Review: Nova #2 (2013)

First off--I absolutely love the cover for Nova #2. The first one was stellar as well, but Ed McGuinness, Dexter Vines, & Mart Gracia out did themselves with the second issue. I particularly love the background image. While paying homage to classic Science Fiction it manages to also respect older space opera Marvel titles. It is very reminiscent of late 90s Infinity Gems/Gauntlet and Warlock comics; it strikes a nostalgic chord, which I very much enjoyed. It is one of the many reasons that this title has skyrocketed to the top of my Marvel NOW! pull list.

The narrative has some amazing symmetry to it, whether intentional or not it is always appreciated due to the cadence created for the reader. Loeb starts the second issue right where the last left off, with Rocket Raccoonand Gamora standing over Sam Alexander’s bedside. Sam (still new to the whole Nova gig) is caught completely off guard and mistakenly calls Rocket Raccoon a “Raccoon,” which leads to one of the more amusing moments of the issue. I was a tad disappointed thatRocket Raccoon and Gamora didn’t have a larger role to play in this issue, but this isn’t necessarily a critique in the strictest sense, it is the comic fanboy in me wanting to jump the gun rather than allowing the story to naturally build and climax as Loeb intends it.

After the brief tussle between Rocket Raccoon and Sam, the issue dives into the typical young hero finding out about his new found powers. For those not familiar withNova this issue provides excellent insight into his basic skill set. Throughout the years various Novas have expanded upon these rudimentary abilities, which have resulted in some very interesting and clever combinations, but for Sam he is completely new to the whole affair. However, from a writing standpoint it creates a unique opportunity to alter and change the character’s power set. The series might start off a little slow, because the writer has to simultaneously introduce a new character to a knowledgeable audience as well as introduce a character to his new found powers, but odds are within a couple of issues the character will become more rounded out and the series will become more action-packed than ever.

This issue is definitely about the transformation and development of Sam Alexander into Nova (aka the Human Rocket). It is his origin tale, and getting characters caught up to speed on the ‘things’ bigger than themselves is a difficult task. I always enjoy reading an origins tale to see how the writer tackles this predicament, because the writer has to essentially balance the fact that the audience knows more than the character knows. Loeb is juggling pacing with character building. He needs to keep an audience with a slower narrative, but in the long run it will provide him the foundation to build a ‘new character from the ground up, which will eventually increase the pace.

The beginning and the end of Nova #2 were my favorite portions of the issues, but the fill-in is necessary and I hope readers don’t drop off because it is a bit too slow--Stick around, it will pick up. I think Loeb is doing a brilliant job reeling people in at the end, while character building in the middle.

I give Nova #2 four-out-of-five stars.

(Source: Review: Nova #2 (2013))

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Review: Nova #1 (2013)

In my opinion, Marvel NOW! has been a smash hit. The quality of the content has been phenomenal, and in retrospect it makes me sad to think of DC’s NEW 52. There were some gems to be gleaned from those 52 new titles, but Marvel has managed to best them at their own game with essentially the same core writers and artists. At the moment, they seem to have that small publisher feel, but with the backing of a large one.

The reboot of Nova and Guardians of the Galaxy were the series I was most looking forward to and their respective creative teams didn’t let me down. Nova #1 is a fresh take on the title character and its artists have filledNova’s glossy pages with classic science fiction art that I have been missing since I was a child.

Nova #1 centers around Sam Alexander.Sam leads a life that not many would be envious of--he is the laughing stock of his school due to his father’s janitorial position and repeated drunkenness. Sam believes that his father’s bedtime tales of the Nova Corpsand his adventures are fabricated, but whatSam doesn’t realize is that the Corps is real and the root of his dad’s depression and irresponsibility. His dad’s fantastic tales of heroism, talking raccoons, and deep space battles are all true, and it isn’t until his father goes missing and the Guardians of the Galaxy come a calling that Sam begins to believe in his dad’s tales.

Jeph Loeb spins a classic science fiction tale that bridges the prior Nova volumes with a logical, new character that is obviously destined to be the new Nova. Ed McGuinnesscompliments Loeb’s story perfectly by creating a ‘Last Starfighter’ vibe to the series. His facial expressions are incredibly appropriate to the characters he is recreating; they are not overly complicated, but they always seem to convey the proper emotion of the character within every panel. Also, to note, the coloration (Marte Gracia) and inking (Dexter Vines) are particularly vibrant, which add to the nostalgic, classic sci-fi tone to the artwork.

Not only does the story modernize Nova, the artwork and inking tie it to its roots, creating a stellar transition from the past to the present. I can’t recommend the Nova series enough. Nova #1 receives five-out-of-five stars.

(SOURCE: Review: Nova #1 (2013))

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Indie spotlight: Point of Impact #1

“Point of Impact” is a four-part miniseries that is as much a crime drama as it is a study of the human condition. The first issue begins with the death of a woman.

A couple sits tentatively waiting for that goodnight kiss, when suddenly a body strikes the roof of their car, crunching the roof and the body in unison. The following page is a full page spread of the woman’s body lying atop the destroyed car, and the two passengers standing on either side taking in the horror. All of this is depicted in a scant five panels on the first two pages. It is a startling beginning, but it sets the tone of the series immediately.

The rest of the issue unfolds by introducing the key players--all the individuals tied to the woman...and perhaps her death. Her husband, her paramour, and her cop friend (who is investigating her murder).

The lead-up is fairly simple; it could be the pilot episode to any new cop drama on television, but what makes it unique is its execution. Writer, Jay Faerber, solidly composes the first issue by depicting the event (the murder) and then ties the main characters to that event. The transition between narratives is fluid and does not lead to any confusion, which is difficult to pull off when writing an ensemble. Ensembles are always the sought after choice when writing practically anything, but to properly weight each character accordingly and create audience interest in each character is a valuable and acquired skill. Faerber pulls it off masterfully.

However, like any comic book...there is always another side to the coin. The writing is superb, but what really rounds out the issue and pushes it to ’11’ is Koray Kuranel’s artwork. As the artist for the book as well as the cover, Koray creates tension and drama by removing the color and focusing on the stark contrast of a black and white world, that as written by Jay Faerber is metaphorically filled with gray. It creates a beautiful noir atmosphere that naturally fits the crime drama genre.

Charles Pritchett is the letterist for “Point of Impact,” and personally his artistic touches to the series do not detract or add in any significant capacity. Maybe that is the mark of a great letterist? Like in poetry the rhyme should be hidden, but present--just never overtly. Regardless of the intention, or the mark of a great letterist, the print is present, but never distracting or flamboyant.

All-in-all, this is a great indie title that I think will unfortunately be missed if not plugged more. Image Comics is producing some amazing titles. It isn’t all about “The Walking Dead”--their entire lineup is topnotch, and in quality compares and perhaps exceeds what DC andMarvel are producing. Image Comics has that small publisher feel, but with the potential to reach out to their readers like the large publishers can.

Pickup all of your Image Comic goodies at your local comic book store. If you support local, you support your city as well as its people.

(SOURCE: Indie spotlight: Point of Impact #1)

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Indie spotlight: The Massive #1

The Massive is a subtlety. It lies entrenched amongst the indie explosion, but still along the fringes. This is not to imply that it ebbs into the mainstream superhero front, but rather the opposite. The Massive is a comic about the environment, activism, politics, social change, and so much more. It focuses on serious topics framed by a series of cataclysmic events that leaves the Earth alive, but limping. After the world turns its heels against humanity is humanity still supposed to protect its dangerous mistress? Writer Brian Wood would say, “Yes.”

Published by Dark Horse Comics, The Massive focuses on Callum Israel, the enigmatic leader of an environmental activist group, Ninth Wave. Ninth Wave has in times past been considered a radical environmental group that has been unfortunately labeled as a terrorist organization by numerous world agencies due to prior events that are removed from the present storyline.

While out at a sea a world shattering series of natural phenomenon decimates much of the world. Leaving millions dead, coastlines re-written, and the world economy left in ruins. The Massive takes place roughly year after the start of these events, and focuses on Callum Israel’s crew and lead vessel, The Kapital, searching for its lost companion ship, a supertanker by the name of TheMassive. Whilst searching for The Massive, The Kapital, (during Dark Horse Comics’ three-issue introduction) contends with marauders and pirates, missing ports, government agencies, and countless other natural perils that ultimately disable The Kapital from effectively findingThe Massive and their missing crewmembers.

Throughout these issues Callum continuously questions his primary directive, but as the first story comes to close he realizes that now more than ever the world needs an active environmental group. People all over the globe are banding together and piecemealing society with the refuse of the old. In the eyes of the Ninth Wave, it is the greatest environmental movement ever conceived.

The art is a refined series of sketches. Kristian Donaldson’s panels are crystal clear, but they embody the nature of the content beautifully by incorporating muted tones (Colorist: Dave Stewart) and incomplete lines to depict the notion of Armageddon--all the while, being framed by lofty ideals and subtle constructs written by Brian Wood. The writing is simultaneously coherent, but not. I found myself re-reading the issues in order to find out all of the little nuggets of information, but in the end it fleshed out the completeness of the plot that was well worth the re-reads. It was as-if I was searching for The Massive’s own Easter Eggs, and for it me I found it to be quite enjoyable. I loved the subtleties and foreshadowing that came along with the well-conceived plot.

The Massive is not action-packed by any means, and like the slower periods in Robert Kirkman’s Walking Dead it instead focuses on the seriousness of the obscene. If zombies existed how would humans stay humane? Brian Wood queries the same-type of question: If an environmental apocalypse occurred would environmentalism still exist?

If you can stand a strong and deep narrative, rather than nonstop action and violence, then pickup The Massive. It is incredibly poignant and just as James Cameron re-packaged environmentalism in his hit film, Avatar, Brian Wood has done the same type of re-packaging except within a different medium. With this in mind I give, The Massive, four-and-a-half stars out of five.

Stay local and buy/order your copy from your local comic book shop. I am positive that they will appreciate the business. If you are a Spokane resident I highly urge that you hit up Merlyn’s Sci-fi and Fantasy Shop on Main in downtown Spokane for your comic and gaming needs. They’re friendly, they’re affordable, and they’re local. Stayed tuned for more reviews...here at the Examiner.

(SOURCE: Indie spotlight: The Massive #1)

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Review - Night of the Owls: Batman Annual #1 (2012)

The first annual to come out DC’s NEW 52 cannon happens to be nestled right within Scott Snyder’s Night of the Owls crossover, and manages to introduce Mr. Freeze to the new continuity while simultaneously tying him to the Court of Owls. On the whole the annual does exactly what it aims to do, but there are several sections where improvements and character truisms could have been adhered to rather than eliminating them to make way for another Night of the Owlstie-in.

The annual opens up with a flashback. A young Victor (Mr. Freeze) joyously plays in the snow while his mother follows. In single, near silent moment Victor’s mother plummets through the ice and disappears without a word.

The issue then transitions to an interrogation session of Mr. Freeze. He uses this as a window to escape his cell successfully subduing and killing several guards. In an act of trickery he eventually obtains his specialized armor, which allows him to escape Arkham Asylum. Mr. Freeze’s first thought is to quickly locate the Penguin in order to re-obtain his equally specialized weaponry, which he plans to use against his nemesis, Bruce Wayne.

An informative segment explaining why Mr. Freeze despisesBruce Wayne is presented in another flashback. And, like the lore of before, Victor is driven by his near-dead wife, Nora Fries, which Bruce Wayne unceremoniously took away fromVictor causing him to break and become Mr. Freeze. In search for Nora, Mr. Freeze finds another cryostasis chamber and is shocked by the inhabitant’s aged appearance.

At this moment, Nightwing and Robin take the opportunity to enter in an effort to stop Mr. Freeze in the sublevels ofWayne Tower. They briefly squabble, but unfortunately the two are thwarted and Mr. Freeze escapes unscathed. He proceeds to climb Wayne Tower eventually finding Noraalone and still frozen in a large empty room. Batman enters in his traditional fashion, and plans to finally end Mr. Freezesrampage once and for all.

The issue concludes nicely adding a couple of twists for the benefit of the reader slightly altering the mythos surroundingMr. Freeze and his origins. I won’t spoil it, but it was definitely a classic Snyder touch; it was much appreciated. It was incredibly symmetric and a great way to structure Mr. Freeze’s origin story. Also, Snyder and Tynion take an obvious and logical avenue to explain Mr. Freeze’sinvolvement with the Court of Owls, and within the issue they do a great job of portraying his reaction to his interaction with them.

Personally, I found the issue to be enjoyable, but there were a couple scenes that disappointed me, and on the whole this annual didn’t feel much like an annual. It could have very well been the next issue of Batman or a giant-sized issue, rather than an annual. The scene that troubled me the most was how easily Mr. Freeze defeated Nightwing and Robin as well as his subsequent escape. Together, Nightwing and Robinare more than a match for Mr. Freeze, and if Mr. Freeze is as cruel and ‘cold-hearted’ as to be believed he would have just killed them when he had the chance.

Nevertheless, I thought that Scott Snyder and James Tynion IV’s plot was tight and coherent, and I really appreciatedJason Fabok’s pencilings and Peter Steigerwald’s corresponding colors. I give Batman Annual #1 four-and-a-half stars out of five.

(SOURCE: Review - Night of the Owls: Batman Annual #1 (2012))

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The NEW 52: Ravagers #1

Ravagers hits you with a dull thud the moment you take a gander at it.  The cover is riddled with eye-distracting text, which effectively buries any semblance of artwork beneath its heel.  On a related note, I am surprised by the lack of fact checking that took place on the cover.  Artist Jeremy Whittington pointed out to me that two of the team members are misnamed, due to a transposition, creating a fairly blatant error that now gets to rest upon comic book shelves all across the country for all to see DC’s wonderful editing skills. 

As guessed, the first impressions of Ravagers #1 are not a stellar.  The Ravagers spins out of the Titans Titans crossover, The Culling.  Essentially, the Harvester (a villain from Legion Lost’s time period) has meta-humans compete in what is dubbed the ‘Culling’ to see which are skilled and strong enough to become his own personal minions, otherwise known as the Ravagers.  These individuals are often tortured and experimented on in order to enhance or evolve their power sets.  This often has horrible side effects resulting in unstable abilities and memory gaps and/or loss.  However, despite all of this, in the closing pages of theCulling a small group of Ravagers escape and try to begin anew in Ravagers #1. 

The first issue of this new DC series begins and ends rather sluggishly.   Led by Harvester scientist Fairchild aids the beguiled Ravagers to the surface above the underground complex amidst a flurry of snow and broken ice.  Almost immediately the loose knit team splinters, pairs off, and takes their own lives in hand in an effort escape.

There is some brief dialogue between the characters, but the comic tries to pick up again when two of Harvester’s more prominent Ravagers (Warblade and Rose Wilson) arrive on site to wrestle the remaining Ravagers back into their cages.  In desperation the team reforms under Fairchild’s leadership and instead of fighting the two head on they use Thunder’sunchecked power to cut off a section of the ice shelf successfully separating themselves from their enemies and plunging them into the newly created chasm. 

On the whole, the Ravagers is much worse than last month’s G.I. Combat.  For a second I almost thought that I was reading a J.T. Krul penned comic, but alas I was mistaken.  Like Krul, the dialogue and plot structure are clumsy and ill structured.  I see the intent behind some the scenes, but they are injected at odd junctures and try to convey much deeper motifs than can be explained in a single issue. 

From my understanding one of the main tenants of theRavagers’ dynamic is the simple fact that they are essentially tortured meta-humans with a tampered moral compass.  As a group they are going to have to ascertain their place upon the good vs. evil battlefield, and instead of setting some underlying narrative to dive into this as the series progresses there are particular snippets that try too hard to explain something too complex for the infancy of the series.

The art is middle of the road.  It’s not bad, but it’s not Jim Lee’s Superman either.  I was hoping that I would be dazzled with a brilliant splash page or two after slogging through such poor narrative, but alas I was wrong again.

 I give Ravagers #1 two-out-of five stars; I’d shelve this one and move on to something more intriguing.  DC has rolled out some great titles, but unfortunately this isn’t one of them.  Save yourself the trouble and pick up Dial H to satisfy your hankering for something fresh.

Also, don’t forget to check out more of DC’s New 52 at your local Spokane comic book shop, Merlyn’s, downtown on Main Street.  They’ve recently changed their pricing to include 20% off of graphic novels and 50% off of back issue comics 2011 and older.  It’s a stellar deal, but it’s first come first serve, so stake your claim quick.  Stayed tuned for my upcoming review on DC’s first Before Watchmen title, Minutemen #1.  Here’s a preview: It’s Awesome!

(SOURCE: The NEW 52: Ravagers #1)

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Review - Avengers vs. X-Men: Versus #1 of 6 (2012)

*This review DOES contain spoilers in so far as revealing the winners of each match-up in Marvel’s Avengers vs. X-Men: Versus limited series.

Avengers vs. X-Men: Versus is the Avengers vs. X-Men’sgritty, brawler step-cousin.  It combines the Marvel Universe with a smidgen of Palahniuk’s Fight Club to create a story-stripped six-part limited series that focuses on two, one-on-one battles between an Avenger and X-Man.

Issue one of the series pits Iron Man against Magneto, andThe Thing against Namor the Submariner.  Each battle is penned by a different Marvel Architect and drawn by a different artist.  It’s nice touch; because it varies up the ‘feel’ of the comic and makes sure that the outcome is more diversified than if the same writer wrote both battles.

Round 1

Iron vs. Magneto

You would think that Magneto would have this battle in an cinch, because after all he’s fighting a man in an iron suit; however, Tony Stark is more than just a man in an iron suit.  He has counter measures set in place that negate Magneto’smagnetism.  The two trade potshots—Magneto by tossing something large and metallic, and Iron Man by using something technological and extravagant.  

The battle suddenly shifts gears and takes to the stars.  The tide abruptly shifts as Iron Man begins to siphon off power from Jupiter’s magnetic field to fight fire with fire in one of the coolest Iron Man powers presented in a long while.  Magnetotries to fight back by pulling out all the stops, but in a character expanding moment Magneto feels the death of star and is suddenly humbled by the power of the Phoenix Force.

At the end of the day…

Iron Man Wins

The Thing vs. Namor the Submariner

In the beginning of Avengers vs. X-Men #1 Namor and theThing trade blows as a Colossus destroyed Helicarrier lists and sheds its metal into the sea.  The two warriors fall into the ocean where Namor believes he has the advantage overBen ‘Clobbering Time’ Grimm, but the Thing stands in deviance to the sea and thus to Namor. 

Namor uses his power to nab a sea monster and toss it towards the Thing expecting to finish the battle in one fell swoop.  The Thing grabs a hold for the ride and ends up pulling out the creature’s fangs and using them to trap Namorto the sea floor ending the battle.

The Thing Wins

Overall, I was incredibly impressed with Marvel’s AvX: Versusseries—at times it was better than the core series, and even though the plot was highly minimal it often revealed plot clues and details that were otherwise omitted.  I give Avengers vs. X-Men: Versus #1 four-and-half-stars out of five.

(SOURCE: Review - Avengers vs. X-Men: Versus #1 of 6 (2012))

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Review - Night of the Owls: Detective Comics #9 (2012)

In Detective Comics #9 Bruce Wayne takes a detour toArkham Asylum in a last ditch effort to save the crazed Dr. Arkham from the threat of the Talons.  Dr. Arkham feeling more safe locked up within the confines of a mental ward ignores the advice of his trusted head of security, Mr. Cash, to get the Gotham City police involved in his protection. 

Batman, however, disagrees with Dr. Arkham’s assessment.

Batman reaches the asylum just as the Talons trip the breakers blanketing the facility in blackness—at this they come calling for the good doctor.  Surprising even the cloaked Talon, Dr. Arhkam adequately fends him off the help of quick reflexes and an electrically charged brass knuckle.

At this juncture, Batman suddenly bursts into the room to finish taking down the undead assassin.  As Batman battles the Talon the doctor flees to the Black Mask’s cell further within the asylum, and in an effort to save himself he manipulates the Black Mask by furthering his dementia and releasing the rest of the inmates to combat the invadingTalons.  With Batman caught in the middle, he eventually realizes that the Black Mask’s powers are affecting the mental patients in such a manner that they are not even aware of his presence.  He uses this opportunity to track down Dr. Arkham and abscond from the premises with the doctor in tow, via the Batmobile.

Overall, the plot of the issue wasn’t bad, but I honestly feel as if DC is beating a dead horse with another cliché Arkham Asylum plotline.  This time around I found it uninteresting and almost like a pandering to gamers due to its similarity toRocksteady’s Batman: Arkham Asylum.  And, as an avid comic book reader and a gamer I found it slightly offensive.  The Night of the Owls issues have been of such a high quality by truly advancing the characters or event in some way or another.  Detective Comics feels awkward and merely a filler till the next Batman issue released.  One point of interest though--I did appreciate that even in the ‘awkwardness’ of the tie-in it still was in continuity with the rest of the event.

One of the core premises for Scott Snyder’s Night of the Owlsis that the entire event is meticulously planned to span only one evening.  Unlike Marvel’s Avengers vs. X-Men the Night of the Owls has almost a heightened level of continuity that usually isn’t found within the comic book industry.  For example, Detective Comics #9 begins precisely at 8:26pm and finishes at 9:49pm, which falls squarely between the confines of Batman #9 (which is also neatly labeled).  And, if you cross-reference any of the other Night of the Owls’ tie-ins they are all time stamped accordingly and all fit together neatly like a well-cut puzzle.  For this I give DC praise, however, holistically reviewing Detective Comics #9 I find that the issue merely serves as a weak bridge and really doesn’t further the plot or develop any of the characters represented within the issue.  The artwork is solid, and the writing is linear and understandable, but on the whole Detective Comics #9stagnates.

Detective Comics #9 gets three-stars-out-of-five for being flashy, but not really extrapolating on the Night of the Owlsstory arc.

(SOURCE: Review - Night of the Owls: Detective Comics #9 (2012))

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The NEW 52: Dial H #1

DC's NEW 52 just got newer—sort of.  In September DCrevitalized their entire universe on the cusp of the 2011 blockbuster event Flashpoint.  Flash-forward eight months later, after the first bouts of cancellations, six new serials were poised to take their spots—one of which being, Dial H.

Dial H for Hero has bit into the DC Universe a couple of times now.  One of which being in the 1980’s where it hopped around for a bit as a crossover in several DC magazines such as: The Legion of Super-Heroes, Adventure Comics, The New Adventures of Superboy, and Superman.  And, most noticeably, a short-lived run in 2003 titled H.E.R.O., which only ran for twenty-two issues.

The premise of the Dial H for Hero franchise is as follows: a mysterious and magical telephone booth transforms the ‘boothee’ into a random superhero upon the condition that they dial ‘4376,’ otherwise represented as the word ‘HERO.’

China Mieville begins by introducing readers to Dial H’s titular character, Nelse—an overweight, late twenty something, struggling in a city that eats up slackers and do-gooders all the same.  Nelse is bickering with his friend Darren when he finally stomps off to leave Nelse to his invitational-only pity party.  In a pang of guilt Nelse chases after his buddy to only catch up with him as he is being mugged.  Trying to get to a telephone to dial for help he stumbles into a phone booth and in a panic dials a number—any number—and suddenly Nelsetransforms into—Boy Chimney!

Boy Chimney is a macabre, Jack Skellington-esque character whose powers include: increased reflexes and speed, poison gas, smoke manipulation, bullet-proof skin, smoked-based clairvoyance, and transportation by smoke.  Mateus Santolouco’s rendering of Boy Chimney was superb, and the pages including the unusual hero were my favorite of the issue.

After saving his friend and taking him to the hospital, Boy Chimney collapses back to Nelse upon a rooftop in Littleton and begins piecing together the last few hours of events. 

The issue then peaks as Nelse finds out that his hospitalized friend has been conducting some illegal business on the side, owes money to some very nasty individuals, and that is the truth to why he was roughed-up in the first place.  In an effort to protect his friend, Nelse heads back to the phone booth and transforms yet again, except under the guise of Captain Lachrymose!—an emo clad hero that draws upon the most traumatic events of a person’s life for strength and power.

Dial H definitely has a very strong Vertigo vibe to it, which translates well.  There is a slight reference to the Green Lantern, but other than that Dial H feels completely outside of mainstream DC Universe.  The plot is excellently composed and will hopefully catch the subscription piles of readers. Santolouco’s art is gritty and dark; Littleton almost has a ‘what-if’ Gotham City had no Batman kind of an atmosphere to it, so the more eccentric and morally ambiguous heroes such as Boy Chimney and Captain Lachrymose fit in perfectly.

I give Dial H #1 four-and-a-half stars out of five and the Schultz must-read stamp of approval.

(SOURCE: The NEW 52: Dial H #1)

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Welcome to the Vertigo: Saucer Country #1 (2012)

After reading Vertigo’s Dominique Laveau: Voodoo Child I was a bit trepid about Saucer Country, but Paul Cornell and Ryan Kelly pulled out all the stops to create an enjoyable extraterrestrial political romp that is sure to please indie fans.

Essentially, Saucer Country concerns Governor Arcadia Alvarado, her confidants, and staff as they begin to gear up for her bid for U.S. Presidency.  The twist on the whole affair is that the evening before she tosses her hat into the ring she is abducted by aliens.  At first she is stunned in disbelief (as anyone would be), and tries to rationalize her experience with a myriad of plausible excuses, but as the comic wanes she begins to realize the truth about what happened.  This leads to a dramatic and somewhat unexpected conclusion, which I will keep hush, hush so that you can check it out for yourself.

The writer of Saucer Country, Paul Cornell, is no stranger to science fiction and aliens; he penned the first Stormwatch story arc than spun out of DC’s new 52, which centers on an intergalactic space station that harbors all sorts of alien life.  Here, Cornell provides a lighter touch to Saucer Country by grounding the science fiction aspects of the story in the day-to-day, tumultuous on goings of current American politics.

Rather than opening with an obvious alien abduction scene, Saucer Country begins at the moment Governor Alvarado is returned.  This leaves the aliens, as well as their intentions, in a sort of gray area that can be tweaked and altered as the series goes on to add to the mystery.

Continue reading on Examiner.com Welcome to the new Vertigo: Saucer Country #1 (2012) - Spokane Comic Books | Examiner.com http://www.examiner.com/comic-books-in-spokane/welcome-to-the-new-vertigo-saucer-country-1-2012-review#ixzz1rT8a9EV7

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The NEW 52: Resurrection Man #1

Resurrection Man is written by Dan Abnett and Andy Lanning with art by Fernando Dagnino and colors by Santi Arcas.  (With cover art by Ivan Reis and Joe Prado)

Resurrection Man has a very interesting premise and power.  Resurrection Man is technically immortal, however, he can be killed; upon his death he is resurrected (hence the name) and receives a new power related to his death and/or rising.

Issue #1 begins with Mitch Shelly (aka Resurrection Man) describing the metal about his corpse as he lays upon a gurney with an M.E. performing his autopsy.  He describes the cold metal slab beneath him, the taste of metal deep within his gums, and his abnormal sense of other metallic objects in the room (including the coroner’s watch).  Shortly after the M.E. leaves the room Resurrection Man is painfully resurrected.  He then proceeds to gather up an ID and some wearable clothing from the nearby locker room.  Intuition tells him he needs to head to the nearest airport to catch a flight.

Besides his ability to resurrect and subsequent power he also is ‘gifted’ with a notion or a nagging idea of where to proceed once he is revived –akin to a indirect, more cerebral Greek call to action-.  This time around he feels the need to take a particular flight, and thus heads to the airport to satisfy his mind’s urge.

He makes his flight and in a sudden twist the patron who ‘happens’ to sit beside him ends up being something a little more than human, which results in a stellar ending to the issue and sets up for a great story arc to be continued well into the next issue.

Personal Thoughts:  I really enjoyed Resurrection Man almost solely on the principle that it felt ‘new’ to me.  He is an interesting character that I had not really caught onto when he debuted in the late nineties.  His powers are truly unique and he comes off as a more realistic character who just happens to have powers instead of an invincible hero with a cape.  His powers are not the standard super strength, speed, or flight abilities given to most heroes and villains to some degree or another, and because of this he stands out amongst them. 

Due to Resurrection Man’s ability to overcome even death he is technically more powerful than even Batman or Superman.  This coupled with the aforementioned statement makes for an intriguing dichotomy, which will further create some out of the ordinary story arcs that I think will stand out from other comic book runs.

Overall, the art is slick and the writing is superb; definitely a week two gem of DC’s NEW 52.  I give Resurrection Man four-out-of-five stars.  Do not forget to check out Resurrection Man #2 which releases 10.12.2011; it is sure to tingle even the dead’s literary senses. 

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