Category: Reviews

Review: Terry Brooks’ ‘Dark Wraith of Shannara’

Dark Wraith of Shannara
By Terry Brooks, Illustrated by Edwin David, Adapted by Robert Place Napton
Del Rey, 2008, $13.95

I am morally sure that the following conversation took place somewhere, among some people, before this book came into existence:

“It’s not fair! All of those other fantasy writers are getting comics based on their books!”

“Yeah! Why Salvatore and Hamilton but not Brooks?”

“What do they have that he hasn’t got? He’s at least as popular as Feist!”

I have no idea who said it, or who they said it to, but, somehow, the influence of the Dabel Brothers has led to ever more epic fantasy writers getting the urge (or maybe just the contract) to create graphic novels based on their work.

Not that there’s anything wrong with that; American comics have been a closed guys-in-tights shop for a generation now, and anything that opens that up is nice. But it is a bit weird, personally, when the two sides of my world collide quite so violently.

Dark Wraith of Shannara, unlike most of the recent epic fantasy comics out there, doesn’t adapt anything; it’s a brand-new story set in Terry Brooks’s very famous (and very bestselling) world of Shannara. For continuity geeks – and aren’t we all that, about something? – this takes place soon after the end of the novel The Wishsong of Shannara, and involves much of the cast of that book. Wishsong is the third of the original Shannara “trilogy:” they’re nothing like a trilogy, despite being three books about members of the same family published relatively quickly and all having the word “Shannara” in the title, but fantasy fans will call any conglomeration of three books a trilogy if you don’t stop them with heavy armament.

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Review: ‘Life Sucks’ by Abel, Soria and Pleece

It doesn’t seem a stretch to assume every possible vampire story has been done, from the classics to Anne Rice’s romanticizations to the modern Blade to the self-obsessed Shadow of the Vampire to the Dracula: Dead and Loving It spoof.

I won’t claim that Life Sucks (First Second, $19.95) is jaw-droppingly revolutionary, no. But it does deliver a riff on vampires that hasn’t been seen before.

To put it bluntly, Dave is a loser. He’s a wimpy young guy stuck working a dead-end job at an LA convenience store, and he’s in love with a goth girl who doesn’t know he exists. On top of all that, he’s a vampire, which just makes the life of the former-vegetarian all the more miserable.

The story of Life Sucks began several years ago when co-writers Jessica Abel and Gabe Soria were talking about vampires and wondered what it would be like for a young vampire stuck in the real world. After all, vampires don’t just start out with a big castle and tons of wealth, Soria told me.

Like a typical young adult, Dave is just starting out and trying to establish a life for himself. The vampire angle adds to his difficulties (despite a few cool powers), with the need to hide from sunlight, forage for blood and obey his master, Count Radu, the old vampire who infected him and owns the convenience store where Dave works.

Instead of obsessing with drudgery, the authors craft a simple but effective story of Dave’s pursuit of love, one that becomes expectedly complicated given the indie comics background of Abel. Life Sucks works because it’s a good little yarn about young adulthood, with the vampire angle serving more than anything as extra flavoring.

The art, by Warren Pleece, is appropriately grounded and manages to stay lively even during lulls in action. I interviewed him about his work on the book a little back, which you can read right here.

Review: ‘Tonoharu: Part One’

In works of fiction, I always appreciate stories that know exactly what they want to be and strive toward that identity. In other words, some books are best served by not aspiring to great pretensions.

In the case of Tonoharu: Part One (Pliant Press, $19.95) I have to eat my words, as it’s a book that perfectly accomplishes what it wants to do and still falls flat.

Creator Lars Martinson gives a fictional account of serving as an English teacher in a small Japanese town, something Martinson actually did. A prologue establishes the central character, Dan Wells, as the man who held Martinson’s post right before him (it never mentions if Dan is a real person).

As the two meet at the book’s start, Martinson describes Dan as having an "ever-present look of defeat on his face." He’s something of a Biff Loman in an international setting.

Dan’s problem is that by coming to Japan, he has cut himself off from the people, culture and language he knows. His job offers no challenges, his social life offers no prospects, so every day becomes a matter of waiting out the clock.

Martinson does a thorough job of creating this cesspool of mundanity through the painfully droll dialogue, the lazing pace of the plot and the two-toned artwork. Martinson inks in an impressive layer of detail, and even that serves to entrench the book more firmly in the boring paraphernalia of everyday life.

There is conflict, but not of man against man or man against himself. It is Dan against the sheer, painful nothingness of his existence. And that leads to a second conflict: this reviewer against Tonoharu‘s gentle urge toward sleep.

cover-last-days-of-krypton3-1550228

Review: ‘The Last Days of Krypton’ by Kevin J. Anderson

cover-last-days-of-krypton3-1550228

Everyone knows the basic story of [[[Superman]]]. Baby Kal-El, last survivor of the planet Krypton, rocketed to Earth by his parents Lara and Jor-El, found by a nice couple in Kansas, raised to be Clark Kent AKA Superman. But what about the story of Krypton before Kal’s birth? What about the lives of his biological parents?

In this hardcover novel published by Harper Entertainment, Kevin J. Anderson ([[[Captain Nemo]]], [[[Hopscotch]]], [[[Star Wars: Darksaber]]]) gives us a story of the ill-fated planet and its people, who are so tranquil and advanced in science that they have stopped dreaming and questioning reality. One man, Jor-El, still dares to dream — but finds his technology constantly censored by the Science Council and by Commissioner Zod. Eventually, Jor-El meets someone much like him, an artist named Lara Lor-Van who never hesitates to speak her mind, and the two fall in love. When disasters begin to occur, Jor-El and Zod may have to join forces to save their planet from destruction. But is Zod really concerned about the benefit of Krypton or is he plotting his own take-over?

In the foreword to this novel, comic writer Marv Wolfman (New Teen Titans, The Crisis On Infinite Earths) stated that Kevin J. Anderson’s goal was to create a story that took elements from all of the various and contradictory interpretations of the planet Krypton, its society and just why it was destroyed. (Did the sun go supernova, was it destroyed by a shifting orbit or was it a victim of a war involving terrible weapons?) The result would then be a tale that would allow everyone to at least find one or two familiar elements and would be entertaining for people who knew very little about the Superman mythos.

Unfortunately, that is not quite what we get. But more on that later. First, I should mention there are many good scenes here and there, as well as some touching moments. Of particular note is Anderson’s version of the first meeting between Jor-El and Lara Lor-Van. It involves danger and nice characterization and the date that it leads into shows just why these two fall for each other. Too often these days, we are shown a couple who are in love but who don’t really show this in their actions, requiring the writer/director to spell things out by having their characters awkwardly say things such as “I’m blinded by your love.” (Are you listening, George Lucas?!)

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Review: Jughead’s Double Digest #138

So there I was, at Midtown Comics, one of New York City’s better-racked shops, trying to find something my wife was looking for. That’s the only way you could get me into a comics shop on a Tuesday, the day before the new stuff is put on the shelves. Since I was there, I looked at everything else as well… and came across [[[Jughead’s Double Digest #138]]], a beneath-the-radar book that some will find of note.

This is the issue before the beginning of their latest “new-look” story, this time drawn by my pals Joe Staton and Al Milgrom, so I gave it a second glance. Above the logo, in type too small to be visible in the reproduction I cribbed from Archie’s website, is the phrase “Collectors (sic) Issue Featuring Jughead #1, 1949.” The cover art promised a story where the 2008 Jughead meets up with his 1949 counterpart. The one who only owned one shirt.

Unless you’ve been scouring the ComicMix comments sections lately, it is possible you are unaware that the Archie line is one of the best-selling newsstand comics ventures of our time. In fact, since their digests are available at most supermarket checkouts, they provide an unparalleled portal into the world of comics. Because their content appeals to readers of all sexes and age groups, they appeal to a group Marvel and DC barely acknowledge: the younger reader.

I should point out that Archie is also the last of the publishing houses still controlled by the family of its original owners. That comes across quite clearly in their editorial content, which is quite respectful of its roots.

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Review: ‘The Highwaymen’

On the surface, you’d think a good action movie would be a simple thing to pull off. Take one interesting protagonist, throw a ton of complications at him, have a nefarious villain behind things, add a little mystery and simmer. It’s always surprising, then, when so many bad action movies come out.

There are many things the new The Highwaymen comic (Wildstorm, $17.99) is not: It’s not complex. It’s not very serious. It doesn’t have all that much character development. What it does have, though, are all the elements of a perfect action movie, simmered to near perfection.

Writers Marc Bernardin and Adam Freeman follow the action rubric to a T, installing the plot (a young woman has a weapon of mass destruction inside her and everyone’s after her), the heroes (the aged Mr. McQueen and Mr. Monroe are killer and driver, respectively), and the villain (a shady leader of a U.S. government anti-terrorist organization).

I’m sure there will be those who dismiss this book as pop corn, but the thing about pop corn is, it’s hella good ever once in a while, especially when it’s popped just right.

The Highwaymen is pretty well nonstop action along a taut storyline, executed quite well by artist Lee Garbett (his work is similar to that of John Cassaday, except Garbett actually draws backgrounds). In short, the book just tries to be a really good action story, instead of overreaching for some grand purpose. It’s just violent and frivolous and fun, and there’s not a darn thing wrong with that.

DVD Review: ‘Legion of Superheroes’ Vol. 2

Maybe the most surprising thing about how much I’ve enjoyed the first episodes of the Legion of Superheroes cartoon series is how little I enjoy the team’s comic book adventures. I always liked the concept of the Legion, but the futuristic team has too large of a cast and too complex of a history for me to jump into.

The cartoon series (from Warner Brothers and DC) fixes those two criticisms by hemming in the team size to a handful of key characters and streamlining the background: A young [[[Superman]]] is pulled into the future to help a fledgling group of heroes save the world. Simple enough.

In this second volume (containing the episodes [[[Champions]]], [[[Fear Factory]]], [[[Brain Drain]]] and [[[Lightning Storm]]]), the team goes through a series of challenges that manage to be kid-appropriate without being overly simplistic. Like the legendary Batman: The Animated Series, the Legion consists of standalone episodes but also builds a deeper narrative of themes and plots, giving it appreciable depth.

Particularly, this volume highlights the character development of Lightning Lad as he becomes a greater hero, and that of his brother, Mekt, as he becomes a villain. Meanwhile, Superman finds his powers have limits, which serves as a lesson as he tries to become the universe’s greatest hero.

I definitely wouldn’t put this series on the same level as [[[Batman: TAS]]], but it’s a fun, clever and exciting foray into the 31st Century.

Review: Andi Watson’s ‘Glister’

Glister, Vols. 1-3

Andi Watson
Image, 2007, $5.99 each

Andi Watson has had a career more typical of a prose writer than a comics creator: he’s worked on a number of projects, pretty much all of them his own original ideas, nearly all of them with defined endings, for different publishers, and kept the copyright. Some of those projects span more than one volume, but, still, his stuff ends up on a shelf as if they were novels, and he’s hasn’t shown any sign of really wanting to be the next great Avengers writer or to re-vamp the Haunted Tank or do anything else horribly fanboyish and all-too-typical for his generation. And yet his work isn’t particularly literary or self-indulgent, either: Watson may have a bit of autobiography hidden around the fringes of his stories, but he’s mostly not talking about himself.

Watson’s recent books have generally been aimed at adults without being restricted to them; a book like Little Star is about parenthood in a way that teenagers probably won’t be interested in, but there’s nothing about it that would keep them out. His earliest works, though – Samurai Jam and Skeleton Key – were much more obviously all-ages books, and he’s returned to a younger audience with Glister.

Actually, if anything, Glister excludes adults: it’s a series about the continuing adventures of a preteen girl (Glister Butterworth), and its central audience is presumably girls of Glister’s age. Each of the three volumes so far are independent stories of about 64 pages each — the first is a bit shorter, but it also has a Skeleton Key back-up to fill out the pages. (more…)

Review: ‘Secret Invasion Saga’

secinv-4353522A few years back, DC released the super-thick, super-cheap Countdown to Infinite Crisis to lead into the company’s massive Infinite Crisis event. In addition to recapping the years’ worth of hints that led to Crisis, the issue also contained some crucially important events, including the death of Ted Kord (Blue Beetle).

Marvel now has pulled that page out of the summer-event book, releasing Secret Invasion Saga last week as a free lead-in to the looming Secret Invasion of the Skrulls. While I can’t argue about the price, the content was more than a little underwhelming. In fact, I fell asleep while reading it. Twice.

Instead of actually telling a story, this issue is essentially a whole bunch of material culled from the Marvel Encyclopedia (look under "Skrull"). In one of the world’s longest internal monologues, Iron Man thinks over all the events that have led to this point (the reveal of Elektra as a Skrull, etc.). He covers the latest interstellar goings on from Annihilation and Skrull history as well.

While it’s nice to get a primer on things, the issue is extremely high on text and completely bereft of any new developments. If Marvel was planning on hooking new readers to the event, there’s no big eye-grabber here. They may have made some fans among insomniacs.

Between this, the grammar-unfriendly "Who do you trust?" marketing blitz and that bizarre Blair Witch-like video, Marvel’s off to a bit of a rough start to the Skrull invasion. Of course, they could probably shoot themselves in the foot and it would still sell like hot cakes with golden frosting.

Review: ‘Young Liars’ #1

I covered a handful of new series debuting this week in my Weekly Haul column earlier this week, but one new series slipped past. Thanks to the kind folks at DC then for sending over the first issue of David Lapham’s Young Liars, one of the more puzzling series to come around lately.

It’s not that Young Liars reinvents the wheel. It’s actually very similar to another new Vertigo series, The Vinyl Underground, in that both follow spunky young hedonists. The narrator is Danny, a Texas kid who moved up to New York to be a rockstar and failed miserably. But the central character is Sadie, an heiress who took a bullet to the head and lived, although the wound removed every inhibition she had.

The first issue is mostly set in a club, with Sadie alternating between dancing and beating the holy living snot out of people as Danny fills us in on the backstory. The gist is that Sadie’s dad and some unsavory characters are all tracking her down, and unpleasantness is about to meet this small group of friends.

While I was pretty disappointed with [[[The Vinyl Underground]]], [[[Young Liars]]] has at least piqued my interest. More than anything, I’m curious where Lapham is headed, but that’s based more on his past work than on the content of this issue. It’s more of a collection of fun pieces than a cohesive story so far, and it pales next to Lapham’s excellent Silverfish graphic novel from last year.

File this one under too soon to tell.

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