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Post by thwhtguardian on Nov 22, 2016 10:29:55 GMT -5
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shaxper
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Posts: 22,451
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Post by shaxper on Nov 23, 2016 9:12:36 GMT -5
Usagi Yojimbo #159 written, penciled, inked, and lettered by Stan Sakai Look my dear, for months now I've been begging you to clean your room, take out the garbage, and read Usagi Yojimbo. What more do I have to do? Reel off testimonials from favorite mainstream comic creators, espousing that Usagi is one of the finest comics out there and will not disappoint? Give it its own section of the board? Convince the creator, Stan Sakai to be a regularly contributing member there so that you can talk to the guy directly? Well, I've had it. I've burned the house to the ground and surrendered custody of you to the state. Take some time to think about what you've done. Summary: Usagi discovers a lone girl hiding in the forest next to the body of a murdered samurai. Taking the traumatized girl in his custody, Usagi soon discovers that strangers with questionable motives are after her, resulting in several fight scenes, a reuniting with fan-favorite character Inspector Ishida, the revelation of a complex embezzling conspiracy, and a larger mystery about a shadowy figure within the government who will ultimately play a role in ensuing Usagi adventures. Plot: The first half of this story is every bit as unforgettable and emotionally vivid as last issue, as Stan truly captures a child's trauma in an unforgettably empathetic, tortured, and yet beautiful manner somehow. This girl has just witnessed a tragedy not so unlike Bruce Wayne's, and yet Sakai is able to give it a weight even Frank Miller and David Mazzucchelli could not. In contrast, Usagi's kindness to her is thoroughly reassuring , and the surprising rage he can turn upon her pursuers is almost terrifying. Stan has done much to evolve Usagi's moral code over the years, and that's become increasingly clear in recent issues as he has sought non-violent solutions first in most circumstances, his trusty swords sheathed. But here, for the first time in ages, the swords come out fast and mercilessly when an innocent child is endangered. My only problem with this issue is that the best of it resolves too quickly, Usagi getting the child to safety and seeking help in taking down the larger threat. While the action intensifies, the dramatic stakes are lower -- protecting a traumatized child and attempting to unravel the mystery of her pursuers, versus knowing exactly what is going on, there being no real danger, and having an entire troop of police behind you as you show up at the doors of a well defended manor and are denied entrance. Just not as compelling. But, much like pizza, there's no such thing as a less than awesome Usagi story. This one just weaves its best mojo in the first half. The art: Sakai is a master of cinematic storytelling. Many of his major influences in capturing Feudal Japan were cinematic in nature, so it's no surprise that he has perfected that kind of storytelling on the page. The slow, Kurasawa-like reveals, the vivid action, the attention to detail and equal fascination with the landscape as with the main action. More interesting still are the contrasts he draws between bright, cartoony, safe, and dire and heavy tones. Much of the magic of telling the story of Usagi through an anthropomorphic lens is the opportunity to express extreme contrasts -- when Usagi is friendly and kind, he is a cuddly anthropomorphic bunny. When he is enraged, he is all the more terrifying in contrast. Conclusion: You're dumb if you don't try Usagi at least once. There, I said it. Grade: 9/10 |
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shaxper
CCF Site Custodian
Posts: 22,451
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Post by shaxper on Nov 23, 2016 10:16:30 GMT -5
Harbinger Renegade #1 script by Rafer Roberts, pencils by Darick Robertson, inks by Richard Clark, color by Diego Rodriguez Summary: The first Harbinger story that is completely free of the original 1990s source material attempts to take the characters and history of the first volume in bold new territory with careful consideration of the consequences their previous actions have triggered. Plot: My continuing struggle with the new Valiant is that every story -- EVERY story -- they write is of ridiculous high quality and yet is rarely ever "fun". Thus, after a brilliantly executed recap of the team's entire history up until now (that's right, you can easily jump on with this issue if you've read none of it before), we get a perfect-in-execution exploration of the state of the world in the wake of what the team did against their nemesis in the first volume, as well as how each character is dealing with those consequences, all while new and thoroughly sympathetic characters are introduced that will clearly become important down the line. It's extremely well done, and I'm also incredibly impressed with the emphasis placed on diversity. Female characters getting scenes that aren't about boys, multiple well-developed African American characters who each have their own identities and could never be confused for one another, and (best yet) none of this comes at the expense of the story. It's never labored or thrown in the reader's face; it just is. This issue is already making headlines for exposing Kris Hathaway (one of the core characters) as being in an interracial lesbian relationship, but again, this is never thrown in the reader's face. It just is. In a world in which one in four million people gets super powers, more than one of them is going to be female, black, and/or gay. That's just being real. Too bad the cover art does not reflect this diversity. And I won't spoil the ending of this story, but it was pretty damn exciting. Art: While the art by Juan Jose Ryo in the prologue section is a definite turn-off at times, the artist of the main section, Darick Robertson, dazzles as much as Rafer Roberts' script does. I think I was most impressed when two NSA agents were questioning a young man about his knowledge of the Harbinger Wars and their aftermath, and it was left to the art, not the script, to show us that he was innocent and telling the truth. I found that extremely impressive. Worth noting: Fans of the original Valiant will know exactly what the company is doing with their special coupon in this issue. Collect coupons from the first four issues of Harbinger Renegade (no photocopies or duplicates allowed) and mail them in along with $10 to get an exclusive copy of Harbinger Wars 2 #0. I think I'll wait for the trade, myself. Conclusion: This book is 100% thoughtful and quality, utilizing its source material well while also boldly moving in new directions with strong art and characterizations, as well as an excellent display of unforced/un-imposing diversity, but, in spite of all of this, it just wasn't much FUN. I could see all that the book was doing right, and yet there were only two moments in the issue (both surprises) that I actually found myself getting into. Grade: 8/10 |
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Post by thwhtguardian on Nov 23, 2016 10:46:40 GMT -5
I've been wanting to try and get in the new Valiant stuff so this sounds like the book to try.
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shaxper
CCF Site Custodian
Posts: 22,451
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Post by shaxper on Nov 23, 2016 11:28:03 GMT -5
Mickey Mouse #14 (#323, old numbering) written and pencilled by Andrea "Casty" Castellan, inked by Michele Mazzon, and colored by Disney Italia with Nicole and Travis Seiter Oh sure, first he tries to sell us on a samurai bunny, and now he wants us to read Disney comics? Summary: There are parts of Europe where superheroes never became the dominant genre in comic book storytelling, and in those places, Andrea "Casty" Castellan is a virtual rock star, as I've explained here. While the Disney-style art and humor may take some getting used to for the mainstream superhero comic fan, what this story offers is far more than the cutesy child-friendly nonsense you may be imagining. Plot: Mickey's primary cast infiltrates an illegal underwater facility mining an unknown metal substance that hails back from the days of Lost Atlantis. It's equal parts classic adventure story, brilliant science fiction, fun laughs, exciting action, and carefully considered historical/mythological research. You'll find yourself laughing as often as you are on the edge of your seat or gleefully absorbing serious knowledge dropped. This is watching the History Channel, Guardians of the Galaxy, and Spongebob Squarepants all at the same time (though, to be fair, the "history" and theories put forth here are a lot more credible than what you might see on The History Channel  ). Art: Anyone not familiar with Disney-style art is going to need some time to adjust to this, but if you get the visual context, Casty's art is light years beyond what his contemporaries are doing, full of intricate detail and unexpected expressionism at key moments, he makes a forced house style into something brilliant, kinetic, and artistic, and the inking and coloring really enhance this once Mickey and friends find themselves in strange new sci-fi territory. Conclusion: Though not the best thing Casty has ever written, this one shot adventure is a good sampling of why his work is awesome and worth paying attention to. Grade: 8/10 |
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shaxper
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Posts: 22,451
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Post by shaxper on Nov 23, 2016 11:56:16 GMT -5
Cerebus in Hell? #0 Art by Gustave Dore, everything else by Dave Sim Summary: Dave Sim celebrates the 40th anniversary of launching Cerebus by doing none of the things that made that book a classic. Plot: The joke's on us. On the first page, a blurry photograph of Dave Sim holding up his wrist in a cast explains that he feels he cannot draw anymore due to some undiagnosed issue with his wrist, he credits the book to Dante Alighieri and some British Columbian psychologist that, perhaps, he has seen(?), and then provides pages worth of lazy photoshopped comics featuring the art of Gustave Dore in which Cerebus strikes one of three poses, somewhat in the spirit of Dinosaur Comics (but nowhere near as funny). I got a few chuckles out of this, but I suspect I could have been far funnier if I'd just done these myself, and it probably wouldn't have taken me more than a few hours. There is truly nothing here for even die-hard fans of Cerebus. It's every bit as ridiculous as it sounds. Art: reproduced. Conclusion: If you have no internet or do not believe in the internet, this is not a bad way to spend twenty minutes. Otherwise, there's far better stuff out there on the web, and it's all free. Grade: 3/10 |
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Post by earl on Nov 23, 2016 21:55:08 GMT -5
 Black Monday Murders #4
Words by Jonathan Hickman, Art by Tom Coker & Colors by Michael Garlin Summary: This series is based on the premise that the great economic houses of the world are secretly dark occultists working for mysterious 'elders'. A murder has occurred in their circle and from there the wheels turn as a NYC detective finds himself involved in something far beyond what was expected. Series is unique in that Jonathan Hickman has expanded each issue out incorporating secondary texts tied to the plot of the series. Each issue is over 40 pages. Plot: This issue is a background on the Rothchild house centered around the funeral of it's head who was murdered in opening of the series. It is basically a long 'origin' issue based around one of the center characters Gregoria Rothchild. At this point the series is still building the world and providing the background of the cast characters. Artwork: Tom Coker has a modern style. The series judiciously uses ALOT of black. The colors are muted and icy, which goes to heighten the level of creepiness. Lettering and page layout is well done and expessive, which have been a part of many Hickman's later comics. Conclusion: Black Monday Murders has been a good read so far. Not sure how long an arc the series might be running, but quite a bit has been covered in four issues. If you like your comics widescreen and a fast read, you will want to pass it by, as with the added materials it is a fairly slow modern comic read. It's a very dark and cynical comic, so I would say it is not for everyone and is more for mature readers. It is also not a horror 'monster mag', it is more psychological, talky and existential. First trade comes out in January, if anything sounds interesting, it would be worth picking up and checking out the first few pages to see if the style catches with you. Personally, I think with this title and East of West, they are far beyond what Hickman has done with super heroes and are a better fit.
Grade: 8/10 |
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Post by Deleted on Nov 24, 2016 0:02:30 GMT -5
Titans #5: unfortunately I'm losing patience with this story. Basically this entire issue takes place in the span of a few seconds while Wally runs to save his friends. He talks to himself the entire time while Kadabra taunts him. The art is not grabbing me, although the style does suit Wally. The art is more like something you'd see in a Flash comic. Hoping this story wraps up soon. For 5 issues in, this story could have probably been told in 3 issues....or better yet, in the pages of the Flash. 2/10
Wonder Woman #11: the lies conclude sort of)in this issue. Wonder Woman and Steve are received by Hippolyta and the amazons, but this is not the Paradise Island Steve remembers. Fans of the new 52 Wonder Woman probably won't like where this story seems to be heading, however it's all good with me. Etta appears back in D.C. and some subplots there pick up. The art is gorgeous in some scenes. There is a 2 page spread of Wonder woman's welcome home dinner and it is very well drawn and detailed. when I look at the art I can see modern day elements of HG Peter (or is it wishful thinking? Ha!) some scenes comes off as murky, maybe due to the colors.
Rucka is giving us a great story with mystery and bits of all Wonder Woman eras. Looking forward to reading more!
8/10
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Post by thwhtguardian on Nov 24, 2016 11:34:38 GMT -5
Black Monday Murders #4
Words by Jonathan Hickman, Art by Tom Coker & Colors by Michael Garlin Summary: This series is based on the premise that the great economic houses of the world are secretly dark occultists working for mysterious 'elders'. A murder has occurred in their circle and from there the wheels turn as a NYC detective finds himself involved in something far beyond what was expected. Series is unique in that Jonathan Hickman has expanded each issue out incorporating secondary texts tied to the plot of the series. Each issue is over 40 pages. Plot: This issue is a background on the Rothchild house centered around the funeral of it's head who was murdered in opening of the series. It is basically a long 'origin' issue based around one of the center characters Gregoria Rothchild. At this point the series is still building the world and providing the background of the cast characters. Artwork: Tom Coker has a modern style. The series judiciously uses ALOT of black. The colors are muted and icy, which goes to heighten the level of creepiness. Lettering and page layout is well done and expessive, which have been a part of many Hickman's later comics. Conclusion: Black Monday Murders has been a good read so far. Not sure how long an arc the series might be running, but quite a bit has been covered in four issues. If you like your comics widescreen and a fast read, you will want to pass it by, as with the added materials it is a fairly slow modern comic read. It's a very dark and cynical comic, so I would say it is not for everyone and is more for mature readers. It is also not a horror 'monster mag', it is more psychological, talky and existential. First trade comes out in January, if anything sounds interesting, it would be worth picking up and checking out the first few pages to see if the style catches with you. Personally, I think with this title and East of West, they are far beyond what Hickman has done with super heroes and are a better fit.
Grade: 8/10 This is another book I seriously need to get into, the concept sounds like something right up my alley and about the only thing that's kept me off of it is the fact that for me Hickman's ideas always seem to start off great but never end up really going anywhere after that. |
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Post by Deleted on Nov 24, 2016 13:03:18 GMT -5
I'm at work so only time for a few quick reviews:
Flash #11. Barry & Iris get pulled into the Shade's "shadowlands" looking for Wally II. The art this issue looks similar to Carmine Infantino's. So far this story has been a nice change from the initial arc. Not great but decent. 6/10.
Titans #5. A whole issue that last a few seconds as Wally races around & saves all the Titans & Linda before disappearing again! I agree with mrjupiter. Did we really need a whole issue to tell something that could have taken 2 pages to tell? We know Wally survives because he is in the following issues. This issue was a let down although I like the art. 4/10.
Wonder Woman #11. Another good issue. My only gripe? It wasn't really the conclusion of Lies. Year One is still the better arc. 8/10.
Capt Canuck #10. sigh. Yet another issue that takes a whole issue to tell something that could be told in a few pages. Continues the intro of Northguard into the Chapterverse. Kirk's art looked a little different than his usual style this issue. 5/10.
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Post by thwhtguardian on Nov 24, 2016 19:33:05 GMT -5
Han Solo #5 Written by Marjorie Liu Art by Mark Brooks Colored by Sonia Oback Summary: The last leg of the race is here, there's a mysterious murder on the Falcon and the Empire is hot on the heels of the racers!
Plot: Liu's race comes to it's conclusion in this 5th issue and although there's a lot going on and the pace is just as breakneck as the race it chronicled it never feels rushed. The race, the personalities and relationships of the racers, the murder plot and even Han's relationship with Leia and the Rebellion all have their own time to breath and even though the time is brief with each of those elements they come together really nicely. The independent elements could have come across a superficial and rushed but Liu made it work.
Art: While there's nothing all that flashy or dynamic about the style of Brooks' and Oback's art it has a great cinematic look to it that really gives the book a true Star Wars feel.
Conclusion: A fast, fun adventure that excites from beginning to end.
Grade: 8/10 |
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Post by thwhtguardian on Nov 24, 2016 20:58:12 GMT -5
Batgirl #5  Written by Hope Larson Art by Rafael Albuquerque Colored by Dave McCaig Summary: With the advice of Fruit Bat, Batgirl faces off against Teacher one final time with Kai's life hanging in the balance if she fails.
Plot: After four issues Larson concludes her Batgirl road trip with a bang with lots of action and a promise of a return of Batgirl's former supporting cast from the last run. While the middle of the story was a little bit of a slog the individual elements were fun; the locations were well developed and the drop out villains were fun. That said the whole genius formula and Kai as a supporting character were pretty bland but I'm excited that the ending promised a return to the greatness that came before.
Art: Albuquerque's scratchy, energetic style continues to be the big draw on this book. Under his pen the action is visceral, you can feel the weight of each blow and the motion is fast without blurring any of the details. Further than that, which is even more impressive, Albuquerque excels at the quiet moments with the same vigor he has with the action scenes. The facial expressions while Babs talked with Fruit Bat were perfect, you could feel what she was thinking and it was all subtlety done.
Conclusion: While not the greatest plot wise the characterizations were strong, the dialogue was light and fun and the promise of going back to Burnside has me excited for what is to come.
Grade: 7/10 |
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Post by Deleted on Nov 24, 2016 23:37:24 GMT -5
Action 968: superman battles the Godslayer and his partner who want to murder Lex Luthor in an effort to prevent a catastrophic future. There is a nice opening sequence showing a rip off in Metropolis's tourism industry that made me laugh. The issue is mostly a big fight scene. Jon plays a pivotal role towards the end of the issue and we learn that the mysterious Clark Kent doesn't quite share Superman/clark's values. The art was ok, lots of punching, flying, and sound effects. What is the deal with washed out coloring that is so frequently used today? I was reading a DC collection of Batman by Len Wein stories and the colors were so much more vibrant in the older stories. I know that the colors are computer generated now, but they are so bland. For me, this was a weaker issue of Action, but I'm still enjoying the series.
6/10
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Post by Roquefort Raider on Nov 25, 2016 19:44:05 GMT -5
Usagi Yojimbo #159written, penciled, inked, and lettered by Stan Sakai Look my dear, for months now I've been begging you to clean your room, take out the garbage, and read Usagi Yojimbo. What more do I have to do? Reel off testimonials from favorite mainstream comic creators, espousing that Usagi is one of the finest comics out there and will not disappoint? Give it its own section of the board? Convince the creator, Stan Sakai to be a regularly contributing member there so that you can talk to the guy directly? Well, I've had it. I've burned the house to the ground and surrendered custody of you to the state. Take some time to think about what you've done. Summary: Usagi discovers a lone girl hiding in the forest next to the body of a murdered samurai. Taking the traumatized girl in his custody, Usagi soon discovers that strangers with questionable motives are after her, resulting in several fight scenes, a reuniting with fan-favorite character Inspector Ishida, the revelation of a complex embezzling conspiracy, and a larger mystery about a shadowy figure within the government who will ultimately play a role in ensuing Usagi adventures. Plot: The first half of this story is every bit as unforgettable and emotionally vivid as last issue, as Stan truly captures a child's trauma in an unforgettably empathetic, tortured, and yet beautiful manner somehow. This girl has just witnessed a tragedy not so unlike Bruce Wayne's, and yet Sakai is able to give it a weight even Frank Miller and David Mazzucchelli could not. In contrast, Usagi's kindness to her is thoroughly reassuring , and the surprising rage he can turn upon her pursuers is almost terrifying. Stan has done much to evolve Usagi's moral code over the years, and that's become increasingly clear in recent issues as he has sought non-violent solutions first in most circumstances, his trusty swords sheathed. But here, for the first time in ages, the swords come out fast and mercilessly when an innocent child is endangered. My only problem with this issue is that the best of it resolves too quickly, Usagi getting the child to safety and seeking help in taking down the larger threat. While the action intensifies, the dramatic stakes are lower -- protecting a traumatized child and attempting to unravel the mystery of her pursuers, versus knowing exactly what is going on, there being no real danger, and having an entire troop of police behind you as you show up at the doors of a well defended manor and are denied entrance. Just not as compelling. But, much like pizza, there's no such thing as a less than awesome Usagi story. This one just weaves its best mojo in the first half. The art: Sakai is a master of cinematic storytelling. Many of his major influences in capturing Feudal Japan were cinematic in nature, so it's no surprise that he has perfected that kind of storytelling on the page. The slow, Kurasawa-like reveals, the vivid action, the attention to detail and equal fascination with the landscape as with the main action. More interesting still are the contrasts he draws between bright, cartoony, safe, and dire and heavy tones. Much of the magic of telling the story of Usagi through an anthropomorphic lens is the opportunity to express extreme contrasts -- when Usagi is friendly and kind, he is a cuddly anthropomorphic bunny. When he is enraged, he is all the more terrifying in contrast. Conclusion: You're dumb if you don't try Usagi at least once. There, I said it. Grade: 9/10<shame> I have never read a single issue of Usagi Yojimbo... </shame> |
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shaxper
CCF Site Custodian
Posts: 22,451
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Post by shaxper on Nov 25, 2016 20:20:59 GMT -5
Usagi Yojimbo #159written, penciled, inked, and lettered by Stan Sakai Look my dear, for months now I've been begging you to clean your room, take out the garbage, and read Usagi Yojimbo. What more do I have to do? Reel off testimonials from favorite mainstream comic creators, espousing that Usagi is one of the finest comics out there and will not disappoint? Give it its own section of the board? Convince the creator, Stan Sakai to be a regularly contributing member there so that you can talk to the guy directly? Well, I've had it. I've burned the house to the ground and surrendered custody of you to the state. Take some time to think about what you've done. Summary: Usagi discovers a lone girl hiding in the forest next to the body of a murdered samurai. Taking the traumatized girl in his custody, Usagi soon discovers that strangers with questionable motives are after her, resulting in several fight scenes, a reuniting with fan-favorite character Inspector Ishida, the revelation of a complex embezzling conspiracy, and a larger mystery about a shadowy figure within the government who will ultimately play a role in ensuing Usagi adventures. Plot: The first half of this story is every bit as unforgettable and emotionally vivid as last issue, as Stan truly captures a child's trauma in an unforgettably empathetic, tortured, and yet beautiful manner somehow. This girl has just witnessed a tragedy not so unlike Bruce Wayne's, and yet Sakai is able to give it a weight even Frank Miller and David Mazzucchelli could not. In contrast, Usagi's kindness to her is thoroughly reassuring , and the surprising rage he can turn upon her pursuers is almost terrifying. Stan has done much to evolve Usagi's moral code over the years, and that's become increasingly clear in recent issues as he has sought non-violent solutions first in most circumstances, his trusty swords sheathed. But here, for the first time in ages, the swords come out fast and mercilessly when an innocent child is endangered. My only problem with this issue is that the best of it resolves too quickly, Usagi getting the child to safety and seeking help in taking down the larger threat. While the action intensifies, the dramatic stakes are lower -- protecting a traumatized child and attempting to unravel the mystery of her pursuers, versus knowing exactly what is going on, there being no real danger, and having an entire troop of police behind you as you show up at the doors of a well defended manor and are denied entrance. Just not as compelling. But, much like pizza, there's no such thing as a less than awesome Usagi story. This one just weaves its best mojo in the first half. The art: Sakai is a master of cinematic storytelling. Many of his major influences in capturing Feudal Japan were cinematic in nature, so it's no surprise that he has perfected that kind of storytelling on the page. The slow, Kurasawa-like reveals, the vivid action, the attention to detail and equal fascination with the landscape as with the main action. More interesting still are the contrasts he draws between bright, cartoony, safe, and dire and heavy tones. Much of the magic of telling the story of Usagi through an anthropomorphic lens is the opportunity to express extreme contrasts -- when Usagi is friendly and kind, he is a cuddly anthropomorphic bunny. When he is enraged, he is all the more terrifying in contrast. Conclusion: You're dumb if you don't try Usagi at least once. There, I said it. Grade: 9/10<shame> I have never read a single issue of Usagi Yojimbo... </shame> It's not too late to redeem yourself |
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