In Praise of the Grobusverse - The Cure for the Common Lore-brain.

 

Contains minor spoilers

If there's one thing that the internet has cursed us with it's what I like to refer to as 'Wiki-brain,' though to be more accurate 'Lore-brain,' is probably the more descriptive term. It's the tendency for fan communities to reduce the fictional stories they love down to statistics and backstory. The desire to quantity and record for posterity every piece of information a text provides, no matter how trivial it is.

I think it was Hbomberguy who said something along the lines of "Wookiepedia can tell you Chewbacca's exact height and weight but it can't tell you a thing about the themes of the story he comes from." As such I kind of feel there's been a bit of a backlash of late against excessive world-building and creators constantly trying to over-explain every minor aspect of their fictional universes.

There's probably a whole other essay I could write about how thematic constancy is more important than narrative consistency, but I don't think we need to throw the baby out with the bathwater. There's room enough for stories that play fast and loose with their own continuity in order for the story to come first, but I think that there's just a compelling argument to make that the cure for 'Lore-brain," can also be in telling stories where a drip feed of backstory can be so much more compelling than world guides and appendices, or, god forbid, fan wikis and TV Tropes.

This long winded into bring me to Simon Roy's Grobusverse, for want of a better name. A collection of comics set in a fictional, fractured future. I've discussed entries within this universe before, but this essay is going to be less a review of the stories specifically and more about how Roy chooses to communicate this universe to his audience.

Starting with Habitat in 2017, I was immediately drawn towards the visual aesthetic that Roy conjured to depict this techno-barbaric future. Set on board a space habitat in the style of Arthur C Clarke's Rama, the comic tells the story of warring tribes battling for supremacy using mostly long forgotten technology after having been left behind by whatever galactic community exists beyond the habitat's sealed airlocks. The technology itself looks crunchy and believable. The olive green and industrial orange of it's mech-suits, cargo walkers and harpoon guns all look like they have come from some alternate cold-war Europe, bastard children of Aliens' power loader and Red Alert 2's Soviet Super tech, rather than some far future space utopia.

It's all the more surprising then to find that the habitat also once played host to some kind of dormant god-like creature who seems biological in nature but is otherwise intricately connected to the populace's lost technology.

Habitat is for the most part a completely self contained story. By the end characters have completed both their narrative arcs and completed their stated objectives to bring new life to the habitat's savage world. Yet as a reader so many breadcrumbs are left hanging in the air. Just what is the state of the galaxy beyond the habitat? What cataclysm led to their abandonment? What is the true nature of the colossal creature dormant within the superstructure's depths? Why exactly are the combat robots also representatives of the Catholic church?

Habitat is filled with so many tantalising backstory details that go unexplained, but get into the reader's head in such a way that they can't help but speculate. Had the series have seen a continuation these backstory elements may well have been filled out in a understandable, orderly fashion, but Simon Roy's retro-techno-future world would sit dormant for a few years before seeing it's revival in webcomic form. Though the direction it decided to go in was to zig almost certainly where one would expect it to zag.

Griz Grobus, far from taking place on a high-tech space habitat, would instead pull us down to Altamera, a colony world that appears to be just as cut off from the greater universe as their space dwelling cousins were. Instead of a jungle climate filled with warring tribes, we find snowy mountaintops and forest glades, and a frontier-like community of loggers, miners and trappers. The technology is still present, but like in Habitat, poorly understood, with archaeologists and academics doing their best to try and piece together what little even operates.

Griz Grobus delves more into the mysterious robotic priesthood, who still seem to keep the faith with Lord Jesus Christ despite having little concern for their religion's near extinction amongst the populace. Fittingly, this story is told side by side with a folkloric fable of rampaging warlords and magical geese. A reminder that even on the other side of the galaxy strong stories can hold great power.

Like Habitat, Griz Grobus only drip-feeds it's backstory, hinting at possible explanations for the state of the universe here and there. Interestingly, the Kickstarter edition came with a small guidebook to the "Thinking Machines of the Apostolic Congress." Presented as an in-universe artefact, this guide book details the different forms of robo-priest and their intended purposes, but notably gives NO information as to why these machines appear to be specifically Christian in origin.

I hope it's clear by now what it is in Roy's approach I find so appealing here. No doubt he could easily fill the book's back matter with timelines and backstory and faction guides and whatnot, but a huge part of the enjoyment comes from the journey, not the destination. Like the characters within the stories themselves, we often lack context surrounding their discoveries, and like the archaeologists and artefact hunters, we have to analyse and interpret from incomplete data.

As the Grobusverse would continue, so too would we continue to interpret. A short comic, The Envoy and the Warrior, sheds more light on the colossal superbeings we witnessed at the end of Habitat, and only hints at what great cataclysm may have brought down humanity's spacefaring civilisation. Miramar would take us to yet another isolated planet, this time an ocean world to show how the human remnants would adapt differently with their limited technological knowledge when subjected to new environments.

Refugium would return us to Alamira, but this time looking at ecology rather than technology. Refugium would, ironically, contain probably the most significant amount of lore so far but it would be almost entirely be regarding the original flora and fauna of the planet long before it was overwritten by human terraforming. Once again, we are left to infer backstory from information that is most relevant to the characters within the moment.

Critically, this attitude constantly reminds the readers that the people of these worlds come first, not the setting they inhabit. Their human experiences, hopes, fears, losses and gains, are what have and will drive the arc of history we only at times get small glimpses of. I have no doubt Roy could probably explain in fine details the mechanics of how the mech-suits work, but it's just so much more compelling to discover that from a struggling mechanic desperately trying to keep the thing working.

More than anything I think Roy's world reminds us that despite periods that we refer to as "dark ages" human beings are not inherently stupid. People didn't magically forget how everything worked after the Roman Empire fell. Instead language and literature was stratified. Knowledge could not easily be replicated and passed along. Some sciences were maintained unchanged, while others passed into folklore and superstition, while others still were lost.

That so much of what is going on in the Grobusverse is obscured, hinted at, there to be scrutinised by inquisitive readers, is a great example of how we can address that pesky 'lore-brain' without reducing world-building to a big list of stuff that happened. It's a very specific way of trusting the audience and respecting the integrity of the work. It creates not just a fun story but a mystery to be solved with you as the investigator.

Roy has been very clear that there is much more to come, with a guide to "Man-Amplifiers of the Euhumanist League," no doubt giving us only just enough information to lead to more speculation. It's been a wild ride so far, and I'm hoping it's just getting started. I have no idea what little titbit will trickle out of the plot next, but I can't wait to dust the edges and study it's form in the hopes I can glean it's context.

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Jack Harvey (2024)

Obscure Comic of the Month - 20th Century Men

Obscure Comic of the Month is a column where I take a look at a comic or series that hasn't really been talked about. This covers independent comics, zines, weird spin-offs, webcomics and more.

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20th Century Men by Deniz Camp and Stipan Morian - Image Comics 2023

Contains Mild Spoilers

I wasn't expecting to write about 20th Century Men for this column. I had already seen quite a bit of buzz about it within the general comics community and expected that it would explode into the mainstream as soon as the series had hit critical mass. Instead, however, it doesn't appear to have reached the wider audience I was expecting it to. So, here I am, doing my part to try and evangelise a comic that far more people really should have heard about.

20th Century Men is, in short, a riff on Alan Moore's Watchmen. The story takes place in an alternate cold war where super-science and adventuring heroes turned the tide of history and their legacy causes a chain of events that dooms us all. The twist this time is that it's the Soviet Union who got the immortal supergod this time around and it is through communist eyes we experience most of the story.

If that makes it sound like 20th Century Men is a simple 'what if' then stay with me a little longer, because while Camp displays the Watchmen influence pretty proudly it is very much not trying to do a simple palate swap. The Dr Manhattan analogue only plays a minor role in the plot, more homage than anything, while the main crux of the story is centred around Platonov, a sort of analogue Iron Man if Tony Stark was a communist and also a Warhammer 40'000 Space Marine Terminator. While Watchmen was a murder mystery, with most action taking place in flashback, 20th Century Men is set during the Soviet expansion into Afghanistan, and the blood soaked conflict is very much front and centre.

The chosen perspective is definitely an interesting one, giving the Soviets a somewhat sympathetic point of view during a conflict that pop culture has frequently painted them the villains of. Depicted far more villainously in this story is US foreign policy, embodied by President Goode, part Captain America, part Lex Luthor, part Gary Busey, an institution and character more interested in proving their superiority as opposed to a utopian ideal.

Still, while not apparent at first, it quickly is made clear that it is Afghanistan itself that is the true protagonist of the story. The so-called 'Graveyard of Empires,' home to people deserving of life just as much as their American and Soviet counterparts, yet treated as little more than pawns by those who see themselves as the 'true' civilisation. It is at this point the meaning of the title becomes clear, and that it is the 'civilised' world's failure to treat Afghanistan as anything other than a tile on a game board to be fought over that has condemned us to the doom in which we now find ourselves.

The comic is blisteringly harsh in that regard. A real road to hell paved with good and not so good intentions. The line "A million of us dead and millions more to come because you couldn't imagine a civilisation without flush toilets," is particularly scathing and will probably stay with me for the rest of my life. Camp aims high with what he wants to do with this comic, and frankly, he hits every target he shoots for. 20th Century Men is a comic that left me with literal chills and made me ask things about myself that I'd rather not ask.

Which brings me on to Stipan Morian's art. It feels like the ultimate combination of 1990's Vertigo at it's best with the contemporary grit of current generation 2000ad all wrapped up slickly to the kind of standard Image comics is known for these days. Simultaneously retro and modern, Morian has to tackle a lot over the course of this comic, from blood soaked battlefields to utopian communist farmland to sleazy boardrooms and the dusty streets of Afghan villages that feel more real than real. Morian slips between the majesty of a techno-future past that never was and the grime between our fingernails of a tragic present that probably is.

That 20th Century Men hasn't become one of our seminal texts already is unconscionable but also probably unsurprising. As a Watchmen riff it already finds itself in the company of a billion other superhero comic deconstructions that we have seen in the years since. As a condemnation of the western world it covers subjects that one can easily find all too popular YouTube know-nothings arguing about for hours on end. In a lot of ways 20th Century Men has become lost in the shuffle, struggling to find a niche in areas already stuffed to the gills with diluted and far inferior products.

So here I go, ranting about it in the humble way as best I can and trying to sell it to my motley collection of followers. 20th Century Men is a monumental piece of work. You can feel the sheer force of will from Camp, Morian and letterist Aditya Bidikar bringing it to life. It should be a shoe in for every 1001 Comics to Read Before you die list and frankly if I don't see it enter on the 2024 edition I'll 'insert humorous self-deprecating action here.'

There's probably a billion other things I could string out to try and convince you to read it, but I dunno, I guess I'm just hoping my words can burst out of the page even a fraction as strongly as they do in 20th Century Men. Even holding the book in my hands feels like I'm carrying the weight of the world within it. It's a tome that almost refuses to be ignored as our civilisation spirals once more towards it's darkest impulses.

It's a good comic you should read it.

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Jack Harvey 2024. 20th Century Men (c) 2023 Deniz Campbell, Stjepan Mihaljevic, and Aditya Bidikar. Images used under Fair Use.

Obscure Comic of the Month - Prism Stalker

Obscure Comic of the Month is a column where I take a look at a comic or series that hasn't really been talked about. This covers independent comics, zines, weird spin-offs, webcomics and more.

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Prism Stalker: Volume One by Sloane Leong - Image Comics 2018

Contains Mild Spoilers

Most of the comics I tend to review here are independently published or from minor, lesser known names. Every now and again, however, I end up reviewing a comic from a major publisher. The kind of comic that, despite having the weight of a heavy publishing house behind it, never becomes known by the mainstream.

Prism Stalker is one such comic. The collected edition broke onto the scene in 2018, yet despite it's magnetically designed cover, embossed silver foil and all, and accolades from many big comic websites and writers, the series remained in obscurity. Indeed, when I picked it up off the shelf, I had never heard of it, assuming it to be an up-and coming-series that was brand new, not half a decade old.

The story itself follows the character of Vep, a human from a tribal planet that falls prey to ecological disaster. Rescued from catastrophe by a confederation of alien races, Vep is expected in return to serve her new masters as an indentured worker. A chance manifestation of psychokinetic power sees her admitted into a military academy, and trained to fight against a vague but ominous enemy.

If, from that brief description, you have an idea in your head of what Prism Stalker is going to be like then let me just stop you there and tell you that you are wrong. Leong is not interested in presenting us with a familiar sci-fi society like that of Star Trek or Mass Effect. The worlds and characters we are introduced to here are truly, in the exact definition of the word, alien.

Even before her journey begins, Vep is part of a universe fundamentally unrecognisable to our own. The various alien races she meets each have their own unique biological functions, ideas of morality and states of being. So too is the society she finds herself thrust in to. This is not a familiar place. There are no beds, there are no bathrooms, there are no bars or space TVs. Leong presents us with a place that has no feet in the world we know, and so like us, so to Vep, a strange and confusing one to navigate.

This is what makes Prism Stalker so wonderful and unexpected. On every page, around every corner, there is some new and out-there idea. Some weird kind of alien, some baffling but fascinating type of culture. Despite the difficulty of writing a coherent story with such a high concept, Leong seamlessly moves things along at a swift pace, while at the same time explaining even the most bizarre of ideas in a way the reader can understand.

If that wasn't enough, Leong also pulls artwork duties, rending each and every part of this strange alien world with psychedelic visuals. As with the writing, there is no interest here in depicting an easily recognisable world, yet each place and location still follows a logic that makes sense. We may not know exactly how everything works, but we trust it all has a purpose.

There is more to Prism Stalker than just the weird and wonderful. Leong was motivated partly by her own background to tell a story about indigenous culture and encroaching imperialism. Vep herself represents a person between two worlds. She is not accepted by the fellows of her own species because she never lived in that culture long enough to complete her coming of age, yet at the same time the alien species she has spent so much of her adult life alongside remain, well, alien.

The story itself brings up questions of freedom and servitude. Vep would indeed be dead if it were not for the intervention of the alien collective, yet upon being subsumed by it she is expected to give them absolute deference. Indeed, while Vep's induction into the academy grants her a greater degree of autonomy, she is also expected to commit to a greater degree of sacrifice, all in the name of a civilisation she has no love for to fight an enemy she has no real knowledge of.

Prism Stalker uses the sci-fi genre to put you in the mindset of a free man seeing the world enveloped by an empire. In Vep there is the Gaul being claimed by the Romans, the Native American being moved onto the reservation, the Aboriginal Australian being treated as a nuisance, and so many more. The aliens themselves are not evil in any real sense, indeed many of them are treated just as badly as Vep by their superiors, all victims of imperialism's blind march of progress.

Prism Stalker draws so many concepts from classic sci-fi, and remixes them into something more current, something more vital. It's a comic that makes us question how moral our own societies really are, and how many are being ground up under it's boot-heel and expected to be thankful.

Despite all this, Prism Stalker has yet to break into the mainstream. Yet, it is not too late, as a collected edition of it's second story arc is due to be released this very year. I hope this review at the very least encourages people to check it out, and I'd love to see the second volume become a bigger hit, and finally bring the series to the forefront.

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Jack Harvey 2023. Prism Stalker is (c) Sloane Leong. Images used under fair use.

Obscure Comic of the Month - Red Warrior: Assassin for the Thieves World

Obscure Comic of the Month is a monthly feature which takes a detailed look at a little known entry from my personal comic book collection. Some will be from major publishers, others self published projects, Original Graphic Novels, issues and Manga. What they'll all have in common though, is that I've rarely, if ever, seen anybody talk about them.

                                                           

Red Warrior: Assassin for the Thieves World by Jeff Amano and Andy MacDonald – Image Comics 2006

Contains Major Spoilers

Agent Tolik Kalinchenko convinces Elena – a Russian Mafiya leader's daughter – to seduce an old flame that may be connected to a secret combat system called “Bespredel” (Russian for “without limits”). Elena risks her life for her country, Mother Russia, the world, but most of all, for Tolik. In a race against the clock, Tolik must destroy Bespredel's Red Warriors in time to save Elena, who has been discovered as an informant. But when war has no limits, where can love hide?

Red Warrior was another book that I picked up on the cheap from Worlds Apart Liverpool when I was at University. It was in the bargain bin for about two pounds, and it's cover not only had a skull but also a HAMMER AND AK SYMBOL! How could I possibly turn that down?

Unfortunately, Red Warrior never lives up to it's cover. The story is a mash up of serious espionage and more fantastical super hero elements, about a covert team of Russians working in the US. As a premise, that's real fertile ground to build something unique and stand out from the crowd. Unfortunately, Red Warrior foregoes any opportunity to build upon those unique areas and instead chooses to give us something far more generic.

The story, for what it's worth, is not particularly complex. Tolik, a Russian spy with superpowers, is tasked with seducing a mobster's daughter for his agency's war against the Russian Mafiya. Elena, falling hard for Tolik, has to do the same to another mobster, in order to get the names of those involved in the secret Red Warrior program.

Tolik oversteps his authority and gets reassigned to Texas, where he comes across the creator of the Red Warrior program. In a “shocking twist,” Tolik is revealed to have been a Red Warrior all along. He kills his creator, heads back to New York, only to find that his boss has been wounded and Elena killed. With her dying breath she gives him the names, and the story ends with him setting off on a path of revenge.

As stories go, a simple narrative is no bad thing, it gives plenty of room for scene setting and world building. If Red Warrior has one sin though, it's that it decides to tell the audience absolutely nothing. The whole nature of Tolik's organisation is barely discussed, the superpowers are poorly defined and the actual stakes in their war against the Mafiya are unclear.

 

Is Tolik's organisation affiliated in any way with US services? Are superpowers common knowledge? Are the Mafiya a foreign crime family or have they integrated into American society? We never find out. All the way through, Red Warrior takes no time to fill in any of the gaps. There isn't even an American character in this American set story. They're all either Mafiya this, or Spetsnaz that, and we never get any real sense anything that sets them apart.

This lack of clarity kills the story dead. The reader has no concept of the stakes whatsoever. Without establishing the specifics of what the powers of a Red Warrior are, it ultimately renders the twist meaningless. We spend so little time getting to know Elena that we have no emotional investment in the race against time. We're never given a reason to root for Tolik, nor boo the Mafiya, nothing is established, no themes are reinforced.

But what's more frustrating is how Red Warrior squanders such a promising premise. The story could have given us a taste of what the life of a Russian immigrant in the US must actually be like. Or it could have explored what place the new Russia has on the world stage. Hell, it could have at least been an interesting take on a spy drama with the introduction of superpowers, but their relevance to the plot is completely superfluous and is barely featured in the actual story.

Instead, Red Warrior is more interested in telling us it's generic spy tale full of generic stock characters and tropes. It's so generic that you could erase all mention of the characters being Russian and it wouldn't change the plot one iota.

I haven't talked about Andy MacDonald's art yet and that's because there's not really that much to say. It's serviceable, but he's not really given much to do and his art doesn't really elevate the source material much. His scrappy, gritty art style works well enough for the spy stuff but doesn't do much for the action scenes.

So Red Warrior is a generic spy story that doesn't live up to it's promise, but that's not quite the end of it. See, once our story is concluded, we're treated to an article by Kat Amano about Mixed Martial Arts, followed by a bunch of adverts for Judo training and the like. Not what I expected to find in the back of an Image graphic novel about Russian spies.

See I think... and I've looked, but found nothing online to verify this... but I think Red Warrior is supposed to be some kind of MMA spin-off. There's a big deal made in the text about Tolik knowing all these different kinds of martial arts, and the fight scenes, sparse though they are, look as though they might be influenced by actual techniques.

 It's like Charles Atlas never left us.

If this is true, then it's all the more damning for Red Warrior. When it comes to spin-off's you can get away with a throwaway plot if you're just there for some themed action, but if Red Warrior is indeed some kind of MMA comic, then it's a bad one at that. The fights are few and far between and lack any focus on the moves. It's not an action comic, it's an espionage comic. An odd fit if it's supposed to have an MMA connection.

Ultimately, if you're a fan of spy comics, I can't really recommend Red Warrior, go and read Greg Rucka's Queen and Country instead. If you like MMA, well I can't really recommend it either. Red Warrior isn't bad, but it so generic you'd be hard pressed to remember the comic mere hours after reading it.

                                              

Jack Harvey 2015. Red Warrior (c) 2006 Image Comics and Beckett Entertainment Partners LLC, Jeff Amano and Andy MacDonald. Images used under Fair Use.

Of New York Comic Con 2014

 

 

This year marked the third time I have visited the great New York comic convention. As always it was well organised, easy to get around, and had a great roster of events (coincidently I spoke to several people who have done San Diego in the past, and stated they much prefer the New York con).

I had a great time, met some people I admire and grabbed a lot of swag (my wallet hurts). However, this time I have decided to write a summary of some of the news and announcements that broke at the con. It bulks out my blog and is good practice if I want to write more about this kind of stuff in the future.

So, in the name of amateur journalism, here is the scoop.

• 2000ad Panel and Booth: Not much big news broke this year but it has been made clear that there is a lot of IDW stuff scheduled for future release. I also had a few words with the 2000ad staffers about the possibility of releasing the complete Friday era Rogue Trooper strips, since the first book, The War Machine, has just come out. They say there's no plans at the moment, but it's a possibility, and then I begged them. I have no shame. Also, I won a Judge Dredd badge from a Dredd off at the panel. I am the law.
• Image Booth: For some reason the next volume of Mind the Gap isn't out until next year. Couldn't find out why though. Also, despite Nowhere Men volume 1 being a volume 1, there are no future releases of that title planned. Odd. At least we have Rat Queens next month though.
  
  
  
  
  
  
  
• Ron Pearlman: Big Ron was there plugging his autobiography, Easy Street, which is a very personal work, and it was clear he put a lot of his heart into it. He talked at length about emotional struggles in his youth, working with Del Toro, The Name of the Rose, and Fallout. Looks like an interesting read, Ron asked that you pick it up retail full price so he gets more moolah out of it.
• Dark Horse Comics: Dark Horse are planning an Aliens – Prometheus – Predator – AVP cross through series and by golly does it look fucking amazing. The creative team is pretty tight and want to emphasise a greater focus on horror than action. It certainly harkens back to Dark Horse's golden age of Alien comics. A particular highlight is the Predator series, following an Ahab like Predator in search of his white whale.
  
  
  
  
  
  
  
• Star Wars Rebels - Episode 1 Screening: I've never really had a liking for the Star Wars animated series. Generally speaking the art style just rubs me up the wrong way and Rebels is no difference. That being said, it's a real thrill to see classic Stormtroopers and Tie Fighters in action again, and the villain, The Inquisitor, is spectacular. I'm not really warming to the main character though. The whole 'brash Jedi apprentice who needs to get over himself' is a story we've seen done to death over the years, and the rest of the main cast are far more interesting. We'll see how if pans out.
• Constantine Pilot Screening: I was prepared to be disappointed but I can tell you now that I can't wait for this series in full. Matt Ryan absolutely nails is as John, and he really feels like the character has been lifted out of the comics. The show manages to incorporate the punky chaotic vibes of Hellblazer and it certainly gets off to a good start. It's far from perfect of course, and I was a tad annoyed that they've decided to make Chaz American in this adaptation, but overall the jobs a good un'. In the after show panel Goyer revealed that they'd be adapting several of the classic story arcs (Dangerous Habits, yessssss) as well as incorporating some of the supernatural stuff from the DCU proper, which should make for an interesting hybrid. I find Goyer can come across as a bit of a prick sometimes, but he certainly seems to understand what he needs to do here, so colour me optimistic.
  
  
  
  
  
  
  
• Killing Floor 2 First Look – I never really played much of the original Killing Floor, it was an enjoyable but frustratingly amateurish romp through a bunch of maps. KF2 polishes the game up in places, and the Unreal engine has never looked so good. The new close combat system is really charming, little things like drawing your sword counting as an attack against enemies really help it stand out from the crowd. Beyond that, the team are adding more maps and more perks, so it looks as though there's not going to be too much change to the formula. Expect a business as usual wave shooter with some new toys to play through it with. Sometimes, that's all you need to do.

And that's about that. I may revisit some more areas in detail further down the line (particularly Constantine), but for now that's all the scoop I gathered in between buying t-shirts and prints. So, see you next year I guess?

Quick Fire Recap: August 08 - April 09

Ok, So its been a while, I ain't done anything since summer, so to make up for it, here's quick fire reviews of all the comics I've read since Summer, which I was supposed to give you a rundown of back then, also stick around at the end for some special stuff.
Heart of Empire:

Sequel to The Adventures of Luther Arkwright, its a far more mainstream affair this time round, but the artwork is fantastic as usual, especially in vivid colour this time. Read it on an airplane making me feel slightly awkward when reading to sex scenes when there's a kid in the aisle next to you.

Marvel Zombies vs Army of Darkness:

Pretty good all round crossover, funny and frightening, Ash is far more likable than half the Marvel characters in the story, serves as a nice apocalyptic prequel to the first Marvel Zombies.

The Kurosagi Corpse Delivery Service Vol 1 – 7:

Probably the best manga I've ever read, still ongoing. All the characters a likable, stand out and drive the plot, each of which is usually a clever unconventional murder mystery. The Jokes are actually funny, the art is great and not irritating or unsuited. Only one criticism and thats that the character development is rather slow, everything else is fantastic.

Batman: The Killing Joke:

Good but Short stuff from Alan Moore, nice little extra mini story by Brian Bolland in the back, worth every penny.

Marvel Zombies 2:

Far more sympathetic and whimsical than the first, still a great and interesting take on Marvel heroes, a worthy sequel.

The League of Extraordinary Gentlemen: Black Dossier:

More of a “Fun Fax” than anything. Alan Moore has a great time messing around with literary characters, making it a little self indulgent. Storyline gets a bit derailed but its worth it for the 3D section at the end. Read it on an airplane making me feel slightly awkward when reading to sex scenes when there's a kid in the aisle next to you.

X-Men: Die by the Sword:

Quick story tying up all the loose ends from New Excalibur and Exiles, feels premature, characters aren't given enough room to breath, feels like your cheated out of a proper ending. Would have been greatly improved by just having the characters sitting in a pub talking about stuff. Not a great ending to Cap and Co's recent outings.

Alice in Sunderland:

Absolutely fantastic twist on the genre by Bryan Talbot. The graphic novel goes through Lewis Carol, British History and Comics in general. To say any more would be to do the work an injustice. Just get a copy and read it right away.

Hellblazer: The Laughing Magician:

Usual high standard of storytelling of Hellblazer, nice hark back to days like The Books of Magic and setting up of things to come.

Hellboy Vol 1 – 6:

Finally got round to picking up the much revered comic. Interesting, Unconventional and not what I thought it would be. Very, very clever and appeals to the part of me that likes learning things. Mignola always gives you as little more than what you usually do too.

XIII vol 1:

Finally tracked down the European comic after so long. Great old skool storytelling, a damn shame there's no plans to translate any further installments, I want to know what happens dammit!!

The Boys: Good For the Soul:

More great stuff from Ennis' Superhero satire. Keeps the high standard of dirty laughs from the previous volumes wile moving the story along nicely. More please.

Jenny Everywhere:

Open source comic book character, really fascinating idea, and real dedication from the community keeps her rolling along. Naturally some strips are lacking more than others, but its standout strips like “When Casting Calls” that really give the character a story worth telling. Contributed a story myself to the cannon, details below.

Nextwave:

Crazy awesome stuff from Warren Ellis, similar in vein to Transmetropolitan. A brilliant take on Marvels less known characters, I hope in the future there will be more to come.

Invincible: Ultimate Collection vol 1:

Fantastic postmodern take on the superhero genre. The twist on the superman origin is particularly brutal and it certainly leaves you wanting more. Nice cameos from a few characters, Ultimate Collection has a good load of extras in it too.

The Invisibles:

Grant Morrison's bizarre follow up to his surrealist take on Doom Patrol doesn't disappoint, and it certainly takes you to places no other comic series does. Brilliant characters, imaginative storytelling, mindfuck ending.

Warhammer 40'000: Fire and Honor:

Finally Boom Studios come out with an Imperial Guard story, and apart from being a little on the short side, It doesn't disappoint. The characters all act like its another day on the job, and theres some nice visual references to the 40k universe. The Tau are portrayed as being a tad unsympathetic however.

Captain Britain and MI:13: Secret Invasion:

Paul Cornell makes up for all of Clairmont's letdowns from Die By the Sword. MI:13 is a great follow up to Cornell's earlier Wisdom series and really stands out from the crowd and takes advantage of the British setting. Nice ensemble cast, has the potential to be really special in the future.

Hellsing vol 1:

Still on the fence with this English set manga, while its not stereotypically British like I expected, its certainly missing that British humor of things like Dog Soldiers and The Boys to make it stand out as convincing. Willing to give it time to breath however, Vol 1 was a little too action orientated, we'll see how it pans out in future volumes.

Sinister Dexter: Eurocrash:

Great collection of SinDex stories, Eurocrash is a fantastic crime tragedy story, a rare feat given that it originally ran in five page chapters. Mission to Mangapore lacks some of the drama but is certainly a fun ride.

Other Stuff.

Saw the Watchmen film, really enjoyed it yet can understand how its not for everyone. Half looking forward to the Wolverine film but not sure on the direction they're taking Deadpool. Been doing a lot of artwork myself, which can be found here: http://elpresedente.deviantart.com/ and contributed a Jenny Everywhere story which can be found at the bottom of the stories section here: http://theshifterarchive.com/ . Series I plan to read in the future are: Fables, Sandman, Strangers in Paradise, Strangehaven, Cable and Deadpool and Metabarons if I could find it anywhere, also exited about the new Phonogram series, which I am eagerly awaiting a collected edition of.

And I'm out, hopefully the gap between the next entry will not be as long. Cheerio!