tag:blogger.com,1999:blog-51381286405830654232024-03-14T06:11:12.202-04:00ROARBOXLDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.comBlogger75125tag:blogger.com,1999:blog-5138128640583065423.post-62854860101631845172019-07-13T08:27:00.000-04:002019-07-13T08:27:42.323-04:00Resonant #1 <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><b>RESONANT #1<br />Story</b> - David Andry<br /><b>Art </b>- Alejandro Aragon<br /><b>Colors</b> - Jason Wordie<br /><b>Letters</b> - Deron Bennett</span></div>
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It is becoming increasingly more difficult to find words with which I can describe Vault's titles. I may as well just copy/paste and make a template because each book they put out requires every positive adjective out there to remotely do it justice. I'll try though because as with the myriad of brothers and sisters it has at Vault, Resonant is fucking phenomenal.</div>
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I won't excuse my language as sometimes a bit of the raw side of things is how to properly describe something. This is absolute truth after reading the first issue of Resonant. Jumping right into the situation (as Resonant does) and managing to envelop you, as a reader, in the characters you're seeing is a very tricky task. I was half way through the book and already talking to myself before the fact that there wasn't a contextual breakdown of everything hit me. I was engrossed in the whole of it from first page to the point that I'd already felt as though I knew this place, these characters, and the broken world they lived in. The facts of the matter are much more point blank. Our world went to hell in a hand basket thanks to WAVES. A decade ago the first one hit and when it did all of the worst of our impulses were released.<br />
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As readers we are given the basic outline so we've got enough context needed to believe what we need to within the story being presented. For Resonant that's merely needing to believe that the world has gone to shit, simply living life is done under a constant threat, and the characters you're seeing could very easily be you. The interplay of the family comes off as genuine. The father, you can tell is a kind and good man but obviously HAS to be a certain way in this world. The kiddos behave much as you'd expect right down to the not truly grasping what everything means. Allowing the characters and origins of their world to come about organically and together is what truly cinches the rope around we the reader's waists and pulls us in. Certainly there's much more to the WAVES and what all of that means but that's beside the point. Real world dangers lurk just out of touch right where the light ends and the shadows start. The harm of ignorance (not because of stupidity) looms over the pages while the seeds of dread sprout under the feet of the readers. <br />
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Reading the first issue of Resonant was much like slowly turning up the volume looking for the perfect level only to try one more notch on the dial and finding it teeth shattering. I don't mean in a jump scare type of way, but a slow burn that slowly envelopes before you realize your hand is on fire type of way. I find that fitting as the entire premise of the WAVE is that the worst of what's in us is released. This is an unbelievably great hook due to the wholly it's own approach to delivering the cause of what this post-apocalyptic world is reeling in the effects of. It is often stated that the worst horrors are born of our own minds. So many successful horror and terror tales use the "ourselves" as the antagonist directly or as the device through which the blank spaces are filled in. There's no depth to what our own minds can conjure and that is paramount to Resonant. The reason it works so well is due to the fact that the book delivers a direct manner for seeing what is uncovered in these depths but also allowing for we, as the readers, to troll our own oceans of horrible things. </div>
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When done correctly this kind of storytelling is beautiful. Resonant is down right gorgeous. The danger of the WAVES are made quite obvious yet we don't know exactly what they are. The world that exists is given in glimpses but we don't know exactly how bad it is. We're given other clues to the story but we can't hone in on just where we'll be going. What we do have, is our little skiff out in the vast waters and a little trolling motor kicking up all sorts of uneasy thoughts. There are certainly horrors coming for us, but Resonant reassures us both literally and by way of the rope the creative team gives us to swing from. If you're paying attention you'll see how well the book relates just how far away, and how close the world that still exists is. I can't wait to explore both possibilities.<br />
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<b><u>RESONANT #1 LANDS ON NCBD JULY 17th!</u></b><br />
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-91578348810101896892019-07-08T14:11:00.002-04:002019-07-08T14:11:40.009-04:00Spencer & Locke 2 #4 <br />
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An extremely satisfying end to an unbelievably good follow up to a wonderful series. Yup, S&L #4 wrapped up the second volume and it is straight fire (in some cases literally). I mean the city is up in flames and of course Locke's own situation is about as frying pan as you can get soooooo ...<br />
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.... here's the thing though. The trauma and coping with it (or not) angle is where the expertise and shining light of this book sits. WE know that the crucible that formed Roach is about as devastating as it gets. Losing a loved one? Painful. Losing your wife and unborn child while you were a P.O.W. scraping away at survival by ANY means necessary? The character build for Roach has been just as good, if not better, than our beautifully crafted hero team. Why? Being real hits the hardest. The militant lean of Roach already played to a real life issue that society has seen play out over and over again with veterans and service members returning from conflicts. The particularly dark and horror filled experiences that Roach experienced aren't exactly a "Hollywooding" of real events that prominent public figures have lived and suffered through.<br />
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That's the genius behind Roach. As we've been given Locke's story we relate and he resonates because <i>we get it.</i> We understand. How he's broken, the effects of being so, and where Locke's adult psyche comes from make sense. As it's all come out in the fold though, Roach is no different. Yes he's violent and is a literal criminal by way of his actions. Why he's twisted and has become the monster that he has<i> makes sense.</i> Both life and humanity not only turned their back on him, but did everything they could to cause him pain. <br />
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The depth of the book shines through as the plot lines are neatly tied up/together (seriously, in four issues how the hell do they do this) without feeling forced. The ability to strike when opportunity presents itself can be just as damning as it is beautiful. The puppeteer manipulating Roach's strings unfortunately chose the former of those two in a misguided bid to do some good. This revelation helps in securing the fact that no character is wasted or merely filler in the overarching context. Each piece of this puzzle is important regardless of how much panel time it has or hasn't received. <br />
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S&L absolutely nails the landing for this second arc. It serves as a thriller, buddy cop, and noir filled action book all while being an expertly crafted gut punch about the fragility of our psyche. That's just the tip of an overwhelmingly large iceberg of a book. Seek this one out. It's that good and you'll continue to uncover layers with each re-read. <br />
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<b><u>OUT NOW</u></b><br />
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-37027491308934949022019-07-07T09:30:00.001-04:002019-07-07T09:30:48.465-04:00Category Zero #2<br />
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<a href="https://images.squarespace-cdn.com/content/v1/56ba2cb0b654f9f956fca23e/1561555287498-LU5BT49SCWIXNGQNNAP2/ke17ZwdGBToddI8pDm48kLfAh6qJ92mpFFyKbt6qJmJ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UXxnb_uhzkHlxC4SwfvE5qogRPVz7MnVGA1AMqU9wKPc5xXE3tOwEGKi7VIbgCPwmw/1A92C533-0325-4408-B398-69DB3DE2121E.jpeg?format=1500w" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Image result for category zero #2" border="0" height="400" src="https://images.squarespace-cdn.com/content/v1/56ba2cb0b654f9f956fca23e/1561555287498-LU5BT49SCWIXNGQNNAP2/ke17ZwdGBToddI8pDm48kLfAh6qJ92mpFFyKbt6qJmJ7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_fV7S1UXxnb_uhzkHlxC4SwfvE5qogRPVz7MnVGA1AMqU9wKPc5xXE3tOwEGKi7VIbgCPwmw/1A92C533-0325-4408-B398-69DB3DE2121E.jpeg?format=1500w" width="260" /></a><b><u>Category Zero #2</u></b><br /><b>Story/Letters</b> - Adem Kiamil<br /><b>Art</b> - Ton Lima<br /><b>Colors</b> - Derek Dow<br /><br />Coming of what I felt was an excellent debut, Category Zero follows up with an equally impressive second issue. We were left with a gripping incident at the end of the first issue and with the second installment of the story, we're diving right into the aspects of the book that separate it from similar books. In the wake of what is perceived as a terrorist attack by one of the One Percenters (those that have the gene necessary to activate the virus everyone is infected with) the government has what it needs to allow Sanaxus (the big evil corp) to start testing everyone for the one percent gene. True to human nature and governmental control, the immediate reaction is to fear monger. Immediately upon testing positive for the gene an individual is sent to what is, in truth, internment camps. </div>
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This mirroring of the current state of affairs is a very surreal kick in the pants. Of course the fact that its also a look back into several instances from our past only makes said kick land even harder. For me, the hidden excellence of the book is tying together and marrying the duel headed snake of human emotion and governmental control. We're always looking for justification to condemn things we don't understand out of fear of what <i>may</i> be. As the second issue of Category Zero unfolds it is shown that the fear of the <i>chance </i>of danger had already prompted protocols to be in place. They were literally sitting there waiting for the slightest event to use as an excuse to implement what assuredly is an overreaction.</div>
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What this second issue does an excellent job of, is conveying the emotion involved from ALL sides of the spectrum. There's the irrational fear of the unknown, of prosecution, of possibility, of danger, and of that which you cannot control. The fluid nature of how the individuals in the second issue are presented lends to the overall world that this book is presenting. That, to me, is the biggest and most impressive aspect of Category Zero. I am immersed in, and believe, the world of Category Zero because it <i>feels</i> real. I can understand and relate to everyone that was shown in this issue. In fact, one of the best panels in the book is actually portraying someone that would be considered 'bad' or 'in the wrong' due to their attitude and actions. However, the out letting of his emotions shows him to be just like everyone else. Scared and angry. What he's feeling is very real, very raw, and very understandable. </div>
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That is where the problems arise though, isn't it? It is understandable that the government would have swift and harsh protocols in place for something as potentially dangerous as this. It is understandable that 'normal' people would be frightened to the point of blind obedience. It is understandable that people would be so scared that they'd not care for the individuals that <i>could</i> be dangerous. That's how horrific things happen. It isn't some outlandish scheme that sets us on the path of self destruction. No, it's the understandable that leads us astray.</div>
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<b><u>PICK UP Category Zero #2 NOW!</u></b> </div>
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-87272778748560310242019-07-03T08:44:00.000-04:002019-07-03T08:44:12.218-04:00Test #1<br />
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<b>TEST #1</b><br />
<b>Story:</b> <i>Christopher Sebela</i><br />
<b>Art:</b> <i>Jen Hickman</i><br />
<b>Colors:</b> <i>Harry Saxon</i><br />
<b>Letters:</b><i> Hassan Otsmane-Elhaou</i><br />
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It's a bit hard to try and give a basic scope for this book. It's the furthest thing from basic and the comparisons you can draw are far and wide, and encompass several different genres. The thought that keeps coming back for me is an amalgamation of 'degenerate' labels to encapsulate an empty shell, give it life, and present a universal - personal level story in grand fashion ... Aleph Null (our main character) is on the run. Null is on the run from the government but it isn't your typical scenario. You see, the government has invested HEAVILY (in the millions of dollars) into Null because Null volunteered to be used for<i> testing.</i> Technology, some changes, and experimentation is what the deal was for volunteering. However, as with all things of this nature there's the other side of the coin. The side/after effects. Null isn't too keen on them and has set out to try and find the fix for the issues by way of Laurelwood, a mystery place that can do the fixing.<br />
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So how does one summarize that properly? It's hard, but that's a good thing because it reflects the scope and depth of this book. For quite a while now I've championed the notion that Vault titles make you think. They do, and now they're beginning to take that and run with it. The approach with Test is slightly different though. Sure, there's some high sci-fi and fantasy elements at play but the core story is about the individual. There are obvious analogues and commentary that you'll draw from the representation in the book. For me though, I found something else there that I don't think was intended.<br />
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The whole situation wreaks of the student loan epidemic we face in America. People are driven to change themselves for the better (get educated) and there's no shortage of agencies there to help you (student loans - in the book the gov money). The end point of both the student loans IRL and the gov monies in the book is an individual that may or may not be any better off than before due to the institution using them for the institution rather than helping the individual. Regardless there are now consequences (side effects) of having taken the helping hand and receiving the upgrades (education) that the individual honestly shouldn't be wholly responsible for. It's a trap game all designed to have innocent people trying to better themselves be nothing more than just another link in the chain pulling the institution onwards and upwards. I draw this comparison even more from our main character's portrayal. It is very clear that all of the "work" done has left them broken and almost defeated. Coming out of the other side of it all isn't exactly what was desired nor does it feel like what is there is fulfilling. The road is still being traveled but now it leads to a place that may or may not exist. The fix may or may not be real. For me that mirrors the countless number of folks that walk the assembly line, get the loans, and come out years later wondering wtf happened, what it's all supposed mean, and where the hell they're supposed to be. <br />
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The book looks and feels this way too. The world is very similar to the one we reside in even though these high sci-fi elements exist. The "right in front of our noses" feel of the problems facing our main character look to be hidden right in plain sight. For me that's a bit more commentary on the state of our world. Several scenes within the book show just how big and daunting any and everything can be for someone. For instance, a trip to the grocery store is overbearing. <br />
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Test is a high concept book that tells its story through each of us. There is obvious social, economic, and political commentary but the representation of individual concepts is the heart of the book. As I did, I'm sure you'll draw your own commonality from what's portrayed in the book. That, to me, is the beauty of TEST. <br />
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<b><u>TAKE THE TEST TODAY #NCBD JULY 3rd!</u></b><br />
<b><u><br /></u></b>Check the creative team out:<br />
<a class="twitter-atreply pretty-link js-nav" data-mentioned-user-id="6994182" dir="ltr" href="https://twitter.com/xtop"><s>@</s><b>xtop</b></a>, <a class="twitter-atreply pretty-link js-nav" data-mentioned-user-id="885771697" dir="ltr" href="https://twitter.com/thejensington"><s>@</s><b>thejensington</b></a>, <a class="twitter-atreply pretty-link js-nav" data-mentioned-user-id="37766929" dir="ltr" href="https://twitter.com/Eru_Rouraito"><s>@</s><b>Eru_Rouraito</b></a>, <a class="twitter-atreply pretty-link js-nav" data-mentioned-user-id="133465704" dir="ltr" href="https://twitter.com/HassanOE"><s>@</s><b>HassanOE</b></a>,<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-29513532331000815422019-06-24T12:50:00.003-04:002019-06-24T12:54:40.867-04:00Road of Bones #2<a href="https://www.previewsworld.com/SiteImage/CatalogImage/STL118855?type=1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://www.previewsworld.com/SiteImage/CatalogImage/STL118855?type=1" width="263" /></a><br />
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<b>Road of Bones #2</b><br />
<i>Story</i> - Rich Douek<br />
<i>Art</i> - Alex Cormack<br />
<i>Letters</i> - Justin Birch</div>
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Issue 2 of RoB continues us down the dark path of genuine terror. After setting a powerful, impactful, and down right grim tone with the opening of the book Road of Bones has pushed right on through to the other side of being scared. I don't mean scared as in the Killer Clown jack in the box laundry basket type of jump scare, no, I mean truly being frightened. When the lesser of two evils is the borderline torture camp designed to impart maximum suffering and suck the will to live out of you ... </div>
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I can't say enough about the setting of RoB. Even though the book doesn't pull up the framework stud by stud there is no lack of understanding the house of horrors this book takes place in. <br />
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The house is not conventional though. As you thought those barbed wire fences were the metaphorical walls, the true terror gazed at you from beyond. Fittingly the frozen Siberian landscape forebodes outside the confines (not comfort) of the gulag. Yes there's literal back breaking "work" and regular beatings for literally nothing that the prisoners must suffer through. Sure there's food but it's scarce and not actually the sustenance one needs to maintain that living thing we're all fond of. To put it simply, RoB gives us the gulag in the exact fashion in which you'd dream it to be and yet there's so much more to it. Why? Well, that's on us and those lovely little places our minds go when left to itself. THAT is the hook with Road of Bones and the second issue plays on those mental travels in a horrifyingly wonderful way. Just like the first issue of the story gave you what you needed visually to get your head off to the races.<br />
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Having made the escape and set off on the mad dash to freedom, Roman has begun to figure out that the horrors of man and the mind far outweigh the horrors of the gulag. Even if horrific in its own right, the gulag provided rudimentary shelter and the briefest of reprieves from the unforgiving Siberian tundra. The tantalizingly sparse food was still something you could be assured of more regularly than what the snow and ice covered terrain promised to offer up. With what's directly in front of us being that which captivates our active thought it's easy to see how we can be oblivious to bigger picture aspects of a situation. It's even easier to see how that type of thinking would fail to load in a situation as dire as that of being in the gulag. The saying "be careful what you wish for because you just might get it" applies rather on the nose here for Roman. Of course you'd want to escape the gulag and have your shot at regaining your freedom. This is especially true for someone that was sentenced to imprisonment for something as simple as expressing an opinion. Some would say that hope is the invisible driver of this story. For me though, issue 2 bangs home something else entirely. The overbearing sense of dread that comes wave after wave is what's got the steering wheel in Road of Bones.</div>
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Fresh out of the frying pan and into the fire ... this phrase is apropos for Roman's plight. Everything unimaginable that he'd fled by slipping through the barbed wire and dashing out into the cold dead night is now proving to be just the start of the terrors. The Siberian wilderness stretches on for what may as well be forever in regards to three poor souls trying to escape the gulag. With the unforgiving environment now seemingly the adversary, Roman discovers that all new horrors have replaced those he left behind. In the gulag it was all direct. Beatings for this, withheld rations for that, and the overall miserable conditions in general were right there before all to see. No surprises or closet horrors to jump out at you in the night. Out in the Siberian unknown though? There's no telling what the horrors are or where they'll come from. Certainly the others sharing the dread lined 'road' ahead with you would be the least of your worries, right? Road of Bones is a tale of survival, remember. The first issue made it clear that the brutality of truth would be front and center. Some of those truths are given while others are allowed to fester and rise up on their own to become dreadful realizations.</div>
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This dreadful realization is what Roman has to deal with in issue 2. It's survival after all ... </div>
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<b><u>Continue the trek on the Road of Bones THIS NCBD JUNE 26th!</u></b><br />
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HUGE congratulations to the creative team as Road of Bones #1 has gone to a THIRD PRINTING<br />
and features this beaut of a cover:</div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-90750393592851394602019-06-17T14:45:00.000-04:002019-06-17T14:45:02.946-04:00Spencer & Locke 2 #3<br />
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<img alt="SPENCER AND LOCKE 2 #3 CVR C MULVEY" height="400" id="MainContentImage" src="https://www.previewsworld.com/SiteImage/CatalogImage/STL119819?type=1" width="266" /></div>
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This series keeps coming with the hits and issue 3 of this second volume for Spencer & Locke maintains the insanely high bar of quality that has been set by the creative team. Quick reminder, in the last issue our baddy (Roach) drove a freaking tank into a courtroom. The over the top comic elements that make comic books fun has been seamlessly intertwined with the absolutely brilliant writing we've been getting with the "real" issues being dealt with within the pages of this book.</div>
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Now, in issue 3, we get more mastery of using the medium creatively to deliver much more than just a comic book story. We find our heroes under a pile of rubble thanks to senior Riley and they're on the brink of death. If you've not caught on at this point, we're being shown how we use our own world to make a path through the lands that our trauma has created around us. This issue brings even more perspective on top of the "opposite sides of the same coin" Locke and Roach. We get shown another real world analogue for so many of us readers in Locker's daughter, Hero. She's made the conscious choice to stand up, "be better" than dad, and strike out against the evil menace. What we're given though, is a different perspective and place in regards to how trauma effects us. As her father is a fundamentally broken person Hero was raised by a parent suffering from, overcoming, living with, and projecting their own issues. How does that shape and influence a child? We get some diving into this with Hero's portion of the story and it falls right in line with just how well done Spencer and Roach's stories have been. </div>
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With the level at which this book delivers MORE than just a comic book it is easy to lose sight of the fact that ... it's a damn good comic book. The usage of styles and homages to the strips continues to be on of the single most phenomenal structural pieces I've seen in comic books in a decade. This issue in particular reinforces the trauma/struggles there as our main driving narrative but also supplements it with two lines that both play directly into that narrative as well as that of the literal comic book aspect. The exploits of both Hero and Melinda keep the book grounded in the NOIR arena this story truly lives in. What Melinda uncovers drives the classic trope home in grand fashion. </div>
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There's a reveal at the end of this issue that, for me, works due to how well this book is done. I'll understand if some people may feel it is a bit "flat" or maybe just raise an eyebrow to it though. As I said, for me, it works. Take the whole book, what it's been giving us, and how it has been telling this story and the reveal does indeed work. I've also no doubt that issue 4 will hammer home the goods on this front.</div>
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If you missed it, fix it and grab this sucker when you head back into the shop ...</div>
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-19029365933869979502019-06-04T19:18:00.001-04:002019-06-07T09:07:38.863-04:00Category Zero <img alt="" class="media-image" data-height="1024" data-width="2048" height="320" src="https://pbs.twimg.com/media/D6sxznqX4AEwh0R.jpg:large" style="margin-top: 0px;" width="640" /><br />
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<b><i>(W/L) Adem Kiamil - (A) Ton Lima - (C) Derek Dow </i></b><br />
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Category Zero is a familiar face in the "what if?" line of comics asking questions of both the characters contained in its story as well as those of us flipping through the pages. When reading through initially I got a taste of several bits from some of my favorite comic premises. There was a dab of Inhumans, a dash of Harbinger, and a side of X-Men rolled into this book. I really liked the familiar vibes I got because they were just that, familiar. <br />
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In Category Zero we're introduced to a man made virus that is unleashed onto the populace. Thankfully (or not) it only affects 1% of people. That's because the catch is that only 1% of people have the gene required to activate it and thus, superhuman abilities. Mostly they're relatively harmless. However, there are some that are extremely dangerous. It is that even more minuscule population and the potential for danger and harm within in it that ALL of the 1% are reigned in for "testing" under a shadow corporation for research. In reality that ain't what's going down. As with real life it is the government that takes action. Cordoning off the 1% into what are honestly internment camps, a very clear overtone of how fear drives action, misunderstanding, lies, and plenty horrible aspects of humanity are put on display. The book does an excellent job of setting up the world without giving too much away. We do get a first glimpse of how information is controlled as the main exposition spill is through what you can only say is a biased outlet. Clearly we've got much to uncover and more at play but the touching on the varied aspects of information control, perception, and fear mongering makes it clear that this book has layers. <br />
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There are very "human" moments in the book that not only add stakes to the bigger picture but also a very nice depth to the story. A forced division brings out what's lurking under the surface in both individuals and society as a whole. People turn on one another and on the turn of a dime different is ostracized and something to be afraid of. All due to chance, or at least the potential of something going wrong or bad, people are at odds. Doing a story like this makes it extremely hard not to draw X-Men comparisons. Category Zero does a very good job of taking the cues and updating the approach, fitting it into today's world. We follow a family unit that has one member that falls into the 1%. At the forefront of it all is how we react. The personal nuance in the bigger picture is the heart supplying the bloodlines of Category Zero. At the end of issue #1 we get a cataclysmic event that triggers a ware between the government and the 1%.<br />
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With just a single issue the book grabbed me. It did exactly what it is supposed to do. It set things up in a fashion that teased all of the aspects that drive the book, gave me a reason to give a crap about them, and managed to put the air of urgency into it all. The last page makes a very bold statement about the human aspect being central to everything and the heart of the matter. How do we react? After that last page, how would you?<br />
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b>Category Zero hits TOMORROW NCBD JUNE 5th 2019 !!!</b></span>LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-78766508613428709562019-06-03T08:08:00.001-04:002019-06-03T08:08:15.139-04:00Spencer & Locke 2 #2<div>
<a href="https://www.outrightgeekery.com/wp-content/uploads/2019/03/Spencer-And-Locke-2-2-Cover-C-Joe-Mulvey-Variant.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Image result for spencer & locke 2 #2 mulvey cover" border="0" class="irc_mi" data-iml="1559560234488" height="400" src="https://www.outrightgeekery.com/wp-content/uploads/2019/03/Spencer-And-Locke-2-2-Cover-C-Joe-Mulvey-Variant.jpg" style="margin-top: 0px;" width="266" /></a><b> Spencer & Locke 2 #2 - Action Lab: Danger Zone</b></div>
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<i>W - David Pepose</i></div>
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<i>A - Jorge Santiago Jr</i></div>
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<i>C - Jasen Smith</i></div>
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<i>L - Colin Bell</i></div>
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In the words of a famous former Food Network star, "Let's kick it up a notch!" Here in the second issue of volume two that's exactly what the creative team behind Spencer & Locke has done. With our new villain, Roach, it really looked as though we'd be getting a much bigger dive into 'self' (Locke) and the action presented in this issue follows up on that in my opinion. The entirety of the concept calls upon a certain level of suspending belief and that's where the action for this issue calls us. A few spots truly engage that suspension but it isn't out of line or misplaced with how things are done in conveying this story. It works, and for my money, makes the entirety of it that much better. Combined with the purposeful stylistic changes and some choice panel/page layouts, the look of this book continues to be an absolute treat on the eyes on top of adding to the story telling.</div>
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I'm not sure if it will go anywhere or not but there was a particular little line of dialogue that stuck out to me. As WE know, Spencer is all in Locke's head. While speaking to him, Locke is asked "Talking to yourself back there Locke?" And, after he replies gets the follow up "Just always thought you were a creepy little bastard." In the context of the 'known' we understand about the S&L universe it doesn't really come off at all, let alone as anything significant. This issue opened up that universe tremendously though. It was the kind of issue that you'd look back on down the line and view as the one that saw the doors kicked open and the first images of 'everything else that exists' shining through. Why do I say that? Well, for as much of a progression of the arc as we got from the "main" characters, we got huge narrative driving from other members of the cast.</div>
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The ladies took the wheel this issue. While the boys were out back rough-housing we got entirely new perspectives on it all thanks to Melinda and Hero. This opening up and focus outside of S&L (in fact Spencer was but a figment in this issue, cough) has brought an entirely new view through which this book can be seen. There are some commonalities drawn between Locke and Melinda. With the two being who and what they are (and their lives are what they are) the dynamic of "effect" on people is illustrated without even trying. This is where the genius of this book shines. Yes, there's more of the same as we get filled in on Roach's past and how he's come to be a mirror image of Locke essentially. But the driver of the narrative here is the book itself and this issue does an impeccable job of taking the wheel.</div>
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In addition to the jump in characters driving the narrative, this issue is FILLED with driving points outside of Locke, Spencer, and our new villain Roach. There is plenty within the pages to refresh all of us on just how it all works in the S&L universe. Open your eyes and pay a bit more attention and you'll see just how much we're being told (see that marriage counseling clinic in the background, for instance). There are little drops like that all throughout the issue (notice the cameos) that show the driving forces behind the narrative and also where it is going. </div>
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This book continues to impress and treat on multiple levels. Hell, even the SFX take you on a ride in this book. </div>
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Pick it up folks, you'll love it.</div>
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-64407273970494119492019-05-29T14:40:00.002-04:002019-05-29T14:45:15.627-04:00She Said Destroy #1<div class="separator" style="clear: both; text-align: center;">
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<strong style="background-color: white; box-sizing: border-box; font-family: "Text Me One", Helvetica, Arial, sans-serif; font-size: 14px;">W - Joe Corallo / </strong><strong style="background-color: white; box-sizing: border-box; font-family: "Text Me One", Helvetica, Arial, sans-serif; font-size: 14px;">A - Liana Kangas / </strong><strong style="background-color: white; box-sizing: border-box; font-family: "Text Me One", Helvetica, Arial, sans-serif; font-size: 14px;">C - Rebecca Nalty / </strong><strong style="background-color: white; box-sizing: border-box; font-family: "Text Me One", Helvetica, Arial, sans-serif; font-size: 14px;">L - Melanie Ujimori / </strong><strong style="background-color: white; box-sizing: border-box; font-family: "Text Me One", Helvetica, Arial, sans-serif; font-size: 14px;">P - Vault Comics</strong><br />
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If you don't know this already, Liana Kangas' art is drop dead gorgeous. She Said Destroy #1 showcases it wonderfully. In the next book to drop from the absolute top end on fire publisher today, Vault Comics, She Said Destroy takes us right into a brewing battle between Gods. Two Gods actually, because that's all that are left. The Goddess of the Sun (Brigid) is standing opposed to her sister, the Goddess of Death (Morrigan). As it is set up though, it is the Goddess of Death that appears to be our "good guy" in this tale. I know better than to take face value in Vault books as they are DEEP with meaning and the layers of story are usually uncountable. For those reasons I'll take it as it is presented but I'm quite curious ...<br />
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... and that curiosity will have to wait. The first issue of SSD drops us face first into what's going on. I think this was the best approach seeing as how this story has quite a few characters involved within. Clearly we've got much to cover and I appreciate the foregoing of a huge dump of exposition in this case. There will need to be some fleshing out of course, but seeing the characters 'in fashion' from the get go is refreshing and allows me, as the reader, to put some things together and build my own take. This initiation also sees the book move quickly and gives glimpses of several different aspects of the larger world/universe in an "at once" kind of fashion. Personally I love seeing the entirety of a story being displayed and interacting with itself before too much is known/given to us. <br />
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Joe Corallo has drawn inspiration from several places to create a world unique unto itself. While you'll see nods to a certain popular RPG, an all time movie franchise, and some influences from fairy tale stories it is the creation we're being shown that stands out. The struggle between Brigid's followers (which is essentially everyone at this point) and Morrigan's devout order (which are akin to rebels in this tale) is a construct separate from these nods. There is a flair of personality that sets these characters aside from their inspirations. Gods butting heads over followers has taken many forms in many different mediums. With SSD I'm hoping that the individual flair from the characters we're shown is a precursor for what's to come with this story.<br />
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Liana Kangas, Rebecca Nalty, and Melanie Ujimori have combined to blow you away with the presentation of She Said Destroy's visuals. Comics are a visual medium. This team has taken an excellent premise from Corallo, stolen it, and run away to the hills. Deliberate lines, immersing colors, and synergistic letters create a down right stunning palette for this book. It's been a long while since I've seen a team be so individually compelling with their pieces of the art yet so intertwined with the finished product. The aesthetic of this book threatens to take your breathe away with each page. The final splash steals it.<br />
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She Said Destroy more than lives up to the well earned reputation that Vault books hold. It is a fantasy driven, visually remarkable book that manages to present an excellent first chapter while maintaining the larger tease of what is coming.<br />
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<b>Rush to the shop and nab She Said Destroy #1 TODAY NCBD 5/29 !!!</b><br />
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-74532302526566559712019-05-28T13:40:00.004-04:002019-05-28T13:40:33.931-04:00Wasted Space #10<br />
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<b><u>WASTED SPACE #10</u></b><br />
<span style="font-family: inherit;"><span style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">W: Michael Moreci</span><br style="background-color: white;" /><span style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">A: Hayden Sherman</span><br style="background-color: white;" /><span style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">C: Jason Wordie</span><br style="background-color: white;" /><span style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">L: Jim Campbell</span></span><br />
P: Vault Comics<br />
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Oooooooohhh Biilllllyyyyyy<br />
Pretty much that's where we're at with our mess of a vessel for the best hope of universal salvation. Yes, a Jim Carey riff on an in prison Matthew Brodrick from Cable Guy pretty much sums it up. Things are so shit that we're stuck with the jackass that got us here as our only hope. Thanks Billy. Issue #10 of Wasted Space closes out the second arc of the absolute monster hit series. It's hard to follow up on a stellar debut, as this book had, but the team on Wasted Space has upped the ante and then some with this second arc. The walls though, will they come tumbling ... tumbling down? Either way it's all Billy's fault thanks to his seat of his pants approach to everything and everyone.<br />
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For me, the crux (and genius of the story) of things is that Billy sucks. No, really ... he sucks. He's the asshole that caused the problems, the asshole that has to fix them, the jerk that somehow seems to not take it seriously, and the hypocrite that has his right hand doing what he's mouthing off against with his left hand. On top of that he's not carrying his own damn baggage (literally/emotionally/anytype-ly). For some reason though (even if not on the surface) things line up and work out for him. So what's the freaking point anyway then? That's something that Wasted Space has been exploring and manages to dive even deeper into with this second arc coming to a close. With last issue's ending I was greatly anticipating how this little ditty would close out. As with the first salvo, this book goes places I'd not imagine it too. <br />
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As much as this book has high brow concepts and philosophies running through it, it also conveys raw base level emotional compulsions with the same ferocity. At this point I feel pretty damn sorry for Dust and Molly being dragged through Billy's spiritual, emotional, and physical (not literal) shit. Again, to what point? Well we get opened up to a much larger expanse here in issue #10. There is always something looming ... something hovering over the top of all that is happening. Each light bulb that goes off when reading this book only illuminates a much deeper layer that plays a part in the cosmic, and personal conflict going on. It doesn't hurt that it continues to seem more and more inevitable that we're going to get a rather big beat down of GOD? like proportions. Fact is though ... I've got no clue what's coming<i> and that is amazing.</i> To grab an audience, create connection, and still keep the big picture fuzzy enough to drive the wonder of what it all means? Yes, this is a master work. It is clear with this issue that the book has plenty left to explore (and it does as it is now guaranteed 25 issues). For me, I'm wondering if the cosmic mess is the existential crisis inside of Billy being played out on the "big stage" ....<br />
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<i>Oh, and uh:</i><br />
LEGION IS BACK !!!! Sorry, just had to express that as it makes me insanely happy. <br />
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<b>Hop on and end this second arc with a bang THIS NCBD MAY 29!!! </b><br />
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-48493701327587564522019-05-25T20:12:00.002-04:002019-05-25T20:14:49.732-04:00FUTURE - Q&A w/Tom Woodman and Rupert Smissen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkKeUEaRyLBrJERjsq0-Pzih19Pz3LoHersl-0NqhGyHxrKZtqPeuxsAOiV4dV-f08SoyQ7jW8z0u6hgxeABslGFvsPIyga7WlaQOHOPKoaBZi8O1T2uZEylHtR5qZ6R-OtKwid1L2fdk/s1600/future.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="287" data-original-width="600" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkKeUEaRyLBrJERjsq0-Pzih19Pz3LoHersl-0NqhGyHxrKZtqPeuxsAOiV4dV-f08SoyQ7jW8z0u6hgxeABslGFvsPIyga7WlaQOHOPKoaBZi8O1T2uZEylHtR5qZ6R-OtKwid1L2fdk/s640/future.png" width="640" /></a></div>
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<i>"Murray Mielniczuk, the last astronaut, is dying. So is Earth.</i><br />
<span style="font-family: inherit;"><i><br /></i><i>In a last-ditch attempt to prevent both catastrophes, Murray and her wife Kay are shot forward through time to find a cure, rewrite the future, and prevent humanity’s imminent self-destruction. But crash-landing on a barren future Earth, they find themselves with no help, no ship, and no way home."</i></span><br />
<span style="font-family: inherit;"><b><u><br /></u></b><b><u>FUTURE</u></b></span><br />
<span style="font-family: inherit;"><b><u><br /></u></b><i>(W) Tom Woodman - (A) Rupert Smissen</i></span><br />
<span style="font-family: inherit;"><i><br /></i><span style="font-family: inherit;">Future<span style="color: black; display: inline; float: none;"> is a character-driven sci-fi story about love, hopelessness, and which one ultimately wins, a conflict embodied in the two lead characters, Kay and Murray. Aimed at a 16+ audience, the complex themes are off-set by an upbeat gallows humor.</span></span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="color: black; display: inline; float: none;"><br /></span></span>The Indie Engine has had the opportunity (through our buds over at Lyonsden Comic Shop) to have a Q&A with the creators of the FUTURE graphic novel. Currently funding over at <a href="https://unbound.com/books/future/" target="_blank">Unbound.com</a> this project has all of the makings to be a classic story presenting an eternal struggle that all people face at least once, if not multiple times in their lives. Both Love and Hopelessness are driving factors that can either undo or resolve an individual. More often than not these driving forces also either free one's self or confines it. The power in these two vessels is immense. Conquering the fear and mastering the strength in both is ultimately what decides our fate. Future examines how the cast of this timeless back and forth (love, hopelessness, and the human element) and how they all interact in the struggle. It isn't just about the people, but how the concepts themselves pay off of and fight with each other. This conflict in Future is well thought out and presented in a universally relatable fashion on two fronts (the personal struggle as well as that of the future of Earth and oblivion).</span><br />
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<span style="font-family: inherit;">The writing is not only on par with what you'll find at (insert your idea of top end comics here), but the artwork is as well. I was floored when looking over the images from this project. There are both dynamic and intricate pieces to the visuals that enhance this story ten fold. The outset is dark and bleak. It's hopeless and the art reflects that. There's love and hope though, and if you're paying attention you'll see the nods in the pictures that emphasize that. On top of this, what is portrayed within the pages is very real. There isn't smoke and mirrors hiding things and there's no misrepresentation of truth with the characters. The entire presentation is built to convey the themes and truth behind them.</span><br />
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<span style="font-family: inherit;">This book gives us some things that are very hard to find in the comic medium. Rather than force common themes to fix an issue, Future expertly uses the apocalyptic end of the Earth in conjunction with terminal sickness in order to drive the themes that the book is actually about. Future also gives us representation (the main characters are married women) without feeling as though it is done 'just because' or to try and score points. Their presence, relationship, and story all feel right and work synergistically with how the themes are addressed. It's usually in the death and destruction that the brightest of lights shines. Future shines this light with an intensity and sincerity that mainstream comics only ever hope to do.</span><br />
<span style="font-family: inherit;"><b><i><span style="font-family: inherit;"><br /></span></i></b><b><i><span style="color: blue;">>>>>>>>> <a href="http://tinyurl.com/FutureChapter1">Check out the entire 1st chapter here!</a> <<<<<<<<</span></i></b></span><br />
<span style="font-family: inherit;"><b><i><br /></i></b>... and now, some words from the creators!</span><br />
<span style="font-family: inherit;"><b><i><br /></i></b><b>So where did this concept come from? - Was it a response to something you see in society?</b></span><br />
<i>[The sci-fi concept came from wanting to take two people who were terrified of what the future held and putting them in it. That meant time travel. As for why I wanted to talk about the future – the word ‘future’ used to be aspirational, now it’s something to fear. It’s climate change and nationalism and nuclear bombs. But that’s a self-fulfilling prophecy; if we feel beaten we get scared, we get defensive, selfish. So the book’s about the promise of a future and making that a good thing again, and how that starts with making a choice against some ugly odds. This was a heavy first answer.]</i><br />
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<span style="font-family: inherit;">It was heavy, but that's what creates the sincerity in the work. This is why the relationship in the characters feels natural and the promise of a 'character driven' tale is delivered upon.</span><br />
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<b>Was there a singular event in your life(lives)?</b><br />
<i>[This is even heavier. I’d been paralyzed by feeling ineffectual, like a lot of us, and then suddenly one of my closest friends died. I realized how little my feeling miserable and defeated had done for anyone. I’d been waiting for the facts to change before I did, when it had to be the other way around – and now I sound like a budget motivational speaker.]</i><br />
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<span style="font-family: inherit;">Not at all. One of the traps of emotions is the singular hole we find ourselves in. "Getting lost in emotion" is a very real thing. Feeling what you do isn't the issue, but rather, the inability to see how you act (or don't) when in your feelings is what effects others.</span><br />
<span style="font-family: inherit;"><b><br /></b><b>There are several strong themes with this story. Was the aim to have the story drive the concepts? - As you developed and got further into things did the concepts end up driving where the story went?</b></span><br />
<i>[Yes! It was always about holding onto that hope, but it took a bit longer for that to be threaded into the narrative itself, and for me to have the confidence to whittle down to what is mostly a two-hander and know that it encompasses huge questions and themes.]</i><br />
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<span style="font-family: inherit;">This absolutely comes across! At their heart, the themes addressed here (and the one central conflict) DO drive narratives on their own. It's refreshing that this story let's them drive as opposed to trying to force them into pushing a narrative that doesn't fit them.</span><br />
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<b>Was there a clear cut ending to the story or did it end organically was the book was written?</b><br />
<i>[The ending was revamped a few times – it always ended the same way-ish, but there was a whole extra section we considered. We realized we were drifting off-focus, into epilogue, maybe into blatantly saying ‘this is the point’ rather than trusting the reader to understand. But I’ve been an editor for years and I know that in just about every case, trimming it down makes it a stronger book. You’ll see.]</i><br />
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<span style="font-family: inherit;">That seems fair. The best stories tend to be one that has had a marriage of "this was the original aim/perceived endpoint, and along the way it was clear that how it actually ended up was the way to go." It is very easy to bury what would otherwise be a stellar tale by making it fit rigid points, lines it doesn't want to.</span><br />
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<b>Of the themes in this book did you feel the need to focus on one or just let them all play together? - Did you aim to address any of them specifically or were they just the products of the story being told?</b><br />
<i>[All the themes are, as becomes obvious whenever I try to talk about any one of them, interweaved. I am an incredible master-storyteller, I’ll take my Eisner now, thank you. From page 1, which was helpfully the first image that appeared in my head, Murray’s personal physical/mental health and future are interwoven with the future of the planet, and it all goes from there. That’s a lovely thing about a shorter creator-owned work – the entire world of the story can be molded to what you want to say, and you’re not beholden to anyone’s continuity or backstory or whatnot. And anything that doesn’t tell the story and serve the themes gets cut. Except for some extraneous jokes tagged on.]</i><br />
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<span style="font-family: inherit;">HA! Yes, cast the ballot now folks! Truthfully though that opening page IS excellent. It is a very powerful piece of art, of the imitation of life that art has (I think I got that right). </span><br />
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<b>Is there a certain theme that you hope the reader would take away from the book?</b><br />
<i>[Don’t give up. Any more detail would bring us into massive spoiler territory, but don’t give up, because giving up is worse than losing. The visuals are wonderful.]</i><br />
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<span style="font-family: inherit;">They absolutely are. I cannot express enough just how good this book is visually.</span><br />
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<b>How did Rupert end up as the artist?</b><br />
<i>[We’d been joint best men at a friend’s wedding, and our best man’s speeches involved a watercolour reinterpretation of a photo of the very drunk groom, naked, with only a Roman gladius for modesty. Naturally, the project went from there.]</i><br />
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<span style="font-family: inherit;">Naturally. This is phenomenal. A backstory fitting of comic-dom lore decades down the road.</span><br />
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<b>Did you have the look of things envisioned already or were you “finding” that as you were finding an artist?</b><br />
<i>[I wanted a quite down-to-earth, clear look, mixed with the ability for sudden massive celestial beauty. Sorry, Rupert. I think I was going with the idea of grounding the story, having Kay and Murray as realistic anchors in a strange world.]</i><br />
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<b>Coming onto the project did you have an idea of the style you wanted to bring or did the story tell you what it would be?</b><br />
<span style="font-family: inherit;"><i>[Future is actually my first foray into full colour comics. I work frequently as a storyboard artist, and wanted to bring the clarity and efficiency of that field to this project, putting storytelling first. I've enjoyed being able to spend time developing characters and more elaborate visuals, and having a collaborative working relationship with Tom has been a proper breath of fresh air, allowing me to go beyond being strictly a pencil jockey and contribute far more to the look and feel of Future.] </i>(<span style="color: black; display: inline; float: none;">Rupert)</span></span><br />
<span style="font-family: inherit;"><span style="color: black; display: inline; float: none;"><br /></span>Wow, first full comic? This is insanely impressive given that tidbit. The storytelling aspect comes through loud and clear. Given what we see in the preview and first full chapter, it's my opinion that you do more books ... many more.</span><br />
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<b>Overall, where was the importance of the visuals: that they looked good or that the look was what represented the story?</b><br />
<i>[The only things we’ve back and forthed have been on this topic – Tom having overthought things to death, whether a detail will be clear enough, whether the readers will ‘get it’. Luckily, Rupert is the calm one of us two, and he just makes it work beautifully every time, until I end up nodding feverishly.]</i><br />
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<span style="font-family: inherit;">The trust comes out in the story, that's for sure. I love that you were at that level of concern for what you were wanting to portray though. Being invested, truly, makes all the difference in the world.</span><br />
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<b>Any reason for Unbound as opposed to other crowd funding options?</b></div>
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<i>[We wanted to be working with a team who knew when we were going off-course, and who could then help get the book out into stores when it was complete. Unbound also meant we’d get to work with Lizzie Kaye (Titan Comics, SelfMadeHero), who is a huge help to us at every stage of the project.]</i></div>
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<span style="font-family: inherit;">A working relationship already in hand certainly helps. Didn't know that about Unbound (the help getting out into stores bit) so that's a good nugget to put in the back pocket.</span></div>
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<b>Why the Graphic Novel route?</b><br />
<i>[Well, the publisher, Unbound, only work on single-volume graphic novels. The great thing about that is we don’t have to worry about cancellation, monthly sales, forced cliffhangers, page limits – we can do what’s best for the story at every turn. We have however just released the first chapter (equivalent to issue 1) digitally, so please give it a look and share it around!]</i><br />
<span style="font-family: inherit;"><i></i><br /></span>
<span style="font-family: inherit;">Ah, well then yes, graphic novel it is. The first chapter is linked right before the Q&A folks!</span><br />
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<span style="font-family: inherit;">I would like to thank Tom and Rupert for their time and for the opportunity to get a deeper look into this project. As stated, FUTURE is currently funding on UNBOUND.COM (link at beginning of article). Go check the project out. This is a fantastic dive into deep emotional states and attachments. We've all got the human condition. We've also the capacity to thrive despite it. It is in our capacity to overcome and have our stories tell OUR truth regardless of how it ends.</span><br />
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<img class="img-responsive" height="640" src="https://s3-eu-west-1.amazonaws.com/media.unbound.co/p/images/10674/large/page_7_new.jpg?1550836451" width="420" /><img class="img-responsive" height="640" src="https://s3-eu-west-1.amazonaws.com/media.unbound.co/p/images/10675/large/page_8_new.jpg?1550836503" width="422" /><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-70919433873382996382019-05-21T09:08:00.001-04:002019-05-21T09:10:42.262-04:00Incursion #4 <div class="separator" style="clear: both; text-align: center;">
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<figure class="aligncenter" style="margin-left: 1em; margin-right: 1em;"><img alt="" class="wp-image-106462 jetpack-lazy-image jetpack-lazy-image--handled" data-lazy-loaded="1" data-recalc-dims="1" height="400" sizes="(max-width: 640px) 100vw, 640px" src="https://i0.wp.com/www.comicon.com/wp-content/uploads/2019/05/Incursion_04_B.jpg?w=640" width="260" /></figure><b><i><br /></i></b>
<a href="https://lyonsdencomicshop.blogspot.com/2019/04/incursion-1-3.html" target="_blank">Read up on #1-3 Here</a><br />
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<i>(W) Andy Diggle/Alex Paknadel - (A) Dough Braithwaite - (COL) Diego Rodriguez - (LET) Marshall Dillon</i><br />
<br /><br />The conclusion to the hit limited series from Valiant! <br /><br /><br /> Unlike another hit series, that has just ended with a whimper rather than the bang it should have, Incursion goes beyond satisfying in wrapping up the story it has been telling. We've been given an unfiltered look at ourselves (as I previously stated in the #1-3 wrap up) through our villain Imperatrix Virago. Everything has meaning (and have you checked out what the literal translation of her name is, btw) and as always there are layers to peel of with who we've got writing this tale. Her name alone is a statement but her drive, or true nature of why she does things is where the layers are. I previously begged the questions about Gilad and this story bringing about the angle of choice, for him. In this final issue I can't help but feel the same type of angle for I.V. as well. It isn't overt, but with the rest of what has unfolded I can't help but feel that it is either implied, or purposefully left out there to be discovered.<br /><br />I circle back to choice as this final confrontation, and closing chapter, bring three very distinctive takes on this very human aspect. Our Eternal Warrior is clearly the "good" aspect of choice. Being dutiful, on the side of life, selflessly serving a greater cause, or however you'd like to frame it, Gilad's choices are our conceptual embodiment of "right." Clearly the antithesis of this is Virago. As we've been shown, her actions are born of necessity. Quite literally she has to destroy life to have it herself. Does she have to do the things she does in the manner in which she does though? Does the entirety of her existence have to be an overbearing violent and lashing out spectacle? Can she or can she not choose? Then we've got the Geomancer. Here we've got a representation of one who doesn't have a choice in their fate. Most often we're given the "two sides of the coin" in these struggles and everything else is collateral damage. With the Geomancer though it's not about what purpose they have or bring, what their intentions are, or what they choose. The fate of the Geomancer lies with the choices of others. This angle shines a light on yet another arena of choice we all face time and time again. What do our actions really matter if their results and our fate are decided by others anyway? Is there a purpose at all if it is our own actions that don't write the final line of our stories?<br /><br />As has been his rapidly defining M.O. Alex Pakandel demands readers and characters in his stories to take hard, deep looks at themselves in order to facilitate the experience. <br /><br />One of the best things about this mini-series is that it has been inviting to new readers of the Eternal Warrior and Geomancer characters while at the same time staying true to those of us that have been reading about them since their introductions over two decades ago. Even while introducing a brand new villain and other characters the draw and connection to the Valiant Universe is made by way of supporting characters such as Dr Mirage. The whole or Unity concept of the Valiant Universe is used to its fullest effect in this mini-series. That has always been one of the biggest draws about the Valiant approach. This is a prime take on how and why this approach makes meaningful stories.<br /><br /> Of course, the final chapter looks just as wonderful as it reads. Braithwaite and Rodriguez have combined to give us the images the story demands. It isn't just that the characters and physical environments look stunning (they do), but the pacing and framing of the story and encounters that unfold. Below is the perfect example of this:<span style="font-family: inherit;"></span><br />
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<br />The blood tinged sword acting as panel lines as well as directing the reading/action encapsulates the mastery of work this art team has done through this series. We, as readers get a literary and visual treat all throughout Incursion. The team brings the goods in the finale as they have throughout the entire body of work. Not to be lost in it all is Dillon's lettering. When it has needed to feel expository, it has. It's also ebbed and flowed with the emotion involved in the tale as well as the battles.<br /><br />I'm not spoiling the ending but I will say that there was a very neat bow put on what this mini-series was doing. I'm not saying you'll feel all puppy dogs and rainbows about it, but you certainly won't feel cheated about how it ends. This story certainly does not fall flat. In fact, the outcome leaves opportunity to re-explore these characters further. That is the sign of a great piece of art.<span style="background-color: transparent; color: black; display: inline; float: none; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span>
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b>GRAB THE CONCLUSION THIS <u>#NCBD MAY 22!</u></b></span><br />
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-58365716713861618592019-05-20T08:19:00.001-04:002019-05-20T08:19:03.476-04:00Road of Bones #1 <br />
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<b>ROAD OF BONES #1</b></div>
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<i>(W) Rick Douek - (A) Alex Cormack - (L) Justin Birch</i></div>
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It's referenced in movies and stories all the time. The Gulag is the worst of the worst when it comes to "prisons" that you can be sentenced too. I mean, what doesn't scream terror, horror, desperation, and [insert your own horrible adjective here] about a prison in the middle of Siberia during a time when on their best day those in charge of the prison have no moral compass or guiding light? Sounds peachy honestly. I mean, for a setting it's peachy. When you've got a story to tell, setting is paramount. In this case the physical setting immediately sets the bleak and unforgiving tone that this story is dropped into. It's perfect. In all of its dread filled glory I'm already primed before opening the book to see it's assuredly gruesome insides.</div>
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On top of the given (the Gulag) we're presented with visuals that not only capture the dire straits of the physical connotations of being in the Gulag, but enhances the mental and emotional distress that such a place undoubtedly imparts on its guests. The washed out colors draw upon the natural eeriness of the setting and lend to opening a gateway of thought and imagination for both the reader and characters within the pages. Perhaps the only thing worse than the Gulag itself is man's own mind free to wander on its own. The lines and coloring choice almost beg the characters and readers to peak out that door and test the waters (snow) beyond the literal barbed wire fences keeping the story contained to the known. Desperation,and human understanding of it, are what resides within the Gulag and freedom is just beyond that flimsy barrier. Yet, that can't be right. The visual environment hints that there's a reason that the very essence of life has seemingly been sucked out of everything. That delivery is helped along by the lettering. You can 'see' the words being spoken and thoughts of those within the barbed wire as well as 'feel' the foreboding sense of dread to it all. The terror and dread are also given (figuratively and literally) their dark faces within the pages as well. Dread, terror, horror, and truth aren't usually realities that have spotlights shining on them. No, these are usually tucked away in the dark recesses of our minds where they are allowed to fester and grow into<i> so much more ...</i>and we get some scenes that show this off as well.</div>
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But what is all of this wonderfully done visual story telling giving us? One hell of a terror ride, that's what. The book HITS HARD but it isn't gratuitous. Some times violence, gore, and the like are necessary as the story involves the reality of such things. Road of Bones is exactly this. The setting and story being told aren't nice. What makes this first issue so good is the combination of writing, lettering, and art bringing us the truth of these things rather than displaying them simply for the sake of it. No, the story being set up and told here is a blunt force trauma of everything bad you can imagine. Characters that are already bad enough (or have the type of luck) they are sentenced to the Gulag in the middle of Siberia, guards that are either equally as terrible or unlucky to have been stationed there, an absolutely unforgiving environment, and who knows what laying in wait outside the barbed wire line. Wait what? Yep, on top of all of the human elements we've got a dash of Russian folklore/fairytale that caps off the perfect package. For much of this opening installment the supernatural element is just there, lurking in the background. Somehow in the bleak, washed out world of the Gulag there are shadows in which a friend? foe? something else entirely? is able to lurk. It is quite clear that escaping the Gulag will be nothing but the beginning of the true horrors this book will reveal. </div>
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Road of Bones delivers a truly unsettling and terror driven first chapter. We're treated to a truly desperate and unforgiving environment physically and mentally. I'm very much looking forward to the horrors that unfold whether they be from what lurks outside of the barbed wire, or in the mind.</div>
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<b>PICK UP ROAD OF BONES #1 <u>NCBD MAY 22!</u> <u></u></b></div>
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-5152247186773113442019-05-06T15:45:00.001-04:002019-05-06T15:47:04.981-04:00These Savage Shores #4 <div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<span style="background-color: transparent; clear: right; color: black; display: inline; float: right; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 18.2px; font-variant: normal; letter-spacing: normal; margin-bottom: 1em; margin-left: 1em; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b><i><u>THESE SAVAGE SHORES #4</u></i></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-image: none; border: 0px rgb(0, 0, 0); font-size: 18.2px; font-stretch: normal; font-variant: normal; line-height: normal; margin: 0px; padding: 0px;"><br /></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: rgb(0, 0, 0); border-left-style: none; border-left-width: 0px; border-right-color: rgb(0, 0, 0); border-right-style: none; border-right-width: 0px; border-top-color: rgb(0, 0, 0); border-top-style: none; border-top-width: 0px; font-size: 18.2px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Publisher:</span> Vault Comics</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: rgb(0, 0, 0); border-left-style: none; border-left-width: 0px; border-right-color: rgb(0, 0, 0); border-right-style: none; border-right-width: 0px; border-top-color: rgb(0, 0, 0); border-top-style: none; border-top-width: 0px; font-size: 18.2px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Writer:</span> Ram V</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: rgb(0, 0, 0); border-left-style: none; border-left-width: 0px; border-right-color: rgb(0, 0, 0); border-right-style: none; border-right-width: 0px; border-top-color: rgb(0, 0, 0); border-top-style: none; border-top-width: 0px; font-size: 18.2px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Illustrator:</span> Sumit Kumar</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: rgb(0, 0, 0); border-left-style: none; border-left-width: 0px; border-right-color: rgb(0, 0, 0); border-right-style: none; border-right-width: 0px; border-top-color: rgb(0, 0, 0); border-top-style: none; border-top-width: 0px; font-size: 18.2px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Colours:</span> Vittorio Astone</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="border-bottom-color: rgb(0, 0, 0); border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: rgb(0, 0, 0); border-left-style: none; border-left-width: 0px; border-right-color: rgb(0, 0, 0); border-right-style: none; border-right-width: 0px; border-top-color: rgb(0, 0, 0); border-top-style: none; border-top-width: 0px; font-size: 18.2px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Letters:</span> Aditya Bidikar</span></div>
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In just four issues Ram V and this creative team has created an epic saga. Yes, an epic saga. The ground work has been laid, several die cast, and glimpses of a handful of worlds that stretch further and deeper than we can imagine have been shown. Intricately woven stories are lining Sumit Kumar's brilliantly illustrated frames to help create this wondrous tapestry. Vittorio Astone perfectly colors the impending dread from ALL angles that this story is presenting. Aditya Bidikar's lettering is nothing short of masterful in helping breath life into the script. Yes, this is truly a piece of art in every way you can define it. Words, visuals, structure, presentation or however you wish to try to box in what art is, this book personifies it.</div>
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There are several takes you can have with TSS. Is it allegorical? Are we watching a metaphor for the invasive nature of Western literature? Culture? Expansion? Is it an affront to the literal and religious beliefs by way of the colonialism that washed outward from Britain? There is SO MUCH within the pages of this book that one cannot help but wonder. This is a testament to the absolute brilliance of this creative team. Personally I see bits and pieces of all of it, BUT, what I see most is the grand tale that Ram V is telling. Of course there are allusions and even direct imaging as this IS a driven prose. What I'm referring too, is this; take the known out when you open the pages and you've entered a fantastical world filled with both beauty and horror in both people and nature. The world, and what is made of it depends on who or what you are. </div>
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That is the nature of the beast, so to speak. Here upon These Savage Shores we're being shown just how many forms beasts take. Layers upon layers upon layers are being peeled back with this cast of characters. While there is an<i> absolute gut wrench</i> in this issue (and it is of the 'makes you sit down and take a moment' variety) it is the way that Ram V changes up, but keeps the pacing perfect for what's unfolding that truly drives the effectiveness of this book. While described as horror, to me this book is the perfect example of a thriller. Yes, there is horror in it but it isn't the point. Or maybe it is the actualities of what is happening that are the horror rather than the expected scenes associated with the horror trope. This creative team has used it as a representative illustration and reality of the deeper issues this story covers. That is what masterful art is able to accomplish. It is what this book is excelling in doing.<br />
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As the series is coming to a close (this makes me incredibly sad) there was quite a bit of work to do given the slow burn through the first three issues. It was purposeful in its pace and while it does set up this issue to be a bit jarring with everything that unfolds, that's the point. The issues represented within move(d) just as they've been presented here. There's a slow but strong permeation of presence, thought, ideology, and it all precedes an avalanche of action. The horror revealed is the reality of what has already been taking place. The trade routes are inroads for invasion and expansion from the colonials. The visitations are recon missions and feeling out sessions. By the time the affront of Count Grano stepping into the fray occurs the realization that what he's doing and representing is already there and happening comes at a blinding speed. The reaction of Bishan, of the land and culture, is equally as damning. Here sits one of the bigger questions this book asks. When faced with monsters must you become one? Defending his home, his land, and his culture Bishan certainly begs the question of just how far is too far? When do the actions go to far and pass merely being a defense of ones self? Are there not consequences and lines of acceptability regardless of what side you are on or represent ... regardless of what you truly are? Maybe there are cases where too much IS the answer. Maybe there isn't. This is a question left to linger as Bishan literally lashes out in a manner that so many of us can feel and see ourselves doing in the same set of circumstances. Does that make it ok, or right though? <br />
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Whether it is literal vampires coming to suck the life out of your very way of being, or the monstrous lengths to which you must go in order to protect everything that you are the<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 18.2px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> harsh reality is that the horror of truth lies within everything. </span><br />
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 18.2px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">"The hour of monsters is upon us"</span><br />
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The quote is a<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 18.2px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">n absolute bell toll that cuts straight through the silence and tension of pieces that have all been placed on the board thus far. It is also a heartbreaking and powerful truth that resonates with all that is coming out as the pieces are forced together. The final picture is not likely to be what we thought ... and it is likely to leave us beautifully torn apart. The tragedy is just as much, if not more, in the humanity as it is the monster and that hurts. As singular issues go this is one of the absolute best I've ever read. The savagery of the emotions match and even exceed the savagery of the action on the page. This book makes you<i> feel</i> what is being told within it.</span><br />
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 18.2px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">These Savage Shores is a beautiful instrument of heartache and pain. Open it up and let the symphony engulf you.</span><br />
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<b><i>Grab it THIS #NCBD May 8th!</i></b>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-10385060398973213882019-05-06T08:45:00.003-04:002019-05-06T08:46:52.091-04:00Spencer & Locke 2 #1 <br />
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<img alt="SPENCER AND LOCKE 2 #1 CVR C MULVEY" height="400" src="https://www.previewsworld.com/SiteImage/CatalogImage/STL114596?type=1" width="250" /></div>
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<span style="background-color: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="color: black;"><b>(W) David Pepose (A) Jorge Santiago, Jr. (COL) Jasen Smith (LET) Colin Bell</b><span style="background-color: white; display: inline; float: none; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span><b>(CA) Joe Mulvey</b></span></span></span><br />
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<span style="background-color: white; font-size: 14px;">Full disclosure: I was late to this absolutely wonderful book. I missed the first go 'round and was told just how horrible of a mistake I'd made by MANY folks. I'm here to state they all of these MANY folks were absolutely right. I screwed up. This "Calvin and Hobbes meets (insert classic noir here)" is a spot on assessment. That was the common theme and description of the book I kept getting. Again, spot on. I discovered so much in this book and am extremely thrilled that I had the chance to preview it.</span></span><br />
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<span style="background-color: white; font-size: 14px;">Sooo yes, it is a Calvin/Hobbes meets classic noir/crime story mash up. While it would appear that Calvin and Hobbes are all grown up, I got a little something different than that from it. Yes, that element is there but what this book is delivering is much deeper. The parallels are incredibly well done and the introduction of Roach Riley (a very on point Beetle Baily analogue) drives home my take from this wonderful book. Coping and dealing with life, the world, and the road we travel them on is *&%&&%^$ hard. Taking the grown up version of C/H at face value, we're getting a very adult take on things.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;"><br /></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">S</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">pencer isn't a mere play pal and imaginary friend. He's a conscious, an alarm bell, and a partner. Whether it's warning or self-assurance, Locke is grown up and he needs both. From the first volume to this one Locke grows up in the biggest way possible. He's a father now. All of the realities of life can no longer be ignored. A greater purpose exists now. As I stated, I missed this on the first go so picking it up with VOL 2 I was worried about needing too much of what came before to truly enjoy (and get) what I was reading. Not to worry though, as a WONDERFUL use of the 9 panel grid introduces a bevy of information masterfully. It's all there and I was caught up. This divulging of information really made the rest of this issue pop. Our new bad guy (Roach) is very clearly a mirror of Locke. The grown up world sucks, shit happens, and you've got to deal with it. The two clearly deal with it in different manners. The usage of Beetle Bailey for Roach further pushes my take from this book as I stated before. As with the C/H analogues, our Beetle Bailey character further illustrates how the world we grew up in is much different once we arrive in it as a grown up. </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">The central theme is trauma. The trauma of life more specifically. Locke has had quite a bit of it in his life up to this point. What's been introduced with Roach is a very real form of the PTSD that so much of our society either sees, or ignores on a daily basis. The choice of a Beetle Bailey (military) influenced characters is perfect way to further the exploration of PTSD and the trauma that shapes our lives.</span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">There is plenty of discussion to be had with the central theme of S&L but I want to make sure that the rest of the book is addressed. At it's core it is an excellent crime/noir/buddy cop book. Forget for a moment that he's imaginary, and Spencer as a character/cop is freaking bad ass. I wonder though, with how this first issue sets up VOL 2, if maybe he's going to represent a fracturing of Locke's psyche? We'll see, but Spencer has shown some more overtly animal machinations here at the kick off to this story. Roach's character is a direct and blunt force challenge to Locke's. Damaged with remnants of childhood still clinging, Roach is absolutely that hard look in the mirror that Locke needs. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">The book is flat out gorgeous and the physical/visual components take it to another level. The different styles of art create a wonderfully brutal "opposite sides of the coin" effect when representing the childish and grown up worlds. Santiago's skill and wide range of ability brings the central themes to life on a grand scale. Smith's coloring adds the depth and drives home the stark contrast between the two worlds on display. Topping it off Colin Bell puts the cherry on the top of the characters with the lettering. The different narration boxes for each are absolutely fantastic. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="background-color: white; font-size: 14px;">If you missed the launch of S&L 2 #1 you need to make that right. Head back to your LCS and nab it. You'll be glad you did. </span></span><br />
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-62579273120766708752019-05-02T13:12:00.001-04:002019-05-02T13:22:55.622-04:00What's in the Box? <div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcA-h0CwoHB5tyjQx0rQgAX2rFUJwvTBCxvvEP3z8y6pklTCKEnf0g0ArFPSkX4D2_7mzZvCFfw3BY9Igr-4SK7S7FCokDr9CyC8ZSi46_jnfwbDOFWojoT40T8_2TjSK2fCczRRICiA/s1600/witb.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="610" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcA-h0CwoHB5tyjQx0rQgAX2rFUJwvTBCxvvEP3z8y6pklTCKEnf0g0ArFPSkX4D2_7mzZvCFfw3BY9Igr-4SK7S7FCokDr9CyC8ZSi46_jnfwbDOFWojoT40T8_2TjSK2fCczRRICiA/s400/witb.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">As of May 1 2019</td></tr>
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<b>VAULT COMICS</b><br />
<i>Wasted Space, These Savage Shores, Heathen, Maxwell's Demons, Fissure, Queen of Bad Dreams</i><br />
(the entirety of Vault's line is on my pull list)<br />
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<span style="color: black;">*</span><span style="color: #000025;">She Said Destroy, Resonant, </span><span style="color: #000037;">Test, Sera and the Royal Stars are p</span>re-ordered</div>
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<b>ARCHIE COMICS</b><br />
<i>Blossom: 666, Jughead VS Vamperonica</i><br />
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<b>ONI</b><br />
<i>Shadow Roads</i><br />
<i><br /></i>
<b>AFTERSHOCK</b><br />
<i>A Walk Through Hell</i><br />
<i><b></b><u></u><sub></sub><sup></sup><strike></strike><br /></i>
<b>BOOM</b><br />
<i>Bone Parish, The Empty Man, Black Badge</i><br />
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<b>DARK HORSE</b><br />
<i>Black Hammer '45</i><br />
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<b>IMAGE</b><br />
<i>DIE, Evolution, Death or Glory, Infinite Dark, The Freeze</i><br />
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<b>MARVEL</b><br />
<i>Amazing/Superior/Spectacular/Friendly Neighborhood Spiderman,
Immortal Hulk, Conan, Savage Sword of Conan, X-Force, Guardians of
the Galaxy, Invaders</i><br />
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<b>SCOUT</b><br />
*Metal Shark Bro is pre-ordered<br />
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<b>IDW</b><br />
<i>Transformers</i><br />
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<u>Publisher Count:</u> 10<br />
<u>Title Count:</u> 30 active 5 pre-ordered<br />
<u>Most Titles by Creator:</u> 4 - Cullen Bunn<br />
<u>Big 2 Count:</u> 10 active (6 without Spidey books)<br />
<u>Indie Count:</u> 20 active 5 pre-ordered
LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-59549724534216400732019-04-18T13:41:00.002-04:002019-04-18T14:01:04.887-04:00INCURSION #1-3<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBBRZ0YtOoolQGWP0fb1vkzMShGiihLEyah2EtouoPGcHP98kK2-LiVOWdtSW6IrZR5vXk3xqhDvgLN33S3s6W5CXIuPY8F1gsMBVXiclyYjfz4CTpjJ5QrHywPBNw7jiUF6L3bheWio/s1600/incursion.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="475" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBBRZ0YtOoolQGWP0fb1vkzMShGiihLEyah2EtouoPGcHP98kK2-LiVOWdtSW6IrZR5vXk3xqhDvgLN33S3s6W5CXIuPY8F1gsMBVXiclyYjfz4CTpjJ5QrHywPBNw7jiUF6L3bheWio/s320/incursion.png" width="304" /></a></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; border: 0px; box-sizing: inherit; color: #1a323e; font-stretch: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;">Writer:</span><span style="background-color: white; color: #1a323e; white-space: pre-wrap;"> <b>Andy Diggle & Alex Paknadel</b></span><span style="background-color: white; color: #1a323e; white-space: pre-wrap;">
</span><span style="background-color: white; border: 0px; box-sizing: inherit; color: #1a323e; font-stretch: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;">Art:</span><span style="background-color: white; color: #1a323e; white-space: pre-wrap;"> <b>Doug Braithwaite</b></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; border: 0px; box-sizing: inherit; color: #1a323e; font-stretch: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;">Publisher:</span><span style="background-color: white; color: #1a323e; white-space: pre-wrap;"> <b>Valiant Comics</b></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I'm a bit late (sorry Alex) to getting my thoughts on this 4 issue mini series out into the world. Issue 3 just hit shelves (this past NCBD April 17th) so if you've been sleeping on this you've got time to make it right as I finally have. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Alex Paknadel has been setting pages afire with his writing and INCURSION is just fanning the flames of his inferno of work. Given his works before INCURSION I was very interested to see what Alex could do with what would be considered a classic comic endeavor. The Eternal Warrior couldn't be a more perfect fit to marry what Alex excels at with what the comic book medium can provide. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I'm going to do a brief aside here but it's to illustrate the power with which Alex executes his books. When Valiant relaunched several years ago I was beyond ecstatic and couldn't have looked forward to their books more than I did. XO, Harbinger, RAI, Shadowman ... they were all back and the concept that made them so popular originally was in full swing. <i>Everything mattered and every book was a piece of a bigger picture.</i> They weren't gimmicky and weren't doing restarts/reboots/quick change garbage every few months. They laid out their books and just made good damn comics. A couple years in they shifted. They got away from themselves and started to fall in line with what the "big" pubs were doing. I hated it, and them for it. XO and Harbinger ended PHENOMENAL runs for, honestly, no good reason. We got limited after limited and event after event. YES, some of them were FANTASTIC ... but the point was lost and everything that there was to love about them had been stripped away. Fast forward a few more years and they're regaining themselves. This is where Alex and INCURSION come into play.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Immediately upon reading the synopsis I got vibes of the Book of Death mini the company did four years ago. It was just vibes though as this story plays to a different theme of life vs death. Honestly, this one SHOULD have been what Book of Death was about. In INCURSION we get the absolute best of what Valiant has brought to comics for years. The ENTIRETY of the universe that is created often interacts and even collides with itself. There are no bubbles of existence that reside outside of everything else. Here we're getting all of it in a big heaping dose. The worldly realm, that of life and death, cosmic levels, and so on down the line are all converging on themselves as the embodied fight between life and death (through way of the alien Imperatrix Virago) seeks to harvest the life energy of Earth. Why? Well, this is where Alex shines. Representation. Whether it's the vanity of it, the power, the validation, or just the 'why the hell not' of it the alien life force monger shows us an ugly side of who we can be. Honestly, there's not much worse than taking <i>life</i> and turning it into <i>death energy</i> so you can<i> live.</i> A being that takes the most precious gift and turns it into a form only they can use in order to bear out said most precious gift? It's in the vein of a Galactus but this is much, MUCH more personal. While the appearance is on a larger cosmic scale we're really getting an unfiltered look in the mirror.</span><br />
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<span style="font-family: "arial";">Paknadel is the current unquestioned master of peeling off our own skin to reveal the truth of what sits beneath. Our true forms are his playground and INCURSION is giving us an internal battle about life and death as well as the perception of each concept and the struggle between the two.<i> For me</i> I'm seeing two representations of the cycle of life's eternal struggle. There's layers though seeing as how we're witnessing the last of a species in the form of the "evil" aliens. BUT, what really makes one evil? Is it intention or is it action? Is it evil of the act is a necessary one for<i> life</i>? There are plenty of questions to ask and much to reflect on in INCURSION and I won't spoil that for you. The juxtaposition and both similarities and differences between the "evil" pair and "good" pair in this book is flat out brilliant. You are given an introspective look into not only the characters (our Eternal Warrior especially) but yourself.</span><br />
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<span style="font-family: "arial";">The other theme permeating INCURSION is that of choice. For as long as Gilad had been the Eternal Warrior for Earth he has been so out of his duty to protect. The relationships with the Geomancers was born of a duty. INCURSION brings this relationship under a new light by changing the dynamic for Gilad. This dynamic was previewed in Book of Death but it is purposeful here in INCURSION. This is what brings about choice. Is it merely duty driving Gilad? What about when he finds out the truth about the "evil" cosmic death that threatens all of life? Even more so how do the choices change you? Gilad does something that I've never before seen in issue #3 (and don't think has been done before with him ... or anyone with a certain ability of his, to my knowledge) that makes you go "HOLY $h!t"</span><br />
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<span style="font-family: "arial";">INCURSION is also a down right gorgeous book. For a story that entails as much as this one does it needs to look every bit the part. Doug Braithwaite delivers and then some. The grand scale of the story is given an equally grand scale visually. Epic Conan sagas and Starlin-eque sagas from the stars could easily be done with the art brought out with INCURSION. If you slap this baby in the larger 80's fantasy mag formats that loomed over the bookstore shelves it'd be right at home, but in awe inspiring color. Jose Villarrubia (issue 1) and Diego Rodriguez do an excellent job of furthering the tone from script, to art, to final visual presence. Marshall Dillon's letters bring the nuanced flair that make reading the tale the affair it is supposed to be and is noticed when it should be. The entire visual package molds this book into a modern epic arc. </span><br />
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<span style="font-family: "arial";">Issue #3 just hit the stands so go grab it and catch up. You'll be extremely happy you did. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span>LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-41747006656118427612019-04-16T13:50:00.003-04:002019-04-16T13:54:06.091-04:00Fearscape #5 <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisQVje9jFozt9_K8mH6JjLfslkJfpF5mfXzgPq5m32Ag3XlyPstG_YOFFZ_IrECZQmeKmc_miBI7e5U6OvciAjL4sGf7ZZ3-58F-jZjkEwB2i64X3JP4aANuYJLnBa1AA1rPj1BD0sEw/s1600/FS5.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="348" data-original-width="358" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisQVje9jFozt9_K8mH6JjLfslkJfpF5mfXzgPq5m32Ag3XlyPstG_YOFFZ_IrECZQmeKmc_miBI7e5U6OvciAjL4sGf7ZZ3-58F-jZjkEwB2i64X3JP4aANuYJLnBa1AA1rPj1BD0sEw/s320/FS5.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><u>Fearscape #5 Cover</u></i></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><u>Writing:</u> <b>Ryan O'Sullivan</b><br /><u> Cover:</u> <b>Andrea Mutti & Vladimir Popov</b><br /><u> Pencils/Inks:</u> <b>Andrea Mutti</b><br /><u> Colours:</u> <b>Vladimir Popov</b><br /><u> Lettering:</u> <b>Deron Bennet of Andworld Design</b><br /><u> Publisher:</u> <b>Vault Comics</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">When is a comic book, not? Well this happens when something else is created entirely. FEARSCAPE is exactly this. Something else. Forget the 4th wall breaking cheap pop gimmick that other books have because FEARSCAPE immerses the reader by way of the on page embodiment of the worst marriage of hubris and delusion.</span></div>
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<span style="background-color: transparent; color: #181818; display: inline; float: none; font-family: "merriweather" , "georgia" , serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">“The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize."</span><br />
<span style="background-color: transparent; color: #181818; display: inline; float: none; font-family: "merriweather" , "georgia" , serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">[</span><i style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #181818; font-family: &quot; font-size: 14px; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; orphans: 2; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Modernism's Patriarch</i><span style="background-color: transparent; color: #181818; display: inline; float: none; font-family: "merriweather" , "georgia" , serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> (</span><i style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #181818; font-family: &quot; font-size: 14px; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; orphans: 2; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Time Magazine</i><span style="background-color: transparent; color: #181818; display: inline; float: none; font-family: "merriweather" , "georgia" , serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, June 10, 1996)]”
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Robert Hughes
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<span class="authorOrTitle" style="background-color: transparent; color: #333333; font-family: "quot"; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">... and that is what is on display with our dear Henry Henry. The plagiarist has perfect confidence in a less talented vessel trying desperately to keep his house of cards from crumbling despite the curtain having been raised on his deceit. Throughout this tale Henry has become both a shadow and cheap imitation of himself. At the start one could argue for his skill and mental capability by virtue of being able to concoct and carry out his rouse. Here though, at the end, our poor fool is flat against the wall staring down the barrel of his own emptiness. For all of his lying, attempts to turn the gaslight up to 1000, and purposeful confusatory going in and out of narration and direct interaction Henry is left with absolutely nothing when it all hits the fan. </span></span><span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";">The unfolding of this grand deception (that ultimately is a grand fail of epic proportions) has been done in a way I've never read in this medium. </span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";"><br /></span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";">Everything from the dialogue of the book itself, the character dialogue, the art (both line art/coloring), to the page framing/structure of FEARSCAPE has created a<i> truly</i> unique package of a comic book. I've said it before and will again here - FEARSCAPE is the perfect example of what can be done in this medium and highlights just how intelligent creators in the comic industry are. I'll have to re-read the thing several more times to grasp the nuance and recognize all of the hints, clues, inclusions, and layers that are in each chapter of this thing. Every new issue has brought an eyebrow raise or 'hol up' moment that has made me grab one (if not all) of the previous issues and dig in. It's difficult because it is <i>smart</i> not because it is clunky. The 'lengthy' narrative is due to the approach and what the story is, not because the plane can't be landed. </span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";">The marriage of delusion and hubris literally bursts through the page throughout this story and the damning conclusion of that relationship is given the full on spotlight (figuratively) that it deserves. As mentioned already the entirety of the book is a masterwork. As the tale comes to a close the physical structuring of the book (by both being and not being there) casts an eerie and ominous shadow/light over the closure of FEARSCAPE. You can't help but do the one thing that Henry has tried to keep you from doing all along, and that's concentrate and focus on what's right there. It's a fantastic reversal of how the majority of the tale has unfolded with Henry tossing any and all smoke bombs and mirrors in the way knowing full well we could see straight through them. His insulting in juxtaposition of his pampering the reader laid the ground work for a wonderfully satisfying conclusion to the ultimate revelation ... the one of self. </span></span><span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";">Nothing is ever what it seems and this story has both poked at and portrayed that ideal. Here in the end we get a very real dose of this with the revealing of Henry himself. The complexity of the layers in FEARSCAPE are mirrored by the complexity of Henry's own make up. Who he is and WHY he is are laid bare and muddy the waters we thought we'd been seeing as clear by virtue of his actions. Despite being told and shown over and over just how layered and deep things are, it is the parallel of Henry being pulled back that not only drive home those points but bring them new light.</span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";"><br /></span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial";">One can argue the merits of which portion of a story matters most or is more impactful. There are clear examples of openings being both the attention grabber and the ultimate point upon reflection. Ditto for endings. Sometimes you get the middle of a tale being the meat as well as the overall takeaway. If done correctly there none of the ways to spin a yarn are more correct than any of the others. That said, for me, NOTHING is better than a tale that blows you away the entire ride and then delivers a conclusion that is every bit as perfect as the tale<i> and more so.</i> Delivering on the promise of and work already done leading to the conclusion is, in my opinion, the hardest but most satisfying thing to do. FEARSCAPE beyond delivers. For the beauty of the tale both literary and visually, it is raw and open conclusion that does the most important illustrating of this tale. For all of the fantasy we rile up everything is all too real.</span></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></div>
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<span class="authorOrTitle" style="-webkit-text-stroke-width: 0px; background-color: transparent; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> <b><u>FEARSCAPE #5 IS OUT ON APRIL 24th!!!!</u></b></span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-41601934859565853732019-04-13T07:00:00.001-04:002019-04-13T07:09:30.164-04:00Beastlands #1ORIGINALLY PUBLISHED THROUGH INDIE ENGINE: <a href="https://indieengine.drivingcreators.com/2019/04/beastlands-1.html" target="_blank">IE LINK</a><br />
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<a href="https://static.wixstatic.com/media/cb238a_2693544d7c2242d1a4c247096d3f4e8d~mv2.jpg/v1/fill/w_382,h_583,al_c,q_80,usm_0.66_1.00_0.01/cb238a_2693544d7c2242d1a4c247096d3f4e8d~mv2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://static.wixstatic.com/media/cb238a_2693544d7c2242d1a4c247096d3f4e8d~mv2.jpg/v1/fill/w_382,h_583,al_c,q_80,usm_0.66_1.00_0.01/cb238a_2693544d7c2242d1a4c247096d3f4e8d~mv2.jpg" width="261" /></a><span style="background-color: white; font-family: "karla" , "helvetica neue" , "arial" , "helvetica" , "verdana" , sans-serif; font-size: 14px;">Beastlands takes an idea we've seen visited before but </span><span style="background-color: white; font-family: "karla" , "helvetica neue" , "arial" , "helvetica" , "verdana" , sans-serif; font-size: 14px;">finds a unique voice in presenting it. In this gorgeous book we get a fantasy tale featuring powerful beasts that are friends, act as guardians, or are teammates. </span><span style="background-color: white; font-family: "karla" , "helvetica neue" , "arial" , "helvetica" , "verdana" , sans-serif; font-size: 14px;">The adventure centers around the rash decision of a king that sees the beloved 'Keepers' (the beasts) outlawed to the point of kill on sight. Why? Well, he suffers a deep personal loss and feels that it was the responsibility of the Keeper as they failed to do its job. </span><span style="background-color: white; font-family: "karla" , "helvetica neue" , "arial" , "helvetica" , "verdana" , sans-serif; font-size: 14px;">There's more rash decision making as we're introduced to a boy that is on the hunt for his dad. The problem is that the father is constantly on the move and continuously stays a step ahead of the search party. Seemingly falling further behind the pace the kid, Mac, decides to send away his Keeper and his friends. This leads to a further mystery when after failing yet again, Mac returns to the camp to find that his Keeper is still gone. Now they've got to go find the keeper and fall further behind catching his father.</span></div>
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Overall the book looks excellent. This is easily one of the best looking self published efforts I've seen. One of the best aspects of the art is that it fits the story and atmosphere extremely well. There are subtle changes in tone and color throughout that truly enhance the book. I love the look and feel of the design choices for the humans and the Keepers alike. More so than that, the purpose and thoughtful decision making that has gone into the driving aspects of the characters shines through. I was surprised at just how much this book felt like it had a major publisher logo slapped on the front of it.<br />
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There are elements and clear indications of a much bigger world at play. It's hard to balance the minutia while also providing the larger context and Beastlands manages to hit on both. I do feel that some of the smaller scale (not read less important) aspects suffered a bit due to the effort put into the bigger aspects. It is a first issue and a brand new world, idea, narrative, etc. It has quite a bit too do in order to nab the reader and make them want to come back for more. For my money it absolutely does do that even with some (expected) hiccups. Overall there is much more to like and draw you in with this book than there is to bother you.<br />
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Simply put, I liked the book. There's definitely quite a bit of story to tell and plenty more in depth takes on our characters to explore. This book is clearly just getting going and I would certainly like to see where this goes.<br />
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Head over to Kickstarter and see for yourself and back the campaign: <span style="color: blue;"><a href="http://kck.st/2TknDCY" style="font-weight: bold; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: all 0s ease 0s;">Beastlands on KS</a><br style="outline: 0px; transition: all 0s ease 0s;" /><br style="outline: 0px; transition: all 0s ease 0s;" /><a href="http://curtiswriterc/" style="font-weight: bold; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; transition: all 0s ease 0s;">Follow Curtis on Twitter</a></span></div>
LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-22776649190895754262019-03-24T06:04:00.000-04:002019-03-24T06:04:30.193-04:00Friendo #5 Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="background-color: transparent; border-bottom-color: rgb(102 , 102 , 102); border-bottom-style: none; border-bottom-width: 0px; border-left-color: rgb(102 , 102 , 102); border-left-style: none; border-left-width: 0px; border-right-color: rgb(102 , 102 , 102); border-right-style: none; border-right-width: 0px; border-top-color: rgb(102 , 102 , 102); border-top-style: none; border-top-width: 0px; color: #666666; font-family: "arial" , sans-serif; font-size: 10.4px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; line-height: 20.8px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">Alex Paknadel - Martin Simmonds - Dee Cunnife - Taylor Esposito - Kim McLean</span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>We've reached the end of this epic full frontal fist to our faces. This makes me sad. Though, as he wrapped up the script for the series final I can only imagine Paknadel sitting there with a wry smirk thinking "<i>Good Night and Good Luck</i>" to all of us. Fitting seeing as the film of that name deals, in part, with media responsibility and the happenings when the voice of the media goes off its intended rails. The theme at the forefront of Friendo isn't too dissimilar. Replace GOV with BIG CORP and POLITICS with CONSUMERISM the message has a good carry over.<br />
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The most fascinating thing about this series has been the full frontal aspect through which it has grossly and overtly put our stereotypical story characters through the truth ringer. The point blank like for like characters, rather than analogue, that have been used in the story are what give this series such power. There's no guessing at what's going on, no figuring out what Paknadel is playing at, and certainly no mistaking the events as they unfold. The only issue one would face is their own disbelief at this being a real time annotation of the state of our society. Issue 5 closes the series and, as with the entirety of the series, takes one massive swing of the hammer head and strikes the literal head of the final nail in the coffin of not where we're going, but where we've already got a foot in the door. Our inability to recognize the truth of our thoughts, words, and deeds has gone beyond breathing life into a dangerously superficial society. It has flat out nurtured it and given a golden crown and throne to 'status' and 'perception' above reality. <br />
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The continued visual presence of the overall message "hey dipshit, this is what has - is - and will continue to happen because you're all oblivious morons" (translation mine) that runs through the entirety of the series steps it up even further here in the crescendo. Funny to put it this way, but, if you've been paying attention you'd notice the tropes, direct examples, stand ins, and every other form of direct and indirect messaging that the book has been offering. Sadly the perfect illustrations of everything that is wrong will likely be lost because <i>society is that stupid.</i> Yup, as a whole we're pretty damn dumb. You can point to indifference or "that's the way it is-ism" but honestly that's just proving the <i>we're really damn stupid as a society</i> point. <br />
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All of the Hallmarky 'stop and smell the roses' type of preachings hold much more truth than what anyone will admit (and if you do see the truth in it society will tell you to get a life or live a little). Heaven forbid you 'look before you leap' ya damn coward. All of these subtle failsafes for life are barely even brushed aside anymore. They're outright ignored. Yet when we get that Christmas, Birthday, Thank You, etc card we do get that 'something' that bursts endorphins in the back of our head that make us feel good. We do take a breath, stop, focus, and have a genuine moment or even day. It's because deep down we have it in us. Unfortunately we've bought and lived as truth what BIG CORP has been selling since before we were even aware it existed. <br />
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This is perfectly depicted in Friendo by <u>a damn action figure</u>. It isn't a stand in for a real life thing <i>it's the damned thing.</i> Here at the end we're curled up beside it as it literally burns. Everything is sandwiched perfectly from the moment the series opens in issue 1 with the figure in the window to issue 5 with the pile of figures burning and directly releasing the toxicity instead of slowly leeching it through the ground. The chase of a superficial want that turns into a manufactured (by both us and BIG CORP) need, artificial value placed on things instead of people, dirty politics, corporate greed, the invasive lack of worth we as people are viewed has having from corporations and the media, and on and on goes the list of real life happening now issues that Friendo has dropped in our laps. <br />
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At the end we have about the only (and this isn't a complaint) stereotypical piece of the series. After it all we're left broken, empty, and helpless in the face of realization. Huddled, fittingly, in the fetal position we just let it happen. Stereotypical in a sense yes, but as the rest of the series portrayed in real talk ... a perfect ending because<i> we won't do a damn thing about it even with the realization.</i> So OF COURSE our ending is a manufactured moment. We wouldn't have it any other way.<br />
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FRIENDO is wonderful because it is brutally honest.<br />
FRIENDO is terrible because it is brutally honest.<br />
FRIENDO is wonderful because it is truthful.<br />
FRIENDO is terrible because it is truthful.<br />
FRIENDO is wonderful because it is everything we need to hear and see but ignore.<br />
FRIENDO is terrible because it is everything we need to hear and see but ignore.<br />
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FRIENDO is fucking brilliant<br />
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<b>Pick up the series finale MARCH 27th!</b><br />
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This entire creative team put on a masterful book. The tale woven by Alex Paknadel is fucking brilliant as I just stated. Martin Simmonds' art match with the story perfectly and that is a huge key to FRIENDO being so phenomenal. There are smooth lines and jagged edges both literally, and nuanced, throughout the series that both reflect and enhance the message being portrayed. Tossing Dee Cunnife's colors shine when they're supposed to and are subtle and secondary when they're supposed to be. Purposeful and impactful (chest wound, our rabbit eared friend, the different blazes throughout the books), they take the visuals to another level. As always Taylor Esposito nails the lettering. You can feel the corporate shit sliding off, the emptiness in Jerry, and the opera level production of the media coverage's dialogues throughout the series. Design elements and spot imagery from Kim McClean have made the static images from this series resonate. Her covers (#4 especially) drive home everything with the same spirit the full frontal approach of the series hammers with.<br />
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<br />LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-79038360917513486212019-02-17T14:46:00.005-05:002019-02-17T17:00:47.095-05:00Top Ten Writers<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEG2JonWOMWtV9IPOYkxiENLivxHg19WS9j3H418Hl-pQOuvSSKqO3zRFTYR6Av49Qu0QAiXpORCpyQvINjPwWK-MRJqt8aVLQ2T8YXmG60kTENQvyU7cgqK2J6elt_WZbJHaGfjGJXZE/s1600/TOP10WritersFEB2019.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="419" data-original-width="645" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEG2JonWOMWtV9IPOYkxiENLivxHg19WS9j3H418Hl-pQOuvSSKqO3zRFTYR6Av49Qu0QAiXpORCpyQvINjPwWK-MRJqt8aVLQ2T8YXmG60kTENQvyU7cgqK2J6elt_WZbJHaGfjGJXZE/s400/TOP10WritersFEB2019.png" width="400" /></a></div>
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<b><u>Vita Ayala</u></b><br />
The Wilds (one of our Top Comics for 2018) - Submerged - Livewire<br />
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<i>It has been an absolute pleasure reading more and more work coming from Vita. From the fresh take that is THE WILDS to reinvigorating a decades old character in LIVEWIRE, Vita has trail-blazed a path cutting right through the heart of the comic industry. It isn't just the quality with which the stories are written but the range of issues that are tackled with which readers can relate. Everything from self and mob mentality, social interactions, abuse, and abandonment are just a few of the real world aspects of life that are contained in Vita's writings. I'm very excited about what is coming and what will be told. </i><br />
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<b><u>Marguerite Bennett</u></b><br />
Bombshells - Animosity - Angela Marvel books<br />
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<i>I absolutely loved Bombshells. It was a breath of pure, fresh air. It isn't all that easy to create stories with alternate versions of characters that aren't just "different" because "different." The entirety of the 'Bombshell-verse' was down right enjoyable on every level. It was Animosity though that showed the creative depth Marguerite possesses. The critical and fan acclaim for the book speaks volumes and says it all. I'm itching to get my hands on the HC collected editions so I can go back and sit with this book. When they originally hit I was just happy to have some spotlight shown on Angela with her own dedicated stories. Looking back at them and putting them together with Marguerite's other writings and I'm loving the themes contained in her stories.</i><br />
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<b><u>Cullen Bunn </u></b><br />
Bone Parish (one of our Top Comics for 2018) - Dark Ark (one of our Top Comics for 2018) - Shadow Roads<br />
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<i>The absolute modern master of horror is who we're dealing with here. For me the diversity he brings to the horror genre is without parallel. Two books he's got on the shelves right now are a prime example of this. Religious tones in Dark Ark give way to beasts and happenings that scare even the monsters of the old world while Bone Parish brings psychological and physical horror to the drug trade trope. Cullen isn't all horror though. Taking the supernatural cue from his mega hit The Sixth Gun, he's spun off an equally impressive story in Shadow Roads. Honestly I don't think there's a character type or story direction that he can't tackle and make his own with top tier results. Cullen needs to be on more books, in my opinion.</i><br />
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<b><u>Tini Howard</u></b><br />
Euthanauts - Assassinistas - The Skeptics<br />
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<i>I love Cold War ere stories and takes. This was my introduction to Tini. For me it was brilliant (Cold War and potential WWIII as the backdrop for a super power story that wasn't at all) little tale exposing the brains over brawn process with a new little twist. My biggest take from the book was "personality" and that is a constant in Tini written books. From the characters to the scope of the books (seriously, dive into Euthanauts) Tini excels at both creating AND drawing out the personality of the characters and stories within the pages of the books. It's uncanny. You certainly will not be wishing there was 'more' contained within the pages Tini writes.</i><br />
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<b><u>Michael Moreci</u></b><br />
Wasted Space (one of our Top Comics for 2018) - Roche Limit - ReincarNATE<br />
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<i>Michael has exploded onto the scene (for me) by being able to take classic genre points and making them seem brand freaking new. The latest from him, Wasted Space, is THE poster for creating a brand new epic saga. It isn't just all fun, bad assery, and fuq-bots though as Michael deals with rather heavy themes. He's used to that though as he's penned a deep thought sci-fi book before in Roche Limit. My first exposure to his work though was with ReincarNATE. This is a wonderful crime-noir entry that uses sci-fi as a backdrop but offers up so much more to both genres. Moreci already has a bona-fide super hit on his hands and appears to be just getting started. </i><br />
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<b><u>Alex Paknadel</u></b><br />
Friendo (top comics of 2018 mention) - Turncoat - Arcadia<br />
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<i>So Alex is riding a rocket straight into the stratosphere of comic writing. His first entry to writing is the overbearing concept of humanity, morality, and pretty much everything in between. Arcadia is as ambitious of a concept as any seasoned writer has attempted and Paknadel knocked it out of the park as his opening salvo to the comic world. Currently he's about to wrap up a literal throat punch of the corporatism and superficial greed infecting human kind in Friendo. He's also managed to weave an excellent noir cop tale using the setting of a failed alien occupation of Earth. Yeah. Oh, and he was given the reigns to THE keystone book in Catalyst Prime's heroic universe (as it's being built). Take notice folks.</i><br />
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<b><u>Eliot Rahal</u></b><br />
Hot Lunch Special (top comics of 2018 mention) - The Paybacks - Quantum & Woody<br />
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<i>Gritty, dirty, and humorous. Kind of an odd combination but perfectly fitting for Eliot. The stories he creates clearly have some personal strings woven in and it is that extra layer that makes his writing so enjoyable. Hot Lunch Special (a favorite book of mine from 2018) exemplifies this. Being just as effective and skilled with dark and seedy along with funny and care free is really hard to do. There's not even so much as a hiccup when going from HLS to either The Paybacks or Q&W. It all feels genuine when Eliot is writing and that endears the reader to his writings. It's what hooked me.</i><br />
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<b><u>Matthew Rosenberg </u></b></div>
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<span style="font-weight: normal;">Astonishing XMen - Kingpin - Multiple Man</span><br />
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<span style="font-weight: normal;"><i>It's really just the overall talent that draws me to Rosenberg's books. Taking over from Soule on an Xbook was a hard ask but not here. Rosenberg elevated what was built and delivered such a wonderful Xtale that he was given the reigns to the new Uncanny. That's good because the Xcharacters need to go back to what makes them tick and THAT is exactly what Rosenberg nails with his work. He did it with Kingpin and was able to draw it out of a 'insert letter of the alphabet here' character in Multiple Man. Building the stories OUT OF, not around, the characters is the heart of comic writing and I'm not sure there's anyone better currently.</i> </span></div>
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<b><u>Christopher Sebela</u></b><br />
Evolution (one of our Top Comics for 2018) - Shanghai Red - High Crimes<br />
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<i>Reading Sebela's work brings the world REAL to mind. Sitting there turning page after page and I'm not so sure I'm reading a story but an account of events. Evolution strikes that chord through Dr Hurley's plight. Sebela has also given us a fallen hero caught up in government cover ops (High Crimes) who's plight is painstakingly familiar. Smash hit Shanghai Red delivers a reality that the world we live in today isn't all that far removed from in the grand scheme of things. The approach is visceral and it resonates. The stories from Sebela stick with you long after you've set the book down.</i><br />
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<b><u>Ram V</u></b><br />
These Savage Shores (top comics of 2018 mention) - Paradiso - Grafity's Wall<br />
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<i>Utter brilliance in writing is what comes to mind with Ram. His ability to craft worlds of rich and deep beauty are in a category to itself. The difference in scope couldn't be further away than These Savage Shores is to Paradiso, but the breadth and scope of these worlds are equally as rich. I'm amazed at the detail and how grand the presentation is in Ram's writing. He's also done it with taking his own experiences and presenting the universal struggle all young people face in Grafity's Wall. I cannot help but feel enriched after taking in pages written by Ram.</i><br />
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-32838695648973433292019-02-09T10:51:00.000-05:002019-02-09T10:51:00.147-05:00Fearscape #4 - Advance Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVaFgdlQPvQD5ehkZXeMfHn87ZYkrt-ZcReHkoFjw38rc-5ldVW2I2-JQ-rUdSZCGEiSCy32C0e_PpRoLOiZ49280zU-k9W22hps4Jcf0bgfckRVyS_AK5g0WywSLVIaayLbSDv8zAGUg/s1600/FearscapeAR4.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVaFgdlQPvQD5ehkZXeMfHn87ZYkrt-ZcReHkoFjw38rc-5ldVW2I2-JQ-rUdSZCGEiSCy32C0e_PpRoLOiZ49280zU-k9W22hps4Jcf0bgfckRVyS_AK5g0WywSLVIaayLbSDv8zAGUg/s1600/FearscapeAR4.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Ryan O'Sullivan - Andrea Mutti - Vladimir Popov - AndWorld </b></td></tr>
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Deeper and deeper we go. Last issue saw our tragically tragic hero? come face to face with one reality after another. The house of cards has come crashing down directly on Henry's head. He's gotten a taste of real action and now faces real consequence.<br />
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But a spinster is never done spinning a tale and our dear Henry Henry is not about to allow truth to take hold. As the Fearscape steps out into the real world thanks to his own rash actions, Henry is forced back into the Fearscape in order to do the only thing he can in hopes of saving his snake oiled soul ... lie. All too often in life we see liars, cheats, and the dishonest get far more than they ever deserve. They're praised falsely, given accolades that don't belong to them, and sit atop pedestals they've no business perching. Thus far our dear Henry has been the stereotypical lying, cheating, gaslighthing fool. Now though? Well he's running into some rather big issues with his actions AND the fact that the Fearscape is no longer staying put. Our "real" world is getting some cross over and that is an event that Henry is not ready for.<br />
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You see, within the Fearscape Henry's gift (for lack of a better term) still has traction. Everything is a grand play and everyone is a character on stage. Each an every person or entity has a part to play in the universal order of things. Having had a role in this for far longer a spell than our Henry, some of these characters are not so easily fooled. But what is a <strike>fake hero</strike> master literary warrior to do when the smoke starts clearing and the mirrors start reflecting the truth? If you're Henry Henry you double and triple down on the lies and even turn the allegations onto one that is a trusted part of this timeless dance (recently departed be damned). Now we must take a moment and be fair to our master of <strike>lies</strike> ceremonies as Henry truly does feel disgust and contempt for his actions (and their consequence) against the Muse. Forever the <strike>spinster</strike> forthright play write, Henry sets out weaving yet another silk tongued web. <br />
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Even caught red-handed Henry is able to spin yet another yarn and weave more layers into his twisted tale. Surely being caught in the act and exposed as a fraud would be the end for him, yes? Never underestimate the value of silver on the tongue. In a master stroke dear Henry manages to turn about the accusations and push doubt back onto those that would do him in. Our tale, turned on its head twice leaves us with a dreadful sense of inevitability. No matter the amount of lies our Henry tells, the deeper the hole is dug, or far the suspense of belief is stretched the lying literary liege continues to dance a most dangerous dance.<br />
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Issue 4 of Fearscape ramps up the tension a bit as Henry is pressed on both his words and actions. The Fearscape and the real world both are starting to crack his glass house. How much longer can Henry maintain the illusion?<br />
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<b>Henry Henry's whimsical farce continues on FEB 13th!!!</b><br />
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<b><br /></b>LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-40405215912544249562019-01-27T13:12:00.005-05:002019-01-27T13:25:56.550-05:00Friendo #4 - Advance Review <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxBwyuENVDxu2R1rWTZ2fl33Sv74lXrhxC-vMD4Vo_UzQiUZ2ZSR1xEg1YS4AuWSUKnaIBiXasb1tWVpBWn_JPs73UR7-PC_FvTELXeT51VIS0VdPrQV0QxyMRY4HOuFRmre90bqEcDg/s1600/Friendo4AR.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="564" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxBwyuENVDxu2R1rWTZ2fl33Sv74lXrhxC-vMD4Vo_UzQiUZ2ZSR1xEg1YS4AuWSUKnaIBiXasb1tWVpBWn_JPs73UR7-PC_FvTELXeT51VIS0VdPrQV0QxyMRY4HOuFRmre90bqEcDg/s400/Friendo4AR.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-weight: bold;">Alex Paknadel - Martin Simmonds - Dee Cunnife - Taylor Esposito - Kim McLean</span><br />
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From the get go this book has been a blunt force trauma of truth for readers. That doesn't let up as the tragic dissociation that is becoming the norm is front and center. The issue kicks off with a conversation baring this systemic disease right there on the page. We don't see the two individuals having the conversation which hammers hope the point. This back and forth is enough to make you want to slap the conversation out of their mouths and also serves as a perfect illustration of how powerfully real the messages in this book truly are.<br />
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We're continuing to get visuals that relay much more than just the art work of the book. Our little "Friendo" is looking much worse for wear. It's not just a physical pin for the literal action in the book though. As we continue to play out the dissociation from BOTH sides of things the literal physical wearings of the affliction being put onto the construct of it is a very masterful piece of storytelling. Why? Just consider the news on any given day when a Big Box collapses or Name Brand goes under despite every red flag and warning bell firing off for what seemed like an eternity. In many ways we as individuals are no different than Big Corp and vice versa. In our own ways we're both living breathing beings that are prone to the same weaknesses and desires. Case in point? Big Box Crop cares not for being robbed because PROFIT! </div>
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The slow turn but seemingly quick flip of the script between our main characters is a very welcome wrench thrown into this piece. We're all fools for our own desires right? The on thing we can't ever say no to is ourselves and we'll justify anything in any way imaginable if we want it. The lines are blurred and knots are tied before you even realize that the escape door has already been welded shut behind you. Now we see our main players figuratively walking hand in hand to a mutual demise. The demise mind you, is being orchestrated of course, by individuals dissociated from the ground level first hand truth of it all.</div>
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The walls and layers that this book is building in order to expose nasty truths we live with, prescribe too, believe, and even perpetrate ourselves every single day is astounding. The ending of this issue brings the beginning of the afore mentioned mutual demise as brutally as it has exposed truths. The paradigm shift of "power and control" has moved and those pulling the strings have to take action. They do so with faux and 'self-thought to be true' sympathy. The fake, the lies, and the truths be damned. When something has grown past what you see in it, what use is it after all? Can't spin it to make you look good or put something superficial in your pocket then it's clearly no good at all, right?</div>
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Yes it's hard to accept how much control the vanities that control our lives. Impulse and justification, self gratification, and the point blank detachment lead to scary places with real consequences that don't pull punches. If you've not been reading this book thus far you NEED to go back and catch up! You owe it to yourself to take the slap in the face and wake up. Then join us this NCBD for issue #4.</div>
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<b>Hits shelves FEB 13th!</b> </div>
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LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-66260295016385547572019-01-26T12:05:00.003-05:002019-01-26T17:16:10.940-05:00Wasted Space #6 - Advance Review <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiRTGvFsLh05Ri9nbV-g5g9CeR3rkm2HQFe77tUxr-kgOKfODmJP8sF6BrN8LsNgEf-X98YuSvQwmSmKXvWQo9NxuWCPESYfIcN2SJ7Rc23o9scp-M2uRDl4GaLl5u28oVdaRYe__rJU/s1600/ws6rev.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="432" data-original-width="854" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiRTGvFsLh05Ri9nbV-g5g9CeR3rkm2HQFe77tUxr-kgOKfODmJP8sF6BrN8LsNgEf-X98YuSvQwmSmKXvWQo9NxuWCPESYfIcN2SJ7Rc23o9scp-M2uRDl4GaLl5u28oVdaRYe__rJU/s640/ws6rev.png" width="640" /></a></td></tr>
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<b style="font-family: inherit; font-size: medium; text-align: center;">Michael Moreci - </b><span style="font-family: inherit; font-size: small; font-weight: 700; text-align: center;">Hayden Sherman - </span><b style="background-color: white; font-family: inherit; font-size: medium; text-align: center;">Jason Wordie - </b><b style="font-family: inherit; font-size: medium; text-align: center;">Jim Campbell</b></div>
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AND WE ARE BACK!<br />
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The return of the EPIC SPACE SAGA has here with issue six of the NOW ONGOING monster hit! Our rag tag crew and overall collection of wtf rides right into the spaceport rolling along where they left off ... which is pretty much right smack in the middle of a shit storm. That's part of the charm and will end up being an endearing facet of this book as it ages, the ever present shit storm. Through the hi-jinks and coming to terms with the piss of it all, surely going after God himself (the creator) can't be a bad idea!<br />
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The return issue wastes not time in showing how expansive things are and just how large the ideology of this book actually is. Page 1, panel 3. Legion is merely speaking but states something that will probably not be caught or just read "in context" rather than taken for the revelation that it is. At least, for me, what he says brings to light so much of what came in the first arc. It also explains, indirectly, some of the inner workings of our cast. A cast that has officially grown by one, if you recall. This script flipping was a very tricky pull but it works in wondrous fashion. It's not that we don't have the swashbuckling sci-fi, two different sock wearing shenanigans because we absolutely still do. What's happened with this issue though, is that the marianas trench depth of our story has started to unfold.<br />
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It was hard to place just what it was that was drawing me into things with the first five issues. I was already a fan of Moreci and every book I see Sherman on his art just grabs me more and more. The palettes and striking usage of colors from Wordie were enhancing something I could put my finger on. Campbell's smooth lettering just made it all the easier to continue down the rabbit hole despite not being able to quite figure it out. Well, that has all started to rectify with our revelation at the start of the book and the continued dive into story telling that we get to kick off the ongoing saga. Do yourself a favor and do what I did. Go back and read the first five issues and pay attention more closely. The allusions are there and now some literal words are honing their edges.<br />
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Fret not though Wasted Legion! There are still PLENTY of the absolute bonkers spacestravaganza you fell in love with in the first place. We've now just got a much more layered book with a heavier toned narrative pushing it. That doesn't take away from the fuq-bot love, only in comics places we go, and over the top characters. Don't you dare be put off by the fact that this is all of that AND a damn good piece of literating (I might have just made that up). The peeling back and exposing of plot lines has pushed this book even further into the stratosphere for me. Every now and then you get a creative team that can keep adding elements and manage to continue to make the overall product better. We've got that here folks.<br />
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There exists a rather well known and classic space epic that touched on the facets of religion, politics, and the human/life condition. It's had movies made and has currently encountered a renaissance. Where this bygone epic has fallen, for me, is how it has tried to force what comes next and aim how certain aspects come across. Originally it was a grand idea that was reared back and let fly. It told a story but even more so invited everyone in to grab hold and make it something for themselves. This is exactly what Wasted Space is doing as it enters into the ongoing series territory. It has its story to tell and its certainties that have to be. But like that classic space epic did originally it isn't trying to hard. It's funny but not comedic, tragic but not desperate, heavy but not drowning, and telling but not preachy. It hits on all cylinders while asking you which turn to take next.<br />
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Wasted Space Issue #6 reaches out an inviting hand to new readers. Take it, hop on board, and get @@#$&%$ Wasted.<br />
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<b><i><u>The epic space SAGA that is better than lands on shelves FEB 6th!</u></i></b><br />
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<b><i><u><br /></u></i></b>LDCShttp://www.blogger.com/profile/09894859263974947149noreply@blogger.com0tag:blogger.com,1999:blog-5138128640583065423.post-33790080793435331372019-01-24T19:55:00.004-05:002019-01-24T20:31:16.590-05:00Wailing Blade - Preview/Rich Douek Q&A<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLub_gU79A7mVcVH7ggAPvCWcooLcoJZc8MwXQD6f9fVVXY2_bjNKnFGw40gvIVFi8wzQmGgKE8nxdHoJ7mJpFUw3d6k2_oQviHlrPWsTNeV-anFv81LTV0ijaOTBIJUkshZvpZ8jFCeM/s1600/WailingBladeReviw.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLub_gU79A7mVcVH7ggAPvCWcooLcoJZc8MwXQD6f9fVVXY2_bjNKnFGw40gvIVFi8wzQmGgKE8nxdHoJ7mJpFUw3d6k2_oQviHlrPWsTNeV-anFv81LTV0ijaOTBIJUkshZvpZ8jFCeM/s640/WailingBladeReviw.png" width="640" /></a></div>
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<span style="font-family: inherit; font-size: small;"><a href="https://cc.zdtc.app/v1/otc/05YcxvrJv7bM0tkN3uaIbHd?veneer=dynamic&url=https%3A%2F%2Fcomixtribe.mykajabi.com%2Fp%2Fwailing-blade-vip" style="-webkit-font-smoothing: antialiased; background-color: white; border-bottom: 2px solid rgba(0, 159, 183, 0.3); box-sizing: border-box; color: black; letter-spacing: 0.5px; line-height: 17.64px; padding-top: 3px; text-decoration-line: none; transition: all 0.25s ease-in-out 0s;"><strong style="-webkit-font-smoothing: antialiased; box-sizing: border-box; line-height: inherit;">WAILING BLADE #1</strong></a><br style="-webkit-font-smoothing: antialiased; background-color: white; box-sizing: border-box;" /><span style="background-color: white;"><i>Rich Douek - Joe Mulvey - Chris Sotomayor - Jules Rivera - Taylor Esposito</i></span></span><br />
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This brutal tale of kick ass is brought to you by the ComixTribe. It should be no surprise that this Heavy Metal-esque poetry of punishment comes from this outfit. Yes, you know ComixTribe ... they brought you the creator owned favorite SINK! If ever a title was perfect for a publisher, this is it.<br />
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HOLY $#!^ ... This IS sci-fi fantastical wonderment! I cannot help but be transported back to 1980 something watching a gruesome post apocalyptic tale riddled with harsh circumstances and even harsher realities. As I read through each page I was just giddy with the brutal, metal nature of this tale. What's more, is that the book opened up with a sequence reminiscent to the opening montage of an industrial tragedy that fills you with dread and hopelessness in the face of what you'll have to eventually come to deal with. The executioner and his blade are iconic in both look and feel.<br />
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Beyond the heavy metal exterior there is a very fine tale of actions and consequences. The root cause of bad things happening is almost always us, as people. Now, the current situation isn't given much back story but there are hints to where this world has come from. Man has fallen from the stars and the blade itself is a remnant of technologies that existed before. Something pretty tragic had to have happened for the oppressive ruler Tyrant to have his heavy hand suffocating everything and everyone. The setting though, adds the backdrop for the razor thin margin of living. This allows us as the reader to feel the gravity of the error made by Tychon (son) as he goes against the advice of Auros (father). It isn't just a simple set up, but rather, a grand illustration of the dire plight facing everyone in the pages of Wailing Blade.<br />
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The story has given us plenty already and very clearly defines that there is MUCH MORE going on. The best illustration of this, to me, is the revelation we get in regards to the Executioner. Yes the one that wields the blade is everything the legend speaks to, BUT the eyes under the mask tell a much deeper tale. Of course, the last panel of the book makes it very clear that we've only just begun. I can't help but wonder about the grander tale behind all of this. The crafting that has been done in bringing this world to life is very clearly large in scope. The way the narrative is driven is rather point blank while remaining careful not to rush just to get from point to point. Every scene within the panels is treated with care and details are everywhere. You don't do this if you're just writing an arcade button masher of a book (though it would still be glorious if this were the case). From the line art to the colors this world is crafted with care. There's a focus and point to have certain things stand out (the blade, the executioner, the remaining technology) but not so much that they feel out of place or unbelievable in the setting we're given. All of the details are woven together to create something special. The lettering doesn't just lend to, but purposefully injects building blocks into the world (the wail of the blade being a part of the blade itself). The pieces stand on their own before coming together to make a perfect final product for the brutal, blunt force tale being told.<br />
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I could go on, but quite honestly you need to see it for yourself. Go over to Kickstarter and look over the project. Of a rather BIG NOTE on this project <u style="font-style: italic; font-weight: bold;">the price/reward structure is flat out astounding!</u> You are going to get some serious swag bang for your buck.<br />
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<b><u>Q/A WITH RICH DOUEK</u></b><br />
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Q - Ok, where in the blue perfect hell did this story come from? What was the birth of all of this?</span></div>
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<span style="background-color: transparent; color: black; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;"><i><u><br /></u></i></span></span></div>
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<span style="background-color: transparent; color: black; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;"><i><u>Douek</u></i> - It pretty much started when one of my favorite classic sci-fi authors, Jack Vance, passed away in 2013. When I heard about it, I reread his Dying Earth books, which are a really cool blend of fantasy and science fiction, and it inspired me to start working on a story in a similar setting; a point so far in the future it’s almost unrecognizable as our own world. There were a lot of other infuences, and things I added on my own, but that was the seed.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Q - Immediately upon seeing the images I was thrust back to my childhood. 80's sci-fi and post-apocalyptic movies mashed up all sorts non-sensical pieces to make an underbelly genre that worked. Wailing Blade thrusts me right back to being a kid for all the right reasons. Was the environment of WB built specifically or did it grow around the story as it came together?</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;"><i><u>Douek</u> - </i>Part of it grew organically, but I grew up on 80s sci-fi and post apocalyptic stuff too, so that stuff is definitely in Wailing Blade’s DNA. I think a lot of my influences for this came from classic sword and sorcery, stuff like Conan and Elric, but also from crazy 80s cartoons like Thundarr the Barbarian, and Masters of the Universe. A bit of Mad Max, too, though you won’t see many cars in this world!</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;"><i><u>Douek</u></i> - Tough one! Because I’m not sure I can explain the origins of the blade without giving away things about the story I’d rather keep secret for now. I will say that yes, it was always a part of the story I wanted to tell here, and it is meant to be symbolic in a way. We kind of touch on in the first few pages why it wails - or at least why everyone in that world thinks it does. But, in the story, the blade has been around for centuries, and has accumulated as many legends about it as lives it has taken. And there’s definitely a reason the title is centered around the blade, and not the person wielding it.</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Q - The only thing I've read recently that even comes to mind as being close to this is Atomahawk. Even that isn't the brutal, over the top, full metal awesome that Wailing Blade is. As the story unfolded was there a goal to make it as unique as possible or was that just a very happy end point of the project playing itself out?</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;"><i><u>Douek</u></i> - Wow! That’s a really nice comparison. I love Donny Cates’ work, and Atomahawk is totally up there for me as an example of the kind of over-the-top action we’re going for. As for the question of uniqueness, I’d say that for sure, it’s something we were striving for. I know that when I started talking to Joe about his designs for the book, one of the things he stressed was that he wanted everything - from the costumes right down to the trees and bushes, to look unique to this world, and unique to comics in general. So that was definitely the intent, and as we worked together, and with Chris Sotomayor and Taylor Esposito, we kept feeding off each other and trying to make everything look unique and dynamic.</span></div>
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<b><span style="font-family: inherit;">Q - This is a very big book with a bold scope. Just how big is the Wailing Blade universe? Is the hyper focused first issue setting the stage for a much broader arena?</span></b><br />
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;"><i><u>Douek</u></i> - Not going to lie, it’s pretty big. If you look at the map we included in the first issue, you’ll see that the Tyrant’s empire spans an entire continent. And there’s a whole world, and universe beyond that. We have a story in mind that will carry far, far beyond this first series, and, if we are able to financially, we could keep this going for years and years. Just a small example of what I’m talking about - the Wailing Blade and the Headtaker are the most famous of the Tyrant’s executioners, but they’re not the only ones. We’ll meet a second one before this series is done, but there are even more than that, and they all have a part to play in the tales we want to tell in this world.</span></div>
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<span style="font-family: inherit; font-weight: 700; white-space: pre-wrap;">Q - I have to give you recognition for the absolutely insane reward/price point structure on the Kickstarter campaign. There is some excellent swag regardless of how much, or not, you're able to kick in as a backer. How were you able to do this? </span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;"><i><u>Douek</u></i> - For that, I have to give all the credit to Tyler James, our publisher at Comixtribe. Tyler’s practically made a second career of studying what works, and what doesn’t when it comes to comics and Kickstarter. He runs a podcast called Comixlaunch where the whole focus is on strategies creators can use to make sure they run a campaign that’s great for them, and their backers - so there are a ton of lessons he’s learned over the years that we applied to this. But a big part of what you’re talking about is a commitment from all of us to provide a great experience to everyone who picks up the book, no matter what format they’re reading in, or how much they kick in. </span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; vertical-align: baseline; white-space: pre-wrap;">THERE YOU HAVE IT FOLKS! Click below to go straight to the campaign and get on board!</span><br />
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<span style="font-family: "times new roman";"><span style="white-space: pre-wrap;"><b>TAKE THE BLADE</b>:</span></span></div>
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