Thor: Heaven and Earth #4 – Review

By: Paul Jenkins (writer), Lan Medina (artist), Chris Sotomayer (colorist), Charlie Beckerman & Jake Thomas (assistant editors)

The Story: A Welsh Prince steals the wife of a Viking. The Vikings sail over to settle accounts. The Welsh, getting kicked around, call for help, by offering beautiful damsels for their dragon to eat. The dragon accepts the payment and mows down the Vikings, who call for help of their own: the Norse gods.

What’s Good: You’ll recall in my review of Thor: Heaven and Earth #3, that I’d been blown away by Jenkins’ powerful writing. This issue is no different. Once again, it is a stand-alone issue that is entirely focused on what makes Thor different. In this case, Jenkins focuses on the fact that Thor is part of an ancient pantheon of gods, who once had worshippers who could call them for help, worshippers who had enemies in a pagan cosmology. The second thing that’s cool about Jenkins’ story is that there is a strong moral element. The challenge in lending a moral argument to a tale of the past is that very often, to meet the moral needs of modern readers, an anachronistic ethic is inserted into a past it doesn’t belong to, making the story feel inauthentic. Jenkins gets around this by making the original crime (wife-kidnapping) something that will offend the morals of both modern readers and vikings. Clever and effective. The third cool thing about Jenkins’ story is the frame of the narrative. This is a story being told. There is a listener and a teller, and instead of being just a literary device, Jenkins makes the frame part of the story by having one of them change. So, there’s character change in the story, and character change in the framing story. Quite well constructed and satisfying.

On the art, I was quite pleased. I noticed the camera angle technique right on the first page: starting above the train, then in the train on the teller and the listener, and the close-ups on each of them. Big to small. Distant to intimate. I also liked the detailing of the expressions and the work on making average characters part of a heroic story. And on heroism and action, it was competently done, and I felt it really came alive when the Aesir and the dragon came on the scene. That just goes to show that superheroes and monsters are still the natural fauna of comic books.

Northlanders: Sven the Returned – Review

by Brian Wood (writer), Davide Gianfelice (art), Dave McCaig (colors), and Travis Lanham (letters)

For those that don’t know, Brian Wood’s Viking-themed Northlanders works in completely isolated story-arcs.  As a result, this trade actually functions more like an original graphic novel.  Wood has actually pushed for Northlanders trades to be without numbering for this very reason.

Sven the Returned is the first of these tales and in some ways, it shows.  Much as I felt regarding the first trade of Wood’s other Vertigo series, DMZ, much of this book reads like a bit of a feeling out process on Wood’s part, as he gets used to his own series.  While that’s not to say that the writing is sloppy, it does mean that everything feels a bit simpler and more straightforward than what Wood normally produces.  In fact, this book feels much more basic even than later Northlanders issues.  While that’s not necessarily a bad thing, the fact remains that most of this book feels like little more than a gloriously violent, historical actioner following a fairly standard revenge plot.  While it definitely does succeed on this level, I don’t think we would have been wrong to hope for more.

Worse still, for most of the book, none of the characters are particularly nuanced.  Sven himself is essentially the unstoppable badass warrior who also wins through having a sounder tactical mind than his opponent.  Meanwhile, although his battle expertise does lead to some engaging captions, Enna is not anything particularly unique.  The same goes for the tyrannical Gorm, his murderous henchman, and Sven’s old flame…who is pretty much as stereotypical an “old flame” character as you can get – a seductress who now belongs to Sven’s enemy.  Meanwhile, you have Enna, who spends the majority of the book as the typical silent femme fatale.

That said, despite this simplicity, there are nuances.  Sven’s use of Gorm’s superstition and religious beliefs to terrorize his nemesis is well-done, leading to one of the coolest, and goriest, scenes of the book.  The clash of the old with Sven’s modernity is a nice touch.

Now, at this point, this trade may sound like a mediocre book worthy of being passed over.  That may very well be the case for the first five issues of this eight-issue collection.  However, in issue six, the book takes a sudden, massive upswing in quality in a manner so ingenious, that it reminds us of what Wood is capable of.  Wood essentially has Sven call out his own graphic novel.

Sven, around issue six or seven, comes to the realization of how pointless the entire book has become thus far, in its typical Viking characters and standard revenge/money centred drive.  Wood thus turns the graphic novel on its head by essentially having Sven call the entire tale into question.  When he does, the intelligence and depth of the book skyrockets.  Sven becomes much more of an individual and far more unique as a character, while the somewhat bland plot of earlier is completely abandoned.  The simple revenge plot is dumped by Sven as being meaningless and small and the book suddenly takes on a completely different plot, one that is far more grandiose and ambitious, treating issues of nationhood, solidarity, and culture.  Gorm becomes an afterthought, and old enemies now become friends, as their stereotypical rivalry of earlier is done away with when their roles and relationships come to be redefined by a new plot.

It’s unfortunate, however, that Wood uses a little bit of deus ex machina to create such a shift in the book.  It takes the arrival of a greater enemy in an event that is just far too perfectly and conveniently timed.  But given how much the book improves subsequently, I can’t gripe too much about this.

While the story’s quality may be divided down the middle, I can however say that Davide Gianfelice’s art is consistently amazing.  I’ve always loved his work and this book bears his trademarks.  Oddly blending an indisputably cartoony look with harsh, realistic environments and a good amount of piss and vinegar, it’s a very strange mix that leads to a wonderful contrast and a perfect balance.  That such a cartoony style is able to carry such maturity and grittiness frankly baffles me.  Gianfelice’s sprawling splashes of Orkney landscapes are also an absolute marvel, evoking a sublime effect combining awesome barrenness and sweeping beauty.  Dave McCaig’s colouring is also perfect for Gianfelice, adding a sort of grainy texture to the entire trade.

Ultimately, this is a rather strange book.  It carves out a very simple action story with simple characters and a simple plot and bumps along as such for the first 60% of the book.  Then, in the last three chapters, Sven, and hence Wood, essentially dump this all in the trash, openly criticizing it for its simplicity, meaninglessness, and pointlessness before switching to a plot/conflict that is far more grand.  This doesn’t change the fact that the first 60% of the book are nonetheless nothing special, but I do have to admire Wood for his gall and what appears to be metafictional self-criticism, as a character takes apart his own story and builds a better one.

Grade: B

*This trade collects #1-8 w/ covers.  I also recommend hunting down #20, which is a one-shot revisiting Sven and Enna several years after the events of this book.

-Alex Evans

Northlanders #20 – Review

by Brian Wood (writer), Davide Gianfelice (art), Dave McCaig (colors), and Travis Lanham (letters)

The Story: A few naive young warriors hear the tale of Sven the Returned and decide to prove their worth by killing a legend.

What’s Good: As he often does in Northlanders, Wood again makes characters and readers mirror one another. The young warriors who go out to find Sven years after hearing his tale are like us, readers;  seeking Sven out again by buying this issue, exactly one year after the conclusion of “Sven the Returned.”

Anyway, much as was the case in that first arc, there’s a lot of action here, all of it brutal.  Once again, although he may be older, Sven is the battle-hardened badass, quick-witted, experienced, and both smarter and better trained than his adversaries.  The bloodshed is enjoyable and the narration makes it all the moreso, sharing Sven’s thought process, blow by blow.

Perhaps the coolest thing in this issue though, is Wood’s writing on fiction itself, or rather the formation of legends.  Sven’s final tactic this month is essentially to rewrite himself into “Sven the Immortal.”  It truly is a case where fiction supercedes life, as through establishing his own legend and his own character. Factual or not, Sven transcends reality. This comic is essentially a battle between fiction and reality, where the former overshadows the latter and the writer wields ultimate power.  Sven’s life serves to be nothing more than a series of roles, some real and some told.

This comic also again features an espousal of unity.  Where the first arc centered around the idea of nationhood, this book feels much more intimate, focusing instead on family.  Less grand perhaps, but also a lot tighter and more conducive to a one-shot.

Davide Gianfelice is just as good here as he was earlier on Northlanders. Delivering his patented blend of cartoony and gritty, this is Gianfelice at his best.  His sprawling images of the Orkney landscape are also haunting and sublimely powerful, but this time, he also gets the chance to draw some more urban environments, which prove to be no less daunting or impressive.

What’s Not So Good: On the art front, I found some of Gianfelice’s action scenes later in the book a little confusing.  I understand that he’s attempting to capture Sven’s “battle fury,” but he leaves just enough clarity to make me think that I perhaps I should know exactly what’s going on.  Instead I just get shots of Sven hitting someone or other in some manner that isn’t comprehensible.

At times, I also felt that the book was just a little bit rushed as Wood attempted to cram everything within the 22 pages limit.  In particular, I felt that having no space between the first attack and the boys’ later revenge wasn’t the best idea and would’ve perferred a bit more of a denouement.

Conclusion: A fun revisiting of an old character that can be enjoyed both as an accessible actioner and a more complex take on the nature of myth and legend.

Grade:  B+

-Alex Evans

Northlanders #19 – Review

by Brian Wood (writer), Danijel Zezelj (art), Dave McCaig (colors), and Travis Lanham (letters)

The Story: Three women fight for their lives, making a final stand at an abandoned keep.

What’s Good: I loved this issue just as I’ve loved this arc overall, so it’s hard not to repeat what I said in my review of #18.   It’s a gripping tale of feminine solidarity in an age of raping and pillaging; a one of a kind story that hits the brain and the heart. Viking tales are almost always exclusively male in focus, an unfortunate continuance of that masculine-centric time that seems to have been furthered in hindsight rather than questioned.

Indeed, the fact that these three women are at the centre of a Viking tale is perhaps why they are under threat. They take centre stage, while the typical barbarians are left as faceless adversaries. Wood has given us a tale that focuses on female characters fighting for their place and their independence and that those arrayed against them are a horde of indistinguishable males that are out to take what is theirs.

Wood also assails Christianity  this month. I always like it when writers or commentators quote obscure, and socially horrific, passages of the Bible. It’s so utterly jarring to hear a book so central to our culture be so retrogressive and opposed to that very culture.

However, Wood’s greatest achievement this month, more than last, is his effective blend of myth and reality. No, this isn’t a Gaiman-esque tale of Odin showing up in disguise to save the day. Rather, Wood shows how reality, or “real life,” reflects myth and that the two sustain and mirror one another. The last page is genius for this reason, as is the depiction of one of our characters’ escape from the fortress. In that escape, Wood flirts with magical realism, blending myth and super-naturalism with reality so closely, that until the end of the comic, even I wasn’t sure if the character in question wasn’t more than human.

Also, Danijel Zezelj’s art is nothing short of fantastic.  Dark, shadowy, and horrendously bleak, it suits the mood of the book to a tee.  Indeed, Zezelj’s style strikes one as a vision rather than the movie or cartoon look that a lot of comics go for.  I also found it much easier to tell the characters apart, which was a bit of an issue last month.  McCaig does simply awesome work on colors as well, adding even greater emotion to Zezelj’s art by working heavily in monochromatics. The main color of every scene perfectly reflects the action, and more importantly the state of mind, being represented.  The battle scene in particular is set in a glorious array of reds and oranges.

What’s Not So Good: There are a couple lines where the religious commentary feels a little ham-fisted, as though Wood feels he has to spell out his points for the dullards who need to be fed, and it ends up losing some of the subtlety.  Also, what the heck is with the continual use of “pigfucker?”  Why that one profanity?

Conclusion: Very minor quibbles aside, this book is simply awesome.

Grade: A-

-Alex Evans

Northlanders #18 – Review

by Brian Wood (writer), Danijel Zezelj (art), Dave McCaig (colors), and Travis Lanham (letters)

The Story: With their village destroyed and their husbands butchered, three women, treasure in tow, run for their lives.

What’s Good: Brian Wood continues to show what can be done with a Viking comic.  Make no mistake, this is a clearly feminist text and yet, perhaps thanks to its gory Viking historical base, Wood makes it one that is accessible to the everyman rather than off-putting. While it’s emotionally heavy stuff, it’s more action-packed and inviting than it is didactic.  That said, the feminist base makes this issue feel more intellectually substantial, more engaging, and more complex than a comic filled with guys getting stabbed in the gut with pointy sticks.

What Wood gives us here is a story concerning three women fighting for independence in a world where such a thing is not only non-existent, but unthinkable.  It’s essentially three women learning that masculinity is entirely a social construct, as they wage war not merely with a group of murderous vikings, but in so doing, with the nastiest of all patriarchies.  Our three characters appropriate the masculine in a fight for freedom that is definitely stirring stuff.

It’s all the more hard-hitting due to Wood once again flexing his muscle when it comes to writing narrators.  Here, he establishes a unique, highly personal and memorable character voice for the comic through the use of narrating textboxes.  The textboxes expertly pull the reader in, causing you to really connect with the plight of our three protagonists.

Of course, it’s not just about those three characters.  As is often the case with Northlanders, Wood always makes these personal trials seem like a reflection of something more, a battle that concerns an entire culture.  Certainly, the bookending quotations help establish this feel.

As for the art, Zezelj’s work is attractive, stylized stuff.  Dark as hell, abstract, and filled with fluid and creative layouts. It really helps move the plot along and  convey the fact that this is NOT a good place for the women.  In fact, Zezelj’s art makes the comic’s world feel not only threatening, but downright hostile.  Full of shadows, malevolently leering faces, and nondescript, bordering on inhuman looking Vikings, it’s a place out of nightmare for our maidens.

What’s Not-So-Good: Unfortunately, Zezelj’s stylized work is also something of a double-edged sword in this otherwise fantastic comic.  Due to how heavy the inks are and how bloody dark the colours are, it’s occasionally difficult to tell our three protagonists apart.  Zezelj seems aware of this, giving each of them different hairstyles as something of a cheap aid, but it still is confusing at times.  At one point, even Wood’s narration joins in on the confusion, leading me to momentarily struggle to remind myself who WAS narrating.

Conclusion: “Consider us Odin’s wolves, here to send you to your nailed God.”  That’s just a sample of the cerebral badassery on offer here.

Grade: B+

-Alex Evans

Northlanders #17 – Review

by Brian Wood (writer), Vasilis Lolos (art), Dave McCaig (colors), Travis Lanham (letters)

The Story: Two vikings, champions for their respective lords, meet in a battle to the death on an icy plain.

The Good: Wow. Just wow… This issue is truly a work of art and a testament to what a writer can do with 22 pages. It is an experimental done-in-one that succeeds in everything it tries to accomplish.

If you’ve not read Northlanders before, this issue captures the spirit of Wood’s view on Vikings. It encapsulates the very paradox that Wood continually traverses in this book, that bizarre mixture of bleak nothingness and warrior heroism. The comic perfectly presents the life of the Northlander as being one that is both paradoxical and cyclical. Is the Northlander’s life glorious in its purity and simplicity, or is that very purity nothing more than a facade for meaninglessness? At the end of the issue, astute readers will realize that an answer to this question is never really given, nor should one be. The whole viking existence is defined by this ambiguity and ambivalence.

Wood achieves this message through a stunning balancing act in his writing. Containing more or less no dialogue, Wood makes extensive use of a narrator through various text-boxes. The narrator’s tone again showcases the strengths of Northlanders; the voice is at once very contemporary and understated, while somehow capable of channeling the spirit of a grizzled veteran raider. The information that this narrator relays is an incredibly diverse array of biographic information of the characters, the nature of viking life itself, technical (well-researched) details regarding viking weaponry and tactics, and finally, quotations from the sagas. What you ultimately get is a feeling that the very specific (these two warriors) comes to be representative of something much larger than Viking life itself. In turn, it comes to be an expression of fundamental aspects of human nature. It’s remarkably intelligent, stunning work.

All the more impressive is how this juggling actually lends itself to a chronological progression. The comments on viking life in general go from the young conscript, to the grizzled raider, to the retired farmer wishing for it all to end. Which in turn mirrors the details of one of the warrior’s (Egil) own life, a bold 16-yr-old raider turned broken down warrior.  It’s all remarkably cyclical; it’s a rise and decline in an uncaring world that maintains the same pace regardless.

The Not-so-Good: Despite the art fitting Wood’s writing incredibly well, Lolos’ art may prove divisive.  If you demand hardcore realism and detail in your comics, you won’t find it here. Lolos’ style definitely has a “sketchbook” feel, seeming to intentionally throw modern comic “polish” to the wind for a book that is neither modern nor polished. In the end, Lolos’ art manages to keep pace for the most part by really fitting the tone of the story:  it’s ugly, brutal, and, thanks in no small part to McCaig’s colors, very, very bleak.  It’s not complex or refined in the slightest, but then, neither is the viking.

Conclusion: An astonishingly good comic that shows what can be done with 22 pages.  This may very well go down as one of the best single issues of the year.

Grade: A

-Alex Evans

Viking #1 – Review

By Ivan Brandon (writing), Nic Klein (pencils, inks, colours)

The Story: A brand spanking new ongoing series from Image that’s been getting a good amount of hype, Viking looks to be a tale about the exploits, adventures, and sorrows of two brothers, Finn and Egil, who work as raiders/thieves in the ninth century.  In this issue, the major players are introduced along with the relationships they share with the comic closing out on a shocking and devastating event that is sure to shape the series for some time to come.

The Good: I can’t possibly say enough to praise the work of Nic Klein.  Where did this guy come from?  Between its colours, scrappy inks, and characterful designs, there simply is no other comic on the market that looks like this one.  The pencils often ride the line between realism and that “comic-y” look we all love, with hard-bitten frames occasionally being interrupted by one that borders on slapstick.

Dark and brooding, the colours are nonetheless of a very wide pallet, an achievement that sounds almost paradoxical in its implausibility.  The inks on the other hand lend a scrappy, gritty feel, but never once do so at the expense of detail or precision.  All told, the art does exactly what the story does, blending the crime and Viking genres.  Hard, noir, and dirty, yet also filled with blue water, red skies, and lush forest.

The writing by Ivan Brandon, while not initially standing out to the extent of Klein’s art, is more than competent.  As one would hope, the dialogue carries a properly antiquated tone, particularly in the sentence structure and word order, yet it also feels distinctly modern.  In other words, for a Viking/crime hybrid, Brandon is definitely doing his job.

At this point, it’s honestly a little hard to give a full assessment of Brandon’s chops in what is really just a foundational issue.  That said, one can already tell that his strength as a writer lies in emotional relationships.  The scene between King Bram and his daughter Annikki is perhaps the best of the issue.  The tense relationship between the brothers and their grandfather is well-done and the interactions between Finn and Egil and their little brother Ketil are particularly touching.  Brandon seems intent on problematizing the “brutal Viking” figure.  The “crazy” Egil becomes a troubled man with a deathwish, the equally murderous/brutal Finn is shown to be tender at some level; aware of his own brutality,  he’s merely trying to put his life together out of chaos.  King Bram, deserves special mention, appearing almost as two different characters in the two scenes we see him: the savage tyrant in the throneroom and the loving family man when with his daughter.  I almost feel as though Bram has the potential to be a Viking version of Tony Soprano.  Viking/crime hybrid indeed.

Finally, special mention must go to the absurd value of this comic.  Glossy cover, heavy paper stock, and larger, Golden Age dimensions, all for $2.99?  Yes, please.

The Not-so-Good: Despite what I’ve said, much about the characters’ background/psychology is only thus far suggested.  As it stands, Finn and Egil are merely the old “two young rogues trying to make it work.”  The connection with the reader isn’t fully formed quite yet.  That said, I can already see that Brandon is well on his way to fixing this.

Art-wise, a minor quibble: there is a simply hideous frame of a tearful Annikki that looks more like something out of an “adult” anime.  Klein may have issues drawing more than single tears.

I’m also not entirely sure about Brandon’s humour yet either.  It’s oddly quirky, which suits the Viking setting, but sometimes I wonder if I’m not on the same level as him.

Lastly, Brandon may have perhaps tried to do too much in this issue in showing the two sides of all of his characters.  Due to issue length, he’s forced into “one scene of brutality, and one of kindness” for both Bram and Finn; and it feels awkward.  As if it was merely flashing between “side A” and “side B.”  Furthermore, the opening scene of violence with Finn and Egal just ends up feeling a little bit sequestered from the remainder of the issue.

Conclusion:  Buy this issue.  The value, as mentioned, is absurd and this has a TON of potential.   While bad things may happen, if Brandon is going where I think he’s going, this could make his and Klein’s careers.  Plant this as one of Image’s biggest titles.  Certainly, after the gutpunch at the issue’s end, there is no way in hell I won’t be on board for issue 2.  In the words of guitar-aficionado Yngwie Malmsteen:  “I am a Viking.”

-Alex Evans

Grade: B+

Broken Trinity #1 – Review

Ron Marz, (Writer) Stjepan Sejic, and Phil Hester (Art)

As I have come to learn since becoming a comic book critic, the first part of an event or a new creative run is tough to review. It must hook the reader in some way while at the same time going through the (possibly boring or redundant) motions necessary to set up the story arc. Things can really get off on the wrong foot if the set up (a necessary evil) isn’t sufficiently compelling (check out Uncanny X-Men #500 for proof). I mention this because I feel that Broken Trinity #1 is a great example of how to properly set up a new storyline without making it feel like a boring chore to read.

There are two storylines at work in this issue, both of them serving to bring the elements of this event together. One of them, a visually striking Viking skirmish that quickly escalates into an epic battle between supernatural forces, serves up the action while establishing new elements in the Top Cow Universe. The other storyline works to bring almost all of the main players together in a way that feels both logical and natural given the continuity. While I honestly have no idea as to where things will go from here, the set up is solid and full of enough combustible elements to make for a great event. One thing is for sure, the creative team working on this series set quite a high bar with the First Born event, so they have their work cut out for them if they hope to clear it.

As for the writing, Ron Marz does a great job in this issue. The dialogue during the Viking battle is suitably epic and the characters drive the story well in the present day scenes. While I wish he would have spent a touch more time establishing the Celestine character, I have a feeling more will be explained sooner than later. Marz deftly puts the pieces in place while keeping a sense of mystery about what exactly is going on and, honestly, he’s got me hooked. While this story could really go either way at this point (since so much is still up in the air), it is off to quite a start.

I expected some nice work from the team of Stjepan Sejic and Phil Hester, but I’ve got to say that they really exceeded every expectation. The Viking scenes are absolutely stunning, a display of what I suppose I’ll call beautiful brutality. The supernatural characters look fantastic as well, though I will readily admit that they are nothing more than extremely impressive looking fantasy clichés. My only true complaint is that, like nearly all of Sejic’s books, there is a noticeable drop in detail/quality from time to time, but I can excuse that considering it must take quite some time to create the more impressive stuff. A book needs to get out at some point, so I can overlook that for the most part.

Overall, I’m really enjoying the first part of the Broken Trinity event. It manages to avoid getting bogged down by the necessary set up while creating the hooks that make me want more as soon as possible. (Grade: A)

-Kyle Posluszny

Northlanders #3 – Review

By Brian Wood (writer), Davide Gianfelce (art), Dave McCaig (colors)

The third time’s a charm is what some say. Sometimes you just strike out, is what I say. After reading through the first two issues of Northlanders, I was ready to give up on the series. It’s full of unlikeable characters, awful dialogue, and a plot that’ll make you yawn. Yet, I decided to give this series one last chance before passing it off. After all, Brian Wood is just too talented to not give a benefit of a doubt.

I was wrong. Northlanders #3, while not as dreadful as the previous two issues, just doesn’t contain enough substance for me to spend my money on. Perhaps this 8-part story will be better served as a trade paperback, but on a monthly scale, it’s a waste of money. Like last issue, nothing happens. We see Sven hunt, have more sex, and kill some of his uncle’s men. The plot doesn’t advance and we don’t learn much more about Sven or his motivation for staying in this wasteland. This story is just too decompressed. Perhaps the only notable things worth mentioning are his uncle’s a bit more spooked now and he has somewhat of an unlikely ally. He also likes to wear stag heads (aren’t those heavy?!), while murdering soldiers who’re doing nothing more than hunting.

There’s not much writing in this issue – most of it is a showcase for Davide Gianfelice’s excellent storytelling skills. He does a phenominal job with the script he’s given, but to be honest, he deserves to be working on a better title. Northlanders is just a waste. If you love Brian Wood, support him by picking up DMZ. It’s okay not to like everything he does. No one’s perfect. (Grade: D)

– J. Montes

Northlanders #2 – Review

By: Brian Wood (Writer), David Gianfelice (Pencils)

Northlanders is everything DMZ is not. Where as DMZ issues are, for the most part, self-contained stories, Northlanders stories are decompressed and pointless. DMZ’s art is jam-packed with with attention to details while Northlanders’ is a barren wasteland. However, David Gianfelice’s art in Northlanders isn’t bad. It’s very good. One could easily follow the book without ever reading a single line of dialogue. The problem with this particular issue is nothing happens. Sven, who is still the unlikeable protagonist, spends his days running from an archer, trying to rally oppressed villagers to his cause (uncharismatically), and has meaningless sex with a woman who has had the hots for him since he was a kid. I just can’t read this anymore.

Brian Wood may be trying to show diversity in his work by taking on this title, but it just shows how weak he can be as a storyteller. I can’t, in good faith, put any more money into this title. Maybe I’ll read someone else’s copy or wait for a trade, but there’s no way this book is worth $2.99. (Grade: D)

-J. Montes

Northlanders #1 – Review

By: Brian Wood (Writer), David Gianfelice (Pencils)

I enjoyed DMZ so much that I decided to check out another Brian Wood offering, Northlanders #1. It sounded diverse enough: a Nordic tale of a man named Sven, coming home to his land in the north to reclaim the wealth and lands stolen from him by his ruthless uncle. Despite his motives, Sven, is not a very likable character. I understand that living in 980 AD was a vicious time, but this guy has zero charisma.

He kills messengers for no reason but to skewer them and carries a spoiled brat kind of mentality on his shoulders by claiming that this money is his and he’s entitled to that. Sorry, but I’m not rooting for him. In fact, I kept hoping his uncle would just kill him and the story would move on to another character. Sadly, Sven survives and a new character is brought in for the next issue. I’ll give this book one more issue before I decide whether I want to continue reading or not. Perhaps Northlander’s saving grace is its art which is wonderfully done by Davide Gianfelice. He’s got great storytelling skills and does a good job portraying the barren Viking landscape.

It seems like Brian Wood’s put a lot of research into this book, but I need more than just a revenge tale full of unlikeable characters who use modern curse words just because the author thinks it’ll make the book more edgy. (Grade: C-)

-J. Montes