Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
What? You have questions about what to expect after the title of the article. Reviews. Lots of 'em. Here we go!!
Hi Gang. Andrew from GrayHaven here, hoping that your New Year is filled with nothing but great things, and back with more than a dozen new reviews.
Ancient Joe #3 of 3
Written and illustrated by C. Scott Morse
Published by Dark Horse Comics
Reviewed by Victor Destefano
Ancient Joe has been one of my favorite books to come out in the last few months and the third issue only solidified that.
This issue explained a lot for those who've been reading since number one all while remaining to keep us in the dark about a lot of what's going on and, unlike many stories that do the same, it's not done in an irritating manner that simply ignores the obvious so you pick up the next issue each month.
Morse has taken us into a macabre world filled with a creepy old man, a little girl who can enter hell and a guy who'll stop at nothing to rescue his wife from the worst fate imaginable and he's done it without using cheap gruesome imagery or cliched elements we've seen a thousand time. A pretty big feat in my book.
***SPOILER***
This issue explained just why the little girl was able to do and showed that, even as a ghost, she still remains a little girl who's a bit wise for her age, but a child nonetheless.
The ending was pretty sad, but also happy in a morbid kind of way. The little girl was returned to where she belongs and Joe's search, while seemingly in vein, actually led to something more than he had even thought of wishing for. Knowing that his wife might be up in heaven where she deserved to be.
As far as I saw though, there was plenty of information left out leading me to believe that this story will be revisited in the near future and therefore, things may not be as they seem. Joe's wife may be in another hell or somewhere else entirely making this book a good look into Ancient Joe's world. Preparing us for what's to come. Either way, I really dug what I saw and I love to see an original take on a love story, of sorts, that goes beyond the boring boundaries rarely crossed.
***END OF SPOILER****
The art, as all other Morse work I've seen, was great. Morse's more cartoon style is one of my favorites and in no way makes the book seem less serious because real life anatomy isn't recreated perfectly. It's a dark, exaggerated style that makes the book what it is and is a pleasure to look at over and over again after the story has already been read.
Overall: 9 out of 10
Avengers #49
Written by Kurt Busiek and illustrated by Kieron Dwyer and Rick Remender
Published by Marvel Comics
Reviewed by Aaron "Vroom Socko" Button
Oh, how I miss dialogue. Even a sound effect. That's the thing I dislike about this 'Nuff Said month, Kurt Busiek is ending his run on Avengers with what may be the biggest Avengers storyline ever, and he's forced to shoehorn in this nonsense gimmick. To be fair, the last three pages do work in silence (and if you think I'm gonna spill what those three pages contain, you got another thing coming.)
Marketing ploy aside, this is one eventful issue, with Kang raining down fire upon Washington D.C. This issue is everything that the Onslaught storyline tried (and failed) to be. The final three pages had me floored. The last page had me reeling. I have never seen anything like it in the Avengers ever. I have no concept of how anyone will ever top this last page. This story is kicking seven kinds of ass, and I'm loving every second of it.
Kieron Dwyer is no George Perez. This is, however, a good thing. the last thing this book needs is a Perez clone, and Dwyer has his own distinct look. It's a bit simpler, a bit lighter, but it's beginning to grow on me.
Under Busiek, The Avengers has reclaimed its status as the flagship title of the Marvel Universe. With this storyline, Busiek has reclaimed the multi-part, all-out epic story from mediocrity, as well as created the perfect bookend to Avengers Forever. This is the Avengers the team in their most trying times. This is The Avengers the book at it's greatest.
Overall: 9/10
(Image Introduces) The Believer
Written by Rob Schamberger and illustrated by Thom Thurman
Published by Image Comics
Reviewed by Andrew Goletz
Let's admit right off the bat that anyone from GrayHaven who reviews this particular book does so with at least a little bit of bias. You see, Rob Schamberger has been doing a column for us for the past 4 months and his partner in crime is about to do the same. But we would be remiss if we didn't do a review of The Believer, because the fact is, it's a great book. I also think Image needs to be commended for publishing a comic like 'Image Introduces' which gives new creators a one issue spotlight and a shot at an audience.
The story within the Believer is about Fred. We've all met a 'Fred' or two in our lives. The type of guy who looks at you with squinted eyes, muttering smart ass comments under his breath before slithering away to do God knows what. As the issue opens, Fred has just killed an associate of his, presumably because he thought the man was coming onto him. It's typical of people like Fred, to lash out against someone else because of his own insecurities. Fred talks tough, but he's far from it. Without his gun, he's nothing more than a small town punk who can't even get up enough courage to threaten someone in a tone more audible than a whisper.
After the murder, Fred is feeling pretty sure of himself. He's committed the perfect murder. No witnesses, save for a friend who isn't about to talk. No motive that anyone is away of. And no body. But then the messages begin. From notes written on magazine flyers to spontaneous shouts and taunts, it appears that someone does know and they're making Fred very aware of this. The only possible suspect is a stranger dressed in black, with a bright red bandana around his neck, who seems to be popping up just long enough for Fred to catch a glimpse of him before he disappears again. The sleepless nights begin. Schamberger's storytelling is precise. We know just enough about Fred to want the prick to get his in the end and holds back just enough in other areas to keep the reader hooked.
The book doesn't suffer in the art department, either. Thurman's pencils and Ron Riley's colors give the issue a Shawn Martinbrough Detective Comics feel. I enjoyed how the entire color tone shifted from scene to scene, conveying the mood of the story much more thoroughly. The world of Fred, and the people who are close to him, come to life in these pages. The artists don't skimp on the details and it's a treat to see artists taking care in their craft. I'd also like to point out the eye-catching cover. The all red background with the 2/3 character image in the center stood out from everything else on the stands this week. We need more covers that catch people's attention like this.
If there is a flaw in the book, it comes from the fact that being a self contained introductory story, there isn't much time to pace the story and add depth to the mystery of Mr. Red Bandana. There are moments scattered throughout the issue where one can see Fred turn from self-assured to scared s-less, but the tension suffers slightly due to the constraints of the comic form. I would have preferred to see Fred get toyed with a little more before the ultimate resolution, but I understand that it's just not possible. In this situation, one has to tell a complete story and leave room for more, which is exactly what the creative team does here. One thing is certain: Red Bandana is a character that definitely calls for a closer and repeated look.
The title's purpose is to showcase a new book and new creative talent. Schamberger and Thurman do what they have to here. They introduce the major players and give the reader an intriguing story that has a beginning, a middle and an end, as well as leaving the door open for future installments. With any luck, those installments will come before too long.
Overall: 9 out of 10
Bloodstone #3
Written by Dan Abnett & Andy Lanning and illustrated by Michael Lopez
Published by Marvel Comics
Reviewed by Elliot Kane
Marvel once had a character called Ulysses Bloodstone, who was the world's greatest monster hunter, and who would turn up as a guest star every once in a while before Marvel finally got bored with him and killed him off. Ulysses gained supernatural vitality and powers from a piece of the mystical Bloodstone, which had become permanently embedded in his chest.
What was unknown until now, is that Ulysses was married, and that he has a daughter...
Elsa Bloodstone never got a chance to meet her father, but she is the inheritor of the Bloodstone tradition. A tradition she knows nothing about, and only discovers when she dons the Bloodstone Choker, which also contains a piece of the mystical Bloodstone. With supernatural powers and the help of her father's followers - all of whom are at least a little weird - Elsa is destined to become the world's greatest monster hunter...If she survives the first few days of her new life.
Elsa herself is a blatant mix of Buffy The Vampire Slayer and Lara Croft. Physically, she is a blonde Lara, but she has a very Buffy-esque personality, complete with quips. Elsa is eighteen years old, and has spent most of her life travelling, although her last few years have been spent in England, allowing the writers to create a strong cultural and verbal difference between Elsa and Buffy.
Which is just as well, as the entire concept relies entirely on the character of Elsa Bloodstone. The other characters are interesting enough - her mother (who does NOT want Elsa involved with what her daddy did), Adam the janitor (a Frankenstein's monster), the nocturnal Mr Barnabus (who may or may not be a vampire) amd Tomas (Who wants to be Elsa's boyfriend) - but Elsa herself is absolutely the main focus.
Bloodstone is a four-issue mini-series, but is more a linked series of encounters than anything else. It is a way to introduce Elsa Bloodstone to the world at large, and gauge whether she would be popular enough to gain her own ongoing series.
I for one hope she is. She has a very outgoing and fun personality, and a sense of irreverence that makes her completely charming. She is clever without being obnoxious, and articulate without being unbelievable.
This issue features the Living Mummy, and a battle with an undead sorcerer, plus a lot of revelations concerning Barnabus and Adam. It also sets up the events of the next issue with the kidnapping of an important character.
Speaking as an Englishman myself, I think Abnett & Lanning need to do their research somewhat better, as they seem to have only a very basic knowledge of the cultural and kinguistic differences between England and America, but this is a fairly minor quibble on an otherwise excellent series.
The artwork is superb, although it does tend to concentrate somewhat more on Elsa's physique than is necessary to tell the story. Michael Lopez is clearly very talented, as even a cursory glance at his work will attest, but I cannot help thinking that his style may be off-putting to female readers.
Overall, Bloodstone is a very good series indeed. It is very tongue in cheek, and clearly not meant to be treated with amazing seriousness, but Elsa herself is one of the best heroines to come out of the House Of Ideas for a very long time.
Thoroughly recommended.
Overall: 8.5 out of 10
Daredevil: Yellow #6 (of 6)
Written by Jeph Loeb and illustrated by Tim Sale
Published by Marvel Comics
Reviewed by Aaron "Vroom Socko" Button
Jeph Loeb first caught my eye several years ago with his work on Cable. He proceeded to blow me away on his two Batman stories, The Long Halloween and Dark Victory. But he hasn't written the best Daredevil story ever.
I first encountered Tim Sale even earlier on Starblaze Graphics adaptation of Thieves' World. His work on the aforementioned Batman books is some of the best Batman art I've seen. But he hasn't drawn the best Daredevil story ever.
These two have produced the best Matt Murdock/Karen Page story ever.
This is no superhero story, just look at the villains; the Owl and the purple Man? C'mon! Also, even though the first two issues deal with the death of Jack Murdock and Daredevil's first public appearance, this isn't an origin story. This is about the life of Matt Murdock, and how that life was affected by both his father and Karen. This is a slice of life story.
One of the things that I jumped on about this book is how it doesn't even bother to fit in with continuity. The first two issues directly contradict Daredevil: The Man Without Fear, but that doesn't matter. Loeb isn't writing the same type of story as Frank Miller. It doesn't matter if the two books don't dovetail together; the character is being used for different purposes. I can't help but think of this as a good thing.
I'm probably in the minority, but I think this is one of the more important comics put out by Marvel in 2001. This is a character driven story, with Matt's sense of loss over Karen's death motivating the flow of the narrative. It ignores continuity in favor of the meaning behind the tale at hand. I hope Marvel releases more books like this, and I can't wait for the next Loeb & Sale project.
Overall: 10/10
X-Treme X-Men Annual 2001
Written by Chris Claremont and illustrated by Salvador Larrocca
Published by Marvel Comics
Reviewed by Dan Berg
Salvador Larrocca is one of the best artists in comics these days. Unfortunately, he's working on one of the most lackluster comics in the business with one of the most lackluster writers.
Chris Claremont has written his fare share of brilliant stories. He wrote the Dark Phoenix Saga and the Days Of Future Past storyline. Notice a trend? X-Men. However, ever since he returned on the X-Men books beginning with Uncanny #100, he has been almost incomprehensible. Now, he has his own X-Book: X-Treme X-Men. So far, he has set up a cheesy villain, introduced a scantily clad X-Girl (Sage), brought back Gambit after a short hiatus, and killed off Psylocke. Now, he's working with making Bishop a professional policeman and dealing with the craziness of Rogue's powers. All of this is dealt with in X-Treme X-Men's very first annual.
Annual 2001 is the best issue of X-Treme X-Men yet. This is mainly because of the fact that it is filled from end to end with splash pages from Salvador Larrocca. They are beautiful. Also, this issue has a very though out teaser for the return of Kitty Pryde who has been absent since the death of Colossus in the pages of Uncanny. Another reason that this is so good is because it is presented through the new MarvelScope format, which makes comics almost like wide-screen films. This is very effective towards telling the story. Unfortunately, Claremont's confused writing muddles down the enjoyment of the issue. He attempts to tell a story about Rogue fighting the Shadow King alongside Gambit. What he accomplished was bad dialogue strewn across beautiful splash pages. Larrocca will continue to get better but let's hope Claremont does the same.
Overall: 7 out of 10
Lone Wolf and Cub vol. 16: Gateway Into Winter.
Written by Kazuo Koike and illustrated by Goseki Kojima
Published by Dark Horse Comics
Reviewed by Aaron "Vroom Socko" Button
There is no doubt in my mind, Lone Wolf and Cub is one of the most influential comics of all time. Comic artists and cartoonists from Frank Miller to Genndy Tartakovsky have drawn inspiration from seminal work. Between Lone Wolf and AKIRA, I feel like I'm putting Dark Horse Publisher Mike Richardson's children through college, but it's well worth it to have such wondrous stories inhabiting my bookshelf.
The beauty of this work is all in the pacing. This is a tale that is willing to take it's time, that dwells on both beauty and horror in the world. Half a dozen pages can go by of Ogami Itto and Daigoro just walking through a field, and it never becomes boring. More comic artists and writers could learn a thing or two from the flow of this book. Too many comics feel rushed to get out the latest Big Event, Shocking Twist, or All-New Team that Lone Wolf is relaxing by comparison.
This is not to say that there isn't action herein. In fact, this is perhaps the bloodiest book I get each month. However, the violence in Lone Wolf isn't shown for it's own sake, nor is it over the top. Here, more than in any other book, violence has consequences. Actions have repercussions that last for volumes.
Story-wise, this volume has a bit more happening than most. Ogami discovers the secret of the letter he's been carrying, the Yagyu take their pursuit public, and the promise of a reward sets bounty hunters at the Lone Wolf's heels. Yet the standout for me is Umbrella, another Daigoro-goes-it-alone story. There is an innocence to this chapter coupled with hard, cruel reality. These sort of stories are what stand out in my mind when I think of this title.
Lone Wolf and Cub is, at its core, a story of the human soul. A story of both beauty and ugliness. A story of doing what needs to be done in order to be true to who you are. Comic books simply do not get much better than this.
Overall: 10/10
New X-Men #121
Written by Grant Morrison and illustrated by Frank Quitely
Published by Marvel Comics
Reviewed by Aaron "Vroom Socko" Button
Let me get this out of the way right now; I'm not a big fan of New X-Men. The first story arch just didn't draw me in the way it tried to. Just reading the Sue Grafton-esque title E is for Extinction had me ill at ease. As for the actual content, it was full of stuff that seemed cool at first, but just didn't hold up after five seconds thought (Cyclops is wearing ruby contact lenses? Cool! Wait, how does he manage to put them in?) While I didn't find the "New" X-Men to be the worst of the X-Books currently out, (My reaction wasn't that X-Treme,) I did find that Grant Morrison was fast becoming the Simon West of the comic world.
So why did I pick up this issue? I'm ashamed to say that the 'Nuff Said hype machine sucked me in. No matter what I think of the direction "New" X-Men has gone under Morrison, the fact remains that the man has a genuine gift for dialogue, and I was curious to see how he would manage without it. Much to my delight, Morrison managed to turn out the best issue of his run, perhaps the best X-Men issue I've read in the past five years.
Jean and Emma's mental invasion of Cassandra's brain in search of Professor X is, quite simply, amazing. For a while now, people have been trying to convince me that Frank Quitely is the best artist working today. While I'm not so sure of that, I finally understand where they're coming from. The images from inside Prof. X's mind are some of the most haunting I've seen in a mainstream comic. The battle between Emma and the mental guardians put in place by Cassandra, as well as the flashback to the first ever fight between Cassandra and Charles are the sort of nightmarish images that bring back memories of Morrison's work on Doom Patrol.
I do have to tell you, Morrison does cheat. The last page has dialogue. However, it's a doozey. The phrase "And things will never be the same..." is one oft tossed about in comics, but this is one time where things most definitely should not stay the same. Those two sentences are going to have people talking for quite a while.
Is there anything not to like? Well, the image of the imprisoned Charles doesn't work for me; he looks too much like the main character from MTV's The Head. Also, the image of Jean on page ten, panel three, coupled with the events of the previous issue, lead me to believe that Morrison is bringing back a storyline that needs to be left alone. Still, this is one of the few "Nuff Said issues that worked for me, and that alone makes it worth your time and money.
Rating: 8.5/10
The Sandman Presents: The Corinthian, Death In Venice #3
Written by Darko Macan and illustrated by Danijel Zezelj
Published by DC/Vertigo
Reviewed by Chaos McKenzie
What has most left its mark on me with this series is the setting. It¹s an exciting landscape that Macan and Zezelj have woven for us. It is rich in story, which is a principal element I feel for tails baring the title of Sandman. It has always been my fan boyish opinion that the greatest gift that Neil Gaiman¹s Sandman delivered to us is story for story¹s sake.
The Corinthian is a fine example of such a vice.
I was hypnotized with the first issue as it dipped my into a setting that I am extremely partial to. The first issue didn¹t drag on us with back-story, it just opened up somewhere near the middle. The second issue was a bit of a jolt, as my fan boy appetite suddenly lurched realizing that this story isn¹t of pivotal importance to a mythos. But then suddenly I discovered how much fun a story is without the weight of the world.
With the third issue layers settle in to place with each other, we are presented with something, and there are several different dips to change the flavor. It¹s a wonderful idea, that dreams need mankind to make a kill; that they are only the idea. I think it was a wonderful statement on intent and motives.
Alas, it did not change the rotation of the earth¹s sun, but it was a fun look at a piece of life less ordinary.
Cheers
Overall: 7 out of 10
Ruse #3
Written by Mark Waid and illustrated by Butch Guice
Published by Crossgen Comics
Reviewed by Elliot Kane
The basic premise of Ruse is very simple. Put Sherlock Holmes in a setting where magic works (even though very few people are aware of it), make Dr Watson female (and far more emotional) and make professor Moriarty into a sorceress.
This is the world of Arcadia, where Simon Archard (Holmes) and his assistant Emma Bishop dwell in the great city of Partington, solving mysteries with tiresome ease. Simon's greatest problem is his growing boredom. He finds stimulation only in intellectual challenge, and there is none to be had. No mysteries to be solved nor great villains to be overcome. This is about to change...
Meanwhile, Emma has problems of her own. She has been sent by some mysterious authority to awaken in Simon the depths of human feeling he seems to have long displaced - and she must do so without using her magical powers in any overt fashion.
The arrival of the baroness Miranda Cross of Kharibast creates vast problems for Simon, Emma, and the city of Partington. As a criminal mastermind, she provides Simon with rather more of a challenge than he had bargained for, and as a sorceress she is capable of not just nullifying Emma's abilities, but actively draining her power. Worse, while Emma suffers under restrictions in how and when she can use her power, Miranda has a free hand...
Simon is, theoretically, the least powerful of the three, but his mind is so sharp that he more than holds his own with the others. Like Holmes, he misses no detail and is both firm of purpose and tireless when 'the game's afoot'. He seems unemotional, but he nonetheless cares enough about Emma's welfare to indicate he has at least some affection for her, however repressed.
Emma deeply cares about the world and its people, and she is fiercely protective of Simon, however much he might annoy her at times. A fluent linguist, she is far more interested in hearts than minds.
To Miranda Cross, people are toys to be played with, then thrown away at her leisure. She is cool, seductive and charming - and utterly without scruples of any kind.
The dynamics between these three characters are amazing, and when the convoluted and ever more complicated plot gets thrown in, a real sense of intricate storytelling develops.
The story moves along at a fast pace, with action, strong characterisation and plot advancement in every issue. I have no idea how Mark Waid packs so much in, but he makes it look easy.
Butch Guice's artwork is nothing short of amazing. His period costumes are well researched and very intricate, his architecture and furnishings scream Victorian London, his characters are unique and distinct from each other. He is certainly one of the top artists working in comics today.
In this issue, Simon and Emma go grave robbing, Simon consults with his experts, and Miranda spreads her web more thoroughly over Partington, turning even more of the city rulers against Simon. And the cliffhanger ending will have you checking your calendar for the next month!
Overall, Ruse has all the intricacy and attention to detail of Conan Doyle himself - and no greater compliment can be paid!
Overall: 9.5 out of 10
Ultimate Marvel Team-Up # 11: Spder-Man & X-Men
Written by Brian Michael Bendis and illustrated by Chynna Clugston-Major
Published by Marvel Comics
Reviewed by Victor Destefano
Ultimate Team-up is always either hit or miss with me. This issue didn't grab me like some of the previous issues, but it still wasn't a bad little read.
Brian Bendis definitely played on the fact that both the X-Men and Spider-Man are just teenagers in the Ultimate line. Nearly the whole issue took place in the mall and featured these teenagers acting like...well, teenagers. Bendis definitely captured the teenage dialogue as best as anybody could in a non-Max Marvel book.
The story really didn't cover all that much ground besides demonstrating Parker's new role in the world of high school cliques (and the fact that he doesn't really belong even though he's somewhat accepted) and the curious attitude "normal" people have towards mutants. No fight scenes or amazing secrets learned in this issue. Just some dialogue between Parker and friends and the X-Men (who aren't in uniform and their only on a mission to have a fun day off).
The only problem I had with this issue was the portrayal of Wolverine as a way-too-nice teen who still has some attitude, but nothing like he had in Ultimate X-Men or the first team-up with ol' Ultimate Spidey.
The art was a bit of a shocker. I love Clugston-Major's art (and writing) on Blue Monday, but I think the coloring on this one really hurt her work. I really haven't been a big fan of the coloring jobs on any of the Ultimate line books and this is no exception.
I also didn't like seeing Wolverine as such a pretty-boy, but besides that, Chynna's manga influenced style definitely did a solid job. Excellent visual story telling that helped amplify some of the more humorous moments (in which there was a good few of).
Overall: 8 out of 10
Ultimate Marvel Team-Up#11
Written by Brian Michael Bendis and illustrated by Chynna Clugston-Major
Published by Marvel Comics
Reviewed by Dan Berg
Brian Michael Bendis is the man to go to for good dialogue in comics. In my humble opinion, his best work was his mostly autobiographical story, Fortune and Glory. Fortune and Glory was mostly narrative. Bendis wrote and illustrated it. It's great. One of comics' golden rules. His second best work, once again, it's just my opinion, is Ultimate Spider-Man #13 which consists only of Peter Parker having a conversation with Mary-Jane Watson and telling her that he is, in fact, Spider-Man. There is not a super-villain to be had. It is a one-scene comic filled from top to bottom with brilliant dialogue. Number three on the list would have to be Ultimate Marvel Team-Up #11.
This is a story that is similar in vain to Ultimate Spider-Man 13. It is about Peter taking a trip to Manhattan with Kong, Mary, Liz Allen, and Gwen Stacy on Senior Skip Day. On this trip, they meet the Ultimate X-Men taking a day off at the mall. Being that Wolverine and Peter met in issue one, Logan decides to have a little fun.
Each character is given a well fleshed out side plot and they all come together to bring the story to an end with the meeting of the X-Men and Peter's social circle of friends. I especially enjoyed the scene in which Beast argues about how this mall was better than the Westchester Mall and the scene in which Gwen asks Cyclops questions about mutants. However, I especially enjoyed the heart of the story. Wolverine smelling the stench of Spider-Man on young Peter Parker was amazing. Especially since in issue one, Peter told Logan that he was 27 and of course they addressed that. It's expected. Why, you ask? Because Brian Bendis is one of the greatest minds in comics today.
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