| #39 | 2/09/05 | #3 |
Here we go with another AICN COMCIS column! I’m Ambush Bug , your host with the toast, bringing you another batch of reviews from your favorite @$$holes. This week we end the column with a special interview with Raven Gregory, creator of the horror comic book series, THE GIFT. But first, let’s see what’s in this week’s pull.
(Click title to go directly to the review)
THE BLACK PANTHER TPB
THE LEGEND OF GRIMJACK TPB & GRIMJACK: KILLER INSTINCT #1
THE WALKING DEAD #15
ELK’S RUN #1
CAPTAIN AMERICA #3
DOC FRANKENSTEIN #2
CHEAP SHOTS!
INTERVIEW WITH RAVEN GREGORY
THE BLACK PANTHER TPB
by Jack Kirby
Published by Marvel
Reviewed by Buzz Maverik
Artist Steve Ditko was reportedly horrified when an interviewer informed him that hippies viewed his DR. STRANGE artwork as psychedelia. Like Cartman on SOUTH PARK has said, "A hippie is the worst thing you can be."
Still, one wonders how Jack Kirby would or did react to similar information. On one hand, the King was a WW II vet and a man of his times, who is said to have complained when artist Dave Cockrum circulated a faux-THOR cover that depicted the Thunder God with a set of breasts.
On the other hand, so much of Jack Kirby's work was so trippy. You can chalk up such concepts as the Negative Zone, the Inhumans, Galactus, and the Silver Surfer to Kirby. The introduction of these kind of concepts virtually vanished from the Marvel Universe when Jack did.
Of course, the King created THE BLACK PANTHER, as well. The Wakandans weren't actually a lost civilization, but being unconquered, wealthy beyond belief, possessing futuristic technology, and lead by a super-being, they came pretty close. As T'Challa's creator, Jack could take him on a cosmic voyage if that's what he wanted.
This volume contains a short lived BLACK PANTHER series that the King did when he returned to Marvel in the mid-1970s. In many ways, I think Jack Kirby was a changed man by that time, professionally anyway. Personally, he seems like he was always a great guy and a bit of a genius. But he'd grown frustrated at Marvel by the end of the '60s due to what he felt was a lack of recognition for being co-creator of almost everything. Stan Lee, the other co-creator of almost everything, was comicdoms glamor boy and only real showman. I'm not going to get into the feud. Both these men are idols of mine.
Jack Kirby did what all comic pros do upon leaving Marvel. He went to DC. There he created The Fourth World books, all centering on Darkseid, Apokolips, and the New Gods. He created cool stuff like KAMANDI THE LAST BOY ON EARTH and THE DEMON. But the Fourth World flopped, although I would argue that it had the biggest influence on DC of anything to come out of the Bronze Age. Jack Kirby did what all comic pros do upon leaving DC. He went to Marvel.
Back at the House O' Ideas, the King took over CAPTAIN AMERICA & THE FALCON with the Mad Bomb storyline. It seemed almost outside the Marvel Universe, with our heroes squared off against a cabal that imagined themselves as Revolutionary War era British aristocrats out to take back the U.S. Conceptually, they vaguely pre-figured the Hellfire Club from THE X-MEN. The King also created THE ETERNALS, DEVIL DINOSAUR & MOON BOY, MACHINE MAN and did a 2001: A SPACE ODYSSEY series. And he did this BLACK PANTHER book.
It's clear that Mr. Kirby was really done with the Marvel Universe by this time. This series, like his others, seems set apart. The Panther gets mixed up in a quest to recover a brass frog that was stolen from King Solomon's tomb. The object is a time machine that can bring menaces out of the past and future. T'Challa means to rid our time of a grey alien-like thing with destructive mental powers. We get glimpses of things from a truly bizarre future world.
This volume is a trip through the imagination. Kirby's artwork was supremely powerful, straight from the imagination. In some ways, the story slightly prefigures INDIANA JONES, but is far more, unintentionally ...psychedelic.
Sadly, even when these stories were originally published, they were out of touch. I am in the deepest awe of Jack Kirby as an artist, storyteller and conceptualizer...but in my opinion, he simply couldn't write. Editorial at Marvel had a problem with that, too, and by all accounts they weren't respectful enough until Stan stood up for Jack. But even as a 13 year old kid, I could tell that Jack Kirby was a greater talent than anyone else at Marvel at the time, but no writer.
That said, he could do character. His T'Challa is true nobility. The King made sure the Prince had a code of honor and morals that was uncommon even then. T'Challa is proud that his people are builders and scholars. He does not like to win through deceit and he is merciful to his enemies.
Buy this book for its beauty. Buy it to give your senses a powerful and positive shock. I want to thank Marvel for bringing out this volume as well as CAPTAIN AMERICA & THE FALCON: MADBOMB. I hope to be thanking them in the future for trades of DEVIL DINOSAUR & MOON BOY, THE ETERNALS and MACHINE MAN. While they're at it, how about reprinting those terrific JUNGLE ACTION stories by writer Don McGregor and artist Billy Graham, such as THE PANTHER'S RAGE and PANTHER vs. THE KLAN? All awesome stuff.
THE LEGEND OF GRIMJACK TPB
&
GRIMJACK: KILLER INSTINCT #1 (of 6)
Writer: John Ostrander
Artist: Tim Truman
Publisher: IDW Publishing
Reviewed by Dave Farabee
The first thing that’s cool about Grimjack is that he’s ugly.
And not that faux-ugly like recent depictions of Wolverine. You know, that “mildly rugged male model” version of ugly that’s actually attractive? No, this dude is ugly like Clint Eastwood. He’s well and good into middle age, his gaunt face suggests a guy who could stand to eat a Big Mac or three, there’s a white skunk stripe running down his scraggly mullet and a scar splitting his left eye, and the cigarette perpetually dangling from his mouth completes the image of a guy who’s not looking to have his poster hanging on any 12-year-old girl’s wall.
Luckily for adventure fans, “ugly” can also translate into “badass,” and that Grimjack most certainly is. An ‘80s indie creation of writer John Ostrander and artist Tim Truman, Grimjack – real name John Gaunt – is a gun-for-hire in the city of Cynosure. It’s the city where the multiverse meets, a hodgepodge of infinite cultures where some locales are relatively permanent, others fade in and out with time. Magic works some places, technology in others, and a canny merc like Grimjack carries a sword because blades are pretty much everywhere. He gives it a pretty good workout too – a place with that many cultures always has an underbelly with certain jobs that need doing…
THE LEGEND OF GRIMJACK is a reprint trade collecting Grimjack’s earliest appearances as a back-up series in Mike Grell’s space-pirate comic, STARSLAYER. As such, the chapters are on the short side at eight pages apiece, but Ostrander establishes Grimjack’s likeably cynical persona and the unusual workings of Cynosure at a crisp pace.
Take the opening two-parter, for instance: it sees Grimjack hired to track down nothing less than a god. This god is being sought by a devout priestess who’s magicked her way to Cynosure in desperation to find out why he’s abandoned his people even as invaders are slaughtering them. Bad news for the devout - turns out this particular god’s a mortal and a drunken sot. He’s just some lucky (or luckless) schmuck who stumbled into their dimension by mistake and found himself imbued with god-like powers. He couldn’t bear the ensuing responsibility, though, and bailed to Cynosure. To his credit, he at least became Grimjack’s drinking buddy, and that turns out to be enough for Grimjack to defend him when a rival god tries to off him – hey, you gotta stick by your drinkin’ pals!
But yeah, bit of a cynical edge to the series, though it’s got a swashbuckler vibrancy to it as well. A good deal of its atmosphere comes straight from artist Tim Truman, in his nascent stages here, but already exhibiting a talent for drawing exotic, lived-in environments. Truman’s textured realism calls to mind artists like Joe Kubert and every crack and crevice of Cynosure is as craggy and worn as Grimjack’s face. Truman’s also great with drawing really “geared up” characters – those hard-livin’ adventurers who’re armed to the teeth and who’ve used every dinged-up bit of equipment they’ve got strapped on. My only visual gripe is that the coloring is a little “eh.” It’s standard ‘80s coloring, but when you slap it on glossy paper it looks a bit garish.
Other stories in the trade include Grimjack tracking down a vampire who infected a pal with vampirism (“Then kill me, too. I don’t wanna be like this.” “You got it.”); helping train a contingent of other-dimensional cartoon animals to fend off the aggressors who’re slaughtering them (bizarre for being one of the opening stories, but funny); and teaming up with Grell’s lead character, Starslayer. The common theme throughout might feel a little overly familiar to genre fans – that of loyalty and friendship, even among lowly mercs – but Ostrander delivers it with enough nuance and innovation of setting that it’s easy to forgive.
In addition to the new bookend material – a fun few pages in which the reader “sees” through the eyes of a newcomer to Cynosure – this trade also features no less than three welcoming introductions from the original creative crew. They’re new-reader-friendly but definitely struck me as a special welcome to returning fans who’ve waited for the series’ return as it’s struggled through various legal tie-ups. I mention the intros because there’s a warmth and friendliness to them I’ve rarely seen in introductions. You can tell these guys are the closest of friends, that they adore working on this book, and that they’re truly thankful for the fan following it’s garnered. How else can you explain the fact that they devote almost a page just to the hilariously fannish question: “What kind of music should I listen to when reading GRIMJACK?”
Awesome.
But I liked the new material in GRIMJACK: KILLER INSTINCT even better. THE LEGEND OF GRIMJACK is ripe with promise, but it’s got a few kinks to work out. The new stuff, by contrast, is the work of the original creators with close to two additional decades of experience AND the addition of painterly coloring from the highly-regarded Lovern Kindzierski.
Plus, there’s swearin’ now! Seriously, the rawer language lends the series a bite that feels wholly appropriate to its amoral leanings. Speaking of which…
During the brutal, action-packed teaser, Grimjack’s actively working as a cop in Cynosure, but in a showdown with an old arch-enemy who Grimjack calls out with an imaginative “You pimp from hell! Face me!” events take an exceptionally bad turn. Especially for one of Grimjack’s friends. Net result: Grimjack bails on working for the law and hooks up with a government-sponsored black ops crew called the Gray Wolves. I wasn’t sure if this was actually a recap of events from the tail end of the original series or whether Ostrander just wanted to quickly maneuver his lead into a darker direction, but it works well enough. I will say my head was spinning a bit with all of the names, though. There’s a definite suggestion that political alliances get pretty twisty in Cynosure, and I’m actually looking forward to that aspect of the book.
In his intro to THE LEGEND OF GRIMJACK, Ostrander writes that he was inspired to create the character while hip-deep in reading Robert E. Howard, Raymond Chandler, and Dashiel Hammett - influences that couldn’t be clearer. In skill and amoral temperament, Grimjack’s definitely from the same school as Conan, and the set-up he finds himself in during an assassination gone awry absolutely speaks to the hardboiled detective tradition of manipulated heroes. Of course, Conan’s a bit more physically formidable than your average detective, and so to Grimjack. When the political up-and-comer he’s supposed to off turns out to be protected by wraiths, vampires, and zombie mercs, he’s actually enough of a badass that he just might be able to shoot and cut his way out of the mess!
Wonderfully pulpy violence ensues.
So, hey, I’m onboard this baby. I loved John Ostrander on DC books like SUICIDE SQUAD, HAWKWORLD, and THE SPECTRE in the ‘80s and 90’s, but I just wasn’t hip enough to plug into his original creations in those days.
Won’t be making that same mistake twice.
THE WALKING DEAD #15
Writer: Robert Kirkman
Artist: Charlie Adlard
Publisher: Image Comics
Reviewer: Ambush Bug
Wow!
Just…wow!
I simply love this series. I’ve come to appreciate the tastes of my partners in critical crime here at @$$hole HQ. If one of my fellow reviewers says something is good, I’m pretty sure it is. But the thing is, I can’t just read everything the other guys praise, so I have to pick and choose who I listen to and what to try on top of what I usually buy. On one particularly slow week, I found myself browsing through my comic store and came across THE WALKING DEAD TPB VOL 1. Remembering the landslide of praise heaped upon this series from fellow reviewer Dave F, I decided to pick it up. I had fought the urge in the past, “I don’t need to pick up another monthly comic.” I said to myself, “Self, I read enough books already. Besides, who can forget the last time I took Dave F’s advice when he said those things on the floor of the @$$hole bathroom were delicious raisins?” But I went against my better judgment and decided to buy the trade on a lark (and I didn’t even know my comic book store took larks for payment. Boy howdy, I can’t wait till lark season, so I can go get me a mess o’ them to trade in for comic books!). After ferociously devouring the first trade, I raced back to my store for the second one, then back again for issues #13 and 14. By that time, I was hooked and chomping at the bit like I was a zombie and the bit was human flesh in anticipation for the next issue.
THE WALKING DEAD takes every great aspect from every great zombie movie and incorporates, elaborates, and improves upon it. Set in a Romero-ian world, where the cause of the zombie menace is not as important as the survival of human kind, THE WALKING DEAD is simply a perfect horror comic.
Our hero is Rick, a reluctant leader, who wakes up from a coma in true 28 DAYS LATER fashion and goes on a quest for survival. Rick and a group of weary survivors travel across the country in search of a safe place to live away from the zombie plague. Eventually they come across a penitentiary and that’s where this current arc begins. Up to this point, this arc has established some new characters (former inmates of the prison) and had our survivors get accustomed to their new environment. It’s all build-up and in issue #15, that’s where the payoff begins.
The thing that sets this comic apart from other horror comics is that you actually want these characters to survive. You root for them to find that safe haven. And you feel bad when terrible things happen to them. This is a testament to Robert Kirkman’s powerful writing. Kirkman has not only birthed a world which provides scares and thrills, but he’s created a set of characters that one can be completely invested in.
Those of you who only know Kirkman from his work at Marvel don’t know what this man can really do. I’m not a big fan of Kirkman’s work at Marvel. His runs on CAPTAIN AMERICA and MARVEL TEAM-UP seemed like fluff to me; as if he wasn’t taking these established icons and their conventions seriously. Kirkman isn’t the only writer for Marvel who seems as if he’s shouting, “Looky here! I’m a’writin’ sooper heroes!” looking down on these characters and not really pushing them to their fullest potential. Instead, he seemed to be poking fun at an industry that takes enough scrutiny from the outside as it is. It’s disheartening that the same type of scrutiny is promoted from within by one of the biggest companies in the biz. THE WALKING DEAD doesn’t have that feel to it. It is a serious take on survival of the human spirit. If Kirkman’s Marvel work had an ounce of the integrity and craft as THE WALKING DEAD, I wouldn’t have criticism one of his Marvel work.
Issue #15 is a doozy. After the cliffhanger from last issue is resolved, Rick rides off to take care of some unfinished business, leaving the rest of the survivors to wipe out the remaining zombies scattered throughout the prison. And the ending? Let’s just say it’s a killer. I don’t want to spoil one bit of this book. It’s that damn good.
Charlie Adlard is another reason why this book should immediately go on your pull list. This guy’s got a cartoony style, but it doesn’t take away from the horror being depicted within the panels. Adlard gives painstaking detail to the faces of our survivors, while distinguishing the living from the dead by depicted the zombies with less detail and obscured features. This is a good looking comic. The perfect compliment to the fine writing.
If this book has a problem it is that it has a very large cast and the story isn’t very open to new readers. Some of the conflicts and plot points have been developing for issues and those who aren’t in the know wouldn’t be able to appreciate the scope of this fine saga Kirkman is creating. That’s not to say that you couldn’t follow what is going on, but to truly appreciate the intricacies of the story, I suggest you go back and read the first trade. I guarantee you’ll race out to get the second one and the two issues prior to this one like I did. Then take a look at THE WALKING DEAD #15. Like a snowball rolling down a never-ending mountainside, this story keeps on growing with intensity and scope with each issue.
So I guess, I should listen to my buddy Dave F a bit more. As long as it doesn’t have anything to do with delicious raisins, that is.
ELK’S RUN #1
Joshua Hale Fialkov: Writer
Noel Tuazon: Artist
Hoarse and Buggy Productions: Publisher
Vroom Socko: Ahead of the Curve
I’m a bit wary of writing early reviews for books, especially for really good ones. If there’s a really fun comic that’s made its way into my hands, but you can’t read it yourself, then what’s the point of talking it up? Well, because it’s just become available for pre-order in the latest Previews. And trust me; you’re going to want to order it.
Imagine a cross between Brian Vaughan’s RUNAWAYS and Patrick McGoohan’s THE PRISONER as written by Stephen King, and you’ve got the situation in the town of Elk’s Ridge, West Virginia. An ex-mining town, its citizens live a solitary life, venturing outside the city limits only when unavoidably necessary. This can be a problem for the teenage boys who live here, especially considering there are only two girls in town over the age of four. So late one night, several young men decide to head out of town, only to come across… well, that would be telling.
I’ve been quite impressed with Joshua Fialkov’s previous forays into the horror genre in WESTERN TALES OF TERROR. He is, after all, the man who gave us the glory that is the Zombie Indian. But I’m pleasantly amazed at his work here. While still a horror story, it’s tonally and stylistically different from his other work. And I’m digging it. Sure, I love Zombie Indians as much as the next guy, but what I really enjoy is the more suspenseful, atmospheric brand of frights showcased here.
Of course, much of the credit on the book’s atmosphere belongs to the artwork of Noel Tuazon. There’s a two-page spread near the end that’s magnificently horrific, and the final page is just plain shocking. But really, it’s Scott Keating’s colors that really blew me away. Had that spread been just in black and white, I doubt it would have been half as eerie.
This series is seriously creepy, and I can’t wait to see just where Fialkov and company are taking these characters. Hoarse and Buggy is quickly becoming an independent publisher that’s more than worth your time. Check them out for yourself, on page 306 of the latest edition of Previews, and then let your retailer know you want a copy.
CAPTAIN AMERICA #3
Writer: Ed Brubaker
Artist: Steve Epting (with Michael Lark)
Publisher: Marvel Comics
Reviewed by Dave Farabee
My favorite superhero book running, that’s what Ed Brubaker’s CAPTAIN AMERICA is.
Weird!
See, I’m not even that big a fan of Cap. But when Brubaker and artist Steve Epting give me such a pulse-pounding moment as Cap vaulting from a S.H.I.E.L.D. flying car to an A.I.M. hoverjet to take those beekeeper-suited bastards down hard…how can I not get in this guy’s court? Simply put, it’s one of the best action sequences of the year.
Look at the conviction with which Epting draws the classic S.H.I.E.L.D. flying car: CLICK HERE!
Let yer jaw drop at Cap’s aerial acrobatics as he makes the leap, Epting’s art balancing near photorealism with Neal Adams’ kineticism: CLICK HERE!
And here’s the real stunner…y’know those belt pouches Cap’s sporting these days? The same kinds of belt pouches that a lot of superheroes wear without ever using ‘em? Well Cap uses his! Check him out, slapping some kinda flash-bomb on the windshield of the A.I.M. ship and causing a bitchin’ crash landing! CLICK HERE!
Whew! If Epting doesn’t get the overdue stardom this year that Rags Morales got last year then there ain’t no justice. I’m literally in awe of the amount of detail he’s putting into this comic, and without falling into the photorealist trap of the art going stagnant (it’s what’s happened to poor Greg Land).
In the words of Wayne and Garth: “We’re not worthy!”
But Cap is. And though we’re only three issues into the run, I have a sneaking suspicion that the work Brubaker and Epting are putting into it will be remembered as a high water mark for the series.
As the issue kicks off, Cap and the S.H.I.E.L.D. crew are still hot on the trail of the WMD’s the seemingly-deceased Red Skull was planning to detonate to charge up Marvel’s ultimate McGuffin: the reality-shaping Cosmic Cube. They’ve shut down one of the devices in Manhattan, but two more exist – one in London, one in Paris – and the clock is ticking as the Skull’s agents prepare to set ‘em off as a twisted memorial to him. On top of that, a shadowy third party is operating in the background, offing allies of both Cap and the Skull, even as Cap himself is experiencing flashbacks to World War II that don’t jibe with his memories. It’s a fascinating mystery. Could the Skull’s death have actually provided the karmic energy to energize the Cosmic Cube? Has he found a way to manipulate reality from beyond the grave?
As the mystery builds and agents on both sides of the fence clash in truly suspenseful battles, my favorite scene ended up being a peaceful interlude in Paris. Cap’s in his civvies, taking a small breather as he strolls around the Eiffel Tower with S.H.I.E.L.D. agent Sharon Carter. He’s recalling his time fighting in France during the second World War, and in a moment of humanity that stands in glorious opposition to Mark Millar’s “You think this ‘A’ stands for France?!” in THE ULTIMATES, Cap dares to speak of his admiration for the French:
“I’ve seen a lot of combat… and I’d seen a lot before I got to France... But the savagery inflicted on these people. I never saw anything like it until we got to Buchenwald. That’s why it really galls me when I hear my own people dismissing the French as cowards. We’re talking about a group of people who never gave up fighting the Nazi occupation. Their country may have surrendered, but they didn’t…”
Thank you, Ed Brubaker! This is the Cap I grew up reading. Not the hands-wringing doubter we had for a few years post-9/11, not the thuggish orders-taker in THE ULTIMATES, but the guy who can be a soldier while still representing the best qualities of America…including charity to his brothers-in-arms. There’s more to the scene, including Michael Lark’s terrific art in the flashback sequences, but suffice to say, I found that it warranted the cover price in and of itself.
My only potential complaint with the issue is indeed a potential complaint. Brubaker’s playing this story as a high stakes thriller, and as such lives are seriously on the line and a few have already been lost. Some of these lives have even been “names,” notable good guys and notable bad guys, and I don’t know how to feel about that. On one level – yep, there’s no quicker way to indicate high stakes – but I also instinctively bristle when new creators on a title take out characters without having themselves brought anything new to the table. I’m still waiting to see how events play out, though, and the mere fact that the Cosmic Cube plays a part in this story makes even the most assured death suspect.
So until such time as any potential fears are validated, I’m dropping my highest recommendation on this book. It’s a slick, modern thriller with the best art you can imagine and a lead who’s both an icon and a human being struggling with one of the roughest cases of his career. Need further proof? Geez, just go read the entire thing online at Mile High Comics! Not quite the same as having it in your hands, but if it doesn’t entice you into giving the series a shot then nothing I say will.
DOC FRANKENSTEIN #2
Writer: The Wachowski Brothers
Artist: Steve Skroce
Publisher: Burlyman Entertainment
Reviewer: Ambush Bug
When I reviewed DOC FRANKENSTEIN #1 here, I told you all how this comic and the formation of The Wachowski Brother’s Burlyman Entertainment may be the start of a new breed of comic book for this generation. I sure hope so, because DOC FRANKENSTEIN is one of my new favorites and there needs to be more comics like it on the shelves. It’s the book I will always read first when I get home from the store and re-read when I’m done with the rest of the stuff I picked up. It’s that good. It’s that fun. It’s that better than any other adventure comic out there.
Remember the intensity you felt when you watched THE MATRIX for the first time? Sure there were conventions used from other movies, but you felt you were watching something fresh and innovative all the same. Well, I got that same feeling reading through the first two issues of this series. This series has a super powered immortal fighting a powerful legion of evildoers. It’s been done before. It’s just that the Wachowskis and artist Steve Skroce does it so damn right.
The thing that sets this title apart from the rest is that DOC FRANKENSTEIN is “cinematic.” But I’m not talking about the “cinematic” tone that Marvel keeps cramming down our throats where an issue goes by without seeing the title character or where the entire issue is dedicated to a slow build that never pays off and instead merely leads to the next issue of slow build. Nope. DOC FRANKENSTEIN is the name on the cover and he’s front and center in the issue too. He’s the star of this book; telling his story and kicking major @$$. In issue two, there is a quick flashback montage where the Doc talks about the threat of the “Men of God,” a religious sect that has deemed Doc Frankenstein’s existence unholy and dedicated its existence to wiping him off the face of the earth. They’ve tried their damndest through the years, destroying his hopes and dreams numerous times, but you can’t keep a good immortal monster down and the Doc keeps coming back. There’s no slow build here leading to no payoff. This issue has a quick introduction to the threat of the story, and then leaps headfirst into some heavy duty action.
And boy o boy, what action! Doc Fransentein pilots a jet fighter against an armada of bombers set to destroy his home. It’s one lonely pilot against an onslaught of forces and Doc slices through them like a bullet. Eventually, his plane is shot down, but that doesn’t stop the Doc from taking to the air, leaping from jet to jet, taking out the opposition with their own weapons. At the end of this book, you need a breather. A chance to compose yourself and let out an exasperated “Wow.” as you put the book down.
A major factor in the goodness that is DOC FRANKENSTEIN is Steve Skroce’s artwork. Like the Wachowskis, Skroce thinks and draws BIG in scope. The action doesn’t revolve around one punch or a singular action. So much is going on in the panels. You are doing yourself a huge disservice by quickly scanning the panels in this book. Take your time and look at every inch of these panels. Like Geof (how come comic guys can’t spell the name Jeff?) Darrow, another Burlyman contributor on the equally excellent SHAOLIN COWBOY, Skroce knows the importance of the panel and what goes in it. There are no shortcuts here. Skroce is outdoing himself with this issue which is better than the last.
DOC FRANKENSTEIN #1 was all about the spectacle of introducing the Doc as a major new character in comics. In issue two, we get to know this character a bit more and it keeps getting better. Pick up this series and give it a shot. If all comics were like this, I’d be a penniless, but happy man.
RUNAWAYS Vol. 3: THE GOOD DIE YOUNG (TPB) - Woohoo, the first issue of the relaunched RUNAWAYS series hits this week! I’ve read it! Review to come later, but the short version is that you love it long time! This here Cheap Shot’s really just to remind you that volume three of the original RUNAWAYS series (the final volume) also just arrived a week or two back, and you don’t have to’ve read it to get into the new stuff, but given that it’s the best Marvel series of the last decade…I dunno, maybe you should? And if the soft-sell doesn’t convince ya, click here for my biggest pimpin’ ever of the series in my review of the first trade. I can’t believe I tried to lure readers by playing up the sex appeal of the underage Goth girl, but we all have our crosses to bear… - Dave
LITTLE STAR #1 - Man, I don't know what sort of story I was expecting, but this wasn't it. Then again, it's an Andi Watson story, so I actually did expect, and got, greatness. This rumination on the nature of fatherhood amongst Gen X is charming, touching, and beautiful to look at. If you're an Andi Watson fan, you're probably already getting this. If, however, you've never read an Andi Watson comic in your life, then this is the perfect place to start. -- Vroom
CONCRETE: THE HUMAN DILEMMA #2 (of 6) - I don’t know a delicate way to put this: after nearly 20 years of comic celibacy…CONCRETE GETS LAID THIS ISSUE! Sorta. You pretty much gotta read it, but it’s some steamy stuff - a true fulfillment of the promise of “mature reader” comics. Plus a guy gets shot in the throat! Plus there’s a sketchbook of Chadwick’s art! And a shockingly believably faux-essay from a guy who collects Concrete-damaged memorabilia! Always an inspired and unpredictable read. - Dave
BREACH #2 - I have missed comics like this. It looks and feels old school, but shies away from being stale with crisp storytelling and wonderful panels. This is a damn fine book. Love the art. Reminds me of some of Don Heck or Steve Ditko’s best stuff. And the story ain’t half bad either. Breach is coming to terms with losing his life and becoming a walking talking human reactor. Sure, this would’ve been a better Captain Atom relaunch, but it’s still damn good stuff. This is the best series DC has put out in a while and worthy of support. Plus the bad guy introduced in this issue is cree-hee-hee-py! - Bug
FABLES #34 - Honest truth? While I think FABLES is about the best comic running most of the time, the “interlude” issues – flashback stories, most of ‘em - haven’t usually done much for me. This one’s a happy exception. Writer Willingham’s always got a talent for writing scoundrels, and this issue’s particular scoundrel is Jack (of beanstalk and giant-killer fame). He’s got a boatload of treasure and he’s bound and determined to finance a movie trilogy of his adventures in the LORD OF THE RINGS tradition. Shades of THE PLAYER and GET SHORTY as Hollywoood and the filmmaking process are spoofed, even as you can’t help but root for Jack in all his cutthroat style. And I think new player Jill (of “Jack and – ” fame) is another Fabletown cutie. The guest art? Solid, occasionally inspired stuff by David Hahn, echoing early Chris Sprouse in its clean-line crispness. - Dave
CAPTAIN AMERICA/FALCON #12 - Okay, Priest has officially lost me in this issue. I’ve always been a fan of his book, but this story line about Caps and Anti-Caps, MODOKs and Psuedo-MODOKs, Falcons and psycho-Falcons has become too tedious to follow. Maybe Priest will score next time, but this CAP/FALCON series so far has been a complete dud. On the other hand, new artist Greg Tocchini seems to be channeling Gene Colan in this issue. Photo-realism and manga seem to be the only ways artists go these days. It’s refreshing to see this artist parrot a legend like Colan. I’ll be watching this guy to see where his talented pencils take him. - Bug
GOTHAM CENTRAL #28 - First thing’s first: Marvel deserves to be the target of a holy jihad for stealing Ed Brubaker and Michael Lark from this book. Assholes! Now that that’s out of the way…all is not lost! Co-writer Greg Rucka kicks off a new storyline this issue, and though I always liked Brubaker’s GOTHY C. stories better, Rucka’s still a comfortable fit. He’s got series regulars Montoya and Allen in the spotlight, investigating a horrific burn-victim case resulting from the discovery of what might be a lair for one of Flash’s Rogues. There’s creepy CSI stuff and, best of all, from solicits I know that the pair are going to find their way to the Flash’s stomping grounds of Keystone City in the months to come. Lots of potential there, and artist Stefano Gaudiano gives me hope for the first time in months that this book might survive without defining artist, Lark.
Still and all: holy jihad on Marvel to begin midnight, next New Comic Wednesday. Mark your calendars. - Dave
YOUNG AVENGERS #1 - Let’s see. Slow pacing? Check. Lack of imagination and utilization of the Marvel Universe? Chicky-check. Disconcern and lack of respect to anything before Bendis came to Marvel? Checkeroonie. This is it, folks! According to the Marvel and Wizard Hype Machine (are these two distinguishable anymore?), this is the comic you’ve all been waiting for. And boy, does it deliver! The first eight – count em’ – eight pages is an edge-of-your-seat extravaganza with Jessica Jones, J. Jonah Jameson, and a cub reporter standing and talking about stuff other people did for panel after snore inducing panel. It isn’t until page eight that any actual super heroes show up. And it still isn’t the Young Avengers. It’s Captain America and Iron Man looking more like SNL’s Ambiguously Gay Duo the way the artists draws them wrapped in each others arms. More talking happens. And finally, our heroes show up to face…Teen Loki? No. The Apprentices of Evil? Nope. Ultron Jr.? Uh-uh. It’s just of bunch of faceless thugs taking a wedding party hostage in a church. Now that’s what I call taking advantage of the vast tapestry that is the Marvel U. Of course, Jessica and her cub reporter coincidentally happen to be at the church as the Young Avengers arrive. It’s lazily-written contrivances like these that make people scoff at comic books. Action ensues a bit. There’s a big reveal at the end that really isn’t that big. All in all, this book exemplifies everything wrong with the current state of Marvel comics. But hey, you’ve gotta buy it, right? Marvel told you it is the most anticipated, sold out, smash hit book of the year! Marvel and Wizard said it, so it’s gotta be good, right? Right? - Bug
INTERVIEW WITH RAVEN GREGORY
By Vroom Socko
One of the titles out this week is issue #10 of THE GIFT, a horror title from Image that I have championed several times in the past. With this issue, the first story arc is now concluded. As such, I thought it was a good time to have a chat with series creator Raven Gregory…
First of all, what were your parents like, and why would they name their child after an Edgar Allen Poe poem?
The story behind it is just way too damn long to get into, and if I told you then I'd have to kill you...so it's safer for both of us if no one knows.
How did you get started in comics?
Me and my buddies were getting drunk one night and some one said we should do a comic. Thus began my epic career of destroying my liver with as many different types of alcohol as I could consume. Not long after that I wrote everyone in comics about how to get into the field and the only person who wrote me back was an editor (Renae Geerlings) from Top Cow. We talked for months and she eventually took me under her wing and helped me get THE GIFT off the ground floor.
What was the impetus for THE GIFT?
Lot's of alcohol. But after I stopped, it was just this burning desire to tell a good story. A good modern take on the old horror comics I grew up reading. I wanted to be able to try and bring back that EC COMICS feel that I loved so much about those books of yesterday. That was the driving force.
For the benefit of the poor saps out there who have yet to read it, what is THE GIFT about?
The story of THE GIFT follows the journey's of the Ancient One. This mysterious being has these items, these "gifts" that have incredible powers that he gives to normal everyday people. So depending on what kind or who the character is kind of determines how the story plays out. But the "gifts" themselves almost have a monkey's paw effect in that just because these people are given this great power doesn't necessarily mean everything is going to turn out okay. The first arc of the series actually deals with a different character receiving a different "gift" each issue lulling the reader into thinking these are all stand alone stories...but looking a bit closer you'll start to see hints and clues laced throughout the series that shows there's a much bigger purpose to why the Ancient One is picking these certain people for these powers. And later on in the series when the characters begin to interact with each other you'll see that nothing has happened by chance and that this has all been a part of the Ancient One's master plan from the very beginning.
It's like the Twilight Zone on CRACK!
And for those of us who have been smokin' that crack like Pookie on a binge, what's on the horizon? So far, you've set up the Ancient One, then the demonic entities from issue #4, and in the recently released issue #10 a third entity is revealed. Just how vast a canvas are you planning on painting?
Is it Lord of the Rings big? No. But it still gets pretty big. The next arc (issues 11-14) reveals the secrets behind the Ancient One and why he has been doing what he's been doing. The arc after that deals with the repercussions of his actions and we start to see all the bearers from the previous issues return as his plan comes full circle. But if you've read issue ten you start to see that there are many other forces at work that may be manipulating the Ancient One from behind the scenes.
What's a typical writing day like for you? How do you go about structuring your story?
There is no usual writing day for me. There are some days when you can't get me away from the computer, and then there are nights when I wait till everyone has gone to sleep and then pound out on the computer. There are days I don't write anything other than productions notes and other stuff. The only thing that is completely set in stone is that I HAVE to finish at least one whole script per month. If I don't do that I start to get antsy and things just start to seem fucked up in general. It's like my internal clock starts screaming at me, or something.
As for structuring I like to keep things loose. I think in order to surprise the reader and keep them interested, you have to surprise yourself. Some times I'll have a set end or image in mind but mostly it's just the characters taking the story and just running with it.
How often do you end up surprising yourself?
When I first started it was easier. But as I keep writing I keep trying to top my last one...so it gets more difficult...but it also gets more fun.
Image has your book, as well as THE WALKING DEAD, DC's HELLBLAZER just got made into a movie, Marvel can't seem to put out ESSENTIAL TOMB OF DRACULA volumes fast enough... why do you think horror comics are on such an upswing?
Because, unlike all other genres, we aren't limited in what we can do and where we can go with our stories. We have NO limits except making sure the reader cares about the characters. Because once you hear the scary music...someone’s about to bite the dust.
So where do you want to go with your book? More to the point, what do you want your readers to get out of it?
I can't say. What I can tell you is that THE GIFT is much deeper than it appears at first. There is a message that I want to convey, but it's not something that I want to force on people. You can read the stories and enjoy them for what they are...or you can choose the red pill and see how deep the rabbit hole goes.
Do you have plans for any other comics in you, or is THE GIFT your sole story focus for the time being?
THE WAKING is my next project that will be coming out either later this year or some time next year depending on production. It's a zombie story unlike any other. One of the most tragic and redeeming stories I have ever done. It's a four-issue mini.
Do you have any inclination to write in a different genre, perhaps writing a fantasy or even a superhero book?
As much as I love horror (THE DARKNESS and BLADE, I would love to write) getting to play with any of the Marvel/DC characters would be down right awesome. But my heart will always be in horror because it feels more real to me.
Finally, where do you see THE GIFT five years from now?
Hopefully, a movie. A finished series. I know how it ends. I'm writing issue 25 now and it should end around issue 30 something.
Well, I’m certainly looking forward to reading the whole story. Thanks for your time.
No problem. I really appreciate the support.
