Comics Waiting Room 3.0 Reviews

THE MIDDLEMAN PILOT EPISODE

Marc Mason — Sat, 17 May 2008 23:17:55 GMT

THE MIDDLEMAN: PILOT EPISODE
Created and Written by Javier Grillo-Marxuach
Directed by Jeremiah Chechik
Airdate: June 16, 2008 on ABC Family

Javier Grillo-Marxuach has an extensive background as a screenwriter and producer. His credits include SEAQUEST DSV, THE PRETENDER, CHARMED, THE DEAD ZONE, JAKE 2.0, LOST, and MEDIUM. But in the world of Hollywood, nothing is a given, no matter how good you might be. Javi discovered this many years back when he wrote a spec pilot called THE MIDDLEMAN that didn’t get off the ground. Undeterred, and encouraged by comics maestro Paul Dini, Grillo-Marxuach took the pilot to Viper Comics and turned it into a four-issue miniseries and graphic novel that became one of the biggest indy success stories of the year when it came out. Now, in a glorious bit of “full circle,” the book has been optioned by ABC Family and makes its debut on the home screen next month. The question is: how much of the pilot turned comic made it back into the actual pilot? And the answer is, much to my surprise, about 98%. It’s quite astonishing, really.

The basic story remains the same, of course. Wendy Watson, fresh out of art school, is working a temp job at a DNA splicing company when a nasty monster made up of human body parts escapes and threatens her life. Unfazed by that turn of events, she catches the eye of The Middleman when he arrives on the scene to take the monster down. At the end of her rope, she later finds herself offered the job of becoming his new sidekick, joining his crazy world of battling comic-book evil, bantering with his snarky robot secretary Ida, and keeping The Middleman from putting the moves on her roommate. And her first assignment involves a super-intelligent ape that wants to become a mobster.

What made THE MIDDLEMAN comic so glorious the first time I read it was its sense of fun and adventure; the characters had fun being who they were, and their dialogue was razor sharp and loaded with laughs. At that point, I think I somewhat assumed that perhaps those traits were embellished once the property made it to print, but this pilot episode shows that to be untrue; almost every single line of dialogue from the graphic novel appears here in this episode. At times that can be somewhat daunting, but it comes down to having actors who can pull it off. And Javier and his production team really got lucky- they cast the series very, very well.

As the center of the series, Natalie Morales as Wendy pretty much has to carry the entire enterprise on her shoulders and she proves capable from the first frame of film she appears in. She dryly funny, carries herself with a sort of “jaded” body language, and possesses the keen self-awareness of the absurdity of what happens to her life. She’s also quite adept at whipping through the large chunks of dialogue she’s given. As a somewhat unknown, she also doesn’t bring any baggage to the part, ultimately making her an inspired choice. She made this episode work for me, period.

The Middleman himself is played by Matt Keeslar, and he is an immediate perfect choice from the physical side of things- he’s a dead ringer for artist Les McClane’s take on the character. But early in the episode I had some doubts about him. In his first couple of scenes he seems uncomfortable with what he’s doing, and he struggles with the larger pieces of script he has to deliver, using an odd cadence. It took me a minute, but I realized that it sounded as if he was mimicking Brad Pitt’s mannerisms from the OCEAN’S films. However, as the episode progresses, he seems to become more comfortable and his performance becomes a bit more natural. He also develops some natural chemistry with Morales, making you believe these two really could become close friends and co-workers.

The direction by Chechik is solid, as he does his best to make the pilot look more expensive than it was. He uses a number of effective wide shots to set scene and take the eye away from details that a close-up might jar the viewer. And again, he gets good performances out of his actors, keeping the focus more on the characters than on the odd things that are happening to them.

What is missing or changed from the comic version generally comes down to budget, and nothing really alters the story or the humor, so it does no damage. I was entertained by the episode, as I have been by the three volumes of the graphic novel series, and I was pleased to see something that ages 10-70 could watch together and enjoy. The one real challenge (beyond the Nielsens) the series faces is maintaining the weird; we’re getting thirteen episodes of this wonderful nonsense. Should be a lot of fun to see if the creative team can pull it off.

Marc Mason

THE BOYS 18

Marc Mason — Sat, 17 May 2008 00:09:49 GMT

THE BOYS #18
Written by Garth Ennis and Drawn by Darick Robertson
Published by Dynamite Entertainment

Wee Hughie returns home to find the resurrected Blarney Cock in his living room and fucking his hamster. Meanwhile, Annie/Starlight continues to struggle with her role as a superhero and laments granting Hughie his “red wings” during their date. And lurking in the background through it all is Butcher, watching to see how Hughie handles the situation and re-disposes of the walking-dead foe.

Shhh. I’m going to tell you a secret that Garth Ennis has quietly snuck past most of the people reading this book. Ready?

It’s no longer just an exercise in how much fucked up shit he can write into the book. No, by engaging the (what will ultimately be horrifically fatal) romance between Hughie and Annie, he has re-grounded the book by giving it a heart and romantic spirit. Each of them is living a horrible, shitty existence on a team that neither really has anything in common with, and they compliment one another, providing a human center to this piece of pop candy. Sure, the outer shell is still hard and crunchy (see the “red wings” sequence from last issue), but now when you bite into an issue of THE BOYS, you’re getting a lot more substance than when the book first got underway. And Ennis just snuck that right past everyone.

Of course, it helps that the incredible Darick Robertson is continuing to do amazing work on the art chores, and the production values on the book remain top notch. But ultimately, issue eighteen shows that there is now more than one reason to read this book (beyond figuring out what a twisted fucker Garth Ennis is): it’s a terrific character piece that stands on its own with or without the “wrong.”

Marc Mason

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THE MAN WITH NO NAME 1

Marc Mason — Sat, 17 May 2008 00:09:49 GMT

THE MAN WITH NO NAME #1
Written by Christos Gage and Drawn by Wellington Dias
Published by Dynamite Entertainment

Clint Eastwood’s iconic character returns to life on the comic book page, of all places, in this new series. And much like in the classic films featuring The Man, he finds himself on the wrong end of a lot of bad guys’ bullets. Accused of treason, he’s being hunted by soldiers from the Blue and the Grey, but there’s a lot more to their reasoning than mere anger or politics; our gunman manages to collect a tidy sum of gold along the way, and everybody wants their hands on it.

I’m really of two minds about THE MAN WITH NO NAME; it’s well written by Gage, a veteran of both TV and comics, and the book moves along at a brisk pace that keeps the reader engaged. It’s also a very good-looking book, as Dias shows a nice gift for drawing the western milieu and the requisite action contained in the story. And certainly, added with LONE RANGER, it shows Dynamite to be the pre-eminent publisher of the genre.

However, the book does have one fatal flaw, and it’s one I think it will struggle with. It’s this: The Man is not a compelling character. He shoots, he rides, he speaks very, very little… there isn’t much else there. And that could prove to be extremely difficult to build a series upon. Perhaps as the book progresses Gage will begin to be able to flesh him out, but if not… MAN will lose steam very quickly, taking the opposite tack as RANGER. It’s an okay start, but the real test lies ahead.

Marc Mason

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BROTHERS IN ARMS 1

Marc Mason — Sat, 17 May 2008 00:09:49 GMT

BROTHERS IN ARMS #1
Written by Mike Neumann and David Wohl and Drawn by Davide Fabbri
Published by Dynamite Entertainment

A group of young soldiers meet, become friends, and prepare for their parachute drop over Germany on D-Day in BROTHERS IN ARMS, the latest videogame adaptation from Dynamite Entertainment. Focused on the adventures of two lifelong friends who joined the fight against the Axis together, BROTHERS takes us through the bonding, the fighting, and the fear as death begins taking many of their comrades.

Adapting a videogame into a comic can be a tricky endeavor; the main problem is that the game is focused more on the pure action, while the comic must deliver character and compelling plot to succeed. DE’s MERCENARIES worked because it delivered interesting people and put them in an interesting situation, and it felt fresh. BROTHERS IN ARMS isn’t quite as lucky.

It’s certainly competently done, no question about it. The writing and art are solid, professional work. But the plot and characters never quite (pardon the pun) get off the ground. We’ve seen these archetypes before: the stout, all-American kid, his wise-cracking best friend, a motley crew of soldiers they’re thrown together with, an accident that gives one guy new responsibilities, and the perils of flying in a bomber. Dozens of films alone have covered this ground, which means you have to work doubly hard to make it feel fresh.

Unfortunately, it just doesn’t get there. Now that the preliminaries are out of the way, that may change quickly, but that remains to be seen. Issue two will be pivotal in determining if this series will succeed on its own merits or fall by the wayside and fade from memory.

Marc Mason

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REX

Marc Mason — Mon, 12 May 2008 13:08:35 GMT

REX
Written and Drawn by Daniel Zezelj
Published by Optimum Wound Comics

REX is a story of rage and revenge. The dark, smoky art fits seamlessly with the plot, and adds to the blend of harsh realities and dark fantasies.

The opening page consists of song lyric-like passages which you see later in the story, right away setting an interesting tone for the book and leaving the reader unsure of where this story is going to go. The book jumps around in time, but the first scene gives enough background for the reader to learn about our protagonist, Bill Orlowski, also known as Rex.

Orlowski was a straight cop in a crooked city. After trying to take down the drug-running police chief, he was framed for trafficking and sent to prison for seven years. Everyone knows what happens to cops in jail, especially the good cops. Orlowski was beaten, mutilated and raped by villains he arrested, and the murky black and gray pencil lines emphasize the brutality of the scenes.

What happened to him in prison broke him, and essentially the man Bill Orlowski was died in jail. To exact his revenge, he had to become something more than a man. He started pumping some serious iron, and (seemingly) all of a sudden he’s Rex, the one-eyed, gun-toting anti-hero, who is apparently impossible to kill. Disbelief must be suspended to fully enjoy the story of Rex’s revenge as he survives bullets, explosions and drowning in an effort to kill those who killed him, as well as say goodbye to the woman he loved.

The most poignant scene in the book was a flashback. Ida, his love, the only one he believed in, tried to visit him in prison, only he refused to come and see her. She stood at the gate, a lone tear falling down her face. Right underneath that panel shows Orlowski, sharing that same tear, both mourning the death of a man.

The dramatic, shadowy lines meant close-ups of faces were hard to make out. The passages which seem to be song lyrics obviously tied into the story by dropping the name Rex, but their meaning was still vague and enigmatic. Truthfully I found the book a bit difficult to follow at first. Yet despite the gratuitous use of naked lady posters and the occasional blatant product placement, it is impractical to write this story off as a simple, shoot ‘em up revenge bit. The butterflies which not-so subtly represent Orlowski’s transformation to Rex are not the only symbolic tool used in this book. The primal emotion conveyed on some of the character’s faces is striking. There’s also just the slightest touch of humor in one memorable scene where Rex comes face to face with the man who put him in jail.

REX swoops in, punches you in the gut and swans on out without a hint of an apology. It can be a bit cliché at times, and not all of the scenes are easy to understand, but Zezelj makes it impossible not to take something from this book. Brian Azzarello, who wrote the forward, put it best: REX is raw. Most certainly not a typical prison break story, REX is nonetheless a powerful and emotional book that leaves a lasting impression.

Avril Brown

METRONOME

Marc Mason — Sun, 11 May 2008 17:51:03 GMT

METRONOME
Written and Drawn by Veronique Tanaka
Published by NBM

It is incredibly difficult to describe precisely what METRONOME is. Across the span of 64 pages, Tanaka uses 16-panel grids on each page to present four images in a sort of rhythmic movement, and along the way those images tells the story of a love affair gone wrong between a man and his girlfriend, from the early rush of sex to his becoming violent with her and driving her away. I can’t exactly call the book s pure graphic novel, though it does function as one in a sense. And it isn’t exactly an art book, either. I suppose the best way to describe it would be to call it a combination of two things: fascinating and frustrating.

Certainly, I laud the concept behind METRONOME. Art does have a rhythm, one you can see and feel when you’re experiencing it, whether we’re talking paint, sculpture, or film (music being a given). And the way Tanaka structures the book delivers a gripping sense of that rhythm to the reader. She’s also very accomplished using the pencil and brush, using the blacks on the page to tell her story and move the beat. I was very captivated by the book in that way.

On the flip side, however, I could not let go of the fact that it felt like Tanaka had wasted her gifts on this particular story. Or lack thereof. Boy meets girl, they have sex, fall in love, break up? Boring. Pointless. Use this gift to tell me a story with more emotional resonance. Art isn’t meant to just visually dazzle, is it? It’s supposed to say something, and METRONOME doesn’t say anything. It makes no statement, beyond announcing its creator’s talents. It seems to me, after reading the book, that Tanaka likely has a truly great piece of work in her. But METRONOME isn’t it.

Marc Mason

THE WIND IN THE WILLOWS

Marc Mason — Sun, 11 May 2008 17:51:03 GMT

THE WIND IN THE WILLOWS
Written by Kenneth Grahame and Adapted by Michel Plessix
Translated by Joe Johnson
Published by NBM/Papercutz

Mole, Rat, Mister Toad, and Badger find their way from the prose page (and the silver screen) in the new CLASSICS ILLUSTRATED series from Papercutz. This lengthy adaptation from French artist Michel Plessix is a visually stunning treat for any graphic novel reader, and will surely appeal to anyone who loves the book. But it isn’t without its problems.

Certainly, there’s no problem on the art side, as I mentioned above. Plessix has a very fine, detailed line, and his character work is incredibly distinctive. Also, his use of color is as good as anything you’ll find on the shelves right now. This is really a tour-de-force from the Frenchman, and it makes me want to see more of his work.

The downside is… well, it’s THE WIND IN THE WILLOWS. And frankly, WIND is an overrated, bloated book with uninteresting characters and a boring story. I have never been able to get through it in any sort of satisfying manner, because I just hate it. And as good as Plessix’ work is, he didn’t change any of that here for me. I went through the book page-by-page, but as far as a good reading experience? There are some things that even the most talented creators cannot pull off. So this book is truly for those who have fond memories of the original Grahame work.

Marc Mason

TALES FROM THE BROTHERS GRIMM

Marc Mason — Sun, 11 May 2008 17:51:03 GMT

TALES FROM THE BROTHERS GRIMM
Adapted by Mazan, Cecile Chicault, and Philip Petit
Translated by Joe Johnson
Published by NBM/Papercutz

Papercutz’ resurrection of the CLASSICS ILLUSTRATED line continues with his excellent volume presenting four excellent fairy tales from the masters of the genre. And much like Rick Geary’s excellent take on Dickens, these are intelligent, witty, and brilliantly executed.

Tale one is “Hansel and Gretel,” by Philip Petit, and it kicks the book into high gear immediately. His soft, lush line and strong command of the color palette are lovely to see, and he doesn’t skimp on telling the entire story detail. When most think of this one, they think of the witch and the gingerbread house; what they forget is the cruelty of the children’s mother. Petit, however, makes it as strong a plot point as any in the tale. Second up is “Learning How To Shudder,” adapted by Mazan, perhaps my favorite tale in the book. “Shudder” tells the story of a boy who doesn’t understand why he doesn’t feel fear; however, he doesn’t understand that means he’s brave or strong. Instead, he, and his family, see it as a character flaw. It’s a great story with a great point behind it, and Mazan’s art is gorgeous.

Story three is “The Devil and the Three Golden Hairs,” adapted by Cecile Chicault. Chicault’s adaptation is damned near flawless, and looks exceptional, but the story itself is somewhat lacking, as the protagonist achieves his goals through blind luck, not skill or worth. Finally, we have “The Valiant Little Tailor,” also adapted by Mazan, which has a somewhat similar problem as a story, but doesn’t suffer so much from it. Instead, the Tailor achieves his goals by relying on the stupidity of others… which means he’s not only a believable character, but also Presidential timbre.

I like that this book came early in the new CLASSICS series, as it would seem to indicate that there will be some nice variety; we don’t need the traditional list of boring classics covered immediately. Please, Papercutz- hold off on the Hawthorne, okay? Make more books like this: wonderfully drawn, exquisitely colored, and truly introducing new stories to a younger audience.

Marc Mason

DUNGEON MONSTRES VOL 1

Marc Mason — Sun, 11 May 2008 17:51:03 GMT

DUNGEON MONSTRES VOL 1
Written by Johann Sfar and Lewis Trondheim and Drawn by Jean-Christophe Menu and Mazan
Published by NBM

My favorite Euro import, the DUNGEON series, returns with an all-new volume, but this time with a little bit of a twist. Rather than leaving the focus on Herbert and Marvin, Sfar and Trondheim bring in a couple of guest artists and put the focus on a few of the ancillary characters related to the dungeon mythos. In story one, “John-John the Terror,” a group of monsters who run an inn with the hopes of eating random travelers finds themselves mixed up with a sleazy duck named William Delacour. Looking to save himself from being eaten, Delacour suckers the monsters into accompanying him to the Dungeon… of course, he has a few stops he needs to make along the way first. Trouble and hilarity ensue. Story two, “The Crying Giant,” finds Alcibiades and Horus (two birds hardly of a feather) hitting the road to find the giant from whom Alcibiades once stole an eye. Turns out the eye still sobs when the giant does, and he seems pretty upset these days and is flooding the dungeon in the process. Not good.

I have been perhaps the loudest trumpeter for Trondheim on these shores, so I won’t belabor the point again right now. This book is a bit different in that Trondheim only co-writes with Sfar, but that affects the quality not one bit; the pair have always turned in astonishing work on this series, and MONSTRES is as good as any that’s come before. Actually, it works to show just how versatile the DUNGEON series truly is; not only have they told tales across decades and kept the books exciting and fresh, now thewy’re expanding the universe and tapping the depth of its potential.

The two artists brought in to work on these stories, Menu and Mazan, slide into their roles with ease. The work looks unique compared to earlier pieces, yet maintains a stylist quality about it that is very consistent and attractive. Honestly, any new effort in the DUNGEON series is cause for celebration at this point.

Marc Mason

Josh Medors Interviewed! Emerald City Comicon Previewed! CWR Issue #9 Now Online!

Marc Mason — Tue, 06 May 2008 11:52:36 GMT

Friends-

Issue nine of CWR has arrived, and this time around we have something a little different: a preview of Emerald City Comicon! What does that mean?

A nifty cover designed by Elliott Serrano

Josh Medors interviewed! The young artist of WILLOW CREEK, 30 DAYS OF NIGHT, and G.I. JOE talks to Marc Mason about his latest projects, his battle with cancer, and his feelings at how the comics community has rallied around him in his time of struggle!

Jim Demonakos interviewed! The maestro behind Emerald City Comicon sits down with Brandon Jerwa and talks about the origins of the con, his life in comics (both with Image and as a retailer), and about what it really takes to run a show!

Plus: these great columns:

Elliott Serrano makes some resolutions (dos and don’ts) about the upcoming con season, but the question becomes just how long he can keep them

Marc Mason remembers his first ever con, and how legendary X-MEN artist paved the way for a future in fandom

Matt Maxwell discusses reviews, both good and bad, and offers up advice on how a creator can take something useful from both

Avril Brown concludes the first ever Miss Marvel Universe pageant, but the results might make you think Paula Abdul was a judge

Jessica Blackshear answers an inquiry from an odd character… and does so in the form of a webcomic!

Vince Moore returns from hiatus to tackle Dave Sim’s new book, review a recent Jodie Foster offering, and puts out a serious question to his black female readership

We also have new reviews of KAPUT AND ZOSKY, DEAD @17 COMPENDIUM EDITION, MR. FOOSTER TRAVELING ON A WHIM, HERCULES, CALIBER, AQUA LEUNG, HYPERKINETIC and much, much more

Remember: If you read something at CWR that you like, pass it on to friends and blogs. Enjoy the reading!

Marc Mason
Editor-in-Chief
Comics Waiting Room

HYPERKINETIC 1

Marc Mason — Mon, 05 May 2008 09:11:42 GMT

HYPERKINETIC 1
Written by Howard Shum and Drawn by Matteo Scalera
Published by Image Comics

HYPERKINETIC is a futuristic story about four bad-ass female intergalactic bounty hunters. Right from the get-go this book definitely has something going for it. Seriously, four hot chicks with guns who take down bad guys? It’s kind of hard to fuck that up. However, where there’s a will, there’s a way.

The book hits the ground running by starting with a chase scene in space. Our female fugitive hunters are in pursuit of their latest quarry, a furry little freak named Renpy. He escapes through a wormhole, and our heroines (being the fearless wonders they are) follow him in. A planet greets them directly on the other end and they crash land in an alien forest. Wackiness ensues.

The basic story idea has been done before and most of the characters are pretty typical in their portrayal, but the writing is solid and some of the jokes are pretty darn snappy. As what usually occurs in groups of four individuals, each woman fills a different kind of niche in attempt to keep the witty rapport going strong. In this book, however, it succeeds. Add to that the comic relief in the form of a smart-aleck robot (also a familiar tool but still nicely done). True his mission seems to focus solely on annoying the leading ladies, but he does his job well.

A lot of the humor is crass and involves some sort of bodily function, but let’s admit it; bathroom humor wouldn’t still be in existence if it all fell flat. Most of these jokes seemed to come out of left field, which makes them and the situation all the more amusing.

There’s some backstabbing amongst the ladies, but in the true spirit of sisterhood they’re more like pranks than actual betrayal. We see some girl-power in a scene where the blood-thirsty member of the bounty hunter clan is messing with a Droopy look-alike who’s moaning about his sucky existence. Shirley (a unique name for a trigger happy bounty hunter) decides to make him thankful for his shitty little life by nearly frying his ass with her laser gun. She consistently shoots around him making it clear if she wanted him dead, he would’ve been six panels ago. Being the poor loser that he is, however, he calls her a crazy bitch. The blonde (of course) leader steps to the plate and zaps him with her ray gun while delivering the dramatic and loyalty-inspiring line: “No one calls any of us crazy.” Nice rallying cry, even if at least half the crew is without a doubt certifiable.

Honestly, the Manga style art is not usually my thing, but overall this book was agreeably drawn. The pencils do a nice job of conveying the surroundings, and the colors are bright and engaging. I must say I was a bit disappointed with the girls themselves. Once again we have disproportionate female leads with waists too small and boobs too big. To emphasize this fact we also have panels which portray our hunters from a lower angle looking up, giving the reader a new way to ogle the sizable racks. Plus, the outfits were lacking…in several ways. While I’m not expecting comic super girls to dress like nuns, I have to say I’m sick of visible thong straps. I don’t remember asking for proof that the main characters are wearing underwear. And what’s with the giant eyeballs in Shirley’s hair?

Also, the ending was a bit anti-climatic. There’s a semi-dramatic splash, showing our heroines in mortal danger…and there’s no dialogue from the characters. Given the clever discourse found earlier in the book, I was hoping for at least a quick cheesy line from one of the crew. Some final pages can speak for themselves, but what challenges our heroines at the end is nothing new to comic fans and thereby need some verbal support from the characters in order to fly.

HYPERKINETIC #1 has its ups and downs, its hits and misses. The parts which didn’t really carry the ball are not unforgivable, and if Shum’s writing stays hot there’s some definite potential buried in this book. I did find myself chuckling out loud once or twice, which is enough to warrant a gander at subsequent issues.

Avril Brown

AQUA LEUNG

Marc Mason — Mon, 05 May 2008 09:11:42 GMT

AQUA LEUNG
Written by Mark Andrew Smith and Drawn by Paul Maybury
Published by Image Comics

AQUA LEUNG is a sizable graphic novel about an underwater kingdom, a lost prince, a battle for freedom, and a whole lot of aquatic creatures. The manga-style art and the basic story premise are familiar, and shortly into the novel it is not difficult to figure out where the book is going. However, that does not imply the journey itself is stale or uninteresting.

The book starts off slowly and includes a major faux pas. Immediately we meet our narrator, a giant tortoise who has several teeny turtles looking up expectantly at him, clearly there to soak up his giant tortoise knowledge. The tortoise proceeds to address not just his little green audience, but the reader as well. A character in a comic book speaking directly to the reader is just way too campy, and is especially unnecessary when there is a ready and willing audience already present.

Moving past that first hiccup, we segue into a slightly confusing introduction. The flashbacks seem to jump around in time and some of them are a bit too wordy, but after a few pages it seems to settle down and we see how little Aqua came to be. Nakchi Shim, the benevolent Octopus King, sought to rebuild the city of Atlantis and unite the seven seas with the assistance of his loyal crew, the best names of note being his octopus advisors, John, Paul and George. Right there was the first sign there’s more to this book than initially meets the eye. I’m inclined to give the benefit of the doubt to a Beatles fan (and never fear, Ringo shows up later!). More of the back story of this aquatic monarch unfolds: the conqueror king rules the seas, meets his beautiful queen and they produce a son, Aqua Leung. His enemy, jealous of his love and power, turns some of the Octopus King’s trusted advisors against him and lays siege to his castle. Sensing eminent defeat, the royal couple send their child down a river, and in keeping with this reverse Moses reference, he’s found by a nice, normal surface couple who take him in and try to raise him right.

Aqua’s largely uneventful upbringing is interrupted when he comes home to find the only parents he’s ever known holding their guts in their lap, and the giant fish monster who eviscerated them standing over their corpses. The cavalry arrives (through the window, no less) in the form of ninja fighting fish, and they proceed to kick the sea monster’s ass and abscond with the young prince to the kingdom under the sea.

The head ninja fish, known as Sonny, becomes Aqua’s personal trainer/tutor in an effort to mold him into the king he was born to be. We also meet Ringo, Aqua’s personal octopus helper. Sonny guides the young prince through his education, both in the history of the underwater world and in mortal combat. This is a child who must quickly become a warlord, so his training is fast and brutal. We’re witness to his growth as a general, and his widening understanding of his place and duty in his dead father’s kingdom. A firm yet compassionate teacher, the battle-hardened Sonny accompanies our little Aqua on his tasks appointed by the current ruler, King Calamari, to prove his worth and readiness to rule. Aqua enters the water a broken child and emerges from the metaphorical fire of his trials and tribulations as the new king of the seven seas.

This is a fun and engaging adventure story. In spite of the lack-luster beginning and the pretty basic pencils (which seem to grow in complexity as the book progresses), Smith and Maybury get the reader caring about these bizarre creatures from the deep. Each has his own story to tell, his own scores to settle, and his own destiny to behold. There’s also an ever-present element of humor involved which helps keep the occasionally dark story from dragging the reader too far into the abyss. The names of most of the characters are worth a smile, as well as the randomly amusing dialogue (several panels halfway through the book nicely portray Aqua’s youth; pestering one of the lobster warriors with questions on how he lost his eye, Aqua eventually gives into the urge to sing several stanzas of I’m Gonna Be (500 miles) by the Proclaimers).

The thick lines and basic backgrounds seem to add to the story, letting the simplicity speak for itself rather than overcrowd the narrative. I normally prefer more detail and accuracy in my comic art, but Maybury’s drawings fit seamlessly with Smith’s story, and without any extra flash. The characters are distinguishable and the expressions are surprisingly easy to read, making the art almost as enjoyable to follow as the story.

The final battle scene is climatic and more than satisfactory. Old enemies are met and vanquished in combat, a tyrant is overthrown and a new monarch celebrates his first victory. In summation, everything you want to see in a story like this. This well-rounded book involves the reader in this history of the characters and gives plenty of reasons to stick around and see what happens to them. You root for the future child-king as he conquers his appointed tasks. You mourn the loss of good men (er, crustaceans) as they battle for what they believe in. In short, you care about the characters, which is the whole point of reading any book. Smith manages to conclude the book in a way which sums up current story lines and yet still leaves the impression that this was only the beginning. AQUA LEUNG is an excellent blend of Eastern art and storytelling with plenty of pop culture and fish references to have you looking at the legend of Atlantis in a whole new light.

Avril Brown

MR FOOSTER TRAVELING ON A WHIM

Marc Mason — Sun, 04 May 2008 12:36:58 GMT

MR FOOSTER TRAVELING ON A WHIM
Written by Tom Corwin and Illustrated by Craig Frazier
Published by Flying Dolphin Press

Mr. Fooster is a whimsical, curiosity-laden fellow, leading a fairly ordinary life. That is, until one lazy Tuesday morning, wherein he sets off for a walk and finds himself on a series of grand adventures. Aided and abetted only by the bottle of bubble soap he is carrying, he navigates a world previously unknown to him. A world of questions (such as who figured out how to eat artichokes?), giant bugs with world eating agendas, and DeSotos that should not exist. But the ultimate question is: what will Mr. Fooster learn, about himself and about the world he lives in? And how will he use what he learns in order to help others?

This tasty little novella is a wonderful little read, easily devoured in one sitting, though it stays with you after you put the book down. Corwin has created a character in Fooster who draws the reader in and connects, though his world could not be further from our own. The search for meaning, and the absurdity that search can often bring to a person, are delineated in charming fashion, and once Fooster uses the bubble soap to blow himself an actual form of transportation… well, you’re in fable territory, and you get exactly where the author is going.

The illustrations by Frazier accompanying Corwin’s text are lovely, rendered in a style reminiscent of late 19th century and early 20th century work. But oddly enough, they also feel somewhat unnecessary. It’s a conundrum, really; the story is so strong, and written so well, that you could read the book without the pictures and still “see” it perfectly. Yet the illustrations will lure more people into buying the book when they see it on the shelves.

MR. FOOSTER is an excellent, almost musical, piece of art. I highly recommend it.

Marc Mason

KAPUT AND ZOSKY

Marc Mason — Sun, 04 May 2008 12:36:58 GMT

KAPUT AND ZOSKY
Written and Drawn by Lewis Trondheim and Eric Cartier
Translated by Edward Gauvin
Published by First Second

Kaput and Zosky are evil, bad, bad guys. Just ask them. They travel through outer space looking for planets to conquer and populations to turn their blasters on. They live solely to subjugate worlds. Unfortunately… they really, really suck at it. In fact, the hilariously inept duo never seem to be able to quite figure out how to pick a planet to rule that won’t put their own lives and sanity at risk. But they’ll never stop trying… even if it kills them.

Ahh. Another sweet piece of the great Lewis Trondheim’s backlist gets translated for North American audiences, and comics fans get the benefit. KAPUT AND ZOSKY is a hilarious bit of the master’s archive, one wonderfully outlandish story after another for the moronic pair of would-be evildoers to pop through, and not a dud in the bunch. On one planet, they win the local elections but are forced to run because they made too many impossible promises for the votes. On another, they learn a hard lesson about military escalation. A different planet welcomes their new conquerors… but there’s a price to be paid for that acquiescence. It’s all laugh-a-minute stuff.

In fact, as I read it, I realized that Kaput and Zosky are, in many ways, Trondheim’s way of tapping into his inner Dr. Seuss. Throughout the hilarity and nonsense, there is a subtle lesson being presented in each tale (even if the characters never learn it). Once again, that’s what makes the man one of the greatest talents in comics. It may get tiring coming from me, but what can I say? It’s the truth. Buy this.

Marc Mason

DEAD @ 17 COMPENDIUM EDITION

Marc Mason — Sun, 04 May 2008 12:36:58 GMT

DEAD @ 17 COMPENDIUM EDITION
Written and Drawn by Josh Howard
Published by Viper Comics

When Nara Kilday is brutally murdered in her own home, her family and friends are distraught, as most would be. But what they don’t know is that Nara’s death is part of a much larger plot, one meant to raise a deadly demon to rule the world. But all is not lost; at least not for Nara. Because she climbs out of that grave mere days later, a reborn avenger on a path to prevent the demons and the walking dead from taking over. For her, being dead at the age of seventeen is only the beginning of her new life.

Josh Howard’s original DEAD @ 17 trilogy is collected in this massive volume, though it isn’t a simple reprint. As Howard himself mentions in his introduction, he’s gone into George Lucas territory, remastering some pages, redrawing others, and adding new ones to make the story flow better. In short, this is slightly different that what you get when you buy those original books, and unlike Lucas’ STAR WARS SPECIAL EDITIONS, the changes Howard makes don’t come off as looking dumb or in violation of the original work. There’s only one that’s somewhat glaring (a new ending page to volume one’s story), and the rest is fairly seamless. Not easy to do, but Howard pulls it off. And you also can’t blame him for doing it. He mentions in the introduction, he only had 2.5 months to complete the original four-issue story. That’s something very few creators working today could pull off, let alone a guy who was doing his first-ever comics work.

I don’t have any other real quibbles with the book. It’s produced nicely, and at $25, priced very reasonably. I would like to make a suggestion, though- there needs to be a second one. There was a series of DEAD @17 ROUGH CUT books, along with a miniseries detailing the adventures of an earlier girl in Nara’s position, as well as the recent series that followed up on the original trilogy. For the story to feel truly complete for the reader, a second COMPENDIUM is required.

Marc Mason

DAMNED PRODIGAL SONS 1

Marc Mason — Sun, 04 May 2008 12:36:58 GMT

THE DAMNED: PRODIGAL SONS 1
Written by Cullen Bunn and Drawn by Brian Hurtt
Published by Oni Press

In a world full of demon mobsters, Eddie’s curse still makes him different. Eddie can die… but only until someone else touches him. At that point, they permanently take a dirt nap and Eddie comes back alive and kicking. But during those times when he’s been dead, Eddie’s seen something in the limbo where he winds up, something important: the soul of his dead and departed mother. Now he must talk his brother Morgan into working through their differences and teaming together to try and rescue their mom from a horrible fate. But it won’t be easy; the mobsters Eddie pissed off in the previous volume want him dead and buried where no one can touch him and bring him back. And with his wrists slit and dripping, that leaves Morgan in a precarious position for a mission he doesn’t believe in.

THE DAMNED was a pleasant surprise in its initial appearance, and a sequel was fairly inevitable. Fortunately, Bunn and Hurtt don’t rest easy on their laurels in launching volume two. The story moves forward, but it also moves in a different direction, not content to settle for re-treading over the same old ground. By introducing Morgan and by giving Eddie a personal mission not related to his own curse, the book has a stronger character base, and a stronger attraction for the reader.

The scripting is tight, Bunn having a nice ear for dialogue, and Hurtt’s work looks as good as it usually does. Much like volume one, this looks like it should be pretty solid all the way through.

Marc Mason

LOST RAVEN VOL 1

Marc Mason — Wed, 30 Apr 2008 21:01:20 GMT

LOST RAVEN VOL 1
Written by Darren G. Davis and Drawn by Renato Arlem and Sean Murphy
Published by Bluewater Comics

Zak Raven seems to have it all. He’s a successful attorney rising quickly through the ranks at his firm. He’s making good cheddar. He’s good looking and can count on his choice of women. But all that goes down the drain one day when he’s given a brutal diagnosis by his doctor: he’s HIV positive. Feeling like his life is over, he jettisons his practice and takes off for the high seas, emotionally destroyed. But his life isn’t over- far from it. Not even when his boat on an uncharted island. No, this island has secrets of its own- strange creatures, mysterious caves, and a population that doesn’t seem to want him to leave there alive. And that’s just when he begins to find the will to survive his disease…

LOST RAVEN is an interesting graphic novel with a lot going for it; Zak himself is a complex character, and his reaction to his diagnosis feels like a fair and honest one. And while it’s a fairly standard trope to strand someone in an odd environment to help them learn how to regain their lust for life, Davis pulls that off reasonably well here. He also gets some decent support from Renato Arlem in chapter one of the graphic novel, as Arlem delivers some terrific art. Sean Murphy finishes off the book, and his stuff is okay, but it suffers a bit in comparison to the beginning of the book.

There are a couple of issues on the story end. The purpose behind the island, and the occupants, aren’t fleshed out enough to make you really care about their mission and their reasons for wanting to make sure Zak doesn’t live to tell anyone about the place. There’s also a moment that seems like pure foreshadowing that goes nowhere, when Zak takes a chunk out of his back while moving through a cave and leaves quite a bit of his infected blood behind- that point needed some elaboration or to be excluded completely because it distracted from the rest of the scene.

Overall, though, I’d read more about the adventures of Zak Raven, HIV-positive attorney. This was a solid debut graphic novel and there’s quite a large window for a sequel.

Marc Mason

CALIBER 1

Marc Mason — Wed, 30 Apr 2008 21:01:02 GMT

CALIBER: FIRST CANON OF JUSTICE 1
Written by Sam Sarkar and Drawn by Garrie Gastonny
Published by Radical Comics

Set against the Expansionist Era of Early America, Caliber: First Canon of Justice tells a tale of violence and betrayal and the coming of a mystic Lawgiver to the burgeoning frontier. The story opens by introducing us to Jean Michel, a half French, half Native American shaman who is on a vision quest to find the heir to a mystic weapon. In the midst of his quest, we meet Captain Pendergon (a play on Pendragon perhaps?) an officer in the Union Army who tasked with keeping the peace among settlers and the local Indian Reservation. We also meet his son, Arthur, who is a kind young soul who rails at the injustices he sees in society. With this, all the elements are in place for an interesting origin. And for the most part, it is. Borrowing a page from Dynamite Enteratinment’s Lone Ranger series, writer Sam Sarkar tells an old-time story in contemporary fashion. He even goes against convention and keeps us from learning the French-native American shaman’s name until two-thirds of the way into the story. (Some other writers might have had the character giving some hokey third-person narrative like ‘I am Jean Michel…shaman and all around bad-ass.’

The art is fully painted by Garrie Sarkar of Imaginary Friends Studio and is simply stunning. There are some weaknesses in the rendering of faces, which tend to be rather bland and uniform, but the overall composition of each page and use of ice-cold blues help give the story a tone of near spiritual desolation on the frontier.

The ‘twist’ ending of the story may not come as a surprise to seasoned readers (I saw it coming from the moment a particular character was introduced) but it does set up an intriguing second issue.

It should go without saying; this is Radical Comics at the highest caliber!

Ok, so I said it, but c’mon…the title alone is a pun, so sue me.

And buy this book!

E. Ruben Serrano

HERCULES 1

Marc Mason — Wed, 30 Apr 2008 20:59:57 GMT

HERCULES: THE THRACIAN WARS 1
Written by Steve Moore and Drawn by Admira Wijaya
Published by Radical Comics

HERCULES: THE THRACIAN WARS 1 is a great introduction to what looks to be a very entertaining mini series. This is a well-rounded book, having both an engaging story and outstanding art.

The art of cover A by Jim Strenako is a bit trippy, and I do enjoy the whole there/not there effect with the cape. The colors look a bit too pastel at the bottom, especially when compared to the muted colors found within. One thing which was really annoying is the woman with the asscrack-less bum. If you’re going to draw a naked butt, that’s great, I’m on board with that. But if you’re going to leave out the important functional part of one’s posterior, it distracts from the art. All the reader is thinking when they see a butt with no crack is “How does she crap?” Cover B (done by Wijaya and Darren Tam) is simpler but matches the rest of the book.

Any story that opens with a corpse getting his eyes and intestines ripped out by scavenging crows definitely grabs your attention. The lines are sharp and clear, and there’s just the right amount of gore. As it pans out we see a room full of corpses and our narrator walking amongst the carnage. The entire first page is a post-battle scene to whet our appetite for the blood and guts to come, and it does a great job.

The characters are well drawn with clear faces and overwhelming detail. Thankfully that attention is paid to every aspect of the art making the background details just as stunning as the people. Individual blades of grass and cracks in the marble pillars are the kind of particulars which transport the reader into the story. Admira Wijaya and Imaginary Friends studios are a truly talented group and I’m looking forward to seeing more of them.

Great art in a comic book is just that without a story to back it up, but never fear for Moore really backs it up. I’m partial to the Greek myths to being with, and reading this book made me want to brush up on the ancient gods and heroes. With strong one-liners and not a word wasted, Moore’s off to a great start. The dramatic yet sarcastic voice of the narrator, Iolaus, nephew of Hercules, sets a solid tone for the book. I was intrigued by the bitterness that Iolaus seems to hold for the gods and mortals alike.

Iolaus and Meneus arrive in Thrace to inform “King” Cotys of Hercules’ forthcoming arrival with supplies. Iolaus’s demeanor, that of a hardened warrior who knows he’ll see more before his time is over, and who loves and respects his uncle, contrasts sharply to the manners and behavior of the Thracians. Rude and insulting of the help they requested from Greece, men passed out drunk at the dinner table, the Thracians certainly seem to be the barbarians our Greek heroes insist on calling them.

When Hercules arrives we meet the rest of the warrior clan. Of course the insults continue to flow from the Thracians, especially when they meet Atlanta, the only woman among the warriors. Sure enough, Hercules finally has his fill of the taunts of the Thracians and throws the first metaphorical punch in what turns out to be the bloody mess we were introduced to in the beginning of the book. Of course, the fun doesn’t end there, and the book concludes with what looks like a pretty tight spot for our heroes.

Moore does an excellent job of setting the stage for the series and getting the reader interested in the characters. A few of the tidbits of information he tosses out about the Greeks were a bit typical in their delivery (Atlanta, for example, shouts that she wants to die whilst she stabs a man in the back of the neck), but they do their job of attracting and holding the reader’s attention. Couple this with Wijaya’s incredible art and I’m certainly looking forward to the rest of the series.

Avril Brown

CWR ISSUE 8 NOW ONLINE

Marc Mason — Thu, 24 Apr 2008 08:45:18 GMT

Friends-

Issue eight of CWR has arrived, and as usual, we have some really cool stuff for you to read!

A nifty cover designed by Elliott Serrano

Alex Robinson interviewed! The award-winning writer/artist of BOX OFFICE POISON, TRICKED, LOWER REGIONS, and TOO COOL TO BE FORGOTTEN sits down with Marc Mason and talks art school, indy publishing, winning awards, and managing expectations!

Plus: some great columns!

Matt Maxwell offers up some advice to people who take superhero comics a bit too seriously

Avril Brown presents the first ever Miss Marvel Universe pageant

Marc Mason discusses the legacy of John Byrne and why he should get more respect than he seems to these days

Elliott Serrano talks about the power of comics to mold a young person’s life

Brandon Jerwa interviews CHECKMATE writer Eric Trautmann

Saurav Mohapatra offers advice on balancing new fatherhood with deadlines

PLEASE: If you read something at CWR that you like, pass it on to friends and blogs- we're making this e-zine for the love of it. We hope you share it with us! Enjoy the reading!

Marc Mason
Editor-in-Chief
Comics Waiting Room