earlier and having her be the key to starting the endgame that feels a bit weak. Maybe it’s because, like almost all magic-using characters in superhero comics, the White Witch’s powers here are undefined and seem to do whatever plot requires. I appreciate that at this early stage of the game, Levitz and Giffen are already trying to limit her power potential (mentioning that spells must be studied in advance, and often require other components) but it still feels slightly out of the blue. Then again, her spell brings along an ally that in many ways sums up the actual meaning of the phrase deus ex machina. If you’re fighting a character as strong as Darkseid it does make sense that you’d need someone just as strong on the other side, but still, it was a slightly unsatisfying conclusion.

    Fortunately, "The Great Darkness Saga" brings enough other strong moments to balance out this slight misstep. Darkseid’s plans for the people of Daxam are alone enough to make it worth reading this collection, and even outside of the main story there are other strong stories, like the Legion going up against Computo in Legion of Super-Heroes Annual #1. It’s also fun to watch Giffen’s pencils slowly evolve throughout this issue; his art at first seems to follow the same, generic, clean look that had preceded him. It’s during "The Great Darkness Saga" that we first start seeing Giffen’s blocky style form, and honestly, I love it. There’s something about the fullness of everyone’s faces, and the sheer power of the bad guys attacking that makes you sit up and take notice. Even something as simple as the look down a ring of buildings at the start of #290 is more visually interesting than everything else that came up to that point. Giffen’s definitely feeling much more confident in the book as it progresses.

    If bookseller pages combined with rumors are true, there might just be more hardcover collections around the bend that pick up where Legion of Super-Heroes: The Great Darkness Saga leaves off. If so, count me in on buying another copy. Flaws aside, this is a great amount of fun, and considering how much Levitz and Giffen are on a roll by the end of this volume, I can’t help but think the next one will be even more entertaining. Count me in.


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More info:
    Written by Paul Levitz
    Penciled by Keith Giffen, Pat Broderick, Carmine Infantino, and Howard Bender
    Inked by Larry Mahlstedt, Bruce Patterson, and Dave Hunt
    416 pages, color

Publisher:
    Image

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Jan 7th, 2012, 12:52 pm
Jan 7th, 2012, 3:06 pm
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Title: Red Hood: The Lost Days (Click to go to the release post)
Writer(s): Judd Winick (Click to see other books from this writer released on this site)
Review source: Doug Zawisza (Don't click it, read the review here... ;) )

" This book wasn't supposed to be this good."

Review: Red Hood: The Lost Days #1
    It's been a long time since I've bemoaned the evils of decompression, but "Red Hood" is here to rectify that. First things first, I voted for Jason Todd to be killed. My mom footed the bill for me to call. Then Todd comes back as the Red Hood, which is less a Hood as opposed to a really bad motorcycle helmet. Todd then ran around through "Countdown" and caused problems in "Battle for the Cowl." Now this. I picked this up fully prepared to be disappointed.

    Surprisingly, this is a really enjoyable story, but it seems to have at least five or more pages than necessary devoted to the conversation between Ra's al Ghul and his daughter Talia. Ra's makes his point more than once, and Talia bobs and weaves out of the way, causing Ra's' words to fall unheeded. Through it all, the Red Hood -– Jason Todd -– is mute and barely more than a plot device. Having used this entire issue to set up the divergence between father and daughter, Winick is now free to get about telling the tale of what really happened with Jason Todd.

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    Winick is blessed to be accompanied on this story by Pablo Raimondi on art. While this story could have easily disintegrated with a poor choice for artist, Raimondi's art is nearly perfect for this tale, bordering on phenomenal. He makes Ra's look weak when the time comes for Ra's to refresh himself in the Lazarus Pit, then throws rage into Ra's' eyes when Talia defies her father. Raimondi tells the tale with straight-forward page layouts, dropping in alterations throughout to great effect. Additionally, Raimondi's level of detail beyond the characters themselves is quite intense. Raimondi, in turn, is bolstered by the emotional colors Brian Reber applies to the story, from the fiery, hellish glow of the Lazarus Pit to the seething scarlet of Talia's helpless rage.

    This book wasn't supposed to be this good. This book wasn't supposed to make me want to come back for more. Winick and Raimondi, however, had other plans for this book, and I'm glad they did.


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More info:
    Story by Judd Winick
    Art by Pablo Raimondi
    Colors by Brian Reber
    Letters by Pat Brosseau
    Cover by Billy Tucci, Francesco Mattina

Publisher:
    Image

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Jan 7th, 2012, 3:06 pm
Jan 7th, 2012, 4:31 pm
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Title: Ms. Marvel (Click to go to the release post)
Writer(s): Brian Reed (Click to see other books from this writer released on this site)
Review source: Adam White (Don't click it, read the review here... ;) )

"...could easily be a five star series..."

Review: Ms. Marvel #1
    Given how wretchedly putrid Spider-Woman: Origin was, I fully expected to hate Ms. Marvel #1, but I picked it up anyway out of morbid curiosity and figured I could at least vent about it in a review. However, upon reading Ms. Marvel #1 I was both shocked and pleasantly surprised that I actually liked it, and that it may turn out to be a decent series after all, one befitting of the long-overlooked Carol Danvers.
    Roberto De La Torre’s art meshed well with the writing, handling both the human side and the superhero parts equally well.


    Brian Reed has a lot more in the way of talent than Spider-Woman: Origin might have suggested; he crafts a tale of Carol Danvers’s return to the life of a full-fledged superhero interspersed with Carol’s lunch conversation with Jessica Drew (Spider-Woman, also much better here than in Origin). Reed even fooled me in the first few pages with some bad dialogue which turned out to be intentional — it was Carol’s version of the story and she was changing details as she told it. The conversation between the two women rang true and captured the friendship between them, and Carol’s reactions to various superhero-related circumstances gave her a fresh lease on life as a character. It’s probably worth the cover price for Carol’s cell phone call to Captain America, which is amusing yet seems an entirely plausible scenario that I’ve not seen addressed before. Reed approaches the characters first as individual people, and that gives the book a human side that many of today’s comics lack.

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    Roberto De La Torre’s art meshed well with the writing, handling both the human side and the superhero parts equally well. Although I can’t really express why, some panels seemed a little off to me, but it may just be De La Torre’s getting the feel for the characters, and it was nothing major. De La Torre’s storytelling and pacing worked extremely well, and the lunch discussion scenes kept the same pace as the action scenes, so there was a consistent energy throughout the book. I do think that the very last page, a splash page “reveal” of Carol’s nemeses for next issue, could have more prominently featured the villain, but that may be a matter of personal taste as much as anything.

    Ms. Marvel #1 was a solid book that I think could easily be a five star series if it remains consistent (and on time), and I’m glad that Carol Danvers is finally getting the respect she deserves — she has as strange and rich a history as anyone in the Marvel Universe and it’s a shame she hasn’t been used much (or well) in a long time. Since Reed and De La Torre afforded her that respect, the least you can do is pick up this series and offer your support. You’ll enjoy the story, and it offers that aforementioned human side that many other titles simply do not have, or at least use to its potential. So check out Ms. Marvel #1 and be as surprised as I was at its quality and watch Ms. Marvel’s return to prominence from the (new) beginning.

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More info:
    Story by Brian Reed
    Art by Roberto De La Torre

Publisher:
    Image

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Jan 7th, 2012, 4:31 pm
Jan 7th, 2012, 7:05 pm
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Title: Variante (Click to go to the release post)
Writer(s): Iqura Sugimoto (Click to see other books from this writer released on this site)
Review source: Publishers Weekly (Review 1) and J. Giermann (Review 2) (Don't click it, read the review here... ;) )

" Certainly one of the darker manga I've read. "

Review:
    Review 1 - A futuristic SF tale that's set in modern-day Tokyo, this manga triangulates good old-fashioned monsters (chimera), a government research lab and a high school girl in a gory narrative that exploits trust and vulnerability. Fifteen-year-old Aiko had her left arm mysteriously replaced with one having chimera-type attributes and is immediately recruited as a lab rat/secret weapon for the government. Sugimoto fleshes out her protagonist's desire to please everyone around her and, as a result, her inability to say no. Both play key parts in her willingness to be tested and studied as a human experiment and likewise, used as a killing machine. Sugimoto also adds weight to supporting character Sudo (Aiko's handler) by offering his backstory and his reasons for wanting to stay close to Aiko. By exploring Aiko's insecurities, Sugimoto makes this a girl-oriented shonen that boys will read, while offering SF/fantasy-loving girls a high school outsider comic that they can appreciate. Sugimoto's gritty shonen aesthetic couples nicely with the blood and guts of the story, as well as the raw, emotional aspect of both female and male protagonists, making for a subtle, well-thought-out story. Rated mature for violence, but no sexual overtones in this series so far.

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    Review 2 - Misery + Cold Blood...

    Variante is certainly one of the darker manga I've read.
    The story opens with a family murdered, blood smeared & splashed across the walls, each one of them dead. But as their cold bodies lay at the morgue, one of them, 15-year-old Aiko, awakens... her left arm grotesquely disfigured & behaving as a separate & very toxic entity from its host. & Aiko is terrified.
    It is a confidential agency of the government which has discovered & 'saved' this troubled young girl, seeing her & her new supernatural limb fit to front the war against a strange new danger erupting over the earth in the form of grisly, repulsive monsters of bubbling flesh & violent instincts known as 'chimera'.
    But just what are these chimera & why have they suddenly appeared?
    Why did Aiko reanimate & why has her arm metamorphosed?
    What or who attacked Aiko's family?
    & will Aiko & her arm comply...?

    For the first volume, Variante is a story of questions. Whats, whos, & whys fill the pages, though none ever penetrate to a philosophical level, & leave little room for characterization & plot. Misery, hopelessness, & sadness are the only emotions to be found here. None the less, curiosity is provoked & I'm looking forward to reading the next installments.
    The enigma & eerie ambiance manage to sustain themselves well, & despite the lack of roundness what else could the characters feel but fear? Aiko's life has been shattered & her only means of survival is to become a lab rat, but she is still just an innocent child.

    The gore & bloodshed is a notch more powerful than other comics of this nature, hence the [M] rating. However there is virtually no nudity, sexuality, nor foul language to be found.
    The art is utterly average, lines slightly jagged & unpolished to add a gritty edge. Yet what initially caught my eye about this series are its beautiful covers. So flawlessly do they capture the essence of loneliness & pain. Aiko's eyes bleed such heavy sadness within these haunting images. This is the only truly arresting element of the series, at least so far in.

    There is nothing particularly special about Variante. It's a very average series. But it entertains, entrances, & compels you for at least that time when you read over its pages.

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More info:
    Written by Iqura Sugimoto

Publisher:
    Image

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Jan 7th, 2012, 7:05 pm
Jan 7th, 2012, 7:33 pm
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Title: Dark Entries (Click to go to the release post)
Writer(s): Ian Rankin (Click to see other books from this writer released on this site)
Review source: Colin Matthew (Don't click it, read the review here... ;) )

" I would pass on this book unless you’re a fan of the Hellblazer series."

Review:
    John Constantine is hired to investigate supernatural activity on the set of popular reality TV show Dark Entries (hey, that’s the name of this book!). In order to investigate he must be locked in the haunted house and become a contestant in the Big Brother-like show that tries to scare the contestants. The problem the show is facing, and the read John is called in, is that contestants are being scared but not by the producers.

    Before I continue, may I ask, does the name John Constantine ring a bell to you? It didn’t to me. I was expecting a mystery-noir story with a dash of reality TV criticism. I expected the mystery of the unexplained spookings to be explained by a ratings hunger producer who was wearing a mask the whole time a la Scooby Doo. But if the name John Constantine does ring a bell to you, you’ll know that he is an occult anti-hero/detective who frequently fights demons and other supernatural beings. He was portrayed by Keanu “Whoa” Reeves in the 2005 film, Constantine.

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    Going back to the book, I had different expectations. I like mysteries that are based in the real world or at least a world real enough to were I don’t have to suspend my disbelief. The first half of this book was pretty good I’ll admit. It set up the mystery and weird things were happening inside the household. John’s fellow house guests had also developed amnesia. John was confronting the show’s producer through the Confessions Room when the producer proudly proclaimed “Welcome to Gameshow Hell!”.

    . . .

    I nearly put the book down. All the mystery that was set up in the first half of the book got solved in the next few pages. The story then focuses on John’s attempt to get out of hell and back to the real world. Maybe this is my fault for not reading serialized comics like Hellblazer or seeing the Keanu Reeve film. So did my lack of familiarity ruin this book for me? Yes. Quite simply this isn’t the type of story I would sit down and read. I don’t care for supernatural stories because it’s so easy to explain ANYTHING. Mystery stories shouldn’t be wrapped up so easily. Anyway, I would pass on this book unless you’re a fan of the Hellblazer series.


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More info:
    Clem Robins letterer
    Ian Rankin writer
    Lee Bermejo cover
    Werther Dell'Edera artist
    Will Dennis, Mark Doyle, Karen Berger editor

Publisher:
    Image

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Jan 7th, 2012, 7:33 pm
Jan 7th, 2012, 8:28 pm
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Title: Vertigo Crime: Filthy Rich (Click to go to the release post)
Writer(s): Brian Azzarello (Click to see other books from this writer released on this site)
Review source: William Jones (Don't click it, read the review here... ;) )

" Embodies the best parts of the genre in homage to crime fiction in comics form."

Review:
    One of the graphic novels launching the Vertigo Crime imprint is Filthy Rich, the latest from writer Brian Azzarello (100 Bullets, Joker), along with artist Victor Santos (Young Ronin).

    Filthy Rich is noir, in the truest sense, and as such sees its central character, Richard “Junk” Junkin, constantly drawing the short straw in life. He is a former pro football player whose career ended abruptly with an injury and accusations of cutting points in conjunction with his addiction to gambling.

    Junkin finds himself in a stereotypically dead-end job as a used-car salesman, and not much of one at that. Junkin is good for helping others close the deal, when customers get to meet the former star, but he doesn’t sell much on his own. He also finds himself the butt-end of jokes around the sales floor. The only thing he seems to be really good at is bedding customers or customer’s wives while on the job.

    His sexual urges carry over to the boss’s sexy, spoiled-rich daughter, Victoria. The femme fatale is a celebutant of the 1950s who finds herself in the tabloid pages on a regular basis for her promiscuous nightclub exploits.

    So, when the boss asks Junkin to be Victoria’s personal bodyguard as she trounces through the New York City club scene, it has to be either a godsend or a surefire way to drawing the short straw once again. Being a classic noir male character, Junkin is too blind to see which way the path is leading. He lets his pants, rather than his brain, guide the decision, and soon life gets much worse for Junkin than he could have ever imagined.

    Filthy Rich works because both Azzarello and Santos understand the core components of noir. The story and dialogue are pulpy, by nature, and the author and artist work together to create just the right amount of sleazy sex and gritty violence committed for all the wrong reasons—primarily greed—with a stylistic black-and-white flair.

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    Azzarello doesn’t stray too far from the noir formula—in fact, some might call it noir-by-numbers—but he falls comfortably into that formula and works from within it to create intriguing characters and a story that serves as a great start to Vertigo’s “Crime” line. None of the characters are sympathetic. They’re all pretty stupid, in fact, but the women know how to use their assets to get what they want, and the poor guys just fall in line taking one crack after another at a life that doesn’t seem to have anything positive in store for them. Things have to get better at some point, right? That’s what they think, but in true noir fashion, those promising futures are often empty.

    Santos’s art can be a bit cluttered in certain spots, especially near the beginning. With similarly greased hairdos and suits of the era, it can be hard to tell a group of guys apart when they’re standing around on the car lot. But as the story progresses, readers will become very familiar with the notable characters. The panel construction isn’t anything out of the ordinary but fits in well with the digest-sized hardcover. The important thing is the use of dark tones, and Santos does a great job with shadowing. There are more than a few iconic shots to be found in Filthy Rich.

    Filthy Rich may not break new ground, but the work of Azzarello and Santos embodies the best parts of the genre in homage to crime fiction in comics form. Azzarello’s writing is smart, and Santos’ art gives it the perfect setting. Filthy Rich is a great way to kick start the Vertigo Crime imprint, hopefully helping, along with 100 Bullets, introduce a new generation of comic fans to crime comics done the right way.


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More info:
    Brian Azzarello writer
    Clem Robins letterer
    Lee Bermejo cover
    Victor Santos artist
    Will Dennis, Mark Doyle, Karen Berger editor

Publisher:
    Image

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Jan 7th, 2012, 8:28 pm