Fatale #1 – Review

by Ed Brubaker (writing), Sean Phillips (art), and Dave Stewart (colors)

The Story: Mysterious assassins in bowler hats!  Exploding airplanes!  Cultists!  Nazis!

The Review: Breathe a sigh of relief:  Fatale is just as good as you were hoping it might be and only further substantiates the fact that the team of Brubaker and Phillips can do no wrong.

However, Fatale is a very different beast from Criminal, Incognito, or Sleeper.  While, by Brubaker’s own admission, all of these series were meant to be distillations of everything he and Phillips love about comics, nowhere does this feel truer than Fatale.  This is clearly a book where Brubaker and Phillips have thrown together all the stuff they enjoy and the result is a book that feels exciting.

This is particularly the case when it comes to the books genre.  At different points, it’s a noir/crime comic, a mystery, a horror, and a pulpy action/spy comic.  Really, in one issue, Brubaker touch upon so many different sorts of pulp fiction that it’s actually mind-boggling that this actually coheres.  But cohere it does, and what we get is one very unique and compelling kind of beast.  It’s a hybrid of all these genres with all of their various strengths.  The horror elements are gruesome, the action/spy stuff is exciting, and the crime/mystery elements tantalize.

And really, what all this leads to is a comic where you never know what to expect.  You’re never sure when and where the high-spots will come.  As such, Fatale is a book that keeps you riveted and keeps you reading.  On one page, you get a thrilling car chase reminiscent of the famous airplane sequence in North by Northwest, at other points you get that psychological, moody narration fans of Criminal will be familiar with, and then, flip the page, and you’ve got gruesome Satanic rituals and hints of the paranormal, and mysterious Nazi flashbacks.  Fatale is truly a book that is full of turbulence, constantly throwing you for a loop yet always keeping you anchored to its world and it’s developing story.  Not only do you not know what to expect, but Brubaker leaves us with so many fascinating questions.  In many ways, it’s a crime and noir comic where the presence of the paranormal makes anything possible.

Ryder on the Storm #1 – Advance Review

By: David Hine (writer), Wayne Nichols (art), Feigian Chong (colors) & Richard Starkings (letters)

The Story: What starts as a prototypical noir-themed, PI story takes a supernatural twist towards the end.

What’s Good: This comic starts out by strongly establishing its noir chops: sexy femme fatale calling in to report her lover’s dead body.  Then the stereotype continues by bringing in the main character: Mr. Ryder, the hard-boiled Private Investigator who has an antagonistic relationship with the police despite the fact that his dad was a cop.  Within the first ~10 pages, Hine has established that he gets how to lay out a noir story.

Revealing too much would be in appropriate in an advance review, but suffice it to say that this comic does not remain a stereotypical noir story.  About 2/3 of the way through there is a supernatural twist that continues to build toward the end such that the reader is left with something pretty unique.  If you enjoy supernatural-themed noir, this should be your cup of tea.

Kato Origins #1: Way Of The Ninja – Review

By: Jai Nitz (writer), Colton Worley (pencils and inks), Romulo Fajardo Jr. (colors), Joe Rybandt (editor)

The Story: Way of the Ninja, Part One: The police come to the home of the Green Hornet to ask Kato for help. A Korean grocer has been killed, and they need a steady hand doing translation. Britt (the Green Hornet) tells Kato to go, despite knowing that Kato is Japanese and can’t speak Korean. Kato finds a whole lot of racism (this is just after Pearl Harbor), a beautiful woman, a dead Korean with broken fingers, and a message that makes this whole case look a whole lot more personal that he thought.

What’s Good: This is a very sophisticated story. The action is gritty and noir. The panel layouts are brisk and dynamic, and despite the fascinating and insightful monologue by Kato, the narrative almost feels terse. The art says a lot through body language (check out the detective pulling Kato towards the corpse, or the tense altercation with McLaughlin) and facial expressions (look at Kato’s expressions as he looks at the body – there is menace in his curiosity, a bubbling anger that complements the ironic narrative). The fight sequences are awesome, with silent panels showing panicked, strobed movement before loud blows land and decide the outcomes. Worley and Fajardo do brilliant work of making us feel the setting, the emotions and the action in equal measure.

Scalped #33 – Review

by Jason Aaron (writer), RM Guera (art), Giulia Brusco (colors), and Steve Wands (letters)

The Story: Red Crow and Nitz instigate competing manhunts to find the witness as the Hmongs finally reach the Rez.

What’s Good: I’m not sure that there’s ever been a bad month of Scalped, and #33 continues that trend.  This is one of those issues that’s solid if only for its ability to successfully juggle all of its many plot threads.  Despite this, it never feels scattered or thin, and every one of these threads remain entertaining and integral.  Not a single scene feels overly divorced from the rest of the book, and all of them feel honest and engaging, easily dodging the danger of becoming mere “updates.”

Overall, this issue further validates this arc’s title, “the Gnawing.”  Heading into said arc’s final installment, the tension has never been higher, as this month ratchets it up to fever pitch.  The manhunt for the witness remains as thrilling as ever and a confrontation between Nitz and Shunka is a great read, if only because of its being the first time any member of Red Crow’s organization has ever actually gotten physical with Nitz.  The scene also recalls Nitz’s issue in the High Lonesome arc, as Aaron again insinuates the disgruntled agent’s seeming deathwish.

With R.M. Guera putting out his usual quality, scratchy, “dusty noir” look, this Aaron truly succeeds this month if only because he has written exactly what a pen-ultimate issue should be to any storyarc.  So much is left dangling, and you know that most all of it will be resolved, most likely in cataclysmic fashion, next month.  Of course, that’s not to say that this issue is purely set-up either; there’s several developments that are sure to have long-lasting ramifications well beyond this arc, chiefly some new developments in Dash and Diesel’s alliance, particularly as it relates to the death of a long-running character.

Yes, I did just say that someone dies this month, and the manner in which he/she is killed and by whom is sure to cause all sorts of havoc down the road.

What’s Not So Good: The final page is a little less than ideal, and I suspect that it largely has to do with Aaron running into page-count difficulties.  It’s meant to leave us on a cliffhanger as Red Crow walks out to meet the Hmongs, but the book ends a little abruptly if only because Aaron only has one page to work with.  It’s clear that ideally, the book should’ve ended with a splash of some sort following this.  Pacing-wise, it’s as though someone tore out the last two pages of my comic.

Also, I felt that Aaron was wasting his time a little in his attempt to make Agent Newsome a little more likable.  The guy’s been a complete jackass for the entirety of the series, that dumb jock in a position of power that you love to hate, and there’s no way Aaron’s going to make the guy particularly sympathetic in just a couple of scenes.  In fact, it feels a little strange.

Conclusion: Scalped is an awesome series, and this is another really solid outing.  I can’t wait for next month’s installment.

Grade: B+

-Alex Evans

Powers #1 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Detectives Christian Walker and Enki Sunrise try to learn to live with each other as they embark upon their first case together.

What’s Good: Powers is a rightfully celebrated series and I can assure you that this relaunch issue lives up to its previous volumes.  In more or less every way, this is the definition of what a good comic should be.

Certainly, all of the Bendis hallmarks are in place.  The staccato dialogue and the creative profanity are in fine form.  That said, what also returns is Bendis’ ability in Powers to portray multi-layered, real, and complex human relationships.  It’s all the more impressive that he manages this with Enki Sunrise, a character that has remained ill-defined and two-dimensional up until this point and was one of the few weak spots of Powers’ last arc.  Finally, Bendis manages to flesh out the character a bit and give her a little more life.  Moreover, he’s actually well on his way to making her likable.  Readers of Powers will know this to be no small feat.

And he does this through minimal, subtle strokes.  In a few pages of near-wordless action, we arguably learn more about the character than we have through the entirety of the last arc.  Furthermore, when she attempts to forge a bond with Christian, the dialogue is expertly played; her conversation is scattered, stumbling, and awkward.  Really, the syntax says as much about the character and her desires as her actual words.

For a first issue, Bendis also manages a large scope.  Upon finding an old associate dead, we get a flashback to a period of Christian’s past that is all gaudy film noir.  I’ve always loved Bendis’ visiting of Christian in previous eras, as his treatment of these time-periods are evocative yet honest, and this is the case here.  I also have always enjoyed noticing the subtle differences, and similarities, between Christian’s personality then and now.  It’s an absolute pleasure to see a Christian this month that is, for lack of a better word, an asshole, if not a tag-along.

Beyond this, the sense of mystery is palpable and Bendis makes me want more.  This is also thanks in large part to Oeming’s artwork, and this is his best work in some time.  His paneling is as abstract and creative as ever (one memorable double-page spread tracks our characters’ path across a street and up a building), without causing the confusion that Powers’ previous arc was at times guilty of.  Colorist Nick Filardi also improves the series, alleviating it of the slightly excessive darkness of prior issues.

Oeming’s style urban environments are absolutely beautiful despite their seeming simplicity, heavy with mood and dark ambiance.  His rendition of the flashback is also well done: it glows with just enough life and vibrancy to distinguish it from the present day without becoming overly self-conscious, and of course ,the present-day is as grim and gritty a place as ever.

What’s Not So Good: None whatsoever.  Some might say that we didn’t get enough information regarding the actual murder and make cries regarding plot progression.  Relax, it’s only the first issue and besides, Powers has long been more about the characters anyway.

Conclusion: Comics bliss… This should satisfy even the most stalwart Bendis-hater.

Grade: A

-Alex Evans

Madame Xanadu #15 – Review

by Matt Wagner (writer), Michael Wm. Kaluta (art), Dave Stewart (colors), and Jared K. Fletcher (letters)

The Story: Madame Xanadu finally comes face to face with Al Nar.

What’s Good: As the demon pursues Richard Miller, Wagner and Kaluta do a fantastic job of depicting the chase, really giving a paranoid feel to the book. You get a sense of Miller’s mind unraveling, and this is largely courtesy of Wagner’s never wholly committing to the nature of Al Nar’s presence. Were some of those appearances only in Miller’s mind? Was the demon actually present, but only visible to Miller? It’s never entirely clear, and this ambiguity only heightens the dizzying fear that makes the chase feel all the more claustrophobic. Kaluta’s positioning of Al-Nar and the dog only enhances this feel, as they either pop in from the bottoms or corners of the panel, or suddenly appear to dominate entire panels of their own.

This issue also does what this entire arc has done so well, effortlessly fusing the seemingly disparate elements of magic and old-world mysticism with film noir New York. The chase sequence feels Chandleresque in spite of the demonic presence. Furthermore, the Sandman continues to be a classic hard-boiled presence.  Seeing him fight alongside Xanadu against the demon is a perfect summation of this blend of genre, as the mysterious gumshoe with his weird gun is injected into an otherwise wholly mystical confrontation.

Beyond that, there are a couple twists regarding the Sandman’s identity and the nature of the demon that come as nice, warm little surprises. They’re not shockers, but they do manage to amuse. I think this is largely due to them being pretty obvious, and even hinted at a couple of times, but with the parallel story, the murders, and the magic, those little hints got lost and forgotten. If anything, the reveals are almost like reminders.

Kaluta’s pencil shading remains one-of-a-kind, rough but detailed and moody. Kaluta’s rendition of 1940s New York can only be described as classic. However, the real star here is the final battle with the fire demon, which is nothing short of cataclysmic. Kaluta manages to fully portray the sheer size of the battle as well as the chaos of it, with flames aplenty. He manages to make it comprehensible with just a hint of difficulty to emphasize how crazy the events really are.

What’s Not So Good: This arc’s defining quality has been how effortlessly it swapped between its parallel stories, despite the time frame being 500 years apart and in different countries. However, that’s not the case this month. The balance is gone, as only 4 pages are spent in Spain. As a result, some of the things that made this arc so impressive are forfeited.

The length is also disappointing, in that there is no surprise in the story.  It simply comes to its end, concluding just as we knew it would right from the start of this arc and adding nothing to the inevitable ending.

The final battle with demon is a bit problematic as well, as the conclusion of the battle isn’t particularly inventive. Essentially, Madame Xanadu throws a bunch of random magical crap at the thing until eventually something works. I felt the story deserved something a little more well-played than that.

Conclusion: Great art, great atmosphere, and a great tone, but the parallel story structure finally breaks down a bit.

Grade: B

-Alex Evans

Greek Street #2 – Review

by Peter Milligan (writer), Davide Gianfelice (art), Patricia Mulvihill (colors), and Clem Robins (letters)

The Story: Eddie gets pulled in with the Fureys, a body goes missing, Lord Menon’s philandering ways come increasingly to light, and a monster stalks the streets.

What’s Good: Davide Gianfelice is the best thing going for this book right now. His artwork is simply gorgeous, animated, and impossible not to love. He has a style all his own, one that is very “cartoony” and affable, and yet paradoxically but undeniably gritty and ugly. It’s a remarkable mix that somehow works and works really, really well. It’s just amazing stuff that just has a really “likable” feel to it, if that makes any sense; likable despite the nasty stuff going on within the panels. His work on the facial expressions is nothing to scoff at either; Eddie’s traumatized expression in the hospital is absolutely haunting

This issue ultimately functions as yet another “stage-setting” book, despite the double-sized first issue.  Still, it is somewhat comforting to see Milligan begin to tie all of these disparate characters together, even if we don’t see the results of these connections just yet. At the very least, the isolation of the characters looks to be broken.

I also really enjoyed the use of the stripper(s) as the Chorus. This was one of the neatest recap pages I’ve seen in a book that isn’t Agents of Atlas. It’s really neat having a character break the fourth wall to give us a series recap in “real time.”

Many of the scenes function almost as tableaux and thanks in no small part to Gianfelice’s artwork, they are really beautifully plotted. From Sandy’s balcony dive, to the break-in at the Morgue, to Eddie’s stumbling into the hospital, many of the scenes have a really lyrical, majestic feel to them. They’re incredibly cool sequences with a hint of the surreal.

What’s No So Good: I’m going to come right out and say it: this book doesn’t make any sense. It’s impossible to read this issue without a lingering sense of incomprehension. As for the plot, it’s still murky at best.

While Milligan is showing moves to tie all of the characters together, right now things are just too damned separated and isolated. This, and the large number of characters, leads to me feeling like I barely know anyone, let alone feel emotionally attached.

Some of the characters are basically speaking in gibberish at this point, perhaps because we just don’t have enough info. We get another scene of Sandy babbling and the mysterious three women aren’t much better, talking to each other in riddles that we can’t understand at the moment.

Also, the strippers don’t work outside of the framing structure. They’re genius outside the direct action, but when Milligan thrusts them into the story, it’s off-putting, especially when mundane conversation gets interrupted by a clumsy, jarring line about “the old stories.”  Milligan basically rams his concept down our throats.

What’s worse, that very pitch, the mixture of Greek mythology and modern day crime-drama, isn’t working like it should. Instead of a cool fusion, I feel like I’m reading a gritty crime noir that has a horribly misplaced set of supernatural figures in it, as though a bunch of characters (the ghostly women and the monster) have accidentally shown up in the wrong comic. The supernatural just isn’t blending with the mundane, feeling very out of place and, yes, incomprehensible as well.

Conclusion: This book is currently confusing, as it reads like an ambiguous mess. There’s just not much here.  Gianfelice’s amazing work saves this from a worse grade.

Grade: C-

-Alex Evans

Incognito #5 – Review

by Ed Brubaker (writer), Sean Phillips (art), and Val Staples (colors)

The Story: Ava Destruction and Zack Overkill go to ground before Zack discovers the awful truth about his origins.

What’s Good: Everything you’ve liked about Incognito returns for another month.  Sean Phillips’ art is a key example of this; completely consistent in its style, tone, and quality without any dips or hurry. It continues to capture Brubaker’s weird mix of dark, hard-boiled noir and bizarre, ray-gun toting 60s sci-fi.  Incognito has been nothing short of excellent every issue, and #5 is no different.

I said it in my review last month and I’ll say it again now: I really, really like Ava Destruction as a character. Once again, despite her clear mental imbalances and homicidal tendencies, she remains impossibly likable. In that sense, the reader’s own relationship to her mirrors Zack’s. She’s dangerous, bloody, and generally awful. Yet relentlessly attractive and compelling.  It’s her very strangeness and ruthless and carefree violence that pull us towards her. And when Brubaker adds a level of vulnerability to her this month, it only makes us embrace her all the harder.

The twist regarding Zack’s origin occupies a central place in this month’s issue, and while it conveys, thanks in no small part to Phillips’ art and Staples’ neon colors and that throwback grindhouse/sci-fi feel, it also truly is a culmination of Zack’s existential struggles. In fact, Zack’s discovery and the subsequent conclusion of this issue are both beautiful in their being a concrete yet almost surreal manifestation of Zack’s loss of identity. Indeed, it fits the title “Incognito” perfectly. Despite its reliance on strong interior monologues, this series once again serves to question the nature of identity and whether the concept carries any validity at all. At the end of this issue, I’m leaning towards “no,” and yet paradoxically, I still see Zack as a distinct person that I’m invested in. This is testament to Brubaker’s skill as a writer that avoids clear answers.

Simply put, this is a highly intelligent issue that takes the book’s themes to an extreme new  level, setting up a bloodbath finale that is sure to define what it is to be “Incognito.”

What’s Not-so-Good: The short pair of scenes with Zoe Zeppelin didn’t feel particularly integral, especially given how awesome the rest of the book was. They’re clearly there as to explain the S.O.S’s presence in next month’s battle royale, but I can’t see why they couldn’t have been shortened, or combined into one scene. Then again, I’m biased as I really just want more Ava.

Conclusion: As I said last month, Incognito is a book that has given one of the best writers in comics today the freedom to do what he does best.  This is a writer in his prime, without constraints, making his ideal comic book.  Bottom-line? Buy the book, buy the trade, just read it!

Grade: A

-Alex Evans

Incognito #4 – Review

by Ed Brubaker (writer), Sean Phillips (art), and Val Staples (colors)

The Story: The S.O.S. has finally caught on to Zack’s night-time activities as our “hero” finds himself trapped in an unenviable situation.

What’s Good: Showing, not telling.  This phrase has haunted more or less every creative writing hopeful at one point or another, but in this issue, Ed Brubaker proves his mastery of the well-worn adage. Rather than have Zack tell us how his psyche is developing through textboxes, Brubaker uses his scenes and images to make these internal shifts all the more significant.

Two notable occurrences in this issue are the surprise office memorial for Farmer and the encounter with Amanda directly afterwards.  The former is a scene that shows Zack on the cusp of acknowledging an inexplicable positive in humanity and the “average Joe” he has so derided, yet due to letting the scene speak for itself, the reader almost seems more aware of this moment than Zack himself.  Meanwhile, the scene with Amanda plays up the feeling of paranoia that pervades this comic, making the reader actually share Zack’s anxiety right alongside him.

This is just a further nuance to the great writing that has continually propped up this series.  Paranoia is the game in this issue, and Brubaker plays it well.  Enhancing this is a further graying of the “good-guy/bad-guy” divide; not only is Zack hazy, but so too are the S.O.S., who turn out to be a far cry from SHIELD.

The character that sees the most development this issue is without a doubt Ava Destruction.  On the few pages that she appears in, she is utterly infectious.  Despite being terrifyingly insane and completely homicidal, she carries an undeniable charm and likeability.  The fact that we will be getting even more of her next issue has me excited.

Art-wise, Sean Phillips fans no what to expect.  The same dark, heavy pulp fare continues in this issue with no sign of slippage.  Phillips is nothing if not consistent.

What’s Not So Good: I didn’t feel that the internal monologue/textboxes were up the standard set by previous issues.  Don’t get me wrong, they’re still fantastic and were this any other comic, I would be enthralled; it’s only due to the unbelievably high bar that the series has set for itself that I find myself writing this.

I think a good part of it comes from what I mentioned about “showing, not telling.”  Due to Brubaker allowing the scenes to tell Zack’s emotions rather than the textboxes, the internal monologue becomes much more event-centered.  You don’t get the sort of overarching ruminating that you got in past issues.  It’s just feels simpler and more down to earth, with Zack more focused on his predicament than on the nature of his existence.

Also, I’ve always had a bit of a pet peeve for misleading covers.  Know that nothing close to a super powered battle between Zack Overkill and Zoe Zeppelin occurs in these pages.

Conclusion: Incognito remains an example of one of the top writers in comics today doing what he does best with complete freedom.

Grade: B+

-Alex Evans

Spider-Man Noir #1 – Review

By Fabrice Sapolsky (writer), David Hine (writer), and  Carmine Di Giandomenico (art)

The Story: Welcome to the Great Depression, Peter Parker. In this alternate, hard-broiled mystery (whatever that means) themed version of Spider-Man, Peter and his Aunt May are socialist rabble-rousers who run a soup kitchen during the greatest economic collapse of modern history. Peter’s world is ruled by a mysterious criminal called the Goblin and his crew of henchmen which include alternate takes of the Vulture and Kraven. True to his origin’s, Peter’s motivation for justice is fueled by the murder of his Uncle Ben. However, his youthful idealism is poised to lead him to a premature reunion with his Uncle until Ben Ulrich steps rescues him from Goblin’s gang and then takes him under his wing.

What’s Good: The pacing of the story is really well done by the introduction of an eclectic cast of characters through tight dialogue and an interesting interocular in Ben Ulrich. The character designs are mostly great. For example, the Vulture, who looks like the silent film era Dracula, is down right horrifying. Also, Spider-Man’s costume is both novel and cool.

I’m a fan of Carmine Di Giandomenico’s art from his work on Magneto: Testament and he doesn’t disappoint in this series. I guess his art excels in poverty and harsh settings as both these series offer similar atmospheres. His work appeals me to not for his technical prowess, but rather for his unique, indie feel towards setting and characters while retaining traditional structure.

What’s Not So Good: Peter Parker comes across one dimensional and that one dimension is constipational grumpiness. I guess the idea here is to get rid of the sweet, good-natured Peter Parker and replace him with an edgy and angry teen. The problem with this substitution is that it’s hard to actually like this series’ Peter as he is not at all endearing, but rather very annoying.  His facial expression is the same snarl in almost every panel that features only him.

My other chief complaint is that there is not enough Spider-Man in this issue. This is a Spider-Man title, right? How come we only get like three pages of ol’ Spidey and only one line from him where he uses the word “fellers”?

Conclusion: Overall, this is a good start to an interesting series.  However, I don’t see how this Noir series will appeal to anyone save the die-hard Spider-Man fans. At the same time, I’m sufficiently drawn enough to want to see where a few plot lines go, which is more than I was expecting when I bought this issue.

Grade: B

-Rob G

Criminal #7 – Review

By Ed Brubaker (writer), Sean Phillips (artist), Val Staples (colorist)

The Story: In the conclusion to the “Bad Night” storyline, Jacob discovers the full extent of Iris’ treachery, but must think and act fast if he is going to exact his revenge, because Detective Starr is moving in for the kill– especially after Jacob humiliated him after their last encounter.

The Good: What I love most about Criminal is how Brubaker and Phillips strive to make this book as accessible and new-reader friendly as possible.  Storylines like “Bad Night” are short, running no more than four issues in length, and self contained so that after one story ends, another begins with a new cast.  Because stories only have a few issues in which to be told, they are by necessity tightly paced and engaging; Brubaker gets right to the point and introduces you to the cast and sets up the conflict so that he has enough time to let it unfold.

This is important because in an industry dominated by superhero comics with decades of continuity attached to them, a creator-owned crime comic like this needs every inroad it can get to attract readers. And Criminal overwhelmingly succeeds because it is designed to be enjoyed by anybody.  I put this idea to the test and gave my dad, a longtime Mickey Spillane fan, the “Bad Night” storyline and was pleased when he came back to me the next day asking if I had anymore issues to share with him!

The Not So Good: My only problem is that Criminal will be taking a five-month break so that Brubaker and Phillips can release Incognito, another crime story with a superhero twist.  Not a bad problem for a good title like this, really.

Conclusion: Criminal proves that variety really is the spice of life.  This is a quality comic and great entertainment.  Not to be missed!

Grade: A

-Tony Rakittke

Echoes of the Damned #1 – Review

By James Pascoe (Story & Script), Roger Robinson (Story & Art), and Idalia Robinson (Colors)

The Story: Dante Cortez is a member of the Los Angeles F.B.I.’s Behavioral Sciences Unit that is ready to call it quits. He’s also a pill-popping alcoholic haunted by his dreams and an event from his past. When a brutal murder with similarities to other unsolved cases takes place, Dante is once again drawn into the world he had hoped to escape from.

What’s Good: For the start of a supernatural noir tale, Echoes of the Damned #1 does a great job of hitting all the right notes. Dante Cortez is just the right type of disturbed, depressed character that thrives in such a bleak setting. And what a setting it is. Dante’s world is brought to life through moody, stylish artwork that brings a nice sense of weight to each and every scene. It goes a long way toward elevating the fairly generic set-up. While I can’t go into much detail regarding the plot beyond what I’ve already mentioned, I will say that I look forward to seeing where the story goes following one hell of an intriguing cliffhanger.

What’s Not So Good: Despite the overall quality of the writing and presentation, the first issue of Echoes of the Damned doesn’t exactly break any new ground. You have seen this type of character before and you have seen elements of the plot in a variety of different forms of entertainment. And while I really enjoyed the stylish artwork, there are a few instances where the level of detail takes a noticeable dip. Also worth noting is that some of the action is poorly choreographed, though it is hard to tell whether it is the fault of the artist, the panel layout, or the dark coloring (or some combination of the three).

Conclusion: For the most part, you really can’t ask for a whole lot more from a #1 issue. If you are into supernatural stories or the noir genre at all, Echoes of the Damned may be right up your alley. Give its promising debut a shot.

Grade: B-

-Kyle Posluszny

The Goon #30 – Review

By Eric Powell (story and art), Dave Stewart (colors)

The Story: As Goon’s battle with the Labrazio and the Lonely Street gang rages on, the Buzzard continues his mission to discover the secret to destroying Labrazio, but is betrayed by the Priest.  Meanwhile, Franky is challenged with a moral dilemma that has nothing to do with a knife to the eye…yet.

The Good: Ever since the release of the original graphic novel Chinatown, The Goon has matured and evolved into a more dramatic, thoughtful story; and although I first resented that change, much preferring the blatanly tongue-in-cheek humor, I have since found myself thoroughly drawn into Eric Powell’s new direction on the book.  What I love most about this title is how Powell is able to draw from so many influences and weave them into such consistently entertaining stories.

The Not So Good: Also around the time Chinatown was released, and maybe even a little before then, I noticed a significant change in the style of Powell’s art that unfortunately, has never quite agreed with me.  While Powell’s early issues were more illustrative of a typical comic book, his art now has a subdued, streamlined look that seems to want to highlight Dave Stewart’s washed out, sepia toned colors.  In hindsight, I actually think the art and color better compliments the dramatic tone of the story, but there is still a dreary look about it that I’ve never enjoyed.

Conclusion: Month after month, this is one of the few titles that I most look forward to.  The Goon continues to impress with its deft mix of sly humor, drama, and horror.  This is really great storytelling, and a perfect example of why we need to see more creator-owned titles being published and supported.

Grade: B+

-Tony Rakittke