The Hit List Agenda continues in September with the third issue of each of Aspen’s new series coming out. The also launch another new series entitled Broken Pieces and launch title Soul Fire returns with it’s fourth issue of the new volume. You can check out the review for the zero issues of both The Hit List Agenda and Soul Fire on the site.
In comics, death is just an annoyance for the majority of heroes. Almost every major player has died and returned, sometimes more than once. Upon their return, the mantle is picked back up and the hero continues on as though nothing happened. I have problems with this.
Pretty. That sums this issue up well: pretty. Witchblade
and other numerous Top Cow titles are noted for their beauty, but when
you are not having your breath stolen by some of the amazing artwork in
this issue, you will notice not only some awkward art but also an
average story. Gretchen
Fullmer, reporter for the “Starlight Alternative” newspaper, interviews
two homeless men with two spectacular stories to tell her about a
beautiful woman fighting a monster in the sewers. After the interviews
and giving away a few free hotdogs, Gretch meets Sara at a coffee shop
to question her and gets the real story.
Malignant Man has a great plot filled with interesting (though
far from unique) ideas that really stand out when compared to other comics, with
likeable characters, solid
writing, and with only a few characters that need some work. This issue is great, but not outstanding,
mostly thanks to the artwork. After finding out he has cancer, Alan Gates finds out
something even more shocking – not only is he not dying but he has a Malignant
in his brain capable of causing absolute havoc. With the help of his friend Sarah, who has a Malignant of her
own, Alan sneaks into Area 51 while the military is under heavy fire by Mr.
Cancer’s men.
Think
digital! Comics are facing interesting times. For years the tone of
comics was in a transitional period in terms of maturity. The prices
began to go up and collecting comics became a bit of an expensive hobby.
With $3.99 for each issue, this meant that for some people some titles
needed to be sacrificed. Also, slowly the comic shops began to shrink in
numbers, some fans began to buy their stuff over the Internet or they
started taking a long commute to a comic store far, far away. Due to the
increasing technological advantages, comics got digital but at first it
wasn’t that attractive to fans. Maybe because you didn’t get a sense of
ownership or a way to read comics in a traditional way. Then the
tablets invaded the market and a new way to read comics was born.
After months of previews and ill omens, Spider-Man has opened on Broadway, and it’s not that bad! For everything that this show does horribly wrong, it also does something great. Spider-Man: Turn Off The Dark has been reworked over the last few months, and while they didn’t change the silly title, they have revised much of the script, the directing, the music and lyrics. What’s good about the show comes late in game, and it’s sad that people who flake out during intermission will miss all of the fun. After a boring first act, and some embarrassingly bad supervillains at the top of the second, Spider-Man eventually swings his way to an amazing finale.
Sometimes the finest works in art and literature are those of parody. Such is the case with Skultar, a new comic from M. J. Butler and Eisner Award–winning artist Mark Wheatley (Black Hood, Lone Justice, Mars).
In an age before recorded history, in a brutal world ruled by myth, magic, and monsters, a hero rises to fight for the oppressed. His name is Skultar. Unfortunately, he dies shortly after our story begins . . .
In his place, another rises up to be mistaken for Skultar, to claim the riches and reputation his legend brings. Similar to Skultar in strength, but nothing else, he nevertheless must stumble his way through his adventures, aided by Skultar’s right-hand man. If Skultar’s enemies ever find out that he’s an impostor, nothing would stop them from imposing their dark rule over all the land.
