IDW Publishing from Diamond Distributors for December 26, 2018

IDW PUBLISHING

OCT180680    GO-BOTS #2 CVR A SCIOLI    $3.99
OCT180681    GO-BOTS #2 CVR B SHAW    $3.99
OCT180637    MARVEL ACTION AVENGERS #1 SOMMARIVA    $3.99

Image Comics from Diamond Distributors for December 26, 2018

IMAGE COMICS

JUL188524    DIE DIE DIE #6 (MR)    $3.99
OCT180221    MAN-EATERS #4    $3.99

Marvel Comics from Diamond Distributors for December 18, 2018

MARVEL COMICS

OCT180766    FANTASTIC FOUR #5    $7.99
OCT180844    SUPERIOR SPIDER-MAN #1 DJURDJEVIC FANTASTIC FOUR VILLAINS VA    $3.99
OCT180840    SUPERIOR SPIDER-MAN #1 SG    $3.99
OCT180889    UNCANNY X-MEN #7    $3.99
OCT180890    UNCANNY X-MEN #7 CHRISTOPHER ACTION FIGURE VAR    $3.99
OCT180795    X-FORCE #1    $4.99
OCT180798    X-FORCE #1 DJURDJEVIC FANTASTIC FOUR VILLAINS VAR    $4.99

Review: THE DREGS #1

THE DREGS No. 1
BLACK MASK STUDIOS – @blackmaskstudio

[This review was originally posted on Patreon.]

STORY: Zac Thompson and Lonnie Nadler
ART: Eric Zawadzki
COLORS: Dee Cunniffe
LETTERS: Eric Zawadzki
MISC. ART: Thanh Nguyen photograph
COVER: Eric Zawadzki
VARIANT COVER: Ryan Ferrier
32pp, Color, $3.99 U.S. (January 25, 2017)

Rated M/Mature

The Dregs was a four-issue miniseries published by Black Mask Studios.  It was the creation of writers Zac Thompson and Lonnie Nadler and artist Eric Zawadzki.  Zawadzki also lettered the comic book, and Dee Cunniffe colored it.  Described by the publisher as a “meta noir,” The Dregs revolves around a homeless man who tries to solve the mystery of a missing friend who is also homeless.

The Dregs #1 opens in modern day Vancouver, British Columbia, and the questions is “Where's Manny?”  That is what Arnold would like to know.  Like Manny, Arnold is homeless and is addicted to the street drug, “Listo.”  Obsessed with detective fiction, Arnold prowls a five-square block area like author Raymond Chandler's famous fictional detective, Philip Marlowe, searching for clues as to the whereabouts of Manny.  In and out of a drug-induced haze, Arnold may unwittingly and simultaneously discover and share Manny's fate.

I found out about The Dregs #1 via a preview in the second issue of Black Mask Studios' acclaimed comic book miniseries, Black (set in a world where only Black people have superpowers).  I was immediately drawn to The Dregs because of its cannibalism element.  I consider this comic book to have science fiction elements, and I have been morbidly fascinated by cannibalism in science fiction ever since I first saw the film Soylent Green (1973) decades ago.

There is a hopeless Don Quixote element to The Dregs, which is married to a detective fiction style that recalls David Cronenberg's film, Naked Lunch (an adaptation of William Burroughs novel).  I think the later issues of this series played with themes of celebrity and gentrification, as well as cannibalism.  However, this issue's keen ersatz take on the P.I. results in an intense, engaging story.

The Dregs #1 is a fascinating, post-modern, detective comic book that looks to the past, but takes its own path.  That is unlike so much of comic book crime fiction, which slavishly replicates the crime fiction of book publishing and film-making establishment.  This is an original work on the part of writers Zac Thompson and Lonnie Nadler.  This is stunning work on the part of artist Eric Zawadzki, via his striking page layout and graphic design.

9 out of 10

www.blackmaskstudios.com
https://www.facebook.com/blackmaskstudios
http://blackmaskstudios.tumblr.com/

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: RAGMAN #1

RAGMAN No. 1 (OF 6)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Ray Fawkes
ART: Inaki Miranda
COLORS: Eva de la Cruz
LETTERS: Josh Reed
COVER: Guillem March
32pp, Color, $2.99 U.S. (December 2017)

Rated “T” for “Teen”

Ragman created by Robert Kanigher and Joe Kubert

Chapter One: “Return Fire”

Ragman is a DC Comics superhero and vigilante of the mystical variety.  He first appeared in the comic book Ragman #1 (cover dated: August/September 1976) and was created by writer Robert Kanigher and artist Joe Kubert.  The first Ragman was a man named Rory Regan, and he was also Jewish.  The character returns in the new six-issue miniseries, Ragman.  It is written by Ray Fawkes; drawn by Inaki Miranda; colored by Eva de la Cruz; and lettered by Josh Reed.

Ragman #1 (“Return Fire”) opens six months earlier “somewhere in the Israeli desert.”  Rory “Twig” Harper is part of a five-man military unit that is raiding a “holy temple” built into a cliff side.  Hidden deep within this temple is a tomb containing a great treasure.  Just when these men are sure they have found the treasure, a rival unit attacks, and Sarge, Miller, Droopy, and Frank are killed.  Now, Rory is back in Gotham City and plagued by the death of his partners.  He battles his survivors guilt, not realizing that something from within the tomb has followed him home.

I think that Warner Bros. Pictures and its sister corporate types, including DC Comics, should stop using the term “visionary” to describe the hacks, freelancers and contractors they hire to produce entertainment.  Warner Bros. frequently refers to Zack Snyder as a “visionary,” when all he is is a film director in love with special effects, explosions, and Michael Bay.  Is Ray Fawkes and Inaki Miranda's “re-imagining” of Ragman really “visionary?”  Probably not.  So clearly the Warner Bros. c1an should avoid the word until they understand it or recognize someone whose work actually typifies the word.

Now, I am not saying that Ragman #1 is not an interesting comic book because I am curious about where this story is going.  I love Guillem March's gorgeous cover art for this first issue.  The opening sequence in the tomb is very exciting and a little scary.  I don't care for the group counseling session scenes.  I'm not a big fan of group counseling scenes in the stories I read (or movies and TV I watch).

There are some interesting nuggets in Fawkes' story.  Miranda is a solid artist, and his creature designs are good.  The coloring overwhelms Miranda's art, however.  But... I'll give the second issue a try.  I recommend this to people who are fans of the character, if such fans exist.

5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Review: RISE OF THE BLACK PANTHER #1

RISE OF THE BLACK PANTHER No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Evan Narcisse with Ta-Nehisi Coates (consultant)
ART: Paul Renaud
COLORS: Stephane Paitreau
LETTERS: VC's Joe Sabino
COVER: Brian Stelfreeze
VARIANT COVERS: Paul Renaud; Chris Sprouse and Karl Story with Laura Martin; Tyler Kirkham with Arif Prianto
28pp, Color, $3.99 U.S. (March 2018)

Black Panther created by Stan Lee and Jack Kirby

Rated “T”

“The King at the End of Everything”

Black Panther is a Marvel Comics superhero created by writer Stan Lee and artist Jack Kirby.  He first appeared in Fantastic Four #52 (cover dated: July 1966).  Black Panther is T'Challa, the king and protector of the (fictional) African nation of Wakanda.  Black Panther was also the first Black superhero is mainstream American comic books.

As we approach the release date of the highly-anticipated theatrical Black Panther film from Disney/Marvel Studios, we will see more Black Panther-related comic books from Marvel Comics.  One of them is the new miniseries,  Rise of the Black Panther.  It is written by Evan Narcisse with Ta-Nehisi Coates, the writer of the ongoing Black Panther comic book, acting as consultant.  Paul Renaud is the artist.  Stēphane Paitreau is the colorist, and Joe Sabino is the letterer.

Rise of the Black Panther #1 (“The King at the End of Everything”) is narrated first by Queen N'Yami, the wife of King T'Chaka and the mother of T'Challa, and then by Queen Ramonda, the second wife of T'Chaka and second mother to T'Challa.  The story opens with during World War II where a famous American hero strikes a bargain and friendship with Azzuri, the Panther King of Wakanda and the father of T'Chaka and grandfather of T'Challa.

Azzuri is determined to keep the existence and the whereabouts of his kingdom, Wakanda, a secret.  Because of its wealth, technology, and especially because of its greatest natural resource, outsiders and outside entities with continue to search for the legendary kingdom – including some of the most evil people on Earth.

One of the things that Rise of the Black Panther has going for it is that Brian Stelfreeze is the series cover artist.  Stelfreeze was the opening series artist on Ta-Nehisi Coates' Black Panther series and is responsible for most of that series' conceptual and graphic design.  Stelfreeze provides a striking painted cover for the Rise of the Black Panther #1, and, far as I can tell, also for the second issue.

Evan Narcisse gathers many of the elements from previous Black Panther comic books and brings them together to form a gripping, suspenseful, and thrilling tale of the history of the Black Panther.  It starts during WWII, the dawn of the American superhero, and also the point in time when Wakanda begins its inevitable track to joining the world.  Narcisse gives the story the feel of a “lost world” story that is part Arthur Conan Doyle and part Golden Age comic book.  If the rest of this series is like the first issue, it will be a thoroughly readable and enjoyable.

The series artist is rising star Paul Renaud, whose art was excellent in the shockingly good Generations: Sam Wilson Captain America & Steve Rogers Captain America #1.  Renaud's storytelling is quite good here, but his stylish art is a revelation.  Renaud and colorist Stēphane Paitreau create a rich tapestry of graphical storytelling that recalls narrative paintings.  Rich in detail, backgrounds, sets, and environment, Renaud's art is fitting for a tale of kings and kings' sons.  Joe Sabino's lettering strikes the perfect tone and and enhances the story.

I was not sure of what I should expect of Rise of the Black Panther #1, but after reading this excellent first issue, I expect a lot of the rest of it.

8.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

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Review: AFTER HOURS Volume 3

AFTER HOURS, VOL. 3
VIZ MEDIA – @VIZMedia

MANGAKA: Yuhta Nishio
TRANSLATION/ENGLISH ADAPTATION: Abby Lehrke
LETTERS: Sabrina Heep
EDITOR: Pancha Diaz
ISBN: 978-1-9747-0071-4; paperback (December 2018); Rated “T+” for “Older Teen”
288pp, B&W, $9.99 U.S., $12.99 CAN, £6.99 UK

After Hours is a yuri manga from creator Yuhta Nishio.  “Yuri,” also known “girls' love,” is a genre that depicts romantic situations between female characters.  After Hours is the story of Emi Ashina, a 24-year-old, unemployed young woman who does not know what to do with her life.  At a club, Emi meets another young woman, Keiko “Kei” Yoinoma, a DJ and who becomes first, Emi's friend, and later... much more.

As After Hours, Vol. 3 (Chapters 11 to 16 to Final Chapter), Emi, Kei, and Kei's crew put the finishing touches to their long-planned rave.  Kei will DJ, and Emi will VJ, but an act of petty crime may put a crimp in their plans.  Later,  Kei disappears and Emi begins a frantic search for her.  Will Emi's new-found confidence, determination, and focus falter now that her mentor and lover is gone?

[This volume includes bonus manga, “Chapter 1 (reprised).”]

The After Hours manga is my first experience with girls' love manga.  This is a sweet, almost PG-rated-like romantic drama that is a gentle introduction to the girls' love genre.

After Hours Graphic Novel Volume 3 is the final volume of the series.  This volume is 128 pages longer than either of the two earlier volumes.  This allows Yuhta Noshio to depict the rave – both on stage and behind the scenes – in detail.  Those extra pages are also really good for detailing the story behind Kei's disappearance.

I like that After Hours Vol. 3 does not play it safe or predictable, especially after two relatively tame volumes that really were not intense.  This final volume makes an argument that there should be more After Hours.  In the meantime, the three volumes of After Hours that we have offer a nice story of young love... after hours in Tokyo.  Plus, the bonus manga offers a nice reprise of this romance's love-at-first-sight.

A-
7.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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