BEST SHOTS: SPIDER-MAN FAMILY, SUPERMAN, ANNHILATION, THE GIFT & MORE

[MattBrady]

From the Cast and Crew of ShotgunReviews.com
Your Host: Troy Brownfield

A few days out from Chicago, and here’s the deal . . . we’ve got a lot of coverage centered around books that we picked up at WWC. These reviews will unspool over the next few weeks, along with some books that we’ve discovered through various MySpace locales (including this week’s review of the terrific Fragile Prophet .} I will also be doing a larger look at Lost Girls soon, but I’ll be delivering that to Mr. Brady in a separate piece.

In other “Best Shots” news, you’ll be meeting a couple of new team members next week. One you’ve already met, if you read my “Your Manga Minute” column. That would be Janelle Siegel. The other? Her husband, Lucas. When we adjust the dynamic, folks, we really adjust the dynamic. I like having a diverse array of voices in the overall column, and there may yet be another new one added before fall. It’s all part of our goal to give as wide as span of coverage as possible.

As for the elephant in the room, talkback in last week’s column turned rather combative. No one, least of all me, wants this column to be an argument feeding ground. In a column that intrinsically deals with opinions, there are going to be disagreements. Let’s make that civil on all sides. Writers shouldn’t get angry with posters, and posters should come looking to push buttons. Let’s keep it respectful on all sides, and enjoy “lively discussion” rather than anything beyond. Thanks.

Let’s be on with it . . .

Spider-Man Family Featuring Spider-Man’s Amazing Friends #1
Writers: Sean McKeever, Kurt Busiek, Peter David and Fred Hembeck
Artists: Various
From: Marvel
Review by J. Caleb Mozzocco

Want to feel really old all of a sudden? Check this out: Old Saturday morning cartoon series “Spider-Man and His Amazing Friends”, in which Spidey palled around with Iceman and Firestar, debuted 25 years ago. That’s right, it was a full quarter of a century ago that you were spending Saturdays with the Spider-Friends.

Now here’s something to make you feel young again: The first half of the latest Spider-Man Family special by writer Sean McKeever and about ten artists, which is devoted to reuniting the trio of heroes. For the first time in the Marvel Universe, as it turns out.

The lead story is set way back in the day (“prior to Web of Spider-Man #75,” according to the title page), and finds Spidey and Iceman toe to pixilated 2D toe against dated villain Videoman (imagine a giant Mooninite from Aqua Teen Hunger Force. Once new New Warrior Firestar shows up, the bickering commences, but Spidey gets the not-so-bright idea to set them up on a date (Perhaps having seen so many movies, he assumed bickering was simply a prelude to true love).

McKeever, whose best-known Spider-writing is on Spider-Man Loves Mary Jane, turns in a nice, tightly-constructed story. He plays Spidey with a light touch (“You’re exactly as bad as the bad guys,” Iceman says of Spidey’s fight quips), which is the way he plays best in my opinion, particularly in short stories like this.

Unfortunately it took four different pencilers and five different inkers to draw the damn thing. All of the pencilers—Patrick Olliffe, Casey Jones, Kano and Nick Dragotta—do nice work here and any of them could have carried the story solo, but there are just way too many cooks in the kitchen on this one. It’s really too bad Dragotta didn’t get to draw the whole thing, based on his portion of the story. He has the smooth lines and minimal design of old Saturday morning cel animation, and is one of the rather few artists working today (along with John Romita Jr., Mike Allred, Darwyn Cooke and Ty Templeton) who is able to capture the classic Marvel’s look of characters while still making the work look fresh rather than retro.

McKeever gets one artist to work on for his next Spider-Friends story, Mini-Marvels crator Chris Giarrusso. Iceman and Firestar join Spidey’s paper route, and we get a neat riff on their cartoon transformation sequences (and a Miss Lion cameo!).

The back half of the book consists of reprints, picking up where the last Spider-Man Family left off: Untold Tales of Spider-Man #2 by Kurt Busiek and Patrick Olliffe, Spider-Man 2099 #2 by Peter David and Rick Leonardi, and another tale of Petey Parker by Fred Hembeck from the pages of UToSM.

All in all, it’s like buying your Spider-Man comics in bulk—with that much Spidey for that little scratch, how can you not buy it?

Ultimate Spider-Man Annual #2
Writer: Brian Michael Bendis
Artists: Mark Brooks and Jaime Mendoza
From: Marvel
Review by J. Caleb Mozzocco

This summer’s Ultimate Spider-Man Annual, like last summer’s, proves to be exactly what an annual should be—a big heaping extra helping of everything you love about the regular monthly comic.

The formula for achieving good annuals isn’t really all that difficult: Have the writer of the monthly series write the script, and, if possible, have the artist of the monthly draw it, or, if not possible, get an artist whose style and sensibility is similar.

That’s exactly what Marvel has done with their Ultimate Spider-Man Annuals. Bendis writes, and Mark Brooks draws in a fairly Mark Bagley-esque style (At least one of the artists kicking in inks also works on the monthly). I guess those wondering what exactly Mark Bagley’s limits are need look no further than the USM Annuals. He can manage a more-than-monthly ongoing, but not a more-than-monthly ongoing plus a 38-page special each summer.

Now as well as this matches the monthly book, the second annual isn’t quite as wonderful the read as the first one was, but, let’s face it, that was a hard act to follow, what with Peter Parker finally finding a new and rather unexpected girlfriend in the X-Men’s Kitty Pryde.

This story doesn’t feel like the culmination of years worth of material that that one did, but it does capture the fun, anything goes spirit of the “Warriors” arc, one of Bendis’ most fun to date on the series. Once more the Kingpin’s territory is threatened by an incoming gangster with an animal theme (this time it’s Ultimate Kangaroo instead of Hammerhead), and once more Wilson Fisk sics Spidey on the new guy, and, once more vigilantes are falling all over each other to beat up the right bad guys.

Ultimate Daredevil, Ultimate Punisher and Ultimate Moon Knight all come at the Kangaroo from different directions at the same time, with Spidey caught in the middle. Punching, kicking, shooting, webbing and wisecracks ensue, a character doesn’t make it out of the book alive, and Daredevil announces a plan that makes it sound like some more inspired, “Warriors”-esque goodness could be in the future. I’m already looking forward to Ultimate Spider-Man Annual #3.

It’s been almost a week now, and Caleb still can’t believe Ultimate Kangaroo debuted before Ultimate Mysterio.

The Escapists #1 (OF 6)
Writer: Brian K. Vaughan
Artists: Jason S. Alexander & Steve Rolston
From: Dark Horse
Review by Corey Henson

First things first: If you have not yet read Michael Chabon’s Pulitzer Prize-winning classic, “The Amazing Adventures of Kavalier and Clay”, then proceed to the nearest book store and buy yourself a copy. Go ahead, the internet will still be here when you get back.

You’re back? You bought the book? Good. You‘re going to love it. (And don’t think I don’t see that copy of Tiger Beat you’re hiding behind your back. Don’t you have better things to spend your money on?)

The Escapists is a six-issue mini-series inspired by the aforementioned Kavalier and Clay, which told the story of two Jewish cousins (loosely based on Superman creators Jerry Siegel and Joe Shuster, among others) who created the Golden Age superhero The Escapist. The Escapists takes place long after the events of the novel, as the fictional hero has long faded from the public consciousness, destined to be revived by a trio of young creators who, like Josef Kavalier and Sammy Clay before them, use the character for deeper purposes than the simply creative. For artist Case Weaver and letterer Denny Jones, the Escapist provides an opportunity to create better lives for themselves in the comic book industry, while for writer Maxwell Roth, it’s a chance to reconnect with his dead father, who was obsessed with the Golden Age Escapist comics. Together, the three collaborators hatch a plot to relaunch the Escapist as a modern day superhero, staging grandiose stunts using Jones as a real life model of the adventurer. Their first such attempt, a seemingly innocuous plan to “liberate” workers locked into a retail chain store at night, nearly goes horribly awry when Jones, clad in a vintage Escapist costume, inadvertently stumbles onto a robbery in progress.

Brian K. Vaughan has been one of the comic industry’s best scribes for a few years now, and The Escapists shows exactly why. Like Chabon’s novel, Vaughan’s story is richly layered and masterful, working on levels that a majority of comics can never hope to aspire. It’s a metatextual commentary about the modern business of comic books, it’s an indy-style drama about the relationship between three diverse friends, it’s an affecting story of a son’s grief over the loss of his father. In the hands of a lesser writer, the story would be an overly ambitious mess, but Vaughan sublimely weaves the threads of the plot together like a master craftsman. The script hinges on the strength of the leads, a likable cast of characters that pull the reader into their world. Reading the first two issues, one can’t help but root for Jones as he squares off against the drug-addled criminals, and Roth as he mortgages his future for his dreams and quietly pines for Weaver.

The first issue of The Escapists, which was in fact a reprint of a story that originally appeared in Dark Horse’s The Amazing Adventures of the Escapist anthology, featured artwork by Philip Bond and Eduardo Barreto, who have since moved on to other projects. I’ll admit, I’m a little sad to see them go, as I’ve been an admirer of their work for years. Happily, Dark Horse has managed to find a couple of damn fine artists to take their places, Jason S. Alexander (best known for his Empty Zone series) and Steve Rolston (veteran of Oni projects like Pounded and his own underrated One Bad Day OGN). Alexander “ghosts” for Case, providing the artwork for the new Escapist comic that is central to the mini-series‘s plot (much like Barreto stood in for Kavalier in the first issue), as well as depicting the confrontation in the retail store, while Rolston handles the central plot depicting the protagonists’ attempts to launch the Escapist comic. You’d be hard-pressed to find two more mismatched artists: Alexander’s art is dark and atmospheric, emboldened with a realism that would be well-suited for a Vertigo title or Marvel’s gritty Daredevil, while Rolston’s work leans more towards classic cartooning. Mismatched though they may be, their respective art styles blend together perfectly thanks to Vaughan’s script, which makes perfect use of each man’s talents. As Rolston’s artwork morphs into Alexander’s during the scene in the retail store, what was a low-key character piece quickly sizzles with heightened tension and drama. Rolston’s linework in particular impresses, as he’s become a more accomplished artist over his career. There’s a level of detail here that isn’t present in his earlier work. I’ve been singing his praises for a while now, beginning with an interview I conducted with the artist for Newtype USA three years ago, and I’m thrilled to say the man continues to shine.

The creative ensemble is rounded out by colorists Matt Hollingsworth and Dave Stewart, cover artist James Jean, and letterer Tom “F’n” Orzechowski. To paraphrase a hoary chestnut: They’re the best they are at what they do, and what they do sure is pretty. (I’m sure Troy won’t mind me appropriating the “F’n” for describing Orz--it is, after all, Tom Orzechowski.)

The Escapists is definitely worthy of carrying on the legacy begun by Chabon with Kavalier and Clay. Now, after you’ve read this issue, and the rest of the Best Shots column, make sure you power down your computer and get started reading that book. It’s not like anything interesting is going to happen on the message board anyway.

Corey Henson knows for a fact that Frank Cho’s dead neighbor was a DC fan, and thus did not care about the new Mighty Avengers series.

Firestorm #28
From: DC
Writer: Stuart Moore
Art: Jamal Igle and Keith Champagne
Review by The Rev. OJ Flow

So writer Stuart Moore is off the hook with because he kept Martin Stein alive. In the last story arc, things didn't look good for Firestom's brainier half, but all is well now. The biggest thing that excited me right out of the gate was finally getting to see the Firestorm partnership of Jason Rusch and Professor Martin Stein in full bloom. About time! What promised to be an entertaining pairing months ago became the mother of all false starts when we got the two characters establishing themselves as a team in the thick of Infinite Crisis only to have it immediately stall due to a status quo change for the benefit of "One Year Later." Thank God the Firestorm: The Nuclear Man creative staff didn't dwell too long on this pairing staying separated. This is something I've been excited about for ages now and it's off to a great start.

It doesn't even take the the title of this series' new five-part saga, "In My Father's House," to gather pretty quickly that a big theme of this story is the father-child relationship. It has been a big thing for Jason Rusch pretty much since the book got launched over two years ago, and this first chapter is rife with instances that play up to this dynamic. Hard to believe then that in an action-packed opening chapter that's all about the set-up that the most intense moments come from a scene where Jason confronts his mother for the first time since this series launched. It's worth noting too that the supremely talented artist Jamal Igle (helped by the clean lines of Keith Champagne) does a great job rendering distinct characters, and he does very well showing that Jason actually gets his looks from his mom and not so much his dad. Some of the biggest names in the business couldn't accomplish what Igle does in five emotionally moving pages. That being said, there was one instance where the "father" theme was overused, a scene where Jason referred to Martin as "Dad" because he was distracting him. It felt forced, really. Otherwise I'm really keen on seeing who the threat is who is behind things for this arc.

As for the two who now make up the Firestorm matrix, Jason and Prof. Stein have great chemistry, and I'm not even saying that because of the cool way Martin now functions in Jason's head when they merge. It's pretty inspired to have Prof. Stein just as active as Jason, only in his own element, a lab where he can work on the scientific aspects of Firestorm's adventures. It's also a testament to Igle's artistic skill seeing as he has a lot more to do now instead of just the occasional floating head. Just as inspired, and downright gratifying, is seeing the two able to confide in one another. Martin detects that his young charge is troubled (over his mom encounter the night before), and he's not shy in offering counsel even if he may not have the all the answers.

Pity that some supposed Firestorm fans out there won't give the series a chance because Ronnie Raymond is out of the picture. Get over yourselves, please. There's a lot here to love, including a former partner, Mikhail Arkadin, who now functions as Pozhar entering the scene. Right now Firestorm: The Nuclear Man is the full meal deal. Sharp writing? Check. Energetic art? Check. Interesting, well-developed characters? All here, and then some. And if Part One of "In My Father's House" is any indication, it's only going to get better. Easily one of DC's best titles right now.

We hear that The Rev. OJ Flow merged with one of his professors a couple of times, but she insists that he got his A based on his course work.

Martian Manhunter #1
From: DC
Writer: AJ Lieberman
Art: Al Barrionuevo and Bit
Review by Kevin Huxford

As a die-hard J'Onn fan, I went through a lot of different feelings about this book before I even picked it up. Just having it announced was very interesting and exciting. AJ Lieberman being announced as the writer initially crashed my hopes. The costume redesign had me approaching the book with some additional trepidation. The BRAVE Brave New World sampler didn't really settle much else for me.

But I'm big on the idea that expectations play a large part in whether you enjoy something. I believe my extremely high expectations for Pirates of the Caribbean 2 and lack of an expectation for its continuance in a 3rd movie was, in large part, the cause of my dissatisfaction with the flick. Similarly, when I've gone into a movie with very lowered expectations (like the panned-at-the-time Mr. & Mrs. Smith), I've walked out a very entertained consumer.

I think that Liebermans's less than stellar reputation, the horrid costume design, and the dangerous decision to go all "everything you know is false" with the story...all of it combined to set my expectations so low that I was much more receptive to this story.

The major change that the story relies on here is a simple one: J'Onn is not alone in the universe as a Martian any longer. It is a pretty major change for the character and one that probably shouldn't be under taken lightly. Well...I guess I shouldn't call that the major change, because J'Onn's change in attitude towards mankind is no small thing either. It is reflected in how he deals with the public, how he presents himself outwardly, and the sort of actions he'll take against those who are in his way.

Lieberman does a pretty good job laying the groundwork for the mini-series here. It is hard to judge this issue in many ways, because...as most of what is in this issue is groundwork...it will really sink or swim based on what he does with it in future issues. On its own, it appears to be efficient, adequate storytelling...it can become more or less based on the execution of future issues. Even with that said, there are a few spots where the writer ignores logic where it doesn't fit what he wants to do in a scene. For instance, it is hard to believe that J'Onn wouldn't even flash his old look to the police officer to shut him up and keep him out of his way. Instead, the writer uses it to riff about how angered J'Onn is that the world is scared and distrustful of him. Then he ignores the officer's pistol-backed threats and flies off without addressing it in anyway? It is such a small but nagging failing by the writer; something that keeps my expectations for the next issue down...which can be good or prophetic...it remains to be seen.

The art on book ranges from good to serviceable. The change in J'Onn's appearance makes it hard to judge Barrionuevo on his work here. J'Onn is a character who constantly has little tweeks: the brow, the eyes, the cape help by gold discs/rope/or combo of both, etc. In the panels surrounding Dr. Rooney's employment status change, the art is great...in the panels surrounding the sleeper assassin, the art is just...effective (and I mean that as in it tells the story, even if it isn't too hot).

The issue sets up a bit of a mystery and an interesting threat for the Martian Manhunter to deal with. The suspense it built for future issues happens to outweigh the concerns I have about a few holes in this current installment. Honestly, that's quite a better place to be in than I originally expected. Ultimately, that's what most of us want in our entertainment: something that surpasses our expectations

Rating: 3 DeMatteis, 3 Ostranders, & 1 anti-Gerard Jones for a total of 7 Oreos.

We’d all like to know what merits a Giffen on the rating scale, Kevin.

The Gift: Choices Vol.1 trade
by Raven Gregory and Tyler Kirkham
From: Image
Review by Koben Kelly

Raven Gregory has come up with a wonderful mish-mash of genres in his series, The Gift. The only recurring character in the book is a mysterious, trench-coated figure known only as The Ancient One. He travels the world, appearing at various locations during the most opportune time to bestow a magical blessing, referred to as the Gift, to those who can best use it.

Recipients of this power are no strangers to dark and dangerous settings. Subject matter in these tales often revolves around disturbing circumstance and situations. Topics involve assassination, kidnapping, rape, serial killing, and the physical abuse of children. These are not stories for the easily offended nor the sensitive. It's no wonder that Gregory has been picked to pen the prequel comics of the motion picture, Se7en, detailing the seven deadly sins murders. He has quite the knack for getting into the minds of the disturbed and the psychotic.

The Ancient One comes to deal out justice to those who would (or have) unbalance(d) the natural karmic order of the innocent. But, here's the twist: the victims are the ones who do the balancing. The Ancient One presents the Gift to them, both pre and post-mortem, and allows the retribution to take place.

The Gift imbues its recipient with what I would call superpowers on a case by case basis. One victim becomes a water elemental, another a fire elemental. An infant receives a type of telekinesis from an enchanted rattle. A youngster gains mastery over the winds of time. In one case, going against the pattern of the others, a murderous individual gains an outwardly appearance that matches his internal repulsiveness. Spandex fans will appreciate the detailed art of Tyler Kirkham that illustrates these powers with loving care.

On the subject of Kirkham, you can easily tell he loves bringing the stories to life as much as Gregory. Small, dramatic touches like smoke from a cigarette, a corpse burned to a crisp, or even the momentary reality of a tentacle have a passionate level of real-world menace to them. One thing I greatly enjoyed was Tyler's constant evolution as an artist from issue to issue. By the last story in the trade, individualistic touches were emerging, including a manga influence when drawing children that seems to work rather well.

One thing I have noticed about Raven's work is his insistence on not ending every tale on a positive note. Sure, justice is found, retribution is met, but rarely is there a happy ending. This is something that goes beyond his comics work. Short stories of his I have read seem to end on a downer. Matter of fact, I believe he prefers the EC-style all-is-not-well to a typical note of relief. But, truth be told, it always works for him. You write what you know, and the man knows pain and sorrow like the back of his hand.

Not knowing what to expect from this trade, I was pleasantly surprised to find that each issue was a one-off story. We don't get self-contained issues much in these days, but writers like Warren Ellis, Paul Dini, and Eric Powell are bringing the single issue story back into the light. I applaud this, as it makes for an easy way to see if you like a book, a writer, an artist, or even a genre. It also makes it easier to accept the necessity of rotating artists.

I greatly enjoyed this trade, and will cover more of The Gift in the future. I give The Gift: Choices se7en and a half BKVs out of ten.

Hector Plasm: De Mortuis
by Benito Cereno and Nate Bellegarde
From: Image
Review by Koben Kelly

What can I say? Rarely am I floored by the quality of a book so new to me. This is some primo stuff. Cereno and Bellegarde have come up with a fresh and wonderfully imaginative take on the idea of the spirit-viewing medium. Hector Plasm is a man marked by birth with a connection to demons and the denial of the afterlife. Sporting a caul when he was brought from the womb into this world, Plasm is what is known as a benandante or well-walker. Not only can he visually perceive spirits pure or tainted, he is also a master of the four humors. Along with his companions, Saint and Sinner, he travels the globe setting things right, one haunting at a time.

Speaking of his companions, their appearances entertain me greatly. Saint looks to be a bullet-ridden western hero, dressed in white, with a guitar strapped to his back. Sinner presents himself as a beatnik with two crimson horns sprouting from his forehead. Both tend to offer companionship, a few choice observations, and not much else.

Contained in this initial outing are eight individual tales, each one independently contained and satisfying in its own right. Of note, some of the stories are seeing the light of day for the first time, others have appeared previously in comic book anthologies or as backups, redrawn or rewritten for this compilation.

The first tale is something of a bait and switch, with the actual spiritual menace revealing itself when true justice is served. The second story is a clever inversion of a Hollywood cliche with a touch of knowing comedy. One of the most original origin stories in years presents itself third, being the largest chunk of the book. Fourth in order is a fun, light-hearted take on western spirits. For the fifth installment, artist Bellegarde gets his turn to pen the story, a mummified romp. Cereno takes shots at political correctness with his tribute to soldiers of the south in the sixth tale. Seventh in line is a creepy number that contains subtextual allusions to the horrible pressure to belong during one's college days. Lastly, we are presented with a splash page of Plasm and company, featuring brief commentary that sums up the book in a nutshell.

The artwork of Bellegarde is not overly detailed, but fascinating, none the less. He has an uncanny knack for capturing the essence of a moment. While cartoony at times, slight touches like facial expressions, a child's missing tooth, and even Plasm's wardrobe alterations add levels of enhancement to the overall presentation. I can easily state that Nate has shot to the top of my favorite current comic artists list. Reading this book, I was filled with jealously over his seemingly effortless skill.

Cereno claims that he has plenty more tales about Plasm waiting to be told. I want more books like this, packed to capacity with ideas, on a regular basis. I want more Hector Plasm... I want it now. I can't recommend this book more highly.

I give Hector Plasm: De Mortuis nine out of ten Vings.

All right, I’ll finally explain it: Koben’s been playing off my joking suggestion that we assign “Bald Guys” as our unit-scale for reviews several weeks ago due to the follicularly challenged nature of many of our team. Kojak, Billy Zane, Ving Rhames . . . one more Best Shots mystery revealed.

Annihilation #1 (of 6)
Writer: Keith Giffen
Artist: Andrea Divito
Review by Jeff Marsick

I had reservations about picking up this issue. Sure, that Gabrielle Dell’Otto cover is certainly purty, but with all of the minis (Nova, Super-Skrull, Ronan, Silver Surfer) having already bowed without me partaking, it’s like getting late to a party and all that’s left to drink is the backwash.

Mr. Giffen does a decent job of quickly getting across to the reader the big picture: Annihilus, tired of being a good neighbor, decides to expand his universe by conquering ours, sending wave after wave of termite-looking troops to decimate everything in their path (I long for the day when someone creates a truly terrifying alien race, something that doesn’t resemble some genus of insect). Nova, Ronan, Drax the Destroyer (I miss the old look), and the former heralds of Galactus all band together to repel the invasion on the edge of the Kree system. Annihilus doesn’t seem cut from the conqueror mold, coming across as a petulant, whiny, and not very bright for an operation of this magnitude (he reminds me of Starscream from the Transformers). His dictum to merely apprehend and not terminate the heralds of Galactus definitely falls in the category of stupidity, not strategy. Ditto counting Thanos on his list of allies.

It’s a mildly interesting read, and Mr. Giffen keeps the humorous banter between characters sedate so that the story stays front and center (although I think he can be much more creative with his dialogue, there are a few times when it feels like banter simply for the sake of it). The artwork is not anything wholly remarkable, but the money shot that takes place on page 29 is suitable for framing. Truly, it’s not until this moment and the three pages that follow that the story gets really interesting.

If you’ve been keeping up to date with the Annihilation mini-series, then you won’t want to miss this one. If not, you won’t be terribly lost at the plot, it’s a rather simple one to figure out. But, I would direct you to catch up first, to read the minis and digest the details that lead up to here. All in all, I give it a B-.

It’s absolutely frightening how sunny Jeff is this week.

Fragile Prophet
by Jeff Davidson and Stephen R. Buell
From: Lost in the Dark Press (http://www.lostinthedark.com)
Review by Troy Brownfield

It takes ambition, or at the very least, guts, for a young team to put together an original Graphic Novel that’s 101 pages in length. It’s a challenge to promote the book, to get it into stores, and to get readers to take notice. Fortunately for Davidson and Buell, they bring significant talent to bear on this sharp, engaging story that manages to be suspenseful and touching in equal measure.

Davidson lays out his inspiration for the tale in the introduction, and it’s pretty fascinating. In terms of the book itself, Fragle Prophet relates the story of brothers Esau and Jake. Young Jake is both gifted and cursed; he’s got the ability to see fragmented visions of the future, but suffers from Fragile X syndrome (related to mental retardation and/or autism). Jake’s prophecies usually come in off-the-wall, Rain-Man-style utterances, and require some deciphering to present a complete picture. The brothers have been working a carny circuit, and Esau is slowly moving Jake into a larger media world. Accusations of exploitation and jealously from another psychic abound.

What makes this all work, beyond even the fresh plot, is that the entire work is permeated by Esau’s obvious love for his younger brother. His attempt to make money on the gift is actually his way of providing their security, and he’s concerned enough about Jake’s well-being to employ bodyguards (one of whom, a loveable hulk of a man, used to be a masked wrestler). As one of Jake’s prophecies implies a horrible fate, Esau tries his best to do right by his sibling.

Buell’s art is perfect for the story, its spare cartoon-realism excelling in both quiet and furiously active moments. He does great things with Jake, using a perpetually closed eye and odd inclinations of the head to suggestion his condition rather than put a beacon on it. Davidson reaches beyond typical structures, running a bear-vs.-snake dynamic that appears in both obvious and subtle varieties.

Overall, this has the feel of an extremely accomplished work. It has a vital emotional core, and really goes out of the way to be something decidedly different in the crowded marketplace. Expect to hear more about this book, and this press, in the future.

The Hunger (Vol. I)
From: Markosia
Writer: Jose L. Torres
Art: Chris Dibari
Review by Troy Brownfield

You know I love zombie stuff. Therefore, it should also follow that I watch and read a lot of it. Building on that, you and I both know that it’s hard to find anybody doing anything new with it. Fortunately, we’re in somewhat of a zombie renaissance (a delightfully ironic phrase, that), since so many people seem to keep coming up with new ways to do zombies.

Case in point, The Hunger, which is also actually a good case of a book surviving its own death. Originally published at Speakeasy, only the first five issues made it out. This trade compiles those issues, plus the previously unpublished six thru eight, to complete the first story arc. (If you bought the first five and don’t want to “re-buy” them, check out www.markosia.com to learn about Torres’s rather generous way of handling this.) Now that we can see the whole arc in total, it’s a fine horror-based book that has aspirations beyond the usual.

I don’t want to explain the plot overmuch, as it’s the twists within that make the book a fun read. The zombies herein hail from the voodoo tradition rather than Romero, a move that is somewhat refreshing and simultaneously appropriate for the New Orleans setting. There’s monster-hunters, vampires, crime lords, put-upon cops, copious amounts of sex and violence, and hey, The Devil. Horror buffs will find a lot to enjoy here, and Torres and Dibari pull no punches. It’s not much of a spoiler to say that background characters don’t have much of a shelf life.

Dibari’s art powers Torres’s clever story. It’s kinetic and expressive, and not afraid to go grindhouse. Torres, for his part, does a great job with showing us the personality of a regular guy swept into terrible circumstance who must deal with crippling loss and an even more crippling hunger.

I can’t recommend this to the weak-stomached, and if you aren’t into horror at all, this really isn’t for you. But those who dig fresh approaches to horror subject matter and creators who aren’t afraid to shred the envelope, The Hunger is for you.

Pellet Reviews!

She-Hulk #10 (Marvel; by Caleb): As Greg Horn’s fun, vintage movie poster cover shows, Man-Wolf is back, and he makes his appearance at the worst possible time—just as Pug is trying to explain his theory on Man-Fox. Er, Starfox. The Civil War, which played such a fun, even integral part in the last few issues, seems to be more of a distraction here, as the newlyweds spend their honeymoon hunting down and registering heroes (Geez, Patsy Walker’s a pushover). That it seems like a bit of a tacked-on intrusion may be because Slott has been working a bigger story—like Pug’s feelings for Shulkie—for so long now. This is Rick Burchett’s first issue as the new penciller, and based on his previous DC work, he should prove a perfect match for the tone and subject matter.

Superman # 655 (DC; by Koben): To be honest, I've never been that much of a Supes fan. Maybe, it's the nigh-omnipotent thing. Maybe, it's the too pure to be true thing. I'm not sure. What I am sure of is that Busiek, Pacheco, and Merino equal comics gold. Without much background knowledge, I am totally wrapped up in the two issues I've read. In this issue, not only does Kal have a flirtatious encounter with 21st century business woman Lana Lang, but he also responds to the calls for help of Dr. Callie Llewellyn during an attack by the monstrous Subjekt 17. Pacheco and Merino make this book sing, moreso than even their recent fantasy work for Wildstorm. If you thought Lois Lane looked sweet last issue, Lana Lang is also done justice by their work. Yow! Admittedly, of minor importance, I love the way Carlos presents Kal-El's cape. It just looks so regal and heroic. DC is really taking the holy trinity to the level required by their three best-known characters. The creative team on this book is actually making a Superman fan out of me.

Fables # 52 (Vertigo; by Koben): We always knew they would eventually strike back. The Adversary's forces have not taken kindly to the destruction of Gepetto's wood supply. All of his relevant brass have been gathered to plan a mode of attack. It looks like the forecast for Fabletown will include wintery weather very soon. Meanwhile, Ms. Hood updates her image, much to the displeasure of Flycatcher. In a backup, Gene Ha takes over art chores for a cute look at the life of Rapunzel, and her daily routine. Definitely a book that will never let one down.

Secret Six # 3 (DC; by Koben): Gail, what do you think about making this a regular series? It’s another rousing adventure of the villains you love. Many perversities this issue keep the story alive and kicking. An attempt to spring Ragdoll from his hospital incarceration results in the loss of a first date for the multi-jointed man. Vandal Savage makes an overwhelming demand of his daughter, forcing her to make a choice of lesser evils. The team realizes that Knockout doesn't color her hair, and the Mad Hatter obsesses over fruit. All that and a bit of self-mutilation. While Gail Simone continues to prove herself as the leading female in the industry, Brad Walker's art continues to get stronger and stronger. I think it took him a little time to get a feel for the characters, but now it seems like he is a necessary component of the creative team's overall vibe. If Simone can't or doesn't want to do a Secret Six monthly, may I be the first to suggest a go at Suicide Squad?

Moon Knight #4 (Marvel; by Jeff): The first issue of this series leapt out of the box like it was fueled with nitrous. Every issue since then has lost energy and is firmly stuck in neutral. In this, part the fourth of “The Bottom” storyline, Mr. Huston continues to beat his dead horse, that being: Marc Spector is a nutcase. The writer channels his inner Grant Morrison, the issue splitting time between Marc Spector hallucinating (again) at the feet of Khonshu, and The Profile playing Monday morning psychiatrist on Spector’s past and why he’s become the man he is now. After three issues of Spector’s kookiness being hammered home from multiple points of view, I think it’s time to move on; we get the gist. The artwork has devolved slightly as well: Mr. Finch seems to be channeling his inner Rob Liefeld, his bad guys neck-less and with chests that are Jetta-sized. At one point I thought there was a crossover between companies, so close is his rendition of Bushman to Youngblood’s Chapel (although without a Jetta-sized gun thingee and chicken legs). I hope the art improves and next month the real Mr. Finch returns. Overall, one could have taken the last four pages when Taskmaster arrives (sans neck), cut them from issue four and pasted them to issue two, waited a few months, picked up issue five, and saved six bucks without missing a beat. Towards the end of this issue, Taskmaster says “I’m going to kill you,” to Spector. If this series continues to putter without direction, I can’t say I’ll be rooting against him. Grade: C.

[b]Advance Pellet: The Savage Brothers #1 (Boom!; by Troy): Just because there’s an apocalypse goin’ on, it’s doesn’t mean that two good ole boys can’t make a little scratch and pick up some brew. That’s the amusing concept behind the Savage Brothers, which covers lanky, conniving Dale and burly, taciturn Otis as the navigate a landscape filled with zombies and sudden squalls of raining frogs. Zombie Tales vets Andrew Crosby and Johanna Stokes script a blue-collar friendly good time, and Rafael Albuquerque does a fine job on art. Definitely for zombie fans, and possibly for humors fans. I did indeed enjoy Dale’s, “Virgin stripper, huh? Must be another sign of the Apocalypse.”

Dragonlance Chronicles: Dragons of Winter Night #1 (DDP; by Troy): Thus begins the adaptation of the second book in the original series. All parties due a bang-up job. The art (by Steve Kurth on pencils and Greg Narvasa with Carsten Bradley on superlative colors) is outstanding, and the whole package is a step-up from the first mini (which I enjoyed). Special credit should be given to Andrew Dabb for his work on the adaptation script; I’m doing one myself right now, and I know that it’s a bear a task when you’re handling someone else’s beloved work. Dabb’s work in that regard is extremely impressive; he retains the core of the characters and let’s the significant events unfold without making it feel like he’s striking a checklist. Highest possible recommendation to fans; for the uninitiated, read the novels first then check this out. Solid stuff.

How to Self-Publish Comics: Vol. 4 of 4: Hit the Pavement (DDP; by Troy): This is the final part of Josh Blaylock’s invaluable guide to self-publishing. Plenty of books can tell you about writing and drawing, but Blaylock’s four part course in the business of comics is a great education. This is due to be collected soon, and it’s a must entry for every would-be creator’s shelf. There is now no way for you to say, “I didn’t know THAT.” Whatever it is, Blaylock has already covered it.

Red (Streetfables [http://www.streetfables.com]; by Troy): Writer Elizabeth Genco turns out a terrific twist on Little Red Riding Hood with Red. Sure, all kinds of people are doing “fable” books these days, but Genco shoots for something different. Kevin Colden illustrates Genco’s morality play with some nice lines and a great grasp of facial expressions. The coloring trick used within is also well-played. This is a great short, punchy read, and definitely worth a look.

Weird Sister (Streetfables [http://www.streetfables.com]; by Troy): Genco also wrote this mini-anthology that features three stories with about Daleth (the titular character) and her dog Shock. There’s art by Adam Boorman, Dash Shaw, Jeff Zornow and a pin-up by Brian Wood. It’s a nice little intro to the character and a couple of key concepts; it could certainly work as an ongoing. Genco has keen story sense and manages to make several statements without saying too much. Nicely nuanced work.

Troy Brownfield writes for Newsarama, Fangoria Comics, and runs ShotgunReviews.com. He’s a professor of English, journalism and communication and a freelance writer. Anyone wishing to submit their titles for review can contact Troy at psikotyk@aol.com. If you’re interested in taking a class with Troy via the miracle of Distance Learning, check out the program here http://www.smwc.edu/cgi-bin/site.pl?futureDistance , and specifically mention him or his areas (Journalism, Professional Writing, Creative Writing, Film Studies) when you call. The other plugs: www.shotgunreviews.com and www.myspace.com/shotgunreviews

[unmovedmover]

Shouldn't the Escapists review be re-titled as a review of the first TWO issues?

I like to avoid reviews of books I haven't read but plan to

[c_andrew_s]

I am really looking forward to reading The Gift and Fragile Prophet

[Colossus2420]

Fragile Prophet is done by Davidson and Buell. That's gotta make motorcycle aficionados chuckle.

[melperfect]

Couldn't disagree more about Moon Knight, I love both the art and story, the Taskmaster pages were icing on the cake. I never ever thought I would anxiously anticipate issues of a Moon Knight series.

[Rich L]

The Escapists is great - I picked up #1 due to the low cover price but couldn't resist #2. Really, really good stuff.

And yep, if you haven't read Kavalier and Clay, go and do it now!

[kingofcities]

Originally Posted by Koben

Brad Walker's art continues to get stronger and stronger. I think it took him a little time to get a feel for the characters, but now it seems like he is a necessary component of the creative team's overall vibe.

I absolutely agree here. In just three issues Brad has really turned up the volume on the pages of this book. I'd say at this point I dig his work here as much as what Eaglesham brought to Villains United, which is saying a lot. Such a fun all around book. Gail has really tapped into her inner sick psycho for this one, most especially with Ragdoll (gelatin anyone?), and god bless her for it. Bring on the ongoing!

[Prometheus3]

I really have to disagree with what is written about Moon Knight in the review. I see plenty of direction in this series and the art by Finch is still phenomenal. I don't even think Issue #3 had contained much on Marc Spector's craziness so only Issue #2 and this one contain it. I loved Marlene's appearance and the Taskmaster bursting in.

[Sunless]

Totally disagree on Moon Knight! I love the book it has a great intensity about it.

[Shrader]

I thought Moon Knight and Annihilation were both great reads. The ending to Annihilation was off the chain!

[Caleb Gerard]

No bagging on the French or John Byrne???? What is this column coming to????

BTW, as a huge fan of all things Ostrander I was less then impressed with Martian Manhunter and I went in with NO expectations other then revisiting the big green Martian machine.
Thank goodness Grim Jack is not in the DCU.

CJG

[s*p rules]

Congrats to Huxford for becoming a reviewer for the best comics site on the net, but relax a little and try and have some fun with it. Your Martian Manhunter review read like an 8th grade book report.

Pacheco's art on Superman was beautiful; there were many panels that were suitable for framing. When Supes took his first punch from the bad guy with the wrapped hands and knuckle-spikes, I thought "holy ____, Doomsday is back!". Didn't turn out that way, but still a great issue. And I totally agree with the reviewer: it is a small detail, but Superman's cape was drawn fantastically, especailly in the panels when he is flying.

52 also had a good week, although the Steel subplot seems to be the weakest of all the ones running throughout the book. The Doc Magnus plot with the missing scientists is becoming very interesting...

Planet Hulk, like Moon Knight, needs to get its ass out of neutral and start driving again before it looses all the momentum it built when it started.

[SpyGuy]

MOON KNIGHT is currently one of my favorite titles and is definitely a solid read. I don't know why the series doesn't click for Jeff, but it works for me and other people it seems as well.

Oh, and I think the Rev. OJ Flow needs to get over himself. Ripping on Ronnie Raymond fans for not buying a title currently down to #111 on the Diamond sales chart is a cheap attempt to lay blame for an average title that isn't performing.

[Kevin T. Brown]

Originally Posted by SpyGuy

MOON KNIGHT is currently one of my favorite titles and is definitely a solid read. I don't know why the series doesn't click for Jeff, but it works for me and other people it seems as well.

Yes, this is one of my favorite Marvel titles.

Originally Posted by SpyGuy

Oh, and I think the Rev. OJ Flow needs to get over himself. Ripping on Ronnie Raymond fans for not buying a title currently down to #111 on the Diamond sales chart is a cheap attempt to lay blame for an average title that isn't performing.

And I wholeheartedly agee here.

[CitC]

I just picked up Kavalier and Clay on Satusday at a used bookstore (which conveniently houses my comic store, a magazine store, movie rentals and a fruit basket making business ). I have his next book (more of a youth/kids book I think), but haven't read it either. I'll have to get at it.

[Darthphere]

Wow, that guy isnt getting Moon Knight at all. Ive heard the complaint of it moving so slow, but im absolutely loving this title. No direction? Please.

Annihilation was great, and I think it wouldve been a lot better if someone who actually read the minis reviewed it.

[SyVyN11]

Here comes the KILLJOY called Syvyn11, here again to harsh the firestorm mellow.

Here is my attempt at constructive critism.

Can everyone agree that the merging of Jason and Firehawk was a big mistake, couldn't have Moore done this later in this run? Did it have to be the first arc out of 1YL?

And I am saying this with the understanding that this will be covered in 52, but Prof. Stein has not compared Jason with Ronnie, either good or bad. And the fact that when Stein reapperared during building a better firestorm and when Jason told him that Ronnie had died, Martin was like "that's the way the cookie crumbles, what's next?". I know that Moore and Didio have the same respect for Ronnie Raymond that Joe Q and Dan B. have for Speedball, but would it kill anyone to just reconigze that there was a Ronnie Raymond in the DCU at one time?

Just wondering what the next confusing twist in this series is? If I want bad twists, I watch 'big brother'.

For some non constructive critism, Hey Jamel Igle, the 1990's called, they want Martin Stein's shirt back!

[SDM]

Yeah, Moon Knight is easily one of the best titles Marvel or any publisher is putting out right now.

[kingofcities]

Originally Posted by SyVyN11

Can everyone agree that the merging of Jason and Firehawk was a big mistake, couldn't have Moore done this later in this run?

No.

And I am saying this with the understanding that this will be covered in 52, but Prof. Stein has not compared Jason with Ronnie, either good or bad. And the fact that when Stein reapperared during building a better firestorm and when Jason told him that Ronnie had died, Martin was like "that's the way the cookie crumbles, what's next?". I know that Moore and Didio have the same respect for Ronnie Raymond that Joe Q and Dan B. have for Speedball, but would it kill anyone to just reconigze that there was a Ronnie Raymond in the DCU at one time?

He was recognized. No one wants to see an issue of a disembodied Professor crying for 22 pages. It was plenty respectful as it was without being potentially redundant.

Just wondering what the next confusing twist in this series is? If I want bad twists, I watch 'big brother'.

Didn't seem confusing IMO. Not even a little bit.

[Dreighton]

Originally Posted by CitC

I just picked up Kavalier and Clay on Satusday at a used bookstore (which conveniently houses my comic store, a magazine store, movie rentals and a fruit basket making business ). I have his next book (more of a youth/kids book I think), but haven't read it either. I'll have to get at it.

If it's the Baseball book...(I forgot the title already) I read it last fall about a year ago. No very good at all, but maybe I'm not the target audience. I really loved Kavalier and Clay.

Drieghton

[SyVyN11]

Originally Posted by kingofcities

No.

can you explain why?

And I don't want a full issue of grief, but wouldn't it be natural for Martin Stein to compare Jason to Ronnie?

or is it that anything I say you just will be against?

And if you say 'no' please justify your answer, this isn't a argument of two year olds.

[CitC]

If it's the Baseball book...(I forgot the title already) I read it last fall about a year ago. No very good at all, but maybe I'm not the target audience.

I just looked it up. Its called Summerland. This is what the Amazon.com review said:

"In Summerland, his first novel for young readers, Pulitzer Prize-winning author Michael Chabon attempts an American Narnia. Inspired by Lewis and Tolkien, he's created his own magical landscape on which to paint a sweeping fantasy quest, but mixes the same ingredients--folklore and new inventions--in a distinctively American way."

Later it mentions having a lot to do with baseball. Some of the best books I've read are for young yeaders (The five hatchet books anyone? - Harry Potter, etc) so if you didn't like it, you didn't like it. I wouldn't say that not being the target audience has a lot to do with it. Just didn't work for you. I'll read it if I like K+Clay.

[Not From Around]

Originally Posted by CitC

Later it mentions having a lot to do with baseball. Some of the best books I've read are for young yeaders (The five hatchet books anyone? - Harry Potter, etc) so if you didn't like it, you didn't like it. I wouldn't say that not being the target audience has a lot to do with it. Just didn't work for you. I'll read it if I like K+Clay.

My favorite books are often young readers' books as well, although unfortunately many of them are no longer in print so that I can recommend them to the new generation.

A couple of months ago I took two kids on a mountain backpacking expedition that they said at one point reminded them of "Hatchet"--which should give you some idea of how difficult a time we had!

[kingofcities]

Originally Posted by SyVyN11

can you explain why?

And I don't want a full issue of grief, but wouldn't it be natural for Martin Stein to compare Jason to Ronnie?

You asked a question and worded it in such a way as if the answer was a forgone conclusion. My response of a simple "no" was my way of saying this is not the case. I don't think it was a bad idea at all. I thought it was a lot of fun actually. It brought back an element from the Firestorm mythos in a contemporary way. I also think that Stuart used the change to his advantage as way to show how important the Professor had become to Jason during that year. He could have shown him just talking about it but instead he used Jason's actions to illustrate this point. When the Professor finally is back for good, the bond feels real and not contrived..

As for the Professor comparing Jason to Ronnie...sure? Of course he could compare. I don't see why you would want that because I have a feeling it would only fuel the fire of the pro-Ronnie guys, but sure, he could do that.

or is it that anything I say you just will be against?

Nope, not the case. Say whatever you like. I have this sneaking suspicion though that you would have hated this issue/arc no matter what Stuart had written based on the pic in your SIG. Just a hunch.

FYI, I liked Ronnie too. I like well written comics as well. Hence my enjoyment of Firestorm.

[Nukeboy]

Originally Posted by SpyGuy

Ripping on Ronnie Raymond fans for not buying a title currently down to #111 on the Diamond sales chart is a cheap attempt to lay blame for an average title that isn't performing.

If you don't like Firestorm, that is ok. You are entitled to your opinion. Say you don't like it and feel free to point out why you don't like it. Don't bring up sales like it proves anything. I know plenty of titles that were excellent (based on critical acclaim), but didn't sell that well mainly because they were something outside the box. On the other hand, in the 90's, all it took was putting an X in front of something to make it a huge seller no matter how craptacular it was. (X-Force anyone?) Just because something sells doesn't make it good and just because something is struggling doesn't make it bad.