Let’s be honest. You don’t know me. I’m the new Guest Contributor, and for all you know I cut my teeth reviewing which Care Bear is the cutest and commenting on the new gay romance in Archie and how that has any impact on the genre known as comics. So, let’s cover a few things very quickly:
1. I’m not a professional (or even an amateur writer); this is my stream of consciousness, as twisted as it sometimes is.
2. I am not a Fanboy. That is, I don’t always know who wrote what, or who inked who or whatever. I’m a purist in that I read (and have read for decades) comics ‘cause I like them. If I fall in love with a particular artist or writer, it’s because what they did rocked my world so much that I actually read the front cover of the comic . . . which almost never happens.
3. I am not a hipster. I read mainstream comics that many of my counterparts may consider bourgeois. Get over it.
So, back to A Tale of the Golem. It’s pretty good: Crafted as a teaser, interesting characters, and a pretty straightforward (predictable, so far) story. This isn’t a bad thing, assuming you want a good, traditional story.
Scott Snyder, DC’s white-hot writer of dark-and-brooding Batman and gothic-horror Swamp Thing, delivers a techno-horror tale of mystery and the unknown under the sea with The Wake. With art by Sean Murphy, of Punk Rock Jesus and Joe the Barbarian acclaim, and with colors by seasoned Vertigo collaborator Matt Hollingsworth, this new title sings.
Mike Mignola and the various talent powerhouses that create Hellboy do not need my vindication.
The work in this book has been reviewed and re-reviewed, so I am not really going to focus on the book's content but, instead, its form.
Automotive, playing Saturday evening at Los Angeles’ “Dances With Films” festival, is an ambitious project. It’s a neo-noir, shot entirely in and from the protagonist’s 1964 Mercury muscle car. That alone is enough to make the film worth a look. But, there’s more to Automotive than that. Writer/director Tom Glynn has crafted a smart, gripping thriller that’s satisfying and fun.
The Longest Road, a zombie novel by A.S. Thompson, is a simple, fun read. The story follows five brothers and cousins as they make their way to the safety of California in a state-of-the-art RV after the zombie outbreak claims the rest of their family. The five have been hunting since they were kids, have varying skill at marksmanship, and one of them has military experience, which is how Thompson makes their survival believable.
When somebody emails you and asks if you would like to read a sneak preview of Clive Barker's new comic book, you pretty much have a moral obligation to say yes; I mean he is Clive Barker. So, when my Managing Editor emailed that she had it available, I responded as fast as I could. It wasn’t long before I found myself reading Issue #1 of Next Testament from Barker, his writing partner Mike Miller (not to be confused with Mike Millar of Kick-Ass and The Ultimates fame, among other things), and BOOM! Studios.
What makes the Danger Girl: Trinity series so much fun is that it doesn’t take itself too seriously. It’s total sensationalism—full of explosions and scantily clad women—and it owns that fact. The situations are often over the top and full of adrenaline, but behind the epic car chases and gun battles (sometimes happening simultaneously) is just a touch of silliness that makes it truly fun.
Strange Attractors is a unique brand of science fiction. It’s not about starships or time machines or genetic experiments. Instead, it’s about the advanced mathematical equations that can find patterns in the complex systems that govern the chaos of our world. Sound boring? Not at all. The story doesn’t delve into any great detail about what these equations are, any more than Back to the Future delves into how the flux capacitor works. Instead, it shows us characters who are able to use these equations to shape reality and predict and influence the world around them.
First off, I want to say I liked Hero Happy Hour. The concept is unequivocally cool, especially for a big superhero geek like me, who has lived out this fantasy in my head quite a few times. The basic setup is that there is a bar and superheroes like to go there to get plastered after work, and life ensues. What better way to show that superheroes are people than to show their debilitating struggles with addiction, erm . . . I mean, love of booze.
There’s a lot to like in Sean Patrick O'Reilly and Erik Hendrix’s The Steam Engines of Oz #1. We have a likeable, if straightforward, protagonist in Victoria, a mechanic who has spent her life beneath the industrialized Emerald City making sure everything works, a supporting cast made up of the prisoners she interacts with on a daily basis, and a respectable dose of the generalized whimsy that made L. Frank Baum's books so unique. Yannis Roumboulias' art is terrific, particularly in action sequences, and incorporates the steampunk theme of the book without overindulging in it.