morbius glass

I forgot how endearing these comics are, Mike Mignola is a gifted writer with a distinct style. Note his success (creation) with the Hellboy character and movies (although adapted from comics to cinema by Guillermo Del Toro). The B.P.R.D (Bureau for Paranormal Research and Defense) is a spin off from the Hellboy comics.

The stories in the B.P.R.D books are centered around the paranormal and urban myths/folklore of the last 100 years. So you got quasi cults from the 1900’s late 1800’s ranging from English Egyptian cults of the 1900’s, séance cults, museum curators, forbidden antiquities, various doom’s day cults of yesterday, resurrected mummies, evil Nazi occultism ; all tied in with interesting heroes that have depth and sincerity.

This is the sought of comic you read (if you can) in art deco flat on a winters afternoon.

Crazy comic, three pages into #7 shows a baby (albeit a mutant) being born out of a mans head. You gotta see this to believe it, below is somewhat a censored version.

Too bad vertigo canceled this bizarre series.

THE SECRET HISTORY OF THE AUTHORITY: JACK HAWKSMOOR #1 (OF 6)

The Authority is probably the closet thing you can get to a truly modern day, or contemporary type super heroes. In fact, any writer that has written stories for the Authority franchise, is forced to elaborate and experiment with the characters in the book. It’s a way the characters have developed or evolved. Unorthodox type heroes, in unorthodox situations. The Authority as a concept is a post modern, revolutionary type idealism mixed with a casual cynicism for the human race, but nevertheless trying to protect humanity from various foes and enemies.

The Authority team just has so much personality and good writers are able to reflect that personality from each of character’s in the story telling. Because each character has a quirk, a characteristic that makes them unique and as I said contemporary. Which is essential, if the reader is to relate to stories and character interaction in the book.

Jack Hawksmoor is at times the default leader of The Authority, and if anyone has followed the Authority and their stories. You would know that the Authority reside on a huge spaceship (The Carrier) that travels in the bleed of space, the Authority operations are staged from the Carrier using portal doors. Jack Hawskmoor in a lot of ways have not really been a stand out character of late. The recent Midnighter series, which I might add has been excellent, has taken the Authority’s residential homosexual and killer of bad guys into new ground. There is a steady development of the Midnighter, in which writer Keith Giffen is crafting and adding a lot more depth and interest into the Midnighter character. Please refer to ‘Overview on Spotlight ‘Midnighter’ #11 and #12 (writer Keith Giffen)‘ for review.

So finally we get see the Authority’s Jack Hawskmoor get his own comic book series, written by Mike Costa and art by Fiona Staples. Issue #1 starts of with the Authority trying to take down some ancient manifested Slavic God inside the city of Kiev, but something occurs in the time line and we see Jack Hawskmoor back in 1994, in San Fransisco before he joined the Authority; and apparently unaware to him any events that occurred in the future, or did they occur?

I think Jack Hawskmoor could be portrayed as that inner urban modern day super hero I mean the way he dresses, Georgio Armani pants no shoes, bare feet (with surgically enhanced soles - built in traction), Ermenegildo Zegna shirt and jacket. I alright I am guessing what brands he wears, but he has that dress/casual look going. No tie though. Point is, with the powers he has, which he is able to command cities, hence the pseudonym God of Cities. Unable to draw power outside from a city, his powers are magnified within a city. The pollution, the concrete, metal construction all represent a power source to the character. So it’s a cool concept, especially with the 1st issue showing a gigantic robot out of control in San Fransisco bay, trying to tear down the Golden Gate Bridge. For the first time in a series independent from the Authority, we get to see why Jack Hawskmoor is called the God of Cities. Commanding old (earth quake of 1906, at the bottom of the bay) San Fransisco city to hold the feet of the maniacal robot.

The art for The Secret History of the Authority - Jack Hawksmoor is handled extremely well, good fluid and expressive art. Drawn by Fiona Staples, she has shown a unique style and perspective on the Authority and the characters. But god is in the details and Staples is doing an excellent job. Keep an eye out for her work.

I remember the Daredevil DVD and it had some commentary and extra footage of the characters and writers of DD. Kevin Smith who wrote Daredevil at some point, mentioned that Daredevil is the ‘Grateful Dead’ of comics. I am not too sure what he means by that, but he is saying that Daredevil represents the cool or underground style comics from a major comic company (Marvel), maybe. But as an urban, or underground type characters with a loyal core following, DD is a depressive comic, dragged down by writers that can’t seem to pull the character out of the hole he has been written into.

Jack Hawksmoor, as an independent character to the Authority could be that quintessential urban style hero (with out the depressive Daredevil tinges), in a sci fiction type of way. Already Mike Costa is creating an impression of a story unfolding, that has a modern ‘noir’ and jazzy, misanthropic feel. If the art can back this up (which it currently is), in my opinion, you are going top have a classic book here. A truly underground style comic under a major company banner (DC/Wildstorm)

You gotta love the beginning of a story when it’s ‘the strange girl, but strangely familiar’ scenario and ‘her perfume’ theme (and this is said twice at the start and the end of issue #1), how can you go wrong with that?

Japan culture/popular culture is fascinating. There seems to be taboo issues, extremities and a ton of other cross cultural aspects taken from western culture. Wrapped up in their own style, if anyone followed Manga animation, you would understand the bizarreness in some of the characters. Unique stories that are essentially modern Japanese story telling. So does each culture looks at sex differently? The Japanese Manga comics that deal with sex either show two things (part from the actual sex), domination, control - that seem to interact from female to male, and back again.

Pink Sniper is just completely out there, there is wall to wall sex from start to finish (although the comic is read Japanese style back to front, if you know what I mean). The Story? Well a local school doctor Haruna Sakurai (who is a buxom, voluptuous woman with an insatiable sexual appetite) seduces various students that end up in her Health Room, or as the students call it the hell -room. The art is extremely detailed, so get ready for some well drawn sex in a comic. It’s a strange mix, you have half animal humans, a medical student (Niibia) who is prodigy. Who ends up as a sexual prize for Dr Sakuri, so the comic begins and ends with Dr Sakuri having sex with Niibia in every-possible way imaginably. The half humans also have sex at some point in the comic, with the sexual submission of the uptight Niibia continuing right through the book. To a reverse climax (reverse climax?) at the end of the book, you know the dominated now gets to dominate, a role reversal.

There really isn’t too much else too add, like I mentioned the art is very well drawn. The eye for detail has to be seen to be believed. I mean Kengo Yonekura has captured the human form in all it’s glory (in a caricature Manga kinda way). The dialogue isn’t too bad, so you get the general idea what is going ion, the translation is well done. So the Pink Sniper flows quite well.

Recommendation, well this comic has a certain amount of ‘pulp’ fiction to it, in that sense it comes across as collectible aspect. You’ll see nothing like this comic, there is a unique bizarreness about it. A humours ride into sexual mayhem.

What I will say is the difference with sexual literature, comics, books even narrated photo journalistic style erotica. Is that there is imagination and thought, and an equal showing of desire. Porn, or the modern porn today is fastfood junk sold to the inert mind.

‘Punisher’ #54 - “LONG COLD DARK,” PART 5 (MAX/MARVEL)

Barracuda is dead.

Garth Ennis created one of the most interesting and unique psychopaths that has been seen in popular culture, as far as comics book characters go. A complex, psychopathic character who happens to be an African American. What makes the character unique is that he defies racial stereotyping, yet reflects aspects of the the African American stereotype. Make sense? Ok, a character that after a while even with the ‘ghetto’ slang, the hip hop culture references ends up being stand alone human monster (whether black or white). A creation of society, a society that has ‘flicked on’ his psycho genes, a damaged and deranged human, that wants too take it out on the world - and he does. Ennis writing Punisher #54 reveals the full dark scope of Barracuda’s mind. Remember, Ennis wrote up a amazing mini series of Barracuda; please check out my review on morbius glass titled Punisher presents Barracuda 1# and 2# (MAX Comics). The short Barracuda run on Max comics, was essentially Ennis’s homage to ‘blax exploitation’ cinema of the 70’s, with some grind house influence and general tongue and cheek (with extreme graphic violence). But as I mentioned earlier with Barracuda retuning in Punisher #54, the darker, psychotic and obsessive side of a deranged character comes to the boil.

A scheming killer who is planning to kill, humiliate and destroy the Punisher, and all connected to him. Which is nobody really, since he is solitary vigilante. Until we discover that the Punisher has a daughter. The daughter is from a encounter with a great character called Kathrine O’brien, who is killed in Afghanistan.

Punisher #54, is by far the most disturbing Punisher I have read to date, the insanity of the villain Barracuda, the sheer violence in the comic - the fact there is a little child bearing witness to it all. It’s a challenging comic to read. The art is just so good, Goran Parlov in my opinion has defined popular culture icons in the 20 Century and 21st century and drawn them into a story, almost with a glossy vulgarity about them. I mean you look at the absurdity of mainstream pop culture icons, say for example the rapper 50 cent, the pornesque influenced celebs of America - with all the gloss and bravado of a consumer culture. Parlov portrays that onto a comic with an ugly reminder of a pre-fabricated pop culture society that utilizes icons, that in reality underneath is a shitty, sleazy, bloody world. He has an incredible skill in caricature.

In saying that, in regards to Parlov’s art. Ennis is able to write into a story, the cold reality of violence in a modern society. The Punisher stands as the justice, that in some ways doesn’t exist in a corrupt world. Is the world corrupt? Of course it is. The Punisher , or Ennis’s version of the Punisher combats that corruption, from the sex slave trade industry, corporate crime, organized crime, drugs, you name it the Punisher has covered it, in a bloody trail of Punishment and a protection of the innocent, bystanders and everyday person.

Punisher #54 is a dark read, we see the Punisher pushed to the mental and physical limit with Barracuda. With Barracuda using Frank Castle’s (The Punisher) child as leverage, trying to find a opening to kill the Punisher. It’s a bloody, violent, and intense ending to the Barracuda and Punisher meet up; we learn a little more about Barracuda’s past, albeit when he (Barracuda) is under stress (tortured and bound by the Punisher) - flash backs to a time when he was a boy, teenager and soldier in Vietnam; we see the structure of a deranged human and the reasons behind that cold blooded, ruthless and insane mental makeup.

A brutal ending, with a baby in a carrier, the Barracuda becoming more deranged by the minute, the Punisher beaten and bleeding. Frantic violence, violence when survival is at stake, violence too protect your child. Suffice to say, the Punisher kills Barracuda, Barracuda almost showing invincibility through out his confrontations with the Punisher - finally meets his demise, and what a demise. With both arms chopped off (via fire axe found in a empty high school), axe left embedded in chest, the Punisher then taking the AK47, which was intended to kill the Punisher, and shooting Barracuda’s head into a pile of meat, brains and blood. Horrendous ending, all this with a baby in the same room.

The end of Barracuda, the end of the arc. Rumour has circulated that Garth Ennis will write one more arc, then quit writing the Punisher series. There could be truth in that with #54, towards the end of the comic, we get a glimpse of an exhausted, weathered and tired Punisher. If Ennis does wrap up he Punisher, will the Punisher finish on MAX comics? Since Garth Ennis Punisher pretty much held the MAX label together.

Remains to be seen.

(Cover for Lust by John Van Fleet, Crime Bible: The Five Lessons of Blood #2)

I like DC it’s messy, I mean there are so many things on on at once, it has the multi universes, 52 know alternative realities, with versions (albeit indifferent versions) of the whole DC universe (that we know and love, you know Batman, superman etc etc). The knack is when the writers can join the continuity of so much activity, or do they need to? The DC multi universe is one big active, self perpetuating constant lifestyle of fictitious situations. That is what is cool about it, you can pick up one book look at at, sure it relates to the other publication, but it doesn’t matter. Stories are self contained dramas, all connected to the multi dimensional story telling of the DC universe.

DC has a maturity about their publications, thankfully they do not have those dreadful rating systems that Marvel has on their comics, ‘T is for teens’ etc. To me that is a hindrance to any writer, that his (or her) story may end up being slapped with a rating (possible deemed by the editor); ridiculous concept. Comics could and should push new ideas and new ground, with both art and story telling. DC seems to be able to do this, even if you have a fondness for the characters of Marvel; DC does push boundaries, and that is so needed. This is where Marvel falls grossly behind.

Strong female characters make good characters, especially when the characters are written well. It gives a nice breath of fresh air, away from some necrotic spandex super guy who is going through a midlife crisis. Renne Montoya is a such a good character, a private/freelance detective who falls under the pseudonym as ‘The Question’. Nice layed complexities to her character, some good depth too regarding her history as an ex cop going through a hard time, from her relationship with a former girlfriend, and life directional decisions (I guess she is going through some form of a personal crisis). I can’t commend DC enough for allowing Greg Rucka to write a mature story about a lesbian superhero, or character in the DC universe that is not your run of the mill character. Crime Bible is not your run of the mill story either, I haven’t read anything like this in a long time. Very unique story dealing with a cult called the Cult of Cain, the writer Rucka wields an an intriguing story about a Crime Bible, based on the teachings of Cain, and the lessons are Deceit, Lust, Greed and Murder (the 5th lesson? Haven’t got to that story yet). There are so many great ideas that can be drawn from cults and esoteric style ideas, exaggerated and turned into a good story. H. P Lovecraft did it so well with the mad monk Abdul Alhazrad story that eventuated into a story people actually believed, as far as the history of a character that in reality did not exist. Rucka has done the same in some ways with the Cult of Cain who are Asian style bizarro monks, lead by Flay who adheres the teaching of the book of blood or the crime bible. Each comic starts of with theme that involves the hero of the book The Question (Renee Montoya) trying to track down the book and as she does, she becomes more entrapped in the world of the Cult of Cain.

Montoya’s alter ego The Question fits perfectly in this story, already a mysterious and somewhat darker character although not entirely intentional when The Question was first created. Rucka fuses the appearance, style and presence of The Question with the overall mystery of the Cult of Cain and Flay, who is tracking down The Question; in effort to teach her the lessons of blood. The Question’s mysterious appearance is the no visible facial features, or as the Cult of Cain say ‘The faceless one’

This is such a good comic, just so well written, different interactive themes of dark religious sects, bald monks that are good at martial arts, Rucka’s version of the somewhat wayward hero ‘The Question’ and her connection the the Crime Bible, Montoya’s problematic love life with ex lover Kate Kane (Batgirl).

Crime Bible: The Five Lessons of Blood is a 5 part mini series that is about to conclude, a very enjoyable read with good story telling. The art is from various artists that all do a competent job in projecting the visual ideas of the story, watch for the amazing cover art by John Van Fleet.

Thoroughly recommended.

X-Men: Messiah Complex #1 (Marvel Comics)

This is a bad comic, badly written and constructed. The art is sub standard. But it’s the story that is the real let down. Just when I thought Marvel Chart) had lifted it’s game in some of it’s publications; the company seems preoccupied with creating ‘event’ comics. Like the Civil War run, which could have caused more of a ruckus then it did, to the World War Hulk which was actually quite good. But Messiah Complex fails in every way, what could be a interesting and creative story turns out to be quite flat, nonsensical and pointless. Not to mention Marvels marketing department idea to create a one shot comic (Messiah Complex #1) which forces the reader to split the story up by reading a dozen or so other comics where the story continues. Bad idea. In other words you are then ‘obliged’ to look into other publications (if you want to find out what happens next), the hope is you might like one (of many) hence you start collecting that publication. From the bio page for Messiah Complex #1, “The story that begins here continues through all the X-Men books. Don’t miss it!” .

All at the comprise of a decent story.

The story? Well mutants (remember the movies?) are dying off, a gene that makes one a mutant has been turned off, not to mention religious crazies called the Purifiers are taking out as many mutants as they can, in steps The X-men and another splinter group called the Marauders (who are mutants, but bad ones) - all the groups are looking for the one child that has been born with the mutant gene, despite the odds. Solid base for a story, but made a mess of it by the writer Ed Brubaker. Probably not so much his fault, just the broken up contiguity of the story, by splitting the story up into different comics could be the reason.

Don’t waste your money.

Well issue #12 is the finial (drawn) issue for artist Ariel Olivetti, and he leaves #12 with his trademark art as a memento - of how you can create expression, action and emotion in comic art. All wrapped up in Olivetti’s distinct caricature style. Amazing artist, watch our for his work in other comics. (please refer to Spotlight on ‘Punisher War Journal’ Marvel Comics. Writer Matt Fraction. Art Ariel Olivetti, for more details into Olivetti’s art and Punisher: War Journal)

Issue #12 of the Punisher: War Journal ties in with Word War Hulk mini series, which was surprisingly a good comic, very enjoyable. With both the Punisher and his geeky gunsmith Stuart Clarke arriving back to New York, only to find the large portions of the city pretty much destroyed (courtesy of the Hulk and a bunch of horrendous looking aliens), with most of New York evacuated, only a few families remain - unable to get out. So the story takes place with the Punisher helping a little girl and her family escape the war zone. Meanwhile a four armed bug looking alien with his crew aim to stop the Punisher, kill the family and eat the little girl.

The action sequences are as usual handled extremely well by Olivetti, Matt Fraction keeps his momentum with the story, with the dead pan humour that he has written into the Punisher War Journal run. So there is a tongue and cheek feel to the story; even though the subject matter at times is serious.

So far Fraction has been consistent with The Punisher: War Journal run, although I would like to see some risks taken with the direction of the stories. Of course Fraction doesn’t need to give it an Garth Ennis style (gritty) as such, and Ennis has his own Punisher run going. But I do think an extension of the stories are warranted, Fraction can now really build his style into something unique with the Punisher. Otherwise it will come across too light and lose some of it’s appeal. Which would be a shame, as the Punisher is a great character that can still be worked upon and given some new direction.

Issue13 has a new artist by the name Scott Wegener, he does a great job, definitely not in Olivetti’s style, but nevertheless handles the job well. The story has Fraction’s nice mix of humour and adult themes (adult themes? Jeez sounds like TV ratings…), and return of the Rhino and Kraven the Hunter with a cameo appearance of Spiderman. Again, I hope Fraction doesn’t get too lost in dragging out old B and C grade villains and heroes. I would still like to see some deeper stories and themes played out in the Punisher: War Journal.

Anyway it’s a shame to see Olivetti go, but Scott Wegener is a fresh face and he will suit the Punisher: War Journal run well. Check it out #12 #13 of the Punisher: War Journal, good stuff!

Just a quick update with the Midnighter run, Garth Ennis has left as writer replaced by Keith Giffen. There is also a new art team by the names of Chris Sprouse and Karl Story.

The stories take place with the Midnighter trying to understand his past, he is able to track down information about the town he grew up in, Harmony. To his surprise it’s a ultra patriotic town, run by a bizarre national security cult called Anthem. Basically guys in suits with American flags stuck on their faces, is Giffen having a dig at the Patriotic Act? Over insulated America values and the paranoia of national security?

In the mix is our favourite rogue homosexual good guy and killer of bad guys, the Midnighter. We soon learn once entering the town he is going to be set up (by Anthem) for a ’situation’ involving an adversary. Suffice to say, this whole event is to make the Midnighter look like a criminal or enemy of patriotic values etc. The aim? So new laws can be introduce to reign in the Authority (Midnighter’s team).

Giffen gives the Midnighter’s character a little more depth in these stories, so it’s great that Wildstorm is allowing a character like the Midnighter to evolve independently from the Authority. Because he is an interesting character with a lot to offer, especially now with Giffen mixing in themes of so called American values, manipulated media, and the exploitation of social/society paranoia.

This is good comic, the art is fluid and gives good pace to the story Giffen seems to enjoy the development of the Midnighter character. But overall the bizarreness is there, a crazy patriotic cult, a cynical Midnighter uncovering a plot to defame him and with Midnighter’s trademark violence against the real evildoers of the world.

Check it out.

For the original Spotlight on Midnighter, please refer here.

Warren Ellis is a master with his story telling, and his version of the Thunderbolts is a reminder how good he is at creating a believable and solid story. The Art by Mike Deodato is nothing less than incredible, like a movie, the sequences and spreads are fluid. With a lot of character emotion and are action packed. Ellis has a style which in all retrospect is quite dark, unique and in someways frightening, as far as his visions of the future. Although Thunderbolts is based in the present time, the story does however allow Ellis to explore some of the inconsistencies of the current ‘American Way’ policies. In which he exposes the seething underbelly of discontent and overzealous ambition within that style of policy making. You can see this in his writing of the various Thunderbolts characters.

The Thunderbolts story takes place after the Civil War which is now officially over, with finite wisdom of the bureaucratic powers at be, it has been decided that a group of super-villains will be the official Marshals in hunting down renegade superheroes who haven’t committed to the registration act. Which is an act that is to ensure that all super humans are registered to the American government after the Stamford disaster. One of the interesting aspects in the comic and Ellis writing of the Thunderbolt characters, is the near impossible feat in trying to regulate the chaotic, that being a bunch of superhero criminals who are now attack dogs for the US government. It’s a good theme, and Ellis seems to enjoy revealing the flaws in the conservatively rigid, especially if it’s connected to a society that is over regulated and ruled.

The team, well you have Bullseye, quite possible one of the most psychopathic characters in the Marvel Universe. If you ever followed him in Frank Millers Daredevil and other encounters with various Marvel characters. You would know what he is capable of; a psychotic contract killer who enjoys his job in human destruction, and he is good at it.

Moonstone, you know Deodato likes to draw his female characters a certain way. So you can’t ignore the amount of sex appeal he projects with Moonstone, the groups default leader - a blond statuesque woman who is manipulative and a trained psychologist. Not the most pleasant character. Ellis is able to handle her well, he keeps the excess down as far as the ’super bitch’ persona. But rather creates some good depth to the character. Although unlikable, as far as personality, she has a role to play apart from her driven ruthless ambition.

Songbird, the balanced and sensible ex-team leader (replaced by Moonstone, who is currently conspiring to kill Songbird ). Ellis writes her as the slightly vulnerable, yet strong character who attempts to rationalize the team - as far as trying to make the project work. Ellis introduced Songbird as the female who made a so called sexual mistake (sleeping with the enemy). The team manager or administrator Norman Osbourne uses this mistake against her to participate in the team and demote her as the team leader. Songbird is the decent and appealing character in the team, although it’s interesting how Ellis looks at the common and unbalanced view on human sexuality (Songbirds apparent misdemeanor). In other words how sex can get a female in trouble more so than a male. Deodato is able keep the sex appeal with Songbird, but not in the over ambitious sense he does with Moonstone.

Penance, the sadomasochistic, guilt ridden nut case. Who wears a suit akin to a Iron Maiden torture devise, where the spikes are pointed inward. Ellis seems to be having a fun time with Penance, definitely an interesting character who’s powers are activated by his self inflicted pain. Clearly mentally unstable, as we see in #114 when he physically destroyers a fellow prisoner (who accused him off being a child killer). Deodeto, as he done with other issues of the Thunderbolts, draws some of the most intense actions sequences you’ll see in a comic. Especially the brutal and violent assault on a fellow prisoner by Penance.

Swordsman, I actually no little about this character. But like the rest of the Thunderbolts, he has mental issues too.

Radioactive Man who is a physicist from China once a known supervillian, now reformed and working for the Thunderbolts

Venom, again a guy with issues who has donned the Venom symbiont, who once activated becomes almost uncontrollable.

To top all this off is Norman Osbourne the team administrator aka the Green Goblin, who it appears is on anti psychotic drugs to keep his paranoid obsession of Spiderman at bay. So you have a bunch of deranged and problematic super villains, lead by Osbourne who is trying to hold the whole thing together, whilst keeping his own psychotic behavior in check by popping pills.

Thunderbolts could be your standard superhero/supervillian group which would make the comic quite generic in that sense. But Ellis knows how to warp stories and keep the general storyline suspenseful; regarding the characters and their interaction with each other. He is an unpredictable writer and the Thunderbolts is an unpredictable comic, which is good, it keeps you wondering what will happen next.

The general situations in the comic are adult based, as far as the power struggle between Norman Osbourne, the ambitious Moonstone and sensible Songbird. It has a corporate, business feel to it, as far as the ruthlessness that can and does take place in work environments - which is the internal political and sexual power brokering. But as I said Ellis is an unpredictable writer, and the characters which is the Thunderbolts team are far from an orderly bunch.

An exerts from the comics

Moonstone and Norman Osbourne

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Bullseye goes bonkers. Venom on the attack

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