Category Archives: Reviews

Review: The Brave and the Bold: Batman & Wonder Woman #1

It’s Wednesday which means it’s new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week we’ve got Batman and Wonder Woman!

The Brave and the Bold: Batman & Wonder Woman #1 is by Liam Sharp.

Get your copy in comic shops today. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon/Kindle/comiXology or TFW

 

DC Comics​ provided Graphic Policy with FREE copies for review
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Review: Deathbed #1

It’s Wednesday which means it’s new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week we’ve got Vertigo’s “Deathbed!”

Deathbed #1 is by Joshua Williamson and Riley Rossmo.

Get your copy in comic shops today. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Amazon/Kindle/comiXology or TFW

DC Comics​ provided Graphic Policy with FREE copies for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: James Bond: The Body #2

James Bond leads the interrogation of a scientist who allowed a lethal virus to be stolen. But when the investigation takes a surprising turn, Bond begins to question whether he is enough.

Writer Aleš Kot is bringing his highly cerebral writing to the world of James Bond and in some ways redefining the types of stories we’ve seen of the character. James Bond: The Body #2 is similar to the first issue in that it deviates from the usual story of espionage, gadgets, and action that we’ve seen over and over. Instead, this issue is a battle of psychology and wits in a way.

Taking place almost entirely in one room, Bond is racing against the clock after a virus was handed to a terrorist organization. Can he break the detainee before the virus is released? What tactics will he resort to? What’s her motive? That’s the gist of the entire comic as we count the minutes until the end.

But, what Kot does that’s even more impressive is question Bond himself. Is he really a patriot to his country? Or, does the policy he present go against the people? There’s a lot to digest in this issue that’s very much a “sins of the past” type story. And, until those last few pages and panels, I wasn’t sure where it all was going.

Artist Antonio Fuso delivers a visual treat and is able to make a claustrophobic setting even more interesting. This is basically two individuals sitting down and talking but Fuso’s art is fantastic picking up small details of each character and delivering some panel layouts that are unique and interesting.

The comic is a fascinating one in that it not only questions what a real patriot is but also shows how far Bond will go to complete his mission no matter who the opponent is. This is a comic whose story and art combine to create an intense and entertaining read that’ll leave you engrossed to the final panel.

Story: Aleš Kot Art: Antonio Fuso
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

Dynamite Entertainment provided Graphic Policy with a FREE copy for review

Review: The Archies #5

TheArchies5.jpgIn The Archies #5, writers Matthew Rosenberg and Alex Segura, artist Joe Eisma, and colorist Matt Herms don’t shy away from showing that The Archies aren’t very good and continue to only find success by having opportunities fall in their lap. Like they somehow get to play a gig with Tegan and Sara in Vancouver and get some critical feedback. However, even though The Archies continue to fail upwards, they experience some real consequences in this issue.

The band is named after Archie, but Rosenberg and Segura spend a little time on Jughead’s character this issue as he becomes filled with anger and ennui. Eisma is great at drawing anger clouds and anger lines. As the story progresses, Jughead is having much less fun, which is his only reason for being in the band. He doesn’t want a record label or to schmooze around with CHVRCHES or a hallucination of the Monkees. Jughead just wants to hang out with his friends and have a good time. But, hey, he happens to be one hell of a drummer and demonstrates it at an open mic in Vancouver where he’s completely unfazed by Tegan and Sara being impressed with his talent and jokes about their last album accidentally coming on his phone all the time. I really liked how Herms used blasts of primary colors in the background while he plays his drum solo, which acts as shorthand for his virtuosic skill along with whirling white speed lines from Eisma.

If there’s something that The Archies does great as a comic book, it’s capturing the energy (Or lack thereof.) of a live show in an intimate venue. Except for the occasional well-timed caption or quip (Like Archie’s disgust at Reggie’s spotlight hogging bass playing.), Rosenberg and Segura get out of Eisma and Herms’ way and let facial expressions, line type, panel shape, and color choice do the work. The yawns from the crowd in Vancouver who are watching The Archies open for Tegan and Sara is everyone who has rolled their eyes at an opening act trying to hard and gone back to the bar/merch tent. (Shout out to poor acoustic guitar playing rando who I saw open for Metric once.)

Then, after a beat panel, Tegan and Sara go on stage, and the crowd goes wild. Eisma also draws Tegan and Sara with a cleaner, almost Jamie McKelvie-esque line compared to the harder edges for The Archies’ performance. Also, Herms’ “lighting” for the Tegan and Sara gig is a glorious use of color and fits in with the glossier, more danceable sound of their two most recent records, Heartthrob and Love You to Death. (Give “U-Turn” a listen if you haven’t yet.) But after the initial Archie and Betty fangirling all over them reveal, Rosenberg and Segura use Tegan and Sara as givers of helpful feedback. They don’t sugarcoat the fact that The Archies are less than headliner status, but encourage them, and it’s all wholesome and happy. Bingo, the frontman of The Bingoes aka The Archies co-touring act, is probably a little frustrated about how many chances an average teen band is getting. But, in this universe, The Archies are a fine second choice if Josie and the Pussycats are already booked.

Matthew Rosenberg, Alex Segura, Joe Eisma, and Matt Herms put the titular band through the wringer in The Archies #5 and hold off on the big rock star climax for yet another issue. Eisma’s rawer line put the band’s flaws front and center, including Archie’s neverending quest for fame (His cheeks are so pinchable though.) and overflowing of negative emotions from the usually chill Jughead. There’s some real talk and feelings in this comic that could definitely fit in with some tracks on The Con.

Story: Matthew Rosenberg and Alex Segura Art: Joe Eisma Colors: Matt Herms
Story: 8.8 Art:9.2 Overall: 9.0 Recommendation: Buy

Archie Comics provided Graphic Policy with a FREE copy for review

Review: Ninjak Vs The Valiant Universe #2

NJKVS_002_COVER-A_WADA“He betrayed his friends. He betrayed his country to save us all… In advance of NINJAK VS. THE VALIANT UNIVERSE’s stunning digital debut – coming soon to digital devices everywhere – get the full story behind the head-to-head showdowns, hero-on-hero collisions, and epic consequences that await as Ninjak goes it alone against a gauntlet of the Valiant Universe’s biggest and most beloved icons! Watch the live-action, episodic series… Then follow the action directly onto the comics page with extra-added action, intrigue, and revelations behind Ninjak’s grueling firefight against Valiants’ most indelible heroes – with red-hot creators Eliot Rahal (The Paybacks) and Joe Bennett (Deathstroke) calling the shots!”

The preview text above is a bit of a misnomer; the live action version of this story, having been faced with multiple delays, has still not been released yet. Which means that for many of us, the first taste we get of the Bat In The Sun produced web series is this comic adaptation. Being an adaptation, there’s a few hands in the creative pot steering the series with Eliot Rahal adapting Aaron Schoenke‘s screen story (the screenplay itself credits Aaron Schoenke, Sean Schoenke, Joe Harris and Andrew Rowe), but unlike last issue’s mediocre start, Ninjak Vs The Valiant Universe #2 isn’t entirely unfortunate – especially when you remind yourself that this isn’t the normal Valiant Universe. Think of it more as an Elseworlds story or an Ultimate Marvel production.

Everything about this comic is a step above the previous issue. The fast paced action hides the relative lack of plot developments, although there are a few things established for the following issues as the series hurtles toward its conclusion, but for the most part this is the comic equivalent to a  popcorn fueled action movie. And that’s not a bad thing.

NJKVS_002_003Admittedly I went into this comic with lowered expectations after the first issue, but I’m happy to say that Ninjak Vs The Valiant Universe #2 is substantially stronger than said first issue. The story has evolved from a hastilly cobbled mess that does little more than explain why Ninjak has betrayed Unity into a fun diversion from the main Valiant universe. Honestly, you get just as much of the whys from reading the recap text in the front of this issue as you will from reading #1. Another thing going for Ninjak Vs #2 is that Valiant have released  it in a week where we don’t have Ninjak appearing in another comic (last month had Ninjak stealing the show in Bloodshot Salvation #5).

Despite the long list of people contributing in one way or another to the writing of the story, artistically there are only Joe Bennett (pencils),  Belardino Brabo (inks) and Ulises Arreola (colours) providing the visual direction, which again is a step above the previous issue. The action is clear and easily discernible on the page, with Ninjak’s eyes conveying a vast array of emotion on the close up shots, and the occasional explosive moment coming across with vivid detail.

Ultimately, this is a much better representation of the quality the creative team are capable of and a far more interesting entry in the story than the debut issue. It’s still not perfect, but if the series follows this trajectory then we may just get there in the end.

Story: Eliot Rahal Pencils: Joe Bennett
Inks: Belardino Brabo Colours: Ulises Arreola
Story: 7 Art: 7.8 Overall: 7.4 Recommendation: Read

Valiant provided Graphic Policy with a FREE copy for review

Review: Pumpkinhead #1

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Pumpkinhead while well known amongst many Horror aficionados including myself celebrate the film as part of its cult fanbase, it’s sadly underappreciated amongst the titles of many 80’s Horror films. And while time has been kind to it given its Blu-Ray release by Shout Factory, the monster never had any particular luck outside of the first film, which was directed by the late great Stan Winston in one of his only films he directed.

Pumpkinhead as a franchise is kind of bizarre with its direction. The character has had three sequels and an upcoming reboot which hasn’t had any actual new news since 2015 (if memory serves me right though). To give you an idea, the second film basically started out as a script for an unrelated film that had nothing to do with Pumpkinhead but was inserted in at the last minute for whatever current rights holder (specifically the Motion Picture Corporation of America who apparently still has the rights because they want to do the aforementioned reboot) didn’t want to lose the rights. So yeah, think of that sequel as the 1994 Fantastic Four of its time, except, you know, this one actually had a release. A direct to video release but still.

Director Jeff Burr was brought on for the last minute after somebody else left and wasn’t given time to have the script actually fit in with the first film’s mythos. And you can guess how well that film turned out. And then came two television films made for the Sci-Fi Channel (or Syfy Channel). Blood Feud is the only one I’ve seen of the two and it was just okay last I checked.

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So imagine my excitement that Pumpkinhead is not only getting a new comic book but by writer Cullen Bunn, who has been doing well with his Marvel books like X-Men: Blue and even his Godzilla works. And the man certainly loves Horror and its monsters. Incidentally though, this was not the first time Pumpkinhead has ventured into comic books. Dark Horse Comics had the rights for a while and published a four issue miniseries entitled: Pumpkinhead: The Rites of Exorcism but only two were published. I don’t know the circumstances but somehow Dark Horse lost the rights and the comic was left on a cliffhanger-especially with the promise of a winged Pumpkinhead.

Obviously, this book is brand new and doesn’t follow any continuity from the other films or the comic book miniseries from years ago and really, that’s just for the best. Because lord knows I want to be reminded of the second film.

But in all seriousness, this is not a bad start to the book so far. In fact, Bunn may be following the tone of the first film well. One of the major things about the first film was the theme of revenge and how much it can consume one as well as regret afterwards. And undoubtedly given one of the major scenes of the book, nobody seems to have learned their lesson from the Ed Harley incident or any of the other times Pumpkinhead had been summoned quite frankly.

To give you an idea of how Pumpkinhead is supposed to work as a monster, here’s the gist of things:

Pumpkinhead can be summoned when going to the old witch Haggis who would inform you where to find the pumpkin patch and dig up the previous summoner’s body and bring it to her. She does a spell and instantly, the corpse turns into the demon known as Pumpkinhead and the demon and the summoner get tied together with a psychic connection. So if the summoner feels pain, so does Pumpkinhead. That aside, it essentially kills the specific targets the summoner wants dead. That’s very much all you need to know about how the demon works (and go see the first movie, seriously).

And as such, yeah, you can see what happens in this book but there’s plenty more going besides that. For starters, the book starts out with what will seem to be a running thing throughout the book, flashbacks to the childhood of the old witch Haggis, which seems to suggest an even deeper connection to the Pumpkinhead demon than one assumed when watching the first film.

Then we have the Kinkade family who had two children of theirs dead thanks to a hit and run and like I said, you can see where this is going and it won’t end well for everyone. And it doesn’t help the perp who ran them over is not the most sympathetic person much like the leather jacket dude from the first film. Though in his case, he didn’t want to get caught by the cops. This guy however, Clayton, he screams oozing tough guy given the tattoos and cigarette but he’s clearly scared out of his mind-clearly aware of the legends.

Sheriff Andi and Daryl and likeable heroic leads especially with Andi being the type wanting to bring justice which would make for an interesting contrast with the monster himself. But it’s not Pumpkinhead that would make for an interesting contrast, with the hillbilly characters in the story, it’s clear there’s already a major contrast between the law and vigilantism.

However if you’re expecting Pumpkinhead to appear throughout the first issue, sorry, he only shows up on the last page but in fairness, the book has to build up the monster first and it’s a great cliffhanger in fairness since there’s a good splash page of Pumpkinhead ready to attack more of his victims.

The art by Blacky Shepherd and Kyle Strahm is decent for the most part. I could go with a bit more gothic style like something similar to the cinematography of the first film but in plenty of pages, it works like the young Haggis pages which give the book a decent spooky atmosphere. But Pumpkinhead is nicely drawn at least, looks as he should and such. But I’d say the writing is the strongest area especially since Bunn nails the rural gothic aspect very well.

There is a bonus short story which reminds me of Creepy because the tone and art style suggests it’s darkly comic. It was out of nowhere and was blindsided at first but I got used to it the more it settled it with me that it’s enjoyable really and offers something cool.

All in all, pretty good start to a promising horror book. If you love the first Pumpkinhead, then this book makes for a solid companion to it.

 

 

Dynamite Entertainment provided Graphic Policy with a FREE copy for review

Review: Mata Hari #1

Mata Hari is the life story of the infamous German spy from World War I. Beyond that it’s hard to provide a summary and hard to review. The biggest difficulty in comics criticism is that we’re dealing with a serial medium in which we must occasionally evaluate enormously complex works in bite-sized pieces that don’t always lend themselves to such analyses. It’s a bit like trying to talk about a film fifteen minutes at a time and Mata Hari is a prime example of this problem in action.

Mata Hari is a complicated house of cards that leaps back and forth through the life of its main character. We see her over the course of many years, first as a child and then an adult, facing trial for espionage and on the road to her execution. Writer Emma Beeby clearly has a fascination with her subject and a good grasp of the various historical sources. Unfortunately this doesn’t always translate into a coherent narrative and there is a studied ambiguity to the way details are presented that makes Mata Hari elusive. I don’t know much more about her now than I did before and that, I think, is part of the point.

The art by Ariela Kristantina is a mixed bag. While I would rate it good overall, it’s a bit inconsistent. It’s clear that she was trying to draw two different stories using different styles: one a sultry spy thriller and the other a portrait of a woman facing the injustice of society’s expectations in the wake of an unconventional life. Kristantina manages both well but the shock between the two is jarring and since most of the more titillating material is in the front and back of the book, many readers may have already been turned off by the cover and the previews.

Mata Hari is certainly an interesting book though it demands a lot of the reader in terms of attention to both the written words and the pictures themselves. You’re going to want to read this one carefully and probably more than once. I don’t know that it’s a great comic book, but it certainly reads like the first chapter of a very good graphic novel. Given editor Karen Berger’s reputation for producing many such longer form examples of the medium, it’s a bit mystifying to me that Mata Hari is being serialized at all. From what I’ve seen it will be a fascinating read when complete but is not particularly well served by being chopped up for monthly publication. That said it was good enough that I’m on board for at least one more installment.

Story: Emma Beeby Artist: Ariela Kristantina
Story: 7.0 Art 7.0 Overall: 7.0 Recommendation: Buy (but wait to read until the entire series is done)

Dark Horse provided Graphic Policy with a FREE copy for review

Review: Catalyst Prime: Superb #7

Catalyst Prime: Superb #7 Cover

Where we last left our heroes, Amina and Cosmosis have rescued Corinna from Foresight all the while trying to rescue their parents and learn the secrets of Foresight but is all what it seems?

Superb comes from the recent superhero universe Catalyst Prime from Lion Forge Comics and seems to be slowly but surely developing a following. And that has piqued my interest in checking out the buzz. I decided to start with Superb since I thought that sounded like an appealing book. I’ve found recent superhero books with teenagers to be rather fun whether it’d be Ms. Marvel or Unstoppable Wasp as examples. And Superb, at least Catalyst Prime as a whole, seems to appeal to me as much as Marvel does since I do care about the characters and relate to their actions. It’s a simple superhero story right with a mysterious organization added to boot. Kayla Tate/Amina and Jonah Watkins/Cosmosis are very likeable leads. And hey, cool that Watkins is a superhero with Down syndrome.

You also have to remember, they are kids. Some actions they’ve committed simply seemed like a good idea at the time to them but they learn. And that’s very relatable to me.

Writers Sheena C. Howard and David F. Walker (Luke Cage) certainly nail the characters hard. Not one moment feels off, every action and every bit of dialogue feels natural coming from everyone and I like the structure of the whole mystery surrounding Foresight. Especially the introduction of what looks like some kind of injector device, I don’t know, it kind of looked like an oversized needle to me but while it’s still setup, it’s good setup that could come into play later.

And concerning a certain character, I admit I didn’t see coming so kudos to Howard and Walker for that especially given the cliffhanger sets up a new fight.

The art itself by Alitha Martinez is decent enough, nothing to write home about but I quite like the art anyway and fits the book itself. Then again, the book does look like it could fit in with the Marvel universe so maybe that’s part of why I like Superb thus far.

If you’re already a fan of this book or Catalyst Prime itself, the book’s energy and intrigue with its likeable leads is still going strong. If you want a superhero book that isn’t Marvel or DC, this is the book for you, check it out.

 

Lion Forge Comics provided Graphic Policy with a FREE copy for review

Review: WWE #14

The arc of the Shield and their falling out has passed in WWE #12 and we’ve seen some of the unrelated events during and after in #13. But what we haven’t seen is arguably the biggest thing happening in sports entertainment: the Women’s Revolution.

From Trish Stratus and Lita main eventing Monday Night Raw in 2004 to the then-Divas of the main roster growing tired of being shoved aside when they should have the spotlight to the ever-growing bevy of wrestling talent in NXT to the May Young Classic to most recently the first ever Women’s Money in the Bank and Royal Rumble matches, the Women’s Revolution is ripe for so many stories. However, you can’t talk about this most recent arc of women’s wrestling in WWE without mentioning the Four Horsewomen of NXT: Charlotte Flair, Becky Lynch, Sasha Banks, and Bayley.

If you aren’t familiar with the story of the Four Horsewomen, this arc won’t be the most in-depth guide at this point the way the Shield’s arc was. However, the team of Dennis Hopeless, Serg Acuña, Doug Garbark, and Jim Campbell return to start with the story from Bayley’s point of view. It’s an interesting tack to take, as you’ll swiftly learn or are already aware of. Make sure to keep an eye out for players you’re certain to see again in coming issues. As a start, this throws you a bit into the deep end but, in this specific case, it works well for the direction it seems things will be heading in. I’m excited to see where the creative team will go with this and what will get included in the Women’s Revolution arc when there’s so much to potentially pull from.

Also in this issue is the return of Tini Howard with artist Hyeonjin Kim and letterer Jim Campbell with the beginning of a four part backfill chronicling the rise of the Empress of Tomorrow, Asuka. For the unfamiliar, Asuka is a Japanese superstar who burst onto the scene at NXT and has done nothing but dominate since. Still undefeated at the time of this review even after moving to the main roster on Raw, Asuka is a force that simply begs for her own standalone comic. I have the utmost confidence in Howard’s ability to weave this tale after “The Brawler and the Beast” in WWE #3 and Kim’s art is a wonderful and distinct match to go with it. It’s no standalone to sing odes to the longest undefeated streak by any WWE superstar but it’s definitely something.

Story: Dennis Hopeless, Tini Howard Art: Serg Acuña, Hyeonjin Kim
Colors: Doug Garbark, Hyeonjin Kim Letters: Jim Campbell
Story: 9.0 Art: 9.0 Overall: 9.0
Recommendation: If you’ve been wondering what the fuss is about women’s wrestling lately but don’t have the time to watch almost 4 years of WWE content, this is a perfect jumping-on vector.

Review: Punks Not Dead #1

Swap out rock stars or punk gods or whatever honorific name we’re calling long dead, yet still revered musicians these days with superheroes, and you’ve got Punks Not Dead #1. Writer David Barnett and artist Martin Simmonds steep the story in the occult and espionage more so than punching and heat vision so fans of British pop culture icons (The highly overrated) Harry Potter and James Bond might find something to love in the new release from Shelly Bond’s Black Crown imprint.

Punks Not Dead is Ultimate Spider-Man only ruder and with more safety pins and leather jackets. The protagonist, Fergie, comes off as your typical white male everyman YA character with a perverse 2018 twist that he and his mom make their money by having fake arguments on the British equivalent of Maury Povich and Jerry Springer’s daytime shows, which gets them splashed all over the tabloids. In reality, Fergie is a thoughtful, withdrawn teen, who wants to know who is dad is. His fairly flat personality is just waiting to filled by the ghost Sid Vicious, who is a kind of archetype for punk rock itself and gets all the funny lines beginning when he plays a kind of supernatural corner man to Fergie in the beginning in the comic as he fights a school bully, Peter Parker vs Flash Thompson style. Simmonds colors Sid in jet black, and he is a shock of life to Fergie’s mundane meets modern reality star life. His most pivotal role in Punks Not Dead #1 is providing comic relief and playing music critic to Fergie’s mom’s record collection, but he also is an inspirational figure and is kind of sort of a Ghostbusters antagonist.

Technically, Simmonds’ art isn’t bad. He draws detailed character likenesses and makes strong storytelling decisions like zooming into Fergie’s face when he’s about to get popped by a bully or playing with panel layout angles when Fergie begins to realize that he’s talking to a ghost. However, his art is more early-1990s John Bolton Vertigo polished than dirty rotten punk rock with the exception of a red tinged flashback to a Sex Pistols gig in Preston, UK. The presentation is more 2018 remaster than raw live tracks. There could be story reasons for this as some say the Sex Pistols weren’t real punks, but a ruder, cruder boy band with Malcolm McLaren acting as a predecessor to Lou Pearlman. But, from what I’ve gathered from Punks Not Dead #1 (Especially the Barnett penned backmatter.), the book is about punk as an attitude and isn’t a thesis on authenticity or the genre or anything. It’s about the spirit of the movement, not the letter of the movement. There’s no quiz at the end: enjoy the ride and a big helping of underdog hero comfort food.

With this in mind, Punks Not Dead is a fairly funny mashup of the slice of life, urban fantasy, and espionage genres. I know I mentioned James Bond earlier, but the book is more like Ghostbusters with a drier British sense of humor and the paranormal bits playing backing bad to Fergie, this book’s real star and whose thoughts and fears are broadcast loudly through David Barnett’s narration. Martin Simmonds’ art is a bit too pretty for a punk book, but he joins the ranks of comic book artists who prove that painted art can work in both sequentials and covers.

Yeah, Punks Not Dead #1 is yet another white boy Hero’s Journey story, but David Barnett and Martin Simmond’s sense of humor, (obvious) punk sensibilities, and paranormal investigation/espionage elements spice up the usual recipe and make it a dish worth sampling even if you’re more of a post punk listener like me.

Story: David Barnett Art: Martin Simmonds
Story: 8.5 Art: 7.5 Overall: 8.0 Recommendation: Buy

IDW/Black Crown provided Graphic Policy with a FREE copy for review

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