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Review: Mars Attacks Judge Dredd – Ewing / McCrea / Fotos

October 12, 2013 by

mars-attacks-dreddJust in case you hadn’t heard for quite a while now IDW have been doing some pretty amazing comics featuring two very disparate characters or franchises, with Mars Attacks Judge Dredd the latest. It’s the first time Judge Dredd has had a cross-over with another character since 2002 and it’s a fun little story that’s slated as a mini-series.

I won’t go into the story details too much except to say that Judge Dredd is in a different area of Mega-City One (the North Sectors) than he regularly works in, and is on a solo hunt. During this hunt he comes across the Martians and the fun starts from there.

John McCrea’s art is very much in the Dredd style you’d expect and Jay Fotos’ colours back the art up very nicely – both do a great job with the Martians.

In regards to Al Ewing’s writing, I initially struggled with the stereotypes exhibited in the opening scene with the Mega-Mafia meeting – it was all a little bit obvious to me. Then I reality checked myself: Dredd’s 2000AD origins were always based on larger than life stories with some pretty obvious humour, so what the hell could I expect Al Ewing to do any differently given the Martians are thrown in the mix. The Martians themselves don’t get a huge role in the opening issue but I have no doubt that changes.

Overall, I didn’t have any laugh out loud moments but there’s plenty of cheese in the story to keep you amused – the highlight for me was the name of a particular alley Dredd left two perps in for pickup. Mars Attacks Judge Dredd is a nice ride and I’m looking forward to seeing the full story play out.

And as an aside: I am so buying Greg Staples’ cover art  (pictured) for issue #1 as a poster if it becomes available!

Filed Under: IDW Tagged With: , , , ,

Jupiter’s Legacy #3 – Millar and Quitely

October 1, 2013 by

jupiterslegacy03FIThe long wait between issues two and three of Jupiter’s Legacy have paid off in a big way. Mark Millar has upped the brutality in this current issue while Frank Quitely contributes another off the chart visual performance. Even with the extended wait, it’s hard to believe we are only three issues into this story. It reads more like an event than an ongoing series when you consider the densely populated super hero universe and the sheer magnitude of power possessed by these two warring factions – you really get a sense of the scope and ambition of this book.

Bringing an air of realism to a super hero book is not a new concept – we have seen it many times from Watchmen to the more recent Invincible but there is a modern world pathos that Millar brings to Jupiter’s Legacy that is absent from some of these other works. The degradation of the family unit, the rampant drug use and tanking economy all touched on here by Millar lend more than a gritty realism when looked at through the lens of social criticism. It takes on a biting satirical edge in much the same way as Burgess did in A Clockwork Orange, however we are dealing with human society as it effects the super human, which is an altogether new and different perspective.

There is something voyeuristic about this narrative in that it feels like we are watching a family fall apart. On a much larger scale we are witnessing events unfold in the super hero community that will have ramifications reaching every corner of existence. The conflict here is like a presidential campaign on steroids – both sides have their own deeply held beliefs and motivations, some are more altruistic than others but in a world where might truly makes right, these ideals are only as strong as those who hold them.

Millar does an excellent job writing dialogue for these characters. Although these are new characters, he has given us a look inside them through his sharp, intelligent dialogue and made them feel familiar. Their interaction and collusion paint an accurate portrait of just who these people are and what drives them to do the things they do. The narrative is briskly paced to say the least – events happen in rapid fire succession, sometimes leaving us to wonder if there’s going to be a return to that plot thread later or are we to fill in the blanks ourselves – which can lead to confusion or a point being muddled where it should be crystal clear. This is a complex story full of subtext and sometimes that can get lost in the fast tempo. However, I think Millar is doing a fine job of balancing the fast pace of the narrative with the abundance of information presented – I would just recommend reading these issues more than once to really get the most out of the lush contextual landscape.

Frank Quitely is the perfect artist for the realistic super hero story. His clear and concise portrayal of anatomy is enhanced by his knack for dynamic perspective and posing within a panel. Quitely is a master visual storyteller – he employs the location almost as much as the characters as a conveyance device for the plot. Those of you who have read my reviews of his work know that I am an unapologetic fanatical fan of Mr. Quitely’s work, especially when he and a certain Grant Morrison collaborate to make comic book magic, so it should come as no surprise at all to hear that I was floored by his work in this issue. There are so many incredible pages but one of the gruesome highlights would have to be the splash page of Grace’s brutal murder.

She is twisted in pain and pierced multiple times by numerous weapons – swords and arrows obliterate her abdomen as her life blood gushes from the cruel wounds of her ferocious assault. The whole thing is a study in slaughter. Another such page shows Brandon astride his freshly murdered father surrounded by his new team mates while his manipulative Uncle Walter stands beside him with his misguiding hand upon his nephews shoulder. The once powerful and majestic Utopian lies lifeless, his face now a smoldering skull with two bottomless pits where his eyes, a father’s eyes, once beheld the world and all he held dear. Quitely expertly captures the emotion in this scene with subtleties like the inclination of Brandon’s head as he gazes up at his uncle and the consternation in Walter’s face as he looks to a future that he will shape from the shadows. Peter Doherty’s dynamic colors add a vivid depth and dimension that truly enliven these pages.

Millar and Quitely have fashioned a world where super heroes are not immune to the problems that tear families apart. Jupiter’s Legacy does not lack action, excitement or a compelling and engrossing narrative that keeps you wanting more – it has all of that. This is a world that is not hindered by past continuity conflicts or preconceived notions of how a character would or should act. This is a new world, but a world no less full of situations that shock and surprise by their very nature – not by juxtaposing behaviors or contrasting norms, but they are shocking simply by the brutal finality that result from them.

This is a comic book that doesn’t pull any punches however it does not need to be reined in for being gratuitous or needlessly indulgent. There is a balance here that is not so easily maintained – just look at a book like Crossed and you will see just how hard this balance is to maintain and how awful a book can be when it goes careening off the tracks and into the world of pointless violence and depraved sexuality. Jupiter’s Legacy is first rate across the board and for that reason as well as the myriad merits mentioned in this review. I give this issue my strongest recommendation – add this title to your pull list ASAP.

So until next time, see you at the comic book store.

Filed Under: Image Tagged With: , ,

Revival #12 Review – Tim Seeley and Mike Norton

July 24, 2013 by

Image_Comics_-_Revival__12Revival is a series I don’t find myself talking about very much. Not because lack of quality – Tim Seeley and Mike Norton’s horror mystery is a slow burning scare, broken up by a solid family drama that hits all the right notes. No, I am of the firm belief that the best horror is experienced alone, left to your own imagination. But how can anyone experience the horror if you don’t tell them it exists?

Revival tells the story of a small Wisconsin town, which for one day found its dead brought back to life. These aren’t the usual zombies that we know, for these undead – known as Revivers – act like any other human for the most part. Known for incredibly violent outbursts, these Revivers cause the small town to become locked down by the US government. Revival follows Dana and Martha Cypress, two sisters, one a cop, the other a university student turned Reviver, as they deal with the enormous fallout, and the overarching mysteries of this new event.

Revival #12 is essentially an epilogue to the third large story arc, picking up right after the bloody and violent events of issue 11. One thing that can be said about Revival as a series is its incredible accessibility. Now is a great time to jump on to the series, as many character conflicts are resolved, but as always if you wanted to follow each and every detail of the story, head back to the beginning.

This issue, while having less gore than the previous ones, does instil the overarching creepiness the series is known for.Dana’s son Cooper writes his own comic inside a comic this issue, acting as a simple recap, as well as a solidification that not only the reader is aware that something is off. His representation of his Aunt as a monster confirms that these characters are beginning to notice something is off with Martha, rather than the reader becoming more and more frustrated at the idea that they are unable to see what is going on. Combined with Martha’s odd behaviour throughout the issue (and series in general), it makes the reader wonder whether this is something she is aware about.

Ibrahaim Ramin’s side story of the fallout with a racist farmer from last issue is also a great touch. From a town steeped in a strong Christian religion, and with many spouting the end of times, he deals with a religious crisis – both internally and externally. Seeley likes to explore any of the possibilities in this event that science can’t explain, and for religious fanatics to blame it on their heretics makes for an interesting turn of events that look like they will play a bigger part later down the track.

Norton’s art is great as well. While he doesn’t reinvent the wheel, his clean lines and great detail help with a sense of place, as well as his realistic looking figures help to make it feel real. I’m also a huge fan of Mark Englet’s colours, which help with the drab, cold, but colourful palate of small town USA. And while the cover this month isn’t done by the brilliant Jenny Frission, Skottie Young’s cover is both fun and asks an interesting question about the mysterious ghost stalking about the town.

Revival is a series best read alone, in a dark place, and at night. While it doesn’t throw relentless horror at you like recent attempts in not only comics, but film and gaming as well, when it does become violent and spooky it stands out. Throw in some great world building, and a cool art style and you have yourself a title that no horror fans should miss.

Filed Under: Image

Review: The Walking Dead #112 – Kirkman, Adlard and Rathburn

July 16, 2013 by

Image_Comics_-_The_Walking_Dead__112The Walking Dead is unique in so many ways, but one of the most singular to the title is that there are truly no story arcs as defined by most other comic books. Instead what you have is one long uninterrupted narrative that progresses organically, driven by conflict and resolution – and within that paradigm characters are defined by their actions in much the same way people are in everyday life. This process makes The Walking Dead a viable, living story that has all but taken on a life of its own.

Each month we are afforded a glimpse into the lives of these characters that have by now become like old friends (or enemies). Robert Kirkman has not only carved out a niche in popular culture, he has transcended the boundaries that would fence many creators in. By making The Walking Dead more accessible than say the George Romero “Dead” films, he has broadened his audience to an amazing extent and tapped into a demographic beyond comic book fans. That said, he has not sold out by any stretch of the imagination – the comic has gotten grittier and more violent if anything. Not long ago, (SPOILER ALERT) one  of the main characters, Glen, was brutally beaten to death in one of the most graphic scenes of murder I have ever seen in a major published comic, so obviously Kirkman is not watering down his vision or compromising his ideals just to enlarge his readership. He doesn’t have to; in the case of the modern horror comic he has built the proverbial better mouse trap. The Walking Dead is the standard by which all other horror comics are measured and for that fact alone we are indebted to Robert Kirkman.

This issue picks up only minutes after Negan has killed yet another of Rick’s people, Spencer. Negan opened Spencer from throat to navel, spilling his guts all over the street when he dared approach the hot headed leader of the Saviors covertly about taking Rick’s place. Rick is out with a group of his people collecting supplies to give Negan in return for a continued if tenuous peace. Negan is the kind of villain you love to hate. He is sarcastic and vicious but somehow charismatic. Kirkman’s excellent dialog, although peppered with expletives, gives Negan a frightening appeal; he is compellingly reprehensible, like a charming serial killer.

In contrast Rick is a flawed but good man who is at his breaking point. Negan has pushed him over the edge and Rick formulates a plan on the fly which does not turn out as he and his group had hoped. The Saviors may have appeared to be less than prepared for the attack but as is frequently the case in The Walking Dead, things are not as they seem. The most recent encounter between Rick and Negan is thoroughly entertaining but frustrating to read. Rick finally has had enough but his ill-planned revolt does little but take him from the frying pan into the fire and for that the entire group is sure to suffer. The final page is classic Negan as he illuminates the terrain in which Rick currently finds himself all too hopelessly deployed.

I have been a fan of this book for quite some time now and it has yet to disappoint me. Sure there are better plots than others but right now the book and its creative team are at the top of their game. There is a lot going on and plenty of well written characters to love and to hate and as always tons of bad situations getting worse long before they get better. That seems to have become the trademark of a good Walking Dead story – see how much a given character can take and push them far beyond that point before reaching a resolution. Robert Kirkman has taken us on a 112 issue thrill ride so far and there are no signs of it slowing as yet.

Visually, Charlie Adlard is as solid as ever. His style has become the defining look of these characters, including the zombies, even more so than the television show. His work is moody and emotional bringing a feel of perpetual cloudy skies to the page. Adlard has come to know these characters intimately and that comes through in the detailed way he renders their expressions. Cliff Rathburn’s gray tones add dimension and emotional depth.

Over all this is an absolutely entertaining issue full of all the elements we have can to expect from Kirkman and company. The lightning fast pace speeds you through to a final page that leaves you anxiously waiting for the next issue.

So until next week, see you at the comic book store.

Filed Under: Image Tagged With: , ,

Jupiter’s Legacy #2 – Millar and Quitely

July 1, 2013 by

jupiterlegacyEven super-heroes are not immune to dysfunction in the family. Mark Millar explores the depths of that dysfunction in his new series, Jupiter’s Legacy. Utopian is the patriarch of a family of super-beings –  to call them super-heroes would imply that they are somehow virtuous and that cannot be said for most of them. He struggles to maintain some semblance of morality in this clan of deficient principals, however his struggles seem to be overwhelming even for one who possesses the powers of a “superman”. Besides his drug-addled celebrity children, Chloe and Brandon, who make Paris Hilton and Marilyn Manson look well-behaved by comparison, Utopian has a back-stabbing, power-hungry brother named Walter to contend with.

Chloe has just found out that she is eleven weeks along in an unplanned for and unwanted pregnancy when she is rushed to the hospital to recover from yet another drug overdose. Her “boyfriend”, Hutch just happens to be the son of a super-villain. Brandon looks more like a rock star than a super-hero and he behaves more like one as well. He begins this issue by recklessly and drunkenly using his telekinetic powers to transport a huge cargo ship through the air. The ship is full of containers which start to fall overboard when Brandon loses his concentration. A number of the containers plummet dangerously toward the ground. It is only Utopian’s timely intervention that prevents any loss of life not to mention millions of dollars in property damage. Father and son have a heated exchange full of some very well written dialogue –  Millar is quite adept at giving his characters believable voices. Frank Quitely’s awesome visual story telling really shines in this scene as well.

Next we go to Long Beach where Hutch, Chloe’s paramour, makes his first appearance. He is a shady reprobate who has absconded with a shipment of heroin, neglecting to pay for said narcotics. His weapon of choice is something called a “power rod” but he also has the ability to transport anyone foolish enough to annoy him to some rather inhospitable surroundings. For instance when he is approached by a pair of super-powered henchmen representing “The Big Man” whose heroin Hutch pilfered, he simply says the words “shark-infested waters” and bingo! Next thing you know the unlucky henchmen are shark food. This is one of the issue’s highlights – the nonchalance of Hutch just makes this such an awesome moment and Frank Quitely’s cinematic style brings it to life so brutally yet so stylishly.

Utopian finds his brother, Walter in a Cabinet Office meeting with some government advisors. He barges in, making Walter look and feel inferior in front of the government big-wigs. This does not sit well at all with him and makes for a very devious and dubious alliance that begins to unfold on the final page of this issue. I dare not say more suffice to say a knife is looking for a back to call home.

This book has everything I love about good comic books. First of all it has long-time Grant Morrison collaborator, Frank Quitely, who is in my humble opinion the very best comic book artist to grace the printed page. His style is so unique; no one can match the emotion and command of anatomy he wields over his characters. His work is clean with an elegance unrivaled. He lends a sense of humanity to these characters simply by the limitless array of facial expression in his artistic arsenal.

Next there is Mark Millar, who has written Jupiter’s Legacy at a break-neck pace thus far, glossing over some vital history that I hope he gets around to in later issues. That is my only complaint and it is a minor one. This book has come out of the gate firing on all thrusters. I love Millar’s” take no prisoners” style of writing, I have been a fan of his for quite some time. His seminal work on The Ultimates, his groundbreaking Wolverine story, Old Man Logan, the significant Kick Ass trilogy are all examples of the genius of Mark Millar and there are so many other works I could add to that list. With Jupiter’s Legacy he has created a work that will be compared to Alan Moore’s Watchmen and Mark Waid’s Irredeemable for its very human portrayal of super-heroes, their flaws and strengths there to be observed. The plot is intriguing and full of scandalous characters who threaten to bring down a good man who only wants his children to live up to the potential he believes exists within them.  I can’t recommend this book highly enough.

If you are a fan of superb writing and just phenomenal artwork this book needs to be on your pull list. So until next week, see you at the comic book store.

Filed Under: Image

Review: Nowhere Men #5 – Eric Stephenson & Nate Bellegarde

June 3, 2013 by

NowhereMen_5.jpg5Nowhere Men takes on an interesting slogan early on in its run: “Science is the new rock and roll”. It’s a saying of one of the main characters and seems to be a tenet that this group of scientists take in stride. Less like a typical think-tank, and more in line with The Beatles, this group of men are rock stars – big egos all formally part of this global corporation known as World Corp. Set many years after their much publicised break up, Nowhere Men follows not only this original cast of science superstars, but the mysterious crew of a forgotten international satellite orbiting the earth, as they find themselves exhibiting strange powers.

Eric Stephenson and Nate Bellegarde’s tale of corporate secrets and exciting sci-fi is both intriguing and original, and after a brief hiatus returns with issue five to follow the space-station’s crew adjusting to their new powers, as the former members of News Corp battle each other to track them down. It’s slower than the past couple of issues, as many of the characters find themselves still caught in the same area they found themselves in for the past two issues. While it does allow us to further familiarise with each character’s new powers, it is beginning to drag. Hopefully the reveal of a new rival character in the intermissions, as well as the development at the end of the issue can remedy that.

Speaking of intermissions, this is where Nowhere Men shines. Each takes on the form of posters, magazine articles, or artwork that are not only great to read, but both develop character and the world of Nowhere Men as well. Interviews and gossip pieces give back story, while also giving the story a sense of time and place. This is a world that worships science, and has given these men celebrity status, also crucifying them when they fail. It’s a neat parallel to our own celebrity infatuation.

It also helps that these posters are expertly designed too. Each feels like a product of the 60s and 70s, and with some definite nods to artists of that era, looks authentic

Bellegarde’s panel art is also great. His distinct character design manages to portray the wide range of the cast nicely, combined with a nice flat colouring thanks to Jordan Ballaire gives this series a distinct feel. If I could frame each cover in the series I would.

Actually, half of the art in Nowhere Men I’d frame, if it wasn’t great to read. Cool intermissions aside, Stephenson’s tale is really taking shape, and while it may be taking a while to get there, I can’t wait to see how it turns out.

Filed Under: Image Tagged With: ,

Review: The Bounce #1 – Joe Casey, David Messina

May 26, 2013 by

The-Bounce_11-300x461I’ll admit, I was kind of looking forward to the first issue of The Bounce.  Despite the vague description of issue 1, and the costume looking like some kind of cross between Ronin and Spider-Man, I was intrigued by the idea of a hero who finds motivation in superheroing, but the rest of the time doesn’t really do much.

Meet the ultimate slacker superhero for the 21st Century! Jasper Jenkins is a super-head AND a super-hero! He’s relatable AND reliable and he’s embarking on the adventure of a lifetime! The sensational debut of the new feel-good hero of the decade! You can’t afford to miss it!

Jasper Jenkins’ (The Bounce) has a power that is exactly what it sounds like.  He bounces.  The setting is something that’s clearly trying to appear like the ‘real world’.  So we have a hero with an absurd power, in a contemporary, grounded setting.  Nothing new to see here.

Jasper is a slacker and a stoner.  That’s fine, there are plenty of examples in pop culture featuring stoner protagonists that are endearing and witty (see Harold and Kumar, Pineapple Express), or filled with dark comedy and social commentary (Clerks, The Big Lebowski). Sadly, The Bounce is neither of these.

It’s not hard for me to put my finger on why I didn’t enjoy this book.  I really really wanted to, but I ended up quite intensely disliking it, and it had very little to do with the lack of real story, or even my inability to empathise with Jasper.  I didn’t like The Bounce, because it’s trying too hard to be cool.

The book opens with three pages of Jasper, his roommate, and a bong.  How original.  The profanity is also an issue.  While I’m not at all offended by it – that would be hypocritical – it’s incredibly tiresome.  I get that this book is aiming for a certain market, but I’m scratching my head to figure out exactly what that is, considering I’m fairly certain that I fit into the demographic.

So the writing doesn’t have much going for it, it’s not that original, and it’s trying too hard, which is a shame because Joe Casey has done some great stuff in the past.  What about the art?

Ehhhh… it’s okay.  Again, nothing new to see here.  The design is boring, and David Messina’s art, while technically good, isn’t anything special, and lacks any real sense of movement.  I do enjoy his ability with perspective though, and the background cityscapes were probably what I found most interesting about the entire issue.

In summary, and in relation to the summary, The Bounce doesn’t really do what it says on the box.  I didn’t find him relatable, I would actually rather he were unreliable, as that would probably make him more interesting, and I’m really confused as to how this book is supposed to be ‘feel good’.  The only part of the summary I found to be accurate was the slacker bit.

All in all The Bounce gets a D-minus from me.  Would not recommend.  I was originally going to give #2 a go, just to see if it needs some time to find its feet, but you know what?  I can’t be bothered.

Filed Under: Image, Other Companies

Mini-Reviews: Todd The Ugliest Kid, Hoax Hunters and Judge Dredd

April 26, 2013 by

todd-ugliest-4Ahhh, the best time of the month when my monthly stash of non-digital comics arrives. Here’s my brief thoughts on what I’ve read:

Hoax Hunters #9: I’ve been threatening to stop reading this for a few months now and this flip-book doesn’t do much to convince me otherwise. It’s a ghost hunting story this month so at least it’s easy to follow and I like the flip-book concept (one half shows the TV show version of events, the other what actually goes down). That said, the resolution of the story is lame. I’m done with this title as of issue #10 unless something amazing happens.

Judge Dredd #5 and #6: I was starting to waver on this title but these two stories have me back on the wagon. New stories told in the classic Dredd way. Think of it like a 2000AD Mag in a glossy comic. Speaking of which: who’d like to see IDW do a Rogue Trooper series?

Todd The Ugliest Kid on Earth #4: Three words: strength-to-strength. Now with talking cockroaches.

 

Filed Under: Image, Other Companies

Review: Saga #12 – Brian K. Vaughan & Fiona Staples

April 16, 2013 by

saga-12I don’t think I have ever encountered a series that has so consistently been impressive as Saga has been. The perfect mix of sci-fi adventure, family drama, and Lost-esque cliffhangers (which coincidentally was also something writer Brian K. Vaughan was a producer on)  have lent to a tale that is original and incredibly smart. Now at the end of its first year with the release of  Saga #12, this title shows no sign of slowing down. Writer Brian K. Vaughan and artist Fiona Staples manage to prove that even in an issue that doesn’t incorporate the main cast of characters, it still manages to impress.

Saga follows Marko and Alana, two people from different sides of an intergalactic war that are fleeing their own people. That’s because of their child, Hazel, who for reasons unknown is wanted by each side. One of the pursuers, Prince Robot IV, tracks the group to Alana’s favourite author D. Oswald Heist, in an attempt to intercept the group before they get there. Don’t worry if that doesn’t make sense – go read the other eleven issues, and then come back to me.

You’re back? Okay good.

It’s to Vaughan’s credit that he can fashion an issue almost completely without the main cast, and have it still remain of the highest quality. Aside from the cliff-hanger at the end, Marko and Alana don’t feature at all. Prince Robot IV is a sympathetic villain – he’s just learned that his wife is pregnant, and he is being forced out of his homeworld to hunt people. He’s just a man who served a tour of duty and then thrust back out into the war. It grounds the character in reality, and his motivations for getting the child are purely professional – he just wants to be home with his wife.

D. Oswald Heist is also portrayed fantastically as a disillusioned author who has become a recluse, only allowing “ladies who bring him bottles” to visit. It’s great that the team chose to portray Heist as normal and sarcastic, as opposed to being a typical scholar, but I guess if you’d been paying attention to the excerpts Alana read out in previous issues you’d see why.

Despite Vaughan’s portrayal of Prince Robot IV, the real emotional content comes from a character’s introduction (and death) early on. While the character only appears in a few panels, it still stings when they finally (and gruesomely) pass on, speaking volumes to Vaughan’s ability to make readers care.

Staples’ art, per usual, is fantastic. Robot’s television head allows for Staples to use her artistic skills to convey emotions differently than making them pull a face, and it really lends to how the character thinks, and where his mind ends up in times of stress. Her character designs are also smart, as the cute creatures that Robot encounters only adds to their personality. If you ever needed an example of purely digital art being a viable concept, pick this book up.

So while Saga takes a brief hiatus, with solicitations not mentioning it again until after July, it manages to leave on a high note – as a well thought out cliff-hanger that will keep readers going until it returns. As for me? I’ll be re-reading it again, because Saga is seriously a tale you don’t want to miss.

 

Filed Under: Image

Review: Star Wars #4 – Wood and D’Anda

April 12, 2013 by

Review: Star Wars #4I can almost hear that instantly recognizable John Williams score as the Millennium Falcon zooms across the star field. I am not in a darkened Cineplex, I am sitting at my desk reading Dark Horse Comics’ Star Wars #4 by Brian Wood and Carlos D’Anda. This team has so accurately and astutely captured the feel of the original films that it is Harrison Ford’s voice in my head as I read Han’s lines.

The issue begins with Han and Chewie being pursued by a squadron of T.I.E. fighters. As usual, the Corellian and his Wookiee co-pilot find themselves on the losing end of an Imperial proposition – until a very unorthodox solution presents itself. Chewbacca opens the Millennium Falcon’s hatch and uses his signature crossbow blaster to make short work of the menacing T.I.E. fighters. With the pursuing Imperials vanquished, the Millennium Falcon drifts into hiding more than a thousand levels below Coruscant’s surface.

Meanwhile, the Rebel Fleet under the command of Admiral Ackbar and Mon Mothma have (unbeknownst to Admiral Ackbar) deployed Gray Flight, a secret squadron of X-Wing fighters which includes Princess Leia, Wedge Antilles and a grounded Luke Skywalker. The squadron is so secret that Mon Mothma instructs Admiral Ackbar to not only scrub any mention of Gray Flight from the bridge logs but from his mind as well. The secret unit’s main objective is to scout locations and gather Intel on the Pybus System as part of searching for the Rebellion’s new home – a place they can regroup and grow strong again after their defeat of the first Death Star. Princess Leia has a second agenda of her own however – it is her hope that by having C-3PO slice misinformation into Rebel data cores that she can manipulate a spy entrenched deep within the Rebellion’s ranks into revealing him or herself. A short time into the mission an Imperial Star Destroyer and an Interdictor Cruiser show up and begin bombarding the surface of Pybus. As if this isn’t bad enough, two squadrons of T.I.E. Interceptors are deployed from the bottom of the huge Imperial Destroyer.

On the Rebel command ship, Luke hears the voice of Obi-Wan Kenobi warning him of impending danger for Leia. Against orders and probably his own better judgment, Luke suits up to join the fray in the Pybus System. As he retrieves a data-pad from a scolding C-3PO, we see an ominous sight. Slave One, the battered ship of infamous galactic bounty hunter Boba Fett creeps between the ships of the unknowing Rebel fleet like a stalking wolf amongst sheep.

In yet another part of the galaxy, Darth Vader meets with his Imperial admirals and commanders to discuss their apparent lack of progress in completing the second Death Star. Vader is displeased to say the least when he finds that the admiral would rather report directly to the Emperor in person than to him. In his classic fashion the Dark Lord of the Sith voices his opposition to this request by igniting his light saber through the admiral’s back. The glowing red beam exits his chest leaving the admiral quite dead.

When asked if anyone would care to back the admiral up we meet Birra Seah, a strange system designer. She explains to Vader that his reports no matter how descriptive cannot accurately communicate the details of such an undertaking as constructing a new, better and more deadly Death Star. She continues to boldly tell Vader that the work crews desire the stability that only the Emperor’s attendance could provide. It is at this point that Darth Vader senses a stirring in the force that he attributes to Birra Seah. Though somewhat taken aback by his comment she assures the Dark Lord that if she is granted temporary Moff status over the construction she will see to its completion personally. With this, Vader exits to the sanctuary of his meditation chamber to contemplate all that has transpired. He whispers one word, a name, “Skywalker.”

With their backs to the wall, the Gray Flight Squadron engage the T.I.E. interceptors above Pybus. Now armed with Proton torpedoes they prepare for what could very well be their last stand.

Brian Wood has captured the voice of Star Wars, not just the individual characters but the voice, the soul of the original films. He is writing high adventure set in an alien galaxy far, far away but near and dear to everyone who grew up with these characters. Much like the ensemble cast he created in his DV8 series for DC Comics, Wood gives each character a very distinct life of his or her own. Even though this time we have already been introduced to the characters for the most part when he does add a new member to this inter-galactic cast the way they interact with the existing characters rings true. Brian Wood is using his own thread but he is very successfully knitting into the multi-colored tapestry that is the Star Wars universe – a mosaic of space pirates and princesses, droids, wookies, Jedi and Sith Lords.

This is no doubt the assignment of a lifetime for Wood but a daunting task as well. The hyper-critical Star Wars fans can be a temperamental bunch – some of us will never be convinced that Han didn’t shoot first; we know he did and we like it that way! But I believe that if Brian Wood keeps the bar as high as he has set it with these first four issues and The Force continues to be with him, I have no doubt that this book will be a commercial and critical success.

The artwork thus far has been very aptly handled by Carlos D’Anda. His lines are very clean and sharp. His anatomy is believable and his faces are expressive – the robots, aliens and ships look exactly as they should. His backgrounds are exciting without overpowering and his page layouts flow in a very cinematic way which is perfect for this book. I hope these two stay together for a good long run, or at least until Disney says “You can’t play with our new toys anymore.” If you are not getting this book because you are afraid of the complicated timeline that now exists in the Star Wars universe, fear not. This book can be easily understood and enjoyed with nothing more than a working knowledge of the original three films. If you are a fan of those wonderful movies this is the book you should be reading. It captures the magic of the films without beating you over the head with jargon heavy convoluted stories and unresolved plot threads that leave you hanging over the pit of Sarlacc.

This is just good solid writing and dynamic top-notch artwork. You can’t ask for more than that.

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