In our first issue, we had some great pics of the upcoming Batman: Arkham Asylum game for next-gen consoles. Coming this year from Rocksteady Studios and Eidos Intercative, the game set in Gotham’s best (or worst) asylum looks fantastic, and should be a relief for DC fans who are still waiting for a good game starring their favourite characters. The new trailer is out now, and gives the impression of a blockbuster film. Can’t wait.
This issue is so pretty it’s making all my other comics jealous. An orgy of sights from Poltergeist, Ghostbusters, Judge Dredd and grand superhero epics, Warren Ellis and Steve Pugh concoct a tidy package of bombasticity (yes, I made up that word) unlike any piece of work you’ll find on today’s shelves. The four issue mini-series from Radical is yet another attention-getter in its already impressive arsenal of hot properties. Steve Pugh’s name comes before famed writer Warren Ellis’, and there’s a good reason. Hotwire is primarily Pugh’s creation, working from Ellis’ original story, but Pugh handles both chores brilliantly. Like any good writer/artist Pugh is totally in synch with his ambitions on the page and the fact that he’s been working on this title on and off for years shows. That devotion is obvious and Pugh can be glad that he stuck with Alice Hotwire. It’s paid off very well.
So what’s it all about then? This is a typically Radical high-concept and one that is revealed naturally within the story. Alice Hotwire is a smart, sassy, techno-goth punk and a detective exorcist. In the Britain of the future, ghosts are referred to as the more comfortable “blue lights” and in some parts roam the city as loose spirits. It’s a great idea to build an intriguing world upon, and in Pugh’s gorgeously rendered pages, the world is exquisite. Those familiar with his previous work on Shark Man will like what they see, as will everyone else, really. He digitally paints all manner of easily identifiable characters, surrounding them with gizmos and vehicles. There’s a burgeoning story at work here besides the undead, and the city riots, police corruption and unpopularity of the by-the-book Hotwire amongst her fellow cops will slowly form a larger narrative.
The beauty of Ellis’ writing is that he can take the same old broad ideas (humanity’s dependency on machines, pseudo-science, female outsiders) and paint them in striking new colours and Pugh has a great base to leap from as he constructs this tale. This is a great introduction to new readers sick of traditional superheroics. There’s enough action, playful attitude and variety to entertain you. There’s also exploding bodies, electrocutions and one angry digital ghost to compel you further. Of course, it doesn’t hurt that Alice Hotwire is an attractive young girl who doesn’t compromise, believe she’s ever wrong, or lose a fight. The book wisely centres on her but surely her new partner, family man, Mobey, will share the spotlight once the pair start figuring out what’s going on with all the increasingly weird paranormal activity.
Hotwire: Requiem for the Dead #1 is a 28 page issue, available from February 4. If you like looking at pretty things and being seduced by an equally arresting adventure, you have to pick it up.
I became familiar with writer Mike S. Miller’s work a couple of years ago through his Deal with the Devil series, as well as The Imaginaries, which is simply a great concept. He’s done work for every major publisher (either as writer or artist) and is most famous for his work on the adaptation of novelist George R.R. Martin’s Hedge Knight series, with writer/artist Ben Avery. He’s a creator that is able to change genres with ease however, and has also written Zondervan’s excellent The Hand of the Morningstar as well as the fantasy, Lullaby. The Imaginaries launched from Image four years ago, before moving to Abacus, Miller’s own publishing company. The series is back, and now withBluewater Productions.
For those that came in late, are you able to tell us a little about the world of The Imaginaries?
How many books have you worked with Ben Avery on?
Going from A to Z, can you let us know what’s happening with your work at Abacus Comics and Zondervan?Popular Avenger Ms. Marvel has a name change in her title, becoming Dark Ms. Marvel in issue 38. Last year, Marvel concocted a similar change to Hulk’s title, which went from The Incredible Hulk to The Incredible Hercules, as the Greek god took over the title. Now, tying into Marvel’s Dark Reign epic that has Norman Osborn (Green Goblin) effectively running America, Carol Danver’s life as Ms. Marvel is about to undergo some major changes. Click below for looks at covers for the next four months, including this week’s Ms. Marvel #35 by Ed McGuiness, and #36-#38 (the issue which begins Dark Ms. Marvel). All issues are written by Brian Reed with interior art by Patrick Olliffe.
Caped is a new series from BOOM! Studios, which debuts in March. Written by South Park scribes Josh Lobis and Darin Moiselle with art by Yair Herrera, the series is an irreverent look at superheroes and their crazy world. You can order Caped from your local comic shop now. Click the link below the official press release for a sneak peek.
Think your boss is tough? Try working for a superhero! A story of capes, cowls and Blackberrys, CAPED comes to you from the brains of SOUTH PARK writers Josh Lobis and Darin Moiselle, with art by Yair Herrera.
In CAPED, we meet Jimmy Lohman. Millions would kill to be a superhero’s personal assistant. Unfortunately, Jimmy’s not one of them. Down on his luck, and assisting a has-been hero, will anyone take Jimmy seriously when he uncovers the plot to kill off every superhero in town?
“Josh and Darin are some of the funniest guys I have met. And CAPED captures that completely. It’s a laugh out loud funny superhero story that every tights and spandex fan will love,” said BOOM! Studios Editor-in-Chief Mark Waid.
“First thing you should know is that CAPED is autobiographical. We both had bosses who were jerks. They hogged all the credit but passed on all the blame. We wanted to tell a story about the unsung heroes and nowhere were those themes bigger – and funnier – than the superhero genre,”said CAPED co-writer Darin Moiselle.
CAPED features interior illustrations by Yair Herrera, known for his work on IDW’s ZOMBIES: ECLIPSE OF THE UNDEAD! and THE COMPLETE IDIOT’S GUIDE TO DRAWING SUPERHEROES AND VILLAINS.
“Sometimes we just need to make fun of superheroes!” said CAPED series editor Ian Brill. “This is the series to do that.”
I reviewed Blue Dream’s Hyperactive book yesterday, and noticed that they currently have a huge sale on until the end of January. Of course, I couldn’t help myself and bought something. You might like to as well. Their main book, The Dreamland Chronicles from Scott Christian Sava has an impressive following and you can pick up the first two trades from the web-comic series, and some nice toys. Go here to check out the goodies.
This all-ages OGN (Original Graphic Novel) is simply a great entry point for younger readers. Playing like the pilot of a Saturday morning cartoon, this 108 page full colour book comes from Blue Dream Studios and Worthwhile Books.
Written by Scott Christian Sava (the creator of The Dreamland Chronicles) with art by Joseph Bergin III, Hyperactive is every kid’s fantasy. However, it doesn’t start that way. Joey Johnson returns to school, with everyone else, after the summer break and is welcomed by a few obvious changes. Firstly, Mabul has grown over the holiday and also into her role as the brace-ridden bully. As Joey attends his first class, the next change presents itself. Watching the seconds tick by behind the teacher’s desk, he realizes time is actually slowing and everyone around him is temporarily frozen. Joey revels in his newfound powers, especially during dodgeball where he exacts revenge on Mabul and astonishes the militaristic gym teacher. Showing pal Freddy, the pair realize that Joey now possesses super speed, leaving Freddy with an obvious response – “I want to be your sidekick.”
In his excitement, Joey beats the school bus, and a police radar gun, home to tell his parents the good, but surprising news. His parents are obviously concerned, as is his doctor, and soon enough certain unsavoury types arrive at the Johnson’s door, with nefarious schemes in mind. The ironically named Big Tony is first at the door, and promptly has it slammed in his face, followed by sports drink manufacturers, movie producers, game nerds and lawyers who look like the Three Stooges. Mr Itchez from the Burnz and Itchez Pharmaceutical Corporation is a lot more determined however and will not let Joey’s hyperactive metabolism be a wasted opportunity for his company. Dreaming of an army of super (speedy) soldiers, Mr. Itchez orders a good old fashioned kidnapping. Three brothers who bicker about their code names and get stuck in Joey‘s bedroom window manage to take the boy and his parents. Freddy realizes something’s wrong and shows up in a homemade costume looking to save his buddy in the name of adventure. Freddy shows up at Burnz and Itchez (where the security guard is reading Sava’s most famous book, Ed’s Terrestrials) to smuggle Joey out, but it appears he’s doing quite well by himself, due to the incompetence of his captors. Hijinks ensue and the duo eventually escape, and soon after realize that super speed isn’t the only power Joey possesses.
This is an entertaining book, and tailor made for younger readers. Parents can rest assured that it’s a simple tale, with enough jokes, and physical humour to raise a few chuckles. Bergin’s art resembles typical toon fare, with clean lines and lots of motion and sound effects. For those who want something safe for their kids, or younger sibling, pick up Hyperactive. Sava is a trusted name when it comes to entertaining adventures, and this latest book is another fine example of why.
One of the best things about superhero comics involves the constant smackdowns. Here’s a video showing what Marvel thought were their best fights from last year.
This has been one of my favourite titles since it began with the great creative pairing of Jeph Loeb and Ed McGuiness. Then Supergirl was fantastically (re) introduced into the DC Comics Universe, with late, great penciller Michael Turner. It’s been a while since it’s hit these former heights though. And this Annual doesn’t help. I will say one thing for it though – it’s a great place to start for comic book newbies.
Written by Wolverine creator Len Wein, with beautifully fluid art by Chris Batista, this stand alone tale is set in the past of the DCU. The problem with this extra-sized issue is that the dialogue seems straight out of an issue from 20 years ago. It just appears staid and corny, and Batman is largely out of character. There’s no sense of menace or danger about him, nor is there any hint of his typically antagonistic relationship with Superman. However, it does introduce readers to Superman, Batman (of course) Lois Lane, the third Robin and baddies Professor Ivo, Metallo, Mr. Freeze, Atomic Skull and Firefly, sporting his recent animated look from The Batman carton. There’s also a nice cameo of sorts that hints at the ‘future’ of the DCU, with a newspaper headline declaring Martian Manhunter’s capture of the Human Flame. Loyal DC fans know that late last year, Human Flame was instrumental in Manhunter’s death.
So, what is this Annual about? With a nice twist on the silver Age concept of a composite Superman/Batman, this modern take presents a similar being, with powers and costumes of both heroes unsurprisingly suffering a maddening identity crisis. He kidnaps Lois and Robin and eventually understands that being one hero is tough enough, let alone two. So he decides to rip himself in half.
This is not an issue for mature readers who expect more from their comics. They’ll find themselves asking, “Why hasn’t Robin picked his handcuffs?” and raising eyebrows at lines like, “Gee, I don’t know, do I look like I’ve recently lost my mind to you?”
For newbies though, this issue isn’t too bad. It looks great, has a simple story, and fans of Tim Burton’s Batman films will see a similar look to the Dark Knight and his Batmobile here. Consider this as an easy entry point to comics reading, but don’t consider it indicative of the much more dynamic offerings DC usually create. For a preview of this issue, go here.
This was a surprise. Definitely not one for the kiddies, Harker is a new series from Ariel Press which follows two unlikely English cops as they delve into a gruesome murder on the steps of a church. Take CSI, peel away all the Hollywood veneer, and throw in a dash of that loveable dry British wit and you’ll come up with this oddly charming tale.
Written by Roger Gibson with art by Vince Danks, Harker is a curiously attractive package. Sure, there’s profanity and spilling gizzards, but it does maintain a sense of quiet anarchy without coming across as pretentious. It’s a clever balance really.
It opens with a brutal stabbing, followed by the discovery of the corpse the next morning. Amidst the disgusted cops and forensics team, steps Harker and Critchley discussing cheese and pickles. They are very much at odds with their fellow police officers, with their casual banter. However, they seem to know a lot and are determined to unearth answers. A quick visit to the autopsy later, where they put the female coroner off balance, and they have enough clues to act on. This leads them to the British Museum, where their unusual social stylings put another female professional out of whack. However, this time Critchley manages to impress the librarian enough to wrangle a date out of her. The pair finally come to the conclusion that they are dealing with a satanic cult. And this new series is off and running with an impressive first salvo.
Since Diamond, the world’s foremost comics distributor, has recently raised their minimum profit for listing books, many small time publishers will struggle to get attention. This is why it’s important to take note of publishers like Ariel Press, and support them. Not wholeheartedly however. Not every independent comics company is producing great material. Ariel appears to be though. Harker fulfills the goal of the creative pair behind it, by being TV on paper. It’s structured well with a great sense of pace and distinguishable characters.
Plus this fanboy noticed the From Hell reference (Alan Moore’s Jack the Ripper epic graphic novel) and also the fact that Critchley looks like fan-fave writer Grant Morrison. Seeing as how the detective duo are slightly based on their creators, that’s a happy coincidence though.
The art has to be mentioned too. Danks does a greta job with the black and white interiors. Fans of Dave Sim’s Glamourpuss MUST get this. With it’s beautifully simple renderings the art just pops. Every charcter looks like an actual person, rather than a generic humanoid, and when Danks puts his skills to the grand English architecture, with fine detail, and wise use of greys, the environment looks just as real as anything Alex Ross does.
Within this new series (of 6 in the first volume) there’s room for further character development, rather than simply being a double act. And more than a novelty. Gibson and Danks show they have what it takes to build upon this intriguing premise though. Hopefully this series will be a consistent breath of fresh air, and carve a niche for itself as an accessible title for readers with a spandex rash, or newbies just looking for a mature, well-crafted tale.
Harker #1 is available for order now, from this month’s Previews, for a March release. Put your order in now at your local comics shop.
