Written by Mark Millar and Len Wein
Pencilers: Adam Kubert/Andy Kubert with Tom Raney/Tom Derenick/Dave Cockrum
Inkers: Art Thibert with Danny Miki/Scott Hanna/Joe Kubert/Larry Stucker/Cockrum
Marvel Comics
$19.95

Plot: It's a new beginning for the X-Men, as six teenagers and Professor X prepare to combat Magneto and his brotherhood, in a world that hates and fears mutants. But they also must contend with Magneto's lieutenant Wolverine and the dark secrets of his past. Collects issues #1-12 of Ultimate X-Men, and Giant-Size X-Men #1.

Critique: With the exception of The Ultimates, I've pretty much avoided the character revamps for Marvel's Ultimate line, partially because I'm too old for it, and partially because I saw the origin the first time, and those books are for folks who want to get on the ground floor: what could they have to offer me? Eventually, curiosity got the better of me, and now I find the first Ultimate X-Men hardcover collection sitting on my desk, collecting the “Tomorrow People” and “Return to Weapon X” storylines. Writer Mark Millar has reinvented the characters for the 21st century, to be sure, but overall the revamp misses more than it hits.

A few years ago, Marvel pulled a bizarre, and not very successful, fifth week event - Marvels Comics. The premise being “What are comics based on Marvel Characters really like in the Marvel Universe?” The choices ranged from obvious (Spider-Man is seen as a monstrous menace, Thor is seen as a guy powered by science) to out-there (Daredevil is seen as a Ghost Rider analog), but one of the more clever bits was Millar and artist Sean Phillips' "Codename: X-Men," a rather clever satire of the Claremont woe-is-me eras, where human hatred of mutants had gotten so keyed up that there seemed to be no real point to the X-Men's mission anymore - The “Days of Futures Past” era had shown the REAL nature of humanity, and events like the Mutant Massacre turned it into a pure victimization fantasy. Fine if you want to feel sorry for yourself and self-righteous, I suppose. Taking that to its logical extreme, the “comic” X-Men spouted lines like “a thousand mutants aren't half as good as one human,” and showed a super-evil government bent on controlling them for their own good.

The first page of Ultimate X-Men contains the words, “Sometimes it's dangerous to be a little different” - and then Millar proves that in spades, as a legion of Omega-class Sentinels stomp out a poor pedestrian in broad daylight. In the aftermath of a Magneto-ordered mutant bomb-blast that annihilated Capitol Hill, Sentinels are targeting mutants around the country and killing them without impunity. Extreme? Implausible? Probably when it was first published in December of 2000, but in 2004 it's a little too close for comfort. Still, it strikes one as a little strange how easily the American people accept an infringement of their liberties on so high a scale. In a way, it's there to set up what appeals to the adolescent mindset about the X-Men - nobody likes you. You're the outcast. But there's something inside you that makes you SPECIAL, and that's why THEY are angry with you, no other reason. And your REAL friends are a group of outcasts JUST LIKE YOU. The X-Men has always upped the ante on that regard - where it's “you and me against the world, kiddo.”

The characters are hurriedly introduced - Jean Grey, Cyclops, Colossus, Storm, Iceman, with the big twist at the end of the first chapter being Wolverine's working for Magneto. He's a burnt out mercenary running from Weapon X and ready to betray the X-Men. A friend of mine remarked once that “Millar only writes assholes” these days, and to an extent that's true, especially here . Millar's take with each character seems to me “make them nastier”- not that any of the characters aren't unlikable, but Storm is a brat, Colossus is a mobster, Cyclops is a petulant tool. While Adam Kubert may not always draw them as such - the X-Men are the epitome of alienated teenagers - angry, angry kids. Often they blur into one singularly mean voice, but at least it's not a boring one. Professor X is practically borderline fascist - he thinks nothing of erasing Iceman's memories when he gets too talkative with a girlfriend. Millar's take on Prof. X is probably the most successful, since it forces the reader to look at the character in a way he usually isn't looked at, and not with a nudge and a wink.

Storywise, “The Tomorrow People” is a perfectly serviceable, decent enough origin tale, obviously aping the fast paced tone of the film in whose shadow it was written. The X-Men debut to counter the image of Magneto and his brotherhood, fighting to save a world that hates and fears them, confronting Magneto's attack with defense. Hey, they save George Bush's daughter (or as Storm characterizes her, a “spoiled, little white chick with an old money surname”)! But it often feels like it's moving too quickly, like things are occuring, because on some level we know they will occur, because hey, it's X-Men. Genuine attempts at jolting the reader don't quite work out. The character swerves in “The Tomorrow People” are kind of laughable - Cyclops joins Magneto at the end of Chapter Four - and at the end of Chapter Five, he's been working for Prof. X all along! Wolverine's change of heart to the side of the good guys is contrived, since it's primarily motivated by his libido. Quicksilver's betrayal of Magneto is set up pretty flimsily given its vital importance to the plot. Unlike his work on The Ultimates, Millar tends to let the reader's preconceived notions of the characters do his work for him, so he can cut corners on storytelling and pile on the action scenes. I seem to like Millar's writing more than most these days, but “The Tomorrow People” is the kind of story that people run him down for: tons of attitude in spades, but very, very little substance, or even a spark of wit, within. Even as a primal action movie the story left me undernourished.

“Return to Weapon X” is the second story arc, also six chapters. It's tighter and more focused than “The Tomorrow People,” but only because that focus is on brutally torturing the characters. Wolverine's old Weapon X project nemesis, S.H.I.E.L.D. Colonel Wraith (don't worry, Ultimate Nick Fury makes his appearance) raids the X-Mansion, captures the team, and alternates between experimenting on them and sending them on mind-controlled black ops missions. Giving the ongoing Weapon X series a run for its money in making it's leads miserable, the X-Men are captured by the Weapon X project and forced into a black ops program. The villains of this story are so clearly over the top, and the deck is stacked so clearly in the X-Men's favor, that it becomes fairly ridiculous, and that's kind of the point. It's here that one begins to suspect that Millar's take on the characters is meant as pure satire - pushing the abuse to absurd levels that it becomes silly. But then again, if I wasn't someone who had read the X-Men when I started reading comics, someone who had just come off the movie, someone who was a lot younger and a lot dumber, I might have a very different reaction. “Return to Weapon X” is the better of the two stories, but boils down in the end to yet another Claremont-esque “killing is bad” story. Of course, Millar has set up a very nasty story where the killing of the perpetrator of such nastiness may be entirely justified, but it's not explored in any sufficient depth.

Ultimate X-Men's biggest failing is the artwork. The majority of the stories are drawn by Marvel superstar Adam Kubert, and while he's capable of some spectacular, amazing sequences (the sentinel attack in issue one; a double page spread of Colossus stopping a tank just by standing there) his work is often out of control and scratchily detailed. A scene where Wolverine destroys the team in a simulation is nigh-incomprehensible, partly because of censoring, partly because of a just “huh?” factor. Sometimes the characters look ugly and unattractive, and overall Kubert doesn't display the crisp storytelling skills he had on The Incredible Hulk, which I consider his best work. In an effort to make things “Kewl” and “widescreen,” too often comprehensibility is sacrificed. Granted, some of this is the fault of the heavy Image style of his inkers, which include Danny Miki and Larry Stucker. When Adam is inked by his father Joe Kubert during the Gulf War flashback sequence in chapter nine, the art looks splendid.

Some of the fault also lies with the character designs. While in the back of the book we see some preliminary drawings by J.H. Williams III, they bear little resemblance to what actually results. The early draft of the script by Millar says the characters are all teenagers, but with the exception of Iceman, they all look like they just got out of college. Cyclops in particular is the worst offender on this: in fact, he looks a lot like Jim Lee's redesign from X-Men #1 lo those many moons ago. The costume designs owe a lot to Lee, crossed with the look of the movie, but it just amounts to an unappealing look.

Furthermore, Adam Kubert's work suffers when contrasted with the still-chaotic-but-much-cleaner work of Andy Kubert, in chapters five and six, and Tom Raney, later on. What really surprised me is how much I liked the work of Tom Derenick, who drew the majority of chapter 12, and has a history of fill-in work on Marvel books. Derenick's pencil work really gets across the climax of the story, which is a very tense sequence, perhaps a lot better than Adam Kubert might have. Derenick's an under-appreciated talent, and is currently plying his trade on DC's Smallville as well as the upcoming “superheroes for grownups” Chuck Austen series Worldwatch.

Included as a little bonus is one of those stories that started it all, “Second Genesis,” the Giant Size X-Men that launched the all new, all different X-Men in 1974 by Len Wein and Dave Cockrum. After only Cyclops comes back from an excursion to find a new mutant on the island of Krakoa, Professor X recruits a new team of mutants to rescue them: Colossus, Nightcrawler, Storm, Sunfire Thunderbird, the returning Banshee, and, of course, Wolverine. I've never read it before in all my years of reading comics, and for a work of such important historical significance…it kinda sucks.

To be blunt, the past 29 years have NOT been kind to this story. It's full of the bloated, expository type of comic book scripting that books like Ultimate X-Men try to distance themselves from. It's by the numbers 70s superhero storytelling (with a lot of PASSIONATE DIALOGUE! And EXPOSITION!), and while there is a pretty decent plot twist at the end of the third chapter, it's done in the service of a simple finale. Really, Wein hits on a fascinating idea but immediately throws it away for the big finish.

This may have been the most well-known story Cockrum's associated with, but the artwork here is very cluttered and cramped, too often in tight panels already crowded with dialogue. It doesn't look very good, and despite the milestone, I felt the need to go and read better, more accomplished work by both creators to wash my brain of it. Cockrum's later work on Uncanny looks much, much better, and is worth seeking out.

On the final page of the Ultimate X-Men's first hardcover, then-Marvel president Bill Jemas writes of revamps and relaunches, and comics companies' fear of offending the “adult fan base”- meaning, I suppose, guys like me who are in their 20s who still don't mind diving into a superhero comic. The Ultimate line has always meant NOT to appeal to guys like me - they're meant to appeal to kids, or at least, that's how I've seen it. But, Jemas notes, the adult fan base enjoys this series too: “it turns out true Marvel fans are not just ‘true believers' in the old stories. They gladly embrace great work, even if it's not tied to the adult storylines.” I have to disagree, at least in the case of Ultimate X-Men: it's not a great work, it's more of a mildly diverting one, and speaking as someone who gets a huge kick out of Ultimates, I'm disappointed that it's not a stronger work than I feel it could be. But then again, it could be argued, is the Ultimate line of comics really for “me”?

NOT RECOMMENDED

by Brian Domingos

Six Going On Seven

6/16/04

I celebrated a birthday on Monday so I’m taking it easy this week. I’m only doing five trade paperback reviews this week instead of seven.

I know, I know, what a slacker.

Anyways, on with it:

---

JSA: All-Stars TPB

Writer: Geoff Johns & David Goyer, various
Artists: Sal Velluto (p) & Bob Almond (i), various
Colors: John Kalisz, various
Letters: Ken Lopez, various
DC Comics
$14.95

First item of the week is the collection of the Geoff Johns and David Goyer’s mini series, JSA: All Stars. The eight issue storyline dealt stepped back and took an alternative look at the Justice Society of America.

Of the original JSA, there are only five members that are still active. Jay Garrick - Flash, Sentinel, Wildcat, Sand and Hawkman have (one way or another) survived the sixty years since the team was first founded and continue to aid their new teammates in learning the ropes and the tricks of the superhero trade.

The old guard is taken captive by a new villain called Legacy, an emotional vampire who feeds off the horrors of the past that plague memories and keep the JSA up at night. The Spectre, an old associate of the JSA instructs the remaining team that they must confront there demons before they can take on Legacy.

This leads into six single issues, which deal with a separate JSA member. Each issue has the lead story by Johns & Goyer with different artists Phil Windslade, Barry Kitson and Stephen Sadowski. The team members confront their pasts, and sometimes their presents, and try to find some closure.

In addition to those lead stories were six back-up tales by some rather well established creative teams. Jeph Loeb and Tim Sale, the creators behind BATMAN: The Long Halloween and SUPERMAN FOR ALL SEASONS contributed a classic Hawkman story showing his balance of superheroics and every-day-life. STARMAN creators James Robinson and Tony Harris reunited for a Ted Knight-Starman story, “Starman: FBI Agent.” It was a bit of a thrill to see them work together again after all these years.

As a whole the stories are pretty decent. This isn’t a plot based storyline so much as a weak backdrop for character development. In that respect, it’s tight and gives Johns & Goyer a chance to flesh out the newer characters without taking up any space in the monthly JSA book. Nothing life altering happens here, just nice character moments and decent artwork.

The back-ups were the selling point, though, as it’s doubtful that of half the readers would have given the book a second look had it not been for the Starman story or the Azzarello/Risso Dr. Midnight short. DC didn’t shy away from marketing it as the first DC work of The Amazing Adventures of Kavalier & Clay novelist Michael Chabon who did a plus sized Mr. Terrific story with GOTHAM CENTRAL’s Michael Lark.

JSA: All-Stars is a weird sell. On one hand, it’s an excellent companion piece to the monthly JSA series, and has little plot momentum which could be difficult for new readers. On the other, it has an introductory pace to it and the short stories by Chabon, Howard Chaykin, Darwyn Cooke and the like could get new readers in the doors.

---

NOBLE CAUSES: In Sickness and in Health, vol. 1 TPB

Writer: Jay Faerber
Artists: Patrick Gleason (p), John Wycough (i), various
Colors: Chris Sotomayer with Jeremy Roberts and J. Brown
Letters: Ray Dillon with Shelly Helms
Image Comics
$12.95

Geoff Johns points out in his introduction for the first volume of NOBLE CAUSES, the world at large is fascinated by Celebrities. Courtney Cox and her Mongoloid husband David had a baby daughter this week, and that’s crammed in the morning news with two car bombings in Iraqi and the Daily Numbers. There’s a running tally on when the Olsen Twins will become legal and ohmygoddidyouhearthat J-Logotmarriedagain?

Jay Faerber looked at this rather obvious fact and did the first comic about it. NOBLE CAUSES chronicles the drama-filled lives of The Nobles, the world’s most famous family. The first issue is about the secret of Race Noble’s new fiancée. No one knows who she is and the press is even speculating if she is a she. Race is a slightly snobbier version of Wally West, aka The Flash. Not too much, so, but Wally’s a really grounded character and Race as a bit further to get. Then there’s the slightly scary Gaia, patriarch of the Noble family. And Doc Noble, Race’s father would rather spend time with his new inventions to take the time to meet his soon-to-be new daughter-in-law. Race’s promiscuous sister Zephyr teases Race about his most recent love. Celeste, the cosmic wife of Race’s older brother Rusty comes to send his regards as he recovers from a horrific accident.

Race’s lady friend is revealed to be Liz Donnelly – bookstore owner. She’s not famous and she doesn’t have powers and she has no idea what she’s getting into. While washing up after dinner, Liz meets Frost, the secret half-brother, from one of Gaia’s affairs. Frost is a bit abrasive and is currently having an affair with Celeste. Rounding out the cast is Krennick, Race’s best friend and the son of Doc Noble’s arch enemy. It’s a colorful bunch.

Over the next three and a half issues, the dramatics explode as something horrific happens on the honeymoon of Liz and Race. The family grips to deal with it and the problems get worse and worse and worse. Faerber’s written a superpowered soap opera with double crosses and knive-in-the-back scenes with the Nobles worrying about how the media will see it. They have to do crowd control as Zephyr’s most recent secret comes out.

Each issue is loaded with a back-up tale that shows important moments from the history of the Nobles. Amanda Connor and Jimmy Palmiotti team up with Faerber to show Doc and Gaia’s marital issues days before the birth of Race. It’s not what it seems. Each back-up has an a mini-intro from Faerber that gives some insight as to why the artists were chosen and why the particular scene was chosen to be portrayed.

Faerber’s characters have three dimensional personalities and it’s easy to imagine what they were like in their best of times. It seems as though some of the hype has caught up with them and nothing good can come from that.

The art chores are shared between Patrick Gleason and Billy Dallas Patton. Patton illustrated the first issue and gave the Nobles some distinct designs and the look and feel of the book was set. Gleason stepped in as the monthly artist for a while and stepped right into the position. His artwork has a Doug Mahnke feel to it, which is nice for this sort of book. He can draw dynamic action scenes while still managing to capture the nuances of the quiet scenes. Gleason has since taken over the regular art chores on the AQUAMAN monthly book at DC.

NOBLES CAUSES is tense and terse and has some really neat moments. It’s a great example of what Faerber can do when he’s in control and it makes clear the work he did on GENERATION X and THE TITANS. It seems like some work closure.

---

DEADLINE TPB

Writer: Bill Rosemann
Artist: Guy Davis
Colors: Dave Stewart
Letters: Dave Sharpe
Marvel Comics
$9.95

It’s really not all that often that something new comes out of Marvel Comics. Sure, there’s a new monthly series by someone who’s never had one before, or the new Doc Ock mini series, but it’s rare that a book is different.

DEADLINE, with its neo-90’s sounding title is a four issue mini introducing readers to a new reporter for the Daily Bugle. Katherine “Kat” Farrell, is a hardworking rookie journalist who’s out there trying to make a name for herself. Kat doesn’t like superheroes but to be a reporter in New York City, she has to work along side them.

She is anonymously given a map with six X’s on it and she uses her network of snitches and contacts from the infamous DAREDEVIL thug Turk to the evil fix-it guy, the Tinkerer to find out what they mean. It all ties into Michael Hart, a man who went from a helpful defense attorney to a hard-as-nails judge. Hart as mysteriously murdered and now someone is killing off his former clients.

Bill Rosemann’s script gave readers a clearly defined Kat with her quirks and her habits and her personality, from her admiration of Ben “I Toppled the Kingpin” Urich and her little fish Bilbo. Right off the bat she has a scene with Johnny “The Human Torch” Storm and it’s evident that there is no love there.

The dialogue crackles and the character insight is very accurate. At one particular point, Kat is plunging toward her death and all she can think about is the EMTs finding her in her over-sized granny panties. The plot is tight through these well-paced issues and Rosemann comes off like a seasoned pro.

The real joy of the series is artist Guy Davis, a man who’s career has seen so many genre’s of work. He’s the perfect fit for a book that is a mix of talking heads and the supernatural. His storytelling is fluid and his characters, while not terribly realistic, live on the page. He and colorist Dave Stewart do a nice job together.

DEADLINE was a nice one off of a story. It was bold of Marvel to publish such a book, that didn’t fit in with the framework of what the company has come to represent. This was a fresh point of view (in both character and script) and for $9.95, it’s a great deal. It should also be mentioned that Kat is now a regular character in Bendis’ Daily Bugle book, THE PULSE. Come check out where she came from.

---

MAGIC PICKLE TPB

Writer/Artist/Letterer: Scott Morse
Oni Press
$9.95

Scott Morse has a fairly diverse career in comics. His era spanning epic SOUL WIND is a massive piece of work. He’s done folklore at Dark Horse with ANCIENT JOE and this month, his widescreen SPAGHETTI WESTERN arrives from Oni Press. Before that, though, was MAGIC PICKLE.

In MAGIC PICKLE, the US government’s secret super soldier Weapon Kosher wakes up from his suspended animation to find that 50 years have passed and the world isn’t the one he remembers. He’s been awakened to take down the Brotherhood of Evil Produce.

Kosher’s secret lab has since been built on top of and when he tries to take off, he crashes up into the bedroom of six (or seven) year old Jo Jo Wigman. Jo Jo’s sassy and loud and has a crush on Danny Johnson.

So Kosher attacks the Brotherhood and Jo Jo gets mixed up in it and they have a grand old time. Kosher is mighty powerful and, really, they’re just really mean veggies so it’s not really a big deal. There is, though the Romaine Gladiator, Kosher’s archenemy, who hides out in Jo Jo’s lunch bag and has dangerous plans for her.

In the end, Kosher saves the day and it’s adorable. The whole thing is really punny and cute; Morse really out did himself. The jokes are silly and the visuals are fun. It’s a neat little story that needed to be told.

---

THE DARK HORSE BOOK OF HAUNTINGS HC

Writer: Various
Artists: Various
Colors: Various
Letters: Various
Dark Horse Books
$14.95

Later this month, Dark Horse will release THE DARK HORSE BOOK OF WITCHCRAFT, a hard cover horror anthology. It’s the sorta sequel to last year’s DARK HORSE BOOK OF HAUTNINGS.

BOOK OF HAUNTINGS features a cover by Gary Gianni and does its best Twilight Zone impression. The content are pretty varied from an original HELLBOY story by Mignola, a short stories about the characters from THE DEVIL’S FOOTPRINTS to a prose tale, an interview by Scott Allie with séance medium Larry Dreller to a story about a haunted dog house told from the dogs’ perspectives by Evan Dorkin and Jill Thompson.

Each tale is of the highest quality, printed on thick glossy paper and incased in a lovely hard-shell cover. It’s a good example of everything an anthology could be from the range of projects to the wide assortment of creators.

The most impressive part is that it’s such a gorgeous package at such a discount price. Were this to be published anywhere else it would have been at least $19.95. Dark Horse takes one for the fans and slaps a $14.95 cover price on it.

THE DARK HORSE BOOK OF HAUNTINGS is definitely worth the time it takes to hunt it down. Give it a look.

---

As always...

Upcoming
Books of note shipping 6/16/04…

APR040277 BATMAN: BROKEN CITY HC $24.95
APR040283 BIRDS OF PREY #68 $2.50
APR040299 CHALLENGERS OF THE UNKNOWN #1 (Of 6) $2.95
APR040356 EX MACHINA #1 (MR) $2.95
APR040285 GOTHAM CENTRAL #20 $2.50
APR040314 HAWKMAN #29 $2.50
APR040377 SEAGUY #2 (Of 3) (MR) $2.95
APR040379 WAR STORIES VOL 1 TP (MR) $19.95
APR041401 RIDE #1 $2.95
APR041718 DAREDEVIL #61 $2.99
APR041675 ULTIMATE FANTASTIC FOUR #7 $2.25
APR041735 ULTIMATE SPIDER-MAN: SCRIPT BOOK $17.99
APR042239 HENCH GN $12.95
APR042724 REMAINS #2 (MR) $3.99
MAR042166 TRUE STORY, SWEAR TO GOD: 100 STORIES TP (MR) $9.95

That's it for this time. Have a nice week.

 

Brian Domingos is the Columns Editor at Popimage.com. Hugs, kisses and holiday cheer can be sent via brian@popimage.com.


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DOING THE WORK
by Harris O'Malley

June 16, 2004

One New Thing

I have just completed the search of nearly twenty years. There as an insanely obscure song in the 80’s that I heard once, on a friend’s mix tape when I was eight years old. I never knew the band or the song title and only a smattering of the lyrics and the music stayed with me. And I’ve just that not only is it available via iTunes, but there’s also a 12” club mix as well. Shortly, I expect the high to wear off and I’ll realize just how pathetic this is and I’ll go curl up in the corner and drag my finger over my lips making “buh-buh-buh” noises.

These are the random moments that fill the life of a comic creator when he’s in the middle of trying to churn out pages. But first, here’s some back-story.

Back when I was in high school, I joined a local anime club in San Antonio. The anime club, really, since most of the public’s knowledge of anime was confined to Robotech, Star Blazers and the creepy cartoon tapes they had in the sci-fi section of Blockbuster.

What made this group fairly significant to my current situation is that it was run and attended by various artists, writers, colorists and other creative types from Antarctic Press and Radio Comix. Having access to this group of industry professionals played no small part in my eventually becoming a comic publisher.

To make a long story short ( “Too late!”), I’ve stayed a member of the club even since I moved to Austin in no small part because it’s allowed me to pick the brains of more experienced publishers.

The other week, I was talking with Elin Winkler, the Editor In Chief and Grand High Poobah of Radio, and she had sage advice for me when I mentioned that I was going to the San Diego Comic-Con for the first time this year: “Wear comfortable shoes. Imagine the most walking you’ve ever done. Now imagine more walking.”

No, wait. Wrong advice.

She told me “You always need to bring at least one new thing.”

This presents something of a problem for the aspiring self-publisher who foolishly decided to publish original graphic novels rather than, say, multi-part epics in singles. Since my work is done predominantly in large chunks, my schedule tends to be yearly, if I’m lucky, rather than monthly or even quarterly.

I’m sure you can see my dilemma.

Thanks to the my computer going balls-up at precisely the wrong moment, I’ve been thrown off whatever optimistic schedule Jens and I had for Berserker: The Wild Hunt. Before my hard drive decided that it was not 1337 and thus deserved d347h, having galley copies available was, at the very least was well within the realm of possibility. Now? Pfffft.

Since the only other new work of note I have available is a short story in Saucy Goose Press’
Smut Peddler, I needed something.

Fortunately, inspiration struck me.

Unfortunately, it careened off me, hit a guard rail, rolled over and exploded, but that’s a problem for the insurance company, not me. Especially since I wasn’t at fault, dammit.

While having a finished copy of the graphic novel ready had slimmer chances than a parrot with a rubber beak, having enough for a preview issue would be simplicity itself, especially since the book is functionally divided into four acts. 24 pages of story, which rounds out the first act nicely, some words from Jens about the myths Berserker draw from and a few sketches and model sheets and we’d be golden. A journalist friend of mine even volunteered to do an interview with the two of us for the book.

So, a plus-sized new book for San Diego, perfect for soliciting back-cover pull quotes and extras for the graphic novel’s finished release.

I love it when a plan comes together.

Of course, now I just have to have it all finished with enough lead time to have it printed, but hey. When I was working on Between The Cracks: All Miracles Have A Price, I was churning out two and even three pages a day, wasn’t I? I completed two books in a little over a month, didn’t I?

What didn’t occur to me during that little burst of motivation was that this time, I didn’t have external circumstances (i.e. trying desperately to not deal with my father’s death) spurring me on. Then there was also the little matter of the fact that while I may have been churning out two pages a day, it looked it. Backgrounds became optional at best. If I ran out of ideas on how to simplify ‘em, I’d either drop them entirely or just throw a random shape.

A year later and that just doesn’t work any more. I can’t not notice the flaws in my work, and I don’t want to repeat them. So I find myself putting more effort into it. More effort means slower production rate. So it looks pretty damn snazzy, but I’m producing around a page and a half a day.

It also has the unintended side-effect of fueling my Law and Order addiction. I play the episodes I TiVO’d for background noise as I work. Now I know Detectives Briscoe and Green better than I know members of my own family.

Still, I’m far enough along that I should have enough wiggle-room in case things go horribly wrong at the printer’s. And, of course, they will.

But in the meantime, I’ve still got nifty obscure 80’s songs to cheer me up as I work myself into a frenzy.

---

Obviously, I will be in attendance at San Diego Comic-Con this year, with copies of Smut Peddler Vol.2 the Berserker preview (which will likely be a con-exclusive).

n the meantime, there’s a six page preview up on my site and an ashcan is available for anyone who wants one. Just hit me with your snail-mail address at berserker2004@web.de, and either Jens or I will get a copy out to you.

And of course, I can be reached at domalley@studiounderhill.com, and I’ll want to know what you think, so drop me a line, won’t you?

 

Harris O'Malley is a writer/artist/publisher of BETWEEN THE CRACKS. He lives in Texas.


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UNTIL YOUR HEART STOPS v4.1
by Brian Domingos

Love is in the Air…

June 9, 2004

So on Saturday, I attended my first of what seems like a dozen weddings of the summer. Two good friends of mine tied the knot after five years of dating and it was sort of a milestone. The real excitement of it was that they were the first of my friends to get hitched.

I’m 24 next week (my mom cries at that), and god damnit if we’re not all growing up.

This should have been, could have been a time for me to reflect on the past and look towards the future, but during my hour long car ride home, my mind drifted to column topics. It seems, sometimes, like I’m in a constant state of ‘writing my column.’ I’ve either just finished or I’m starting up again. With all my busy days, seven days hasn’t seemed to be so short since my days in college trying to perfect the 27-hour day.

But anyway.

So I was driving through the darkness, just me, my sleepin’ lady and the road and I processed the events of the day. I also brainstormed ideas for the column and it hit me.

Remember when there used to be big superhero weddings? They used to be a damned event, with everyone coming and seeing the bride off and the super villains coming by to ruin everyone’s good day.

The first one I ever read myself was the Scott Summers/Jean Grey wedding from X-MEN #30. It seems a bit odd that it took so long for this to happen, since it seemed like such a given. It was a pretty cheesy event with some classic Scott Lobdell dialogue and clunky artwork by Andy Kubert, but in the end, no one was hurt.

There are many more out there, Lois and Clark, Wally and Linda, Reed and Sue, Jan and Hank, Bruce and Dick, but the one that will forever stand out in my mind was from SAVAGE DRAGON #41.

Erik Larsen decided a long time ago that the SAVAGE DRAGON would be in a constant state of flux. The characters age, fall in love, die, get fired, essentially, they Live.

Leading up to this, Dragon’s superior, Captain Mendoza is in cahoots with the evil Horde and he suspends Dragon from the force. Dragon instead quits and becomes a bounty hunter, making all sorts of cash. The U.S. Government comes to Dragon and wants him to lead the new Youngblood. He laughs in their face and says “no.” They say, ok, how about a group called “the Special Operations Strikeforce, or the S.O.S.” He agrees with it and forms the team with superpeople he knows from around Chicago.

The team consists of members of FreakForce as well as random good guy characters that have appeared throughout the SD timeline. Two of them, the oversized Barbaric and his little lady friend Ricochet, announced that they are pregnant and it’s just a bad scene. They are now public figures and a baby with no wedding is bad press so Barbaric proposes.

Then the mayhem ensues.

Barbaric invites every superhero that Erik Larsen can think of from the DNAgents to Femforce, to Megaton to Vampirella to Hellboy. The cameos go on and on as it becomes quite a mess. Ricochet sees the invitation list and asks who they all are and Barbaric responds with a

“C’mon baby – I want to have one of those ol’ superhero weddings – like Reed and Sue.”
Ricochet: “Are you CRAZY? All kinds of bad guys attacked their wedding and they nearly leveled NEW YORK!”

Living, breathing characters.

Now, you can guess what happened. With a “Dearly Beloved….” the freaks show up and it’s a big ol’ superhero wedding. Tuxes get ripped. Stuff gets smashed and it’s a good old time.

This was fresh in my mind because Larsen just released three collections of SAVAGE DRAGON in trade paperback. These books, numbers 8-10 compile the year and a half of SD that I read in high school. That’s issues 34-40, 41-46 & 47-52 in three easy to handle volumes.

These were the Good Comics I read back then, and now they’re all on my shelf.

I’d like to see more weddings in comics, not for the cheesiness of it, but for the pure comic relief.

Actually, thinking about it, many writers who are known for their ‘humor’ are lacking in a clear sense of one.

Kirkman did a pretty good funeral scene in the 8th issue of INVICIBLE. Hell, Dragon himself was there.

Are Funerals the new Wedding?

These are dark days.

Upcoming
Books of note shipping this week…

APR040367 100 BULLETS #50
Vertigo/DC Comics
$3.50

Issue 50 makes the halfway point for this classic series. It's a great jumping on point for new readers.

APR040368 BITE CLUB #3 (Of 6)
Vertigo/DC Comics
$2.95

I've been pleasantly surprised by this series so far. The characters are interesting, the dialogue is good and the artwork by David Hahn is perfect.

JUL030228 GLOBAL FREQUENCY #12 (Of 12)
Wildstorm/DC Comics
$2.95

I think this is the last of the missing Ellis issues out there in the ether. Issue 12 is the last issue of the GLOBAL FREQUENCY with artwork by TOP TEN's Gene Ha.

APR040316 IDENTITY CRISIS #1 (Of 7)
DC Comics
$3.95
Brad Meltzer, Rags Morales and Michael Bair do crime drama in the DC Universe. I expect big things from this.

APR040360 STORMWATCH TEAM ACHILLES #23
Wildstorm/DC Comics
$2.95

The last issue of Micah Wright's STORMWATCH. The artwork by Carlos D'Anda looks nice. This is NOT a good jumping on point.

APR041720 CAPTAIN AMERICA #27
Marvel Knights/Marvel Comics
$2.99

Part I of the last CAP story by Robert Morales. He's been doing a great job. Artwork by Eddie Campbell.

APR041693 DISTRICT X #2
Marvel Knights/Marvel Comics
$2.99

This is the only X-book worth reading right now. David Hine's got some neat ideas and David Yardin's got a unique art style. It's like HOMICIDE: Life on the Mutant Streets.

APR041700 IDENTITY DISC #1 (Of 5)
Marvel Comics
$2.99

Robert Rodi does THE USUAL SUSPECTS meets BRING ON THE BADGUYS. Six supervillains team up to steal a disc with the secret identities of the world's superheroes.

OCT032202 BONE #55
Cartoon Books
$2.95

Another last issue: The series BONE ends at issue 55 and Jeff Smith can finally take a break. This August he's offering the complete tales of BONE in one gigantic trade paperback for 39.95. You can get it from the DCBS for a mere $19.95. That's a STEAL.

APR042236 DEMO #7 (Of 12)
Ait/PlanetLar
$2.95

Brian Wood and Becky Cloonan do war and superpowers and right and wrong.

That's it. Tpb reviews next week. Maybe.

 

Brian Domingos is the Columns Editor at Popimage.com. Hugs, kisses and holiday cheer can be sent via brian@popimage.com.


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KATE WORLEY AND JAMES VANCE
Reviews by Alex Bernstein

Since the running of this article, we have some sad news to announce. We have been informed Kate Worley passed away on June 6, 2004. On behalf of everyone here at PopImage, we'd like to extend our deepest condolences. Barring any requests from the family, we would still encourage you to help out the family with a donation to the Paypal account listed below.

Trisha Sebastian of Saucy Goose Press, publishers of the very fine SMUT PEDDLER, passed the following info along to us. Some sad news regarding two great comics creators of the 80's: Kate Worley and her husband Jim Vance. Both wrote fine works that are still in print. Read the news release below - and then check out the reviews for a little more info on their works. If you're familiar with Worley and Vance - and even if you're not - these two - and their family could use your help: donations, prayers and good wishes.

There's good news and bad news for fans of the cult classic OMAHA THE CAT DANCER. The good news is writer Kate Worley and artist Reed Waller are reuniting to finish Omaha's tale, which began over 20 years ago. The bad news is Worley is suffering from cancer and having some tough financial problems.

Both Neil Gaiman and Waller have provided some details about Worley's illness and difficulties. Gaiman wrote on his Journal:

Kate Worley...who is working on Omaha again for the first time in many years, has cancer. It's not good....[Kate's husband Jim Vance, who wrote, among other things KINGS IN DISGUISE] and Kate are pretty much up against the wall right now, with wolves baying at the door. If they can keep going for a few more months, the wolves may calm down -- the new Omaha material will start coming out and so on. But right now she's fighting cancer and fighting to stay in the place they're living, and they're out at the edges of losing their home while Kate's working very hard to write and to get through this. (It can't be much fun for Jim or the kids, for that matter.) I spoke to Kate, who confirmed just how bad things are right now, and said, yes, they need help, badly.

Donations can be paypalled to Jim at jim1vance@aol.com. Donations, get well-cards, or nice things of any kind can be sent to Jim and Kate at:
323 S Yorktown,
Tulsa OK, 74104.

Kate's e-mail is scriptist@aol.com. And if some well-intentioned person with more time and ability than I have decided to do a benefit comic or something to help them, I think that would be an excellent idea.

SEX AND THE KITTY

OMAHA THE CAT DANCER
Written by Reed Waller and Kate Worley
Art by Reed Waller

If you read comics in the 80's like I did, then you remember some extremely fine independent comics just breaking through the surface. Kitchen Sink, one of the first imprints to move directly from the undergound right into the indepent "mainstream" used one of its more notorious books, BIZARRE SEX, to launch one of the most original and endearing "adult" comics of the '80's: OMAHA, THE CAT DANCER.

OMAHA, first written and illustrated by Reed Waller, and later written by Kate Worley, wasn't just adult-oriented funny animals for the prurient sake of it. Instead, it was an extremely well-written, rich, character-driven story about - well, it was about a lot of things: young people on the run in the early-80's, the mob, sex (real sex - sexuality, sensuality, relationships, deviations from the norm, emotional impact and the constant exploration of the nature of sex) disco, dancing, fame, loss and redemption. But mostly it was about love. Real, heartfelt love - and friendship.

Omaha and her boyfriend Chuck explored their relationship in a swinging, seedy world of clubs, drugs, prostitution and fast money. When Omaha and Chuck were together, you felt their passion and envied their equality and partnership. And when they were separated, it was heartbreaking. Literate, adult material that really was for adults, years before it was fashionable.

THE GREAT DEPRESSION

KINGS IN DISGUISE
Written by James Vance
Art by Dan Burr

Adapting his own stage play, James Vance' KINGS IN DISGUISE is simply one of the best graphic novels ever created - and certainly one of the most harrowing. Without sympathy or sugarcoating, KINGS tells the story of 12-year-old Freddie Bloch, searching depression-era America for his absent father. Taking an old hobo as a surrogate father on his journey, Freddie experiences workers' strikes, hunger, rejection and a hard life in the dust bowl. Vance pulls no punches in this rivetting, disturbing, emotionally-charged work. A winner of multiple Harvey and Eisner awards.

Both of these creators' works are still available through Kitchen Sink press as well as Amazon.com. But honestly, their family could use your money even more.

Please...make a donation, first.

 

 

Alex Bernstein is Reviews Editor for PopImage and the author of the web comic "Prom on Mars." www.promonmars.com.


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DOING THE WORK #9
by Harris O'Malley

May 30, 2004
Little Moments, Little Deaths

There are times in every small-businessman’s life when it seems, nay, it is crystal clear, that the only universal constant, the true law that runs the universe down to the quantum level was written by that bastard Murphy.

You know the one.

Being a comic publisher, especially a self-publisher basically means that your free time doesn’t exist and those precious moments you can steal for yourself are quite literally money that you’re not earning. This has the tendency of making one rather more aware of it than you may have been back in the halcyon days before you were aware of things like deadlines or publishing schedules.

It also makes you more likely to fall prey to the siren call of the X-Box, but that’s another matter. Paragon City is a harsh mistress…

Becoming more aware of time makes it that much more aggravating when it’s being forcibly taken from you with all the glee of a five year old thalidomide baby pulling wings off flies.

I'd been contacted a couple weeks ago by a small but relatively known magazine that
was interested in review copies of my book, and would I like to send them some copies?

Not being a great fool and hoping to get some press outside of the usual outlets, I leapt at the chance. Thus the story starts.

Because of the vagaries of my dysfunctional web-host, the e-mail had been delayed and I only had a few days to get in contact with them to meet the deadline for the next issue. Naturally, this happened to coincide with my having to leave town for a family occasion, and I didn’t hear back.

And so the deadline passes. This was not ideal, seeing as that issue would have coincided roughly with the San Diego Comic-Con, but I was willing to chalk it up to bad
luck.

The other day, I get another e-mail, pretty much the same one, asking if I'm interested in sending copies. Not willing to trust my financial future to the fates (I have lottery tickets for that…), I decided to simply call and ask for the reviews editor.

In retrospect, I probably should have just driven nails through my hands. It would have been somewhat more productive.

Here’s how the ordeal went. Some details were changed to cover my ass:

Receptionist: Thank you for calling $NAME...
Me: Hi, could I speak to...
Receptionist: please hold.

(I’m placed on hold for ten minutes. The Muzak system serenades me with The Best of Chris DeBerg.)

Receptionist: Hi. Sorry about that. Thank you for calling $NAME, how can I help you?
Me: Hi, could I speak to the reviews editor please.
Receptionist: Hold please.

(Back on hold for another fifteen minutes. The Lady In Red is still staring, evidently.)

Voice#1: Hi, who're you waiting for?
Me: Hi, I'm waiting for the reviews editor.
Voice#1: Gotcha. Hold on, I'll see if he's in.

(This time, I’m not put on hold, the phone's just put down. Ten minutes go by.)

Then someone hung up on me.

Ok, understandable, no harm, no foul. So I call back.

Receptionist: Thank you for calling $NAME...
Me: Hi, could I speak to...
Receptionist: please hold.

(Whoops, back on hold for ten minutes. Yet more of Mssr. DeBerg)

Receptionist: Hi. Sorry about that. Thank you for calling $NAME, how can I help you?
Me: Hi, could I speak to the reviews editor please.
Receptionist: Hold please.

(On hold again for another fifteen minutes. I’m beginning to become far, far too familiar with Chris’ song stylings)

Voice#1: Hi, who're you holding for?
Me: Hey, I called a couple minutes ago for the reviews editor and...
Voice#1: So why'd you hang up?
Me: Someone hung up the phone.
Voice#1: So you didn't hang up?
Me: No.
Voice#1: Ok, hang on. I'll go see.
(He puts the phone down. I'm waiting a good 30, 40 minutes as I hear sounds off the office at work. I begin to start contemplating trying to incite a workplace shooting.)

Voice#2: Hello?
Me: Hello? Could I speak to the reviews editor please?
Voice#2: Yeah, wait a sec.
Me: CouldyouatleastputmeonholdsoIwon'tbehungup...
(Puts the phone down. Another 30 minutes. Then someone hang the phone up. AGAIN.)

I begin to pound my head against the desk. Once the pain fades, I pick up the phone and hit redial.

Receptionist: Thank you for calling $NAME...
Me: I keep getting hung up on and
Receptionist: please hold.

(And I’m back on hold again. I’m really starting to get pissed off at that goddamn tart in the red dress)

Receptionist: Hi. Sorry about that. Thank you for calling $NAME, how can I help you?
Me: Who's the reviews editor?
Receptionist: Matt G.
Me: Great, could you just transfer me to his line?
Receptionist: Hold please.

(Oh god, not again. I… I can hear the chanting behind the music! It’s boring into my brain! Yog-Sothoth knows the gate! Yog-Sothoth is the gate…)

Voice#1: Hi, who're you holding for?
Me: (sigh) I keep calling and getting hung up on.
Voice#1: I'm sorry man, it's a little crazy around here today.
Me: Anyone die yet?
Voice #1: Huh?
Me: Nevermind.
Voice#1: So who're you trying to get?
Me: Matt G.
Voice #1: Right. Hang on. I'll make sure you don't get hung up on.

(I don’t know what he’s doing, but at least I’m not being hung up. It still takes a damned 34 minutes and ten seconds. Yes, I counted.)

Voice #1: You still there?
Me: Yeah...
Voice #1: You're trying to find again, man?
Me: Matt G.
Voice #1: Hang on.
Me: Oh God…

(10 more minutes pass. My fingernails leave indentations in the phone)
Voice #1: Hey man, he's not in today.
Me: ...
Voice #1: You want to leave a message?
Me: yeah. sure.
Voice #1: Hold on a second.

And someone hung up the phone again.

Gaaah.

 

Harris O'Malley is a writer/artist/publisher of BETWEEN THE CRACKS and artist of the upcoming OGN Berserker: The Wild Hunt. Find out more at http://www.studiounderhill.com


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UNTIL YOUR HEART STOPS v4.0
by Brian Domingos

Scenes From the Future: Part VIII

06/03/04

Wow. This is my Eighth monthly look at the PREVIEWS catalogue. As always, my goal is to guide all you towards new projects or just interesting bits that I think deserve your attention. And, because it’s MY name all over this column, it’s my call.

---

This first item of the month is a book from Mark Ricketts, LAZARUS JACK.

Jackson Pierce’s family was torn from his grip and he struggles to get them back, disregarding the cost. From reading the solicitation text, it seems to be like a horror story written by H.G. Wells or Jules Verne. There’s mad science and black magic with a firm amount of tense familial drama.

I like Ricketts’ work, almost as a rule, so this is definitely worth a look. He has a good sense of timing and an ear for dialogue. His plots, too, can be anywhere from straight-up to off the wall.

The artwork is by European artist Horacio Dominguez of LA MAUVAISE FEE fame. He has a simplistic, yet solid style, with aspects from cartoons.

So, yeah, it’s got a lovely cover and an interesting premise. I just hope that the premise of this one has a better pay off than DIORAMAS did.

LAZARUS JACK TPB (PAGE 30, $14.95; Order Code: JUN04 0029)

---

Ah. LONE. This was a hit that no one seemed to know about. Writer Stuart Moore crafted a fun little post-apocalyptic western with zombies, and government killers. It centers around quickshootin’ Luke, her quasi-cowardly brother Mark and their trip to find someone to help their town fight off the zombie threat. They hook up with old man Cletus who leads them to the mysterious killin’ machine called Lone.

The story branches out off of the Western clichés and carves its own notch in the comics industry. There’s really nothing else out there like it.

The art is handled by the fabulous Jerome Opeña and John Wycough. They work well together, giving the book a gritty tone that properly interprets the desolate environment.

There was a ‘filler’ issue, which will probably be pushed to the back of this TPB. It takes place on a train and Lone gets in a fight with poker playing midget and his pet cybermonkey. It was drawn by Alberto Ponticelli, and it was some of the best work I’ve seen from him.

Over the five issue storyline, all the characters are very well defined and the groundwork is set for a new series. I hope this tpb does well, so we can get more of this Comic Goodness.

LONE TPB (PAGE 36, $14.95; OC: JUN04 0049)

---

DC Comics has announced a three (yes, 3) month long multi Bat-book crossover called “War Games.”

The storyline kicks off with a new 12-cent adventure issue, much like the one that kicked off the complicated “Bruce Wayne: Murderer?/Fugitive” storyline. This time, Devin Grayson writes the script with the artwork being handled by Ramon Bachs & Raul Fernandez.

My hesitation in this storyline is in the creators. The previous major storylines were successful, I think, thanks to Greg Rucka, Ed Brubaker, Kelley Plunkett and their talented artists. The scripts were well planned and crackling with drama. The artwork, too, was tight with talents like Steve Lieber, Damion Scott, Roger Robinson and Scott McDaniel.

Since then, the creative teams have yet to keep up the quality level. DETECTIVE COMICS is a mess. GOTHAM KNIGHTS is horribly derivative. ROBIN has been less than good. It doesn’t bode well for the “Gansters Take over Gotham” storyline. I hope, though, I hope that they all prove me wrong. I want to enjoy the Bat-books again.

Anyway, here’s a cover by Cameron Stewart. I quite like it.

BATMAN: 12 CENT ADVENTURE (PAGE 59, $0.12; OC: JUN04 0187)

---

So Mr. Majestic is an old Wildstorm hero from the mid-90s. He was a major part of Alan Moore’s WILDC.A.T.S run, a humanoid from the planet Khera, a warrior-king far from home.

Then he had an extraordinary nine issue series in the late 90s by Joe Casey, Brian Holguin and Ed McGuinness that has been sorely over looked. There’s a collection out there of the first six issues, but the best part, the last three-part story arc by Casey, Eric Canete and Toby Cypress is lost in the ether, where it will, most likely, stay.

After the events of SUPERMAN #200, Supes disappeared and Majestic arrived, filling the ‘super-strong super-guy’ role for three issues. It apparently did well, because now there is a four part miniseries out by Dan Abnett & Andy Lanning, with artwork by Karl Kerschl.

This story picks up where the three-parter ended, with Majestic trying to get home (to the WS universe) and the SuperAndroid, the Eradicator, is hot on his heels. Abnett & Lanning did a great job on the first story, and I hope for more of the same here.

Kerschl’s style is slick and bold and a perfect fit for Majestic. It encapsulates just what Majestic is without having the some what cartoony tone that McGuinness has.

I hope this sells well and results in a tpb with the first three-part story.

MAJESTIC #1 (Of 4) (PAGE 69, $2.95; OC: JUN04 0317)

---

It’s time for round two of DC’s second month long tribute to DC Editor Julius Schwartz.

Much like last month, the stories are influenced by famous covers from a long time back in the 1960s.

These are well-known covers that pop into people’s minds when they think of Schwartz.

The stories are handled by mixes of legendary DC creators like Dave Gibbons, Dennis O’Neil, Marv Wolfman and even Stan ‘The Man’ Lee, with new talents like Mark Waid, Doug Mahnke, Dustin Nguyen and Darwyn Cooke.

Though these issues won’t stop world hunger, I think they are a lovely idea and will be, for the most part, a ton of fun.

Good comic stories are hard to come by and I think the four this month and the four last month will be a good way to remember such a remarkable man.

If you see these on the shelf, stop and give them a look. They might surprise you.





DC COMICS PRESENTS: THE ATOM #1 (PAGE 79, $2.50; OC: JUN04 0386)
DC COMICS PRESENTS THE FLASH #1 (PAGE 79, $2.50; OC: JUN04 0387)
DC COMICS PRESENTS JUSTICE LEAGUE OF AMERICA #1 (PAGE 79, $2.50; OC: JUN04 0388)
DC COMICS PRESENTS SUPERMAN #1 (PAGE 79, $2.50; OC: JUN04 0389)

---

I honestly don’t know where THE LEGION or THE LEGIONAIRES or the THE LEGION OF SUPERHEROES was my whole life, but we never spent anytime together. It is the equivalent of the college roommate that I never saw. Sure, we inhabited the same space and we knew the same people, but we just never ended up at the same place at the same time.

THE LEGION was a concept that always seemed sort of hokey, but to be truthful, I think it was the names. There’s nothing wrong with super-powered teens and lots of action and drama. It sounds pretty fun. The first time I really remember paying any attention to The Legion was when Jack “Starman” Knight met Starboy way back when he went to space. There was something cool about that heritage and, me being a Starman freak, I liked it more than I probably should off.

Then there was the whole 2000-2001 LEGION LOST series with AVENGERS artist Oliver Coipel that seemed interesting but it’s was not collected and I really was in no position to buy the issues. Apparently.

So, now, there’s a collection of issues 25-30 with some odds and ends and I don’t know what to do. I see this as a starting point, but it seems silly since the series is ending with August’s issue 38 to be restarted this fall/winter by EMPIRE team of Mark Waid and Barry Kitson.

It is a lovely cover by Tony Harris.

THE LEGION: FOUNDATIONS TPB (PAGE 90, $19.95; OC: JUN04 0411)

---

We're got a pre-solicitation for the ABSOLUTE PLANETARY, an oversized 12 issue hardcover plus slip case. It's guaranteed to be a beautiful piece of work, and there's really no one better deserving of the oversized treatment than John Cassaday.

PLANETARY, in case you live under a Giant Rock, is Warren Ellis and Cassaday's series from Wildstorm that takes a look at the "Hidden History of the Wildstorm Universe." It follows the three bizarre members of the Planetary field team as they investigate the weirdness that no one knows about.

This hardcover is the third time this material has been reprinted. The issues came out in 1999 and have been collected in two seperate books since. They are stunning pieces of artwork (thanks to Cassaday and colorists Laura Martin w/Dave Baron) and the stories, themselves, are unlike anything else out there.

I, for one, cannot wait to see these stories get the 'Absolute' treatment. The $49.95 price tag is pretty high, but I suspect it will be available at a discount all over the internet.

ABSOLUTE PLANETARY HC (PAGE 102, $49.95; OC: JUN04 0803)

---

John Ridley, the screenwriter of “Three Kings” and co-writer of the new JUSTICE LEAGUE movie “Starcrossed” has been coupled with PUNCTURE artist Ben Oliver to bring us a new OGN, THE AUTHORITY: Human On The Inside.

This stunningly beautiful book sets The Authority against a new unknown threat. All these stories do, but this one is great looking. Did I mention that? I might be a bit biased in this because Oliver is a horribly overlooked artist. His artwork is lush and detailed, retaining a realistic look.

That’s not to say that there isn’t hope for the script. Ridley is an untapped source of comic stories. He’s already shown that that he can tell a story and that’s half the job. He’s a writer with crisp ideas and a new point-of-view, a writer who hasn’t dealt with the industry B.S. for years.

I hope this book can re-energize THE AUTHORITY before the Ed Brubaker/Dustin Nguyen revamp this fall.

THE AUTHORITY: HUMAN ON THE INSIDE HC (PAGE 102, $24.95; OC: JUN04 0804)

---

Well... Issue 24 is the last installment of Joe Casey's WILDCATS v3.0.

Casey attempted to mix the politics of business with a mature superhero book and it wasn't received very well. It was critically acclaimed, but in the end it didn't pay the bills. It was really one of the better series out there today and I am terribly sad to see it go.

But, marking the end of the "v3.0" era is a return to the old with the release of the WILDC.A.T.s/CYBERFORCE: Killer Instinct trade paperback. This stuff hasn't seen the light of day for about a decade now and is almost a complete 180 from what v3.0 was. The story revolves around the WC member Warblade and the CF member Ripclaw and their mysterious origins.

The two books crossed over early on, at the beginning of their ongoing status. I'll admit that I read these books back then and I loved them. Jim Lee looked fantastic; his line work was unmatched and the colors by Joe Chiodo were perfect and Marc Silvestri had some really good moments. The WCs issues are better than the CF issues, but as a whole it was pretty good.

The question, though, is why the hell is this being reprinted? I can only imagine that this means that there's a WILDCATS vol. 4 coming out.

WILDCATS VERSION 3.0 #24 (PAGE 107, $2.95; OC: JUN04 0810)
WILDC.A.T.S/CYBERFORCE: KILLER INSTINCT TPB (PAGE 107, $14.95; OC: JUN04 0812)

---

It seems as though it's been years since the last LUCIFER collection, but it's only been since January.

The new collection, "Mansions of the Silence" is the sixth volume of this Vertigo classic, and contains issues 36-41. It's here that we pick up where we left off in "Inferno" as Lucifer takes to the skies aboard the shop made of Dead Men's Fingernails.

This will bring the collections about a year behind the monthly series, which, honestly, isn't a bad place to be. Writer Mike Carey gives us a continuously interesting read, carving out a place for Lucifer as one of comicdom's Real Bastards. His personality is one that would be hard to handle in person, but as a character, he’s just a hoot to read. He gets in these situations that look dire and always ends up on top.

The book is completed with consistently stellar artwork by the rotating team of Peter Gross & Ryan Kelly and Dean Ormston. They're joined by David (BITE CLUB) Hahn, who does nothing short of lovely work.

LUCIFER: MANSIONS OF THE SILENCE, VOL 6 TPB (PAGE 116, $14.95; OC: JUN04 0949)

---

This was a shock -- the "last" collection of Warren Ellis and Darick Robertons' TRANSMETROPOLITAN was released a few weeks ago but in August, the Final last tpb, TRANSMETROPOLITAN: TALES OF HUMAN WASTE, vol. 11 will hit the stands completely wrap up the series.

"Tales of Human Waste" combines the two prestige format TRANSMET. specials as well as the 8 page story from the VERTIGO: Winter's Edge 2. The two one shots were mini collections of columns written by main series character Spider Jerusalem. Different artists illustrate each column, skillfully written by Ellis. There are about 60 or 70 different artists involved, with everyone from Steve Dillon to Judd Winnick to Brian Michael Bendis to Tony Harris.

Each picture neatly sums up the world of TRANSMET. and at $9.95, you really can't go wrong.

TRANSMETROPOLITAN: TALES OF HUMAN WASTE, VOL 11 TPB (PAGE 117, $9.95; OC: JUN04 0952)

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The tagline of WE3 is "The Incredible Journey Meets The Terminator" as a trio of cyber enhanced domesticated pets are transformed into the U.S. government's newest killing machines.

There's the dog named Bandit, the cat named Tinker and a rabbit named Pirate and they are here to eviscerate you. It's cute and unsettling, and I wouldn't have it any other way.

This bi-monthly three part series sees the first work from Grant Morrison and Frank Quitely since the "Riot at Xaviers" arc of NEW X-MEN. They do beautiful work together and I'm pretty excited to see the end results.

I'm not sure who is doing the coloring, but it looks nice and the lettering is by my personal favorite, Todd Klein, so at the very least it will look damned fine.

WE 3 #1 (Of 3) (PAGE 118, $2.95; OC: JUN04 0953)

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A couple months back, it was announced that Image had lost its famed creator-owned titles POWERS and KABUKI to the Marvel ICON imprint. This was a major power move for Marvel and looked like it might hurt Image. Days later, Image was proud to announce that they had gained the Oni Press book, DEEP SLEEPER.

DEEP SLEEPER is the latest creation of Phil Hester and Mike Huddleson, the writer/artist team of Oni’s 2001 Sci-fi/Horror tale, THE COFFIN. It’s the story of writer named Cole and his struggle with writer’s block. From there, he discovers that he can cast his soul out of his body while he sleeps, getting himself into all sorts of messy situations.

The script by Hester has all the distinctive aspects readers have come to expect from his work. The characters are well defined and the plot is like nothing else out there. The artwork by Huddleson is thorough and detailed and creates a whole new world on paper. The covers are pretty keen, as well, which is always something I look for.

Since issue three is the first part released by Image they are also releasing the DEEP SLEEPER: Omnibus that contains the first two issues under one cover. This is a tremendous opportunity for new readers to get on board with a totally unique series.

DEEP SLEEPER #3 (Of 4) (PAGE 136, $2.95; OC: JUN04 1354)
DEEP SLEEPER: OMNIBUS (PAGE 136, $5.95; OC: JUN04 1355)

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HAWAIIAN DICK was one of my favorite series of last year.

Writer B. Clay Moore expertly combined tropical sensibilities with soft-boiled crime stories, as Byrd, a private eye doing a bizarre story set in the 1950s. The time period is a perfect setting for this cool book with some really neat ideas.

This series has been delayed for months now, and I can’t wait for it anymore. It’s a four issue monthly mini that sets Byrd up working/playing the odds between two mob bosses. His friends Mo and Kahami are in tow, but maybe undercover isn’t the best place for the 300 pound detective, Mo.

While I love the stories and the characters, the best part is the artwork. Steven Griffin’s artwork is nicely rendered line work with beautiful coloring. It’s some of the best coloring in the business giving the book the real organic look that drives the fans wild.

If you haven’t tried HAWAIIAN DICK yet, “The Last Resort” is just the place to start.

HAWAIIAN DICK: THE LAST RESORT #1 (Of 4) (PAGE 140, $2.95; OC: JUN04 1360)

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I love INVINCIBLE and I love the trade regiment. This third trade paperback picks up right where the last one left off, a spot overfilled with dramatic irony. Bad things are about to happen to Invincible, AKA, Mark Grayson. We know it.

He just has no idea.

Writer Robert Kirkman produces some great teen superheroics, fully mixing action, drama and wit. New artist Ryan Ottley is a great find. He had some big shoes to fill, but has stepped into the role flawlessly. Together they make a continuously engaging read.

INVINCIBLE: PERFECT STRANGERS, VOL 3 TPB (PAGE 142, $12.95; OC: JUN04 1362)

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At first glance, I wouldn't think that I would be too interested in a book like TOMMYSAURUS REX. But then, I realized that it's from the mind of 2002's CREATURE TECH creator Ted TenNapel and, damnit, that was a fine book.

TOMMYSAURUS REX gives us Ely, a little boy who's heartbroken over the death of his pet dog, Tommy. He then finds a 40 foot tall Tyannosaurus Rex, alive, and living in a cave behind his grandfather's house.

Meet the new Tommy.

TenNapel has a excellent sense of wit and timing and knows when to get a little crazy and when to reign in those horses. After the utterly wonderful and flawless CREATURE TECH, I can only imagine how good this will be.

TOMMYSAURUS REX OGN (PAGE 156, $11.95; OC: JUN04 1379)

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It's sort of weird to be writing about the next two trades as the issues aren't even all out yet.

The sixth issue of MARVEL KNIGHTS 4 is due this week containing part two of the second MK 4 storyline. Once you get over the editorial imposed/silly "Fantastic Four went Bankrupt and now is poor" plot, it's actually a very interesting read.

The scripts by Roberto Aguirre-Sacasa are enjoyable, with nice mixes of characterization and drama. The voices are well defined and the dialogue is true. Again, the plot is sort of wishy-washy, but he was hired to write Bill Jemas' story, so, for what it is, it's pretty good.

The artwork is the real treat. Steve McNiven is The Marvel Find of the year. His line work is tight and brings to mind Travis Charest. Anyone who can draw like Travis Charest faster than Charest is a must-have. Mark Morales does a great job inking McNiven, letting it loose when necessary, but still knowing when to reign it in. They're one of the best art teams working today.

This first tpb contains the first seven issues and if you've never given this book a look, I suggest you at least flip through it and see how nice it looks.

MARVEL KNIGHTS 4: WOLF AT THE DOOR, VOL 1 TP (MARVEL PAGE 69, $16.99; OC: JUN04 1646)

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A couple of weeks ago, CAPTAIN AMERICA 26 came out, meaning we get issues 27 and 28 in June. This is a Good Thing.

Robert Morales' CAP has been a breath of fresh air, making CAP readable for the first time since Mark Waid left the book three or four years ago. It's political and clever and apparently the Marvel folks hate it. That's why I am so surprised to see this collection.

Morales gave Cap a lady friend and sent him to Cuba to deal with a terrorist war trial. There's a murder and things don't look good for anyone. We see Cap interact with the good and the bad parts of U.S. military. He plays the middle man in the political game, balancing the powers. It's nice to see Cap do more than punch members of Hydra, (that comes back with Kirkman in CAP #29).

So we get all eight of Morales' CAP issues, six drawn by Chris Bachalo and the last two by Eddie Campbell, plus the excellent covers by Dave Johnson. It's eight well-drawn, well scripted and entertaining issues under one cover.

I can't wait to add this to my ever-growing shelf.

CAPTAIN AMERICA: HOMELAND, VOL 5 TP (MARVEL PAGE 72, $19.99; OC: JUN04 1648C)

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More good stuff from AiT/Planet Lar this month:

William Harms, the writer of Planet Lar’s ABEL and artist Steve Morris bring us BAD MOJO, a bizarre story of accidents and consequences. Bruce O’Conner, a rookie ball player is heading to the big leagues, falls asleep at the wheel, and collides with another car. The damage is pretty minimal, but the owner of car is a Witch and she’s already got an issue with men. Bruce has made it a lot worse. She curses Bruce and what happens, well, you’ll just have to wait and see.

Harms is a talented guy with a different perspective than most writers out there. He’s a bit more cynical than some and just plain different than others. Steve Morris is a new name to me, but the artwork looks good. Check out the preview pages on Harms’ website .

Then there’s the new issue of Brian Wood and Becky Cloonan’s DEMO. The monthly maxi-series takes a thorough look at the death of a relationship in “Breaking Up.”

Wood’s got the voice of this series Down and Cloonan’s artwork gets better and better and better every issue.

BAD MOJO GN (PAGE 210, $12.95; OC: JUN04 2122)
DEMO #9 (Of 12) (PAGE 210, $2.95; OC: JUN04 2124)

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A while back, I read and reviewed Patrick Neighly’s SUBATOMIC, and was pretty damn impressed. It was Neighly’s first professional outing and it was damned near flawless.

This month, his newest OGN is being solicited. TEXARKANAis a twist on police procedurals, sent in a not so distant future where the US has lost its power. The last superpower in the Northwestern Hemisphere is Texarkana, a state that spans from Arkansas all the way down over the Rio Grande into Mexico. Through the eyes of rookie officer Simon Hills, readers get the story of the Adjudicators, four-man teams that are the investigators, judge, jury, and executioners of the region.

It’s a 100 page original graphic novel of justice and international intrigue with unique artwork by Donny Hadiwidjaja and lush full-colors from Anne Marie Horne. Hadiwidjaja’s style is slightly exaggerated with a gritty edge, which seems to work for this book. The preview pages are gorgeous.

This book is unlike anything else on the shelves and it’s really something that’s worth your attention. Preorder it today.

TEXARKANA GN (PAGE 320, $12.95; OC: JUN04 2655)

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SCANDALOUS, the newest OGN from J. Torres and Scott Chantler, takes an inside peek at the entertainment industry in the 1950s.

More specifically, the name of the game is “Hollywood,” focusing on Paige Turner, the most read gossip columnist in the city. She’s well known and not-necessarily well liked, but everyone wants to be seen with Turner.

Things are good until a formidable new voice comes to town and threatens to take the spotlight from Turner. The new guy, Harry Richards is a little sneakier, a little craftier than Turner. You can bet that they’ll come to blows.

Torres and Chantler are carving out a place for themselves in the industry by showcasing period pieces that others have yet to tap. Their previous outing, DAYS LIKE THIS, showed that they had the chops to compete and this time around, it looks like they’ll kick the door in.

Torres has a talent of writing in the tone of the time periods and Chantler’s artwork is adaptable to any situation. These two might be unstoppable.

SCANDALOUS GN (PAGE 326, $9.95; OC: JUN04 2705)

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Last and not least is the latest collection of Greg Rucka’s QUEEN & COUNTRY, OPERATION: Dandelion.

This collection is the sixth volume of Oni Press’ longest running title about the agents of the British espionage outfit, S.I.S.

The thing about QUEEN & COUNTRY is that it’s not about the spy action, but the lives of the spies. It’s not all car chases and undercover work. It’s the interactions and the waiting for messages and the tension that grows when those messages don’t come through.

Rucka has formed a small cast that is so tight knit, they feel like family. We’re there for the high points and the lowest of lows.

This volume is drawn by the Mike Hawthorne, an artist who has really burst onto the scene. He’s worked his way up from mini-comics to illustrate one of the smartest books on the shelf. He has a slightly cartoonish style, which has a hard edge when it’s needed.

I can’t wait for this new book.

QUEEN & COUNTRY, OPERATION: DANDELION, VOL 6 TP (PAGE 328, $11.95; OC: JUN04 2709)

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Upcoming
Books of interest shipping this week…

APR040103 B.P.R.D.: A PLAGUE OF FROGS #4 (Of 5) $2.99
APR040275 BATMAN ADVENTURES: ROGUES GALLERY, VOL 1 TP $6.95
APR040276 BATMAN ADVENTURES: SHADOWS AND MASKS, VOL 2 TP $6.95
APR040371 HELLBLAZER: HIGHWATER TP (MR) $19.95
APR040294 SUPERMAN: BIRTHRIGHT #11 (Of 12) $2.95
APR040378 SWAMP THING #4 (MR) $2.95
APR040363 WILDCATS VERSION 3.0 #22 (MR) $2.95
MAR041395 FREAK GN $6.95
MAR041396 GHOST SPY #1 (Of 6) $2.95
MAR041404 NYC MECH #2 (MR) $2.95
APR041733 ULTIMATE SPIDER-MAN, VOL 4 HC $29.99
APR041734 ULTIMATE SPIDER-MAN: ULTIMATE SIX, VOL 9 TP $17.99
MAR042368 TRUE STORY SWEAR TO GOD #9 $2.95

That’s it for this week. Come back next time for more fun stuff.

 

Brian Domingos is the Columns Editor at Popimage.com. Disagree with him? Think HE’S the problem? Email him via brian@popimage.com and get it all off your chest.


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