Reviewed by Marc Mason

The Church has done many things to fight evil over the centuries, and has many great warriors do battle in God’s name. But Sisters Marie, Francis, Wendy and Bertha are different than most; the majority of religion’s staunch defenders have always been men. It’s a new era in doing the Lord’s work, and these four nuns are just the ass-kickers to do the job. However, when a cult takes a stab at raising the Antichrist, even these mighty soldiers might just have more on their plate than they can handle.

I’ve referred to Jason M. Burns as “master of the high concept” so many times that even I want to slap me, but he truly is and proves it again with NUNS WITHOUT GUNS. Like much of Burns’ work, it reads like a summer tentpole flick put to paper; catchy concept with a clever hook, characters that the audience can quickly and easily identify and root for, slow build to a pulse-pounding finish. All Burns usually needs is an artist that won’t get in the way of his story, and Erich Owen does exactly that. The pages aren’t flashy, the storytelling is solid (if un-dramatic), and the level of detail is mid-level. But nothing here offends the eye, either, and you can smoothly operate your way through the story for max enjoyment.

It’s also reasonably rare to find a modern piece of pop culture that approaches religion without a sense of irony or wariness; there’s a sincerity to NUNS WITHOUT GUNS that you might not expect from its title. That’s played out well on the last page of the book, when, given a chance to allow his leads to break character, they instead respond in the most appropriate fashion possible to their situation. Will this book challenge your perceptions or change the way you think about comics? Of course not. Will it entertain you for the time spent reading it? You bet. That gets my eight bucks every time.

Reviewed by Avril Brown

Classic characters from well-known folklore have never looked so cool, as Radical and the impressively talented Nick Percival launch LEGENDS: THE ENCHANTED, a new comic guaranteed to change the way you look at fables.

In a bizarre and violent world of magic, industry and really big knives, The Enchanted are in a class all their own. These supposedly immortal beings are in possession of powers and skills which turn them into social outcasts as well as rather efficient mercenaries for hire. Issue #0 opens with Jack the Giantkiller, high on magic beans and spouting arrogant one-liners, doing what he does best: killing giants and leaving a trail of destruction in his wake. Readers are also introduced to Red Hood, the sizzling, Sarah Conner-kind-of-cool version of her naïve namesake, who can take down a pack of wolves with her wicked looking sickles without breaking a sweat. Yet despite their obvious ability to take care of themselves, The Enchanted are being targeted, and eliminated, by someone and/or something who holds the key (and the nefarious desire) to end their immortality.

The advantage of having someone as multi-talented as Percival both writing and illustrating a fresh new book is the reassurance the world created within the pages looks almost exactly as he pictured it would. The London fog-type haziness which envelopes the entire book channels the ethereal quality of the story, the colors are a total acid trip and the characters themselves are a perfect blend of smoking hot and total bad-ass. In short, this is one damn fine looking book.

Though Percival needs to work on pacing himself in certain scenes (there is something to be said for dramatic and comedic pauses, in both dialogue and artwork), Jack’s egotistic attitude and Red’s altruistic intentions should prove to be more than enough to draw in readers even remotely curious as to what Radical is willing to do with these famous childhood protagonists. Toss in the absolutely stunning scenery and unique, visceral lettering and you have a recipe for another best-selling hit from Nick Percival and Radical Comics.

Reviewed by Avril Brown

Cheesy and abominable B-level horror takes online comic book form in THE ABORTION, a wordless and twisted tale of gory revenge. Guaranteed to offend some people due to the title alone, the main character is an aborted fetus (which looks like a mutant squid baby) who crawls out of its death bassinet to claim the lives of the parents who aborted it.

THE ABORTION is so wrong on so many levels, but that is only part of its darkly amusing charm. From the vengeful squid baby itself, to the means it uses to dispatch its parents, all the way up to the head-tilting ‘Aw!’ moment at the end, one cannot help but be entertained at the macabre marriage of humor and twisted brutality. The silent panels vary in format to best accent the pace and mood of the creature, and black and white is the perfect medium for this bizarre comic.

Hailing from across the pond, McMorrow and McLaughlin have threatened to deliver more of these one-shot horror stories as part of an on-going series, and fingers crossed they prove to be as disturbingly distasteful as THE ABORTION. If an introductory issue has a murderous, mobile fetus as its protagonist, there is no telling where the creative team may go next, and I wish to find out.

Issue 50 of Comics Waiting Room is here! 50 on time, every time issues. Give it a read, won’t you?

Secret Origins! Marc Mason takes a look at the history of CWR and offers up tips for running a comics website.

Bring On The Black Good Guys and Gals! Vince Moore takes a look at black character development and promotion in comics.

Holding Out For a Hero! Avril Brown takes a long look at the world around us and says we need heroes now more than ever.

How to Be a (Professional) Writer! Elliott Serrano is getting the question more and more every day, and offers up his definitive answer.

Ending a Stereotype! Vince Moore casts his glance on the stereotype of the Angry Black Man and offers up some ideas on burying it once and for all.

Satisfying Your Editor! Veteran comics scribe Brandon Jerwa has dealt with dozens in his career and demonstrates the perfect way to make an editor happy every time.

Enjoy the reading, and thanks for being with us! Back in two weeks for Comics Waiting Room 4.0!

Marc Mason
Editor-in-Chief
Comics Waiting Room

Reviewed by Marc Mason

Some new books of note from DE…

In the annals of televised science fiction, there is no more reviled, misconceived, and poorly executed concept than GALACTICA 1980. A disaster from start to finish, it was mercifully killed before it finished an entire season, and earned an eternal hatred from fans of the original BATTLESTAR GALACTICA that will never die. So when Dynamite announced a series based on the concept, my skepticism level was high enough to cut off my oxygen supply. No possible way that someone could take one of the largest piles of chicken shit ever created and make chicken salad, right?

I couldn’t have been more wrong. Writer Marc Guggenheim, along with artist Cezar Razek, did the impossible. Ignoring everything that happened in the show, Guggenheim took the concept, that of an aged Adama, Dr. Zee, and Galactica finding Earth in 1980, and ran it to a far more interesting and logical conclusion. Carter opens fire, the a battlestar crashes on the White House lawn, and the Cylons show up with very little opposition facing them. Grim, nihilistic, fatalistic, exciting… Guggenheim starts with an open field and goes to town here in issue #4, turning our own lovely planet into another version of Caprica. Honestly, there was no reason for this to work, no reason for this to be as compulsively readable as it is, but sometimes the universe turns itself upside down and weird shit happens. The conclusion promises a GALACTICA 1981, and with the way this one ends, I’m massively curious to see what Guggenheim has up his sleeve next.

One of my stronger areas of geek expertise happens to be ROBOCOP, so as I sat down with issue #1, I was a bit wary about what I would find inside. Previous efforts to translate the character to comics have been mediocre to half-assed, mostly. So I was pleased to see that writer Rob Williams had 1) been paired with artist Fabiano Neves, my favorite artist in the Dynamite stable and 2) that the book feels like a genuine ROBOCOP piece. Answers of continuity are set on the inside front cover (the story takes place after the first movie), and from there we jump right in. There’s a new CEO at OCP, and she’s overseen a new initiative to step up policing in Detroit now that the law enforcement function is private instead of civic. I won’t say much, but I will note that it involves an upgraded version of the ED-209s that failed so spectacularly in the first film. There’s a nifty action sequence, nasty corporate shenanigans, terrific byplay between Murphy and Lewis, and the traditional bizarre newscasts and commercials (including one that’s so sick that it’s actually inspired). I’m down for more.

The best superhero comic being published today is THE BOYS, and THE BOYS DEFINITIVE EDITION VOLUME 2 is easily the best way to enjoy the book. Writer Garth Ennis and artist Darick Robertson (with an assist from John Higgins) continue their massive deconstruction of the genre in this oversized slipcase edition, and it’s a glorious thing to see. Issues #15-30 are reprinted here, along with sketchbook work, a script, one of the most amusing emails you’ll ever read, and more. The story itself, and the action contained within, are all terrific, but what the book really gives you is the deep foundations of the relationship between Wee Hughie and Annie, neither of whom realizes exactly who and what the other really is/does with their lives. This Romeo and Juliet setup (he works for an organization that kills wayward superheroes, she’s a member of the largest team and will eventually be a target) is kind of heartbreaking really; they’re both so perfect for each other that you enjoy their happiness, but if you know anything about Garth Ennis, you know he pisses on happiness like a dog on a hydrant.

The package here is excellent, and I always recommend this comic to those looking for something a little different with their superheroics. I don’t go out of my way to own premium products, but this is one I consider a necessity.

Reviewed by Avril Brown

Welcome back to ‘International Flavor,’ the latest story arc in CHEW, one of the most inventive and side-splitting comic books available on the market today. Tony Chu, a FDA agent who is able to discern the entire life history of anything he puts into his mouth, is on the trail of a fruit which tastes like chicken, a highly coveted (and illegal) food stuff. Given Tony’s luck, however, nothing is as easy as it seems.

Chu is taking an unofficial vacation to the island of Yamapalu with his brother, an infamous chicken chef, to learn more about this mysterious munch-able snack, and what he finds is nothing but trouble. Enter a new character by the name of Lin Sae Woo, a bad-ass chick with skills up the wazzu and who happens to be so stacked she even turns the heads of canines. Her involvement in CHEW is unfortunately not as long as it could have been given the versatility of her character, and her early deportation takes the book in a new and darker direction which will keep readers on their toes.

One thing I cannot express enough to CHEW readers when indulging in this book is to Take. Your. Time. The jokes etched in the background are well worth the slight headache one receives from squinting at the pages to catch every detail, and I will give kudos to any creative team which gives shout outs to outstanding films (in the case of issue #8, ‘Shawshank Redemption’ and ‘Mary Poppins’ are the deserving recipients). Layman can even make well-used puns the height of hilarity. Plus, one cannot truly enjoy a book without identifying with some aspect of the central character/s, and one of the things I love best about Tony Chu is his ability to completely lose his cool when the situation calls for it. When the shit hits the fan, Chu lets go in a therapeutically violent fashion.

Layman consistently delivers balls-out hysterical material with enough of a dark edge to continually remind readers that CHEW is not your average comic book. Add to that Guillory’s talent of being able to seemingly pull images right out of Layman’s head, thus creating a harmonious blend of humor and form-fitting artwork, and you have an unbeatable comic. No genre can attempt to claim CHEW as one of their own, be it comedy, police drama or general comic craziness, because this series will forever exist in a class all its own. If you are not reading CHEW, you are not enjoying comics to their fullest extent.

Reviewed by Avril Brown

The last two issues of the second volume of one of BOOM’s hottest creations give further proof that UNKNOWN is a series built to last. At the end of the second issue Catherine Allingham, the world’s greatest detective, was making progress on her case investigating a series of murders which had something to do with the mysterious town of Mountain Oak. However, that progress led her to a barn where her current partner, Adriana, turned a gun on Catherine.

Not to be outdone, Catherine had already discovered her ‘partner’s’ betrayal and took enough precautions to ensure her and her new partner, a ten-year-old boy who is more than what he seems on the surface, a fighting chance. From here on out the plot becomes a bit complicated but not incomprehensible, and Catherine finds herself fighting for her life and soul in a way she never could have expected.

UNKNOWN is the antithesis of Sherlock Holmes tales in the sense that each story arc begins with what appears to be a solvable mystery and ends in mysticism, otherworldly foes and more questions than answers. In other words, Waid has me hooked. Rather than end this second volume with an easy out with regards to Catherine’s nigh-incurable brain tumor, he puts a different spin on her ailment, paving the way for future story lines.

As for the artwork, the stunning pained covers give UNKNOWN a haunting, ethereal feel before you even open the book. Oosterveer continues to deliver believable and attractive characters, and his pencils in the last issue during the climatic cave-bound battle are as disturbing as they are alluring.

The second volume in this vastly entertaining mystery/mystical comic series does not disappoint. By introducing new enemies, bringing back old friends and creating new challenges for the most intelligent P.I. in the business, Waid, Oosterveer and BOOM have the formula for great comics down pat.

Reviewed by Marc Mason

In the not-too-distant future, plans are afoot for the American government to begin broadcasting a signal that will engage a neurological reaction in people that will prevent them from engaging in any sort of criminal behavior. In addition, steps are underway to eliminate paper money on a permanent basis, meaning every transaction a person makes is traceable. Not only has this begun to create a surge of people exiting the country for parts north and south, but it has also set a deadline for those that live outside the law. And before lifelong criminal Graham Bricke makes his U.S. exit, he has one more big score in mind, one that will make the new system work for him. All he needs to do is find the right safecracker and right hacker and he can pull it off before the signal fires up in two weeks. But in a world where criminals are about to become extinct, finding the right ones to play on your team is harder than ever.

LAST DAYS OF AMERICAN CRIME is a juicy bit of genre fun, full of sharp dialogue and brimming with artistic zest. Remender, who has shown himself capable of writing solid material in almost every genre, demonstrates here that crime might just be where he’s most adept. The plotting here is tight, using a cross-genre convention (putting the team together) effectively to not only propel the story forward, but to inform the reader about the specifics of this future society without bogging down in exposition. His protagonist is a classic “older guy looking for a final score”, and his secondary lead is a classic femme fatale. All the pieces are here, and for me, they worked. I was engaged by LDAC from the very beginning and got hooked by Graham’s quest.

The art, by Tocchini, is really something to look at. It has a sort of impressionist look to it, effectively using shadow and color to suggest movement and mood. It gets detailed when you need it to, and it softens when the story makes moves into different emotional places. Backed by some strong production values, and with some sketchbook work and a Remender interview at the back of the book, this is a strong read and a solid value at 64 pages for five bucks.

Reviewed by Marc Mason

Dave Sanchez seems like your normal middle school boy. He oversleeps, runs late to class, but generally does what he’s told and even works as a delivery boy after school to make a little money. But he isn’t quite as normal as he seems. That’s because he has a pet gecko that is not only sentient; it also talks to Dave, and rather frequently. Plus, Dave happens to possess a metal ingot that allows him to stick to surfaces and crawl up walls, and as of late he’s taken to dressing in disguise and playing superhero around his town.

Not. Quite. Normal.

However, Dave does his best. And it even seems like his luck, along with everyone else’s in the school, is turning for the better. The odious science teacher, Ms. Krockle, is gone, and in her place is a substitute teacher. Anarchy reigns for a little while. But even anarchy gets boring for middle school children, and suddenly the substitute doesn’t seem quite as harmless as he’s been appearing to be. In fact, he’s starting to look a little familiar. And if Dave’s gecko is right, he might just have to do the most painful thing of the young boy’s life: rescue Ms. Krockle from the clutches of something even more evil than her.

This charming prose novel, ably illustrated in a way that enhances the text rather than overwhelms it, is a marvelous piece of work angled at the younger reader. Van Draanen’s writing style is light and loose, sounding much more like a storyteller sitting in front of a room full of kids than an omniscient narrator. The characters are funny and about as real as you can get in this kind of fantasy novel. Dave is very relatable, both for boys and for girls, and the environment he lives in is vibrant and keen. The villainy isn’t so villainous that it would scare kids, and has enough humor in it to make them laugh as Dave does his superheroic best to win the day.

As an added bonus, you get an honest-to-goodness Hispanic superhero in these pages, something in woefully short supply at the major comics companies right now (Blue Beetle was cancelled a while back). Every child loves reading about heroes that look, act, and sound like them, and Dave is perfect for that. There’s also a nifty guise to some basic Spanish in the back of the book for those that want to learn a little something as they read.

SINISTER SUBSTITUTE is the kind of book I would have devoured as a kid and then went looking for more. It’s the third in a series, and I suspect that many that pick this one up would go on a quest for the first two as well. Recommended.

Friends-

Issue 49 of Comics Waiting Room opens up 2010 and here’s what we’ve got for you!

FARSCAPE Examined! Marc Mason takes a look at the Complete Series DVD set and examines the fate of the cult sci-fi show.

http://www.comicswaitingroom.com/farscape.html

Separate But Unequal! In the shadow of MLK day, Vince Moore examines the recent push for female-driven mainstream comics and wonders if it’s at the expense of black male heroes.

http://www.comicswaitingroom.com/vince48.html

Geeks on a Plane! Avril Brown discusses why every nerd needs a vacation and how a good holiday relates to reading a great comic book.

http://www.comicswaitingroom.com/avril45.html

(Almost) Everything Must Go! Marc Mason has decided enough’s enough and the shelves must be pared down. Will you benefit from the purge?

http://www.comicswaitingroom.com/mason49.html

Suspension of Disbelief vs Internal Story Logic! Elliott Serrano tackles the diffeence between the two and calls out Tom Breevort and Jack Bauer for failures in both.

http://www.comicswaitingroom.com/ccw38.html

Enjoy the reading!

Marc Mason

Editor-in-Chief

Comics Waiting Room