(Click title to go directly to the review)
Advance Review: DR. WHO: THE 12TH DOCTOR #1
PUNKS: THE COMIC #1
CHILLING ADVENTURES OF SABRINA #1
Indie Jones presents BLINGSIDE #1
AXIS #1
Advance Review: THE EVIL WITHIN #1
SONIC THE HEDGEHOG #265
Indie Jones presents CORROSOLLA ROBOT #1
BATGIRL #35
CHILLING ADVENTURES OF SABRINA #1
Advance Review: EARTH 2: WORLDS END #1
In stores today!DR. WHO: THE 12TH DOCTOR #1
Writer: Robbie MorrisonArtist: Dave Taylor
Publisher: Titan Magazines
Reviewer: Optimous Douche
I am a relatively recent convert to the Whoverse. My parents shunned PBS because we were the first people on the block with cable in 1978, so I did not get the chance to meet the last of the Time Lords until I signed up for Netflix and caught a nasty cold about two years ago.
Everything we love as comic fans can be found within Who: time travel, space travel, a continuity that is outright revered and a hero who is revered for his brains versus brawn. The only reason I see comics fans not jumping on the Who wagon are simply some less than stellar special effects and everything is 45 degrees off center since the entire galaxy across all of history is laden with very heavy accents.
Once completely caught up with real-time new episodes, I tried to TARDIS my brain so it could appreciate the 45 years or so of Who before Christopher Eccelston introduced the blue police box interiors to the concept of grunge. It didn’t work out; I had found my tolerance levels for how far back I could go. Also, to be frank, the reboot did a damn good job in its intent to educate and show reverence for what came prior.
I have been told by many purists that my love of the new series has been a fallacy of misleading sappiness and inappropriate levels of “will they, won’t they” sexual tension. Yes, I am a “When Harry Met Sally” kind of movie watcher, but I will never judge that which I can’t sit through. However, simply because I am ADD does not negate the value of the art form. Shakespeare is a great writer, even if I can’t stomach listening to his iambic pentameter.
I’m glad I didn’t completely shitcan the idea of a Dr. Who that is more head than heart (or other organs involved in amore), because with last season’s regeneration the young Matt Smith suddenly became the silver-haired Peter Capaldi. As a result we have been treated to a tonally different show, but one that I feel is the best season yet on the post-reboot scale. Not only are the stories more timey-wimey, and science-bullshitty, but Peter’s insistence of no May/December romances muddling the works has added an element of lost love for his latest companion Clara and a true reintroduction for all of us fans. Even though Smith was more kinetic than Tennant, they were both in the same zone for being considered just as dreamy as they are off-kilter.
It is this relationship that is the focus of Titan’s third entry into Who comics continuity. Before reading the book, I’ll admit that my mind weighed heavy with concerns. With the 10th and 11th Dr. books, new adventures are an easy affair. After all, when your lead character is a time traveller, it’s very possible to believe that he could have had other adventures with other companions when not with our favorites of Rose, Amy and Rory, or even fucking Donna (blech). This 12th entry must play to a different tune--one of ensuring that no adventure ever pollutes the show’s primary canon.
So how did team Titan do?
Reasonably well. Like the first two stories, the art is a mixed bag affair. Since this is the easiest part of my critique, best to satiate the pencil pushers’ thirst first. There is a phenomenon with all of these titles that permeates across the brand: too much time on photorealism in some parts and too little time spent on other panels. Taylor draws this new Doctor with startling clarity…in close-ups. In wide shots, the doctor and everyone are sans facial detail to the point of looking like they should be riding a conveyor belt for a Pink Floyd video. I don’t mean to fault Titan solely for this facial phased-out effect; it permeates many licensed properties across most publishing houses. My best guess (being more autistic than artistic) is that SO much time is spent on fanboy- (or gal)-worthy pinups in the money shots that there is much less time for the details that make a book transcend from fair to classic.
The story is pure Dr. In a 25th century sojourn The Doctor and Clara head for the ultimate ski experience on a planet that is all “Better Off Dead” K-12’s, but with no Ricky to spoil the fun. However, when the duo arrives they find that the Kardashians of the 25th century don’t simply customize their grills, but entire planets to meet their liking. The tundra is now a terraformed jungle--as long as it can hold together, that is.
Dialog is simply spot-on: The Doctor’s curt delivery of morality when faced yet again with human superiority, Clara’s befuddled face as this man she knows behaves so much like a man she has never met, and the bad guys are all really bad (this includes some arrogant robots, even). I laughed, chuckled and, for a very brief moment, felt I was watching a beautiful filler episode of popcorn fun.
And there will lie the final question to be judge, jury and possible executioner for this series: do fans want more stories of the Doctor, even if those moments aren’t catalysts propelling the Doctor’s overarching journey forward? Since I know that Clara’s time with the Doctor will be ending soon, if I had to pick one Dr. comic for budget it would be this one. Each title has its merits, but I feel this is the most important and engaging for the few non-fans who end up picking it up. For fans, while you miss more forward action with the Mr. Pink and Clara romance, I think you will find this book an oasis on Wednesday until you get to fully satiate with the show on Saturday. Now, please make Clara look like the beautiful Ms. Coleman so we can really enjoy the last two adventures of these old yet new friends.
When Optimous isn't reviewing comics he is making the IT words chortle and groan with marketing for MaaS360, enterprise mobility management www.maas360.com. He also has a comic coming out sometime soon, for updates head to robpatey.com.
PUNKS: THE COMIC #1
Writer: Joshua Hale FiaklovArtist: Kody Chamberlain
Publisher: Image Comics
Reviewer: Humphrey Lee
Been a while since I’ve done a review like this, so forgive all the dust as I brush off this homage/blatant rip-off for a review mechanic. Ahem This PUNKS THE COMIC review brought to you in the key of “Bill Brasky”:
PUNKS THE COMIC is so maniacal that ten years running meth addicts keep telling it to calm its shit and offer it rocks the size of a Kardashian’s fake ass to help bring it down a level.
PUNKS THE COMIC is so full of no fucks giving that it was chosen by the Lord to be the new vessel for his second coming here on Earth, until the Supreme Being realized it misinterpreted the phrase “giving no fucks” and that PUNKS THE COMIC has actually made sweet, sweet love to one-third the female population, including Betty White twice.
I thought I was pretty heterosexual with four years of marriage to back it up, but then PUNKS THE COMIC made me a delightful chicken kiev with garlic rosemary potatoes and walnut salad and it was transcendent and we at least almost kissed and our hands fleetingly touched like a couple of third graders and then it called me a whore and said it would text me maybe. Le sigh.
PUNKS THE COMIC is so mischievous it once kidnapped the girl that the Batman and Harvey Dent both loved and then gave Batman misleading information about kidnapping her and Harvey and then BLEW THEM BOTH THE SHIT UP anyway…okay, that was The Joker. But PUNKS THE COMIC totally tied your shoelaces together while reading this so you’ll fall on your face like a nerd. Nerd!
PUNKS THE COMIC is so charismatic that I once caught it taking a Cleveland steamer on my mother, and I offered to make it a big batch of chili in order to reload for a second round.
TO PUNKS THE COMIC!!!
Once upon a time, two gentlemen who went on to become the creative minds behind such titles as THE BUNKER, THE LIFE AFTER, and SWEETS came together to do what I have to assume was what they call a “Leary’s worth” of drugs and create a little thing called PUNKS THE COMIC. PUNKS THE COMIC is a true-life biography depicting the adventures of Abraham Lincoln and his cohorts simply known as Fist, Skull, and Dog. Things were punched, things were set on fire, Morrissey was referenced and shit was generally weird and fucked up and amazing. And now PUNKS THE COMIC is back on the shelves and it is so amazing I occasionally re-remember that it exists every two hours and proceed to shit myself in excitement. This also may be occurring because I’m now old (i.e. in my 30s) and my bowels have loosened up a bit.
And, honestly, that’s kind of what there is to say about PUNKS THE COMIC. It’s just a big old bag of surrealist humor and crazy. It’s got a manic energy that you could only hope to accumulate in real life by swinging around a bag full of cocaine-riddled kittens and slapping Charlie Sheen in the face with it. In this particular issue what happens is Dog says stupid things while preparing for a date, Skull punches him in the dick – as is wont to happen – Dog is saved by his Wunderpants but gets stuck in the attic fending off a gnome colony and murdering the lot while the rest of the gang makes odd comments toward Dog’s lady friend. Then there’s a second story involving mopiness and fireballs and then half a reprinting of the original ashcan story that brought this madness into the world. There is also a cut out card game that is like rock paper scissors, but with nut punches. It’s glorious, and I’ve read it all three times by now, but it is also going to be one of the most divisive comedy books out there as it is a humor type that is really only going to land home with a certain type of person.
Really, the only comparison I can hatch for this title is the legendary NEXTWAVE. Anything could happen, usually happens, and has a sadistic slant to its expertly crafted randomness. The Exacto knife-clipped and pasted art just adds perfectly to the tone and ambiance. Admittedly, this go around the second, smaller tale of “what the fuck” has a solid bit of its material fall a little flat, but that’s the nature of comedy books in general. It’s rare that they’re on all the time, and the first full half of the issue is goddamn gold anyway. It’s just one of those cases where it’s going to come down to personal preference. I think the aforementioned NEXTWAVE may have been the most brilliant comedy piece I’ve ever read in comics and feel if you have a similar opinion, shit, you probably already knew how awesome PUNKS was from the first ashcan and have been nodding your head with my mediocre rendered praise. If you hated NEXTWAVE and tried to burn a meat effigy of Warren Ellis for damaging your dainty brain, PUNKS may not be for you. If you don’t even know what a NEXTWAVE is, fuck your life. And if you enjoy random, madball, spitball, and fireball humor, well then give PUNKS THE COMIC a try and see if it’s your kind of manic laughter vehicle. Besides, it’s more or less your patriotic duty since this is more or less the most important accomplishment of Abe Lincoln’s storied history. ‘Murica.
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.
CHILLING ADVENTURES OF SABRINA #1
Writer: Roberto Aguirre-SacasaArtist: Robert Hack
Publisher: Archie Comics
Reviewer: Lyzard
I grew up with “Sabrina The Teenaged Witch”, and by that I mean Melissa Joan Hart and not the original Archie comic. This book, however, ain't no trip down memory lane. No, it's even better. This SABRINA is dark, disturbing, and downright devilish.
If you were a fan of AFTERLIFE WITH ARCHIE, then you’ve got a pretty good grasp on writer Roberto Aguirre-Sacasa's sensibilities. Other AICN reviewers praised AFTERLIFE for retaining the essence of Riverdale's residents even as they were turned into nasty little revenants. With SABRINA, we have much of the same. Hilda and Zelda are still doting but protective guardians. Salem is a faithful familiar, yet still retains the petulance that landed him in his feline form. Sabrina herself remains innocent, despite her powers being much more dangerous when out of control than in other versions. Take all of this and then add in a touch of “Rosemary's Baby”, “The Omen”, “Suspiria”, and other 1960s/70s horror classics to create CHILLING ADVENTURES.
While Aguirre-Sacasa's writing is twisted, what truly horrifies me is the artwork by Robert Hack. Just take a look at any of the covers, all done by him, and you'll see how Archie Comics has in no way limited him creatively. AFTERLIFE might have been a zombie tale, but the real grotesque drawings lie within these pages. Hack goes with a very sketchbook style, leaving details smeared away from time to time. But this only ups the creepiness factor. Were adorable little Sabrina's eyes just glowing red, you ask yourself? It all culminates into a final page that I am sure will haunt my dreams until the next issue.
Archie Comics has done a lot in recent years to remind readers of its relevancy. The addition of Kevin Keller was a successful attempt at adding diversity into Riverdale. Archie has met the President and Kiss. He's successfully parodied Twilight and next year will have a crossover with the Predator. All of these are examples of how the publisher has tried to tap into modern culture and relate to readers of this generation. What makes these new horror series so great is that they are not an attempt at being hip and cool, but just damn good comics set in a universe that, when done right, can provide the groundwork for great stories.
Lyzard is Lyz Reblin, a graduate student at the University of Texas pursuing a master's degree in Media Studies... which is just a fancy way of saying she plays a lot video games, watches far too many horror films, and then tries to pass it all off as "research."
BLINDSIDE #1
Story/Pencils: Marat MychaelsStory/Words: Jon Goff
Publisher: Contraband Comics
Reviewer: The Kid Marvel
This is the second NYCC book I’m reviewing this week and one of several I got from Contraband comics. It’s a phenomenal superhero genre story, with amazing art and a really good first issue script. I’m really impressed with what Goff and Mychaels put together for the story and the killer artwork.
BLINDSIDE begins with an almost clichéd hero title intro: the main character, Blindside, is currently on a mission and is self-narrating who he is, what he can do and the situation he’s currently in. However, almost a quarter of the way in the story, you’re hit with a nice twist that totally rearranges everything you think is happening. This leads into finding out who some background players are and what future issues will entail. BLINDSIDE has a great hook and fulfills what you want in a first issue--definitely something I’d like to get into for the rest of its run.
The character, codenamed Blindside, is essentially an enhanced human being without any real powers, necessarily. His brain has been upgraded and unlocked by something called the “Medusa Helmet”, giving him the full potential of the human body and brain. Think “Lucy”, just not all the insane god-like abilities in the movie, at least not shown in this particular book. The entire issue that Blindside is fighting, you get constant analytic figures shown throughout the story as he’s processing everything around him. There’s also this really awesome scene covering two pages, with something reminiscent of a single screen platformer, displaying Blindside navigating his way through enemies--a really good piece.
BLINDSIDE also has a lot of action, a pretty good amount of blood and is like a big budget action movie, but with more story. There are also a couple scenes that remind me of any Weapon X or Wolverine origins-type theme, with at least one picture of Blindside just needing some claws and mutton chops and you basically have Logan. This story has a consistent amount of bone-crushing action and lots of bullets being used, all in the right amount of use.
This leads into the artwork, which is very, very well done. It’s nothing different or unique from any other superhero book in style, but the style itself is excellent. The pictures are detailed, the art is solid and well-crafted, and the coloring is powerful and vivid. Everything about BLINDSIDE’s art is very in your face and overwhelming, in the sense it’s extremely detailed and had a lot of work put into it, giving a strong sense of realism.
Overall, BLINDSIDE was awesome and I recommend this to anyone who likes hero stories or comics heavy with action. The art is some of the best I’ve seen; even if it’s nothing original or different from any other big budget book, it’s still really fricken good. I’m impressed by what was put together and really liked the issue. Side note: as I finished the book and was getting to my last sentence of the review, I put BLINDSIDE face down and noticed a big Fall 2012 on the back. That means you can probably get the entirety of the BLINDSIDE run if you’re interested in the series. Still worth checking out no matter what.
AXIS #1
Writer: Rick RemenderArtists: Adam Kubert
Publisher: Marvel Comics
Reviewer: Masked Man
Remember back in the day when there was one big event crossover each year or so? It got hyped, everyone got curious and most of us got disappointed. Then with a new year, the cycle would repeat. Well, no more! Marvel has figured out how to keep the crossover money rolling. They now hype the next event as the current event is happening, so it can start the moment the current one has ended. Why, the hype machine has already started for SECRET WARS (which looks likes Marvel's very own CRISIS ON INFINITE EARTHS) as AXIS #1 hit the stands--but I digress. We're supposed to talk about AXIS #1!
This really seems like a case of a story meant for a regular run being upgraded to an event crossover (DC's BLACKEST NIGHT was supposed to be just a Green Lantern story, but then pow!). Same thing here, it seems--Remender has been building up to this ever since he started UNCANNY AVENGERS as the Red Skull first got Prof. X's telepathic powers back in issue #1. Now, pow! Major event. Now, you don't have to go back and read 'em all, but I highly recommend you pick up the last two issues with “March to Axis” printed on them (#24 and #25). Some really good stuff leading up to the death of the Red Skull, which gives much more meaning and context to this issue.
In this issue, a 'new' villain arises from the ashes of dead Red Skull and dead Prof. X: Red Onslaught. Older readers may recognize Onslaught from ONSLAUGHT, back when Marvel killed all their superheroes and farmed them out to Image Comics (yikes). Well, if DC can bring back the Anti-Monitor (and the Monitor too, right? I mean...) Marvel can bring back Onslaught, proving that the Marvel mutants are the most messed up and accidentally lethal characters in all comic books. I mean, seriously--oops Dark Phoenix, oops Onslaught. It's no wonder the world doesn't trust them. I'm digressing again, aren't I?
Now the interesting thing about this issue is, it reads like the climax of a story instead of the beginning. The villain is exposed, the heroes are pep talking themselves for the final battle and Tony Stark has found a way to negate the villains’ powers so the Avengers can take out the trash. All in all, pretty good stuff. Remender also actually uses recent Marvel history (as opposed to just saying he is) to fuel many of the motivations of the characters in this issue. Also, how he handles characters being affected by Red Onslaught’s psychic ability is really well done. The Thor/Captain America fight was deftly done. Now, the giant 'monster' standing around tiny heroes as they attempt to punch him--not so well done. Sadly, it's the bulk of the book and not too convincing. I could put the blame on Mr. Kubert, though. You see, Adam Kubert is a run of the mill comic book artist. He draws a solid book, and gets the job done well (like Mark Bagley or Ron Garney). Will it knock your socks off and make you wish for more (like Art Adams or Ivan Reis)? Nope. So the pages are no more interesting than the basic concept being illustrated: another pose of a giant yelling at tiny superheroes, with little impact or drama.
Getting nitpicky, how did Steve Rogers not think of MadBombs? If you have eye beams, why would you ever use your body to block a spear? And to bring up DC Comics one more time, seems like Iron Man read JLA: TOWER OF BABBLE. Overall, I don't think this first issue draws us in enough; it's just a fight scene. Mind you, reading the last two issues of UNCANNY AVENGERS #24 and #25, will help, which might be why I'm more accepting of the flaws of this first issue. Remender did a good job wrapping up the Kang story in UNCANNY AVENGERS and kicking off AXIS in UNCANNY AVENGERS, so hopefully AXIS will quickly become as good as those stories.
In stores this week!THE EVIL WITHIN #1
Writer: Ian EdgintonArt: Alex Sanchez
Publisher: Titan Comics
Reviewer: Ambush Bug
I’m not a gamer. I understand a lot of people are and respect that, but it’s just not for me. I prefer comics and most of the time, when you have a comic based on a game, it’s not really that good. Mainly because that interactive piece isn’t there (aside from turning the page, that is). Still if the content is good enough, no matter what the medium, it still has the possibility of being a compelling read if the content is good enough.
While there will be obvious comparisons made to SILENT HILL here, THE EVIL WITHIN has a lot of potential (again, my knowledge of SILENT HILL comes from the comics and movies, not the game itself). The story opens with a woman simultaneously running out of gas and a phone signal, right before she finds a diner. Once inside she sees the diner empty, as are the streets outside. That is, until she finds them teeming with zombies with spikes coming out of every orifice. Encountering a man running from the same zombies, she follows him to safety only to find one nightmarish twist after another.
What writer Ian Edginton does is establish a world where anything could be around the corner, as long as it’s dark and nightmarish. While not a lot is shared about the characters, enough is to make us realize what they tell each other is not completely the truth. Edginton has a flair for overlapping one seemingly normal, yet nightmarish scenario after another.
Alex Sanchez is good at overlapping the normal with the nightmarish as well. The aforementioned zombies with spikes through their eyes look awesome and painful. It’s all nicely surreal in the right moments, while keeping one foot in reality to make the reader wonder whether this is all real or some kind of twisted frightmare.
I can’t speak for fans of THE EVIL WITHIN game, but as far as whether or not this was an entertaining read in and of itself—it definitely was. While there are tons of similarities between the overlapping realities and warped visions of SILENT HILL and THE EVIL WITHIN, there is definitely room for two versions of this story out there. Sure the similarities are prevalent—there’s even a Boxman who could pass as a brother to SILENT HILL’s Axeman, but Edginton moves the story along nicely and the imagery is horrific enough. Those looking for a twisted jaunt through a horrifying world should be happy if you check out THE EVIL WITHIN.
Ambush Bug is Mark L. Miller, original @$$Hole/wordslinger/writer of wrongs/reviewer/interviewer/editor of AICN COMICS for over 13 years & AICN HORROR for 4. Follow Ambush Bug on the Twitters @Mark_L_Miller.Be sure to tell your comic shop to order his new comic PIROUETTE (out now!) from Black Mask Studios!
SONIC THE HEDGEHOG #265
Writer: Ian FlynnArtist: Tyson Hesse
Publisher: Archie Comics
Reviewer: KletusCassidy
Sonic the Hedgehog…can't say I know too much about Sonic...but I did have the video games just like all the folks around my age; I know Tails, Dr. Robotnik...wait, is that Megaman? I know that “Family Matters”’ Steve Urkel (Jaleel White) did the voice for the cartoon...that counts for something, right? I do have a few questions, though: are people angry at certain storylines like so many of the Marvel/DC followers? I mean, were people mad when Sonic's adamantium was ripped out of his hedgehog body? Was there outrage when the second Tails was voted to be killed off because of his insubordinate attitude? Did people revolt when Sonic made a deal with the devil to annul his marriage in order to save his hedgehog Aunt Smay, all because the editor didn't want a divorced Sonic, while REAL Sonic fans knew that would never...ever...I've said too much. Well, maybe I should get to the review--X_O might have to reprimand me in the talkbacks ; ) So here’s my review of SONIC THE HEDGEHOG #265.
This issue was actually pretty fun. In this comic we find out that because Sonic came in contact with Dark Gaia energy, he is turned into a very Hulk-like being known as the Werehog. So instead of Sonic's buddies helping him thwart the plan of the evil Dr. Eggman (I was close) and his Egg army, they spend most of their time trying to turn Sulk (patent pending) back to Sonic. There's a cool effect they do, which I wonder if it has been used in a Hulk comic before, where you see what Sonic's buddies are trying to say to him such as "Sonic, we love you and just want to help!" Then we see what Hulk Sonic is seeing and hearing, which are his friends looking like monsters through skewed art and saying things such as, "Sonic, you're a jerk and we hope you never run again or get another video game!" little things like that made this comic a good read and was a definite change of pace from the seriousness of most of the comics I read.
The art was pretty good being that in a book like SONIC THE HEDGEHOG you'd expect a lot of action, quick movements and varying perspectives much like the video game, and the artist handled all of those things very well. The action was well-placed and easy to follow and the panels never got confusing, even though there was a large cast and a giant rampaging Sonic the Werehog to deal with. Also the inking is done by the legendary X-men writer and artist Terry Austin, so if you are curious as to what he is doing, check this book out.
I think if you are into to Sonic beyond the video games that you'd probably like this book; the art was good and the story was pretty fun, too. I joked about Sonic having a large following but at the end of the book, I really got a glimpse into the Sonic fandom with some cool fan art as well as some heartfelt letters and the world of Sonic admirers seems to be pretty strong regardless of Ol’ Kletus' ignorance to it. So to all you Sonic fans out there, rejoice in his furry blue radiance and roll on, brothers and sisters!
CORRSOLLA ROBOT #1
Writer: Ceri StrombergArtist: Ceri Stromberg
Publisher: CorrsollaRobot.com
Reviewer: The Kid Marvel
This review will be one of many I’ll be writing after the New York Comic Con, among a crap-ton of other things I now have to write up. I discovered a lot of talent from indie comic artists and writers at NYCC, with Ceri Stromberg being both the writer of her book and the artist. CORRSOLLA ROBOT is loosely based off of Ceri Stromberg herself, with the book’s story reflecting her own life and influencing much of the title--how much so I’m not really sure. However, when you read this issue you can feel the author’s connection to her work and it has a very personal feel to it.
The story itself is about a quirky, slightly awkward girl who is trying to get her comic book published, much like the writer herself. The book has several meta-like moments throughout it, which for whatever reason instantly make me think Abed of from “Community” talking about the story within the story. I’ve been watching a lot of “Community” lately, which had nothing to do with the review--just where my mind took me when I read the book and the multiple meta moments. I just felt like that should be noted. Anyway, the main character, Ceri, keeps trying to pitch her comic to her boyfriend to get his opinion on it, but he’s kind of a douche and keeps blowing it off. The comic itself plays a huge role in the story and is eventually mixed up and lost, thanks to an angel, or what seems more like a valkyrie, who in this issue sees Ceri as some sort of hero.
Generally, if I had to choose this book out of a batch, I probably wouldn’t have picked it up because this just isn’t something I normally read. However, I specifically looked for indie books at NYCC to get out of my comfort zone and just find some good stories, and I can happily say this was one of them.
CORRSOLLA ROBOT has a nice SCOTT PILGRIM feel to it in both art and story, so if you liked SCOTT PILGRIM or anything like SCOTT PILGRIM, this is 100% a book you’ll want to check out. It’s quirky, fun and has its own unique feel to it that makes it very much its own. CORRSOLLA ROBOT is different and that differentness (wow that’s actually a word) is great and separates it from the pack.
As for the artwork, it is by far the best selling point of the book and Stromberg is a superbly talented artist. I was actually a little disappointed the issue I picked up was colorless, because the artwork she had colored at her booth was freaking phenomenal--the pictures were super vibrant and powerful. Lack of coloring aside, the art is still great. Like I said, it’s different. CORRSOLLA ROBOT mixes what I’d call a street graffiti style with something from an anime, with both conveying a lot of different emotions and expressions, bringing life to the pages. There aren’t enough positive things I can say about how much I liked the art.
To conclude, this is again generally not a title I would have sought out, but I’m glad I found it and hope Stromberg continues working on comics. This title shows potential for her future as a creative artist and writer. It was fun and entertaining, which I always say is really the goal of why anyone buys comics or anything entertainment based--it’s literally in the title. If you are a fan of indie comics or SCOTT PILGRIM, I think CORRSOLLA ROBOT is worth your time.
BATGIRL #35
Writers: Cameron Stewart & Brenden FletcherArtist: Babs Tarr
Publisher: DC Comics
Reviewer: Lyzard
When I first heard about the new Batgirl, specifically the costume designed by Babs Tarr, I knew I had to read this book. At the time, several months back, I hadn't picked up a single issue of the New 52. Now I follow half a dozen titles and BATGIRL #35 is the reason why. But does the comic live up to the hype? In short, yes.
From Gotham proper to Burnside, Babs has traded in her cape and crime-fighting for college. But classes have hardly started before trouble stirs. Not only does Dinah/Black Canary show up at Barbara’s doorstep, but a hacking scandal leads Batgirl deep into the underbelly of social media.
If potshots are going to be taken with this “new era”, it’ll be criticized for pandering to the millennial generation. While the comic does feature many facets of life for that age range, it is much more parody, though some slights work better than others.
Nothing is more millennial than dependence upon technology, and that is a major theme for the issue. Batgirl has a way around computers, but it is her other superpower that I must take fault with. Eidetic memory too often is used in film, TV, and literature as a form of deus ex machina. Here we get a decent combination of Bab's talent as both an OP power and its limitations. As this new run progresses, I hope to see either this balance maintained or (even better) other skills like her technical wizardry come more into play.
This book is less dark, especially compared to the last few issues written by Gail Simone. That does not mean the stakes are not high, the situations drastically less dire, but everything is dealt with a lighter hand by Cameron Stewart and Brenden Fletcher.
As for the new artist, of course the new costume must be discussed. My excitement over it is not so much based on its lack of objectification in its design, but more the outfit's practicality. Be prepared: this will probably be the new go-to cosplay outfit for women ages 13-30.
BATGIRL #35 is refreshing, a grand example of the more things change, the more they stay the same. The essence of Barbara Gordon comes through, with alterations that make sense, just like her new look.
CHILLING ADVENTURES OF SABRINA #1
Writer: Roberto Aguirre-SacasaArtist: Robert Hack
Publisher: Archie Comics
Reviewer: KletusCassidy
I can't say I've ever had an interest in Sabrina the Teenaged Witch beyond the slight crush I had on Melissa Joan Hart, which still only amounted to me watching maybe two or three episodes of the TV show. I used to order the comic for the public library, but it always looked like a book made for young children (nothing wrong with that) and that's where Sabrina and I stood, up until yesterday. "What happened yesterday, Kletus?!?" I'm glad you asked. I stumbled across a book called CHILLING ADVENTURES OF SABRINA and holy shit, I'm glad I did. The cover of this book is not only a lot darker than what you'd expect, but one of the variant covers is a slightly modified version of the Rosemary's Baby poster with two gnarly undead staring down at the ominous stroller. I was immediately hooked; thus my review of CHILLING ADVENTURES OF SABRINA #1.
Let's just start by saying this ain't your grandma's Sabrina, and two pages in, you can see that this book is not kid friendly and is fully prepared to treat this material as adult as possible. While this is sort of an origin story for Sabrina, I had no idea about how she came to be a teenaged witch and was (dare I say) riveted by these first few pages. The opening of this story was really strong and did a great job of setting the tone and giving our young witch an eerie origin that definitely separates this Sabrina from the candy-coated Sabrina I was used to. I will say that this book isn't all dark and gloomy and the lightness of some parts of the book never took away from the seriousness of the story. For instance, Sabrina is now in high school, wants a boy to like her (classic) but she plans to use magic to make him like her, so her familiar, Salem (a talking cat) says, "Don't you want him to like you for who you are?" Sabrina responds, "This is who I am...a teenaged witch." A lot of the book takes place when Sabrina is younger, and we get to see just how powerful she is (something I never picked up in the show) as her aunts are constantly being surprised at the things she can do at such as young age, like when her aunts are telepathically trying to talk to one another and Sabrina remarks that she can hear both of them. I really liked the story and tone of this issue, and it actually made me give a damn about Sabrina.
The art by David Hack is awesome as well; it kind of looks like Gene Colan's art but with less heavy inks and shadows. The art almost looks watercolor, but with the great pencils and colors that really give this book a unique feel and appearance. The art has a very early horror/EC comics feel to it which really helped add to the more serious, spooky tone of this book. There are some downright creepy images in this book, and I loved it.
Can you tell I dug this book? I had no idea about this series but I'm glad I got back in touch with Sabrina via the playwright Roberto Aguirre-Sacasa, who not only is writing AFTERLIFE WITH ARCHIE but if i remember correctly wrote SENSATIONAL SPIDER-MAN for a bit as well. I'll probably buy this book and pass it around to a few of my friends that love Hallows’ Eve and all things spooky and witchlike. If you like good horror stories with a little heart and lots of fun, pick this book up. If you need more convincing, there's twin talking sassy snakes, a talking cat that hates being the voice of reason, cults, covens, possible child sacrifices, and a step by step magic spell to make someone fall in love with you...I'm actually trying that one right now...I'll tell you guys if it works...all I'll say is, Melissa Joan Cassidy has quite a nice ring to it. If this book is any indication of what's to come with ARCHIE COMICS’ new horror line, count me in!
In stores today!EARTH 2: WORLDS END #1
Writers: Daniel Wilson, Marguerite Bennett and Mike JohnsonArtists: Eddy Barrows, Eber Ferreira, Tyler Kirkham, Joe Weems, Paulo Siqueira, Cam Smith and Jorge Jiminez
Publisher: DC Comics
Reviewer: Optimous Douche
Yes, I am an alternate reality fetishist. Yes, I tend to give glowing reviews to flashy Elseworld-like objects such as green lights meaning stop, and Superman landing in Russia instead of Kansas. My love of the EARTH 2 books, though, is far more than mere fangeezer frothing for cool parlor tricks, because DC has truly done an amazing job making this ancillary Earth as tangible, or as I believe even more so, than Earth Prime.
EARTH 2 in the New 52 was a mechanism to recreate the Justice Society, who as we all remember were retired to an ancillary world back when Johnson was being sworn into office. The heroes from the Golden Age were allowed to age too quickly and the reboot had yet to be invented. I railed on EARTH 2 for this in the beginning when it was unleashed in the New 52 second wave to replace the titles that would have made it the New 40ish. Like Booster Gold and other forced resuscitations, I begged DC to let the past be the past and come up with new characters for this new age. They surprised me, though: under the pen of James Robinson, heroes and a world were fleshed out that were far more interesting and grandiose than Earth Prime’s struggle for greatness. The holy trinity of Superman, Batman and Wonder Woman dying had an impact because there was a legacy that was revered on Earth 2, and they had families who ended up crossing dimensions and ending up lockstep inside Earth Prime continuity. EARTH 2 in this iteration was simply the warm fuzzy next steps for my heroes growing old and passing the baton before Darkseid put way more pressure on this vibrational reality string than others.
As Robinson continued to build the new JUSTICE SOCIETY mythology, other ports to the multiverse were opened in “Forever Evil” and now “Futures End.” EARTH 2: WORLD’S END is the newest sidestep book to help us all fill in another five year blank between today and a tomorrow where the denizens of two Earths coexist. I am sad to see EARTH 2 go because from political structure to perception, this was a world where I believed gods walked and reshaped the common man’s paths of life accordingly. However, with MULTIVERSITY now in full swing a collapsing of one focused universe title is an inevitability to keep the entire DC collective accessible. Like the recent child-friendly reimagining of BATGIRL, sometimes less is more in keeping stories contained to a small set of title pollination.
For fans of EARTH 2, questions abounded before the first issue of this next weekly delivered entry dropped. After all, the next round of recruits into the unofficial new Justice Society were already fighting a fake Superman (so we found out) and all of Apokolips in another Darkseid attack. Val-Zod, another survivor from Krypton with a wicked pacifist streak given his surname, Lois Tornado, Thomas Wayne the druggiest Batman in the multiverse, and of course original entries like Jay Garrick and Hawkgirl fought back the hordes, and here is where we will finally see how during recovery all shall be torn apart once again.
The first issue of WORLD’S END was a very well done primer in visual form of what I explained above for the first half of the book. I truly believe people who sidestepped the EARTH 2 main title will get caught up quickly. When a book is this distinct in tonal delivery and time parsing, a hodgepodge of creators can become a powerful force as opposed to a tsunami of tsuck, so don’t be put off by the movie credits above. In what should be a time of respite, recovery takes a back seat as the Hell Pits left behind from the first invasion that took the holy trinity fire back on all cylinders.
Issue 2 is less divided by time, but still amazingly unspoiled with so many cooks in the kitchen. This issue also dovetails in EARTH 2 transplants Power Girl and Huntress from WORLD’S FINEST to bring home another continuity conundrum. As the girls meet a robot mother (remember, on Earth 2 Superman and Lois were raising Kara as their own before death, deportation and shucking skin befell them) and a lost grandfather, I was reminded of what a satisfying conclusion all of this presents for my two years of story-reading loyalty. Even though EARTH 2 is back in the same shit they were five years ago by comic time and two years ago real time, I feel the story has moved leagues in character, content and form.
I will be sad to see the end of EARTH 2, but more saddened by one of my favorite new writers, Tom Taylor, losing the alternate universe sandboxes that have become his forte n books like INJUSTICE. He was given the baton by Robinson mid-race and is now being given wide stride giddy-up sticks to race EARTH 2 to the finish line…or so it seems.
This weekly will not be for everyone given its steep building blocks; this is especially true if New 52 is your entry into comic books. Old fangeezers who want to see the books we loved from a time before Clinton come to a close should consider EARTH 2 as a place of remembrance for our middle-aged heroes and a place to watch for the first embers of a new continuity phoenix for DC.
Proofs, co-edits & common sense provided by Sleazy G
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