X-Files/30 Days of Night #2 – Review

By Steve Niles and Adam Jones (writers), Tom Mandrake (art), Darlene Royer (colors), Ed Dukeshire (letters)

The Story: Mulder and Scully continue their investigation into the de-blooded and de-headed corpsicles that seem to be appearing all over Barrow, Alaska. Scully runs through several scientifically viable theories, while Mulder solidifies his belief in a single, naturally far more supernatural, explanation. Sound like the formula for anyone else’s favorite TV show of all time? ‘Cause it does mine!

What’s Good: The first issue of this series was pretty darn good, and this one builds nicely on the success of its predecessor. There is a lot less vampire action—a lot less, actually—but since I came to this book almost entirely to watch the exploits of my two favorite FBI Agents, that didn’t bother me in the slightest. (And honestly, even if the lack of vampire gore distresses you, I can almost guarantee it’ll pick right back up again in #3.) Although you’d think Niles’ focus would remain pretty firmly fixed on the 30 Days of Night aspects of this book, both he and Jones do an exceptional job of capturing Mulder and Scully’s voices. Sure it’s not quite the same without Duchovny and Anderson’s practiced delivery and rapport, but it’s still very witty and rings very true to the characters.

I’m pretty picky about art in my X-files books. I know a comic can’t perfectly recreate the mood of the show I loved, or perfectly capture the likenesses of the actors I watched week in and week out, but Mandrake makes a hell of an effort here. He does a lot of the little things right; facial expressions (Mulder’s impish grin and Scully’s trademark looks of exasperation are particularly well done), use of light and shadow, and creative panel layout all lead to an above-average visual experience. It’s not groundbreaking, but it works.

Ex Machina #50 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher

The Story: Ex Machina concludes with glimpse of the years following Mitchell’s time as mayor.

What’s Good: I can’t recall feeling so sad after reading the final issue of a series, not only because of the fact that a favourite book is concluding, but due to the content of the issue itself.  Ex Machina #50 is an emotionally devastating and draining experience for long-time readers who have become tied to Mitchell Hundred’s journey.  It’s poignant to be sure, but it’s hard to see this as anything but a tragedy.

But it’s not “true” tragedy, which is perhaps why it’s so emotionally affecting.  Mitchell Hundred does end up in a good position, professionally anyway, at issue’s end.  He has more power than ever and, in a stunning final couple of pages, is revealed to have ended up very near the pinnacle of American politics.  Of course, it’s all bittersweet to the extreme, because while Mitchell Hundred the politician has flourished, Mitchell Hundred the man finds himself an isolated wreck, irrevocably ruined and alone.  In the end, it’s as though these two sides of Hundred were ultimately impossible to maintain simultaneously, particularly under the weight of superheroics and alien powers.  Mitchell gets his power, but he paid the price.  In that sense, it’s more tragic than Hundred just ending up dead in an ending that is completely dire; this situation sees Hundred trapped in his professional position and forever rueful for what he personally lost, or destroyed, in the process.

And it’s that sense of loss that this gives issue a retrospective feel that is absolutely perfect for a final issue.  In projecting into the years going forward from his battle with Suzanne and his term as Mayor, Hundred ends up dogged by his past, hounded by it as it grows increasingly rotten.  This is brilliantly personified by a dream where he’s visited by his other-dimensional enemies, who, of course, visit him in the form of a twisted version of himself.  Meanwhile, in the real world, this is shown in the form of Bradbury, who on the one hand finds himself in ruins, but also finally lets his feelings for Hundred be known.  It’s a wonderful representation of the old Mitchell Hundred and that “past life” in its current state; rotten and deteriorated, but still not barren of its sincerity.

Planetary / Batman: Night On Earth – Flash Back Review

By: Warren Ellis (writer), John Cassaday (art), David Baron (colors) & Wes Abbott (letters)

The Story: An investigation takes the Planetary gang into Gotham City.  Guess who they’ll run into?

What’s Good: This one-shot from August 2003 is a mixture of two things that I really like: Planetary and Batman.  But, as we all know, many team-up or cross-over comic titles don’t really work out.  Sometimes the writer clearly understands one of the characters, but completely misses the boat with the other side or there is an editorial failing that allows the writer to trample on an important item of continuity for one of the universes.  Even when those things don’t happen, you usually put the book down with the feeling that the cross-over was fun, but it is hard to take seriously because it was SO obviously an elseworlds-type tale that it clearly doesn’t “matter”.

What makes Planetary/Batman soooooo good is that this cross-over really could happen in either of the two universes.  Part of the entire fun of Planetary was that it explored recognizable alternate versions of super/pulp-heroes that we all know: Fantastic Four, Lone Ranger, Doc Savage, Green Lantern, etc.  In the comics review world, we like to talk about things that “pull us out of the story” like bad art or implausible concepts that make it impossible for us to enjoy an otherwise pretty good story.  You really could see that it made sense that the Planetary gang would run into a masked vigilante dressed as a Bat.

Ex Machina #49 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: It’s the return of the Great Machine as Mitchell Hundred throws down with Suzanne, one last time.

What’s Good: Well, it finally happened.  In its second to last issue, Ex Machina finally became what no one ever thought it’d be: a superhero comic.  This makes for a really remarkable issue.  Ex Machina has been such a giant twist on the superhero genre that when it finally brings back some tried and true mechanics of that very genre, it feels shocking.  It also feels downright cool.

With the Great Machine taking to the skies once more, Vaughan and Harris hit us with some classic Superman imagery that is impossible not to smile and fist-pump at.  We get Mitchell Hundred doing the Clark Kent trademarked shirt-ripping.  Then we get onlookers on the ground pointing upwards, speculating on what some flying, and noisy, speck in the sky might be.  Seeing Vaughan turn Hundred into a bona fide superhero is awesome in ways that are indescribable.  The comic, by concept alone, has tried so hard to divorce Mitchell from superheroics that it’s really satisfying to see it all reversed, particularly given Hundred’s love for comics and superheroes.  For once, his efforts even see a grateful damsel in distress and an epic conclusion.  It’s a lot closer to the stories he was inspired by and certainly a far cry from his usual bumbling efforts as the Great Machine.

Garrison #1 – Review

By: Jeff Mariotte (writer), Francesco Francavilla (art), Jeremy Shepherd (colors) & Johnny Lowe (letters)

The Story: A mysterious cowboy is racking up a big body count across the U.S. as authorities try to catch him and figure out his motive.

What’s good: I like the art.  If you follow the Comic Twart blog (and if you don’t, you should), you know that Francesco Francavilla is a talented artist.  In fact, his name on the cover is the only reason I picked up this title at my LCS.  His style is dark and moody and it makes for a nice looking comic.  I’d really like to see him get a shot at one of the Batman titles.

Not much else good here…

What’s Not So Good: I just didn’t like this comic at all from a story standpoint.  I won’t belabor it because I hate to pound on something that someone worked hard on, but there is nothing in this story that makes me want to read issue #2.  I’m not interested in “Garrison” and I don’t find myself wondering what his motives are.  The attractive female special agent is about as cliché as they come.  *Yawn*

Ex Machina #47 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Suzanne hits Mitchell where it hurts.

What’s Good: This is one of those issues that shows how gifted Vaughan is as a writer.  Despite the frequent scene changes and time-leaps, not a page or word is wasted.  Absolutely nothing feels extraneous.   Also, unlike previous issues, the politics are present, but subdued and never jarring.  Rather, they enmesh themselves with the rest of the book, fluidly emulating the desperation of the rest of the plot.

What we get is a book that is beautifully cyclical and linked.  The first “present day” scene of the issue, for example, is oddly reminiscent of one of the first scenes of the entire series.  Similarly, the flashback, depicting a child Mitchell’s disbelief regarding DC’s use of a multiverse, is an odd but comfortable parallel to the present narrative.  After all, his problems stem from his finding out about a real-world “multiverse.”  It’s wonderful stuff, and when Hundred meets up once again with his childhood friend Ray, Vaughan does an amazing job with the dialogue; it’s clearly the same two kids with a “childish” dynamic, but they’re now confined to the adult world.

Hundred’s “dream” sequence, which sees him visiting the other dimension, is terrifying and surreal thanks to Harris’ efforts.  It’s also interesting how Vaughan uses his trademark Ex Machina issue structure to embody the “weirdness” of it.  It’s between the flashback and the present day portion of the issue, as though it exists in some liminal space beyond standard time.  Seeing Vaughan break the chronological structure he’s adhered to for so long only makes this scene more uncomfortable.

The real newsmaker though is Suzanne and the major character death in this issue.  It’s a serious gut punch and it ensures that Mitchell and Suzanne’s collision course will be highly personal. It’s a merciless move by Vaughan and it’s all the more shocking thanks to Tony Harris.  The murder is rendered in uncompromisingly violent, gory fashion that will definitely drop your jaw, especially considering how sudden it is, being the only action in the whole book.

Planetary #27 – Review

By Warren Ellis (writer), John Cassady (artist), Laura Martin (colorist)

One year after the final confrontation between Elijah Snow and Randall Dowling, and the world is a very different place indeed.  All the technological marvels and scientific secrets that Dowling had spent his life hoarding are now being developed by the Planetary Organization into practical applications that are being used to radically improve the quality of life the world over.  Snow has won an astounding victory and fulfilled his mandate of protecting the 20th Century, but you wouldn’t know it from the look on his face.  He is visibly irritated and upset.

Despite all he has achieved, there is still one loss that Snow cannot bear to suffer, and it is that of his friend and colleague Ambrose Chase, who was thought to have been killed during a previous mission even though his body was never recovered.  Because of this, Snow believes there is a chance Ambrose might still be alive, and he will stop at nothing to save his life.

After years of delays, the much belabored last issue of Ellis and Cassady’s phenomenal story ends in the only way it possibly can, with the century’s greatest detective solving the one mystery that has constantly eluded him.  A vast majority of the plot involves Snow’s quest to discover once and for all what happened to Chase; more to the point, it involves the Drummer talking about what he, Snow, and Jakita are going to do in order to discover what happened to Chase.  The majority of Ellis’s script is spent with the main characters talking about what to do, and talking about the theoretical science (at length) needed to get it done, and the consequences of their actions. But when the actual moment where they finally do something seems abrupt and rushed by comparison.

Not only that, but their actions never quite come off as being as big a threat as Drummer implied they would be.  Ellis does a solid job of developing this level of tension and severity as Drummer warns Snow that what they’re about to attempt may very well destroy the universe. But when that threat never came around I had felt like I’d been misled into worrying more than I needed to.  I would have preferred to see Ellis focus far less on the hard science and techno-talk surrounding Snow’s rescue mission and pay more attention to the reasons why Elijah is so utterly determined to try and save Ambrose against all odds.  I think with the focus more on the character, this issue would have made for a more dramatic and engaging story.

I have nothing but praise and accolades for Cassady and Martin, who have both been working on this book for so long that they are an intuitive and dynamic team.  Even as they worked on such a comparitivly quiet issue as this, they found ways to make the story come to life.  For the finest understanding of the artistry these two have brought to Planetary, look no further than the beautiful gatefold cover gracing this issue.

Reading this issue has been a bittersweet experience.  I’m so happy I got to enjoy one more Planetary story, but I can’t help but feel disappointed the story is now over.  To Ellis, Cassady, and Martin I can only say “thank you” for reigniting my love of comics and giving all of us such fantastic stories.  Well done.

Grade:  B+

-Tony Rakittke

Ex Machina #45 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Newly evil Suzanne Padilla makes her first move while Mayor Mitchell Hundred begins to plan his future.

What’s Good: The newly super-powered Suzanne Padilla makes for an utterly fantastic villain.  Vaughan has established a great voice for her that, after what we saw last month, is surprisingly very human and all the more successful for it.  Padilla sounds not at all like the sewer-dwelling robot of the past arc, and despite her appearance, even the lettering remains the same for the most part.  In this sense, she works better as a foil for Hundred.  Essentially, Vaughan has maintained the integrity of Padilla’s character; this new villain essentially sounds like her, with the confidence and arrogance cranked to the max.  The result is a villain that is more subtle, complex, oddly likable, and easily capable of carrying an entire arc.

Beyond this, we get from this issue what we’ve always gotten from Ex Machina.  The opening Great Machine flashback is, as always, both funny and poignantly appropriate, while all three of Hundred’s conversations with his various associates showing Vaughan’s complete mastery of his characters, each of them having the same distinct voices that we’ve come to know, with the interplay between personalities feeling natural and life-like.  The best of these was Hundred’s short conversation with Bradbury, which added well-placed humor to the book.  Vaughan has the two friends discuss some truly heavy subjects (Hundred even accuses Bradbury of murder), but all of it is done in such an affable manner.

Tony Harris meanwhile puts out some very strong work this issue.  In particular, he gets a little more creative this month with his panel layouts, which was a welcome surprise.  One dialogue scene at a firing range is especially well-done, with Harris pulling off some really slick layouts that manage to be both abstract and cinematic, the entire scene feeling very fluid.  I also love when artists use the spaces between panels to convey additional information.  I also loved Harris’ work on Padilla’s new look.  When disguising her new scars, she looks like a mysterious femme fatale straight out of a Raymond Chandler novel.  However, once exposed, she looks very alien, monstrous even.  The transition from 20s noir to the menace of modern science fiction is seamless and impressive on both ends.

What’s Not So Good: There’s a longish scene early on in the book where Wylie brings up the abortion issue, essentially trying to push Hundred into making a stand on the issue of unwanted pregnancies.  It’s too early to tell where this’ll go right now, but within this single issue, this subplot really felt out in the cold and detached from the rest of the book.  In fact, were it not for the date, I’d have believed the entire scene to be another flashback.  Ex Machina has always done a great job of combining its kookier superhero/sci-fi themes with more mundane hot-button political issues, but I’m starting to worry that as we head into this final arc, the crazy stuff has gotten a little too crazy to support this juggling act.  As a result, this political aspect of the issue felt a touch out of place and a little too low-key, and all the more surprisingly placed given that the entire series is ending.

Conclusion: Another issue of Ex Machina doing what it does best.

Grade: B+

-Alex Evans

Ex Machina #43 – Review

Brian K. Vaughan (writer), Tony Harris (pencils and inks), Jim Clark (inks), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: With his political career teetering on the edge as the threat of Jack Pherson looms, will Mitchell Hundred don the helmet and jetpack one last time?

What’s Good: The greatest thing about this final story arc has been that it always leaves you craving for more.  This month’s comic is no different; with a cliffhanger ending that’ll have you chomping at the bit.  In fact, so potent is the ending that it legitimately feels as if next month’s issue will be the last in the series, despite there being six more after it.  Also, it makes Mitchell come across as a total badass, which is pretty cool, given that he has spent almost the entire series as a self-deprecating, likable, wisecracking everyman.

Considering how deep the mystery was last month, I didn’t think that Vaughan could ratchet up the tension any further.  Regardless, he does so this month by dropping these little hints that, right now, are unintelligible and yet promise so much.  What the heck happened on “November 6, 2001?”  What’s with “Jack Pherson” (if that is him) and his biblical language?  Who is he talking to and where did he come from?  And once again, though we actually see it this month, what in God’s name is the white box?  The mystery borders upon unbearable, showing that Vaughan is doing something right.

Not content with merely creating a thoroughly engaging final arc and conflict, however, Vaughan shows himself to be tireless in his development of Mitchell as a character.  His relationship with Kremlin deepens and softens and we finally, out of nowhere, get an answer regarding Mitchell’s sexuality in a manner that is sure to hit home.

Drawing this all up, of course, is Tony Harris who, despite a rocky start in issue 41, has really started to hit his stride again.  I didn’t spot any flagrantly static, “posed” frames this month, which is often a problem for him.  Furthermore, I really, really liked how dark the colors and how heavy the inks were.  It delivered a shadowy feel that really fit the sense of impending doom and enshrouding mystery.

What’s Not-so-Good: Despite a really cool ending, there are no revelatory moments this month and though those afore mentioned unintelligible hints are dropped, nothing is made sense of or explained.  Vaughan, while not at all treading water, doesn’t give you any answers this month.  He’s clearly working to suck you in, but this also means that he’s moving at a relatively leisurely pace; though the ending promises next month’s issue will be, at the very least, action-packed.  Though great, this month’s comic is a clear set-up issue.

Conclusion: Yup, this is definitely an Ex Machina comic.  A smart blend of the everyday and the weird with fantastic character-work and one hell of an ending.

Grade: B+

-Alex Evans

Ex Machina #42 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors), and Jared K Fletcher (letters)

The Story: The mystery of the white box deepens as preparations are made for the Times Square New Year’s Eve celebrations.

The Good: This issue is “slow-burn” at its finest. Vaughan knows how to thicken the plot without frustrating the reader by writing a comic that is incredibly engaging. My curiosity regarding the “white box”– what it is, and the history behind it,  is reaching a fever pitch. Vaughan, through the suspense he delivers in this issue, really caused me to become invested in the mysteries surrounding this arc. I need next month’s issue and I need it now! From the veiled dialogue to the hints of how incredibly high the stakes are, this is build-up at its finest and an ideal example of how to get one’s readers sucked into a story arc.

Speaking of that “veiled dialogue,” the conversations and dialogue in general in this issue are incredibly well done. As always with Ex Machina, every character has his or her own unique voice. That said, what makes the dialogue so strong here is the mystery, weight, and/or foreshadowing that Vaughan makes every exchange carry. Every conversation elicits a strong sense of foreboding, either hinting at horrific things to come or at dark deeds of the past. Of course, this is only further aided by Ex Machina’s continual delivery of some of the smartest writing in comics today; especially when it comes to things conspiratorial or political.

Art-wise, I’m happy to say that Harris and friends have gotten it back together after a rushed misstep last month. The static and “posed” feel of Harris’s pencils are gone, as are the strangely bright colours. This issue returns to the Ex Machina we know and love. Also, it needs to be said that I really do like Harris’s Bioshock-esque design of Pherson version 2.0. Well, that is if that ominous figure at the end of the issue really is Pherson.

The Not-so-Good: This issue does a fantastic job of doing what Vaughan wanted it to do in crafting a clinic in foreshadowing and heightening suspense. However, that does by definition mean that not a lot of plot progression takes place. While it does ensure that what will come will be all the more impactful, if you’re the sort of reader who demands brisk action and development in every $3.00 purchase, you won’t be gratified by Ex Machina this month.

Conclusion: Ex Machina readers will enjoy this very solid build-up issue. If you weren’t interested in this story last month, you definitely will be now.  The biggest crime of this issue is it’s making you rabid for answers as it sucks you into its manifold mysteries.

Grade: B+

-Alex Evans

Gears of War #6 – Review

By Joshua Ortega (Writer), Liam Sharp (Artist), and Jonny Rench (Colorist)

Some Thoughts Before The Review: The creative team behind Gears of War has a lot of work to do in issue six if they want me to keep the series on my pull list. To say that last month’s issue disappointed me would be a pretty serious understatement. In fact, I’m fairly certain it earned one of the lowest grades I have ever given out.

The Story: The final chapter of “Hollow” is about Marcus and the gang battling their way out of the Montevado sinkhole. Things do not go smoothly. Especially in Jace’s case…

What’s Good and What’s Not So Good: Liam Sharp and Jonny Rench do a great job of clearly capturing the action, chaos, grit, and violence necessary to make the Montevado sinkhole battle feel like something that carries dramatic weight. And they needed to, because Gears of War #6 is quite forgettable as far as storytelling is concerned. It’s not that the story is poorly executed or written, it’s just that, bottom line, there really isn’t a whole lot of story to tell. What little there is exists merely to stage action scenes and bring some sort of conclusion to the first arc of the series.

I’m at a bit of a loss as to what to say regarding Joshua Ortega’s writing. His plot vehicle, Jace, has a decent amount of depth and a flair for dramatic narration, but it’s that very depth that makes the character feel out of place. Too much time is spent on Jace when everyone knows that it’s really the Marcus Fenix show. While it’s admirable that Ortega opted to expand the cast of the series, it’s questionable whether it was ultimately the right decision when the action-packed comic series feels so shallow. It’s not that I expected something deep, but I did hope that it would expand and add to the videogame mythos a bit more successfully.

Conclusion: While Gears #6 isn’t quite strong enough to stop the series from dropping off my pull list due to the weak storytelling, it’s not really the creative team’s fault. The visuals do the source material justice, the writing is decent enough despite the limits placed on it (considering that the series takes place in between games one and two), and, as a whole, the book proves to be an entertaining piece of sci-fi action. I recommend it to fans of the game, but urge those checking it out to keep expectations realistic.

Grade: C+

-Kyle Posluszny

Ex Machina #41 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors)

The Story: After a long wait, the final arc of Ex Machina begins.  Mitchell Hundred has a shocking announcement regarding his political career, dark secrets from Hundred’s past are hinted at, and an ending you won’t want to miss suggests the possible return of a character from Hundred’s past.

The Good: Though I do wish we’d see more of his writing in comics, Vaughan is still razor sharp.  Writing-wise, this is the Ex Machina we all know and love: tight and witty dialogue, enjoyable action, and great plotting.  The “conversation” between reflecting panhandler and comically “out of it addict” is great, as is Mitchell’s declared love for NYC and its people.  Vaughan’s cast of characters is as enjoyable as ever.

With this issue, Vaughan has crafted a first chapter that really does its job as the opener of a new story arc.  Several hooks are planted and several mysteries are suggesedt that will all leave you salivating for issue number 2.  What is this dreaded “white box?”  What is Hundred’s coming announcement?  It’s not all merely hooks and hints though, as Hundred’s press conference and the “uh oh” ending of the issue move the plot along, with the latter in particular introducing what will no doubt be a central conflict in this arc.

With so many hints of things to come, the only fault of the writing is that it’s left me wanting issue 42 so very badly, and that’s exactly how it should be.  It got me hooked and despite revealing very little, I’m sure curtains will begin to drop next month.  I also really enjoyed the concerns of economic crisis.  Indeed, it is only 2004 in the comic, but, as Vaughan no doubt intended,  it plays very nicely with the current recession.

The Not-so-Good: While Vaughan hasn’t missed a step, Tony Harris sure has.  Unfortunately, this issue reeks of an artist cutting corners and rushing it through.

For those that don’t know, Harris is an artist who uses photo-references.  Regardless, I’ve always been a fan of Harris’ work.  He captured the series’ tone and delivered a high degree of realism and detail.  I’ve always liked his stuff.

However, things are just off here, as some frames are just flat out rushed and end up looking sloppy (see the press conference, particularly the reporters).  At other times, the issue shows the worst of photo-referencing; characters come off as static and posed (the conversation with January), a problem I’ve rarely had with Harris before.

Even Harris’ storytelling/plotting is off-kilter.  The crucial scene between Bradbury and Suzanne Padilla is just a mess, feeling as though each character was a separate image, all of them shoved into the same frame with the subsequent interactions feeling unnatural and forced.  It’s very disconcerting, particularly when some of these characters feel reproduced from previous frames with only minor adjustments.

It also appears that Harris is having some difficulties drawing eyes.  Several times, with Hundred and the panhandler, a characters sports one eye that is freakishly larger than the other.  Even worse, the panhandler starts his scene looking exactly like Mitchell Hundred, only with a beard.  Then by the scene’s end, this is halted, leading to the poor panhandler looking like two entirely different people.  It’s a damned shame considering how great Vaughan’s writing/dialogue is in this scene.

Lastly, Mettler’s colours also are a bit off, coming across as weirdly and incongruously bright during a brief portion in the middle of the issue.  It’s almost as though he had someone else take over for a few pages.

The Bottom-line: The same great writing we’ve come to expect is accompanied by a parodic, slapped together version of the art we’ve also come to expect.  Considering how long this took, it’s a bit shameful.  Vaughan’s always excellent writing saves this from being a total disaster and makes this issue still worth picking up if you’re an Ex Machina fan, but I pray to God that Harris pulls himself together.

Grade: C

-Alex Evans

Gears of War #5 – Review

By Joshua Ortega (Writer), Liam Sharp (Artist), and Jonny Rench (Colors)

Some Thoughts Before The Review: Being a fan of the Xbox 360 series, the Gears of War comics are something of a guilty pleasure for me. The artwork in them effectively captures the gritty violence of the game’s world and action, while the tough-guy dialogue works well enough to keep the books entertaining enough to read. I wish the Gears series had a bit more story and depth, but then again I had a fairly solid idea of what I was getting into when I picked up the first issue.

The Story: Marcus, Jace, Dom, and Barrick find themselves trapped underneath the rubble of the ruined city of Montevado. With the area unstable and crawling with creatures, the separated COGs must find a way out of the dangerous mess. The situation offers up the opportunity for the reader to learn a little more about Jace as well.

What’s Good: To be honest, there isn’t much about Gears #5 that is particularly memorable. The action comes across well and the situation the COGs find themselves in by the end of the issue is appropriately hopeless (and potentially exciting), but beyond that there just isn’t a whole lot worth mentioning. And that’s something of a shame because the creative team puts in some pretty decent work…

What’s Not So Good: The pretty decent work ultimately fails to amount to much. I understand that for the most part, Gears of War is all about mindless action. That said, it wouldn’t hurt to actually advance the storyline once in a while. I mean, I love bloody action as much as the next guy, but it gets tiresome when it seems as though that’s all that is holding the series together. There has to be some driving force moving things along. Unfortunately, I have pretty much stopped caring what that force is at this point. As a result, I just found the penultimate chapter of the first Gears arc to be quite boring.

Conclusion: While I will be sticking around to see how the “Hollow” story concludes thanks to the fairly strong finish of chapter five, I can’t help but be disappointed with things as a whole. The creative team definitely gets the appeal of Gears and successfully translates it to the page, but the whole thing just feels empty without a compelling story. Maybe things will turn around next month, but I will be sure to keep my expectations in check.

Grade:  C-

-Kyle Posluszny

Gears of War #3 – Review

By Joshua Ortega (Writer), Liam Sharp (Art), and Johnny Rench & Carrie Strachan (Colors)

Some Thoughts Before The Review: Gears of War has been a surprisingly entertaining series so far, even though it’s really a “for fans only” type of thing. While it isn’t breaking any new ground and hasn’t yet done anything essential for the overall Gears storyline, the comic definitely succeeds in translating the gritty violence and machismo of the game to the page. The biggest flaw is the fact that nothing of consequence has happened so far. Furthermore, there doesn’t really seem to be much in the way of plot development. Sure the mindless action has been pretty fun, but it runs the risk of becoming tiresome. Maybe Gears of War #3 will prove to be something of a game-changer and give the series the direction that it has been sorely lacking.

The Story: Jace barely manages to land the plummeting helicopter, and the group of soldiers find themselves a long way from home. During the long walk from the wreckage, Marcus, Dom, and company come across an outpost full of “stranded” people that were unable to reach Jacinto, left struggling to survive in the aftermath of Emergence Day. With the stranded needing protection and the soldiers needing a form of transportation, the two groups come to a mutual agreement. Also, lots of Locusts meet a violent end throughout the issue…as expected.

What’s Good: That Joshua Ortega finally manages to work in some plot development in between all the action and violence. It does wonders for a series that has been incredibly shallow for two issues. With the group now in charge of protecting someone other than themselves, maybe Ortega can actually begin to work in the character depth necessary to put together a story that provides more than just a mindless action fix.

What’s Not So Good: That it is still totally up in the air whether or not the Gears of War comic series will actually connect to the game in any meaningful way. The initial previews said that the series would lead into the plot for Gears 2, but I don’t see any signs of that happening yet. That might wind up being the biggest factor surrounding whether or not I stick with the title to the end.

Conclusion: A step up for the series, Gears of War #3 provides what the comic adaptation has so desperately needed. On the other hand, I am still not sure whether or not early promises are being kept. At least the action delivers and it all looks pretty nice.

Grade:  C+

-Kyle Posluszny

NEWS: Wildstorm to publish “The X-Files #5″

People have gone missing in the Badlands for centuries. Now, a fresh spate of disappearances is linked to the possible serial killer “Dante,” who claims he is inspired by demons from hell. While Scully assumes the suspect is either lying or deranged, Mulder follows legends of the Hollow Earth to a labyrinth of subterranean tunnels – just as Dante escapes custody and heads for home.

Written by Doug Moench; Art & Cover by Brian Denham. 32pg. – Color – $3.50 US – On Sale March 18, 2009

NEWS: Wildstorm to publish “The X-Files #4″

Scully and Mulder are the targets of a killer from the Tong Underworld who is about to reignite a centuries-old gang war. If Mulder and Scully can’t figure out how this devious criminal can be in multiple places at the same time, San Francisco will erupt in a bloodbath!

Written by Marv Wolfman; Art by Brian Denham; Cover by Jim Daly and Tim Bradstreet. 32pg. – Color – $3.50 US – On Sale February 18, 2009

Gears of War #2 – Review

By Joshua Ortega (Writer), Liam Sharp (Artist), and Johnny Rench (Colorist)

Some Thoughts Before The Review: Common sense leads one to the understanding that you shouldn’t go into a Gears comic expecting something exceptional. With that in mind, I found myself pleasantly surprised by how successfully Gears of War #1 brought the game’s world and conflict to the comic page. Now the question is whether or not a plot can be developed well enough to make the series worth picking up each month.

The Story: The squad fights back against the Locust ambush that began last issue, and then heads back to base for some down time. The break in the action allows the book to focus on character work for a bit before throwing the soldiers back into the fray. I wish I could say a bit more concerning the story, but that’s about all that happens in this one.

What’s Good: When the book focuses on the action and tough-guy personalities, it works extremely well. The artwork effectively brings the violence and war-torn environments to the page, something that I still find a bit surprising. As for the writing, I have to applaud the fact that I could easily imagine John DiMaggio reciting nearly every line of Marcus Fenix dialogue. Sure it’s standard tough-guy, action movie stereotype type stuff, but it is what I expected and (in some ways) hoped for. Simply put, the book delivers the Gears of War experience pretty well. If that sounds appealing to you in any way, then I am sure you will find something to like here.

What’s Not So Good: The attempts to give the characters depth feel forced and, as such fall pretty flat. It doesn’t work all that well in the game and the same goes for the comic. Also worth mentioning is how little actually happens in this issue. I still can’t figure out if a plot is being developed or how any of the events are crucial to the story in Gears of War 2.

Conclusion: Gears of War #2 delivers some good action and style, but it’s severely lacking in the substance department. While it is undoubtedly a fun read for fans of the game, I question whether it really deserves the $3.99 price tag. Something big needs to happen in the next issue to prove that this comic is really something a fan should bother investing in.

Grade: C+

-Kyle Posluszny

NEWS: Wildstorm to publish “The X-Files #3”

Mulder and Scully are sent to San Francisco to investigate a series of murders happening simultaneously throughout the city. But, according to fingerprints and DNA, all are being perpetrated by the same killer. As their investigation takes them into the unknown mysteries of the Chinese underworld, they learn that instead of being the hunters, they have become the hunted.

Written by Marv Wolfman; Art by Brian Denham; Cover by Jim Daly and Tim Bradstreet. 32pg. – Color – $3.50 US – On Sale January 21, 2009

Gears of War #1 – Review

By Joshua Ortega (Writer), Liam Sharp (Artist), and Johnny Rench (Colorist)

The Story: Taking place roughly two months after the end of the first Gears of War game, hero Marcus Fenix and a new recruit, Jace, are out on patrol searching for any survivors of a brutal Locust attack. They find a few, one a familiar face, and kill quite a few Locusts along the way.

What’s Good: How well the creative team nails the feel of the Xbox 360 game. The art, dialogue, and story all do a wonderful job of using the atmosphere and characters to great effect. If you’re looking for a story about tough guys killing monsters using excessive violence, you can’t do much better than this. As a fan of the game, I couldn’t be more satisfied.

What’s Not So Good: As you probably guessed, this isn’t exactly the deepest comic on the stands. The characters are your generic military tough guys, the violence may be too much for some to handle, and the comic never really rises above its videogame roots. Also, the storyline is written assuming that you have played the game at some point, so those unfamiliar with Gears may find themselves wondering about certain references.

On the technical side, the dark coloring muddies up and confuses a scene or two, but this is only a slight annoyance in an otherwise good looking book.

Conclusion: Action junkies and Gears fans should really take the time to check out this comic. It faithfully translates everything that made the game such a success into an enjoyable, visually impressive book. A mindless, yet pleasant surprise in every way.

Grade: B

-Kyle Posluszny

NEWS: Wildstorm to publish “The X-Files #2”

Mulder and Scully race to uncover the truth about the apparent suicide of a government scientist. All evidence points to it being nothing more than a case of one man choosing to end his own life, but Mulder is convinced the evidence isn’t revealing everything. For Agent Fox Mulder, uncovering the truth is literally a case of life or death.

From show writer Frank Spotnitz, art by Brian Denham, cover by Tony Shasteen. 32pg. – Color – $3.50 US – On Sale December 17, 2008

Looks like we are not getting a variant cover for this one. And Why only Mulder on the cover? I need my Scully fix.

The Lost Boys: Reign of Frogs #4 – Review

By Hans Rodionoff (writer), Joel Gomez (pencils), Don Ho (inker), Gabe Eltaeb, Randy Mayor (colors)

The best inside joke in all of comics comes to its conclusion with this issue. Luckily, the story will continue in Lost Boys: The Tribe which I assume is an adaptation of the movie. Hans Rodionoff answers a lot of questions that has been lingering since issue #1 while doing an excellent job of setting up several more to keep you interested in the next arc. Still, I’m left to wonder: why is the Emerson family so damn important to the vampires of this town?

Rodionoff’s writing continues to shine and his respect of the source material is admirable. The coolest moments of the series have been Edgar’s stories. Whether it’s political vampires or receiving an award from The President, his account of what happens is great. To find out that most of it is embellished for this kid is a big letdown. I get that we need to see Edgar hasn’t changed. If he had, none of the coming events would seem like a challenge. Still, with such a cool setup it’s a bit of a letdown coming back to the truth.

My gripe with the art still hasn’t changed. Characters like Grandpa, David, and the Leatherface Vamp are easy to tell apart since they have very specific features. Gramps has his grey hair, Leatherface has his, well, leather face, and David has his mullet. Sadly, every human looks like Edgar Frog! Edgar and Alan are brothers, but I could only tell them apart when Alan was turning, since I knew Edgar was still alive. Even the kid Edgar’s talking to looks like him and as far as I know he doesn’t have any kids. Still, the images on the page do a great job of conveying the story. The best is when David’s half-brother (it’s complicated) kills some sharks in the water. It’s a few quick panels which show the frantic pace of the fight. Besides, how often do you see a shark get killed on its own turf?

Lost Boys has been one of the most enjoyable arcs I’ve read in a while. The respect to the source material is unmatched by any tie-in I’ve seen and that’s a relief. I’ve said it before: if you’re a fan of The Lost Boys mythos buy this book, you won’t be disappointed. (Grade: B-)

– Ben Berger

NEWS: Wildstorm to publish The X-Files #1 (of 7)

Search for the truth inside this new miniseries based on the hit FOX television show! A research scientist, recently agitated by paranoid fears, is found dead in his suburban D.C. apartment. His sister refuses to accept the coroner’s ruling that his death was suicide from a self-inflicted gunshot wound. Federal investigator Scully discovers forensic details that would seem to defy rational explanation and when her partner Agent Mulder learns the scientist was working on a top-secret project for a government contractor, Mulder becomes agitated by his own paranoid fears, which eerily parallels the behavior that led to the scientist’s death!

From show writer Frank Spotnitz, art by Brian Denham, cover by Tony Shasteen; variant cover by Russell Walks. 32pg. – Color – $3.50 US – On Sale November 19, 2008

San Diego Comic-Con 2008 – Report!

* I decided not to attend many of the TV or movie panels due to extremely long lines and waiting time. I knew that most of the footage would appear online in some way or another. NBC, SCI-FI channel (amongst others) have complete panel videos. Xbox Live has clips and I set my DVR for the G4 2-day special. If any of you couldn’t attend this year’s show, be sure to check out those venues.

* I saw the last 10 minutes of the Stan Lee and Grant Morrison panel. I’ve never listened to any of these guys before, but they are extremely funny. I’m still not reading any Marvel superhero stuff though.

* Doctor Who Panel: Davies couldn’t attend the panel. Moffat & Gardner showed an extended trailer for the new Christmas episode. Can’t wait!

* Torchwood Panel: Gardner, Barrowman (Harkness), David-Lloyd (Ianto) and Mori (Toshiko) were there. Somebody asked if Barrowman will be auditioning for role of Captain America movie, at which he said he’d love to do it. Near the end of the panel, Barrowman and Mori sung a duet – surprisingly really good voices.

* The Middleman: Strangely, a packed crowd for a show on ABC Family. Watch the series. It’s fun.

* One hour in the sun to see the Spaced panel. Luckily, I got tickets (after waiting in line) for the autograph session afterwards.

* I missed Josh Whedon panels, but I’ve seen him a couple of other times, so no worries.

* Image Comic panel. Image United, big announcement, not much of a surprise because they had a 700 feet cover art in their booth (in Kirkman own words).

* IDW Publishing panel: several first looks at future covers. Locke & Key is going to be 30 issues, plus a graphic novel to end it. Ted Raimi was there for a minute to promote the new series 30 Days of Night: Dust to Dust

* Tried to get an autograph ticket for Dean Koontz but it was impossible, too much people in line.

* Aspen Comics: They are planning a tribute issue (80 pages) with materials from Turner and other artists. DC & Marvel are planning their own tribute books for Turner. Talking to Mastromauro, he confirmed me there will be Absolute/Omnibus type of books next year.

* I talked with Brian Denham (X-Files‘ artist) and he told me (an exclusive!) that Frank Spotnitz is writing the next 4-5 issues, and then other writers from the TV show will follow with stories. #1 will be out in November 2008.

* Top Cow: The cast from the new Magdalena movie was there. Milo Ventimiglia was there to promote a new comic. Seth Green is a little annoying.

* Joe Hill: He’s a cool guy. Down to earth, he talks to you not looking down.

* Michael Turner Tribute: Family, friends, artists and fans talking about Mike and remembering him. The room was full.

* Wildstorm: There were at least 15 or more artists on the panel… and 40-50 attendees. Sad… I was there for X-Files and it seemed like I was the only one.

* I told Brian Lynch (writer of the new Angel comic) that I didn’t like the story, but if he could sign my books anyways. He asked me what he can do to improve it. I said, “Well now is a little too late, but I wanted to know what happened in the alley at the end of Season 5.” He told me that he needed to write the characters first so the story would build up to that. But, argh I’m an impatient bastard. I told him I’ll keep buying them but if I don’t get a satisfying resolution, I’ll put the comics on eBay. He then said he wanted to go to parties with me. I love this guy!

The X-Files Special #0 – Review

By Frank Spotnitz (writer), Brian Denham (art), Kelsey Shannon (colors)

Like the forthcoming movie, I expected this book to be pure crap. It’s not that I hate The X-Files – quite the opposite – I love the series. Well, I love seasons 1-5, anyway. Anything that came after that was crap, in my opinion, so you’ll have to excuse my pessimism. Much to my surprise, this book is actually “not horrible”. There are some serious issues I have with the book, but all-in-all, I think many people will be pleasantly surprised with Frank Spotnitz’s offering.

The first thing that struck me was the look of Mulder and Scully. No, I’m not talking about the obvious photo tracing job by Brian Denham (which sticks out like a sore thumb), but rather how young they look. At the end of the issue, it’s said that these stories will be taking place between Seasons 2-5, and honestly, that makes the most sense – the show hadn’t spiraled out of control yet. But as a comic that could have tied into the movie or serve as a good primer (it even sports a cover that replicates the movie’s poster), this reversal in time feels like a missed opportunity.

The story itself starts off in a very creepy way, and the colors by Kelsey Shannon go a very long way in creating a foreboding atmosphere. (I’m purposely not spoiling any of the story because I know most of the people reading this review are going to buy this book anyway.) From there, the plot begins to unravel as Mulder adds the facts and makes his deductions. Scully doesn’t do much except for her normal analytical stuff (she examines a dead body) and skeptic routine. What’s jarring about this story is the awful expository dialogue provided by Mulder on more than one occasion. I think it’s safe to say that fans of The X-Files aren’t idiots. So why are we being treated as such? Not everything has to be spoon fed, and frankly, this pisses me off.

Luckily, the story is well paced and entertaining enough to (almost) overlook these problems. If you don’t mind blatant photo tracing, you’ll also love Brian Denham’s art which can be quite good at times. The last page says to be continued in X-Files #1 – but there’s no word on when that’s going to come out. And at this point in time, the soonest we’ll see it is November 2008 (or later). Why so long? For a good debut issue, this isn’t the right way to maintain your readership. Why do fans of this show continued to be jerked around? (Grade: B-)

– J. Montes

A Second Opinion

My complaint against previous X-Files comics were that Mulder and Scully weren’t drawn with the likeness of the actors. So the fact that the characters here are photo-traced is a plus for me. I really want to see Mulder and Scully’s likeness well represented in these pages – not some doodles that resemble them. That said, there are some panels that look overly stretched and they look bad on the page. Regardless of this, Brian Denham does a great job.

The dialogue can’t get any better than what we get here. It’s written by Frank Spotnitz, so he knows the characters by heart – how they talk and their mannerisms. I definitely could hear their voices in my head (I’m not crazy, by the way) as I read the story. Most of the elements that we’ve grown to love from the TV series are accurately reproduced.

There are several little details with the art that only die hard fans will catch, and because of that this first issue made a great impression on me. I’m happy to have new X-Files stories to look forward. (Grade: B+)

– Daniel Yanez

FIRST LOOK: The X-Files Special #0

EW.com got an exclusive first look for the new comic book. Check it out at their website.

Also, don’t forget to check our giveaway for a chance to win a copy of this comic!

Written by Frank Spotnitz; Art by Brian Denham. It will have a Photo cover and a Variant Cover by Brian Denham. 40pg., Color, $2.99 US. On Sale July 23, 2008.