HIGHWAY TO THE PHANTOM ZONE

Every piece of art has something that catches your attention. It might be Darth Vader in “Star Wars” or the tugboat in JMW Turner’s painting “The Fighting Temeraire” and in the case of “Artemis” and the Assassin” it’s that incredible, enigmatic cover. 

One panel later we find ourselves in France just before D-Day and smack in the middle of Virginia Hall (code name Artemis) kicking butt and taking names. She might not be French but she sure fights for them. An important D-Day related assignment arrives just moments before Maya shows up ready to spill some blood. Whereas Maya is a fictional character, Virginia Hall is a very real, very infamous World War 2 spy. It’s this intersection of fantasy and history that makes the book all the more enticing. 

Published by Aftershock Comics and written by Stephanie Phillips, the opening salvo of “Artemis and the Assassin” offers a terrific hook once you look inside. Its first scene reminded me of the Civil War robbery from the Jean-Claude Van Damme classic “Timecop.” Instead of the Civil War though, we find ourselves in the frozen tundra of 1916 Russia. Maya, a futuristic, time-traveling assassin, handles some swift action before killing the legendary Rasputin. She returns to her time only to have a heated argument with, Isak, her boss. They berate each other over when Rasputin was killed. According to Isak, their job is all about when. 

The writing is crisp and clean. Phillips is a terrific author focusing on empowered women and this book is no exception. Maya and Virginia are two very different people but I have a feeling it won’t take long for them to have a begrudging friendship. These two leads both get introduced from a position of power showing off their skills and dominating the action. There is no time wasted and despite plenty of questions you never feel lost. 

There’s a fun B-story featuring Maya’s first mission but Maya and Aretmis’ first encounter is the only climatic ending we need to pull us back in for the next issue. 

The art though is never used to communicate what time period we’re in leaving us to fend for ourselves. For instance, some books create a clear difference between worlds using various artistic approaches while utilizing the same artists. This book offers no such convenience. I was also a little confused why we needed the B-story. It’s entertaining and offers its own big finish but I would have rather spent more time in the A-story learning about the characters especially Virginia. 

The artwork by Meghan Hetrick and Francesca Fantini is another strong element of the book. The central characters have distinct looks that help define who they are while the color palette from artist Lauren Affe ensures that everything pops off the page. The action itself comes in big sweeping gestures and easy to follow layouts that never leave you confused. 

Despite a few bumps “Artemis and the Assassin” is off to a great start and definitely worth your time especially if you love pulpy, time-traveling stories featuring strong female characters. 

Kyle interviews the creator of QUINCE Sebastian Kadlecik and the writer of QUINCE Kit Steinkellner.

OCCUPY AVENGERS #1 Written by: David F. Walker Penciller: Carlos Pacheco Inker: Rafael Fonteriz Colorist: Sonia Oback Publisher: Marvel Comics

The only Avenger in OCCUPY AVENGERS is Hawkeye. For a book with a title that suggests a team-centric effort it hardly feels like a team book at all. It comes across more like a bloated take a Hawkeye solo title. I'll grant you that books can build and grow but it would have been nice to see at least one other full-fledged Avenger working with Hawkeye. A hint at something more down the line, but instead it's just Hawkeye.

He's on his own on an Indian Reservation investigating the poisoned water supply. Water that's been poisoned for five years, which begs the question why hasn't anyone been more successful at figuring out the mystery and why are still poisoning it? After five years you'd either be successful with the poisoning or you'd move on to something else. It makes you wonder.

Hawkeye brushes past these questions and takes the case, getting assistance from the local deputy. They run into trouble and the book raises the stakes at the end of issue with the introduction of Hydro-Man. He was probably my favorite part of the book. A classic, C-level villain getting a nice chance to flex his muscles and deliver a few pithy one-liners before most-assuredly losing to Hawkeye in issue #2.

I also felt like Hawkeye spends too much of the issue lamenting the fact he killed Bruce Banner aka the Hulk. This feels like a ploy on Marvel's part to get you to buy the recent Civil War event series.

The art is safe and serviceable but not really stand-out. I usually like Pacheo but this wasn't his best effort. It felt very standard. A tried and true take on superhero brushwork without breathing any sincere life into the story.

THOR #12 Writer: Jason Aaron Artist, Present Day: Russell Dauterman Artist, Old Asgard: Frazer Irving Publisher: Marvel Comics

Every hero or heroine gets an origin story. Every villain gets an origin story. Every sidekick, love interest and butler gets an origin story. Now finally, for what could be the first time in comic book history; a sentient hammer gets an origin story. Something we never knew we needed but secretly always wanted.  

Thor's hammer, Mjolnir, drags her to through the cosmos to the Halls of All-Knowing where she meets the LIbrarian. After divulging that she was brought there by the hammer, the Librarian goes off on a tangent telling her of its origin. Odin having saved the Dwarves from invasion was gifted a rock, Uru. Odin has little interest in the rock until he defeats a cosmic storm imprisoning it in the Uru. He brings it to the Dwarves demanding they forge into some sort of weapon. They make a hammer, of course, and Odin can't control it so he leaves it alone in a huff. The story ends with young Thor being drawn to it only to be rebuked by Odin.

Thor herself books end this issue with the heavy lifting being done by the Librarian as he narrates the tale. The narrative is fine but holds few surprises and only leaves a few questions. The most glaring being why the storm liked Thor and like the current Thor. That puzzle isn't solved and I doubt ever will be.

The true standout here is Frazer Irving's art that highlights the Librarian's historical narrative. Its  lush, lyrical, dream-like artwork with some truly psychedelic coloring makes for an evocative approach to the issue-long flashback.

NERD RANT #001

THE STRANGE CASE OF DOCTOR CHRISTINE PALMER

DR STRANGE crossed the boundaries of time and space, bending reality and the shaping the fabric of our universe with just a flick of his wrist. One thing he couldn't change was the way women seem to be treated in the Marvel Universe.

I understand that Doctor Christine Palmer has no superpower and per the comic book lore she falls under most likely never will. Additionally the movie is called DR STRANGE not Doctor Christine Palmer. I find myself wondering though, why cast an actress as talented as Rachel McAdams if she's only going to be playing a castoff from GREY'S ANATOMY?

Going into the film, I wasn't sure what to expect from her character, but knowing it was McAdams bringing her to life I was confident it would be a step forward in the right direction for Marvel. Black Widow has always been a tired and true pillar of the cinematic universe. Gamora and Hope van Dyne aka The Wasp from Ant-Man were welcome additions to the ever expanding Disney franchise.

Marvel's slow but burgeoning interest in its female characters, combined with the casting gave me hope that Palmer could be one of its strongest yet. Oh, how wrong I was. Outwardly, Palmer has moved on romantically from Strange. Inwardly though, it's clear she still has feelings for him. A Florence Nightingale harboring feelings for her wounded man, Dr. Strange. She is never able to grow much beyond that.

Taking into consideration that the movie is about Dr Strange and not Palmer, I understand her role was bound to be limited but I still wish there was some effort to give her more to do. She helps a nearly dead Strange operate on himself and offers him a shoulder to pout on, but couldn't she have been more? Maybe she could have operated on Strange herself? At least she wasn't a hostage. I'll give the movie that much.

Regardless, maybe she could had her own storyline? Maybe the movie could have emulated THE X-FILES a little and embraced a Scully/Mulder dynamic between Palmer and Strange? As Strange accepts magic as fact, Palmer denies it but uses that denial to ultimately help Strange uncover some important clue. I realize that the movie has a very finite amount of time but something could have and should have been done to make Palmer feel more like a real character and not simply an extension of Strange.

This continues to feel like a very systemic problem within the Marvel Universe. It took Pepper Potts three movies to find a true sense of identity. Jane Foster always came across as a plot device. Peggy Carter was divine but only survived one movie and Captain America hasn't found a suitable counterpart yet. All these characters were played by great actresses but none of them found a strong identity on screen. By the time the credits rolled it felt like McAdams took the role mostly for the paycheck. I don't blame her but I wish the studio tried harder to build her part up.

Also, let's address something else. Something very important. Palmer has yet to become a Funko Pop Toy. Now that is a travesty. Strange has multiple Pop Toys. Palmer? Zero. She deserves a Funko Pop Toy. I don't care about anything else. The zenith of toys today is Funko. Marvel needs to cement her legacy and create a Funko Pop Toy in her image.

JAMES BOND #11 Writer: Warren Ellis Artist: Jason Masters Colors: Guy Major Letters: Simon Bowland Publisher: Dynamite

A movie typically moves at 24 frames per second, creating the illusion of movement. A comic book moves panel to panel as your eye reads them. That said, James Bond by Warren Ellis is as close to a movie as you are likely to get. The pace is fast, the action is violent and the story absolutely accelerates. Breakneck speed.

Eidolon, an off-shoot of Spectre, has M cornered. Wait though, that isn't the whole story. Through some shrewd use of flashbacks done with a muted, focused color palette, Ellis tells, what Paul Harvey famously called The Rest of the Story.

The action goes full-throttle from there and quickly takes over the book, devouring page after page. Blood is in full color, cars fly by the panels and Bond even takes a moment to laugh at himself. That moment in particular stood to me as a rare moment for the character to laugh at the absurdity of it all.

The art is incredibly slick, with real character work, but never becomes overly detailed like a well-tailored suit. The artwork itself embodies Bond. Flashy, confident, refined, and at times brutal.

This particularly book is too far into the story to pick up on its own but I would highly recommend it. Ellis is as stylish as ever, writing a Bond story that feels a bit more old school, free of gadgets, one-liners and world threatening coups but remaining as dangerous as ever.

KILL OR BE KILLED #4 Written by: Ed Brubaker Art: Sean Phillips, Elizabeth Breitweiser Cover: Sean Phillips Published by: Image Comics

This book continues to intrigue but also manages to meander as slowly as the previous three issues. Things happen but they happen slowly.

Dylan comes off the high of killing a child molester while he hunts for a new target. Complications roll on with Kira as the two take their relationship to the next level and Mason is suspicious of Dylan's late night exits.

Brubaker give Dylan a new mission but as you'd expect it ends badly despite Dylan's continued reassurances that everything will turn around for him soon as a vigilante killer. The book ends a on soap-opera-type ending with a new revelation about to be revealed. Admittedly, despite enjoying this book whatever mystery it is I can't say I care.

Everything is told from Dylan's point of view and no scene happens without him. This both serves the story and hurts it. On one hand, it brings you closer to him as  a character and paints almost a vulgar picture of him. Yet, he remains someone to root for, a loser with a gun trying to right the world's wrongs. On the other hand, he talks a lot. Mostly to himself. The speech is well-crafted and especially unique to Dylan himself but at times it goes on and on.

It would benefit the book if it lost some of this flowery dialogue in favor of pushing the story forward at a faster pace.

The art is sublime. Phillips and Breitweiser bring a grimy, realistic look to the story and characters. Bodies feel lived in, no one is perfect, and the city dominates as  character unto itself. Colors are muted and cold, almost lifeless. They hint at a world that needs a spark to come alive again. Hence, for example why red is so rarely seen. Deep red is saved for Dylan's mask, blood or hell itself.

ETHER #1 Written: Matt Kindt Art and Lettering: David Rubin Editor: Daniel Chabon Publisher: Dark Horse Comics

Everything can be explained. While it's still too early to say, I'm curious if this is book's thesis or something it's trying to disprove, but it certainly is an interesting idea.

The first comparison to cross my mind while reading this opening issue was FABLES. Whimsical art, delightful coloring, and overabundance of magic allows this theory to grow some real roots. Now, let's dig a little deeper.

The book features Boone, a scientist from our world and frequent visitor to the magical world of Ether, being brought in to investigate the murder of Ether's most important protector, The Blaze.

Central storyline aside, the book rounds out with numerous elements and a cast of characters that help breathe life into a murder mystery that feels slightly redundant, mirroring Fables' opening arc and Powers among others. Boone's partner in this adventure is Glum, a giant monkey who is the gatekeeper to the world of Ether. Cantankerous and quick to make snap judgements as well as distrusting of Boone's science, Glum makes a great foil to Boone adding some wonderful bits of levity.

The mayor makes a brief appearance offering little insight into who he is but his design is so distinct and fun that he's easy to like and hopefully he'll return before too long. Finally, there's Lord Ubel, basically the librarian. While certainly drawn evil, it's difficult to say whether or not he truly will be.

The art is an outstanding element of this book. Bright, big panels. Colorful pages featuring hues of pink, green and aqua blue. The character designs feel magical and firmly place you in the world yet still feel familiar enough that you never get too distracted.

Kyle interviews rising cosplay star Kim Astell-Raper discussing her discovery of Harley Quinn, the cosplay community in Australia and the difficulties of making your own costumes.

Kyle reviews ANTIQUE #1 by Matt Lesniewski

BRAND NEW, TOTALLY AWESOME “LEGO BATMAN” TRAILER

I’m already sold on this movie so I’m not sure how many more trailers I want to see, but that said this new “LEGO BATMAN” trailer continues to drive my interest. A few more jokes, a few more music cues and a nice look at the central cast highlight the clips.

In particular we get a glimpse of the Joker and a few moments with Barbara Gordon (also, Quilt Man). As the hype machine grows for this movie I’m sure we’ll be seeing a lot more footage but at this point they’ve already got my money assuming there aren’t any clown snakes nearby.