Damaged #1 – Review

by David Lapham (writer), Leonardo Manco (art), Kinsun Loh, Jerry Choo, & Sansan Saw (colors), and Todd Klein (letters)

The Story:  Old-timer police captain Frank Lincoln, on his way out, realizes that his little brother Henry has returned, determined to bathe the streets in criminal blood.

What’s Good:  There are certain things in storytelling, particularly genre storytelling, that simply works time in and time out.  This is particularly the case with crime comics, and Damaged certainly hangs tight on numerous tropes.  For instance, we get the haggard, world-weary detective and we match him up with the young, bright-eyed newbie.  We’ve also got the gritty narration by said old-timer and, naturally, the Mayor and the higher ups in the police force are jerks.  It’s all sort of familiar, which naturally limits how good this comic can be.  However, it also limits just how bad it can be as well.  Reading Damaged at times feels like putting on an old, favourite shoe.  It’s  unremarkable, but it’s also comfortable.  If you like crime comics at all, you won’t have any strong dislike for Damaged.

Certainly, David Lapham does do some things quite well.  The narration by Frank Lincoln, politically unpopular police captain, is well executed and full of exactly the sort of downcast mood and atmosphere you’d hope for in a comic like this.  Indeed, Frank’s voice is strong enough that the narrated pages end up being some of the book’s strongest.  The tableside political banter between the mayor, the police department’s higher-ups, and the new recruit is also well done and feels natural and, again, comfortable.

Hotwire: Deep Cut #3 – Review

by Steve Pugh (writer, artist, and letterer)

The Story: Alice Hotwire races to save the city from an invasion of blue lights and the ignorance of the Bear Claw mercenaries.

Review:  As with any issue of Hotwire, it seems fitting to start with the art first.  If you’ve ever seen an issue of Hotwire, you’ll know exactly what you’re getting here.  That is, you’re getting what may very well be the best looking comic on the stands right now.  Steve Pugh’s artwork is so stunning that it defies description.  Hyper-realistic, immensely detailed, lushly painted, and with really cool high-tech, near-future designs, this comic is a feast for the eyes.  Pugh’s massive and ornate blue light ghosts are awe inspiring and I also rather enjoyed Alice’s combat outfit this month.  Pugh creates a very realized world with every issue of Hotwire, fusing science fiction with horror in the most epic manner possible.

But there are the little things as well.  Alice’s facial expressions are always a blast, making the character instantly likable.  Her little nuances of emotion are always conveyed perfectly.  I particularly enjoyed Pugh’s use of close-ups during moments of tension.  The bottom-line is that this comic looks like one of those books with a shit story but art so good that you end up recommending it anyway.

Of course, in this case, the story’s rocking too.  As a last issue, the action is explosive and there’s a constant sense of pandemonium, desperation, and chaos.  Pugh effectively manages to make the events of this issue truly feel city-wide, not just limited to our characters and what we actually see on the page.  It’s an exciting, gripping read that’ll have you flipping the pages unconsciously until you’ve reached the end.

Blue-light soldier Tom continues to shine this month, in a big way.  Regardless of his past, he comes across as a full-fledged hero this month.  It’s easy to sympathize with the guy, who manages to go from perpetual loser to hero in the span of a few pages.  Leave it to Pugh to have you ultimately rooting for the ghost of a murderer threatening the city with destruction.

Hotwire Deep Cut #2 – Review

by Steve Pugh (writer, artist, and letterer)

 

The Story: Alice has it out with her blue light ex while the hunted ghost soldier finds an unlikely comrade.

What’s Good: After Requiem for the Dead, Hotwire was quite easily Radical’s best property.  Deep Cut has only cemented that position, despite Radical’s larger roster of solid titles.

Let’s start with the artwork.  Deep Cut #2, like every other issue of Hotwire, goes beyond Radical’s trademark digitally painted style.  Quite simply, Hotwire is perhaps the best looking comic book coming out today.  On a technical level, this is outstanding, gorgeous stuff that defies description.  It’s incredibly realistic, vivid, and mind-blowingly detailed.  On a design level, Steve Pugh’s work is equally impressive; his blue lights are a perfect mix of horror and hard sci-fi, while Hotwire’s world in general is cyberpunk cool.

Pugh’s characters are similarly strong.  Alice Hotwire herself is more distinctive than ever this month in her facial expressions and body language, making her even more attractive than ever.  I also greatly enjoyed Pugh’s depiction of the blue lights’ perspective, which took on a dreamy, pastoral quality that greatly contrasted with the cold, polished futuristic world of reality.

Pugh’s script is fantastic as well.  In many ways, I think his writing of the series is stronger in Deep Cut than Requiem.  It’s clear that this arc is all about characterization.  This issue really let me feel like I was getting to know Alice, from her quirks to her demons, and it made her attractive, cool, vulnerable, and fully three dimensional as a character.  Pugh accomplishes this again through the use of Alice’s blue light ex-boyfriend.  Her struggle with him is a clear, but elegant and downright exciting, metaphor for her struggles with her own past.  At the conclusion of the fight, you end up feeling satisfied; Hotwire defeated a ghost, but also made a step forward in her life and as a character.

Given this, Alice is now fully established as an awesome lead character that could very well become Radical’s Hellboy.  She’s just incredibly likable.  Pugh’s writing of the dialogue only enhances this.  Alice’s voice is an incredibly unique one; she’s hilarious and snarky, but also socially awkward and abrasive.  Yet despite this, she absolutely adorable.  She’s basically the endlessly grumpy person that you can’t help wanting to hug.

Abattoir #1 – Review

by Darren Lynn Bousman (creator), Michael Peterson (concept), Rob Levin (writer), Troy Peteri (writer & letterer), Bing Cansino (art), and Andre Pervukhin (colors)

The Story: Real-estate agent Rich Ashwalt finds himself tasked with selling a house stained by a horrific, bloody massacre. Enter Jebediah Crone, a creepy guy who seems weirdly eager to purchase the place…

What’s Good: I’ve often felt that the best horror stories are those that feel realistic in its setting and its characters.  The closer to reality, the more unsettling the injected disturbance is.  Abattoir seems to get this.

Main character Rich Ashwalt is a strong one if only because of his normalcy.  His marital discord with his wife feels natural, as it never comes close to reaching over the top histrionics.  There’s a sense of distrust, tension, and loss, but also love.   Similarly, Rich’s relationship with his daughter is tender and paints Rich instantly as a good father, yet it never veers close to feeling saccharine or picturesque.  In many ways, the same goes for his friendship with his work buddy Patrick, which, while their back-and-forth dynamic is fun to read, feels common.  All of this makes Abattoir’s world relatable.

This makes the more mysterious horror elements all the more menacing.  There’s a constant tension and a sense of something encroaching.  In some ways, it mirrors the tension in Rich’s marriage; it’s there, roiling beneath the surface and becoming increasingly anxious to break the surface.  The gory massacre that haunts the town’s memory plays a big role in this; it’s a bubbling over of the horror and insanity that lurks below all the every day normalcy of this setting and its characters and now, in Abattoir’s world, it continues to linger.  The town and its characters are forced to confront, and unable to forget, this ugliness, no matter how much they want to.  That, in itself, is quintessentially Gothic.

Time Bomb #2 – Advance Review

By: Jimmy Palmiotti & Justin Gray (creators & writers), Paul Gulacy (art), Rain Beredo (colors) & John J. Hill (letters)

The Story: A group of four secret agents is sent from the future into the past to stop the construction of a weapon that will kill the human race.

What’s Good: I loved issue #1 of this series and the story in this issue switches from the sci-fi elements (secret Nazi weapons and time travel) to a good old fashioned WWII espionage story as our group of four agents (I guess that’s what I’d call them) end up getting sent back to the latter parts of WWII to stop the creation of the Omega Weapon (that kills humanity in 2012).  I was impressed at how easily Palmiotti and Gray shifted from a pure sci-fi story in issue #1 to a more Inglorious Basterds story for issue #2 where our small group of 4 is isolated and without backup while on their secret mission.  If you liked Inglorious Basterds or recent comics like 7 Psychopaths, you’ll probably get a kick out of this issue.  There is lots of Nazi killing.

As a middle arc, this issue also has a purpose: to get all the pieces in place for the finale.  And it does that very well.  I am very eager to see how this plays out in the finale because our heroes have left quite a wake of dead bodies and I’m sure all that screwing with the timeline will have some repercussions in the “present” and we also have the issue of the scientist who created the Time Bomb being missing in the past.  I’m sure he has to turn up somewhere and that should be fun.

Hotwire: Requiem for the Dead #3 – Review

by Warren Ellis (creator) and Steve Pugh (writer, art, and letters)

The Story: Hotwire visits the “maximum security cemetery” in the hopes of finding some answers about the “ghost bombs” and ends up dealing with a paranormal jailbreak.

The Good: The art in this issue is inexpressibly phenomenal. This is the best looking book yet in a series that is already quite possibly the best looking series in Radical’s line-up, which is no small feat. A good chunk of this month’s eye candy comes thanks to the “ghost bombs,” which allow Pugh to go wild with his insane “creature concepts.”  His giant metal ghost spider is a sight to behold. The jailbreak only takes the art up to another level, allowing Pugh to draw cataclysmic floods and storms of biblical proportions. Art-wise, this is a big issue and it looks amazing.  Almost every large frame in this book could easily be framed and put on a wall.

Hotwire #3 is without a doubt an action issue, and Pugh handles the mayhem well. Again thanks in no small part to his spectacular visuals. That said, in the midst of all the gorgeous explosions, glowing gribblies, and high-tech gizmos, it’s remarkable how much I’ve come to like Mobey and Hotwire in only three issues. I wasn’t particularly taken with any of the characters after issue one, but I really connected with Hotwire and Mobey in issue two, and this month, I liked them even more. Hotwire is just the right combination of sassy and outright weird, managing to be likable and engaging while avoiding cliches and remaining abrasive. Once again, her dynamic with Mobey also brings much needed comic relief.

Meanwhile, Pugh continues to do a great job in balancing the main plot with the ominous surrounding events of the riots.  It’s a really cool balancing act that adds more of a flavor to the comic while also fashioning a living, active, defined world for the story to take place in– not easy to accomplish in a four-part limited series.

I also have to commend Pugh’s handle of the ghost bombs, who really come across as genuinely disturbing. His ghosts thus far have certainly been written in an unsettling style, but he sets a new standard here.

The Not-so-Good: Hotwire #3 briskly moves the plot along and does what it does well, so there’s not a lot to complain about.  I was a little underwhelmed by Hotwire’s reveal at the issue’s end of who she was covering for, but considering this is a four-part series with few characters, I can’t really think of many other possibilities.  At least this really suited Hotwire’s character.

Conclusion: Great action, unbelievable art, and increasingly likable characters come together in a fantastic comic.  If you haven’t read Hotwire, you should.  This weird and yet oddly perfect hybrid of hard science fiction, cyberpunk, noir/detective fiction, and horror continues to be a real winner.

Grade: A-

-Alex Evans

City of Dust #2 – Review

By Steve Niles (writer) and Zid and Garrie Gastonny and Brandon Chng (Art)

The Story: Picking up from last issue’s cliffhanger, Phillip Khrome must answer to his superiors, Command One, concerning his handling of a forbidden piece of crime-scene evidence in which contact with warrants capital punishment: a book. During his interrogation, seemingly unrelated events from Krome’s past surface in connection to the murder he was investigating, connecting him to a wider series of events that have been transpiring in the city’s lower levels.  At the end of the story, the members of Command One have a gruesome confrontation with the very real representations of the imaginary, literary, and religious symbols they have sworn to abolish.

The Good: City of Dust is the first Steve Niles comic I have ever read, but I am pretty much sold on the hype surrounding his work. In this comic, he has created a world that could only be described as Blade Runner meets Fables, in the context of a Gothic horror murder mystery. The heavy use of symbolism is employed subtly enough that it doesn’t detract from the story being enjoyed on a simple level, but at the same time, adds depth and even momentum to the way the tale unfolds. Furthermore, the art is beautiful and much more fluid in its story-telling than issue #1.

The-Not-So-Good: I would have liked to seen more development with the cast of Command One. When the first issue left off with their introduction, I expected to learn more about the characters themselves and their team dynamics.  However, the only member of Command One we get to know is “the boss” who’s character is effective, but remains a stereotypical authoritarian foil for Khrone’s growing independence.  My only art complaint is Khromes hair, which looks like a shiny, helmeted version of Norman Osborn’s hairdo when drawn poorly.

Conclusion: This is an all-around great comic that works on many different levels. Like all great stories, it seems that all the different sub-plots are building up to coalesce into the main theme of the story. Watching the mastery in which Niles pulls this off is a thing of beauty.

Grade: A+

– Rob G.

City of Dust #1 – Review

By Steve Niles (story) and Zid (art)

The Story: In the future, the world is ruled by an oppressive government where imagination, stories, and religion are outlawed. Officer Phillip Khrome is an upstanding servant of the law. But when he gets mixed up in the arrest and death of a religious man, the ghosts of his past come back to haunt him. He begins to question whether his use of deadly force was valid or not.

Meanwhile, a series of grizzly and curious murders have begun to plague the city. When officer Khrome’s life intersects with the next murder he discovers something profound that may put his own life and career in harm’s way.

What’s Good: The potential for an excellent storyline is high. We’ve seen stories similar to this, but Steve Niles puts a nice twist on the genre with the addition of a murder mystery. There’s also some monster/horror elements that could ramp up the intrigue as the series progresses.

Zid’s art is breathtaking. The city these people dwell in is incredibly detailed and the story is easy to follow. With all of the scenes taking place at night, it’d be easy to mask a lot of backdrops with darkness. But Zid doesn’t take the easy route. He makes the inner city come to life with detailed store fronts, while the heavy use of fog gives the city a good sense of character. It’d be easy to go the Blade Runner route with a story like this, but Zid avoids the trappings and creates something that stands on its own and not so post-modern. Did I mention he renders some incredible looking women?

What’s Not So Good: As strong as this first issue may be, it’s still a story we’ve been before many times. Despite my enjoyment, some might be too fatigued with this type of story.

Conclusion: It’s been a while since I’ve read a Steve Niles book and boy, have I missed him. City of Dust’s debut issue does not disappoint. Like many of Radical’s other titles this book echos the near perfect marriage between story and art.

Grade: A-

– J. Montes

Freedom Formula: Ghost of the Wasteland #2 (of 5) – Review

By Edmund Shern (story), Kai and Jennyson Rosero (art), Yina Goh (colors)

This is one of the rare instances where the interiors of a Radical comic fail to meet up with the standards presented on the cover. I’m disappointed with this second issue. The storytelling is almost incomprehensible at times due to the muddled artwork. In fact, most of the art in this issue feels very rushed. It’s hard to follow the action or even figure out who’s who at times. Part of the problem is the lack of backgrounds. Because of this, there’s no frame of reference to let us know where the setting is. The other problem is the introduction of what will be Zee’s antagonist. We don’t see his face until midway through the book and when we finally see it, it’s a bit confusing. Had his face been shown earlier in the book it would have been easier to follow this story along.

The story jumps around quite a bit and under a more capable artist, things might have been executed better. As it is, Freedom Formula #2 is disappointing. The art team Kai and Jennyson Rosero definitely have a good grip on camera angles and storytelling, but little of that talent is shown in this issue. It’s rushed, lazily drawn, and relies too much on Yina Goh’s coloring to get by. Even the lettering and word bubble placement by Stanley Ong is poorly handled (see The Rev’s delivery of dialogue). Here’s hoping things improve, because I want to enjoy this series. The story (when you can follow it), is actually quite good. (Grade: D+)

– J. Montes

Hercules: The Thracian Wars #5 (of 5) – Review

By Steve Moore (story), Admira Wijaya (art), Imaginary Friends Studios & Sixth Creation (colors)

A fitting end to what promises to be the first of many series. Hercules has delivered in just about every aspect a comic reader could ask for. And though this last issue has a few scenes that jump too quickly, it still provides for a thrilling conclusion – wrapping up every loose end in a very thrilling fashion. There’s particularly one line in the book that literally made me yell out, “Oh damn!”. I’m not going to spoil it for you, but it’s where Hercules finally deals with Cotys’ daughter. It’s brutal, poignant, and thrilling at the same time. This line and scene better be in the movie – it’s the climax of the book, and honestly, just brilliant in every way. You hear me, Radical? Don’t leave this scene out!

As much as I love this final installment, it’s not without its faults. Personally, I would have rather seen more of Hercules’ gang breaking back into the city and working their way to Cotys rather than the series of obstacles he presents to them as he flees. It’s all a bit too videogame-ish in execution and does nothing but slow down the inevitable. But the violence and storytelling that take place are pure eye candy. Seeing Tydeus get his glory and his inner berserker on will no doubt be one of the big highlights for every reader.

Though Hercules may be without some of his partners by the end of this issue, I’m hoping we’ll see a reappearance at some point down the road. This is a great series, easily one of the best stories I’ve read of 2008. Do yourself a favor and hunt down the back issues of wait for the inevitable trade. Just make sure you check it out. As for me, bring on the next series! (Grade: A-)

– J. Montes

Hercules: The Thracian Wars #4 (of 5) – Review

By Steve Moore (writer), Admira Wijaya with Imaginary Friends Studios (art)

Until now, Hercules has been restrained, a demi-god coming off more as a mortal with mythical stories behind his strength. Yet, as battle has shown, he is a master at the art of tactics and combat training. But his signature brute strength was never shown or even hinted at until now. When Hercules is finally unhinged in this issue, both Steve Moore and Admira Wijaya take the gloves off and launch our hero into a torrent of violence, blood, and rage. Readers who’ve been patiently waiting for Hercules to erupt into “300“-like violence will walk away satisfied with the amount of gore on display here. And you know what? It’s satisfying on every primal, sadistic, and perverse level.

This is easily the best issue of the series. What surprised me is how the story plays out. It seems like the type of story that would stay on course and deliver a “by the numbers” finale after Hercules discovers Cotys’ plan to attack Greece. But such is not the case. With every anticipated turn, the story goes in a completely different direction and that is damn impressive. Steve Moore does a fantastic job of scripting a fresh and unpredictable tale. Even more impressive is the amount of ground that’s covered in 24 pages; this issue goes through a lot of twists and turns all while simultaneously setting the table for the series’ undoubtedly bloody finale.

There’s been a lot of people trying to compare this book to Frank Miller’s 300. Even Radical’s marketing team is guilty of this. But other than both using Greek characters and violence, there’s really no comparison. Apples and oranges. If I could only read one, I’d easily take this series. Superior art, a color cast of characters, and an original (and more stronger) story wins out here. (Grade: A+)

– J. Montes

Freedom Formula: Ghost of the Wasteland #1 (of 5) – Advance Review

By Edmund Shern (writer), Chester Ocampo and Kai (art)

This isn’t a book I’d normally buy. Frankly, there was nothing in the promos that led me to believe this would appeal to my tastes. I’d gone through a manga phase years ago, and I could hardly see how something that’s “manga inspired” could be fun. I mean, if I want the real thing, I’ll go buy it, right? Then there’s the racing element. I can’t stand the Asian racing scene, Nascar, or crap like Initial D. It’s stupid and frankly, a waste of gas. Talk about polluting the atmosphere. Anyway, with all these negatives going against this title, I braced myself for the worst.

Radical now has a proven track record of quality titles. If you haven’t read Hercules or Caliber, you should. Freedom Formula, however, has the most potential to be the company’s break out title. The book has manga driven elements that’ll appeal to younger readers’ tastes, while keeping that post-apocalyptic, cyberpunk feel that had us Gen X’ers loving Akira back in the day.

This first issue does a lot of “rule setting”, laying down the ground work of what’s to come. It’s a bleak future, yet one of hope. Wars have ravaged the planet for years, but finally the world is at peace. The popular ruling sport consists of drivers racing around in modified military mechs. If there’s no more war, you might as well use them for something right? Zee, the protagonist, is what people call a Wastelander. He’s never been to the city, but on his father’s dying request he reluctantly makes his way toward Los Petropolis with a parcel in hand. Everything that happens next harkens back to the old adage of “being at the wrong place at the wrong time” (or right time), as Zee gets himself in a load of trouble.

What I enjoyed is how writer Edmund Shern takes his time with the story. Sure, it gets us from the Wastelands to bustling city of Los Petropolis very quickly, but we get a good glimpse of what’s gone on before and what the world is like now. The only thing that doesn’t work is the abrupt ending of the issue. If the creative team had given us one more page to wrap things up into a cliffhanger, it would have been fine.

Chester Ocampo and Kai do fantastic work. I have no idea what these two artists did before, but what they do here is quite impressive. And while I disagree with their panel choices and high use of negative space in the first five pages, the rest of the book does a great job of showcasing their storytelling and artistic skills. It’s definitely manga inspired, and old Zee could easily be mistaken for Kaneda (from Akira), but there’s also a Steve Epting like quality to their work that adds a strong sense of depth and drama. The double page splash of Los Petropolis’ skyline will floor you.

Don’t let the manga inspired look deter you. I know it’s easy to look at this book and think “style over substance”, but I digress. You can have both. This title along with Radical’s other offerings are evident of that.  (Grade: B)

– J. Montes

Hercules #3 (of 5) – Review

By Steve Moore (writer), Admira Wijaya (artist), Imaginary Friends Studios & Sixth Creation (art assists, colors)

Alright, so the overall plot’s become a tad more predictable with every passing issue. Big deal! Just because we know where the story’s going doesn’t mean this book’s not one heck of an entertaining ride. Much like Hercules’ skill as a tactician and warrior, this the script is refined and well-paced.

The Hercules portrayed in this book isn’t a young fool with a barbarian’s instinct, nor is he pure warrior with unbound skills. He is a hardened war general that’s seen it all. The way Hercules commands his army and assesses the battlefield is brilliant. I’d even go as far to say that given what I’ve read and seen, this would be a heck of a movie. It’s like the best parts of Oliver Stone’s Alexander but on a smaller scale, with a pure focus on war.

What also makes this book enjoyable is that the story isn’t just focused on Hercules, but on his supporting cast as well. Though each character isn’t completely fleshed out, personality-wise (even Hercules’ stoic visage prevents him us from learning more about him) we get a true sense of who they are and what their stake is within the story. Ironically, perhaps the most engaging character isn’t Hercules at all, but rather the fury warrior, Tydeus – a murdering cannibal who’s allied himself with Hercules for the simple pleasure of gutting people. There’s some excellent interplay and chemistry between these characters and I like how Steve Moore constantly tests their loyalty towards Hercules.

The artwork by Admira Wijaya once again dazzles the eye. But it’s not just his compositions or the coloring by Imaginary Friends Studios that makes this book look so incredible – it’s the creative choices in panel layout that allow the eyes to track the story so easily. The bloody brutality of war has never looked so beautiful.

This issue is as near flawless as they come. Each month, I put off reading this comic until the last minute and each month I kick myself for not reading it sooner. Don’t be like me. Do yourself a favor and play catch up with this series. You’ll be glad you did.  (Grade: A)

– J. Montes

Hercules #2 (of 5) – Review

By Steve Moore (writer), Admira Wijaya (art), Imaginary Friends Studios (art & colors), Sixth Creation (colors)

Why anyone isn’t reading Hercules is beyond me. This is a smart and brutal series that war, history, and mythological buffs will truly enjoy. The character of Hercules is portrayed as a fighting tactician who has no concern of his reputation, nor does he ever feel the need to prove it. He’s a glorified mercenary in essence and when he and his team are hired to whip the Thracian army into shape, he does so strictly for the promise of a paycheck.

As the Thracians move into enemy territory, their merciless leader, King Cotys orders the sackings of many villages for the sake of drawing the enemy army out and in the same process, lowering their morale. Hercules, begins to ponder if he’s done the right thing by joining the Thracians. But seemingly “in too deep”, he pushes on with the army as they extend their dominance into the region.

There’s a lot of meat to this issue and I guarantee you it’s one you won’t finish in five or ten minutes. Even if you’re a fast reader you’ll stop just to admire the stunning visuals by Admira Wijaya, who is one hell of an artist. Steve Moore’s script isn’t lazy either. It’s character drive, very smart. At one point, however, I was taken out of the story when one character utters a modern day curse word (visions of Brian Wood’s awful Northlanders came back to haunt me), but thankfully, that was just a one-time thing. I can let something like that go when it’s done once to make an emotional statement.

All in all, this series is one of the sleeper hits of 2008. It’s the perfect marriage of story and art on a very high level. With Caliber and Hercules, Radical Comics is off to a strong start as a new publisher. High ly recommended. (Grade: A-)

– J. Montes

Hercules #1 (of 5) – Review

By Steve Moore (writer), Admira Wijaya (art), Imaginary Friends Studios (colors)

Radical makes a very strong debut with Hercules. I remember this book being advertised as “a re-imaging of Hercules along the lines of Frank Miller’s 300“. I think that statement’s completely wrong. This is nothing like 300. Perhaps the only thing it has in common with Frank Miller’s masterpiece is that it takes place in ancient Greece, too. If anything, this story plays more along the lines of the Beowulf movie released last year (and penned by Neil Gaiman).

The book is full of disbelievers who think the power Hercules brandishes is nothing more than a myth. Not helping matters is his size – which becomes an on-going joke throughout the book. Hercules is slightly larger than the average man, he’s restrained with his tongue, and keen on his surroundings. He wears the hide of a Nemean Lion, a rare and fierce creature, as a head dress (probably to command respect). Yet, his would be foes aren’t intimidated.  They see Hercules as just another bastard child of Zeus – some even believe his mother was just a whore who made up the tale. And after numerous taunts and insults, Hercules reaches the end of his rope. In a righteous, murderous rampage, he dispatches dozens and dozens of foes in an unapologetic fashion. Yes, the story is a bit light in this first issue, but it’s all about setting the tone of who Hercules is and what he represents.

With a retail price of $1.00 for the first issue, you’re getting a fantastic deal, not to mention a bloody start to what I’m hoping will become an epic series. The dark tone of Steve Moore’s story is further bolstered by Admira Wijaya’s stunning visuals. There’s some great textured work here that makes the world feel foreboding, yet real. If the creative team can maintain this quality of work, I’m definitely on board for the long term. I just need to know where this whole story is headed, because right now, it’s all a bit too mysterious. Fantasy buffs will most likely enjoy this first issue. (Grade: B)

– J. Montes