I Reads You Review: THE SANDMAN: OVERTURE #1

THE SANDMAN: OVERTURE #1 (OF 6)
DC COMICS/VERTIGO – @DCComics and @vertigo_comics

WRITER:  Neil Gaiman
ART: J.H. Williams, III
COLORS: Dave Stewart
LETTERS: Todd Klein
EDITORS: Karen Berger and Shelly Bond
COVERS: J.H. Williams, III (Cover A); Dave McKean (Cover B)
32pp, Color, $4.99 U.S. (December 2013)

“Suggested for Mature Readers”

Chapter One

The Sandman was a comic book series written by Neil Gaiman and drawn by numerous artists, including Sam Kieth, Mike Dringenberg, Jill Thompson, and Shawn McManus, among many.  The Sandman chronicled the adventures of a character called Dream (or Morpheus) that was created by Gaiman and artists, Sam Kieth and Mike Dringenberg.  Dream was one of “The Endless,” and he ruled over the world of dreams.

Published by DC Comics, the series ran for 75 issues (cover dates: January 1989 to March 1996).  For 29 issues (beginning with #47), The Sandman was published under the banner of Vertigo, a DC Comics’ imprint.

The Sandman returns in a new six-issue comic book miniseries, The Sandman: Overture.  Written by Neil Gaiman and drawn by artist J.H. Williams III, The Sandman: Overture will explore Morpheus’ world before he was captured, which is how readers found him way back in The Sandman #1.

“This is the one story that we never got to tell,” Neil Gaiman told The New York Times in an interview last year. “In Sandman #1, Morpheus is captured somehow. Later on in the series, you learn he was returning from somewhere far, far away – but we never got to the story of what he was doing and what had happened. This is our chance to tell that story, and J.H. Williams III is drawing it.  It’s the most beautiful thing in the world.”

The Sandman: Overture #1 takes place in different time periods and on multiple planes of existence/reality.  Chapter One introduces Ian Stuart, a young tradesman in 1915 London; he seems destined to fall prey to The Corinthian.  The Endless make an appearance, and their sibling Dream is the subject of much discussion.  Meanwhile, Dream receives a “call” that he cannot deny.

Being that The Sandman: Overture is a six-issue miniseries, I expected Neil Gaiman to do more introducing than revealing in the first issue.  He does, but they are such intriguing introductions.  If you are familiar with and like Gaiman’s work, especially The Sandman, I don’t have to sell you on this comic book, dear reader.  Still, I must say that if #1 is any indication, The Sandman: Overture is going to be really, really good.

What I can deliver a verdict on is the fantastic art by artist J.H. Williams III and colorist Dave Stewart.  It is some of the best comic book art of 2013, if not the best.  J.H. Williams III is a visionary, and although many exceptional artists have drawn Sandman comics, Williams seems born to draw The Sandman.  It is as if Gaiman has been waiting for the perfect artist to draw his Sandman stories, and Williams is that artist.

Williams brings every reality to life, and that his drawings are the perfect incarnation of what Gaiman has created with this new comic book seems like a plain and simply fact.  Dave Stewart gives the art character and makes the ethereal nature of the story solid – like a dream brought to life.

The Sandman: Overture does not come across as some nostalgia publication, struggling to make a connection with a classic, nearly two decades after the original ended.  It is as if the dream never ended.

A+

Reviewed by Leroy Douresseaux

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: ANGEL FALLING

ANGEL FALLING TRADE PAPERBACK – (Original Graphic Novel)
ZENESCOPE ENTERTAINMENT/Big City Comics Studio – @Zenescope

WRITER/CREATOR: Jeffrey Kaufman
PENCILS: Kevin West
INKS: Mark McKenna, Bob Wiacek, Jack Purcell, Kevin Yates
COLORS: Tom Chu and Peter Pantazis with Nik Sardos and Wilson Ramos, Jr.
LETTERS: John Hunt
COVER: Jeffrey Kaufman, Dave Stewart, and Stan Johnson
VARIANT COVER: Billy Tucci and Felix Serrano
ISBN: 978-1-939683-22-9; paperback (August 2013)
104pp, Color, $9.99 U.S.

Angel Falling is a new original graphic novel from writer Jeffrey Kaufman and artist Kevin West.  Kaufman’s previous comic book works include the graphic novels Terminal Alice (2011) and Whore (2012).  West has been drawing comic books since 1991 for a variety of publishers including DC Comics, Marvel Comics, and Image Comics, among many.  Angel Falling focuses on a woman with no memory of who she is and her protector – a gifted young man who is autistic.

The story:  She wakes up in a dumpster.  She has no memory of who she is.  She has a pair of large angel wings tattooed on her back.  She is naked from the waist up.  A gang of goons, thugs, and would-be rapists decide to take advantage of her predicament.  He arrives in a flurry of kicks and blows.  She calls him “Connor.”  He calls her “Angel.”

However, Angel is really “Number Three,” and Connor is “Number Five.”  Connor, who is autistic, has photographic physical memory or “Eidetic Kinestheisia” (perfect physical memory).  That means Connor sees the physical movements of other people and his body can copy those movements – which includes everything from playing the violin like a prodigy to mastering hand-to-hand combat.  Angel is also quite good at the kick-ass art.  They share a past in a place called “The Sanctuary,” and that past is now sending teams of killers to destroy them.

As it is a graphic novel from a small publisher and a writer-artist creative team that is relatively not well known, I want to compare Angel Falling to some recent films that are fairly familiar to audiences.  Certain aspects of the story that deal with Connor/Five are similar to elements in the Jason Bourne film series.  Some things about Angel/Three are reminiscent of the film, Salt (starring Angelina Jolie in the title role).  The action scenes and shoot-‘em-up sequences in Angel Falling recall RED (the 2010 film adaptation of Warren Ellis’s comic book miniseries).

To put it simply, Angel Falling is one of the best action-oriented and espionage comic books of the last decade.  And it’s quite good.

With that said, Angel Falling is essentially character driven.  The search for identity and the need to unravel memory play a big part in the narrative.  Angel Falling confronts the characters with that thing that defines who they are in the eyes of others – their actions.  The conflict or tension in the story rests mostly in the struggle between what the characters say or think about themselves and what they do.  This is a fun and engaging thing that Kaufman does; he offers the interior of the characters, while splashing their assault on the exterior world in bloody, living color.

Jeffrey Kaufman is a unique and bold voice in comics simply because rather than pander to popular taste and opinion, he offers his own ideas.  I like that.  Kevin West seems like the perfect artist for Kaufman.  West’s sturdy anatomy belies his knack for knowing which moments require being poignant and which require being cruel, crass, or comic.

Obviously, I like and want to recommend Angel Falling.

A

If you order Angel Falling through your local comic book shop, this is its Diamond Order Code: JUL131419

www.bigcitycomics.com
www.zenescope.com
www.facebook.com/jeffreykaufmanjr
www.facebook.com/BigCityComics
www.facebook.com/Zenescope

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

Review: ABE SAPIEN: Dark and Terrible #2

ABE SAPIEN: DARK AND TERRIBLE #2 OF 3 (Series #12)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola and Scott Allie
ART: Sebastián Fiumara
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Sebastián Fiumara
EDITOR: Scott Allie
28pp, Color, $3.50 U.S. (May 2013)

Abe Sapien created by Mike Mignola

Dark and Terrible, Part 2 (of 3)

Sometimes, it happens.  I forget to post a review, and that is the case with Abe Sapien: Dark and Terrible #2.  How late am I?  Well, as of this writing, Abe Sapien #5 was published two weeks ago!  I wrote this review almost three-and-half months ago!

As some of you already know:  Abraham “Abe” Sapien is a character that appears in Hellboy and related comic book series.  Created by Mike Mignola, Abe Sapien first appeared in Hellboy: Seed of Destruction and is a member of the B.P.R.D., the Bureau of Paranormal Research and Development.  Abe is sometimes referred to as a “fishman” or “merman.”

Abe Sapien is a new ongoing comic book series that picks up after previous Abe Sapien comics and will continue with a series of miniseries or story arcs.  Abe Sapien: Dark and Terrible #2 (of 3) is written by Mike Mignola and Scott Allie, drawn by Sebastián Fiumara, colored by Dave Stewart, and lettered by Clem Robins.

Abe Sapien: Dark and Terrible Part 2 opens with a flashback at B.P.R.D. Headquarters in Colorado.  Abe and the seer, Panya, have a conversation, much of it cryptic on Panya’s part.  The Ogdru Hem walks the Earth, turning humans into monsters, and Abe’s friends in the B.P.R.D. are foot soldiers in the war against these monsters that have emerged from the ground.  But apparently, Abe is not meant for this war.

In the present, Abe’s quest to avoid his comrades takes him to the hamlet of Grayrock, located in San Juan County, Colorado.  There, he meets a kindly man of god with a rather unruly flock.

While the title character was mostly missing from the first issue of Abe Sapien: Dark and Terrible, Abe Sapien dominates the second issue.  That’s a good thing.  Abe Sapien is not only an interesting and engaging character, but he is also a character that allows writers to bring out the most interesting aspects of other characters, as they react to him.  Mike Mignola and Scott Allie have a grand time creating chaos around Abe this time.

I simply love the art by Sebastián Fiumara, with its textures and pen and ink-like compositions.  Dave Stewart’s colors bring out the best of Fiumara’s art and makes the art look even more beautiful.  At first, I was only going to read this comic book for the art, but with this issue’s ending slash cliffhanger, I’m also coming back for the story.

A-

Reviewed by Leroy Douresseaux

Review: B.P.R.D.: Vampire #5

B.P.R.D. VAMPIRE #5 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola, Gabriel Bá, Fábio Moon
ART: Gabriel Bá and Fábio Moon
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Fábio Moon
EDITOR: Scott Allie
28pp, Color, $3.50 U.S. (July 2013)

B.P.R.D.: Vampire, the five-issue miniseries and direct sequel to B.P.R.D.: 1948, has come to an end.  B.P.R.D. (or BPRD) is the Bureau for Paranormal Research and Defense.  This organization protects America and the rest of the world from the occult, the paranormal, and the supernatural.

B.P.R.D.: Vampire is produced by writer Mike Mignola and co-writers/artists Gabriel Bá and Fábio Moon.  It is set in 1948 and follows Agent Simon Anders and his quest for revenge against a clan of vampires and its Gorgon-eyed queen, Hecate.  After consulting “witch maps,” Anders travels to Cesky Krumlov, Czechoslovakia.  There, he and his guide, Hana Novarov, find Krumlov Castle, where Anders meets the conniving vampire sisters, Katharina and Annaliese.

B.P.R.D.: Vampire #5 opens at BPRD Headquarters in Fairfield, Connecticut.  Professor Trevor Bruttenholm finds that he is the only one who can put an end to this vampire hunt.  The Professor must also solve the mystery of the undead of Ceský Krumlov (Castle Krumlov).  That means, however, that he must face the one who began the hunt, Agent Simon Anders.

Now, that B.P.R.D.: Vampire has ended, it is easier to fully appreciate how unique this series is.  It is a scary story by way of horror fiction of many stripes:  vampire, psychological, surreal, and weird.

Summoning their inner Mike Mignola, Gabriel Bá and Fábio Moon deliver some visually arresting graphical storytelling.  Their art sells the idea that this is a story that is as impressionistic and psychological as it is literal.  Damn, this is just a good looking comic book.  Dave Stewart’s striking colors make him part of the art team and also part of the story team.

Mignola, Bá, Moon, and Stewart are a comic book Fab Four.  B.P.R.D.: Vampire is their excellent yellow submarine to Hell.

A

Reviewed by Leroy Douresseaux

Review: B.P.R.D.: Vampire #4

B.P.R.D.: VAMPIRE #4 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola, Gabriel Bá, Fábio Moon
ART: Gabriel Bá and Fábio Moon
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Fábio Moon
EDITOR: Scott Allie
28pp, Color, $3.50 U.S. (June 2013)

We have now reached the penultimate issue of B.P.R.D.: Vampire from Mike Mignola and Gabriel Ba and Fabio Moon. The B.P.R.D., of course, is the Bureau for Paranormal Research and Defense, which protects America and the rest of the world from the occult, the paranormal, and the supernatural. The new comic book miniseries, B.P.R.D.: Vampire, is a direct sequel to B.P.R.D.: 1948 and is separate from the main B.P.R.D. comic book series.

The five-issue miniseries is written Mike Mignola and Gabriel Bá and Fábio Moon and drawn by Bá and Moon. It is set in 1948 and follows Agent Simon Anders and his quest for revenge against a clan of vampires and its Gorgon-eyed queen, Hecate. After consulting “witch maps,” Anders travels to Cesky Krumlov, Czechoslovakia. There, he and his guide, Hana Novarov, find Krumlov Castle, where Anders meets the conniving vampire sisters, Katharina and Annaliese.

B.P.R.D.: Vampire #4 opens after Agent Anders’ battle with Lord Wilhelm. His time in Krumlov Castle has changed him, however. Now, he faces a small army of witches, and they want to kill him. Meanwhile, Hana calls B.P.R.D. Headquarters.

Now, that B.P.R.D.: Vampire has reached its penultimate issue, it becomes obvious why press material for the series refers to Agent Simon Anders as “doomed.” The confrontation between Anders and his “guests” and a gathering of witches is worth the price of admission.

Gabriel Bá and Fábio Moon have not run out of ideas; their art for this series is as visually arresting as ever. The striking colors by Dave Stewart remind that B.P.R.D.: Vampire is a graphical narrative. The pictures tell a story that is as impressionistic and psychological as it is literal. You have to read the art and graphics to get the full impact of this story. I’m ready for the finale.

A

Reviewed by Leroy Douresseaux

Review: B.P.R.D. VAMPIRE #3

B.P.R.D. VAMPIRE #3 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola, Gabriel Bá, Fábio Moon
ART: Gabriel Bá and Fábio Moon
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Fábio Moon
EDITOR: Scott Allie
28pp, Color, $3.50 U.S. (May 2013)

Mike Mignola, Gabriel Bá, and Fábio Moon have united for B.P.R.D.: Vampire, a five-issue miniseries. The Bureau for Paranormal Research and Defense (the B.P.R.D. or BPRD) protects America and the rest of the world from the occult, the paranormal, and the supernatural. Beginning with its own title, B.P.R.D.: Hollow Earth, the B.P.R.D. series focuses on the team and sometimes individual agents.

B.P.R.D.: Vampire is a direct sequel to B.P.R.D.: 1948 and is separate from the main B.P.R.D. series. Set in 1948, Vampire follows Agent Simon Anders and his quest for revenge against a clan of vampires and its Gorgon-eyed queen, Hecate. After consulting “witch maps,” Anders travels to Cesky Krumlov, Czechoslovakia. There, he and his guide, Hana Novarov, who is from the Krumlov History Museum, begin a quest to find Krumlov Castle.

As B.P.R.D.: Vampire #3 opens, Anders and Hana find the castle, or actually, they fall into it. Once inside, Anders meets the conniving sisters, Katharina and Annaliese. His big meeting is with the master of the castle, who tells him of a horrific bargain he made centuries ago. It turns out, however, that both Anders and the master have things to learn, but will the bloodthirsty Anders stay calm long enough to learn anything?

Individual issues of the B.P.R.D.: Vampire series are quick reads. There is not a lot of dialogue and little exposition, but the main reason this is a quick read is because the story is so engaging it just demands to be read.

I can’t help but race through the pages to view the visually arresting art by Gabriel Bá and Fábio Moon, with its graphically striking colors by Dave Stewart. Stylistically and visually, this series recalls the early black and white horror films of Italian filmmaker, Mario Bava (Black Sunday).

Also, the story twists and turns like a reptile in clumsy hands, waiting to strike the unprepared, but attracted reader with revelations and with changes in character. B.P.R.D.: Vampire is heading for a smashing ending.

Reviewed by Leroy Douresseaux

Review: B.P.R.D. VAMPIRE #2

B.P.R.D. VAMPIRE #2 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola, Gabriel Bá, Fábio Moon
ART: Gabriel Bá and Fábio Moon
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Fábio Moon
EDITOR: Scott Allie
28pp, Color, $3.50 U.S. (April 2013)

Agent Simon Anders’ quest for vampires takes him deep into Czechoslovakia in the second issue of B.P.R.D.: Vampire.

The Bureau for Paranormal Research and Defense (the B.P.R.D. or BPRD) protects America and the rest of the world from the occult, the paranormal, and the supernatural. The B.P.R.D. first appeared in the debut Hellboy comic book miniseries, Hellboy: Seed of Destruction (1994). The Bureau received its own title with B.P.R.D.: Hollow Earth (2002).

B.P.R.D.: Vampire is a direct sequel to B.P.R.D.: 1948 and is separate from the main B.P.R.D. series. This five issue miniseries is also set in 1948. It follows an apparently doomed Agent Simon Anders and his quest for revenge against a clan of vampires and its Gorgon-eyed queen, Hecate.

B.P.R.D.: Vampire #2 opens with Agent Anders traveling by train to Cesky Krumlov, Czechoslovakia. Twelve days prior to this trip, at B.P.R.D. Headquarters in Fairfield, Connecticut, Anders and Professor Trevor Bruttenholm consulted “witch maps.” This decides Anders’ destination.

Arriving in Cesky Krumlov, Anders meets his guide, Hana Novarov, from the Krumlov History Museum. The village is as strange as its history, which is what interests Anders. He has come to track the history of the mid-18th century figure, Eleonora von Schwarzenberg. Through Hana, Anders travels the long and winding road that is local history and the lineage of Wilhelm von Rosenberg, former Lord of Krumlov Castle.

In my comic book review of the first issue of B.P.R.D.: Vampire, I wrote that the basic plot, written by Mike Mignola, Gabriel Bá, and Fábio Moon, is straightforward and simple. The second issue begins to add more elements, and Agent Simon Anders’ personality seems less like that of a stoic hero and more like that of a complicated, anti-hero type. Even Hana Novarov is a (delightfully) unknown quantity.

I like that Gabriel Bá and Fábio Moon’s art fits nicely within the general graphic sensibility of the Mike Mignola universe (the Mignola-verse). The art is creepy, as befits a horror comic, but has the qualities of a magical folk tale or enchanted fairy tale. Yes, B.P.R.D.: Vampire is indeed a good read.

A

Reviewed by Leroy Douresseaux

Review: SLEDGEHAMMER 44 #2

SLEDGEHAMMER 44 #2 (of 2)
DARK HORSE COMICS – @DarkHorseComics

CREATOR: Mike Mignola
STORY: Mike Mignola and John Arcudi
ART: Jason Latour
COLORS: Dave Stewart
LETTERS: Clem Robins
EDITOR: Scott Allie
COVER: Mike Mignola with Dave Stewart
28pp, Color, $3.50 U.S. (April 2013)

Part 2 of 2

Mike Mignola and John Arcudi’s two-issue micro-series, Sledgehammer 44, comes to an end.

Sledgehammer is a superhero character created by Mike Mignola, sort of his spin on Iron Man. The character appears in the two-issue Sledgehammer 44, written by Mignola and John Arcudi, drawn by Jason Latour, colored by Dave Stewart, and lettered by Clem Robins, with covers by Mignola.

Sledgehammer 44 opens in August 1944 in D’ebene Chiot, France, as an American military patrol attempts to destroy a German armory there. The Americans, however, are really just support troops, as the military launches “Project Epimetheus,” also known as Sledgehammer, the man in a suit of iron armor.

Sledgehammer 44 #2 opens with four Americans taking on small German advance patrol. The prize for the victorious side is Sledgehammer. Americans Dale Glesham and Patrick Redding lead the charge for the American side, with their American comrades, Bunkers and Muralla dragged along.

One of the American’s is grievously wounded, and Glesham has to make a decision about a possible last stand. Meanwhile, another American faces his fate after he is confronted by the truth about Sledgehammer.

Call it the Hellboy-verse or the Mignola-verse, but by any name, Dark Horse Comics’ line of Mike Mignola-produced comic books is simply wonderful. Sledgehammer 44 is a fine slice of that universe of most-excellent dark fantasy and monster comics.

The first issue of Sledgehammer 44 was basically Mignola and Arcudi’s entry into the genre of war comics, but with a sci-fi twist and some high-action. Sledgehammer 44 #2 is also in the venerable tradition of war comic books, but with something extra. Even with the fantastic elements, this comic book manages to be surprisingly human. If Mignola and Arcudi can write more stories like this, hopefully, they will give us more Sledgehammer.

What if Jason Latour cannot draw more Sledgehammer? Perhaps, Mignola and Dark Horse Comics can also find another artist whose composition and graphics can convey both the natural and the supernatural in war comics.

Fans of Mike Mignola will want to try Sledgehammer 44.

A

Reviewed by Leroy Douresseaux

Review: ABE SAPIEN: Dark and Terrible #1

ABE SAPIEN: DARK AND TERRIBLE #1 OF 3 (Series #11)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola and Scott Allie
ART: Sebastián Fiumara
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Sebastián Fiumara
VARIANT COVER: Max Fiumara
EDITOR: Scott Allie
28pp, Color, $3.50 U.S.

Dark and Terrible, Part 1 (of 3)

Abraham “Abe” Sapien is a character in the Hellboy line of comic books, also known as the “Mignolaverse.” Created by Mike Mignola, Abe Sapien first appeared in Hellboy: Seed of Destruction and is a member of the B.P.R.D., the Bureau of Paranormal Research and Development. Abe is sometimes referred to as a “fishman” or “merman.”

Abe has made regular appearances in Hellboy and B.P.R.D. comics, and he has starred in his own one-shot comic book (Abe Sapien: Drums of the Dead) and a miniseries (Abe Sapien: The Drowning by Mike Mignola).

Starting this week is a new-ongoing Abe Sapien comic book series, the launch of which has started a renumbering of Abe Sapien comic books. Abe Sapien: Dark and Terrible #1 (of 3) is the 11th issue of the Ape Sabien series. Abe Sapien: Dark and Terrible is written by Mike Mignola and Scott Allie, drawn by Sebastián Fiumara, colored by Dave Stewart, and lettered by Clem Robins.

Abe Sapien: Dark and Terrible Part 1 opens in Palisade, Colorado where a fierce demonic summoning is reaching fever pitch. Meanwhile, at B.P.R.D. headquarters, Agent Devon earns the ire of Director Corrigan, who is feeling the strain of the worldwide monster invasion. Meanwhile, three chatty hobos make a surprising discovery aboard the boxcar they share. Where is Abe Sapien? B.P.R.D. agents are getting closer…

Considering that Abe Sapien is mostly missing from Abe Sapien: Dark and Terrible, the story manages to be interesting, if not a bit too chatty. There are four different groups of individuals taking part in the story, and their activities are more teasing than interesting.

Sebastián Fiumara and Dave Stewart are the main attractions here. Sebastián Fiumara’s art is beautifully textured, with the inking seeming to be a mix of brushwork and a scratching technique. The art also reminds me of Richard Corben. That art looks even better with Dave Stewart’s rich coloring, a mix of earth tones and darkish colors, over it. This comic book is worth having just for the art. Still, I want more Abe Sapien in my Abe Sapien.

B+

Reviewed by Leroy Douresseaux

Review: B.P.R.D.: Vampire #1

B.P.R.D.: VAMPIRE #1 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

STORY: Mike Mignola, Gabriel Bá, Fábio Moon
ART: Gabriel Bá and Fábio Moon
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Fábio Moon
28pp, Color, $3.50 (March 2013)

Mike Mignola, Gabriel Bá, and Fábio Moon unleash a hellish side story to the main B.P.R.D. comic book series. It is entitled B.P.R.D.: Vampire.

In the world of the Hellboy comic book series, the Bureau for Paranormal Research and Defense (the B.P.R.D. or BPRD) protects America and the rest of the world from the occult, the paranormal, and the supernatural. The B.P.R.D. first appeared in the debut Hellboy comic book miniseries, Hellboy: Seed of Destruction (1994). The Bureau received its own title with B.P.R.D.: Hollow Earth (2002).

B.P.R.D.: Vampire is a direct sequel to the previous series, B.P.R.D.: 1948. The new five issue miniseries follows an apparently doomed agent’s quest for revenge against a clan of vampires and its queen.

It is the year 1948. B.P.R.D.: Vampire #1 opens as a trio of vampires enjoys the last of a feast of (alleged or apparent) virgins. Is this a dream or a memory?

In Fairfield, Connecticut at BPRD headquarters, Agent Simon Anders informs Professor Trevor Bruttenholm that he is leaving the organization. Not sure of what he is becoming, Anders begins his quest for revenge against a particular group of vampires and their Gorgon-eyed queen, Hecate. But first, he will have to find them.

It has been at least two years (if not more) since I last read a B.P.R.D. comic book. B.P.R.D.: Vampire is a helluva comic book in which to return to the series. The basic plot, by Mike Mignola, Gabriel Bá, and Fábio Moon, is straightforward and simple.

The actual comic book story, as told through art and graphics (which I often call graphical storytelling), is as emotional, psychological, and figurative as it is linear or even literal. Gabriel Bá and Fábio Moon offer some stunning images and striking sequences of images. This story is going to be a good read, but the graphics side of this is going to be hella good read.

Fans of Hellboy will want to try at least one issue of B.P.R.D.: Vampire, enough to get hooked.

A

Reviewed by Leroy Douresseaux

2012 Harvey Awards Name "Jim Henson’s Tale of Sand" Best Graphic Novel

by Leroy Douresseaux

The Harvey Awards are awards given for achievement in comic books. The Harvey Award is named for the late comics writer-artist, editor, and publisher, Harvey Kurtzman (1924-1993). Gary Groth, president of the publisher Fantagraphics, founded the Harvey Awards as part of a successor to the Kirby Awards, which were discontinued after 1987, the other being successor being the Eisner Awards.

The Harvey Awards are nominated by an open vote among comic-book professionals. The winners are selected from the top five nominees in each category by a final round of voting.

Jim Henson’s Tale of Sand was named “Best Original Graphic Album” and “Best Single Issue or Story” at the 25th Annual Harvey Awards.

The 25th Annual Harvey Awards were held Saturday, September 8, 2012 at the 2012 Baltimore Comic-Con. Actor and comedian, Phil LaMarr was the host.

2012 Harvey Award winners:

BEST ORIGINAL GRAPHIC ALBUM - “JIM HENSON’S TALE OF SAND”, published by Archaia Entertainment

BEST CONTINUING OR LIMITED SERIES - “DAREDEVIL” published by Marvel Comics

BEST SINGLE ISSUE OR STORY - “JIM HENSON’S TALE OF SAND” published by Archaia Entertainment

BEST NEW SERIES - “DAREDEVIL” published by Marvel Comics

BEST WRITER - Mark Waid for “DAREDEVIL” published by Marvel Comics

BEST ARTIST - J. H. Williams for “BATWOMAN” published by DC Comics

BEST CARTOONIST - Kate Beaton for “HARK! A VAGRANT”, harkavagrant.com; printed edition published by Drawn and Quarterly

BEST LETTERER - Chris Eliopoulos for “FEAR ITSELF” published by Marvel Comics

BEST COLORIST - Dave Stewart for “HELLBOY: THE FURY” published by Dark Horse Comics

BEST SYNDICATED STRIP - “CUL DE SAC”, by Richard Thompson, syndicated by Universal Press Syndicate

BEST ONLINE COMICS WORK - “HARK! A VAGRANT”, by Kate Beaton, harkavagrant.com; print edition published by Drawn and Quarterly

BEST AMERICAN EDITION OF FOREIGN MATERIAL - “THE MANARA LIBRARY, VOLUME 1: INDIAN SUMMER AND OTHER STORIES” published by Dark Horse Comics

BEST INKER - Joe Rivera for “DAREDEVIL” published by Marvel Comics

MOST PROMISING NEW TALENT - Sara Pichelli, for “ULTIMATE SPIDER-MAN”, published by Marvel Comics

SPECIAL AWARD FOR HUMOR IN COMICS - Kate Beaton for “HARK! A VAGRANT” harkavagrant.com; printed edition published by Drawn and Quarterly

BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS - “ANYA’S GHOST” published by First Second

BEST ANTHOLOGY - “DARK HORSE PRESENTS” published by Dark Horse Comics

BEST DOMESTIC REPRINT PROJECT - “WALT SIMONSON’S THE MIGHTY THOR, ARTIST’S EDITION” published by IDW

BEST COVER ARTIST - J. H. WILLIAMS for “BATWOMAN” published by DC Comics

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION - “WALT SIMONSON’S THE MIGHTY THOR, ARTIST’S EDITION” published by IDW

BEST BIOGRAPHICAL, HISTORICAL OR JOURNALISTIC PRESENTATION – “GENIUS ISOLATED: THE LIFE AND ART OF ALEX TOTH” published by IDW

BEST GRAPHIC ALBUM PREVIOUSLY PUBLISHED – “THE DEATH RAY” published by Drawn and Quarterly

Review: SLEDGEHAMMER 44 #1

SLEDGEHAMMER 44 #1 (of 2)
DARK HORSE COMICS – @DarkHorseComics

CREATOR: Mike Mignola
STORY: Mike Mignola and John Arcudi
ART: Jason Latour
COLORS: Dave Stewart
LETTERS: Clem Robins
COVER: Mike Mignola with Dave Stewart
28pp, Color, $3.50 U.S. (March 2013)

Part 1 of 2

Mike Mignola adds to the vast world of Hellboy with Sledgehammer, a new superhero character he created. Think of Sledgehammer as Mignola’s version, spin, or take on Iron Man. Now, the character appears in a new two-issue, comic book micro-series, entitled Sledgehammer 44. The series is written by Mignola and John Arcudi, drawn by Jason Latour, colored by Dave Stewart, and lettered by Clem Robins, with covers by Mignola.

Sledgehammer 44 #1 opens in August 1944 in D’ebene Chiot, France. An American military patrol prepares to take a German armory there, but the Americans are really just support troops. The military is about to launch “Project Epimetheus.” This is Sledgehammer, a man in a suit of iron armor, and he’s ready to fight his way through an army of Nazis and take on their massive war machine.

Call it the Hellboy-verse or the Mignola-verse, but by any name, Dark Horse Comics’ line of Mike Mignola-produced comic books is simply wonderful. In the first issue of Sledgehammer 44, Mignola and Arcudi have produced a cleanly written, straightforward story. Its mix of World War II combat, science fiction, fantastic armor, and menacing robots seems natural. Having supernatural machines battle it out in a French village in 1944 does not seem odd, as if that makes sense in the context of a real world WWII.

The stars of Sledgehammer 44’s creative team are artist Jason Latour and colorist Dave Stewart. Latour produces page after page of eye-poppy graphics, and compositionally, Latour opens up the story in big panels that capture the massiveness and power of Sledgehammer in battle. Stewart, whom I consider to be on the shortlist of truly great modern comic book colorists, makes the art crackle with energy and surge with an electric charge.

Honestly, at just two-issues in length, Sledgehammer 44 should be a one-shot instead of two issues. Latour and Stewart’s art is so robust, however, that the ending of the first issue is a break your eyes and mind will need.

A

Reviewed by Leroy Douresseaux

Comics Review: Mighty Love

MIGHTY LOVE
DC COMICS

WRITER/ARTIST: Howard Chaykin
LETTER: Kurt Hathaway
COLORS: Dave Stewart
ISBN: 978-1-56389-930-1; hardcover
96pp, Color, $24.95 US, $37.95 CAN

Mighty Love is a 2004 hardcover graphic novel from Howard Chaykin, the creator of one of the most influential comic books of the last 30 years, American Flagg! [In 2005, DC published a paperback version of Mighty Love.] Mighty Love isn’t on the level of American Flagg!, but Chaykin’s trademark smart-ass dialogue and distinctive artwork are plentiful here.

Mighty Love revolves around two costumed heroes, Iron Angel and Skylark. By day, Lincoln Reinhardt is a wealthy liberal attorney who defends criminals, but he is secretly tired of the moral morass that is his professional life. So by night, Reinhardt becomes the masked vigilante, Iron Angel, defending the justice he circumvents every day by bashing the kind of scum he normally represents. By day, Delaney Pope is a straight-arrow detective serving in a crooked police department, but she is tired of working in a murky world of ethical compromise. So by night, this conservative cop becomes Skylark, a bleeding heart masked defender of the justice that she circumvents as an agent of a corrupt administration.

Iron Angel and Skylark, who were previously unaware of each other’s existence, join forces after a fundraiser turns deadly during a robbery. The police are looking at Lincoln’s girlfriend, Bess Autrey, as a prime suspect. Delaney, who despises Lincoln, is the lead detective. If only Delaney Pope knew that Skylark’s new pal, Iron Angel, is none other than her nemesis Lincoln Reinhardt…

While Mighty Love might not be American Flagg!, Mighty Love resembles Howard Chaykin’s mid-1980s revamps of The Shadow and Blackhawk for DC Comics. This story has the same crisp graphic inventiveness mixed with the look of 1940s Film-Noir. Chaykin has toned down the sexual perversity of his 80s work, in favor of sexual innuendo, but Chaykin retains the snappy dialogue readers have come to expect from the comics he writes. There is even a running joke about euphemisms (like “packing heat” and “blow this pop stand”).

In a way, Mighty Love is an “old reliable” type Chaykin comic. His fans know what they’re getting, but what they’re getting is entertaining. Nothing here is earth-moving, but Chaykin brings the opposites-attract romance, superhero genre, and urban crime fiction together in a way they would seemingly not mesh. It’s as if these genres together are a natural thing – three great tastes that taste quite good together – and it’s all so lighthearted, in spite of the violence.

Devotees of superhero comics will understand why Chaykin eschews exploring the reasons why a police detective and a criminal defense attorney would moonlight as costumed vigilantes, even though the trend the last 30 years is to dig in the dirt to find out why Spider-Man, Batman, and others put on masks, cowls, capes, and even spandex. Mighty Love is simply here to be loved. It’s like a neo-golden age Hollywood film, drawn with Chaykin’s visual detail for urban settings, snazzy interiors, and sharply-dressed characters.

B+

Reviewed by Leroy Douresseaux

I Reads You Review: THE ROCKETEER: CARGO OF DOOM #2

THE ROCKETEER: CARGO OF DOOM #2
IDW PUBLISHING

WRITER: Mark Waid
ARTIST: Chris Samnee
COLORS: Jordie Bellaire
LETTERS: Shawn Lee
EDITOR: Scott Dunbier
COVERS: Chris Samnee with Dave Stewart – regular cover
Dave Stevens – Cover RI
28pp, Color, $3.99 U.S.

In a world where there is a jet pack/rocket backpack that a man can use to fly, why can’t there also be a lost island where dinosaurs still live? This is the world of The Rocketeer.

The Rocketeer is a comic book character created by the late artist and illustrator, Dave Stevens (who died in March of 2008). Cliff Secord is a stunt pilot who discovers a mysterious jet pack that allows him to fly. Secord dons the pack and a metal helmet and becomes the adventurer and masked crime-fighter, The Rocketeer, whose adventures are set mainly in Los Angeles and begin in 1938.

The Rocketeer returned to comic books in 2011 with Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this anthology comic book was a tribute to Dave Stevens. The series featured Rocketeer short stories from some of the premiere creators in American comic books. Now, the adventure continues in a new series, The Rocketeer: Cargo of Doom, from writer Mark Waid and artist Chris Samnee.

The Rocketeer: Cargo of Doom opens in 1940 and finds Cliff with troubles on his hands. The Civil Aeronautics Administration (CAA) may take away his pilot’s license. Sally, the young niece of Cliff’s best pal, Peevy, is now working as a mechanic at Peevy’s. Sally has a mad crush on Cliff, and Cliff’s girlfriend, the bombshell actress Betty, is fuming about the crush and about Sally being around Cliff so much.

As The Rocketeer: Cargo of Doom #2 begins, the mysterious Trask and The Master continue the plot they are hatching out of the docks at the Port of Los Angeles. Cliff learns that he has a new case worker from the CAA, a brawny black man named Earl Garland, who can hit back (unlike the last guy). The Master also makes a move on capturing The Rocketeer and reveals what he has stowed away in his ship’s cargo hold.

In my review of the first issue of Cargo of Doom, I admitted that I was not crazy about the comic book’s cover price ($3.99). I wrote that I might eventually balk at paying $20 to read the entire series. I haven’t balked yet.

This is a good series. Mark Waid offers characters that are more character types than fully-developed characters, but they work for Cargo of Doom. Samnee’s art is still tight and still eye-catching, especially with that killer figure drawing. How could I stop reading this? The Rocketeer: Cargo of Doom is the kind of rousing, fantasy adventure that got me started reading comics.

A-

Reviewed by Leroy Douresseaux

I Reads You Review: THE ROCKETEER: CARGO OF DOOM #1

"Back in the sky high saddle, again..."

THE ROCKETEER: CARGO OF DOOM #1

IDW PUBLISHING

WRITER: Mark Waid
ARTIST: Chris Samnee
COLORS: Jordie Bellaire
LETTERS: Shawn Lee
EDITOR: Scott Dunbier
COVERS: Chris Samnee with Dave Stewart – Cover A
Dave Stevens with Laura Martin – Cover B and Jetpack Comics Cover
Chris Samnee with Jordie Bellaire – Cover RIA
Chris Samnee – Cover RIB
28pp, Color, $3.99 U.S.

The Rocketeer is a comic book character created by artist and illustrator, Dave Stevens (who died in March of 2008). The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly, and his adventures are set mainly in Los Angeles in and after the year 1938.

The Rocketeer returned to comic books in 2011 in Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this anthology comic book was a tribute to Stevens and featured Rocketeer short stories from some of the premiere creators in American comic books. Now, the adventure continues in the new series, The Rocketeer: Cargo of Doom, from writer Mark Waid and artist Chris Samnee.

The Rocketeer: Cargo of Doom #1 opens in 1940. Cliff dons his Rocketeer garb and gear to rescue two people from a struggling airplane. One of those people is Sally, the young niece of Peevy, Cliff’s best pal and the one mechanic who can tinker with the Rocketeer’s jetpack. Sally has a mad crush on Cliff, and Cliff’s actress/bombshell girlfriend, Betty, is fuming about the crush and Sally. Meanwhile, something wicked has just docked at the port in Los Angeles, and the sinister mastermind targets The Rocketeer.

As much as I liked both Rocketeer Adventures series (or at least parts of Vol. 2), I wanted IDW to publish an actual Rocketeer story arc. I was excited to discover The Rocketeer: Cargo of Doom while reading the list of comic books shipping this week (8/22/). I was immediately determined to get my hands on this comic book, and having just read it, I am not disappointed.

When Mark Waid is on, the comic books he writes are fun to read. In Cargo of Doom, he uses dialogue to form the characters for readers, and crackling dialogue is always preferable to a psycho-babble when it comes to developing comic book characters. This is why I think someone like Waid is more of a natural at creating comic book than other writers who seem to have some kind of quasi-literary credibility. Under Waid’s care, Peevy hasn’t been this spicy since Dave Steven’s original comics. As for the characters’ actions, Waid also makes that clear and straightforward, from the lecherous government agent to the mercurial Guptmann.

I had been planning on reading some comic books drawn by Chris Samnee, but I was reluctant to try some of his Marvel Comics work if that meant figuring out whatever is going on in the Marvel Universe. Samnee’s art bears similarities to the work of Darwyn Cooke, David Mazzuchelli (Batman: Year One era), and Bruce Timm, while remaining uniquely his own style. Samnee’s figure drawing is killer, and there is a bit of classicism in the way he poses characters, as if he were drawing human bodies for academic critics.

I must admit that I am not crazy about Cargo of Doom’s cover price, and I may ultimately balk at paying $20 to read the entire series. Still, The Rocketeer: Cargo of Doom #1 is one of the year’s best debuts.

A-

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #3

ROCKETEER ADVENTURES VOL. 2 #3
IDW PUBLISHING

WRITERS: David Lapham, Kyle Baker, Matt Wagner
ARTISTS: Chris Sprouse, Kyle Baker, Eric Canete
INKS: Karl Story
COLORS: Jordie Bellaire, Eric Canete and Cassandra Poulson
LETTERS: Shawn Lee, Kyle Baker
PIN-UP: Eric Powell with Dave Stewart
EDITOR: Scott Dunbier
COVERS: Darwyn Cooke (A, C), Dave Stevens (B)
28pp, Color, $3.50 U.S.

The Rocketeer is a comic book character created by artist and illustrator, Dave Stevens, who died in March of 2008. The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly, and his adventures are set mainly in Los Angeles in and after the year 1938.

The Rocketeer returned to comic books in 2011 in Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this four-issue, anthology comic book was a tribute to Stevens and featured Rocketeer short stories (about 8 pages in length) from some of the premiere creators in American comic books. The tributes continue in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #3 opens with “Coulda Been…,” a story by David Lapham with art by Chris Sprouse and Karl Story, that finds Cliff Second and his girlfriend, Betty Page, imagining what their lives could be like. In “Butch Saves Betty,” the brilliant cartoonist Kyle Baker introduces Cliff and company to a shadowy client. Then, writer Matt Wagner and artist Eric Canete take readers to the future for a “History Lesson.”

David Lapham is a popular comic book creator, but I wonder if people really appreciate what a good writer he is. I see him as a comic book scribe who can always put an imaginative twist on the character/ensemble drama. Read 30 Days of Night: 30 Days ‘Til Death; it could have been just another vampire comic book, but isn’t. His “Coulda Been…” shows why making comic book characters “grow up,” especially those grounded in fantasy, is a mistake. The reason is that when you make characters act like real-world adults that fundamentally changes those characters, sometimes to the point in which they become different from what they were originally. Another good thing about this story is that the artist is the talented and under-utilized Chris Sprouse.

There is nothing special about the other two stories, other than that Kyle Baker draws one of them. What is special is the pin-up by Eric Powell (with colors by Dave Stewart). I could stare at a Powell drawing for an hour and not consider that a waste of time.

B

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #2

ROCKETEER ADVENTURES VOL. 2 #2
IDW PUBLISHING

WRITERS: Tom Taylor, Paul Dini, Walter Simonson
ARTISTS: Colin Wilson, Bill Morrison, John Paul Leon
COLORS: Dave Stewart, Serban Cristescu
LETTERS: Robbie Robbins, Chris Mowry, Shawn Lee
PIN-UP: J. Scott Campbell with John Rauch
EDITOR: Scott Dunbier
COVERS: Darwyn Cooke (A, C), Dave Stevens (B)
28pp, Color, $3.50 U.S.

Inspired by the Saturday matinee movie heroes of the 1930s and 40s, The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly. The Rocketeer’s adventures are set mainly in Los Angeles in and after the year 1938. The character was created by artist and illustrator, Dave Stevens, who died in March of 2008.

After a long absence from comics, The Rocketeer returned in 2011 in Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this four-issue, anthology comic book was a tribute to Stevens and featured Rocketeer short stories (about 7 to 8 pages in length) from some of the premiere creators in American comic books. The tributes continue in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #2 opens with “Work to Do,” story by Tom Taylor and art by Colin Wilson, which places The Rocketeer on a European battlefield with a job to do. In “Betty’s Big Break,” writer Paul Dini and artist Bill Morrison take our hero to the set of a B-movie where he becomes a “Rocket Rustler,” much to Betty’s chagrin. Writer Walter Simonson and artist John Paul Leon send The Rocketeer flying like a flying monkey to save a special young lady in “Autograph.”

I found the first issue of Rocketeer Adventures Vol. 2 to be a tad bit over the top as a tribute to a respected, deceased artist. Why? While honoring Dave Stevens’ memory, the slam bang action that is The Rocketeer lost its pop and became like something preserved in amber and golden hues. Rocketeer Adventures Vol. 2 #2 is different. These three Rocketeer stories read like real Rocketeer stories and not tributes meant to be placed in the burial chamber of some great figure’s tomb.

“Work to Do” is a gritty battlefield fantasia with heart and pop. As for the second story: I’ve long been perplexed with the popularity of Paul Dini’s comic book work. I’m sure that he has an entire wing devoted to him at the Academy of the Overrated. I have found enjoyment in a few of his comic book stories; “Betty’s Big Break” is one of them. I think it would make an excellent graphic novel if expanded. I don’t know if Walter Simonson has ever disappointed me; if he has, it was not by much. “Autograph” moves like an action movie, and its references to the late 1930s are wonderful.

I don’t think that I have to say anything about the artists who drew these stories. They are all consummate professionals and their graphic storytelling and art are sparkling. On the other hand, that J. Scott Campbell pin-up is rather ordinary. It’s like something Campbell would knock off while sitting at a convention table. Of course, he would over-charge for it, though it’s worth no more than 25 bucks.

A-

Leroy Douresseaux Reviews: KING CONAN: The Phoenix on the Sword #1

"Old Man Conan"
KING CONAN: THE PHOENIX ON THE SWORD #1 (OF 4)
DARK HORSE COMICS

WRITER: Timothy Truman
ART: Tomás Giorello
COLORS: José Villarrubia
LETTERS: Richard Stakings & Comicraft
VARIANT COVER: Gerald Parel (Andrew Robinson-regular cover)
28pp, Colors, $3.50 U.S.

During his three-decade career in comic books, did the industry or the public ever consider Tim Truman A-list talent? By the breath and scope of his talent and his work, he certainly was/is, if it is even appropriate to categorize him with what are the usual and the standard in comic books. The terms “eclectic” and “diverse” seem a tad bit understated when describing Truman’s body of work.

Even as Lonesome Dove, Dances with Wolves, and Unforgiven made the Western cool again, Truman was looking at the past, present, and future of the Western and frontier storytelling (Jonah Hex, The Kents, Scout, Wilderness, etc.). Before Christopher Nolan and Guillermo del Toro, among others, were surprising people with their re-imaginations and interpretations of superheroes and classic fantasy characters, Tim Truman was bold and visionary on Hawkworld, JLA: Gatekeeper, and The Spider, among many.

In his comics, Truman, as a writer, artist, and writer/artist, offers muscular storytelling presented with surprising grace in beautiful graphics. So Truman is one of those rare creators who are actually ideal to create Conan the Barbarian comic books. Many are good, but few can capture both the splendor of Howard’s prose and the darkness and brutality of which this prose tells.

When it appeared in the cover-dated December 1932 issue of the famed pulp fiction magazine, Weird Tales, “The Phoenix on the Sword” became the first published story featuring the character, Conan the Barbarian. Tim Truman as writer and Tomás Giorello as artist have adapted that story in King Conan: The Phoenix on the Sword, a four-issue comic book miniseries from Dark Horse Comics. The fourth and final issue recently arrived in comic book shops shortly.

King Conan: The Phoenix on the Sword #1 introduces us to a gray-haired Conan, King of Aquilonia, and to Pramis, a scribe who is chronicling the story of King Conan’s rule. Conan tells Pramis of a time early in his reign – a time of unrest – and the story travels back to that time.

Although Conan freed Aquilonia from a despotic king, he is now despised by Aquilonians, from the common man to the elite. Rinaldo, the poet and bard, who once sang his praises, now stirs unrest against Conan and is part of a plot to unseat Conan and replace him on the throne with a pure blood Aquilonian, Baron Dion. The mysterious Ascalante is the ringleader, but even more mysterious is Ascalante’s companion, a long-time enemy of Conan, the wizard Thoth-Amon.

I find King Conan: The Phoenix on the Sword to be an unusual Conan story. It is not as if I haven’t read a Conan story like this – one that is a conspiratorial drama, but this is not the Conan comic book norm. There is more dark drama here than there is edgy drama; in fact, the only fight scene is Conan’s palace workout at the beginning of the story.

That is not at all a bad thing. Tim Truman fashions a story filled with political machinations and intrigue, but at its heart, it examines what happens when you get what you thought you wanted and then find it to be a prison. As a monarch, Conan is trapped, and the interesting twist that Truman gives this story is that his enemies may be about to get what they wanted, but in the worst way.

Truman has a wonderful collaborator in Tomás Giorello, who takes Truman’s script and transforms it into comic book art that is a tapestry of exotic backdrops, a striking cityscape, strange costumes, and shadowy backrooms (includes a fine double page spread). This art is not only perfect for Conan, but for just about any Robert E. Howard story. Giorello could probably deliver a stunning comic book vision of Tolkien.

This comic book also includes a 4-page preview of Conan the Barbarian #1 by Brian Wood, Becky Cloonan, Dave Stewart, and Richard Starkings & Comicraft, with cover art by Massimo Carnevale.

http://www.ttruman.com/

Review: STAR WARS: DAWN OF THE JEDI – Force Storm #1

STAR WARS: DAWN OF THE JEDI – FORCE STORM #1 (OF 5)
DARK HORSE COMICS

["Star Wars Central" review page is here.] 

STORY: John Ostrander and Jan Duursema
SCRIPT: John Ostrander
PENCILS: Jan Duursema
INKS: Dan Parsons
COLORS: Wes Dzioba
LETTERS: Michael Heisler
COVER: Gonzalo Flores - variant (Jan Duursema – main cover)
36pp, Color, $3.50 U.S.

In the Star Wars Expanded Universe timeline, there is a period known as “Before the Republic.” This era occurs from 36,000 to 25,000 years before the Battle of Yavin, the climatic battle in the 1977 film, Star Wars, in which Luke Skywalker destroys the Death Star. Star Wars: Dawn of the Jedi is a new series of comic book miniseries situated in the “Before the Republic” age.

The first miniseries is Star Wars: Dawn of the Jedi – Force Storm. It takes place a few centuries before that time, 36,453 before the Battle of Yavin (also known by the acronym, BBY). The series takes readers back to the beginnings of the Jedi, then known as the Je’daii. On the planet Tython, in the center of the galaxy, these Je’daii (a word in the Bendu language that means “mystic center”) form an order of warrior monks that strives to maintain peace and to balance the mysterious power known as the Force.

In Star Wars: Dawn of the Jedi – Force Storm #1, Je’daii Master Ketu recounts the birth of the order to two of his students. This includes the first great conflict in which the Je’daii must take an active role, The Despot War (a conflict that takes place 12-years before Ketu tells the story). Meanwhile, on the lush world of Tatooine, Predor Tul’Kar of the Infinite Empire culls Force sensitives with the help of his Force Hound, Xesh.

I was surprised when Dark Horse Comics sent me a copy of Star Wars: Dawn of the Jedi – Force Storm #1. It must be obvious to them (and even some of you, dear readers) that I enjoy reading Star Wars comic books. I certainly enjoyed reading the Star Wars: Dawn of the Jedi – Force Storm comic book.

The first 11 pages of issue #1 recount the beginnings of what would become the Jedi Order (thus, the term, “Dawn” in the title). I expected a different story. To me, at least, it lacks grandeur, as if this was something Stan Lee and Steve Ditko cobbled together for Strange Tales back in the 1960s. The story that is set in the present (Infinite Empire) is more interesting, and the character, Xesh, seems like a budding star.

The art by Jan Duursema is good, looking as right for Star Wars as any other comic book art. The storytelling is good, though a bit calm for Star Wars, but the Ostrander-Duursema team is a good one for Star Wars comic books.

[This comic book also includes a 4-page preview of Conan the Barbarian #1 by Brian Wood, Becky Cloonan, Dave Stewart, and Richard Starkings & Comicraft, with cover art by Massimo Carnevale.]

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #1

"More tears than rockets"
ROCKETEER ADVENTURES VOL. 2 #1
IDW PUBLISHING

WRITERS: Marc Guggenheim, Peter David, Stan Sakai
ARTISTS: Sandy Plunkett, Bill Sienkiewicz, Stan Sakai
COLORS: Jeromy Cox, Bill Sienkiewicz, Dave Stewart
LETTERS: Robbie Robbins, Bill Sienkiewicz, Stan Sakai
PIN-UP: Arthur Adams with John Rauch
EDITOR: Scott Dunbier
COVER: Darwyn Cooke (alternate cover by Dave Stevens)
28pp, Color, $3.50 U.S.

First appearing in 1982, The Rocketeer is a superhero created by the late writer/illustrator Dave Stevens and inspired by the Saturday matinee movie heroes of the 1930s and 1940s. Set mainly in Los Angeles in and after the year 1938, the series follows Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly, leading to the birth of The Rocketeer.

After a long absence from comics, The Rocketeer returned last year in Rocketeer Adventures. This four-issue miniseries was an anthology comic book edited by Scott Dunbier and published by IDW Publishing. Rocketeer Adventures features Rocketeer short stories (about 7 to 8 pages in length) from some of the premiere creators in American comic books. Now, the fun is back in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #1 opens with “The Good Guys,” story by Marc Guggenheim and art by Sandy Plunkett. While the wounded Rocketeer slumbers in a bed on the second floor of a farmhouse, the locals discuss his fate: turn him over to the law or not. But a child shall lead them. Peter David gives the Rocketeer a Looney Tunes spin in “The Ducketeer,” with art by Bill Sienkiewicz, who executes a graphic riff on Chuck Jones and Maurice Noble. Stan Sakai takes the Rocketeer to a small-ville and the Rocketeer takes a kid up, up, and away in “A Dream of Flying.”

Rocketeer Adventures Vol. 2 starts off nostalgic and quaint with this first issue. The stories are sweet and sentimental, with in-jokes for comic book and cartoon fans. These pop culture references and riffs will make even the most jaded pop culture buff smile.

Marc Guggenheim’s tale (“The Good Guys”) treads on familiar territory. Are there enough good people to fight evil and what is the nature of vigilantism are two real-world questions with which this story grapples. Guggenheim’s story is timely in light of a FOX News affiliate in Orlando, Florida referring to Neo-Nazi group, the National Socialist Movement, as a civil rights group, something the FOX News website later repeated.

This story is also a welcomed return of seldom-seen comic book artist, Sandy Plunkett, whose style is ideal for this old-timey, rural pastoral story. Like Rocketeer creator, Dave Stevens, Plunkett is apparently also influenced by the American book and magazine illustrators of the late 19th and early 20th centuries.

That aside, these new Rocketeer comic books are rapidly becoming showcases for artists that don’t regularly produce comic book art. These stories are also too sentimental, and, as much as I enjoy a dose of “Disneyana” with my comics, The Rocketeer’s origin comes out of adventure movie serials. This character needs to bust out in a miniseries – one complete with cliffhanger endings at the end of each issue. New Rocketeer comics should not be treated as if they are part of a eulogy to Stevens. All this pretty art and quaintness makes Rocketeer Adventures seem like a funerary item.

I appreciate the new Rocketeer comics, but they can be more than what they are. I must admit, of course, that I think the Art Adams pin-up is awesome.

B+