REVIEW - Ministry Of Space

Review by Brian Grindrod

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; Colonizing other planets in our solar system.

The story may appear to be a wish fulfillment 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 categorized 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 emphasizes 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, traveling 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 revolutionize 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 - Adventures in the Rifle Brigade

Review by Brian Grindrod

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.

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 - Thor: Vikings

Review by Brian Grindrod

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, 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.

Glenn Fabry's painted artwork is always stellar but his realistically portrayed details and background work within the interior pages of the comic makes this quite a Thor epic. 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 - The Punisher : Welcome Back, Frank

Review by Brian Grindrod

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 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 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 - Green Arrow: The Longbow Hunters

Review by Brian Grindrod

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.

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.

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 who plays a major role in the story. This time, no amount of trick arrows or sonic screams was going to save the day.

This is a pivotal point in the Green Arrow mythos 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 a climatic scene, 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 an authentic Green Arrow. You will never look at the super-hero genre the same way again.

REVIEW - Wolverine: Blood Debt

Review by Brian Grindrod

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.

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 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. 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 - 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 wielded 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 sellable 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 endeavor created in any given era, Jack Kirby's Forever People is a representation of its era but 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

REVIEW - 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. 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.

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.

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 is quite a visual treat 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 Jim 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