There has been a dramatic and welcome barrage of fantasy comics flooding into the market of late. While fantasy stories have always been a part of comics, the recent influx is both noticeable and exciting. Valen the Outcast is a perfect example of exciting – and needs to be noticed. Valen may not stand at the top of the current offerings of fantasy comics but this issue will go a long way in getting him there.
If you’re a fan of Game of Thrones, specifically its engaging and brutal amounts of violence, then Valen the Outcast will certainly be to your liking. This particular issue pits Valen, and his merger crew, against a group of women warriors that would make the Amazons look like a bunch of schoolgirls playing hopscotch. It takes the combined talents of the group to merely survive the encounter, with plenty of the fore mentioned exciting brutality.
But what is going to help Valen climb to the top of the stack of fantasy series is the strength of character and sheer compassion demonstrated in this issue. Amid the chaos and carnage of battle emerged strong character moments and the growth of Valen’s group, all centered on a young girl. Fiona, a young girl who betrayed her ‘sisters’ to save Zjanna’s life, has no choice but to now travel with Valen, Zjanna and Cordovan. The bond between Zjanna and Fiona is instant and immediately carries much heart and emotion, a welcome surprise in a series like this.
As a series Valen the Outcast has expanded beyond what I might’ve initially considered it to be. So much more than a simple hack and slash fantasy tale of revenge, Valen and his outcasts – especially new addition Fiona (I’m setting myself up for disaster, aren’t I?) have carried this series to unexpected heights that is not far from claiming the top spot in today’s diverse comic fantasy offerings.
Valen the Outcast #6 will hit stores Wednesday, May 16th and retails for $3.99.
Seems like a simple concept and for decades it has been the driving force behind the groundbreaking science fiction franchise, The Planet of the Apes. But while that dichotomy has always provided a wealth of allegories and storytelling opportunities, the lines have now become blurred. The division between man and ape is becoming harder to define through the actions of leaders on each side and the desperate alliances each side will forge to maintain control.
For reasons I wish I could explain, and now wish I could change, I fell out of the habit of reading BOOM! Studios’ Planet of the Apes series. And upon my return this is the world, described above, that I was reintroduced to. Ten years have passed since the events I last read and enjoyed and the world, or perhaps ‘planet’, has changed dramatically. Ten years of relative peace have been maintained though the apes preserve a strong upper hand in this new age.
But what about those blurred lines and desperate alliances? I’m getting there, trust me.
Skintown, the former refuge town for humans, is once again under ape control and is once again referred to as it proper title, Southtown. Driving home the conflict between man and ape many locations are referred to by both their ape name as well as the human name in the comic’s captions, for instance: The Great Sea (Ape nomenclature)/Atlantic Ocean (human nomenclature). A fantastic addition by the writer, Daryl Gregory, to take the reader even further into the division between man and ape in this time of alleged peace.
Now, to those blurred lines and compromises.
In the heart of the ape capital city the Lawgiver, the ape leader, raises a human child as if it were her own flesh and blood. And stranger still, the leaders of the humans find an unexpected ally in the Great Khan, the self appointed King of the Apes, who shaves himself to reflect a more human appearance and his queen is a human.
See what I mean?
Despite the dramatic nature of these proceedings, they are much more than gimmicks and Planet of the Apes has lost none of its drama and potency thanks to Gregory’s writing and the still impressive artwork by Carlos Magno. And below the surface, hidden behind the dramatic, are more secrets and more betrayals. The ten years of peace is nearly at its end, but this time when the fighting starts it will not be as simple as man against ape.
Planet of the Apes #14 will hit stores Wednesday, May 16th and retails for $3.99.
Peter Panzerfaust
Story by: Kurtis J Wiebe
Art By: Tyler Jenkins
This ongoing creator owned series from Image is an instant classic. Great writing, stellar art! It’s one of the best depictions of Peter Pan I’ve ever read. Which one of you comic book fanatics hasn’t wished you were Peter Pan? Or at the very least one of his Lost Boys? Peter Pan, Robin Hood, Tom Sawyer, Huck Finn these were my first heroes in fiction. My introduction into a world of adventure where kids (and adults) didn’t just do what they were told… (continued @ whatchareading.com)
King Conan #4 delivers the goods with a satisfying conclusion to “The Phoenix on the Sword” (an adaption of the Robert E. Howard story). All paths converge as the titular King fights of his would be assassins, and a demon to boot. I’m sure there’s little doubt as to who’s the victor, nonetheless, witnessing the mayhem is satisfaction.
I’ve been singing the praises of this creative team all throughout this series. Writer Timothy Truman has left his stamp on this adaption. He story-within-a-story approach works flawlessly. I hope to see him do similar work on other REH tales.
Tomas Giorello’s layouts are jammed packed with Hyborian goodness. Everything from the lush gardens of King Conan’s palace, to the hideous afore mentioned demon, are rendered with nice detail and kinetic energy. Adding oil to the flames, are Jose Villarrubia’s mood inducing colors. The dark smoky rooms are paranoid inducing while the blood squirts right off the pages.
You owe it to yourself to pick up this issue (nay, series if you haven’t already) and find out what true sword n’ sorcery is all about.
Comic Reviews for 4/11/12 featuring: Batgirl #8, Batman and Robin #8, Demon Knights #8, Fantastic For #605, Frankenstein, Agent of SHADE #8, Saga #2, Saucer Country #2, Scarlet Spider #4, Secret #1, The Secret Service #1 and Star Wars: Agent of the Empire – Iron Eclipse #5 (of 5)
When I first began to study comic book illustration, I came across a brilliant artist by the name of Berni Wrightson. I was amazed at, what I thought at the time, was a revolutionary inking style. However, while pursuing Wrightson, I came upon one of his early influences, another artist by the name of Graham Ingels. Ingels, along with Jack Davis, Wally Wood, Frank Frazetta, Johnny Craig, Al Williamson, and Reed Crandall ( to name just a few ) made up a stable of artists which produced work for an imprint known as EC Comics. Owned by legendary and controversial publisher William Gaines, the company specialized in horror, science fiction, as well as crime fiction titles. From out of this company sprang the popular “Tales from the Crypt”, “The Vault of Horror”, “The Haunt of Fear”, as well as “Mad” magazine. The stories contained in these books prompted a psychiatrist by the name Frederic Wertham to write book titled “Seduction of the Innocent” which blamed comic books for most of the juvenile delinquency in 40′s and 50′s era youth. This book in turn led to the creation of the Comics Code. And with that, and no pun intended, the final nail in the coffin of most of the horror titles associated with EC. Since these titles spoke more to my sensibilities at the time than did Superman or Spider-man, I was saddened by the industries lack of good and truly creepy horror stories since then ( and, I’m sorry, no matter how dark he could get……Batman was just not cutting it for me ). That is, til I picked up my first issue of creator Eric Powell’s “The Goon”.
The comic book title centers around a character called the Goon, a grizzled giant of a man who poses as an enforcer for a long dead gangster named Labrazio. The Goon killed Labrazio ( who was hiding out in the carnival the Goon was living in ) when the Goon’s favorite Aunt Lizzie was killed in a crossfire between the police and the gangster. Since then, the Goon has taken over all of Labrazio’s criminal rackets and kept up the illusion that Labrazio is still alive. Unfortunately, for the Goon, the town where his operation is located is continually besieged by supernatural creatures ranging from zombies, vampires, carnival oddities, and the occasional giant squid ( forcing the Goon to take on the role of the town’s protector as well ). He is aided by his best friend and sidekick, Franky ( who the Goon saved from a pack of bullies ).
And with the publication of the collected issues that make up Volume 11, well…I just can’t say enough about this title. First, the artwork. As an artist myself, I usually follow book titles based on the artwork inside and these collected issues are just pure eye dessert. There are few artists who can use black ink with such precision and balance as Eric Powell does in these issues. The only artists who I place in this limited talent pool are Wrightson, Wally Wood, Dave Stevens, Steve Rude, Mike Mignola and, of course, Will Eisner. I’ve scanned through this collection twice already and I cannot find one panel that isn’t a master class in inking style. The drawing style and figurework harken back to the old EC Comics house style as well as Eisner’s spirit with a dash of Jack Kirby’s vitality of movement. And the carefully chosen color palette only enhances the already beautifully rendered panels and doesn’t overpower them. There are a great many artists working in the industry today. However, not many of them have the capacity to breathe this much “Life” in their books as Powell does in these issues.
As far as the writing goes, this collection provides plenty of laugh out loud moments. Powell rips apart and satirizes horror movie and mainstream comic conventions. You will literally piss yourself with Powell’s take on the “Twilight” craze, as well as the prevailing and uninspiring cross hatch inking techniques of todays’s contemporary comic book artists. Eagle-eyed film buffs will also catch references to Dracula director Tod Browning’s controversial film “Freaks”. And as a member of the Communication Workers of America Local 1101, I particularly appreciated Chapter 4′s subject matter dealing with greedy corporations and labor union disputes. If only we had the Goon on our side to prevent us from winding up being among the dreaded “99%”. And with an extra retro cheesecake factor provided by special guest, real life Canadian burlesque performer Roxi D’Lite ( in Chapter 3 ) and you have a book which speaks to every reader’s sensibilities.
It is my greatest wish that film-maker David Fincher will procure the funding needed to go ahead and give The Goon the full length cinematic treatment that was hinted at in the teaser trailer released at the 2010 San Diego Comic Con.
Ryan Porter and Suine Hallock (famously of Radical Retro Turtle Toy Talk!) are back with an all-new installment of the Radical Corner of Turtle Comic Talk! What secrets are revealed in the second arc of the new series from IDW and how many more fan expectations were shattered (in a good way!) in the process? Ryan and Suine are ready to head into the sewers to explore, discuss and over-analyze issues five through eight as well as the Michelangelo and Donatello one-shots! Follow them down and discover the true potential of Turtle Power!
By Edward Gambichler (Follow Ed on Twitter @EFG72)
As we come to the end of March and the beginning of April, we close the door on Winter and open the door to Spring. And although April showers bring May flowers, it also brings with it this season’s most highly anticipated comic book events: “Avengers Vs. X-Men”. The plot centers around the return to Earth of one of the most powerful and destructive forces in the Marvel Universe, the Phoenix Force. This alien entity, which holds both the power of Death and Rebirth, cuts a swath of devastation through entire worlds and galaxies until it finds a host it feels a kinship with. One of its former hosts was the late Jean Grey, a former member of the mutant superhero team X-Men and the wife of its leader Scott Summers, Codename: Cyclops.
When issue # 1 opens, most of the X-Men have settled on the remains of the mutant Magneto’s former base of operations, Asteroid M. This island, off the coast of San Francisco and rechristened by Cyclops as “Utopia”, serves as a haven for the mutant population. As a result of the fallout from the House of M ( specifically the actions of the mutant Scarlet Witch ), the majority of the mutant species have been stripped of their powers. Among the remaining “one percent” is Hope, a mutant with the ability to mimic and manipulate the X-Factor gene responsible for mutation. There are some, like Cyclops, who believe that Hope is a “mutant Messiah” ( since she was the first mutant born after the decimation ) and may have the potential to save the mutant race. There are , however, those who doubt this prophecy and see her as a potential threat. She has also, in the past, shown signs of having manifested the Phoenix force. With the imminent arrival of the Phoenix entity, this makes Hope it’s targeted host. This possibility doesn’t escape the Avengers, in particular Captain America, and they fly to Utopia with the intention of taking Hope into protective custody. Cyclops, however, has been training Hope in order for her to be able to harness the Phoenix entity and wield its power (in the hopes of restoring the depowered mutant population to its former glory ). Sensing Captain America will not leave without Hope, Cyclops hits him with an optic blast from his visor, thereby firing the opening salvo in the two teams inevitable conflict.
First off, the artwork. You cannot ask for a better penciller than John Romita Jr. There are few artists that can fill a panel with as much information and not let their pencil lines overpower and confuse the action for the reader. As much as I am impressed by Jim Lee’s draftsmanship, there are times where I would like to just take in the art without having to unconsciously have my eyes focused on every button on a suit or every rivet on a ship or a weapon. Sometimes less IS more and it is the better for it. In this issue, Romita is inked by Scott Hanna instead of longtime collaborator Klaus Janson. And tho Hanna’s inking style is well suited for Romita’s pencil, I would have liked to see Hanna experiment with a different style of inking such as cross-hatching or feathering.
The one thing I have against the start of this series is that I expected to be more conflicted on whose agenda I would agree with. As hard as I tried I could not understand Cyclop’s reasoning behind his stance. This is a man who has a history with the Phoenix entity and it has been responsible for a great deal of the tragedy that has defined his Life. How he can think the Phoenix force can be harnessed and used for good is beyond me. The only thing that would make sense to me is that he’s become unhinged due to the decimation of most of the mutant population. Also on the cover, I see Namor fighting on the X-Men’s side. Although Namor is the first mutant in the Marvel Universe, he has always been defined as a loner and only had allegiance towards his city of Atlantis. As far as I’m concerned, that’s what made him such an interesting character. True, Utopia was intended to be a half mutant/ half Atlantean retreat…..how he can’t see through the folly that is Cyclop’s agenda for the Phoenix is a mystery. This applies as well to Magneto and the rest of the X-Men who are fully aware of the threat of the Phoenix force. How the writers can have them blindly follow Scott Summers on this path is an insult to the intelligence of the characters as well as the reader’s who have to buy this scenario. Hopefully the next issues will rectify the plausibility of the storyline.
