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Tomahawk Angel: Vol 2 by Odysseas Theodoratos (Review by Daniel Brian Mobley)

It’s MangaWatch time again, and the pick is TOMAHAWK ANGEL: Vol 2 by mangaka Odysseas Theodoratos (aka Manga_Ody). This manga continues the dark, action-filled dystopian sci-fi/fantasy saga of the first volume. Ody continues to astonish in this second collection, its original run via the TAPAS ENT. app. This is another softcover volume by big-time publisher DARK HORSE COMICS and is adorned with a beautiful cover featuring the central character, Valerie (Or is it?). It should be read in traditional manga book format of right to left.

PREMISE:

Valerie originally awakened to find herself in a world filled with hideous monsters, banding together with a few other familiar strangers to try to make sense of things. An amnesiac, she learns what she can of her current situation (and mystery-shrouded past) before her newly made friends are killed and she finds herself on the verge of a similar fate. But things are not as it seems as she demonstrates otherworldly powers, defeats the monster, and awakens to an alternate world!

STORY:

Ody continues Val’s harrowing saga in this new volume, introducing familiar characters in new ways--showing us more of the horrific and grave world we were shown in TA Volume One. We are also introduced to new characters that tease future stories that will be full of great drama and angst between cast members. Ody does a good job of feeding exposition about this strange new world through the characters that surround Val, allowing us to experience the twist and turns of the story through the relatable lens of the protagonist. He also still manages to throw in some amazing action sequences along the way! I don’t want to give away too much (please read the manga for yourself), but I will say that the theme of this volume revolves around ghosts. Val is haunted by the figurative and literal ghosts of her past, present, and future—and is forced to consider that maybe the memories she so desperately seeks to recover may be better left forgotten. Ody is building this manga epic one block at a time, and raises the stakes with each turn of the page…

ART:

Ody continues his stunning artwork in this volume, crafting page sequences that are wildly creative and mesmerizing to look at. His rendering style for this manga is amazingly detailed and walks a delicate tightrope between the gorgeous and the grotesque. His drawings of Angelwing-In-Training Valerie, gal pal Nero, and hellish monster Mother Queen do not disappoint and are fittingly named. All the cast have very distinct looks and features and are recognizable immediately. Theodoratos’ artwork is simply beautiful, and his concise storytelling and action sequences will leave readers begging for more…

CRITICISM:

I don’t really have a lot of criticism of this volume. I will, once again, give a disclaimer though: this story might be too dark and/or graphic for a younger demographic. The combination of profanity, hyperviolence, and overall dark, psychological themes earns this series a mature reader badge. I would suggest this series for readers maybe 17 or older…

CONSENSUS:

TOMAHAWK ANGEL: Vol. 2 is a major win—and continues to be one of the best new manga stories of 2024. Filled with jaw-dropping art, quirky, amazing characterization, and a sci-fi horror aesthetic, it is a refreshing thrill ride you don’t wanna sleep on. I cannot wait for Volume 3! If you are a fan of franchises like Alien and The Quiet Place, or mangas like Ghost in the Shell, Parasyte, Claymore, Attack on Titan, or Chainsaw Man—here’s your chance to jump on the train before it leaves the station. And trust me, it will. Grab a copy asap!

GRADE: A (Ghost in the AngelWing?)

Odyyseas Theodoratos aka Manga_Ody ‘s artwork can be found via Instagram (linktree in his bio) and his manga epic TOMAHAWK ANGEL (both Vol 1 & 2) can be purchased at Amazon.com.

Daniel Brian Mobley is a Christian, husband, author and cartoonist whose works can also be found via Instagram TikTok, etc.

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Killadelphia #31 by Rodney Barnes, Jason Shawn Alexander, German Erramouspe, and Lee Loughridge, & Marhsall Dillion (Review by Daniel Brian Mobley)

Rodney Barnes’ horror comic, titled Killadelphiaha, has been creating a lot of buzz in recent years, generally favored by fans to be an entertaining and exciting comic book amid the masses of formulaic yarns on comic shelves. Barnes is an American screenwriter and producer, probably best known for having written and produced a slew of television shows including The Boondocks, Marvel’s Runaways, and American Gods. I’ll admit that I’m late to the party in regard to trying out this series, despite being aware of it since its debut. But if the current consensus is any indication—any horror fan, or just a fan of good comics in general—is missing the train by skipping over this one.

*Disclaimer: This is a review of Killadelphia #31, meaning that obviously, there are thirty issues before this one that probably desire a read to get a more well-rounded perspective on this story, its characters, and overarching themes. That said, let’s dive in…

PREMISE:

From what can be gathered, this story generally centers around the existence of vampires, gods, and other dark entities, and their place and/or functions in the hierarchy of darkness in the known (and unknown) parts of the universe…

STORY:

This part of the storyline is focused on an especially talented Everyman-Turned-Vampire by the name of Seesaw. In a recent encounter with a demon named Corson, Seesaw (allied with the African trickster god Anansi) opens a portal between realms…and manages to literally STOP TIME in the process. This startles Corson who, in a frenzied attempt to destroy Seesaw quickly, summons the powerful hell-created vigilante known as Spawn. That’s right—Todd McFarlane’s Spawn. Chaos ultimately ensues, and the story ends with a cliffhanger. Barnes’s script is undeniably dark, yet sprinkled with sharp wit and humor throughout, which was a surprise. Of course, Barnes is no stranger or slouch when it comes to biting wit and laugh-out-loud one-liners, but he finds a way to infuse humor into this story subtly. In this way, the humor doesn’t detract from the plot, and helps balance the story—keeping the darker elements from becoming overbearing throughout. Overall, the dialogue/plot was straightforward with some good foreshadowing regarding the future of Seesaw. Curious to see where this story goes. *This issue even has a type of epilogue story separate from the main story toward the back of the book, but I believe it is more like a prologue for a spin-off series.

ART:

Jason Shawn Alexander’s art definitely suits the subject matter of Killadelphia. I first became aware of his work years ago during his impressive artist run on POISON ELVES. I’m usually drawn to a more cartoony stylism (Joe Mad, Humberto Ramos, even JR.JR), but JSA’s work grew on me. He has a concise, clean storytelling that carries its own unique beauty, and he’s only gotten more refined as the years have gone by. His style is dark and moody without being too detailed or abstract. He lets the shadows create the figures and pours on the detail only when necessary. *Side Note: JSA is especially skilled at drawing Black folks and POC in general (a small but greatly underrated skill in mainstream comics). The assists, colors, and lettering of the other artists all work together to create and evoke a fitting atmosphere worthy of the story.

CRITICISM:

This issue, while full of sharp dialogue and compelling characterization, was a bit lacking on plot—which I’m sure is due to it being more of a transitional issue within a specific story arc. The good thing about that is, it makes the story easier to follow—a decent jumping-on point for new readers such as myself. With the inclusion of the popular guest character Spawn, it holds the bonus of luring that character’s fans over from the SpawnVerse, introducing them to a new and exciting tale of horror. I also think the issue could have benefited from a small ���previously” summary paragraph, explaining the key players and what’s currently going on. The story of Killadelphia seems vast, and a quick summary of key events couldn’t have hurt.

CONSENSUS:

KILLADELPHIA #31 is a good read for fans of horror. The combination of Rodney Barnes’ unique voice and compelling characters mixed with Jason Shawn Alexander’s dark-yet-evocative art makes for a great representation of what future horror comics can achieve with the right ingredients. Looking forward to what happens in issue 32…

GRADE: A- (No Stick in the Blood)

Daniel Brian Mobley is a Christian, husband, and author whose works can be found via Instagram, Tiktok, etc.

KILLADELPHIA, the comic book series by Rodney Barnes and Jason Shawn Alexander is published by Image Comics and is sold in comic book stores everywhere. There are currently six volumes available for purchase, for anyone wanting to catch up on the storyline.

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Tomahawk Angel: Vol 1 by Odysseas Theodoratos (Review by Daniel Brian Mobley)

My first review of the year 2024, is my MangaWatch of the Month pick TOMAHAWK ANGEL: Vol 1 by mangaka Odysseas Theodoratos. This is a dark, action-filled dystopian sci-fi/fantasy manga, with horror elements spread throughout. In all honesty, this is my first experience reading Theodoratos’ (aka mangaka_ody, as he is known online) work, and this first volume is a collection of stories that run currently on the TAPAS ENT. app. These stories have been bundled in a slick, handy softcover volume by big-time publisher DARK HORSE COMICS, and are to be read in traditional manga book format: right to left.

PREMISE:

Our protagonist, appearing to be a young, beautiful woman, awakens to find herself in a horrifically bleak world. To complicate things, she cannot remember who she is or where she comes from. And what’s worse, terrifying creatures roam the streets (some the size of skyscraper buildings themselves!), looking to devour whoever they encounter. The name of the game is SURVIVAL. Can this girl survive long enough to find an ally to help her answer the most urgent of questions. What’s her name? Why she’s here? What happened to the world? And most importantly…WHAT exactly is she?

STORY:

Ody doesn’t dawdle in the opening of TA—right away he manages to communicate the hostile atmosphere and dire circumstances of this universe through sparse but effective narration. The point of view is solid as we perceive and are introduced to this bleak world through the eyes of the beautiful amnesiac, discovering the world’s frantic and strange elements alongside her as she fights to stay alive. Ody’s pacing of the story was enjoyable. During the reading I never felt like the story dragged or was bogged down with too much exposition or dialogue—information was given in nice, even slices. Characterization was well done, and although the overall story was enjoyable, it seemed much too short: and that’s not necessarily a bad thing. A steady dose of characters, both allies and antagonists, were introduced along with their motivations, leaving just enough mystery to compel me to pick up the next volume. Twists, prevail throughout, too! Overall, it was well-done for the first volume of a new manga, and I have a feeling that it may have the potential to join the shelves of some of my personal manga faves like DEATH NOTE and GHOST IN THE SHELL.

ART:

The art of TA is solid and at times simply…STUNNING. If you check out Ody’s most current pages of this manga, you will notice that he seems to be improving at an alarming rate. Every page is packed with detail and clear storytelling. He demonstrates his artistic prowess to really turn on the detail at visceral moments (like the appearance of horrific monsters or gruesome violence, for example), while knowing to hold back on more poignant, emotional moments (like the awkward, accidental face touching occurring between our protagonist and a newfound ally). Ody’s linework is not exclusively robotic but adapts with the “energy” of each scene, which works quite well with the dark, grotesque tropes reflected in the story. The grey tones are superb as well. Beautiful, concise visuals that are easy to follow yet breathtaking to look at fill this book. Got GITS, DEATH NOTE, and even some TOKYO GHOUL vibes from the amazing art!

CRITICISM:

Although I very much enjoyed the story, I must admit there is some profanity sprinkled throughout the story. That, coupled with some deaths (yes, things die in this story) illustrated in a stylized, hyper-real fashion, make this a book probably suited to a late teen to young adult demographic. The horror is thick in certain scenes and may give nightmares to smaller kids. This is not an all-ages book, and I’m sure this was a conscious decision on the part of Ody. I’ve seen much more gratuitous content from other creators that would make TA tame in comparison, but still--reader discretion is advised. His art style and dark storyline also make the ages of some characters hard to guess…

CONSENSUS:

TOMAHAWK ANGEL: Vol. 1 is absolutely one of the premiere manga stories to follow in 2024. Filled with beautiful art, compelling characterization, and a James Cameron Aliens (or Stranger Things) vibe, any fan of sci-fi/fantasy horror or dystopian action manga will love this.

GRADE: A (Who guards an Angel?)

Odyyseas Theodoratos aka manga_ody artwork can be found via Instagram (linktree in bio) and his manga epic TOMAHAWK ANGEL: Vol 1 and soon to be released Vol 2 can be purchased at Amazon.com.

Daniel Brian Mobley is a Christian, husband , and author whose works can also be found via Instagram, etc.

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Francois Vigneault’s TITAN (English Edition) : OGN Review (Spoiler-Free) by Daniel Brian Mobley

In cartoonist Francois Vigneault’s epic Sci-Fi drama TITAN, we are introduced to a world on the brink of war between Terrans and their genetically engineered counterparts called Titans, as centuries of the former exploiting the latter comes to an inevitable head. I discovered this amazing tome (hopefully) a few years ago in my local comic shop when Francois first published it as a five-issue mini comic series through Study Group Comics, and I am glad to say that it has remained one of my five favorite comic book stories of all time. A tale of many socio-political and cultural themes, this futuristic yarn succeeds in highlighting the gist of what it means to be truly human and more importantly, how precious life really is.

PREMISE: The main protagonists of TITAN are Manager First Class Joao da Silva and Union Rep (and former “Mixing” fighter) Phoebe Mackintosh—Terran and Titan respectively, as they make each other’s acquaintance on TITAN, the moon of which the story is titled, and bio-engineered species are named after. Joao is there to save the mining factory that that Titans work in, as it is fast on the verge of being shut down. This would leave Titans without jobs, homes, and purpose—as their biology only allows them to survive on the moon itself. Understandably, this leaves the workforce swelling in increasing unrest, as both Joao and Mackintosh desperately work together to maintain peaceful negotiation between the races and prevent a violent, bloody revolution…

STORY: The story is full of powerful and universal themes, exploring topical elements of race supremacy/exploitation, interracial romance, and even violence for entertainment’s sake. While the narrative pace is never slow, Vigneault does take his time in fleshing out the world through both dialogue and characterization. Through the nuances of musical tastes, backstory, and preferred drinking choices, the story really gives you a feel that these Larger-Than-Life personalities are real people, especially regarding the primary protagonists and antagonists. While TITAN could be regarded as being a bit on the shorter side in respect to its length, it is an extremely robust story that I believe succeeds in getting its point across in both an entertaining and satisfying way—a complete and poignant epic that opens the door to a possible sprawling saga if the author ever feels so inclined.

ART: Beautiful. Eccentric. Idiosyncratic. To be honest, it is what first attracted me to TITAN. Francois is gifted with not only a thoughtful mind but a thoughtful hand too, as his artwork cannot help but stand out amid a sea of graphic novels. His unique use of anatomy, layout, and color theory would make his work at home among the legends of band dessinee, the cartoon strips of the New Yorker, and the hallowed sequential art displays within the Ohio Museum of Art. TITAN is chock full of amazing figures and backgrounds that perfectly walk the tightrope between being deceptively simple and bizarrely alluring. You are never confused regarding the storytelling. You are never bored, either. It pops when it needs to. It becomes visceral when it needs to. Erotic when it needs to…all the while maintaining an unbelievable balance between graceful, cartoonish imagery and functional communication.

CRITICISM: There is no criticism. If there ever was, Francois made sure to correct it in this definitive edition of TITAN. As I alluded to earlier—I own the original run of this graphic series and this edition has only made what was already superb…BETTER. Just for criticism’s sake, though—if I had a gripe���perhaps TITAN could have been a tad longer. It’s a small gripe though considering I absolutely love this book. It can and is read as a complete standalone story with what can be considered a definitive beginning, middle, and end. Satisfying. But it does leave one wanting more…

CONSENSUS: TITAN has to be one of 2020’s best graphic novels—Oni Press hit the jackpot with this one. With its socio-political elements, underlying commentary on human relations, and eyepopping sequential art TITAN succeeds where many forays of this magnitude fail—finding a way to entertain in a subtle but morally significant way. It is thought-provoking, emotional, and fun. And what more could you want?

GRADE: A (No bigger trip you can take than to the moon and back!)

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June Bug Press Reviews #3 by Daniel Brian Mobley

TRILL LEAGUE (Exclusive Comic via Kickstarter, 2018)

"The Boondocks left a void in the game…now enter the harder, better, stronger, faster and potentially superior successor .” -DBM

TRILL: An adjective used in hip-hop culture to describe someone who is considered to be well respected, coming from a combination of the words "true" and "real".

“TRILL RECOGNIZE TRILL”

TRILL LEAGUE is the brainchild of phenomenal artist and talent Anthony Piper. A comic book extravaganza of goofy-yet-super-cool character archetypes/stereotypes that both pay homage to and poke fun at the mainstream capes and tights genre, the book also simultaneously delivers social commentary on race via biting sarcasm and sharp wit. Piper is fast becoming a influential and creative powerhouse, gaining scores of fans with his fluid, slick art and topically-woke characters…

PREMISE:

Right out of the gate, TRILL LEAGUE is unapologetically black and stuffed to the brim with pop culture references from music, cinema, comics/manga, and even pro wrestling. The narrative follows a small but powerful group of black superheroes/crimefighters, determined (at least some of the time) to protect their city/community from the tyranny of evildoers. This review covers book ONE (No Spoilers), which was chocked full of much more story than I expected, a pleasant surprise when so many indie books often rely too heavily on powerful artwork to carry a story that is lacking or non-existent.

STORY:

TRILL LEAGUE’s narrative moves at a nice pace. From the beginning, conflicts are established and characterizations are locked in. The fun part about Piper’s use of archetypes/stereotypes is the feeling that the reader already knows them. Throughout the story, the characters’ personalities play well off of one another—the LEAGUE’s dysfunctional family of (circumstantial?) do-gooders are hilarious to read in their interactions and mishaps.

The comedic element is quite spot-on. I mean no disrespect in my comparing it to THE BOONDOCKS, but it has a similar spirit: a laid-back urban rhythm to the story on the surface but a taut ‘anything can happen’ vibe beneath the skin. I laughed out loud at more than a few of the gags and definitely experienced a couple of ‘What the--?!’ moments throughout my reading of the book. Another beautiful thing about the black cast is the variations of archetypes. Just like in real life, Piper presents you with multiple “types” of black folks instead of the ‘Evr’body’s a Gangsta’ or ‘Revolutionary’ black lineup. While the book provides laughs galore, it still manages to communicate a few thought-provoking ideas amid the jest. Stick around for the monologue in WHITE NOISE to see what I mean…

ART:

The art in TRILL LEAGUE is quite magnificent—from front to back, inks to color, it really is beautiful work. Subtle influence of Aaron McGruder signature animated show seem to be peppered throughout Piper’s rendering style (a ‘ghetto manga’ aesthetic overall), and I’m convinced that this is not an accident but an homage. Though TRILL LEAGUE is static sequential art, the visuals scream ‘animation’ in their cinematic presentation and graceful clarity. The art is fluid and glossed with an urban pop sheen, and definitely refreshing to see in a medium where the superhero books constantly feature overly meticulous line/ink work. The character designs are interesting without being cluttered, and the color work is rich without overwhelming the eye. The artwork is a homerun. ‘Nuff said.

CRITICISM:

As far as criticism--and I preface this as criticism regarding my personal sensibilities--I would say that the crude profanity could be off-putting and even confusing at times. At certain points in the story profane words are presented in a censored, bleeped-out fashion, and at other times the words are shown openly and bluntly. I’m not sure if this is a hesitation on the creator’s part or just an oversight that slipped past the editing room floor, but with the cover bolstering a PARENTAL ADVISORY EXPLICIT CONTENT label, I was actually surprised by this bit of inconsistency.

Aside from that, there were a couple of sexually-charged visuals that I feel were not necessarily out of place (considering the influence, genre, and tone/narrative of the book) but again, seemed over-the-top compared with other scenes within the story. While I realize that such visuals can be attributed to being part of the book’s adult, urban charm and unpredictability, it also made the book’s rating kind of skip back and forth between PG-13 and RATED R depending on what the plot needed to communicate. I think that this element of the book could be refined in the future. I don’t believe that censored words and pixelated effects regarding nudity would ruin the book, but this discretion is of course, left up to Mr. Piper himself.

CONSENSUS:

Simply, TRILL LEAGUE is a fun, visually stimulating ride throughout, full of funny pop culture nods and smart, sarcastic commentary on the ongoing race relations of the 21st century America we inhabit. The book is well thought-out and full of striking, beautiful sequential art and laugh-out-loud hilarity, though it has a couple of lewd/crude moments. It’s evident from the ingredients of this project that Anthony Piper invested his time, passion, and personality, the end result being an entertaining comic universe that I hope he will continue to expand on as his superstardom continues to elevate and accelerate within this industry. This book is a successful Kickstarter campaign to say the least. If you are a fan of comedic and frank commentary on tropes of race, superheroes, and pop culture—urban cult favorite movies like Friday and Blankman, the Black Manga movement, strips like Aaron McGruder’s you-know-what and even Garry Trudeau’s Doonesbury--do not miss this romp. What if DC Comics’ Justice League were reimagined as a black comedy full of ‘woke’ commentary? What if they were true? What if they were real? They’d be TRILL.

GRADE: A (There Ain’t No Such Thing As Half-Piper-Made Books)

*Anthony Piper continues to make creative magic and can be contacted via his professional site www.anthonypiper.com or via his twitter and Instagram accounts https://twitter.com/trill_league and https://www.instagram.com/ant_piper/ respectively.

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June Bug Press Reviews #2 (Throwback Thursday) Here is an actual review paper I penned about All-Star Superman (2010) for a college English course. ‘LEAPING EXPECTATIONS IN A SINGLE BOUND’ By Daniel Brian Mobley (December 17, 2010) ALL-STAR SUPERMAN VOL. 1 (Issues #1-6) The Man of Steel, as he is affectionately known as by comic geek aficionados world-wide, has existed, thrived, and survived roughly since the year 1938, the magnum opus of two Jewish kids from Cleveland by the names of Jerry Siegel and Joe Shuster. The character and concept of Superman has amassed more than 70-plus years of history since its humble inception, leaving a hefty amount of merchandise, dense mythological literature, and pop-culture immortality in its wake. But now it is the 21st century, and the Superman archetype is arguably somewhat of a relic. Morally-ambiguous anti-heroes have taken the forefront in the current generation’s comic books, and there seems to be no change on the horizon. Classic but all-to-familiar, is Superman still an entertaining, relevant player among the competition? I say yes for one reason: All-Star Superman. Superman and his legendary mythology has been interpreted by many writers and artists over the years, but probably the boldest and most innovative take (I argue, at least in the medium of comics in recent years) was embarked on by respected-but-off-beat writer Grant Morrison and one-of-a-kind artist Frank Quitely—the fresh and exciting series titled All-Star Superman. Launched in 2006, this series, from the very beginning stood out from the rest, giving long-time fans and new readers alike a new-yet-familiar Superman mythology, its engrossing story and visuals channeling the atmosphere and mood of another Superman classic, Alan Moore’s and Curt Swan’s Superman Swan Song (no pun intended) Whatever Happened To The Man Of Tomorrow?. In all its retro goodness, All-Star Superman delivers where many other Man of Tomorrow stories have failed, inducting new and interesting concepts into the Superman Mythos, while simultaneously paying homage to the elements and characters that have helped to make it great throughout its history. The first six issues of this exciting yarn (Vol. 1) easily stands its ground amid a industry now thoroughly saturated with the anti-heroes and vigilantes once so infamously regarded, and not only stands its ground, but breaks new ground in its bold-yet-faithful re-imagining of the hero’s origins. Although regarded by some as dated and the superhero “of our Grandfathers’ era”, this smart, epic adaptation starring The Last Son Of Krypton strongly challenges such claims, delivering a harrowing tale of love, loss, legacy, and integrity, and arguably proving that its relevance and entertaining ability is as absolute as it ever was. “So, If I want to die happy, it’s time to get serious about killing Superman. Don’t you think?” -Lex Luthor, All-Star Superman #1 All-Star Superman is chock full of references to the iconic status of its mythology and characters, from its opening pages to its final, haunting image. Throughout each episode, Morrison and Quitely work in tandem, creating an array of retro-fitted words and pictures that both acknowledge and pay tribute to the past adventures of the Man of Steel. In episode one, for example, Lex Luthor openly discusses the long, antagonistic relationship between he and Superman with General Lane—a relationship that even the most casual Superman fan would be aware of. In this same episode, more tribute is paid to the mythology as a mild-mannered Clark Kent pries open his button-down shirt, revealing the unmistakable ‘S’ shield to his secret crush and unsuspecting fellow reporter Lois Lane. Even the villain Doomsday (a vicious foe that succeeded in temporarily “killing” the Man of Steel in the 90s) makes a surprise appearance (Episode 4), adorned in the fond aroma of nostalgia, but presented in a very new and refreshing light. Frank Quitely draws Superman in all his Silver Age glory, opting to depict him and his alter ego Clark Kent in a way that is instantly familiar, yet unique among the nihilistic, exaggerated anatomy that has become so commonplace in the current generation of comic books. Morrison does an expert job of writing in these exciting tidbits in a clever and sincere fashion, avoiding the pitfalls of self-parody and mythological egocentrism that many novice scribes fall prey to. Through creative, deliberate plotting, Morrison is able to achieve a literary balance between past ideas and present innovation, constructing a fun, paradoxical version of Superman that is every bit as engaging as the trendiest fiction of today (Harry Potter Series, Twilight Saga). “Sorry I kept disappearing, but I wanted to make your birthday present and, at six billion letters, it takes even me a long time to read and memorize an entire DNA code.” -Superman to Lois, All-Star Superman #2 When it comes to moral commentary or science-fiction worthy rhetoric, All-Star has it in spades. Whether it’s the revelation that Luthor has used Earth’s sun (the source of Superman’s powers) to overload the Kryptonian hero’s cells, giving him “terminal cosmic cancer” in the process (Episode 1) , or the moral integrity of Clark Kent as he chooses not to use his foreknowledge and time-traveling ability to save his own father from a fatal heart attack (Episode 6) , Morrison’s skillful juggling of such weighty concepts invoke intrigue and demand attention at every turn. The writer seems to succeed in depicting believable characters in a very unbelievable world, creating an atmosphere that is ripe with both scientific and fantastical elements, yet still has room for spirituality and flat-footed mortality. Superman, essentially an alien from a extinct planet, who is made to appear godly in his otherworldly powers and adventures, is equally revealed to be just as human as the rest of us, facing issues they we can all relate to: losing a loved one, being in love, and even facing the inevitable fact of one’s own demise. The writer-artist team of Morrison and Quitely seem to get much right where other creators fall short concerning this Superman tale—they find a word/picture balance, and are able to consistently stick to it throughout the graphic novel. Morrison’s character’s words and exposition never seem to overpower Quitely’s solid, quirky renderings, or vice versa. The two aspects of storytelling blend seamlessly together, almost as if the entire piece were created by one creator, instead of two. Quitely’s artwork, while absolutely beautiful to look at, never distracts the reader from the narrative, and frequently aids it with its attractive details and straightforward clarity. On the other hand, while Morrison’s storylines are intriguing and full of ingenious concepts, sometimes those concepts come off a little too much as “rocket-science”. Because of this, readers may be forced to read parts of the story a second or third time to fully grasp what has transpired. Another downside involves Frank Quitely’s artwork—as its uniqueness may turn off potential readers who prefer their Superman and Lois Lane to be rendered in an anatomically-exaggerated style. In an interview I conducted with friend, fellow comic enthusiast, and owner of comic book shop Collector’s Corner in Midland, MI Andrew Iwamasa, Andrew shares a few words about what he thought of the Eisner award-winning series: “Absolutely enjoyed it. Solid artwork. You can lose yourself in the story—you never feel bogged down by it. The concepts are new and creative, but at the same time, it’s respectful of [The Superman Universe’s) history. The stories have classic, iconic visuals, but a retro-feel. The Silver-Age writing is brilliantly done. A stand-alone piece that gives homage to everything before it.” When asked about Superman’s relevance among his anti-heroic rivals, Andrew responded: “[All-Star Superman] is about humanity and compassion, and I can relate to that. When I die, I want to be remembered for the right things, and this story made me think about that legacy. Superman will never be outdated—created in the 30s, he still wears his underwear on the outside of his pants and is popular despite it! At the end of the day, doing right is never wrong, cheesy as it sounds. The story’s about protecting what he loves, and that will always resonate with people.” All-Star Superman is not perfect, but when comparing it to its competition, it arguably comes close. The combination of smart writing, attractive artwork, and its legendary superhero make this book an undeniably relevant and entertaining addition to comicdom. What does one get when you put Grant Morrison, Frank Quitely, and Superman in a room together? One great story. Anti-heroes be darned. Works Cited Morrison, Grant. [Character Quotes]. All-Star Superman Vol. 1, DC Comics, 2007. Print. Iwamasa, Andrew. “Absolutely Enjoyed it. Solid Artwork. You Can Lose…” Interview, 2010. Iwamasa, Andrew. “…Is About Humanity And Compassion, And I Can Relate…” I nterview, 2010.

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June Bug Press Reviews #1 Welcome to the FIRST article of the JUNE BUG PRESS REVIEW, a Tumblr blog dedicated to the review of varied narratives of sequential art both great and small. First up is: EL MUERTO: RESURRECTION (Exclusive Comic from Los Comex, 2016) “Indy Comic Greatness Shines Amid Mainstream Comic Glibness—A Modern Age Hero with Silver Age Aesthetics, Bronze Age Heart.” -DBM “THE DEAD ONE LIVES” EL MUERTO: RESURRECTION is a return to veteran comic book creator Javier Hernandez ‘s source point character—a mysterious mariachi with a calavera face that debuted in 1998. During the two decades since its inception, El Muerto has become a well-known (and well-received) comic amid the independent comics scene and the Latino comics community specifically, even spawning a 2007 Hollywood film starring THAT ‘70s SHOW actor/comedian Wilmer Valderrama. PREMISE: EL MUERTO: RESURRECTION is an opportune jumping on point for readers unfamiliar with the tragic tale of Diego De La Muerte, a good young man whose fateful journey to a Day of the Dead festival leaves him a heartless (literally) revenant with the power of life and death at his fingertips. This issue doubles both as a primer issue and first chapter for EL MUERTO: DAZE OF THE DEAD, an ambitious graphic novel that chronicles Diego’s first adventure as the undead hero El Muerto, and lays the groundwork for this interesting character and his universe. *A review of EL MUERTO: DAZE OF THE DEAD will be available soon. STORY: The story chronicles key elements of Diego’s childhood and young adult life, each scene leading up to the fateful night of his collision with the unfathomable supernatural forces that would change his life forever. I found Hernandez ‘s approach to this issue refreshing. The story did not seem rushed, but took its time in the revealing of who Diego is as a person and all the people that are important to him. All too often superhero stories are obsessed with getting the hero in costume asap, ready for action—a narrative choice that often leads to lack of character development and overall story depth. Not so here. Each character in Diego’s life (as well as Diego himself) seems fleshed out and authentic. They express themselves differently and like real life people, have and pursue goals that are unique to them and don’t always align with what others want or expect of them. This enriched the story immensely, and I found myself caring about the characters more and more with each turn of the page. The pacing was great and the dialogue was peppered with specifics to the culture and community presented—an always welcomed addition to storytelling. As you see Diego’s mortal life unfold before your eyes, you are ever aware of the ominous foreboding permeating his existence, slithering around the edges of his quaint little life. From the movie his best friend Zak lets him borrow to the genuinely creepy nightmare Diego has years later, the author confirms that darkness is on its way. Still yet, many genre elements can be found in this story aside from horror. Humor, Romance, and Drama also reveal themselves, and the subtle changes in tone give this comic a flavorful rhythm that adds to the experience. ART: Javier Hernandez’s drawing style, in my humble opinion, is one of the most unique and powerful styles out there today. In a comic industry of Jim Lees, Steve McNivens, and Ivan Reises, his rendering sensibilities pull more from the Kirbys and Ditkos of yesteryear than the pregnant, uber-laborious, and nihilistic scribblings of the many of us influenced by Neal Adams or Todd McFarlane. Javier embraces STORYTELLING first, using his cartooning as the digging tool to unearth his narrative. In his work, it is easy for me to see the “bombastic exaggerations” of Jack Kirby coupled with the “quirky conciseness” of Steve Ditko works—both mashed up with the personal signature of Javier’s Latino bloodline, beliefs, and artistic philosophy. The illustrations in EL MUERTO: RESURRECTION are subtly detailed yet never sparse, and the compositions are never boring. Where JH’s talent and skill really shines is his ink work and use of spotted blacks. His figure and ground renderings are a joy to look at, striking a nice balance between pleasing visuals and storytelling clarity. The iconic front cover and splash page montage of Diego and Maria’s love affair are phenomenal examples. The comic breathes with culture and personality, as Jav includes authentic locales, backgrounds, and props throughout the story. This increases your suspension of disbelief, adding to the illusion that Diego and co. are real people going about their lives. These are the types of small details that build rapport between comic universe and Comic Reader—art that was thoughtfully made. CRITICISM: If there is any criticism to be given to EL MUERTO: RESURRECTION, perhaps it is the lettering. While the lettering succeeds in its two most important categories—that is legibility/readability and inflection/expression of tone and voice—some may find it lacking in style. This book is an extremely unique and entertaining read and I, for one, would like to see the lettering evolve to match the delicious eccentricities of its premise, story, and moody artwork (*although the Title Logo and Chapter Heading/Credits achieve exactly what I’m talking about). Many comic fans today might also criticize the comic’s non-color interior artwork —although I am not sure full-color El Muerto stories would provide any boost in readership sales. It definitely would add to the creator’s expenses, resulting in a minimal bump in attracting interest from casual readers at best. The high contrast art helps establish the mood and, If anything, El Muerto’s charm is its unabashed agency to embrace its indy roots, to press forward from an era of celebrated mini comics and ashcans, and preserve the legacy of a bygone counterculture of creativity where raw talent, effort, and salesmanship conceived a perfect storm. CONSENSUS: EL MUERTO: RESURRECTION is an entertaining read throughout, with an engaging, emotive story and artwork that is beautiful, dark, and personal. Through a combination of solid storytelling and bold drawing that incorporates noir aesthetics and even religious iconography, Javier Hernandez positions his original character of 20 years as the One To Watch in the next decade . My advice to readers that dig tragic heroes is to pick up the EL MUERTO: DAZE OF THE DEAD graphic novel, which includes this tome as its solid first chapter. GRADE...A- ( Dead Men Tell Great Tales) *EL MUERTO: DAZE OF THE DEAD, along several other works of Javier Hernandez, can be purchased at http://loscomex.storenvy.com/ .