THE LAST OF THE GREATS #1

Writer: Joshua Hale Fialkov
Artist: Brent Peeples
Publisher: Image Comics
Reviewed by Humphrey Lee

If there’s anything I love in any form of media – and is a primary reason why my writing duties here at AICN hold within a good bit of #1 reviews – it’s a fresh work and a high concept. Let’s be honest with ourselves here, probably 95% of the time we know what we’re getting into with a piece of media/entertainment we were already enjoying or planning to try. We know our mainstream superhero book du jour is going to play off some character aspects while maintaining a status quo. We know that R-rated RomCom about the friends who have casual sex will involve them developing feelings, fighting them, then getting together at the end. We know that Lady Gaga will sound like modern day Madonna with generic club beats. And we know that Simon is always going to be a dick to the contestants. And that’s fine because execution can be just as good a substitution as premise/originality and if we’re watching/buying/reading there’s something there we must apparently enjoy. But the beautiful thing about a new pilot, or a single, or movie trailer and, in this case, a brand spanking new #1 on the cover is that you maybe don’t know what’s going on and maybe, god willing, it doesn’t suck.

LAST OF THE GREATS is pretty much the baby of those last two points. I spent thirty of thirty-two pages of my read-through soaking up the plot and nodding very appreciatively at the world being built up in front of me only to have it ripped out from under me in that last 6.25% of the book. And I loved it because, god willed, this book doesn’t suck. Far from it. Talk about book that moves at a clip, this is it. Fialkov lays most of it all out in one go which, normally, I think tends to weigh down a number one, but it works here, especially because of the cliffhanger I alluded to a paragraph ago. Exposition tends to be the norm when it comes to a premiere and while the info dump leaves the second issue open to play, well, that first issue needs to sell. The debut of LoG does a bit of both.

I apologize if I’m being a bit obscure, but that’s kind of the “fun” part of reviewing a book that has a few Wednesday’s before it even hits, especially with a book that has. So here’s an info dump of my own: It’s a book about superpowers. More aptly, it’s a book about the human response to superpowers and introducing the reader to the idea of what the Greats were and are. How they affected the Earth and how the Earth responded. It’s that back-and-forth dynamic that leads to a back-and-forth narrative approach as a human contingent deliberates/pleads with the final Great as a huge threat looms overhead. And it’s that storytelling approach that keeps the book snappy as it gives you that back story you need and insight to just what the hell is going on now. Not only is the premise intriguing but also it plays out in a way that answers a question while prompting you to ask another and then answering that one. Lather, rinse, repeat (maybe there’s one too many repeats as my one nitpick about how the story plays out) and then come up with a pretty fucked up ending and it really makes for a fun ride.

It also helps out a lot with the art, which has lots of pluses, but I noticed falters just a bit in a couple of regards (this being the fun, hypocritical part of the gig here where I try and point out stuff I could never do in a million years). Overall it’s a really good body of work. It’s expressive. The bigger, splashier sequences have lots of “oomph” and move well within themselves. I think the panel-to-panel transition tends to fall off a bit though. The movement seems to stumble a bit, occasionally looking a little more awkward than kinetic. And the figures tend to strike a bit of a resemblance to each other, usually with jaw lines and midriffs, which happens often in superhuman books all over the place so it’s really not a slight as much as a noticeable standard. The stuff here is really good, it just happens to also be a little raw. It reminds me a lot of early Mahmud Asrar work on DYNAMO 5, and his stuff developed out very nicely and in not much more than a handful of issues. No reason to not expect the same here.

Lots of stellar number ones have headed our way from Image lately and this is just another in the line. I’m both highly curious where this goes from the debut and, I admit, a little apprehensive too; which just means I’ve already gotten invested. Mainly it has to do with seeing just how Fialkov handles the variation of that word I used end of last sentence: investment. The premise has me hooked, now I want to see if this book is going to try and get by just on concept (doable but difficult) or if we’re going to get some characters to attach ourselves to (because the last Great? Kind of a dick) or what. But I’ll be there for it and hopefully you’ll be there for this when it officially hits Octoberish because I want to see more of this and, quite frankly, I think comics could use more of it. Cheers…

Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, The MySpaces, Facebookand a blog where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.

THE PUNISHER #1

Writer: Greg Rucka
Art: Marco Checchetto
Publisher: Marvel Comics
Reviewer: Russ Sheath

Award winning writer Greg Rucka sums up his intention for Frank Castle in this relaunch ofMarvel Comics The Punisher quite simply:
Now, all Frank Castle has is his desire for vengeance, and his need to punish thewicked.
That is his mission.
That is his purpose.
That is all that matters.
Frank Castle died with his family.
Now, simply, he is The Punisher.

Its easy to dismiss The Punisher, aka Frank Castle, as a one note character and as suchwriters over the years have chosen to deviate from the core of what the Punisher is.Sidekicks have come and gone, as have the occasional girlfriend or companion and even his race has briefly changed.

In THE PUNISHER by Greg Rucka and Marco Checchetto, Frank Castle is once again adriven, focused engine of destruction with a very simple mission: to punish. In my recent interview with writer Greg Rucka, here, Rucka stated that his intention with THE PUNISHER was to examine the world around Frank Castle and to look at how living in a world inhabited by The Punisher affects those who are in contact with him, both directly and indirectly.

In Issue 1 of the PUNISHER, Rucka introduces us to new characters who inhabit thePunisher’s world including two cops drawn together by a singular violent event which also introduces us to the protagonists of the piece and which gains the Punisher’s attention. The first thing to realize about this book is that it inhabits the regular Marvel Universe rather than the more violent, mature readers setting of the ‘Max’ series, and you know what?

It really doesn’t matter.

Compelling storytelling is more than a substitute for violence for violence’ sake and asRucka has said in several instances during interviews, you don’t have to graphically show the violence in these stories. The outlandish violence was arguably a major factor in the appeal of previous incarnations but it was also what, in some cases, took The Punisher away from his core, at times turn into a Roadrunner vs. Wylie Coyote style of violence. Rucka promises us a modern, more grounded take on the Punisher. A tactician, a thinker and a soldier even though we barely glimpse him as our two cops delve into the case that brings them together for the first time: the Punisher is there throughout the story.

Artist Marco Checchetto is the perfect compliment to Rucka and offers an artistic vision of the Punisher’s mission that is as bloody as anything that has come before, skillfully showing that the before and after can be just as effective as the during when it comes to a Punisher book.

Fans who like their Punisher bloody and brutal won’t be disappointed.

In those opening, dialogue free pages Checchetto lets loose with five pages of deafening silence. Rucka’s skill as a storyteller and Checcetto’s skill as an interpreter of that story make for compelling viewing and while I hadn’t been aware of Checcetto’s work prior to this he brings a visual sense that is 100% comic book but which at times explodes across the page with a full clip of artistic flourish. The book reads like the perfect pilot to a TV show (come on, Marvel--you know a Punisher TV show makes sense) as the Punisher moves through his world.

It’s hard to write a spoiler free review, but as a long time Punisher fan I can say that this new era in the Punisher’s legend couldn’t be in better hands. For years I had my vision of who the Punisher is, the elements from previous incarnations that when combined would make what I envisioned as the perfect incarnation of Frank Castle. Rucka and Checcetto tease us with a Punisher that fits that vision perfectly.

It’s going to be grim, it’s going to be dirty and a lot of brass is going to be spent in the name of punishment and I for one cannot wait.

You can follow Russ Sheath's blog Russwords here and on Twitter here.

THE BOYS: BUTCHER, BAKER, CANDLESTICKMAKER #1

Writer: Garth Ennis
Artist: Darick Robertson
Publisher: Dynamite Entertainment
Reviewer: Optimous Douche

It was with a trembling hand and great trepidation I picked this book up from the shelves. Despite my vehement fervor for its parent title THE BOYS, Ennis was only batting .500 for spin-off series. HEROGASM was a joy in the puerile wallow in filth sense of the word joy. HIGHLAND LADDIE though was an exercise in utter confusion and blatant stupidity. Keep in mind I have selected Wee Hughie as my character of the year now twice in our annual @$$ie awards, but even my love of the wee one couldn’t make me see past the utter clusterfuck that was in the making.

Well let’s get Ennis up to a respectable .666 for spin-offs, because BUTCHER, BAKER. CANDLESTICKMAKER is a home run or whatever the equivalent is in Cricket and other Britishy type sports.

Butcher, the often lewd, always hilarious no-nonsense leader of THE BOYS has remained an enigma for much of THE BOYS run. We recently learned how he became part of the government program to watch the watchmen, but little is known about the time before. All of the other BOYS, even the Female told their back stories many moons ago in THE BOYS proper. Butcher though, was the Wolverine of this group, simply a bad ass for bad assery’s sake. Well no more. If you wondered what could make a man so hardened, yet at the same time exhibit exorbitant amounts of tenderness for the likes of Hughie, BUTCHER, BAKER, CANDLESTICK MAKER begins to lift that fog of secrecy to show the man behind the Butcher.

Executives and mainstream media suck, when THE BOYS was dumped from Wildstorm the entire move reeked of some suit at Warner Brothers reading a blog or butchered press release from an immature reviewer who could only see the surface of what THE BOYS was trying to convey. Yes, there are “lewd” moments of the book (the air quotes for the utter subjectivity of what is and is not lewd) by some standards, but THE BOYS has also been an examination of our collective hero worship, how the heroes fail us and the only true empowerment being found from within. BUTCHER, BAKER AND CANDLESTICKMAKER focuses solely on these virtues and believe it or not, the moments in this book would only be found lewd by the most staunchly conservative.

The impetus for the BUTCHERS’ fragile psychological state is as Freudian as one can get. The dichotomy of his tenderness and aggression are drawn out in almost exact black and white; basically it all boils down to mum and da. Personally, I would have gone with a twist and made his Mother the aggressor, but I can also appreciate Ennis’ adherence to statistical significance by making his Father the shit heel and his Mother the ray of goodness. We also uncover that Butcher has a brother in this series. The lines of demarcation between the good son and well…Butcher were a bit heavy handed and seem to defy genetics, but it’s nothing worth getting asssed up about. Butcher the dark haired son clearly pulled all of his genes physical from Daddy, while his gentler fair haired Brother is a clone of Mom. Again, it’s slightly heavy handed, but certainly a visual cue that can’t be denied. But while Butcher was his Father for the most part, a modicum of Mom’s genes slipped into the genetic stew as well. The side of Butcher that cares…the side that will protect the weak at all costs.

The issue is told in flashback with Butcher sitting beside his Father’s corpse lying in state. Granted this will speak mainly to the middle aged comic fan, but who cares, I’m middle aged. This was a more than poignant reflection jumping off point, because as you will learn dead is the only way you would want to see the complete son-of-a-bitch that was Butcher Sr. Butcher the elder was a baker, it was an ironic one note joke, but it did give me a brief guffaw. When he wasn’t baking, he spent the rest of his time drinking, carousing and beating anything with a pulse to a pulp. The issue is mainly exposition to show Butcher’s love for his Mother and being drawn to the point where he almost killed his Father. The moments with Butcher’s mother were my favorite; they were tender, funny and most importantly real. Butcher also realizes that the apple does not fall far from the tree after an altercation with his weaker brother. However, Butcher does realize that violence is not always the right answer, providing a stark demarcation of the man he could have easily become versus the man he truly wants to be.

Robertson gets a patented Optimous Douche Reach Around for the art work in this piece. From the Falkland island altercation that opened the book to the utter brutality and total tenderness that are on each page, he created a gem with every single panel.

BUTCHER, BAKER, CANDLESTICKMAKER is as far a cry from both HEROGASM and HIGHLAND LADDIE as one could ask for (especially HIGHLAND LADDIE) and it is apiece unseen yet within THE BOYS universe. Would I recommend this for someone who has never read THE BOYS? No! You won’t get it, it will feel like so much melodrama without the context of THE BOYS history backing it up. Would I recommend this to past fans of THE BOYS or someone who felt the last two mini-series were less than stellar? Abso-fucking-lutely!

Optimous has successfully blackmailed fellow @$$Hole BottleImp into being his artist on Average Joe. Look for Imp's forced labor on Optimous brain child in mid-2011 from COM.X. Friend Optimous on FaceBook to get Average Joe updates and because ceiling cat says it's the right thing to do.

BRIGHTEST DAY AFTERMATH: THE SEARCH FOR SWAMP THING #2

Writer: Jonathan Vankin
Art: Renato Arlem
Publisher: DC Comics
Reviewer: The Writing Rambler

A little over a month ago we were given a pretty weak start to BRIGHTEST DAY AFTERMATH: THE SEARCH FOR SWAMP THING. Sadly with issue #2 we are given more of the same. What we have here is basically a book full of questions with no answers in sight. The only real difference in this issue from the last is that John Constantine is interacting with Superman instead of Batman.

This second issue, much like the first, is all over the place. We have Constantine trying to use Superman to help him find Alec Holland while were also being given a story of Alec Holland trying to piece his life together in his old lab. Much like the first issue seemed more aimed at force feeding DC readers who may be unfamiliar with John Constantine his general bio, this issue seemingly does the same for Alec Holland. While I get that the company wants new readers to know these characters I feel that they are doing more of a disservice to longtime fans who are looking for a good three part story before everything is reset come September anyway.

The art in the book outshines the story much like the first issue and the transition from Marco Castiello to Renato Arlem works just fine. The main difference is in how Arlem’s work has a more “old school” vibe to it, especially in the way he captures Superman. Overall I didn’t mind the change though it didn’t make or break the issue in any way.

Once again though, I have to comment on the cover art for this series which has now become a sore point for me. Last month I mentioned how the cover seemed poorly executed and included Superman when he didn’t even appear in the issue. This month while we do actually have everyone’s favorite Kryptonian in the issue, we are basically given a rehash of the first issues cover! The cover is literally an alternate take of the last one minus Batman and Zatanna being included. I understand the cover doesn’t make the story but in this case it seems reflective of the content; repetitive and somewhat pointless.

I really hate being negative when it comes to a title but so far this short series seems like a complete waste of time for readers. I don’t know how this story will be wrapped up in issue 3 (if it even can be) and while I look forward to seeing what’s in store for Constantine and Swamp Thing in “The new 52” I fully assume the finale of this series will leave us all scratching our heads much like the first two chapters have. All in all I wouldn’t recommend this series as there are much better things happening in the DCU but as a completest myself I’ll be there to see how it all wraps up.

You can follow The Writing Rambler on his blog here!

SEVERED #1

Writer: Scott Snyder
Artist: Scott Tuft
Publisher: Image Comics
Reviewer: KletusCasady

I like being scared. Not in a real life situation but reading/ watching something, I love it…Lady Kletus, not so much. The scariest/ creepiest comic I’ve ever read was UZUMAKI by Junji Ito. The atmosphere is great, it establishes a relatively normal calm status quo then slowly drops you into some of the most wicked shit you’ll ever see in a comic, not Crossed wicked but eerily scary shit wicked. It’s the type of stuff that at first you’re like, “Ok, that was weird,” and forget about until you decide to turn off the lights and lay down…that’s when you realize how much this comic has affected you. Some of those images I’ve never been able to get out of my head, even much so that I got a tattoo of a particularly disturbing scene, much to Momma Kletus’ chagrin prompting her to say, “You need to go to church!” Why mention all this? The solicits for this book had many a creator talking about how scary this book was, so naturally I gravitated towards it like a meth head to light bulbs but I didn’t really find this issue scary…well written and extremely well drawn but this issue didn’t even slightly creep me out. I’m not saying this series won’t be scary (or good) at all but this issue wasn’t even a blip on my scare-o-meter.

This issue is about a man with one arm telling a story of his youth about a nightmare-ish type occurrence that happened early in his life when he ran away from home. There’s also a coinciding story about a kid from an orphanage who gets “recruited” by a strange man to do an apprenticeship with General Electric. That’s pretty much all I can say about this story without ruining the comic for people and you know how I hate to do that (actually not that much happens). The story is pretty good but suffers from being the beginning of a story so nothing really happens outside of the characters getting established and an interesting last page that hopes to anchor you to this story. I do believe (and this is strictly speaking from reading only this issue) that this book would probably read better as a graphic novel. The reason I say this is because while there’s nothing wrong with taking the time to establish characters and the mood of a book, I just don’t know if this issue alone would hook a reader but I could be wrong. I really didn’t find anything about this comic even a little scary. I’d rate this issue mildly creepy at best, however I imagine since things are set up now, the scares will start to trickle into the subsequent issues. The art in this book is fantastic and the mood created in this book is a direct result of the beautiful art. I don’t even have any artists in mind that I could compare this art to…maybe Jerome Opena (UNCANNY X-FORCE), mostly because of the shading. This art is really great, the colors, the detail, the emotion, everything is on point. The art is what instantly convinced me to buy this book.

I know it may sound like I didn’t like this issue but I did, I just wanted more out of this issue which isn't always a negative thing. By the time it got the part I was anticipating, it was over, which is why I think reading this with the whole story in front of you might be the best way to enjoy this series. In my opinion, wanting more pages in a comic book because you’re interested in seeing what happens next is not a bad thing. Some people do have a need to be instantly gratified (no offense to anyone, I’m like that from time to time) and that’s what I think will keep people from being interested in the rest of this series. It most likely won’t anything having to do with disliking the writing and definitely not because of the art. To summarize, I like this comic and love the art. I just don’t know how many readers, based on this issue alone, will be convinced that they have to buy/read the next one. However, i do feel the art alone is worth the cover price.

THE LEAGUE OF EXTRAORDINARY GENTLEMEN: CENTURY: 1969 OGN

Writer: Alan Moore
Artist: Kevin O’Neill
Published by: Top Shelf Productions & Knockabout Comics
Reviewed by: BottleImp

With each new installment of Alan Moore and Kevin O’Neill’s sprawling epic, I become more and more convinced that THE LEAGUE OF EXTRAORDINARY GENTLEMEN’s intent is to render the reader comatose via sensory overload. As with the earlier volumes, panels are crammed tight with scores of O’Neill’s scratchy figures, posters, architectural details and various other ephemera. Now this alone would not automatically instill the said brain freeze, but taken along with the surety that each figure, poster, building, etc. is a specific reference to some specific work of literature and/or popular culture, the sheer magnitude of these literary in-jokes causes my eyes to roll in my sockets and my comprehension shudder to a halt.

These references weren’t so much of an issue in the first two volumes of LOEG, mainly because they were mostly limited to characters and events chronicled in works that are known by a broad scope of the readership. Sure, there were a few head-scratchers, but the majority of these cameos came from the well-known works of Stoker, Wells, Verne and Stevenson—pretty much required reading for LOEG fanbase. It was with BLACK DOSSIER that Moore began to expand further beyond this limited pool of material and bring in more and more obscure works. And it certainly doesn’t help matters that I’m fairly unfamiliar with 1960s England. So the combination of these two elements in CENTURY: 1969 made for a thoroughly bewildering read. Well, a thoroughly bewildering FIRST read.

Having finished this book and gotten nearly nothing out of it, I decided to go back and reread the comic, but this time made the conscious decision to NOT try to identify every single character, to NOT wonder what book or movie a Vril came out of, to NOT hop onto Wikipedia every time a name came up that seemed somewhat familiar. And guess what? It made this comic SO much better.

At the heart of it all, this volume of the League’s adventures is a fairly simple and straightforward story. Mina Murray and Allan Quatermain (rendered eternally youthful by an adventure in Africa, documented obliquely in the pages of BLACK DOSSIER) are joined by the immortal gender-changing Orlando in their mission to stop the black magician Oliver Haddo from ushering in an Antichrist, set against the backdrop of the “Peace and Love” movement of the Sixties and the London music scene. There’s mystery, action, black humor, sex… basically what one has come to expect from Moore’s group of Victorian crime fighters. There's a psychedelic battle between Mina and Haddo that occurs on the astral plane that makes the best use of O'Neill's idiosyncratic drawing style. There are a couple of nods to the earlier volumes of LOEG that readers will recognize without having to rack their brains. And by making the conscious effort to NOT rack my brains looking for those characteristic literary references, a few of them actually jumped out and made themselves known without my having to dig. There’s a fairly blatant nod to Ira Levin’s “Rosemary’s Baby” as the League discusses Haddo’s previous attempts at creating an Antichrist. There’s the fact that in this universe, the Rutles rather than the Beatles are at the forefront of the British Invasion. There’s the band “The Purple Orchestra” doing a pretty good Rolling Stones impersonation, right down to their song written from a Satanic point of view. And then there’s my personal favorite moment as Moore and O’Neill incorporate a new classic of English Literature, when a young man who teaches occult studies at a school “up north” introduces himself to a very tripped-out Mina: “Well, my first name’s Tom, my middle name’s a Marvel, and my last name’s a conundrum.”

Yes, that’s right, J.K. Rowling joins the ranks alongside Stoker, Wells et al as the world of Harry Potter in folded into the LOEG universe. Tom vanishes from this volume after its climax (by striding through the pillar between platforms 9 and 10 at King’s Cross Station, naturally), but somehow I have the feeling that he will return in some form in whatever CENTURY will come next.

As I said, the book contains the signature elements of the LOEG series… if anything, the sex is more blatant (lots of tits and flopping phalluses), something of a trend I’ve noticed in Moore’s recent work, as if he decided that he’s covered all he could of violence, and now he’s focusing on our societal sexual taboos. O’Neill’s art is still sketchy and cartoonish while at the same time being incredibly detailed; I don’t think any other artist would work as well illustrating this material. Maybe a hyper-realistic artist such as Gene Ha would be able to capture all the detail necessary to the story, but the hyperactive energy of O’Neill’s linework could never be duplicated. So in short, if you liked O’Neill’s work on the previous LOEG books, you’re gonna like it here. If you didn’t, well then, you should have known better than to pick up this volume, right?

Brain-cluttering visual references aside, my only complaint with this volume is that is breezes past an as-yet untold period of the League’s history during which Mina commanded a “League of Marvels,” which appears to be a Justice League-like group of British superheroes from the 1950s. I would love to have seen more of this era than the tantalizing glimpses given by group photos and dusty trophies that Moore and O’Neill sprinkle through the comic. I guess I just have to hold out the hope that this story will be told another time, though given the crawling publication of the CENTURY series, I shouldn’t hold my breath.

So if you, like me, find yourself stymied by the sheer magnitude of unfamiliar pop culture shoehorned into the pages of the LOEG books, just try shutting off that analytical part of your brain for a while. Read the comic, don’t scrutinize it. I guarantee that you’ll get a lot more enjoyment out the plot without worrying about what really are unnecessary bells and whistles.

THEN hop on Wikipedia.

When released from his bottle, the Imp transforms into Stephen Andrade, an artist/illustrator/pirate monkey painter from New England. He's currently hard at work interpreting fellow @$$Hole Optimous Douche's brainwaves and transforming them into pretty pictures on AVERAGE JOE, an original graphic novel to be published by Com.x. You can see some of his artwork here.

DAREDEVIL #1

Writer: Mark Waid
Artist: Paolo Rivera
Publisher: Marvel Comics
Reviewer: Professor Challenger

"Eventually I had to leave the city, my legal practice, my friends. But now I'm home, determined to put it all behind me and start fresh...because it's either that, or succumb to insanity.

Again." -- Matt Murdock

Pardon the pun, but I went into this comic blindly and came out feeling like a kid again. My formative comic-reading years were the Frank Miller years on DAREDEVIL and as far as I was concerned, the story of Matt Murdock came to a pretty definitive close in 1987 with the "Born Again" storyline. I've never held any interest in any run on DD since then. So, that would make it, what? 24 years since I've picked up a DD comic? Just about. I did pick up THE MAN WITHOUT FEAR retelling of his origin by Miller and John Romita, Jr. (loved it) and I did eventually pick up the trade of the Kevin Smith and Joe Quesada story where Karen Page got killed (didn't love it, though the art was pretty good).

So, what happens when someone weaned on the gritty and dark world of the Miller version of DD comes back to try out this relaunch? He finds one of the most enjoyable pure super-hero comics he's read in a long time. Without the need to retcon out the last 20 or 30 years of increasingly horrible events in Matt's life and the utter lack of humor and fun in his exhaustingly depressing existence, Waid embraces it all with great humor and a positive outlook.

Basically, DD is at a point in his life where he either spirals into a suicidal depression or decides that it's not the world that needs to change, but his own outlook on life. Matt Murdock has rediscovered the joy of life and it spills over into an enthusiasm throughout the entire comic and a whimsical approach to his derring-do that has been missing for way too long.

This does not mean that there's no danger or that the comic has slipped into parody zone. What this means is that Matt remembers who he was before his world started falling apart around the time that Elektra reappeared in his life. Yes, he has lost everything, including his secret identity, over the years (over and over) but he has decided to step up his game and start moving forward in control of his life rather than letting circumstances control him.

What this means for the reader is that we feel the enjoyment that Matt is feeling. It is infectious. Rather than being frustrated by those around him trying to continually bring up his DD identity, he instead just relentlessly holds the position that he is not DD and just smiles. The logic here is that really, only a few people "actually" know Matt is DD for sure. The rest of the people have "heard" it or "read" it, but we shouldn't believe everything we read on the Internet and in papers *wink*wink*. To the public, DD doesn't appear to have any special powers, so how in the world could he be...blind? It's a great way for Waid, as writer, to deal with the loss of identity and eventually be able to remove it from the platter of plot complications.

I just really enjoyed everything about it. I loved the creative way that DD prevented the kidnapping at the start of the book. Waid took an otherwise lame villain and turned him into someone who should be almost impossible for DD to defeat. The cleverness and quick-thinking of DD used to be one of charms of the character. It was a thrill to see that in play here. The visual representation of his radar sense was fascinating to see (and read). I particularly loved the "voice-over" monologuing of Matt throughout the book. It helps the reader truly see the world through his "eyes." The visual choices made in this book demonstrated some serious thought and consideration on how to visualize this aspect of the character.

Paolo Rivera does an amazing job, as artist, with this comic. Amazing. Flawless artwork and storytelling from cover to finish. The cover, particularly, is an astounding work of art and sums up DD in a single, smiling, image. The backup story by Waid and artist Marcos Martin was a brilliant piece of work to catch up any new readers on exactly what this "radar sense" actually is and how Matt uses it in his daily life.

I loved the one-page origin recap by Fred Van Lente and Martin. That is the way to do it. Get in; get out. On with the story. Sweet cliffhanger moment too at the end. My highest recommendation for fans of super-hero comics.

Prof. Challenger was beloved by many, despised by a few, but always lived his life to the fullest. Never did he miss an opportunity to pet a puppy, kiss a pretty girl, or ignore a hobo. He is survived by a long-suffering spouse, 2 confused children, a ridiculously silly dog, and a pompous fat old cat. The things that brought him happiness in this life were his comics, his books, his movies, and string cheese. Had he passed from this plane of existence, he would expect the loss to the world to be severe. As it is, however, he has not passed and has no plans to pass for quite awhile. So visit his website at profchallenger.com and read his ramblings and rantings and offer to pay him for his drawrings. He will show his appreciation with a winning smile and breath that smells like the beauty of angels.

DEATH VALLEY GRAPHIC NOVEL

Writer: Keith Champagne
Illustrator: Shawn Moll, Tom Nguyen, Mariano
Publisher: BOOM! Studios
Reviewer: Mr. Pasty

So what is cooler than a graphic novel about cowboys and Indians? A graphic novel about cowboys and Indians fighting ninjas and samurais. Welcome to DEATH VALLEY. And of course, this being the world of comic books and gratuitous creative license, the major players here may be recognizable to most (if not all) of the fanboy universe. Representing the cowboys are none other than Frank James and Black Bart, two of the Wild West’s biggest outlaws. What? You say Billie the Kid was the baddest man to ever sling a six-shooter? Or that Doc Holliday could outgun the lot of them? No worries, they’re here as well. So too, is Sitting Bull, representing the Native Americans while Saigo Takamori is the main man from Japan. So why are Japanese gladiators mixing it up in the old west? Turns out the Onin War has found its way into U.S. territory as the samurai search for a missing artifact. And no story about international war would be complete without a slimy Frenchman in the middle trying to play both sides.

What are all these historical characters doing inside the pages of DEATH VALLEY? Killing! Lot of killing! Most of the action plays out like an episode of Spike TV’s DEADLIEST WARRIOR and in fact, writer Keith Champagne’s influence for this series stems from a UFC fight that led to him speculate about fantasy warfare and several “Who would win in a fight between…” scenarios. As expected, there is war galore, which probably didn’t seem like overkill when DEATH VALLEY was a series but in one sitting it feels like a bit much. That said, the action is done very well and Champagne redeems himself for the unflushed turd that was WWE HEROES. It’s a huge gamble to take on historical characters because readers bring their own interpretations into the work, meaning success or failure often depends on how well you mirror what your reader expects, or wants, to see. The good news is Champagne makes a tremendous effort to draw out his leading men without letting his subjectiveness bleed into the dialog. Each character lives up to their reputation but also has the opportunity to exist independent of them. I like that the art has an archaic, gritty feel, which helps keep the story bound to the era it represents.

Overall, I enjoyed DEATH VALLEY. I probably would have enjoyed it better as a series, but it’s surprisingly fluid as a graphic novel, even after the action becomes a bit repetitive. The story is simple but the writing is complex and the art is diverse and well-purposed. Thankfully the ending doesn’t cheat, which I can appreciate in any book, big or small. You don’t have to be a western buff to enjoy this one (but it certainly doesn’t hurt) and watching cowboys shoot and banshees scream and samurai slice is just good ol’ fashioned comic book fun.

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FLASHPOINT: BATMAN KNIGHT OF VENGEANCE #3

Writer: Brian Azzarello
Art: Eduardo Risso
Publisher: DC Comics
Reviewer: The Writing Rambler

With the month of August upon us, we find ourselves heading toward the finale of the entire FLASHPOINT story and the impending reboot/re-launch of the DCU. With the end so near, we are also getting the final chapters of some of the tie in books, which for many fans have been the best part of the whole FLASHPOINT event. This week we see the close of arguably the best tie in with BATMAN KNIGHT OF VENGEANCE #3.

After the setup of the first issue, which showed the reader the kind of Batman that Thomas Wayne was and the emotional sucker punch of the Joker reveal in the second issue, I was anxiously waiting to see how Brian Azzarello would close out this wonderfully told Batman story. To my delight, Azarello yet again creates a classic Batman tale and finishes up the story near perfectly. It stays dark and continues providing us a backstory of just how this world’s Batman and Joker came to be. It really is a thing of beauty to see a classic Joker/Batman fight seamlessly intertwined with a tragic backstory of a parent’s loss (told through flashbacks during the battle). As the book closes we see not only that we have been given a fully fleshed out Batman tale but also a motivation for Thomas’ actions in the overall FLASHPOINT story. It left me satisfied and really looking forward to what Batman will do in the final issue of FLASHPOINT.

As the battle and the overall story come to a close its quality is only exemplified by Eduardo Risso’s artwork yet again. All the pain and loss that both Batman and Joker have suffered in this world are able to be felt in each panel through Risso’s work. His style perfectly blends with Azzarello’s writing and together they present a Batman story for the ages. As good as Azzarello’s writing is I honestly think this book could have contained no words and still conveyed one of the best Batman stories in years. One other thing I would like to mention in regard to the artwork is a commendation for Dave Johnson and his work on the cover art. He has done a great job throughout these 3 issues of setting the tone of the book with great covers for each and especially on this third and final issue. The image he presents here of a husband and wife mourning the loss of their child is both haunting and beautiful and it is one of my favorite Batman covers in a long time.

My only real problem with this final issue has nothing to do with the book in any way. It is simply the fact that I don’t want to give it up and would love nothing more than to continue reading stories based in FLASHPOINT’s version of Gotham. Everyone involved in BATMAN KNIGHT OF VENGEANCE should be proud as they have crafted not only a fantastic Batman story but truly a unique universe on its own. I don’t know what the future holds for Batman and the DCU as a whole but I can only hope somehow, someway we get to revisit the world of BATMAN KNIGHT OF VENGEANCE again.

GRIM GHOST #3
Atlas Comics

Great cover and a cool comic. I've been thoroughly enjoying the unfolding story of the mysterious (and dangerous) Grim Ghost. Each issue so far has been focused on telling strong character story while adding elements to the larger ongoing story. Well-paced with strong story-telling from Kelley Jones. The art is inconsistent at times, especially when dealing with females for some reason. The art shines, however, whenever the focus is on the dark, moody, and shadowed ghostly apparitions and monsters in conflict within “The Fringe.” My favorite aspect of this and all the Atlas books thus far is that I feel like I get a full plate of action, character development, and plot with an exciting cliffhanger that always leaves me anticipating the next issue. - Professor Challenger

FLASH GORDON: INVASION OF THE RED SWORD #3
Ardden Entertainment

One of the bright points in an otherwise cynical downer of a summer in terms of comic books (rather than the rather impressive showing of comic-based movies this summer) continues to be the current FLASH GORDON mini-series from Ardden Entertainment. I recommend you pick up this issue (and the previous two if you missed them) and jump on in. The interplay between unlikely partners Flash and Ming creates a lot of tension and entertaining interchanges. Great cliffhangers and an artist who loosens up with each issue creating his own style and nice, clear storytelling. This is a good, fun comic and worth checking out. - Professor Challenger

PHOENIX #3
Atlas Comics

Another thrilling issue of PHOENIX. This time an all-out battle between our hero and his alien-manipulated evil doppelganger. A subtle, but amusing, wink-wink-nod-nod callback to the original PHOENIX series in the 1970s that I got a kick out of. I continue to be impressed by artist Dean Zachary on this series. The writing by Jim Kreuger and Brendan Deneen is solid sci-fi with a dash of soap and paced to hit the ground running, then take a breather for a little plot and character development, then kick back into the action and build to an exciting climactic cliffhanger – this time with an intriguing new character that could potentially be a force to reckon with on the side of the angels...or the demons. - Professor Challenger

Editing, compiling, imaging, coding, logos & cat-wrangling by Ambush Bug
Proofs, co-edits & common sense provided by Sleazy G
Remember, if you have a comic book you’d like one of the @$$holes to take a look at, click on your favorite reviewer’s link and drop us an email.

Going to be in Chicago this weekend? Chicago’s got two conventions of note worth checking out! FLASHBACK WEEKEND CHICAGO HORROR CONVENTION will be at CROWNE PLAZA CHICAGO O’HARE, 5440 N. River Road, ROSEMONT, IL 60018! Join Robert Englund, Malcolm MacDowell, Sid Haig, Lance Henricksen and more to see all of the sights, frights, stars, and nightmares there are to see at this Chicago’s premiere horror convention this Friday-Sunday! Be sure to click on the image to the left for ticket info, a full schedule of events, and more goodies!

And if it’s comic books and stars you’re looking for, WIZARD WORLD CHICAGO 2011 is going on just a few blocks away at the DONALD E. STEPHENS CONVENTION CENTER, ROSEMONT, IL 60018 this Thursday – Sunday! Bruce Campbell, Patrick Steward, Felicia Day, Vivica A. Fox, and many more stars are set to be there this weekend! Be sure to click on the image to the right for scheduling and ticket info! Ambush Bug and the Chicago @$$Holes will be bopping between these two conventions all weekend. No self respecting genre fan would miss these two events. See you there!

AICN COMICS REVIEWS: THE PUNISHER! THE BOYS: BUTCHER, BAKER, CANDLESTICKMAKER! SEVERED! FLASHPOINT: BATMAN! Advance review of LAST OF THE GREATS & MORE!!!