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Review: Aliens: Defiance #6

Posted on January 8, 2017 by Christopher Scott Author

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When Zula and Davis’s plan to deny the Colonial Marines a xenomorph sample hits a snag, their only remaining course of action may be something they can never come back from.

Well, that was unexpected and slightly traitorous. Aliens: Defiance #6 and writer Brian Wood does a really solid job of showcasing Zula’s growing conflict as her decisions become more forced. Does she disobey orders, and make sure the Xenomorph specimen doesn’t get to Earth or does she follow her orders? We’ll find out in future issues!

Things get explosive as the story drives the art direction provided by Tristan Jones. That ups the excitement as the issue manages to have not one, not two but, three impressive explosions. And that’s in addition to the massive amount of firepower fired at any Xenomorph the characters find. I will admit the end of

The end of the issue is a nice surprise and makes me wonder how things continue as the story progresses from here.

Story: Brian Wood Art: Tristan Jones
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

Dark Horse Comics provided Graphic Policy with a FREE copy for review

Review: Oblivion vol 1 TPB

Posted on January 8, 2017 by Christopher Scott Author

A sequel to the acclaimed Full Moon space western that introduced the world to “cowboys and aliens!” The backwater planet Oblivion has fallen on hard times, but everything’s about to get harder for Marshall Zack Stone with the arrival of Lyz Azorr, the daughter of the notorious outlaw, RED EYE!

Action filled sci-fi meets an alien version of the wild west is the best way to describe Oblivion. While the trade paperback is short, it suits the story well. Writer Tim Seeley creates a solid sense of flow to the story in spight of the changing environments and the continual addition of more characters as the story progresses. I’m curious to see if they continue this series in some way, despite the satisfying ending of this volume.

Despite the western feel the of the story, the art by Romina Moranelli has a more science fiction style to it. Moranelli manages to showcase various alien species, a few alien animals, and few cyborgs in this compact volume and it all fits together. There’s an incredible job showing off the different environments in which the story takes place. There’s a great sense to the details as the style of clothing changes as the environments change.

Story: Tim Seeley Art: Romina Moranelli
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation:Buy

Action Lab: Danger Zone provided Graphic Policy with a FREE copy for review

Review: Dept H #7

Posted on January 8, 2017 by Christopher Scott Author

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TIME IS RUNNING OUT!

As the water rises inside their base, tensions rise among the Dept. H crew. They desperately try to stop the flooding of the headquarters, but a sacrifice hardly buys them any more time. They’ve got twelve hours to stem the tide.

With only three issues left of Dept. H, the crew seems to be facing imminent catastrophe from every angle. Writer Matt Kindt has made sure that the upcoming issues will make an interesting read as the series comes to a close. I’m curious to see if Mia can solve her father’s murder before everything goes wrong. Will the crew reach the surface alive or will they perish under the sea?

Compared to the colorful previous issues, this issue has a much darker tone. Matt Kindt and Sharlene Kindt use shades of black, and green mostly instead of the more vibrant color scheme we’ve seen in the past. Which, given the shift in the story, is a good move I think.

Story: Matt Kindt Art: Sharlene Kindt and Matt Kindt
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

Dark Horse Comics provided Graphic Policy with a FREE copy for review

Flashback Friday Friday Review: Cable Vol. 1 #4

Posted on January 6, 2017 by Brett

It felt appropriate for a “Retro Friday” review to check out a comic featuring Marvel’s time-traveling mutant Cable! Cable Vol. 1 #4 stems from 1993 and holy crap does it feel like a product of the time meeting all of the stereotypes of the comics from the time and living up to all that was bad during the time period.

I recognize that I come into the story four issues in so the story arc is well under way, but that’s part of the point of this column, not everything is going to be first issues.

The story involves Cable trying to find the Six Pack and eventually X-Force but first he has to fight G.W. Bridge who thinks is a sell-out for working with SHIELD. There’s also Kane making coffee and watching the fist fight.Then there’s Six Pack featuring Grizzly, Hammer, and Domino, plus there’s Copycat (remember her as fake Domino?) who are looking for Cable and X-Force.

Then there’s Six Pack featuring Grizzly, Hammer, and Domino, plus there’s Copycat (remember her as fake Domino?) who are looking for Cable and X-Force.There’s also this guy named Sinsear that I don’t remember at all being all villain in his secret base.

There’s also this guy named Sinsear that I don’t remember at all being all villain in his secret base.Eventually Cable catches up with the Wild Pack and Hammer attacks Cable for injuring him in the past. It’s the usual hero fighting hero before they team-up story.

Eventually, Cable catches up with the Wild Pack and Hammer attacks Cable for injuring him in the past. It’s the usual hero fighting hero before they team-up story.

Written by Fabian Nicieza, with Art Thibert, Rob Liefeld, Jim Reddington, Bill Wylie, and Scott Koblish all on art, Bart Sears provides the cover, Al Milgrom does inks, Marie Javins and Michael Thomas are colourists and Chris Eliopoulos is the letter. I think fewer people put a man in space than put this comic on the shelves.

From stunted dialogue to a choppy narrative I re-read this comic utterly baffled that I loved the comic when I was younger. What was I thinking that I enjoyed it? But, it also explains how I read so many comics so quickly back then if this is what they were all like. The action sequences are by the numbers laughable, such as Kane getting coffee for Cable and Bridge as the two men fight. There’s the by the numbers hero fights hero before coming to his senses. A bad guy disappears. Another bad guy looms in a secret base. I almost want to dig out the rest of the comics in this story arc to bask in the horribleness of it all.

The best part of the comic? The trading card still inside it in perfect condition and when I saw it the existence of them came rushing back to me… ah memories. There’s also some retro ads that are amazing like an X-Men/Pizza Hut tie-in (have it!) and a Stridex tie-in (have it too!).

This was “of the time,” I’ll go with that. At the time, it was so cool (ah 14 year old me), but today, holy crap is it bad. Laughable dialogue, inconsistent art (Cable’s hair!!!), and predictable sequences all abound. It’s x-treme and with pouches galore! We’re past this as an industry and reading this, so happy we’ve come to our senses.

Story: Fabian Nicieza Art: Art Thibert, Rob Liefeld, Jim Reddington, Bill Wylie, and Scott Koblish Inks: Al Milgrom Colors: Marie Javins and Michael Thomas
Letters: Chris Eliopoulos Cover: Bart Sears
Story: 2 Art: 3 Overall: 2.5 Recommendation: Pass

Flashback Friday Friday Review: Superman #185

Posted on January 6, 2017 by Brett

For the first review of “Retro Friday” it felt like it’d be fun to go WAY back into the GP vault of comics and take a look at Superman #185, the first volume of the series that was released in February 1966. Back then comics were 12 cents and featured 25 pages of story and more.

Written by Leo Dorgman with art by Pete Costanza (for the first story) and Jim Mooney (for the second story) and a cover by Curt Swan the comic is so different than modern books with a style and story that has more in common with the classic Superman television and radio show than modern comics. That’s not a bad thing at all, but it’s interesting to see how much comics have changed in the 50 years since this comic was released.

The first thing I noticed is there seems to be a lack of credits anywhere in the comic. I went through it multiple times to figure out who handled the writing and art, but had to resort to a Google search to figure that out. It’s a minor thing, but caught me off guard and to begin reading the comic with that in my mind, I was looking at all of the details I could.

The issue features two stories the first up being “Superman’s Achilles’ Heel!.” When one part of his body is made vulnerable by a Red K exposure, Superman is targeted for death–literally–by gangland assassins. Yes, it’s as silly as it sounds and even has Superman sporting a metal device around his hand to make the villains think that’s his vulnerable spot. Arrows, yes an arrow as in bow and arrow, are used along with rifles and other weapons to try to take Superman down.

The villian is a former actor turned gangster who’s initially out to just find Superman’s secret identity, but then finds out his flaw due to the Red K. From there, plans unfold in an attempt to shot him in his vulnerable spot. Riddles are sent tauting him, lions are released in a football game, it’s goofy to all levels, but still somehow entertaining probably due to it’s focus on the story of Achilles and not adding any other distractions.

The second story, “Target Superman!,” is told in multiple parts (I have no idea why) and features South American multimillionaire Jose Rivera who wants his daughter Dolores to marry Superman, she is attracted to Clark Kent…and Clark’s double on the Kandor Look-Alike Squad steps in to woo her.

There’s absolutely some antiquated views of women and their roles, though the story isn’t as cringeworthy as I expected once I figured out the gist of the story. It’s not good by any measurement, but the headshaking sighs as I read the comic weren’t as present as I thought they’d be.

There’s Superman, his robot, and then a being from Kandor? Yeah, this is a take on the twin taking over in a role type story with a twist at the end and it’s… interesting. Entertaining on some levels, an example of the time in many others, it’s that weird type of story that feels right at place in an anthology. Hell, with some small tweaks and a touch of more weird and this story could be revamped for today easily.

The art is great with nothing too dynamic, but this still feels like the early years of comics where overly dramatic depictions of action were still being figured out. It’s a bit choppy in the flow, but it’s fun to see the retro look of everyone depicted, especially Superman who looks more like a Fleischer cartoon than today’s take.

What’s really fun is the additional items in the comic beyond the story. There’s a letter page, ads, and a quiz that left my jaw on the floor. You can see it to the right here, but the quiz is the measure your “Brotherhood Quotient” and is published as a “public service in cooperation with the National Social Welfare Assembly, coordinating organization for National Health, Welfare and Recreation Agencies of the U.S.” What I think is more amazing is the answers that whoever owned the comic checked off. The more things change, the more they stay the same I guess.

Going back to read a comic that was published decades before I could read is not only interesting to see a snapshot of the time, but also see how comics have changed in the 50 years since this was published. To be able to come upon a quiz like that found in the comic, especially considering the answers(!), you really get to see some history.

The comic was an enjoyable one. It’s nothing groundbreaking, but goofy fun where you can turn your brain off and just enjoy the stories within.

Story: Leo Dorgman Art: Pete Costanza and Jim Mooney
Story: 6.5 Art: 6.75 Overall: 6.65 Recommendation: Read

Madison’s Favorite Comics of 2016

Posted on January 6, 2017 by Madison Butler

Last year I prioritized cutting back on cape books and diversifying the publishers and stories that I read. Though many of the comics I read weren’t published in 2016 (especially ones I read during Women’s History Month) I still found it hard to narrow down the list of ongoing series I particularly loved throughout the year.

Here are ten comics I couldn’t put down in 2016:

10. Goldie Vance by Hope Larson and Brittney Williams

This is a series I would have loved as a child. Goldie is the perfect mix of Nancy Drew and Eloise (of Plaza fame). Goldie Vance is great for a younger audience but doesn’t shy away from emotionally complex stories. Goldie and her friends are well-rounded characters with a wide range of interests who readers–young and not-young alike–will be able to relate to.

9. Elasticator by Alan C. Medina and Kevin Shah

Elasticator is the kind of smart, political superhero comic I wish was more prevalent. The writing is fresh and interesting and Shah’s art is lively and animated with great colors from Ross A. Campbell.

8. Snotgirl by Bryan Lee O’Malley and Leslie Hung

Lottie Person is just about as far away from Scott Pilgrim as you could get, though they do, at times, share a similar self-absorption. Snotgirl quickly became one of my favorite series of the year, because while not many people can say they’re successful fashion bloggers, they can likely relate to Lottie’s personal problems. Leslie Hung and Mickey Quinn provide gorgeous, vibrant visuals and the best wardrobe in comics, to boot.

7. We(l)come Back by Christopher Sebela and Claire Roe

Reincarnation? Check. Assassins? Check. Shadowy organizations? Check. A+ fashion choices? Check. Reincarnated assassins in love running from other assassins who are trying to assassinate them? …Also check. What more can you want from a story?

6. Shutter by Joe Keatinge and Leila del Duca

Shutter is one of Image’s most underrated titles. The story follows Kate Kristopher, the daughter of legendary explorer Chris Kristopher, and her discovery of some little-known family history. The comic is consistently interesting not only because of its plot, but because del Duca and colorist Owen Gieni are constantly experimenting with narrative structure and using different techniques to influence how the story is read.

5. Clean Room by Gail Simone and Jon Davis-Hunt

Clean Room is a creepy psychological horror comic about journalist Chloe Pierce’s investigation of self-help master Astrid Mueller, who Pierce suspects is more cult leader than anything else. Or is she? Mueller is a fascinating character, and the unknowable question of which side she’s actually on only adds to the story’s suspense.

4. The Wicked + The Divine by Kieron Gillen and Jamie McKelvie

What if you could be a god, but you’d die within two years? Consistently equal parts entertaining and heartbreaking with consistently incredible art and color from Jamie McKelvie and Matt Wilson. You’ve probably heard of this one.

3. Mockingbird by Chelsea Cain, Kate Niemczyk, Sean Parsons, and Ibrahim Moustafa

One of the few superhero comics I read this year, Mockingbird was one of my absolute favorites. Cain writes Bobbi Morse as confident and smart, and the result was a fun mystery thriller with gorgeous art. The series also featured some of my favorite colors and covers this year, by Rachelle Rosenberg and Joelle Jones.

By the time I write my 2017 list, I might be over Mockingbird’s cancellation.

2. Bitch Planet by Kelly Sue DeConnick and Val DeLandro

2016 was light on Bitch Planet–only four issues were released throughout the year–but continued to provide insightful and relevant commentary in what turned out to be a period of rapid change in the real-life political landscape.

1. Monstress by Marjorie Liu and Sana Takeda

Monstress started strong in 2015 and only got better. The main character, Maika, is a teenage girl living with a monster inside, something she learns to live with and use to her advantage as the plot develops. Monstress is full of unrepentant female characters set in a stunningly rendered fantasy world.

Review: Box Office Poison Color Comics #1

Posted on January 5, 2017 by Logan Dalton

Alex Robinson‘s 2001 and 2002 Eisner and Harvey Award nominated graphic novel Box Office Poison returns in colored form as Box Office Poison Color Comics #1. Plus there’s annotations and commentary at the end of every issue as Robinson looks back on the comic that he started creating in the early 90s. The concept of the book is pretty simple: it’s about young people in Brooklyn in 1994 (When rent was $250 a month!!) trying to make ends meet and possibly doing something creative or falling in love along the way. This issue introduces the main character Sherman, a wannabe writer/bookstore clerk; his roommate and best friend Ed, a cartoonist/hardware store worker who are moving into an apartment with Stephen, a history professor and his cartoonist girlfriend Jane. Interspersed with this main plot is flashbacks to Sherman’s last year of college, which is basically boy meets girl, boy falls in love with girl, drama happens, and boy breaks up with girl.

And Pat N. Lewis’ sepia color palette really adds to wistful quality of the Sherman flashback scenes with “The Bohemian Girl” (A reference to an old Laurel and Hardy movie.) Robinson’s dialogue gives them an easy chemistry as they talk about old movies, masturbation, and all that jazz while the perforated gutters make the flashbacks seem like pictures in an old scrapbook or diary. He goes silent during their breakup using gestures and faces to convey the feeling of heartbreak that overwrought dialogue could never do. Robinson also doesn’t paint Sherman’s ex as the villain as he is the one who snaps at her and says that she lives off her parents instead of toiling away at a minimum wage bookshop of him. He feels guilty that they are paying for their trip to Europe and decides to react that way instead of talking it out. But this is why he is little out of it when Box Office Poison starts.

There isn’t really much plot in present day sequences apart from introducing the characters and some okay slapstick gags about moving, like Ed trying to walk up stairs and playing with his rotund belly instead of helping Sherman unpack his thousands of books. (I can definitely relate to how heavy those damn book boxes are and also being distracted by reading instead of unpacking.) The introduction to Stephen is pretty funny too as he has a scowl across his face, and Ed and Sherman have a thought bubble about him being an axe murderer. However, he happens to be a nice, polite, if slightly workaholic who takes Jane and the guys out to Chinese towards the end of the issue and empathizes with Sherman’s retail life. The main cast kind of feels like an American version of Spaced, but a little less kooky with no raves or tank theft so far.

Box Office Poison #1 is more tragedy than comedy, like Woody Allen’s middle period after his early, funny ones. Robinson’s dark crosshatching on Sherman sitting alone with his boxes of his books is pretty pathetic and kind of made me want to give him a hug. Except he switches over to a cleaner art style when Jane comes in and invites him to watch a Laurel and Hardy movie. Sometimes a little human company can get you through those sad, lonely days. Also, kudos to Robinson for keeping Jane and Sherman’s relationship platonic instead of resorting to Manic Pixie Dream Girl stereotypes.

For the most part, the cast of Box Office Poison Color Comics #1 is a pleasant, if slightly self-loathing group. The exception is Ed, who comes across as an obnoxious, sexist man child, who objectifies women and makes snide comments about their weight. In this first issue, he belongs in The Big Bang Theory instead of a well-drawn, passionate independent comic that is still a good read almost two decades after it first came out turning into a 90s period piece along the way.

Story and Art: Alex Robinson Colors: Pat N. Lewis
Story: 7.2 Art: 8.0 Overall: 7.6 Recommendation: Read

IDW Publishing/Top Shelf provided Graphic Policy with a FREE copy for review

Review: Harley Quinn #11

Posted on January 5, 2017 by SHAY REVOLVER

Harley Quinn #11 is the beginning of the latest DC Universe Rebirth Harley Quinn story arc. There have been hints peppered throughout the last two story arcs, a bar of heart soap here, a sound there but, this time around the moment we’ve all been waiting for (or dreading) is here. The arc is “Joker Loves Harley” and he’s back.

Amanda Conner and Jimmy Palmiotti stack a lot of stuff into this issue. We’ve got Mr. J showing up at Harley’s apartment uninvited and letting himself in, there’s Red Tool pulling an overprotective ” boyfriend” and, a mystery side trek to someplace Harley and Tool probably shouldn’t be , where they’ve probably let loose something they shouldn’t have.

This issue started going down a lot of different paths and sometimes it made sense and was fluid, unfortunately at other times it felt a bit messy or out of place. I give the writers kudos for the way that Harley handled the Joker showing up at her place after breaking in. It was honest and I’m glad they didn’t have her falling back into her arms and continuing the cycle of abuse. I was not a fan of Red Tool doing side moves and intervening with Joker on Harley’s behalf without her consent. In general , a woman’s NO should be a NO. A woman’s NO should not have to be amplified or validated by a man stepping up to claim her and I felt like that is what Tools interactions with the Joker was all about. Tool seemed to be putting out all the White Knight vibes and while the Jokers return does warrant reason to worry about Harley, she seems to have things under control and Tools stepping in not only takes away part of Harley’s autonomy and choice but, could make things worse for her.

Outside of the parts of the issue that I found problematic from a feminist perspective, I also was kind of unsure about Harley and Tools little side mission. The exploring to get her mind off of thing I got but, their decisions following discovering what they discovered, didn’t ring true. It seemed unlikely for them to just walk away and , it felt like a cheap trick to propel this arc along or to plant seeds for the next arc.

I also found some of Harley’s dialogue to be a bit silly and not in the fun, cute, clever, savage, sarcastic way she usually talks. There were a few interactions where I felt like she sounded less intelligent than she is. I understand her being rattled by the Joker’s pop up but, there seemed to be little thought placed on her words, which was kind of off putting.

John Timms artwork is beautiful, dark, suggestive and has just the right amount of pop. His style lends itself to the crazy that is Harley’s world and, I love it. Timm’s doesn’t linger on or overlysexualize Harley’s body, in fact we saw more of Tool than of Harley, so kudos for that. His attention to detail and the way he masters the facial expressions that go so well with what Harley is dealing with or feeling in a panel gives depth to the story.

Overall, Issue #11 was just OK and since the first 10 Rebirth issues were so on point and I was loving the direction that Harley was taking, this was kind of a let down. It felt like the writers kind of ran out of steam and went for a place holder style set up issue as opposed to the intro to the arc style they had been using. I’m hoping this arc turns itself around and gives us more of the Harley that we love and a meatier story because, this issue compared to the previous 10, was just meh.

Story: Amanda Conner and Jimmy Palmiotti Art: John Timms
Story: 6.5 Art: 8.0 Overall: 7.0 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

Wednesday Graphic Novel Review: Green Arrow Vol. 1 and Superman Vol. 1

Posted on January 4, 2017 by Brett

January 4th is the first new comic day of the year and sees the release of the first two DC Comics “Rebirth” trade paperbacks!

Green Arrow Vol. 1: The Death & Life of Oliver Queen collects issues 1-5 and the Rebirth issue by Benjamin Percy, Otto Schmidt, and Juan Ferreyra.

Superman Vol. 1: Son of Superman brings DC’s first family from a different world into Rebirth. Collecting issues 1-6 and Rebirth by Peter J. Tomasi, Patrick Gleason, Doug Mahnke, and Jorge Jimenez.

Find out what each trade has in store and whether you should grab yourself a copy. You can find both in comic stores January 4 and book stores January 10.

Get your copies now. To find a comic shop near you, visit www.comicshoplocator.com or call 1-888-comicbook or buy them digitally and online with the links below.
Green Arrow Vol. 1 – Amazon/Kindle/comiXology and Things From Another World

Superman Vol. 1 – Amazon/Kindle/comiXology and Things From Another World

DC Comics provided Graphic Policy with FREE copies for review
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Review: Giant Days #22

Posted on January 4, 2017 by Logan Dalton

Giant Days #22 kicks off 2017 with quite the drama bomb: Daisy has a huge crush on a German psychology student named Ingrid, and that crush is definitely reciprocated. Writer John Allison, artists Max Sarin and Liz Fleming, and colorist Whitney Cogar skillfully show what happens when an extrovert goes out with an introvert. Aka this comic made me tired in a good way as Daisy and Ingrid ride a cab from Sheffield to Manchester and go to crazy underground parties, which is the complete opposite of Daisy’s usual lower energy lifestyle. Ingrid brings a manic energy to the pages of Giant Days as Sarin and Fleming make panels and figures literally bend like they are Adventure Time characters when she and Daisy hit the dance floor.

The subplot front isn’t half-bad either with Esther putting both feet forward and being totally cool with cleaning ovens at her bakery job. Except that seems to be her only task, and she quits for a more interesting job, which seems to be the main subject of the next issue. It is kind of hilarious to see her live through Daisy’s hitchhiking, partying, and smooching escapades with Ingrid when she is usually the center of the drama. Allison and Sarin also show that she’s a good friend when she listens to Daisy freaking out about being bi and even “pops her cherry” of holding a girl’s hand in public. But being Esther, she has quite the laugh when Susan tumbles from her scooter even as Sarin and Fleming exaggerate how dirty she is from cleaning ovens throughout the issue.

Daisy freaking out about Ingrid is one of the most incredible things to happen to her in Giant Days since she came out as bi. Allison uses a bit of narrative captions to show her thought process as she chooses each text carefully and tries to divine the meanings of emojis like it’s some ancient language. Since no one has never “pursued” her romantically before, Daisy is getting mixed signals even though Sarin uses obvious body language cues to show that Ingrid is super into her. (The hearts over her head are a dead giveaway.) And Ingrid rubs off on Daisy, like in a few pages where Daisy kisses her, then almost gets hit by a car, and then pulls a face that makes it look like it’s the happiest moment in her life. Love (or lust) definitely makes you do the wacky as Buffy Summers once said.

An engaging romance between Daisy and Ingrid that leads to massive changes in her character as falling in love at 19 only can along with the usual humorous cartooning of Max Sarin and Liz Fleming, insightful characterization from John Allison, and wacky color palette from Whitney Cogar shows that Giant Days #22 is still the best slice of life comic going into 2017. Also, I’m a little too excited to see Esther’s reactions to working at a comic book shop in future issues.

Story: John Allison Pencils: Max Sarin Inks: Liz Fleming Colors: Whitney Cogar
Story: 8 Art: 8.5 Overall: 8.2 Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

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