Bee Vixens From Mars Pt. 2... You Can Skip It!

Grindhouse: Doors Open At Midnight #2
Bee Vixens From Mars: Part Two
Writer: Alex de Campi
Artist: Chris Peterson
Colours: Nolan Woodard
November 2013
Darkhorse Comics

This issue was a bore, which highly surprised me since the debut was a blast. #1 nailed everything about the grindhouse genre: bombastic action, over-the-top violence/gore/blood, and female nudity. It was full of grindhouse quirks and actually made me chuckle several times out loud (which doesn't happen too often in reading comics, at least for me). This issue however, had the action, gore, and sexualization of the first, but lacked any real punch. There were no moments of outrageous emotion that made you cringe inside at how cheesy it was; this comic felt almost like it was becoming a generic, bad superhero book and felt less like a satire and more like it was part of the crass comic collective.

I realize that I probably sound ridiculous for expecting much from a grindhouse comic, but seriously, films like Black Dynamite and Hobo With A Shotgun, both modern takes on the grindhouse genre, utilize the accentuated and unbelievable emotions/facial expressions that grindhouse cinema has become known for. This key element is missing from issue #2 and it has revoked the faith I previously had in this series. For a two-part arc, I didn't think it would be hard to mess up. Apparently I was wrong.

With a strong debut issue and a mediocre second, I can't say I'd recommend people to go out of their way trying to locate these issues (or even purchase when it's collected). If the consistency of this series is going to be the same for every future arc, then it's easily skippable. Grindhouse: Doors Open At Midnight is 1 for 1; will issue #3 be worth buying? (Answer: probably not)

Matryoshkas Field Guide. 15.21. Retired agents may or may not be forcibly visually impaired at the discretion of Home Office

Mind MGMT #15
The Exile
Writer/Artist: Matt Kindt
September 2013
Darkhorse Comics

***SPOILER ALERT***

5...

4...

3...

2...

1...

0.5...

0.1...

GO!


It's Lyme's turn for the spotlight. What a disgusting human being. I feel sorry for the guy. It's kind of messed up, but I relish in his decision to let himself be punished for his actions; it's respectable in a way. I feel kind of sad looking back at that scene, but at the same time he clearly wanted to be punished (since he said that he had control over the Immortals). I get the vibes that since he tormented Meru so much over the years that he will somehow save her later on. Probably from the Eraser and her crew of Mind Misfits. I'm greatly looking forward to reading all the issues back-to-back and putting the pieces of the puzzle together.

I have a soft spot for Lyme now... Even though what he did was unforgivable, he's such an openly flawed character that it's hard to not sympathize with him. Perhaps there are subliminal messages encoded in this issue that are telling me to feel this way. Or could it be Matt Kindt's superb storytelling techniques? Maybe the MGMT is telling me what to write here...

I will never know...

Matryoshka's Field Guide. 14.1. Many of the conceptual identities you will find useful as an adult agent were planted early in your development.

Mind MGMT #14
"Meru and Bill"
Writer/Artist: Matt Kindt
August 2013
Darkhorse Comics

The third arc of Mind MGMT consists of single-issue stories that fit into (what I imagined will be) an all encompassing conclusion. #13 was about the new character Megan (story titled The Home Maker) and now this issue sees Meru and Bill's new-old relationship take the spotlight.

Meru and Bill get into an altercation with one of the Eraser's goons. Their encounter is a reminder to readers that something strange is up with Meru. She is mentally stronger than pretty much everyone else (as far as I can tell) and is causing panic for both Lyme and The Eraser. There are hints that a type of war is on the rise between the three parties and it's becoming clearer who Meru will side with. Meru herself doesn't look so good by the end of the issue...

It's hard to say what is going to happen next. I feel like it's hard to judge with only having read a couple of issues of the arc. Mind MGMT is the type of series that even having read all the issues in an arc, one still has so many questions lingering around in the mind as nothing is ever clear. It's that great of a story that the reader actually has to think about what they've read and piece it together for themselves. It's not too far from being a surrealist comic (actually I think it is now that I mention it). More could be said about the contents of this issue with having read the entire arc. It seems that the story will be easier to understand down the road. Must. Read. Issue. #15.

Matryoshka's Field Guide. 13.6. Use Enhanced Listening techniques to expose and exploit the mental weaknesses of those around you.

Mind MGMT #13
Writer/Artist: Matt Kindt
July 2013

Darkhorse Comics

It has been a while since I've read Mind MGMT (hence this November review of the July issue). Time to jump back on the wagon.

This issue is filled with cryptic easter eggs (or what I assume are easter eggs/plot seeds). The new character Megan, at least inasfar as her current predicament, reminds me of Meru: woman who has seemingly been mind managed and is now "awakening" from her mind-controlled slumber. She even says that she has been awake for about a month now and knows that something is up. The reader is placed in as just a mysterious situation as Megan is since we are not made aware of what is going on (we are along for the ride).

Things tend to just sporadically happen in this issue (perhaps they do in previous issues and somehow my memory has been wiped by the management; reread previous issues to be sure). The surrealism element is definitely upped here and to the series' advantage. Possessions have been stolen, neighbours are being murdered by fellow neighbours, Twin Peaks characters are inhabitants of the same world as Mind MGMT folk - there is lots going on here and it's hard to determine what it all means at this point. I'm certainly intrigued by this series and I'm a huuuuge fan of Matt Kindt's artwork, but upon rereading this issue, my mind is still sore from trying to figure out what is going on. Not many comic book series (or television or films as well) are capable of building such a world of mystery and surrealism as that of Mind MGMT (and are still pulling readers in to [try to] unravel the mysteries at hand) so kudos to Kindt for still boggling minds after a full year has past since the debut of Mind MGMT.

Some things of interest:

- the sidebar Field Guides in this issue were highly amusing. I need not tell you which was my favourite one... - I think Bill Falls is seen in one of the last pages; however, he has blonde hair now and has a clean shaven look (read future issues to determine the validity to this)
- the inevitability of the hot tub
- Leland Palmer!!!
- the striking similarities of Megan and Meru's stories/characters; again, follow up with future issues to see where this goes

"Oh God!"

Trillium #3
"Chapter 3: Telemetry"
Writer/Artist: Jeff Lemire
October 2013
Vertigo Comics

Jeff Lemire experiments with page layout presentation once again as a means of storytelling... and it's freaking awesome. The pages are upright and presented in a "normal" reading experience during Nika's scenes, whereas in William's story the pages are flipped, resulting in the reader needing to physically flip the comic in order to read it. It may seem simplistic and silly at first, but upon thinking about the choice to do this it is rather symbolic for their existences in two separate time periods (1917 and 3797). Duality is an important theme in this story and it is tackled masterfully by writer/artist extraordinaire Jerff Lemire (yes, he changed his name to Jerff).

I'm enjoying how the story being told keeps flipping back and forth: in the first issue, Nika and William's stories were told separately and met up in the final scene, and issue #2 told a story with both of them together. Now, in issue #3, the two have been separated and their current predicaments find them colliding through time and space to be reunited. The whole cat-and-mouse aspect is, while being an old trope, feels fresh in Trillium. Three issues in, I'm never quite sure what to expect of this series. With only five more to go, we're almost halfway there and I've yet to come up with any sort of prediction as to what is going to happen to Nika and William (and friends). Call it a poor imagination on my part or call it excellent storytelling on Lemire's part, this series is a mystery and a great one at that.

Downside up or upside down?

Jeff certainly packs in a lot of material within the twenty pages of Trillium #3. Nika's backstory is fleshed out just a little bit, with the reader being shown a brief sequence of her family's separation when she was a child. Surely this will be played out in future issues and will somehow save Nika during a time of trouble... This issue packs a lot of punch and feels like there's no filler; it's all meat with this story. Lemire doesn't waste any of the space on the pages for forgettable story elements; everything serves its purpose.

As for the art: do I really have to say anything? It's Jeff Lemire folks. While I can understand that his artwork is really hit or miss, I do think it needs to be taken into consideration that he has defined himself so well with his technique and style that no one else's artwork really looks like his. At least give the man credit where it's due. There is one page in particular that blew my mind: it's the double-page spread where Nika and William reunite. Not only is it a gorgeous piece of art but it's also such a strong and effective storytelling device. It's reminiscent of the first issue flip-book cover, which Trillium fans will surely never forget.

"Jon... is your dick glowing?"

Sex Criminals #1
"Suzie Down in the Quiet"

Writer: Matt Fraction
Artist: Chip Zdarsky
September 2013
Image Comics

Holy fuck, did I just read that?! This comic is fucking fantastic. 

There is so much greatness contained in this 32-page story that I'm not even sure where to begin. Sex Criminals #1 is the epitome of independent comics done right. The pacing is absolutely brilliant, the development of the characters and story are equally wonderful, and the art by Chip Zdarsky is a phenomenal joy. Writer Matt Fraction makes a lot of twists and turns in the narrative and fleshes out protagonist Suzie Dickson (geez, these sexual puns just don't stop coming, do they?.. oops, there I go again...) but the story never stops being interesting. You really feel for Suzie and come to sympathize with her strangely unique dilemma.

Sex Criminals #1's self-awareness is one of its key strengths. There's a scene early on that harkens back to Woody Allen's Annie Hall and it could not be more helpful in setting the tone of this series. The reader immediately knows that this is a book that doesn't take itself too seriously and that's all for the better in our world that's oversaturated with hyperserious/gritty superhero fare. At one point Suzie further breaks the fourth wall by mentioning that "that's the magic of editing" in regards to all the chronological shifts from scene to scene. Then there are the various sex scenes... One of them even includes drawings on a bathroom stall wall... 

You didn't think I'd post a photo of the actual drawings now did you?

I haven't even mentioned Suzie's "superpower" yet: she can stop time simply (or in some cases, quite contrarily) by having an orgasm. I'd prefer not to spoil the book for you, fellow reader, any more than necessary, so I will stop my doing so here (despite that not really being a spoiler, I do think it best to enter a new story with as little knowledge of it as possible). This was about all I knew about the book prior to reading it.

There are little tidbits of narration that Suzie says that demonstrate her personal tone towards the reader that are fantastic. "Wait, scratch that, I have no idea what I'm talking about" (paraphrasing); it's stuff like this that humanize Suzie and make her a rather relatable character. SC's self-awareness is reminiscent of Scott Pilgrim's zaniness, however is a little less ridiculous and over-the-top while still being somewhat absurd in its own right. Like SP, SC has a keen sense of attitude and is an intelligently plotted narrative. 

Yep, it's exactly what you think.

 The artwork by Zdarsky is simple and effective. It's kind of cartoony at times and it shies away from being overly detailed like those pesky superhero books can be. The colourist (apologize my ignorance for not knowing your identity!) does a fabulous job here, as can be seen in the image above. The lens flares and the pinkish waves in space and time illustrate that Suzie has just orgasmed and that her superpower is in full swing.

I really cannot recommend this series enough. It's so refreshing and engaging that I will be buying the first volume for my own love interest as soon as it is released (I'd let her read my floppies, but us comic book readers/collectors are a bit anal about the condition of our comics) so she can understand my love for this sex comedy aimed at "mature" readers.

"Sticky Tricky"

Bedlam #9
Writer: Nick Spencer
Artist: Ryan Browne
Cover: Frazer Irving
October 2013
Image Comics


When was the last time anyone remembers reading Bedlam? This comic has been subjected to a bizarre release schedule but it couldn't be more fitting to this deranged ongoing series. It's likely due to the switch in artists but it could be a whole slew of things. At any rate, at least it's a new issue of Bedlam.

Nothing ever goes well for this town. After the end of the first arc (which alluded to something even more horrible being plotted from the shadows of the city's underworld to appear in a future arc) a new set of killings immediately emerged for the police to investigate, and of course, Fillmore Press is somehow still aiding them in this search for the truth.

The story structure is the same as always (opening scene is a flashback to the days of Madder Red's reign, followed by a double page background spread with the title of the story, then the return to the present) and I can't help but feel the reader deserves an entire issue dedicated to fleshing out (no pun) Madder Red's history; it is always the most enjoyable part of reading Bedlam. The investigation moves along in a relatively slow-paced fashion so as to set up other plot points in the story. Some intriguing information is revealed about a certain character whom we don't know very much about. Plus, we learn that something concerning his/her fate is at stake by the end of the issue. Cryptic? Yes I know... wouldn't want to spoil the issue entirely.

Isn't he a sweetheart?

Ryan Browne's artwork is similar enough to Riley Rossmo's (the original artist of Bedlam) but it lacks the same gruff and grit that this series has become known for. Browne certainly fills Rossmo's shoes well, but this issue feels too clean at times and then becomes statically scratchy at others; it's inconsistent. Perhaps that is the point, but I'm not sure. I have yet to read his creator-owned God Hates Astronauts so I do not know what his own style looks like; I've only seen how he imitates Rossmo. To his benefit, Browne has great storytelling chops: he excels at framing/placement of characters within the panel, he draws facial expressions well, and also nails the body language of the characters. After the last three issues with the new artist, I am overall content with Browne being onboard; Browne's art and Spencer's words align very nicely.

This issue lacks Madder Red. He's certainly in the book (I'm not including the presence of Fillmore Press here by the way), but not to the degree that makes this series so morbidly fantastic. It can be forgiven of Spencer since he is trying to develop the story and the other players within it. However, this issue is a prime example that Madder Red is what drives this book. Bring on the Red folks, and we'll be back in a perfect bedlam in no time.

"...Trillium."

Trillium #2

Written/illustrated by Jeff Lemire

September 2013
Vertigo Comics

"Chapter 2: Binary Systems"

---- ----- -- -----!!

This series has me on board for the long haul. The debut issue was a strong first issue and there was lots to love about it, however there was quite a lot of set-up and exposition which was difficult to take in upon the first read. However, Trillium #2 jumps right into the story and continues where the cliffhangers of Chapters 1 and 1.2 left off. 

Nika and William are two strangers from different millenia (the second millenium and the fourth millenium, respectively) who discover each other by accident after each character experiences a separate life altering encounter. It's neat to see their relationship unfold without the reliance of language; it's also interesting how Lemire develops this notion. The first page has William speaking coherent English for the reader's sake, with Nika not understanding any of it. Then the scenario switches on the second page: Nika is speaking coherently (whatever language it is, it's translated to English) and William is the one confused. The two characters do their best to communicate sans-language and it's a joy to watch them. There is a moment when they discover there is a word they both understand (which further sets up mystique about this comic's title and what exactly the flower represents):

"...--------."

Plot wise, there's not a lot of movement with this issue. This episode serves the exploration of the two lead characters and the building of their relationship, which in my humble opinion, is a nice change of pace from the expansive and epic opening chapter from last month. The choice to zone in on developing Nika and William's relationship was a smart move and is highly commendable of Lemire. An example of Lemire's brilliance occurs just after Nika punches the temple door. William makes a remark that Nika has quite the temper, and a few panels later she apologizes to him for losing her temper. It's the little things like that that Lemire handles extremely well. There's also a panel shortly after where the two future lovers (does that even make sense in this story - "future" lovers?) begin flirting and smile at one another in a romantic way, serving to set up what will likely come of their interaction together. Another plus on the writing side is that this issue isn't bombarded by lengthy expositional text-bubbles; Lemire balances the dialogue between the characters and the use of the imagery to tell the story, and does so effectively given the circumstance that the two protagonists have found themselves in.

On the art side, I can't express properly how much I love Lemire's style. He is by far my favourite artist. In this issue he draws faces exceptionally well; even in panels where the characters' faces are small, the amount of expression they exude is impressive. Again, Lemire has a knack for the little things and he puts the time in to make sure these minute details are executed with precision.

I was a bit uneasy with the cleaner look to the art in issue #1, but this time around the slight change is sitting well with me. There is the familiarity of Jeff's style in the art obviously, except compared to his older works it has a cleaner finish to it. His inking has become tighter this time around and colourist Jose Villarrubia seems to be experimenting here as well. I was a bit slow to accept this last month, but after finishing Trillium #2 I can't get enough. Luckily issue #3 is in my possession so I'll be reading that soon!

Overall, I'm impressed with this new series from Jeff Lemire & co. It's a shame it's only eight issues long. On the bright side, at least it's eight issues of  Lemire greatness! I shall conclude with this fantastic double-splash page. Hopefully this image entices you to pick this book up:

Ontario's Official Symbol (is now a comic)

Trillium #1
Writer/Artist: Jeff Lemire
August 2013
Vertigo Comics

"Chapter 1: The Scientist":

I'm a sucker for Jeff Lemire. Everything from his early creator-owned comics like Lost Dogs and Essex County to his recently concluded Sweet Tooth series and his current writer-only series Animal Man for DC all tickle my fancy (it's really quite funny). Trillium is the first series of Lemire's creator-owned work that I've actually been able to read monthly and I couldn't be a happier camper cause of it. Anyways, enough dribble-drabble.

I immediately get the vibes of a classic Sci-Fi story with this chapter. It evokes the feel of stories like H.G. Wells' The Time Machine and Robert A. Heinlein's Starship Troopers and others that I can't think of at the moment (it's been a long, rainy, mellow Hallowe'en) mixed with something new. I really appreciate that the protagonist is a female (western society could really do with some more female leads, especially in the comic book reading world).

There is a lot of set up in this issue, but that is a very forgiving factor since Lemire is world-building in this completely new series. A positive that comes from this is that the reader feels thrown right into the story; Lemire doesn't waste time with exposition and filler. However, I found it a lot to take it on the first read, so I reread the issue again to refresh things (a couple months later nonetheless...). Nika (the scientist) feels like a loner to me. Her only companion so far has been her A.I. (named Essie) that is built into her suit. Her higher-up, Commander Pohl, does not gel well with Nika and so far the only other person of importance in Nika's life is her deceased mother, who we see several times through the story. This lone-wolf aspect to Nika has me intrigued and I'm interested to see what she makes of her encounter with the alien species and the special someone she runs into (surprise surprise!).

This book has a political undercurrent running through it. The premise of the intruder occupying new territory is prevalent throughout and is rather mysterious at the moment. We'll have to wait and see how this plays out. The later scene with Nika's interaction with the alien species had me a bit nervous the entire time... that splash page was phenomenal. Jeffy's artwork has a slightly different feel to it with this miniseries. For one, he's colouring a good portion of it (note the water colours). I love the watercolour feel, however there's something about the inking. I'm being a bit nit-picky, but there are certain pages that felt off to me and could have used some more finesse. Colour choice-wise, the book is awesome, especially the scenes with the aliens in tow. The blue contrasted with reds, browns, and grays looked exceptionally beautiful.

"Chapter 1.2: The Soldier":

This chapter also evokes the fear of the "Other" that is common to SF stories ("the strange and savage natives..."). The cross-imagery of the bird resembling a plane to William's (the soldier) mind is neat. Lemire utilizes telling two stories at once here quite nicely. This story was easier to digest as there was less text to try to make sense of; the first chapter, especially the single splash page, felt a bit too wordy for me. I realized from reading this chapter that my beef above about the slight change in presentation of Lemire's art is that it looks cleaner than I'm used to. The line work looks neater compared to some of Jeff's other works. It looks fantastic as Jeff's art always does, I guess I prefer his more messy style. Just a minor gripe!

I'm running short of thoughts here... the Other is an obvious motif in both these stories and it's interesting to see how both Nika and William's encounters with alterity/difference lead them to each other (yet another encounter with the other). Perhaps I'll rewrite this when I have more energy and interesting things to say.

"...after three hundred thousand years, we'd really stunk up the place."

Hinterkind #1

"Once Upon A Time... Chapter One"

Writer: Ian Edginton

Artist: Francesco Trifogli

October 2013
Vertigo Comics

This is a post-apocalyptic story that isn't so much concerned with the Earth having been destroyed but more so about the repercussions such an event would have on humanity and how people would react in such a state. "Seven months from the top of the food chain to endangered species." The book is an allegory of sorts for how destructive and savage a species humans are, and I have to say that I dug it a lot. Similarly to Grindhouse #1 (the review I posted yesterday), I have no prior experience or knowledge of the creators involved, so that type of bias is completely out of my brain with this book. I enjoyed it immensely last night, and while I think it's a better than average book, I'm not really sure what I think at the moment. Perhaps the beer I drank last night had something to do with my initial opinion... Or perhaps my current fatigue and acheyness are negatively influencing my judgement. Whatever the case, I feel that having read only one issue is insufficient in judging whether this is a fantastic series or not.

The Positives: The characterization is above average. I like the fact the protagonist is a female who has yet to be sexualized. The world building in the art department is nailed in this issue. Scenes are crafted with full environments and there is often a lot going on in the background. There are lush colours throughout and the palate screams mother nature. Greens and blues abound (take that industrialization!). There are several literary allusions I noticed. The first one is of a broken statue of Alice and friends from Alice's Adventures in Wonderland that takes up a medium-sized panel. The text that accompanies it may be related to the book but I've only read it once and am not well-versed enough to know whether it's a quote or not. The second reference occurs when Prosper Monday is talking with her grandfather Asa about tagging along with him on his journey to the mysteriously dangerous Albany (oh my!). Prosper says "I'm not some dopy Eloi, I can handle myself!" Asa even congratulates her for the reference! (but I won't tell you what comes of their conversation).

Hinterkind #1 was a nice change from the standard superhero fare I've been getting sick of in (most) mainstream comics. The story becomes a little actiony at the end (which is okay given all the exposition and world building that takes up most of the book) and introduces elements that change the tone of the first half of the book. I'm not sure if I like these additions or not, but I'll find out next month when they're fleshed out more in issue #2.

The Negatives: I'm about to sound like a cracked glass cup. The art. There isn't much wrong with it. There are a few frames that could have been detailed a bit more or certain faces could have been touched up a bit, but other than that it looks alright. That's my problem with it: it looks too plain. It kind of reminds me of the Sandman interior art from the first three volumes I've read. Neither this book nor the Sandman artwork do much for me unfortunately. Yes the artist(s) create a well established world and they have my deep respect for that, but the art style itself doesn't grab me. It's not so much that I'm bitter towards it but rather that I'd prefer if someone else drew the book. I've risked sounding like an asshole for the chance to be honest.

In the story department my only complaint is the last few pages when something that I've already mentioned happens. At the moment I'm iffy but I'm willing to see things through to next month. The creative team seems confident in their ideas so I'm going to do my best to remain that way as well.

So far, so good. (So what?!). Make me want to come back next month gang!

To "Bee" Continued!

Grindhouse: Doors Open At Midnight #1
"Bee Vixens From Mars: Part One"
Writer: Alex de Campi
Artist: Chris Peterson
Colors: Nolan Woodard
October 2013
Darkhorse Comics

"Honey, we outta beer?" "How much she sting you for?" It's quotes like these that make this comic so great. Oh, and add to that the textual/visual irony and punnery that occurs on (almost) every page (from Jimmy claiming to be careful meanwhile getting himself into trouble, to the multiple honey references, to the oversexualization of the female characters). All of these seemingly poor choices (in terms of quality from a creative standpoint as well as the choices the characters make within the story) are what give this book its flare and appeal. I'm not the most well-versed person when it comes to the Grindhouse genre (modern throwbacks like Black Dynamite, Hobo With a Shotgun, and some of Robert Rodriguez's and Quentin Tarantino's films are what come to mind for me) but this book is a fantastic representation of the tastelessness and exploitation that I've come to be familiar with of Grindhouse works.

I knew nothing of the creators involved with this book but decided to give it a look anyways (Francesco Francavilla doesn't really count since he only participated in the cover art). I tend to read into creators a bit more before trying something new to get a sense of whether I will dig their work or not but I decided to jump in sans being informed. I have to say that I'm thankful I gave this comic a chance. I knew from the opening page that it was a right fit for me. I'm normally a disliker of exploitation of women in comics (sorry to all of you masculinists) but this comic includes it simply to demonstrate how outrageous and vulgar it is. This IS Grindhouse as I know you're well aware of, so exploitation is a given component of what makes this book humourous. Throw in a lot of cheesy cliches (car drives to dark, spooky cemetery on a hilltop with a sign in the foreground that reads "NO TRESPASSING" for example) and you've got yourself a recipe for success.

I mean no disrespect, but the art by Peterson and Woodard is just okay. It works for the story but it lacks distinctive qualities that say, the likes of Fiona Staples, Greg Capullo, and Matt Kindt's art is characteristic of. It's by no means bad, but it's not memorable like the aforementioned artists' work is. Peterson's art looks too computer generated for my tastes. It's rather clean (in most cases) and doesn't look like it was drawn by pencil. I guess I like it rough! (fitting no?) On the positive side, Peterson has a knack for creating well established scenes as a means of telling the story through images. His choice of "camera" placement and POV are excellent and aid the script that de Campi wrote. I have no issues with his storytelling capabilities, I suppose I just don't identify with his style of artwork. On the other side of art, Woodard's colours are actually commendable. There are lots of purple and bluish hues used during the outdoor nighttime sequences mixed with bright reds and yellows giving the look a retro-ish feel.

Puns, cliches, nudity, gore, onomatopoeia. This is everything superhero books take seriously and everything Grindhouse doesn't. Check out Grindhouse: Doors Open At Midnight #1 if you could use a good laugh (and who couldn't?).

Note To Self

Dear Self,

Write a new post today! And while you're at it, continue doing so at least once a week.


With utmost respect and sincerity,

Your Brain

The Death of A Son

How do you deal with the death of your son? I cannot fathom in the slightest what I would do in such a circumstance. I suppose that the silent aspect of this issue is fitting. I bet it'll make me cry, or at the very least tear up as I take in the visuals. Parents are supposed to go out of their way to protect their children, and yet again, Batman has failed to do so. Having said that, I wish him the best in his road to recovery. I'm intrigued as to how Tomasi, Gleason, and team play out Bruce's struggle with his grief.

Bedlam #4

Bedlam #4
"Chapter 4: If I Started Talking About Religion"
Writer: Nick Spencer
Artist: Riley Rossmo
February 2013
Image Comics


I'm finding that this series keeps upping-the-ante with each new issue. The format is similar to the previous issues, in which there is a sort of precursor event that happens that leads in to the main story after the chapter page is shown. I'm really digging the structure of this comic. Let's just say that the town of Bedlam is surely keeping in line with its name... Without spoiling anything, this issue begins on an unpleasant note, and righteously so.

This "Eric" character has the attention of many people in Bedlam, and he certainly has mine as well. Following the gore of the opening scene, Fillmore Press and The First (Bedlam's equivalent to Batman) finally meet, but the reader knows that this is not their true first meeting... *See issue #1* In a fashion similar to how Batman beats the Joker to a bloody pulp with the hopes of attaining more information towards his crimes, The First attempts to help the police department with their investigation by smacking some sense into Fillmore. However, Detective Acevedo and her colleagues begin to put several pieces of the puzzle together and are figuring out that Fillmore is in fact telling the truth when he says he's trying to help them (and is subsequently innocent).

The artwork by Riley Rossmo and team is as great as always. It has the grit necessary for a book of this demeanor and it appears scratchy and rough in many scenes. There's a lot of dirt and messiness in the environments of Bedlam, which is not due to Rossmo being a lazy artist, but a rather skillful one in that the settings reflect the tone of the book marvelously. The chaos of Bedlam is coming to life and even more so as this arc nears its end. I imagine that there will only be two-three more issues of this current story, but that is only an estimation. Things seem to be falling into place plot-wise so I can't see this story continuing for many more months.

There's a hilariously zany moment when Detective Acevedo returns from her office to the roof where she left Fillmore in The First's hands: Acevedo tells The First to stop harassing Fillmore as she has discovered that he is not the killer, and then the two vigilantes sort of join sides for a moment, in that they both want Acevedo to reveal to them who the real killer is. It's a comedic moment in an otherwise bleak city, which the contrast of the setting made me chuckle upon reading. The issue ends with a total WTF moment... It's pretty sick and twisted and will surely make you cringe.

Once again, this series has kept my interest for several months now, and so long as the writing/artwork maintains its level of tenacity, I'll continue to buy this series month after month. I can't wait to see what happens in issue #5...


Story: 4
Art: 4

Batman and Robin #17

Batman and Robin #17
"Life is But a Dream"
Writer: Peter J. Tomasi
Artist: Patrick Gleason
February 2013
DC Comics


Holy exciting, heart-warming, creative, done-in-one issue, Batman! Batman and Robin #17 is a pseudo-epilogue to Death of The Family, although it is more of a character development tale about how Damian feels towards his father. I feel as though this issue was hand-picked to be released now, as to contrast the event coming in Batman, Inc. #8. I've done my best to avoid spoilers, but these days, with that damned place called the Internet, it's virtually impossible for anything to be kept a secret. Even DC released an interview with Grant Morrison spoiling the plot of B.I. #8 just days before the issues release! Seriously?! WHY DC?!? Ughh so stupid. It ruins the impact of the issue...

So like I was saying, I don't know for sure what happens in tomorrow's issue of Batman, Inc., but with all the buzz surrounding it, I think it's safe to say I'm going to be one upset comic book reader. For those who don't know what I'm talking about, consider yourself lucky. And now, onto Batman and Robin #17!

Batman and Robin #17 is a quick read, but don't let that fool you into thinking it's not an important and joyous one. Tomasi's script is quite minimal and that works wonders for this type of tale. The creative team mostly let the visuals tell the story, and every once in a while, that's fine by me! This story mostly takes place inside the dreamlands of Bruce, Alfred, and Damian, so it feels as though none of the events occurring on the pages really matter. However, I believe that the dream's of these characters reflect how each one of them feels about what's been going on in their world lately.

The artwork by regular series artist Patrick Gleason is fabulous as always. He has a knack for being able to create some creepy imagery while simultaneously pulling off some tender father/son moments between Bruce and Damian. Gleason's style is cartoony but it never feels goofy. This is one of the few books from the New 52 that has had the same writer/artist combo for majority of its run so far, and I certainly hope Gleason remains on B&R for as long as possible.

In regards to the script, it's nice to see the Tomasi and Gleason find such a level of synchronicity where the writer trusts the artist enough to let his art do the talking for him. Some comics I've read these days have too much forced exposition and not enough solid flow to the story. Sure, getting some facts about what the characters are feeling can be great, but too much of anything can spoil a story. Thankfully, team B&R nail this issue and it clearly shows. It's also a nice contrast to Snyder/Capullo's Batman #17 which was prose heavy (I'm not putting it down, I LOVED the issue), but sometimes it's more effective to show what you're trying to get across rather than have characters flatout narrate the action/events occuring before the readers eyes.

There are some more tender moments between Bruce and Damian, and I sincerely hope this isn't the last of them. There was also a freaking AWESOME splash page with Alfred. I won't spoil what it is, but it will surely have every Batman fan in awe over his actions. All in all, this issue was a different yet satisfying read. I'm really antsy to see what happens in Batman, Inc. #8. I feel as though this may be the last father/son bonding tale we can expect from Batman and Robin. I hope I'm wrong about this...


Story: 4.5
Art: 4.5

Bedlam #2

Bedlam #2
"Chapter Two: Everybody Wins"
Writer: Nick Spencer
Artist: Riley Rossmo
November 2012
Image Comics


Bedlam #2 digs deeper into the relationship between Fillmore Press (aka Madder Red) and "The Doctor." The story also enters some unfamiliar terrain in the opening pages, laying out the premise for what appears to be the first serial killer that Fillmore will attempt to apprehend. Detective Acevedo and her boss (unsure of his name) also make some progress by listening to the recorded call that Fillmore made back in the first issue. They believe that they have found the suspect responsible for all the recent murders that have been occurring in Bedlam and await to hear from him again. Luckily, they only have to wait until the next issue for that to happen.

The issue begins with a reunion of old friends who apparently entered AA or some form of rehabilitation together during a previous time. At any rate, what really matters about this scene is the tension that is built around the character known thus far as "Eric." He is a mysterious character who we soon find out is not all he's made out to seem. He appears friendly at first (striking up a conversation with his old buddy, and then inviting him to have a cup of coffee), but shortly shifts to being quite the opposite. There is a wonderfully disturbing splash page of Eric and Danny (the unfortunate friend who has now become the victim) in which we see Eric's true colours. I won't entirely spoil what is on the page, but it's not a pretty picture.

The story then shifts to Fillmore Press, and deals with both his present circumstance as well as his encounter with the good Doctor ten years prior. The layout of the next two pages alternates from one panel in the present, to the next in the past, contrasting the two different time frames until they meet up shortly hereafter. The reader discovers that the Doctor played a few mind games with our protagonist/anti-hero Fillmore back when he was presenting himself as Madder Red, and boy oh boy, it leads to quite the psychedelic double page splash. It's hard to tell exactly what is going on here, but it seems as though the Doctor is manipulating Fillmore and really getting inside his head (I had to say it...). But seriously, I can't tell exactly what is going on, and I think that's great. The mystery this series is creating is astounding.

Fillmore wakes up from a nightmare of sorts, to find the Doctor and his lovely assistants in his apartment. They have a lovely chat about what Fillmore has been up to, and how he should learn to be more careful so as to not get himself shot every time he tries to do a good deed. We learn that the Doctor instills an element of fear in Fillmore and that this is the one person who seems to scare him. I can only imagine bad things to come in future issues... So after clearing things up with Fillmore, the Doctor and his team leave Fillmore to continue his path of redemption. The reader gets one more glimpse of Madder Red's tarnished past, and he awakes to find himself in a bed alone, and screams out in what I can only imagine is pure terror. The story shifts back to the present again, and Fillmore hears a police siren outside. So what does he do? He leaves his apartment, follows the sounds of the sirens, and turns himself in to the police! What a case of risky business.

The artwork and storytelling in this series are both unique and work very well together. Sympathizing with an ex-serial killer is kind of a crazy thing to do (okay it totally is), but Nick Spencer, Riley Rossmo, et al. make it perfectly okay to do so. Bedlam is definitely in my top five favourites list, and I can't wait to find out what happens next (I named my freaking blog after the titular character of this series for crying out loud!). This series is reaching the top of my pile with each issue that comes out. Hurray for great independent comics! (Hurray!)


Story: 4
Art: 4


P.S.!

Here is the variant cover for this issue. I posted this way back when I started this blog, and it seemed appropriate to repost it right here, right now. Apparently this is an exclusive variant, as my LCS (which is a highly reputable one I might add) said that they had never heard of it. I looked it up on Comic Vine and apparently it's a "Phantom Variant." Not sure what that means, but long story short, I wasn't able to acquire this variant cover. I forgot to mention how madly in love I am with it. It is modeled after an image of the Joker from Moore/Bolland's "The Killing Joke," which is my all-time FAVOURITE comic ever. Both my favourite Batman comic and favourite comic book ever in existence. I like TKJ even more than Watchmen :/.

I'm still a little sad that I couldn't nab a copy of this gorgeous issue, but oh well. On the bright side, at least I can stare at it all I like on my computer screen... *sigh*

Justice League #17

Justice League #17
"Throne of Atlantis: Chapter Five (Conclusion)"
Writer: Geoff Johns
Artist: Ivan Reis
February 2013
DC Comics

This is the end of the fourth arc for this volume of the Justice League, and I've got to hand it to the new creative team for revamping my interest in the series. Ever since I heard about JL crossing over with Aquaman, I was actually fairly excited. I had stopped reading Aquaman for quite some time but was interested to give the character another chance. Let's just say, I've enjoyed this Atlantis-central story so much that I picked up all of the remaining Aquaman issues from my LCS... it was that much fun! Both JL and Aquaman have been great for the past couple of months, and I'm really excited to read both post-Throne of Atlantis. Anywho, let me get to why I enjoyed this arc/conclusing issue so much.

Justice League #17 feels very much like a bombastic superhero action film, and I mean that in the best way possible. This issue is action heavy but it doesn't solely rely on that to make it so satisfying. There are a few splash pages and double splashes, in which LOTS of individual battles are occurring. It's a lot to take in all at once, but upon rereading, it is rather enjoyable to examine all the little background fighting going on amongst the Trench creatures and the Atlanteans. There are also more intimate moments between Arthur and his brother Orm (aka The Ocean Master), in which their final showdown occurs. There are two pages that tie for my favourite splash page and the first one includes the Justice League booming onto the scene via Cyborg's boom tube contraption: the team looks so epic and ready for business. Ivan Reis' pencils and Joe Prado's inks are so luscious and extremely detailed. Not to put down Jim Lee or Tony Daniel, but I much prefer Ivan Reis as the penciller for this series. I certainly hope he stays for many issues to come! And the second splash page that really struck a chord with me is the one where Aquaman shouts out "I am your KING." There's so much intense imagery in this shot, from the lightning bolt striking the city and the frozen tidal wave in the background, to the harsh rain beating down against Aquaman and his fellow Atlanteans. Ugh, it's so beautiful!

The team develops their bond even further in this issue, and I've really been enjoying all the character building within the entire arc. From seeing Superman and Wonder Woman teaming up, to Cyborg saving the team, and to Batman and Aquaman finally putting their prides aside and working together, Geoff Johns has thoroughly captured my attention and created a team book in which the characters actually work together as a family unit. The march toward The Trinity War is coming, and I couldn't be more excited for it.


Story: 4.5
Art: 4.5

Bedlam #3

Bedlam #3
"Chapter Three: Let Him Have His Fun"
Writer: Nick Spencer
Artist: Riley Rossmo
January 2013
Image Comics


This is kind of a strange review, as I've read Bedlam #2 and have yet to review it, and I'm skipping ahead a bit by reviewing #3 first... Gotta keep things interesting somehow I guess. I'm not familiar with anything else Nick Spencer has written, but I've got to hand it to him, his writing has continued to pique my interest three issues in and I'm definitely here for the long haul. I love how the story is still fleshing out who Fillmore Press was when he donned the persona of Madder Red. There is hardly any dialogue used in this opening scene, proving that Spencer is capable of telling a story with just images and doing so in a stylistic fashion. Credit also goes to Riley Rossmo and team for bringing these images to life. The use of B&W colouring with the red accents further enhances the intensity of Madder Red's personality; the red stands out much more than it would if the entire environment had been coloured more naturally. The opening scene makes me wonder how many cats Madder Red killed in his seventy-nine day trial of "Companionship..." What a creepy character done right.

The story then jumps back to the present day, where Fillmore has managed to have himself arrested and awaits a confrontation with Detective Ramira Acevedo. (Sidenote: At the end of issue #2, I was confused as to why Fillmore confessed to being a murderer; now his motives become obvious). The two characters engage in conversation over the murders happening across Bedlam, and Detective Acevedo is under the assumption that Fillmore is indeed the man responsible for them. Fillmore claims that she and the rest of the homicide department require his assistance to catch the killer at large. This drama occurring between the two characters acts as a precursor to what I imagine will become a love/hate relationship for many issues to come. It feels almost as if Joker is conversing with Commissioner Gordon and Mr. J was trying to convince Gordon that he was turning a new leaf... it's just one of those situations where two people don't understand each other and probably never will...

Fillmore plays the card where he insists that there are many more murders that the police have yet to discover, and the only way for them to track them all down is with his help. There is a lot of tension building amongst these characters and Fillmore's zany personality makes me feel both uneasy and excited simultaneously. I can sympathize with Detective Acevedo cautionary approach, but at the same time, I can't help but want Fillmore to have his chance to redeem himself for his wayward past. This comic series feels like a mature version of "Batman;" not that Batman is immature by any means, but Bedlam feels a bit more grounded in reality, and the psychology of these characters reflects more serious, moral and ethical viewpoints than something like superhero comics tends to. This is obviously still fictional and retains a sense of the fantastic, but I'm definitely feeling connected to Fillmore and Acevedo much more than I do other characters in different comic series'.

The antagonist makes only a brief appearance in this issue (having taken a bigger chunk of #2's story, I think having him take a backseat is appropriate, so as to help build tension in his character as well as develop other aspects of the story), but that's okay! I imagine he will have a bigger role in issue #4. Without spoiling more of the story, I will conclude this review by stating that the end of the issue sees something very interesting happen that's given me an itch to open up Bedlam #4 ASAP. I shall go do that right now! (Well, I should probably upload this review first...) Bedlam is a fantastic story about a serial killer who has turned a new leaf and is seeking ways to redeem himself (or so it seems) by helping to stop/catch other killers. I highly recommend it to anyone who enjoys both Dexter and the Joker; Fillmore Press is essentially an amalgamation of the two.


Story: 4
Art: 4

Mind MGMT #7

Mind MGMT #7
Writer/Artist: Matt Kindt
January 2013
Darkhorse Comics


What did I just read?










Story: 4
Art: 5

Revival #6 Review

Revival #6
Writer: Tim Seeley
Artist: Mike Norton
January 2013
Image Comics


So it's raining right now and I'm currently sitting on my bed by the window at home (my parent's house) as it is Reading Break for some university students. I figure, what better time than now to start getting back into logging my thoughts on some comics! I've just finished re-reading Revival #6. It's the start of a new arc (sort of...) and I'd like to get into the habit of reviewing this series each and every month from now on (and several others, which you'll see pop-up on the page in the near future). I read it last night just before bed, with the intentions of documenting my initial reactions to the issue, but it was too much of a brain buster for me to dissect at that hour so I played some Catan on my phone and called it a night.

So here we are. I'm awake, got some coffee into me, the blind's are up, and I'm ready to start the day right. Revival, for various reasons I'm sure, had a two month gap between the releasing of #5 and #6 (#5 released in November, and #6 in January). I imagine this is because of the trade coming out and Image wanted to recruit as many new readers as possible and give them time to get into the series. Anyhow, I also believe it's because it's sort a new arc. However, this series doesn't really seem to be set up in an "arc-based" type of storyline structure. I can't remember all of the events from the first 5 issues (a LOT happened folks) so there's a chance I'm wrong about this, but just from reading #6, it feels very much like it's still the same story continuing onward (I swear that I read something somewhere that Tim Seeley said that he's writing the book as one massive story arc, so there aren't really any good jumping-on points or places where the current story ends and then a new one begins).

Having read the issue a second time, I'm still not sure I comprehend everything that occurred on the 22 pages. The story begins with a news report on a television screen and it sort of recaps the general premise of the series. We get a tidbit about May Tao and her boss(..?); I'm not really sure who the character "Bogs" is, but I imagine she'll be fleshed out in future issues. May seems to be up to no good, and I can already feel some tension building amongst her relationships/interactions. Then we cut to a scene with a little girl and her grandpa who are attempting a prison break out of Wausau (the main city of the story that's been quarantined because of Revival Day). At the end of that 2-page scene, a new and important looking character is introduced. Nothing is revealed about him save that he's a "national hero." Looks like we'll be seeing more of him soon enough. Following this, we get a sort of pseudo-E.T. scene in which Dana's son Coop is talking about his action figures near a forest to that mysterious ghost/alien thing with the funky name that no one can properly pronounce (it's something like POJ XUUUUTJD...). We find out that Coop is trying to befriend the foreign creature. I felt surprisingly happy while I read this. Am I supposed to be feeling this way, or should I be scared that this alien being could potentially hurt the boy? Regardless, I can't ignore what I felt. This was probably my favourite moment from this issue.

Dana visits the house of the Hines' family, and we're introduced to a couple new characters. An older male detective named Jimmy Heckendorf appears to be some sort of antagonistic foil to Dana. Like most of the new characters introduced in this issue, we only get a vague snippet of their personalities, so nothing much can really be said about them yet. I fear he will try to get in the way of Dana doing the right thing, but I will have to wait and see what becomes of this guy. Dana's partner Ibrahaim Ramin has only a cameo in this issue, in which the two characters share a brief phone call together. Ramin reveals that there will likely be a further quarantine of the revivers themselves. I sensed Dana's discomfort with this idea (since her sister Em is a reviver) and I can only imagine that this will pose a huge problem in the future. Em herself is barely in this issue. The only scene with her is rather bare of any clear ideas/themes for the future of the series, which is obviously done on purpose by Seeley... he's building quite the mystery with all these characters. I imagine Tim has his characters' personalities mapped out somewhere (how could he not? I feel like he'd get lost and confused writing them if he didn't) and, being a cheeky writer that he seems to be, is only choosing to release minute details about them with each new issue. It's actually a brilliant way to bring readers like myself back in each and every month. So much mystery, yet so tantalizing!!!

The issue concludes with two elusive and unclear scenes (what else is new?). I won't say anymore about the story, but I'm definitely itching to find out what happens next. For a book that rarely (if at all) answers any direct questions, I can't say enough great things about it. Thankfully, I'm uber-late in reading/reviewing this issue, so late in fact, that issue #7 comes out tomorrow. The wait won't be so painful afterall...

If you're interested in trying something different and non-superhero/Big 2, I highly recommend picking up this series. It's mystery/horror/sci-fi all rolled into one beautifully crafted package. If you fall towards the squeamish side, than I'd say pass, but if you're anything like me... you should definitely check this out! (What am I like you may ask? Tandem with the series, I must leave you dangling with no clear answer...)


Story: 4
Art: 4