Praise for Flesk Publications

Last week, I asked Frank from 1,000,000 Comix to obtain the signed and limited edition of Steve Rude: Artist in Motion from Flesk Publications.



http://www.fleskpublications.com/publications/rude/

Unfortunately, the Diamond Comics Distribution web site indicates that it has long been since sold out. This makes me more determined to obtain a copy and I try Ebay. While there are non-signed editions that are up for auction, the regular one will not satisfy the collector in me.

Hence, I go to the source itself; the web site of Flesk Publications.

http://www.fleskpublications.com/fp/images/news/rude.jpg

The indications on the site states that the signed edition of Artist in Motion is available and they take orders by phone. Well, at this point, I have nothing to lose, right?

I spoke with Mr. John Fleskes himself who processed my order. A professional on every level and a true gentleman. I advised that Diamond Comics Distributor did not carry the product for I would have gone through the channels of my friends' store in order to acquire the book. Mr. Fleskes replied that this should not be since he recently sent them 70 copies in order to accommodate the stores who wish to carry their line of books. While I have heard but second hand stories and rumors about Diamond throughout the years, it appears that smaller and independent publishers usually do not get the same priority or service as the major ones.

What impressed me the most about Mr. Fleskes during our conversation is his mission to support comic book shops and the independent book stores. I asked him why he did not make the signed edition of Artist In Motion available through Amazon like some publishers do (Avatar, Dark Horse) and while the company does sell the regular edition through this corporate giant, the signed edition was the company's way of helping out those who do not have the same purchasing bulk power of a Barnes & Noble.

I was equally impressed that he took the time to hear my opinion about what I want and expect from graphic novels. How I perceive the changing landscape of comic books in the next decade and how publishers will have to adapt to meet a readership and collector clientele whose profile is getting older and consequently, expects quality editions in return of their purchasing power. We have already seen this with DC Comics in releasing their absolute editions while Marvel has long started the preparations for this forecast. It will be up to the smaller publishers to outdo these two major publishers by releasing products that will garner attention and outdo the expectations of the most discriminate collector.

If you are looking for a high end product that is affordable and unique, check out the Flesk Publications catalog. If your local bookstore or comic book shop cannot order it through Diamond Comics Distribution, I vouch for Mr. John Fleskes to make every effort to ensure customer satisfaction.

Spotlight on Firestorm - The John Ostrander Era

Firestorm
The John Ostrander Era

by Brian Grindrod

Firestorm is the brainchild of writer Gerry Conway and artist Al Milgrom which made its debut in March 1978 in his self titled series. After a mere five issues, the title was cancelled alongside many others in what has now become known as the DC Implosion. The character was given another chance at his own series in 1982 with Conway at the helm. After 54 issues and 4 Annuals, editor Denny O'Neil handed the book over to Grimjack creator/writer, John Ostrander, who had a garnered a strong following with this series published by First Comics during the early 1980s.

Firestorm is an interesting character that always had the potential to be complex and intriguing. This super-hero is actually two people in one. This results from a nuclear fusion accident between teenager Ronnie Raymond and physicist Martin Stein. When joined to form the Firestorm matrix, Raymond controlled the physical and mental aspects while Stein was a disembodied voice advising Ronnie on how to use his powers. Firestorm was able to restructure any physical matter on an atomic level and could fly. With such amazing capabilities, Firestorm could become a God and change the course of humanity at his discretion.



Gerry Conway had presented him as a straightforward super-hero with a supporting cast who had to deal with day to day problems as well as squaring off against bizarre villains. Ostrander drastically changed the dynamics of the character and the series with his arrival on issue 55 & 56 that were crossovers from the 1987 Legends mini-series which he also co-wrote.

The relationship between Professor Martin Stein & Ronnie Raymond as well as the title's direction was heading into an important alteration with deep significant changes. The character was not revamped or rebooted nor was 9 years of continuity flushed down the toilet just for the sake of being trendy. In fact, editor Dennis O'Neil expected to alienate long-time readers of the book and lose a few along the way. But it was a chance that DC was willing to take with a character that was getting stale. I figure some readers may have been angered, others delighted while other fans may have found the stories demanding besides puzzling. But dull? No way. With each installment, I was getting excited to see what Ostrander was going to do next.



A rift was growing between Stein & Raymond unlike that of a married couple that has ceased to communicate with each other. In a two part story featuring the first appearance of the Post-Crisis Parasite, Ronnie discovers that the reason Martin had been acting differently in recent weeks was due to his dealing with an inoperable brain tumour in which he had at most, one year left to live.

This beautifully set up a relevant story arc which was published in issues 61 to 65 and the 1987 Annual. I regard this story line as one of my favourites in the super-hero genre. Ostrander addressed topics that were and still affect every nation on this planet. He pushed the boundaries of super-hero storytelling published by mainstream companies (DC & Marvel Comics) in an ongoing monthly format by seriously examining East-West Cold War relations and the threat of Global Nuclear Annihilation. From ex-President Ronald Reagan to appearances by the Suicide Squad & the Justice League to the implication of the KGB, Ostrander gave a realistic glance as to what would happen in a world populated by God like beings. Super-heroes who would truly want to make the world a safer place for future generations by making demands from powerful countries possessing such destructive forces to disarm their missiles. This is not your greasy kid stuff which is published for the sake of garnering media exposure or a semblance of social and political commentaries that is banal as well as trivialized.



This story arc is the foundation of what would lie ahead for the character and the series. Stein does not form part of the Firestorm matrix anymore. Instead, Mikhail Denisovitch who gained extraordinary abilities in miraculously surviving the nuclear Chernobyl plant accident is now the one who merges with Ronnie to make up the being known as Firestorm. Mikhail who was code named Pozhar (Fire) by the KGB was sent to destroy Firestorm which ironically, was part of an American/Russian contingency plan to thwart his plan for total Nuclear
Disarmament.

A testimony to Ostrander's respect for readers; he did not portray a caricature of a Russian citizen. Mikhail is a family man who serves the state but loves his wife and children. Ostrander also shows the unlimited power the KGB still held upon the Soviet Communist government and those who lived under its rule. This opened the door for new unique stories with a fresh cast of characters and possibilities.

Later issues saw the emergence of a third core character developing in Firestorm - his own. Like each and every one of us, Firestorm wants to love & be loved. Not just simply exist to thwart the scheming of villains, aliens and madmen. To comply to this new persona and give Firestorm a life of its own, Ronnie & Mikhail manage to head off to Ogaden which also coincides with some personal assignments. Ogaden is a country torn apart from civil war and famine situated south of Ethopia. Again, Ostrander tackles social, political and world topics which was first spearheaded into our conscience by Bob Geldoff's Live Aid Concert. Although Firestorm's intentions are noble, his actions to help the starving populace results in more bloodshed & tears. A harsh brutal lesson for a being who can alter molecular structure but is unable to feed the hungry.

Although the premise of the DC's 1988 Invasion series in which every title tied into it was mediocre at best, Ostrander seized the opportunity to bring Firestorm to the next level. Borrowing Alan Moore's premise to turn Swamp Thing into a force of nature, Ostrander recreated the character to be a Fire elemental. In a four part story arc entitled The Elemental War, Ostrander reintroduced a long time obscure character called Red Tornado. Tornado was now shown as the elemental of air while the story introduced earth's physical manifestation of water, Naiad. Needless to say, Ostrander wanted to delve into environment, pollution and how corporations destroy as well as plunder the planet's life giving resources.



Due to the poor paper quality on which the art was reproduced as well as the standard coloring and separation practices which were at the mercy of the technology of the time, production standards is certainly not what can be expected in today's comics. Ostrander was paired with skillful artists who rendered justice to his stories. Joe Brozowski, Tom Grindberg and Tom Mandrake each brought a style and look which complemented Firestorm's redesign. Another testimony of the editorial vision of this book to keep the character in a constant progression was to allow Joe Brozowski to try out a new pencilling style for a few issues. Under the pseudonym of J.J. Birch, Brozowski experimented on a new approach to telling a story. Catwoman fanatics will certainly recognize this name! DC kept this a mystery so that the fans would not judge this style to the one they had become accustomed to on prior issues.

Although the series ended with issue 100, Ostrander's vision of the character did make for a fantastic run which lasted approximately 4 years (44 monthlies and one Annual). Not to mention a continous stretch of 42 consecutive issues. Alongside Alan Moore's Swamp Thing, Frank Miller's Dark Knight and Mike Grell's Green Arrow, Ostrander's run on Firestorm addressed topics that proved that comic books are not just for kids. Unfortunately, the title did not benefit from the present resources now at a creator or publisher's disposal to garner the attention this body of work so justly deserved. I am sure it would have received the proper accolades and acknowledgments. However, I can still point you to an impressive series that is no longer published but can be readily found in the back issue bins of any great comic book store.

Spotlight On Jack Kirby's Fourth World - Review: Cosmic Odyssey

Fourth World Spotlight
Review - Cosmic Odyssey

by Brian Grindrod

Jack Kirby’s Fourth World is the most underdeveloped and under-rated property that The King has ever created. For forty years, the characters known as the New Gods that features one of the most powerful villains in the DC universe in Darkseid has never been able to sustain a title for more than 28 issues despite having three spin-off series that starred Mister Miracle, Orion and The Forever People. It appears that the franchise has a dedicated core of fans but it is not large enough to sustain long term sales nor can it reach out to new readers to make it viable for DC to keep on publishing it for more than two years. However, the fault is not to be blamed on the writers and artists who have contributed to the New Gods mythos since Jack Kirby first launched the series in 1971.

In 1988, DC Comics published a four part series printed in the prestige format entitled Cosmic Odyssey. Written by Jim Starlin, whose name is synonymous with super-hero cosmic sagas and featuring artwork by Hellboy creator, Mike Mignola, this story reintroduced the Fourth World. The franchise had been almost all but been forgotten due to the concept being railroaded in different directions during the late 1970s and early 1980s. For the purpose of this tale, Starlin did not delve into the cluttered and confusing background of The New Gods. The legendary writer accurately explains the history and origin of how the planets of Apokolips and New Genesis came to be within the span of a few pages as well as their places within the DC universe.



Cosmic Odyssey strongly connects the ties of the Fourth World to that of the heroes. The saga spotlights DC Comics’ big guns with Batman and Superman but Starlin makes them share the bill with lesser known characters such as John Stewart, Starfire, Martian Manhunter, Etrigan The Demon, Adam Strange and last but not least, Dr. Fate. This motley crew fights side by side with the warriors of New Genesis who is led by none other than Darkseid, master of Apokolips. While this may seen as yet another generic ‘universe shattering’ saga that contains a voluminous cast, it is Starlin’s personas of the characters and their interaction between each other that makes this 200 page story a great read.


From Batman murdering a cannibal alien to John Stewart’s arrogance that results with the destruction of a planet, every chapter gives us an interesting facet of the heroes and their New Genesis allies. Starlin strays away from the boring and predictable relations found in the titles of the DC universe with such team-ups. While they may get the job done and save lives, this does not mean that they tolerate each other or are on amicable terms. This is quite apparent in Act Two when Superman is disgusted from the savagery, bloodlust and disregard of life that Orion possesses towards innocent beings. Lightrays’s egotism makes Starfire disdain him but she is willing to stomach his self-centeredness in order to protect the inhabitants of Rann. The relation between Martian Manhunter and John Stewart brings a dynamic element to the story that humanizes the characters.



While Mike Mignola is known as being the creator, writer and artist of Hellboy, his work on Cosmic Odyssey gives us a preview of what was to come. It is evident that he borrows from Jack Kirby for panel layouts while influenced by Walt Simonson for design but his linework is distinctively his. Today’s techniques and process for coloring makes many of the pre-computerized comics appear outdated but even twenty years after its publication, Steve Oliff’s separations and hues still makes Cosmic Odyssey a modern visual production.

Jim Starlin and Mike Mignola’s Cosmic Odyssey is probably the lesser known of the super-hero cosmic sagas from DC Comics but the story telling, ideas and script is leagues ahead of mediocrity such as Infinite Crisis and super-hero junk such as ‘52’.

Spotlight on Captain America - The Reagan Years

Spotlight on Captain America #332 - #350
The Reagan Years

by Brian Grindrod

The year is 1987. Steve Rogers is forced to resign as Captain America but not before PTL Evangelist Jim Bakker admits to an affair with Jessica Hahn. Oliver North, Jr. tells congressional inquiry that higher officials approved his secret Iran-Contra operations. Admiral John M. Poindexter, former National Security Adviser, testifies he authorized use of Iran arms sale profits to aid Contras. Secretary of State George P. Shultz testifies he was deceived repeatedly on Iran-Contra affair. Defense Secretary Caspar W. Weinberger tells inquiry of official deception and intrigue. Reagan says Iran arms-Contra policy went astray and accepts responsibility.

While praises and cheers are being gratuitously given to Ed Brubaker for having replaced Steve Rogers as Captain America, veteran fans and the intelligent reader knows that this is but a temporary situation. This is not the first time that Steve Rogers is 'dead' or missing throughout the character's publishing history while somebody else dons the iconic red, white and blue costume. One of the most memorable Captain America story arcs about such a plot is written by Mark Gruenwald. It starts with issue 332 which sports a fantastic Mike Zeck cover and ends with issue 350 where reports of The Red Skull's death had been greatly exaggerated. Many fans can justifiably criticize this 19 part epic for being tautological since Steve Englehart's Nomad Saga referred to some of the character's plight during the 1970s based on the Watergate Scandal. However, Gruenwald's Captain America lives in an era where condom commercials are on television, The Fox Network airs its first episode of Married With Children while The Simpsons are well on their way of becoming America's first family. Oh, Michael Jackson attempts to buy the bones of The Elephant Man!



In 1941, Captain America's creators Jack Kirby and Joe Simon wrote him as a brightly costumed soldier designed to fight Hitler and The Nazis. During The Silver Age, Steve Rogers was portrayed as excessively conventional being a man out of his time and while Roger Stern developed the man behind the mask in the early 80s, it is Gruenwald who transformed Captain America into a symbol of the honest, hard working person. But just as Ronald Reagan was not above using Bruce Springsteen's Born In The U.S.A. as the signature song for his 1984 re-election campaign, the U.S. government in the Marvel Universe had no qualms in exploiting as well as retooling Captain America's image for their own agendas. Who says art does not imitate life ... or is that the other way around?

Although Steve Rogers is the noble spirit that drives the costume, the outfit and shield is the propriety of Uncle Sam to do as they please. Instead of acquiescing to the government's demands in exchange for having the right to wear the Captain America uniform and shield, Steve Rogers abdicates only to be easily replaced by John Walker in the role. To Gruenwald's credit, he never personifies Walker as some cookie cutter villain or a mind-controlled scallywag whose program is to indefinitely substitute Captain America and be rid of Steve Rogers. Walker certainly regards the original Cap as outdated in the manner he combats evil but deep down, he is very much the same boy scout that his predecessor was; they both want to serve their country as best they can.



Throughout the first six issues, Walker's trust in government officials decreases. He is not as loyally blind as he once was when appointed the responsibility of being Captain America. For instance, Walker's position on pornographic material is conservative but he will defend the right for this material to be distributed and sold if it does not break the law. Where the cracks in the mirror do start to appear is when he realizes that he has been set up to make a choice between saving his partner, Lemar Hoskins (Bucky), or fulfilling his mission to capture a right wing militia leader. Meanwhile a vagabond Steve Rogers comes across an eco-protector who has been breaking the law to preserve the sanctity of nature with his incredible powers but the ex-Captain America fights to preserve the ideal of The American Dream. The irony being that Rogers is aiding an establishment that has stripped him of legally donning a uniform that is red, white and blue.

In the ensuing installments, Gruenwald positions John Walker and Steve Rogers in circumstances where they question who their allies are, who can be trusted, what absolutes are they protecting and what lines do they dare cross to ensure the success of their goals? Their differences between both Captains are minimal until Gruenwald appears to make a statement about an 1980s genre that was prominent on books such as The Punisher. The "grim n' gritty" trend was in full gear and many fans had become blasé of icons such as Superman alongside Captain America in favour of angst ridden psychotics that would kill without feeling any remorse for their actions. In issue 338, Walker goes into a berserker rage and murders his opponent with his fists. Unlike Wolverine who would have been portrayed as lighting a cigar and helping himself to a keg of beer after taking a life, the new Captain America derives no joy in being the government's executioner because this is a course of action the old Captain America would have never taken.

Speaking about courses of action taken, Marvel Comics immediately rectified a faux-pas where the character of Lemar Hoskins is concerned. As explained in issue 340, Mark Gruenwald was not aware that in some parts of the country, ''buck'' is a derogatory name for a black man. Thus, it is understandable that a black character being codenamed Bucky raised hostile feelings towards the publisher. Truth be told, if I had not learnt about this in the comic book itself, I would have never guessed this fact in a million years. Hence, in issue 341, the writer cleverly inserts this point within the story and Lemar would now be known as Battlestar donned with a new outfit.



Unfortunately, the story line does have its share of weakness and failings that the super-hero genre from that era is renowned for. The dialogue is platitudinal at times but Gruenwald keeps an upbeat tempo in fleshing out John Walker and Battlestar. However, the large supporting cast of Nomad, Vagabond, Demolition Man, Falcon and Diamondback alongside The Serpent Society who occupy a sizable role in some issues simply buries Steve Rogers in his own title. The cluster of third rate characters alongside forgettable villains overwhelms many of the themes, ideas and opinions that made the initial installments of the run thrilling.

The pace does pick up and accelerate with issue 345. John Walker is transformed into a man driven by hate and vengeance in place of the patriotic American who wished to do good when he first donned the classic uniform. The brutal death of his parents in front of his very eyes scars him psychologically leaving Walker in a state of raging madness. Gruenwald demonstrates to the reader how a maniacal Captain America is an ugly thing as well as unnatural. A person who wantonly takes another life to satisfy his blood lust or thirst for revenge is not a hero but a murderous vigilante. Although I have no proof of the following, I will go on record to say that it appears that Mark Gruenwald refused to ''Millerize'' Captain America at a time where editors were peddling the likes of Ghost Rider, Morbius and Punisher as the next generation of marketable icons. Hindsight establishes that this course of action was part of the industry's downfall.

In the super-sized 350th issue with its great rendition of both Captains clashing on the cover, it is revealed that both John Walker and Steve Rogers have both been manipulated by one of the most vilest monsters to form part of The Nazi Regime. A villain thought to be long gone is resurrected in a backup story pencilled by John Byrne, Mark Gruenwald which explains how Johann Shmidt still continues to put in motion the idealogy behind the man who wrote Mein Kampf.

BATMAN: STRANGE APPARITIONS

BATMAN: STRANGE APPARITIONS

Written by Steve Englehart and Len Wein; Art by Marshall Rogers, Terry Austin and Walter Simonson

During the late 1970s, DC managed to entice writer Steve Englehart aboard on Detective Comics. At Marvel, Englehart had repeatedly proven his skills and imagination on titles such as Avengers, Captain America and Incredible Hulk. Teamed up with Marshall Rogers on pencil and coloring, they created classic stories where today, their version of Batman is regarded as one of the authoritative alongside that of Frank Miller, Dennis O'Neil & Neil Adams, Dick Sprang and of course, Bob Kane, Jerry Robinson and Bill Finger's.

The first instalment starts off with the introduction of Dr. Phosphorous and the corrupt Gotham City Councillor, Rupert Thorne. Englehart also presents us a new love interest for Bruce Wayne, Silver St. Cloud. The good doctor has made very few appearances since then (notably in Starman) but Thorne has become a feature villain in the animated television series while St. Cloud served as the template for Vicki Vale's persona in Tim Burton's blockbuster film. Both characters also serve as important elements throughout Englehart's epic run on Detective Comics.

Unfortunately, the first two instalments in Strange Apparitions is not representative of excellent pencil work on behalf of Walt Simonson. Perhaps the fault can also be attributed to inker Al Milgrom but the result is art that is flustered, flat and lifeless. Do not expect the type of visual which made Simonson's Thor, Fantastic Four and Orion memorable masterpieces. However, the events and characters' presentation solidly sets up the stage for the next seven chapters in Englehart's story arc.

Marshall Rogers pencilled back up features in Detective Comics #466, #467 as well as a full length story in issue 468 prior to being assigned as regular artist on the duration of Englehart's tenure in '77 & '78. The decision to pair him up with Englehart as well as adding inker Terry Austin to the creative team was another genial one by editor Julius Schwartz. With Rogers' stylised pencil work, angular structure and keen sense of cinematic poses, his Batman appeared more sleek & athletic instead of bulky and muscular. It is quite reminiscent of Jim Starlin's unique style on Captain Marvel except that Rogers' anatomy and facial structures are more realistic.

Rogers also strongly emphasizes background scenery and the architecture of Gotham City. It brings a vivid grandeur to the stories' setting. Combined with Englehart's prominent scribing, their depiction of Bruce Wayne is simply not a facade for the Dark Knight. Bruce Wayne and Batman are one and the same. Englehart strongly emphasizes the man behind the mask without resorting to poorly personifying psycho babble melodrama that has been so prominent since Jim Starlin's departure from the Batman title in 1989.

The team's first effort offers a story which represents a villain which had long been forgotten but yet appeared in the historic first issue of Batman. Thirty-five years after his last appearance, Hugo Strange was reintroduced to a new generation of readers. In a classic plot twist, Strange discovers Wayne's alter-ego. A pivotal point that paved the road to his obsession with Batman in many subsequent story lines in which this villain appeared in.

While Englehart revitalized Hugo Strange and built upon the character's Golden Age foundation, the next four chapters features two of Batman's greatest arch foes. "The Malay Penguin" also marks the guest appearance of Robin who in the last two instalments plays a minor but important role. The complicity and friendship between the two is well depicted as they thwart another outlandish caper by Oswald Cobblepot. As the romance between Silver and Bruce evolves and takes center stage, a subplot is inserted as the 'ghost' of Hugo Strange haunts his murderer, Rupert Thorne. This tale also demonstrates Batman's detective prowess and skills as well as Robin's admiration for his mentor.

In the next chapter, Englehart totally revamps a throw away villain from yesteryear. A character which became instrumental in John Ostrander's Suicide Squad series and fortified him as one of the deadliest maniacs in Batman's Rogue Gallery. In a story which seems to pay homage to Dick Sprang's outlandish "props" from the Golden Age, Deadshot is now a menace in very sense of the word. The Thorne-Strange subplot ensues but another becomes full blown as Batman's mask cannot fool Silver's keen sense of observation about her lover's physique and facial features. A woman's passion for her man will indeed make it very hard for him to conceal his physical features, body movements as well as his voice. Even if that man is shrouded in a cap and cowl. I guess Batman should have tried a pair of glasses instead!

"The Laughing Fish" and "Sign Of The Joker" stories are considered as the paramount confrontation between Batman and Joker since their first clash in 1940. Englehart severs all ties from Joker's dreaded Clown Prince Of Crime persona and brings him back to his Pre- Comic Code Authority roots. His camp Silver Age characterization now makes place for his true homicidal disposition. Joker's psychotic nature is even more prominent as he holds Gotham City hostage to pay monetary fees for fish which bears his grinnish resemblance. Which of course, is of his own doing. Only Frank Miller and Alan Moore have been able to exquisitely portray Joker's genial and demented psyche as well as Englehart. Subsequent writers and story lines have all been a mockery and pale echo of the standards which Englehart set with the character in this epic two parter. Its impact is still felt in the Batman mythology because 22 years after it was published, Englehart extended upon it in a two part story featured in the Legends of the DC Universe series (issues 26 & 27).

The last two instalments marks a shuffle in the creative team. Dick Giordano replaces Austin as inker while Englehart's position is succeeded by Len Wein. Giordano's influence is quite evident as his heavier inking style slightly alters the look of Rogers' dynamic pencil work and layout. Wein's writing on the two part story introducing an utterly deranged villain establishes why he has his place amongst comic book greats. Wein is CO-creator of Swamp Thing and one of the masterminds behind the relaunch of Marvel Comics' X-Men franchise.

Perhaps Clayface III is another lunatic amongst many in Batman's extensive and rich Rogues Gallery but Wein manages to separate him from the other two villains bearing the same name by making the reader sympathetic to his plight. His physical deformity and Clayface's failed attempt at a cure only spiralled his high intellectual capacity into the mouth of madness. But a killer is a killer... If your sole introduction to the character was in the creative abortion which appeared in the Detective Comics story arc entitled "The Mud Pack" (issues 604 to 608) during 1989 then I urge you to seek out the 1987 Batman Annual. Only the imaginative and depraved mind of Alan Moore has been able to recapture and evolve upon the terror of Clayface's powers and mindset.

Batman is not about No Man's Land. He is not about Knighfall and certainly not about Bruce Wayne: Murderer wankfest. I fail to understand why DC insists on making a creative artistic mockery with the character by holding the fans hostage with another useless crossover within the major Batman titles and its spin-offs.

Strange Apparitions is a worthy edition for all Batman fans, astute comic book readers and those who wish to enjoy a viable representation of the essence of Bob Kane & Bill Finger's character. Does it hold up to today's comic book production of coloring and separation? No, of course not. Don't be silly. This would be comparing the music produced today with that of 60 years ago based on the sole merits of technology and equipment.

Englehart, Wein and Rogers' offering to the character's mythos and storytelling standards which left its mark on the Batman legacy may be occasionally equalled but rarely surpassed. This is Batman in his finest hour.

Review by Brian Grindrod

BATMAN: TALES OF THE DEMON

BATMAN: TALES OF THE DEMON

Art by Neal Adams, Irv Novick, Dick Giordano and others; Cover by Adams

While most of the material was originally published during the early 1970s, none of it appears outdated or lacklustre; a testimony to Dennis O'Neil & Neal Adams' vision of comic book storytelling. This trade paperback edition also includes stories that first appeared in 1978, 1979 & 1980. These later tales lack the intensity and drama of Al Ghul's earlier appearances but they still overpower the nonsensical sagas of Bruce Wayne: Murderer & Batman: War Games.

There is no doubt that The Joker is the most recognizable nemesis of Batman's rogue gallery. Alongside The Penguin, Two-Face, The Riddler and the original, criminal version of Catwoman, these characters have helped define as well as elevate The Caped Crusader's popularity in all mediums whether it be comic books, animation or film. However, what separates Ra's Al Ghul from the other villains is that he is not grotesque in appearance nor is he prolifically insane. Contrary to Batman's high profiled enemies, this character is treacherously intelligent, logical and relies on order instead of chaos to further advance his plans. Another distinctive trait is that by harnessing the earth's magnetic currents and the properties of certain chemicals, he has invented a method to revive his body when death approaches'. The aptly named `Lazarus Pit' has allowed Ra's Al Ghul several lifetimes in which he created a network whose goal is to cleanse the earth of a parasite that is destroying the planet. That is, the over abundance of human population that is making the air non-breathable, the water undrinkable and rapidly depleting our planet's life giving resources. Al Ghul has no desire to completely wipe out the human race but rather to downsize it at a level that the earth can sustain and of course, would usher this new age as its master. He views himself as a visionary that will save mankind and the environment but Batman regards him as nothing more than a dangerous madman who must be stopped at all costs. Obviously, Ra's Al Ghul's goal is not to commit crimes in an attempt to best Batman in a match of wits or brawn. This is beneath him. In fact, he regards Batman as his most fitting successor and husband to his beautiful daughter, Talia.

With such a complex and unique character, Dennis O'Neil chronicled some of the greatest Batman tales ever. He returned Batman to his roots as a creature of the night but does not shy away from showing a defeated Caped Crusader in combat situations against the likes of The Bronze Tiger or lagging behind an Olympic ski medalist. This important aspect allows the hero to be accessible to the audience. Bruce Wayne's tragedy is obviously still at the core of the character but O'Neil does not hammer down this point incessantly where we can no longer differentiate Batman from his cast of villains. O'Neil's Dark Knight Detective is an intense and determined crime fighter but can still interact with his entourage while prone to failure. In fact, this Batman is not above seeking help in order to bring down Ra's Al Ghul. Quite a contrast from the angst filled and anti-social persona that is presently found in the Batman titles and been overbearingly interpreted as such for the past fifteen years. These hack writers and short-sighted editors should go beyond Frank Miller's Dark Knight Returns to discover that the likes of Steve Englehart, Frank Robbins & Archie Goodwin wrote some Batman stories that are as valid as any other. It makes me wonder if they ever bothered to read the Bob Kane & Bill Finger material.

Neal Adams' contribution to the North American comic book industry is impossible to measure or quantify. His style has directly as well as indirectly influenced comic book artists for four decades. Adams' facet to perspective and anatomy brought a heightened realism to the character that led the way for future Batman artists such as Marshal Rogers and Alan Davis. While Tales Of The Demon does not feature the best of Don Newton's work, he certainly belongs as one of the top Batman pencillers who could bring out the moody and dark atmosphere of the Dark Knight's world. His four year run on Detective Comics and Batman is still sadly overlooked while unskilled, non-talented shmucks such as Michael Turner are revered as the greatest ever. Go figure. Irv Novick is another artist who never seems to get the proper recognition for his astounding body of work. His slick pencilling style puts him in the same league as Gil Kane, John Buscema and Ross Andru. Novick was an artist who could convey all the vibrant action and dynamic pacing of a story that made Batman come to life. This trade paperback also reprints the excellent Dennis O'Neil/Michael Golden collaboration from DC Special Series #15. His highly detailed work from the late 1970s and 1980s made him one of the most relevant artists in the comic book medium during those decades.

Tales Of The Demon is a worthy companion piece to other editions such as Batman: Black & White and Batman: Year Two. While Bob Kane and Bill Finger are the ones responsible for creating this wonderful character, it is Dennis O'Neil who brought back the approach that made him great during The Golden Age of comics. For over six decades, many writers and artists have left their stamp on the Batman legacy but most of them pale in comparison to the inspirational work of O'Neil & Adams.

Review by Brian Grindrod

Daredevil - Redemption

Merging real life events with that of the fictional super-hero world can be a recipe for mediocre and questionable storytelling. When Marvel Comics decided to respond to the events of September 11, 2001 with its publication of Amazing Spider-Man #37 (Vol.2), the story contained so many flaws that it simply proved that this was nothing but a poorly conceived sales gimmick. This is why I was somewhat apprehensive to purchase Daredevil: Redemption since the plot is inspired by the true story of "The Robin Hood Hills Murders".

However, David Hines' writing skill on the District X series made a convincing case that while I await the eventual release of the over-sized hardcover of Daredevil Volume 5, this trade paperback could somewhat appease my insatiable desire for more Brian Michael Bendis tales about Hell's Kitchen guardian. I do not regret putting my faith in him. Alongside Frank Miller, Dennis O'Neil, the often forgotten Roger McKenzie and the aforementioned Bendis, Hines' name has to be listed as the author about one of the character's best all-time stories.

This is not your standard super-hero garbage where Doctor Doom wants to avenge himself against The Fantastic Four for being second best to Reed Richards or The Avengers going head to head with Kang in order to thwart his plan for world domination by time travel.

Hines offers the reader a disturbing glimpse about police corruption, bigotry and the terrifying influence of Christian doctrine on a community that is as small-minded as its church. He also addresses cringing topics such as child sexual abuse and domestic violence. This is not the kind of evil that can be solved with mutant powers or gamma-radiated monsters.

Oddly enough, Daredevil is barely utilized throughout the story. Instead, the focus is on Matt Murdock and his abilities as a lawyer. Hines' account of the victims and their surroundings is so gripping that the reader may come to realize that this tale could have been published solely as a Matt Murdock series without the presence of his alter-ego. However, I doubt that commercially, it would have been viable for Marvel Comics.....

Artist Michael Gaydos and colorist Lee Loughridge are a perfect fit to give illustration to Hines' script. The penciling style is straightforward black and white with no shading whatsoever. The artwork has a sense of realism but it is as stern and severe as the account itself while Loughridge's use of hues are dark without being overwhelming thus giving the sombre tone that Hines is aiming for.

I would have no qualms in repurchasing Daredevil: Redemption in the over-sized hardcover format if Marvel decided to publish it as such. It definitely deserves this treatment.

Review by Brian Grindrod

Identity Crisis

DC Comics' Identity Crisis has been acclaimed by critics and fans. The rationale for its success can be attributed to the following main reasons;

1) an engrossing plot line that is skilfully written
2) beautiful art work
3) a gripping story that has impact on the characters

This is why Identity Crisis will also be considered a standard twenty years from now.

The pacing is over-the-top while the passion of the characters is felt with emotions running high in their search for the culprit(s). Meltzer makes us care about Elongated Man's pain, Robin's intense reaction to his inability in rescuing the most important person of his life as well as The Atom's poignant reaction towards the murderer.

While the script contains strong elements, it is Meltzer's ability to manipulate the reader with the heroes and villains' characterization that makes him capture our imagination. After battering our senses with death and tragedy, Meltzer hits it out of the ballpark with the final act. Life and the human sprit endure for our heroes despite the loss of their loved ones. They all come to terms with it in their own time and manner with the aftermath of the situation. The interaction between Superman and his mother, Nightwing attempting to reach out to Robin in his hour of need or Elongated Man coping with his grief gives the story the proper closure that makes this series an instant classic.

A powerful script does not make a great comic. There....

....I said it and am glad that I did because it is the truth point blank. Many argue that visual is not important or secondary to which I have to wonder why they bother with comic books instead of a novel in the first place. While Meltzer's ability as a comic book writer is the revelation, it is Rags Morales' artwork for Identity Crisis that has now propelled him as one of the top tier pencillers of the industry. With inspired styling from the likes of Neal Adams and John Buscema, Morales has developed his own that breathes life and authenticity to the characters. Every range of the human expression is to be found here and his realistic rendering is as much to be credited for the series' success as Meltzer's writing.

The events that transpire within the story leaves a permanent mark in the DC Universe and have consequences for years to come. Identity Crisis is the best super-hero saga since the cancellation of James Robinson and Tony Harris' Starman. This is not about the fancy costumes or gimmicks but rather the brave men and women who wear them. Specifically, the possible dangers, consequences and regrets that await for committing themselves to be noble with their gifts.

Review by Brian Grindrod

Queen + Paul Rodgers - Return of the Champions

Brian May and Roger Taylor could have taken any singer that could accurately imitate Freddie Mercury's vocal range to perform their vast repertoire. However, it is the legendary Paul Rodgers that embarked with them to sing their classics as well as some of his which he recorded with Bad Company & Free.

Rodgers does not emulate Freddie Mercury in stage presence or vocal performance. A wise course of action since it would have led to justified critcism while perhaps alienating many of the die-hard Queen fans that do not take kindly to seeing somebody else sing with the remaining members of the band. In fact, some of the songs are not played in the key in which Freddie and the band originally recorded them in.

Thus, instead of the powerful voice of Freddie arousing the crowd, it is Paul's blues-driven style that brings about a soulful melody to some of greatest all-time rock'n'roll hits. From the power chords of Tie Your Mother Down to the spine chilling The Show Must Go On, these musicians deliver a performance that you will enjoy every time.

Of note is Brian and Paul's intro of Hammer To Fall and an awesome rendition of John Lennon's Imagine. While Roger and Brian's voices always complimented Freddie's in their studio works, it is quite particular to hear them in the forefront with Love of My Life, These Are The Days Of Our Lives and Radio Ga-Ga.

The concert is not without its flaw. I do not quite understand what the band was trying to accomplish with a concert recording of Freddie performing Bohemian Rhapsody. The people who attended their shows would have certainly preffered the band doing it themselves instead of paying for something they could have easily inserted in their DVD/VHS players at home.

If you're an anal retentive Queen fan who will not accept any singer, no matter how good they are, singing their classic songs alongside Brian Or Roger, then this DVD is not for you. But if you're looking for a high octane show that will rock your socks off and hearing some interesting versions of your favourites, go ahead and enjoy this guilty pleasure.

Review by Brian Grindrod

Ministry Of Space

Ever wonder what kind of world we would be living in if the American War for Independence failed? Perhaps ponder what would modern music sound like had Elvis Presley never walked into Sun Record Studios? We are only limited by our imagination when we conceive about such possibilities. With Ministry Of Space, Ellis invites the reader to an alternate reality where England employs Nazi rocket scientists to secure its prosperity and empire. The scenario is credible as to why The United States and The Soviet Union's achievements in space flight is in full lag when compared to Britain's. The reason is mainly due to the protagonist of the story, Sir John Dashwood, who lacks moral values and is as ruthless as the empire he serves. There is a revelation that should not be too surprising since it is hinted within the first issue that Dashwood is in the same category as Bayer, Mercedes, Hugo Boss, Ford and Switzerland.

Ellis shifts the story's timeline effectively throughout the script. The reader is given the backdrop in doses instead of the usual diarrhoea method that most writers employ when relating past events that led to the current outcome of the story. The flashback sequences does not affect the pacing whatsoever but rather enhances its drama. While the science-fiction aspect reminds me of what can be found in a Buck Rogers or Flash Gordon comic strip, I appreciate that Ellis bothered to make (fictional) reference to the men and their science behind the technology to make the fantastic plausible in our eyes. I also admire at how he manages to lend a sense of authenticity and regard to what presently appears to be out of man's grasp; Colonising other planets in our solar system.

The story may appear to be a wish fulfilment about Britain retaining its past glory but Ellis hammers the point that while England is enjoying the fruits of space travel and the establishment of off-world colonies, a segment of its empire will always be categorised as second class citizens. You may be the daughter of one of the first men to land on Mars as well as a qualified space pilot but if you are not male and (especially) Caucasian, rest assured that you will be segregated. The ethical ambiguity that is at the foundation of Dashwood's vision is really what makes Ellis' story a compelling one since it really emphasises the following question; Does the end justify the means?

The art work and overall production is the literal definition of drop dead gorgeous. Chris Weston's retro-futuristic designs of the uniforms, travelling devices and rocket ships is so highly intricate that one cannot help but think that the technology may be accurate (!).

Weston's realistic style is definitely on par with that of Brian Bolland. The background work is beautifully detailed but it is the sense of perception and depth with the forefront that makes this series a true artistic vision. The Mars landing scenario is totally breathtaking with its cinematic vision that I would dare to compare to Stanley Kubrick's 2001: A Space Odyssey. Weston's work on Enemy Ace: War In Heaven and The Invisibles is quite impressive but he has truly outdone himself on Ministry Of Space. Weston has now made my favourite Top 10 artist list!

Ministry Of Space is the graphic novel equivalent of Robert Harris' Fatherland with its original premise and grandiose theme. It will not revolutionise the North American market a la Dark Knight Returns or Watchmen because there are no costumes or powers but it proves that a writer can intelligently use the element of the fantastic to provoke not just a sense of wonder but that of thought.

Review by Brian Grindrod

The Pro

If the cover is not enough of an indication, the opening page certainly sets the tone for the rest of the story. Garth Ennis wastes no time and gives no warning for those who are satire impaired or are faint of heart. If you liked Preacher, you are going to l-o-v-e The Pro.

Only Ennis could execute a no holds barred story about the world's first super-hero prostitute with that over-the-top writing style of his that has made him famous ... or would that be infamous? Whatever opinion you may have of this prolific writer, this book is certainly not going to change it. When Ennis' creative mojo is riding high, no amount of praying or crying from the prudish is going to save the souls of the innocent comic book readers. If we are going to hell, we may as well enjoy the ride!

The protagonist has all the charm of trailer park trash. The kind that you frequently see on Fox Network's television series C. O. P. S. However, a cosmic bet endows her with superpowers. It is at that point in the script where Ennis cranks up the absurdity level and hilariously maintains it to the last page. From the League Of Honor that spoofs DC Comics' Justice League, Speedo's lightning fast masturbation session in the background panels to The Saint's eventual use of profanity, Ennis pokes fun at the super-hero genre and those that advocate its creative stagnation which redefines the term; Pushing-The-Envelope. I would even dare say that Ennis is blatantly defying and challenging the industry's self-imposed strangulating boundaries. Need I tell you that the foul language would make your grandmother weep?

This is my first exposure to Amanda Conner's art work. One could easily think that it is reminiscent of John McCrea's style in DC's Hitman series. I suppose it does tend to lean towards the iconic and subjective but that would be a disservice in describing the amount of detail that is found in each panel or their composure on each page. The character's exaggerated expressions and body language gives the much needed caricatured visual in delivering Ennis' script and dialogue to the reader. Although Brian Bolland, George Perez, Neil Adams and Alex Ross can deliver lifelike portrayals, they would have certainly been the wrong choice for the book.

The Pro may be on its way to becoming a historic comic book and landmark work of entertainment that you will enjoy reading often.

Review by Brian Grindrod

Adventures in the Rifle Brigade

The Dirty Dozen are about to get their position usurped as the most efficient fighting division. Adventures In The Rifle Brigade marks the debut of a new British Commando Unit that has all the wits and charm of the Monty Python team. Written by Garth Ennis, who has turned murder and gore on titles such as Punisher and Preacher into a side splitting laugh fest, this book is recommended to all who enjoy their humor a bit wacky.

The six members of this ragtag crew are paratrooped in Berlin during 1944 on an ultra top-secret mission. The things that these fiendish and cunning misfits pull against goose-stepping Nazis would make Mel Brooks and John Hughes so proud. Their hilarious hijinks come to a halt when they are captured by Gestapo torturers who plan to bring them in to be interrogated by big-breasted SS dominatrices.

Garth Ennis does a great job of capturing the absurdities and gags of a Peter Sellers Pink Panther type movie and blending it with the thematic slant of war films like Saving Private Ryan. The off the wall British stereotypes attributed to these characters, who loyally serve England and its King, brought on a few chuckles right from the very first pages. Their idiotic personas have all the elegance of a homicidal John Cleese and a funny Charles Bronson. I had one hell of a giggle when a Panzer commander wanted two frauleins to fiddle with his "main armament".

Carlos Ezquerra's caricature art style is perfect to deliver Ennis' outrageous story. The characters' anatomies and facial expressions are exaggerated and give this book the proper tone. From ski ramp like noses to insane empty smiles, Ezquerra captures all the quirks and silliness of this lovable bunch.

If you get a laugh out of people getting killed by eight foot tall creatures who have acid for blood (and are generally unpleasant) and believe that A Fish Called Wanda is a great comedy film, get this book and be prepared for zaniness at its best.

Review by Brian Grindrod

Thor: Vikings

Ennis keeps it straight and simple. No need to know all the intricate details about Thor's continuity. No need to buy all the Thor back issues by Walt Simonson to make heads or tails of the story. No need to buy a bloody Marvel Encyclopaedia hardcover to get background info on Asgard, Don Blake and the Thunder God's supporting cast. And screw Beta-Ray Bill's horse face already! All you know need to know is that Thor is going to get thy mighty ass kicked by zombie Vikings who live for the sole purpose of raping & pillaging.

The plot has the same effect of cranking up the classic Sex Pistols' album, Never Mind The Bollocks, at a party filled with virgin teenagers who adorn their walls with posters of Celine Dion, Enrique Iglesias & Britney Spears. The dialogue is maniacally hilarious while the characters make Hannibal Lector look like a girl scout. If you are easily offended, faint of heart and believe that the bland, gutless writing style of a Geoff Johns is what will save the industry, then I suggest you crawl back into your parents' basement and await the next issue of Superman. The industry needs more talent like Ennis to shake its creative status quo. Enough of catering to the weak, feeble minded geekazoids already!

Glenn Fabry's painted artwork is always stellar but I have never been awe struck by his pencilling style. The interior pages of Daredevil: The Target & The Authority: Kev lack the intensity of his Preacher and Hellblazer covers. I expected to be disappointed by Fabry's pencilled renderings again but this time around, I am pleasantly surprised by the realistically portrayed details and background work within the interior pages of the comic.

What is also a vast improvement on Fabry's behalf is his storytelling skills. The panel designs make for a clear and concise flow of the script while the cinematic angles are dynamic enough to give Ennis' script the solid visual that it deserves. Paul Monts' coloring cannot be overlooked. His skills and hues brings a rich texture and depth to the final art work.

Thor: Vikings is a breath of fresh air from the diarrhoea type plot lines that have been constantly regurgitated in the character's ongoing series for the past 15 years. Finally, a different approach has been taken to tell a Thor story. One where the name of the game is to actually entertain the audience with a healthy dose of over the top action. After all, Marvel Comics' Thor is a super-hero character ... not a soap opera one!

Review by Brian Grindrod

The Punisher Vol. 1: Welcome Back, Frank

Welcome Back, Frank is an appropriate title for this edition. Garth Ennis restores The Punisher to his former greatness. No more spiritual redemption nonsense. No more hypnotic spells or amnesia to turn him into a madman. This epic depicts the essence of Frank Castle: an urban vigilante who kills evil men and women.

While Ennis does bring his black humour from DC's Hitman to The Punisher, he does not, however, use the heavy satirical kind of in-your-face dialogue found in Preacher. Ennis wastes no time with the reintroduction of The Punisher in this trade paperback. In a sadistic but basic fashion, Frank Castle sends the message throughout the criminal world that he is back and playing for keeps. Enough to even make the Sopranos and the Corleones tremble in their shoes!

To flesh out Frank Castle as a character would be a monumental waste of effort on behalf of the writer. The Punisher is one dimensional and that is all there is to him. Scripting him otherwise would transform him into a poor man's Dirty Harry or Paul Kersey (Death Wish). Instead, Ennis creates a supporting cast around The Punisher that consist of outcasts, losers and loners within his environment. He gets the reader to accept these social rejects' oddities and eccentricities since we have all come across a few of them in varying degrees. From Joan the mousy recluse, Detective Soap to The Elite, they all form part of an extension of Ennis' societal critiques and clever human insight.

However, the book is not about The Punisher integrating within his new neighbourhood or making new friends. This is a story where murder, mayhem and mutilation takes precedence over all. The fight scenes posses all the fast delivery of Quentin Tarantino's Kill Bill while the action contains the high octane intensity of a John Woo blockbuster film. Sporting against the likes of Ma Gnucci's mob as well as a psychotic Russian enforcer, Ennis' penchant for over-the-top violence makes for some memorable comic book moments. Castle makes them pay the price for dealing out human suffering that can only be described as Monty Python meets Snake Pliskin!

Handling the pencils is Ennis' long-time collaborator, Steve Dillon. Just as he does so perfectly well on Preacher, Dillon delivers visual that make dialogue and narration almost unnecessary. His clean, sturdy style and realistic renderings gives Ennis the leverage to use the characters' specific facial expressions to tell their story rather than clog up the panel with useless narration or word balloons a la Busiek to convey their state of mind.

Dillon effectively uses irregular panel designs that vary slightly in size that gives the script's momentum a cinematic flow. Credit also goes to inker Jimmy Palmiotti for making Dillon's art as stunning as it is. Palmiotti adds a depth to the pencils that once again reinforces his reputation as one of the best inkers in the industry.

The Punisher is a book to be enjoyed with a completely clear conscience. Excess violence, ironic humour and a slight dose of social commentary is what you will find with Welcome Back Frank.

Review by Brian Grindrod

Green Arrow: The Longbow Hunters

Longbow Hunters forever changed the US comic book industry with its graphic novel format. With the series' mature, sophisticated and finite story arc, comic books finally gained a level of much needed credibility and acceptance from the public as well as the media. With landmark projects such as The Dark Knight Returns and Watchmen, DC Comics drastically altered the landscape of presenting costumed heroes with their simplistic banal stories but it is Mike Grell's masterpiece that set the professional standards. To this day, no project of this magnitude has been able to reach or surpass its artistic level and excellence in storytelling.

Since his first appearance in 1941, Green Arrow was considered nothing more than a second rate Batman with his trick arrows and an alter ego which quite resembled Gotham City's most famous philanthropist. Dennis O'Neil and Neal Adams classic Green Lantern/Green Arrow stories brought a certain depth to the character with their alterations that heightened his popularity but it is Mike Grell who was able to launch off the Emerald Archer's first ongoing title. Perhaps Mike Grell's name may sound unfamiliar to new and younger comic book readers but his work on DC's Warlord & Jon Sable, Freelance (published by First Comics) had already garnered him a strong fan base way before Longbow Hunters solidified his reputation as a stellar writer and outstanding artist. Grell also pencilled the third Green Lantern/Green Arrow series back in 1976 with writer Dennis O'Neil. For all the faults that fans may bestow upon Bill Jemas and Joe Quesada, the decision to bring Mike Grell aboard the Iron Man series is nothing short of genial. The return of this prolific creator to mainstream comics will benefit the industry but even more so for Marvel and fans of ol' Shell Head.

I always mock those who consider explicit graphic depiction of violence, implicit sexual scenes and profane language as realism in comics. They obviously have no idea that these themes must be handled with a mature approach and sensibility in presenting such matters. Otherwise, we are left with comic books depicting a World War II veteran who wants to kill his nephew for no viable reason and has an insatiable sexual appetite for Asian prostitutes while a detective just cannot get enough of being analy penetrated by Luke Cage.

Grell sets Oliver Queen and his lover, Dinah Lance (Black Canary), as a newly arrived couple in the city of Seattle. This move was to get these two characters out of a mythical Metropolis and steer away from presenting stories where they would come across bizarre villains with ludicrous powers and motivations that can only work in the super-hero genre. Green Arrow was going to be presented as an urban vigilante who fights a level of crime that can be read about in any newspaper on a daily basis. You know the kind that I mean; Drug related, rape, murder and criminal gang warfare.

Oliver Queen is also portrayed in a manner which added to the realistic dimensions of these stories to make the character plausible besides credible. He is faced with his own sense of mortality as he reaches the age of 43 and is now a grandfather. This causes a friction between him and Dinah Lance as he wants children but considering their life of vigilantism, it is unacceptable to raise a family although their love for one another is indisputable.

On the hunt of a serial killer whose target are prostitutes, Green Arrow encounters another archer who is later revealed to be Shado. She plays a major role in the story as she rescues Black Canary and Green Arrow in his attempt to save the woman he loves. In a scene which is still talked about to this day amongst comic book fans, Dinah has been tied up and tortured by a sadist who is part of a major drug distribution ring in the city in a covert operation to bring them down. This time, no amount of trick arrows or sonic screams was going to save the day as they both came within the grasp of death. Nor will a visit to the Justice League Satellite to bicker with Hawkman have any effect to overcome the emotional, mental and psychological trauma which they both must now overcome together.

Grell has been criticized for the "rape" scene but I assure you that it is not trivialized nor used for shock value a la Brian Bendis or Mark Millar. This is a pivotal point in Green Arrow's career which shows the reader that crime fighting is not a game but rather a deadly choice of life. The true villains are the degenerate drug dealers, murderers, rapists and violent criminals who are allowed to roam freely amidst our society. Not some egomaniacal bozo in an armoured outfit that wants to rule the world and constantly says "Bah & Feh" to four costumed idiots who thwart his doom like plans on a weekly basis. Although Oliver Queen finally hunts down those who would take a life so callously, the repercussions were to be felt for the next six years during the ongoing series and brought a new vision to the costumed hero genre. In the climatic scene on Mount Ranier, Shado points out to Oliver that recent events have made him a changed man. Indeed it did.

Not only does Grell bring the hero genre to the next logical level but does so with incredible art work. Grell skilfully portrays the humanity of the characters with such realism that you cannot help but believe that you are reading about living breathing people. His depiction of Seattle is absolutely breathtaking while no effort is spared to bring about all the necessary background detail in every panel for each scene. Grell effectively uses cinematic views to bring exceptional visual to all the pages. You will also notice how Grell did not ink certain panels which causes a film like atmosphere to the book. A true piece of comic book art.

Color artist Julia Lacquement should also be noted for her exceptional skills. Her rendering fools the eye into believing that you are looking at painted art work. In an era where computer coloring was not a tool for production, one cannot help but be amazed at how much effort there is injected to make the pencil work unique.

What makes Longbow Hunters a unique and important piece of comic book history is that these characters posses no super powers although they wear the spandex. No boxing glove arrow and Canary Cry shtick. The plot, dialogue and characterization is so powerfully and naturally realistic that we can associate ourselves with the heroes and cast members.

Pick up the Longbow Hunters collected edition which features the real authentic Green Arrow. You will never look at the super-hero genre the same way again and demand the same level of quality from all of your comic book purchases.

Review by Brian Grindrod

Wolverine: Blood Debt

The Wolverine: Blood Debt edition collects issues #150 to #153 of the ongoing series that was published in 2000. A four part story arc that is written and pencilled by Steve Skroce. Silver screen connoisseurs will undoubtedly recognize the name. Skroce formed part of the storyboard designer staff of 1999's blockbuster hit, The Matrix. Skroce not only delivers awesome cinematic visual but offers a Wolverine story that incorporates the intensity of Hong Kong action films into comic book form.

What pleased me about the characterization in this book is that it went back to the roots of the Claremont/Miller miniseries (1982). None of that one dimensional berserker rage or angst that some of the previous writers constantly focused on. That aspect of the character has been flogged to death and I am glad that Skroce did not head in that direction. If Skroce's intention was to make Wolverine: Blood Debt a dynamic and easy to read book, he has succeeded on all accounts.

On a surface level, the plot appears simplistic but Skroce manages to grip you with in-depth personas. The story entices you through its mood and excellent story telling. Skroce has really done his homework about Wolverine and it reflects in this comic. The old supporting cast and the new characters that are introduced to the story arc are solid. Even the Silver Samurai is revitalized after ex-Wolverine writer Larry Hama had reduced him to a faceless strawman villain during his tenure. Then again, this is only one of the least damaging aspects that this hacker's legacy bestowed upon this series.

The art work and design is some of the most imaginative that I have ever come across in my years of comic book reading. Skroce's visual inventiveness makes Blood Debt a must have in anybody's collection. His panels and layouts are flawless. The pencilling work is crisp and beautifully rendered while the characters are realistically depicted. Their poses and body structure teem with life while the action scenes will take your breathe away. Without a doubt, Skroce is one the Top 5 story tellers currently working in the industry. His cinematic angles are just too innovative and astounding to ignore. Colorist Steve Buccellato not only complements the artwork expertly but enhances the visual experience as well. It would have been criminal negligence to have put the final pencil and inked pages in the hands of somebody else.

Not only do I highly recommend this book to Wolverine fans but to anybody who can appreciate solid sequential art. Wolverine: Blood Debt will definitely please fans of Chris Claremont and Frank Miller's groundbreaking miniseries but it will also entertain the socks off any comic book reader.

Review by Brian Grindrod

Jack Kirby's The Forever People

If you need a crash course as to who Jack Kirby is and his contributions to the comic book medium, it is too long to list. Suffice to say that after revolutionizing this art form with Marvel Comics, Kirby signed on with DC to write, pencil and edit three interlocking titles which became known as "The Fourth World". Tales of God like beings who weilded both the forces of darkness and light in the perpetual battle of Good versus Evil. The characters of Mark Moonrider, Big Bear, Vykin The Black, Serifan and Beautiful Dreamer are cast members based on a youth generation which concerned Kirby in 1970.

The Forever People are a young generation of New Gods who with optimistic naiveté fight Darkseid and thwarts his goal for the Anti-Life Equation. Battling the minions of Apokolips in the form of the deprived DeSaad besides the propaganda mind controller, Glorious Godfrey, the Forever People are able to join in unison with their Mother Box and call upon The Infinity Man from another dimension to help out. A concept which appears to be at the base for Jim Starlin's idea of the Captain Mar-Vell/Rick Jones ability to switch forms from one dimension to another during the 1970s. Not to mention how another Starlin creation, Thanos, closely resembles Darkseid in posture and deeds.

We also get more proof that Kirby's imagination knew no limits. In an attempt to bring some novelty to Deadman whose series bit the dust, DC managed to get the character a guest-star appearance in the series. Perhaps the idea of a spirit inhabiting a robot body was not a saleable one at the time but it did have the merit of being an interesting concept if it would have been fully and properly explored. Unfortunately, any references to this moment in the character's history has been totally ignored since then in DC continuity.

In the introduction piece, Mark Evanier states that Jack Kirby's renditions of Superman in the first issue were redrawn by Al Plastino. This is quite evident and it is a decision that will always be rightfully questioned. Why tamper with an artist's drawing? If DC was so concerned about Superman resembling the established "Swanderson" version, why allow Kirby to use the character in the first place? Then again, this is one of the many injustices that Mr. Kirby endured throughout his career and lifetime.

Kirby was a master story teller but his dialogue and narration left much to be desired. This is quite evident with the mock hippie dialogue and narration throughout the book. However, Kirby was able to convey solid characterization as well as present some of the wildest ideas ever to be published in comic book form. I concur wholeheartedly that even before the "widescreen" presentation became the next wave of artistic rendition, Kirby managed to convey the sensibilities of a blockbuster sci-fi action film with his innovative angles and cinematic vision. Kirby broke the barriers and elevated the standards as to visual interpretations of a comic book story. Perhaps some of you may pass over this landmark edition because it is reprinted in black, white and greytone but you will do so with regret. Kirby's art is still as striking and dynamic as in its original colored version. That is how powerful and bold this creative genius' work still remains to this day.

Like any artistic endeavour created in any given era, Jack Kirby's Forever People is a representation of its time. To compare the dialogue, stories and production to today's standards is to demonstrate one's ignorance about the medium. There is a timeless quality to this intricate saga that deserves to be enjoyed and savoured by all self-proclaimed comic book fans.

Review by Brian Grindrod

Enemy Ace: War in Heaven

The ENEMY ACE: War In Heaven trade paperback will please old time fans of Hans Von Hammer and DC's war titles of yesteryear. Undoubtedly, those who worship Garth Ennis will also find it to their liking.

At 46 years old, Hans Von Hammer a.k.a. The Hammer Of Hell due to his fantastic World War I military record is called upon by the Nazi regime to join the battle against the Russians. Von Hammer does not share Hitler's vision but the chance to fly a fighter aircraft to protect his homeland and fellow countrymen overcomes him. Although he has not flown a military plane since 1918, Von Hammer is still able to outmatch Germany's opponents with his keen mind, skill and impeccable air fighting strategy. With his competence, courage and legendary status, Von Hammer earns the respect of his fellow pilots and blatantly defies not only his superiors but allows himself to openly disrespect Hitler alongside many Nazi officials. After inadvertently finding himself in the Dachau concentration camp, Von Hammer questions his role as a soldier of The Third Reich. When Nazi Germany finally succumbs, Von Hammer gracefully surrenders to Sergeant Rock(!) in an honourable fashion but not before he manages to destroy the air fighter planes in the field so that the Allies cannot use it against his homeland.

Ennis does the insurmountable by making the reader sympathetic towards Von Hammer and his friend, Peter. They both know that they are fighting for one of history's most diabolic community but like the reliable soldiers that they are, they follow orders. In a peculiar fashion, I even found myself "rooting" for these characters even if they fought for one of mankind's prominent evil empire. Ennis levels out the script by injecting a touch of humour in the way Von Hammer constantly defies an ass kissing Nazi officer. It does somehow stretch the suspension of disbelief too far at times considering the nature of the story. I doubt that any soldier or citizen, no matter how important they were to the Nazi cause, would have been able to get away with insulting high ranking officials and members of the party in such an audacious style for the better part of three years.

Chris Weston alongside Christian Alamy's art work in the first half of the book captures all the intensity and action of a war being fought in the skies. The details, background and realism of every panel is a pure cinematic delight. One really gets a glimpse of the horror and adrenaline of warfare in the facial expressions of the air fighters in their cockpits.

Although I am extremely disappointed that Weston & Alamy were not aboard for the second half of the book, it was agreeable to see veteran penciller Russ Heath's work on a war tale again. Alongside Joe Kubert, Heath pencilled an immeasurable amount of DC's combat books such as Our Army At War. Nevertheless, I did find the change of artists irritating considering that it was originally a two part mini-series. The styles of each artist on their specific chapter does not particularly harmonize well to make this undertaking a cohesive one visual wise. In other words, imagine an X-Men monthly issue where Jae Lee pencils the first half of the script and Steve Dillon does the other. Great artists in their own right but this would certainly break the flow of the story that is intentionally one chapter.

Despite my reservation about this questionable artist switch, Heath, Weston and Alamy effectively render Ennis' saga about Hans Von Hammer a mesmerizing one. I hope that the high quality story telling in ENEMY ACE: War In Heaven reawakens a passion for war tales and creates a demand. A genre that has practically vanished since Marvel Comics' cancelled The Nam in 1993.

Review by Brian Grindrod

Marvel Knights Spider-Man, Vol. 1

I was hesitant to buy this oversized hardcover since I really can't stand Terry Dodson's art that always lacks background work and is nothing but a poor carbon copy of Adam Hughes' stylings. But Mark Millar made it tempting. I'm glad that I listened to the little devil that popped up on my shoulder and said 'Go ahead, buy it. Who are you hurting?'.....

It seems that for the past 15 years, Spider-Man stories have been intertwined, complicated, possessing a forced sense of sensation and just plain morbid. I'm not suggesting that Marvel Comics turn back the hands of time to the simplistic storytelling of yesteryear but whatever happened to giving the audience one hell of an action-packed, blockbuster type story to remind us that it's about the powers, the costumes, the secret identities... and the villains.

Millar does not reinvent the wheel but he throws everything including the kitchen sink at the reader. He just uses what has made Spider-Man the icon that he is today without resorting to cheap theatrical story telling to cover up a lack of skill & talent like most writers do.***

*** glares at the over-rated Judd Winick who's likely contemplating to bring back Pedro from the dead with a sequel to Pedro & Me

Sure it's not the first time that Aunt May has been kidnapped (and her dilemma reeks of Kraven's Last Hunt) or that Mary Jane's life is in danger because of her association with Spider-Man. However, Millar conveys the dramatic for the reader with Peter going head-to-head with his greatest enemy, The Green Goblin, who seems to be at the core of Spider-Man's wretchedness since his high school years. There is also a great battle royale between Spidey and a few of his most distinguished foes but most notably with an Eddie Brock-less Venom. I really enjoyed the return of the symbiote being the focus instead of a lacklustre character that shares its unique properties.

On the visual side, it's exactly what I abhor in a comic book. Terry Dodson can give the illusion of beautiful women with bowling ball breasts but it simply covers up the shallow artwork that is low on detail and high on facial expressions with lots of sexual poses. To add insult to injury, this one-dimensional styling is not even well rendered by being inconsistent from panel to panel. IF this is what the editor and Mark Millar were aiming for, they should asked Frank Cho to illustrate the whole story arc instead of being a fill-in penciller for a couple of issues. At least he gets it right.

While this hardcover edition is not on par with some of the greatest Spider-Man sagas, it does bring the character back to the action-swinging, hard luck hero that we have come to know and love.

...Now if only Marvel can get rid of Mary-Jane...

Review by Brian Grindrod