By Brian Michael Bendis and Olivier Coipel

Marvel Comics, August/2005

The House of M series picks up six months after Scarlet Witch lost control of her powers while working as part of the Avengers. During this surge of uncontrollable power three members of the Avengers team were killed and the others were lucky to make it out with their lives. The basis of the start of this series is about Charles Xavier using as much power as he is able to in an attempt to help Wanda (Scarlet Witch) control her powers. Magnus has brought them to the ruins of Genosha to protect others from these outbreaks. However, even with all his power, Xavier is starting to lose control and a decision must be made before she can become a danger to the world again. So Xavier calls a meeting between the X-Men and the Avengers to decide the fate of Wanda.

I was definitely grateful to have gotten the Director’s Cut of this issue. Oddly enough it didn’t even cost me more. The back is full of all kinds of sketches and side notes on what went into the making of this comic. I guess this being a Bendis comic, I kind of anticipated the somewhat blocky build of the characters. Seems to be a trend among all of the comics I’ve read of his, but it isn’t over done. Even the cover, in its unfinished state, has me loving everything about this series so far. The storyline itself holds up to the reputation Bendis has made for himself. Very well thought out and written, the artwork is quite detailed, and the coloring is fluid and vibrant with no overabundance of darkness.

Usually it is hard for me to jump into a miniseries when I have not read the former comics that lead into it. This one is very easy to jump into though. They fill you in enough within the first few pages that you do not feel like you are missing any of the pieces. So far I can’t say much for the series, but I have enjoyed it so far and am looking forward to reading the rest of it and wouldn’t nay-say it at all so far.

The Walking Dead

Issues 7-56

Image Comics 2005 - 2008

Creator, Writer and Letterer -  Robert Kirkman

Penciler and Inker -  Charlie Adlard

Gray Tones -  Cliff Rathburn

I did mention that my first review of this series was continuing? And it's not quite done yet.  But thanks to a wonderful man down at Mind Over Matter Tattoos in Peterborough, Ontario, this review is that much closer to a wonderous conclusion.  Or something of that nature...

It's Zombies, they might jump out of the pages and eat my brains before I'm done.

Robert Kirkman never fails in his ability to bring the evolution of the Zombie full circle.  In "The Walking Dead" we are faced with the odd manifestations of our fears about our mortality, life after death and even security.   As I pointed out in the original review of issues 1-6, this is more a tale of survival than a Zombie epic.  We have no superheroes, we have no caped avengers or villians.  Not even irradiated chickens.  There is only us and them.  

And I'm not talking about the Pink Floyd album, obviously. 

In many ways, reading through this series is like going over every aspect of a well thought out Zombie Apocolypse Survival Guide.  What will work, what to look for, what you must remember.  What George Romero and Max Brooks forgot to teach us, Robert Kirkman is there to fill in the blanks.  That great housing development for the wealthy elite who want that country feel but don't feel like leaving the gated community behind? Not the best place to seek refuge. 

That self-sustained farm with a state of the art security system? Excellent plan.

But it was my plan before Robert Kirkman wrote about it. 

Part of the beauty that can be found in any good Zombie tale is the socio-political commentary.  How society would change, how even our religious beliefs would change in the light of this.  And we are not left wanting.  Robert Kirkman has no issues in tackling the subject.  What if there was no more government, no more television? What if we had to learn how to live off the land and survive by our wits rather than our money.  How far would we go? How long could we and would we survive?

With a self-questioning dialogue that at times truly makes you question your own survival traits we delve further into this world.  Where, there is no world.  There is no heaven, no hell, no after life.  There's only undeath. 

But what is the idea of the walking dead, really? If the Zombies are the creatures that have awoken after being dead, then what does that make us? Will the bite turn us if we're turning into Zombies once we die, regardless of how? These are all questions that have previously gone unanswered.  Left hanging like so many other things in the Zombie genre.  And I'm talking about entrails. 

For instance, what happens to these character we're introduced to? How do they deal on base levels with the ongoing stress? How do the survivors handle being exactly that? It wouldn't be like surviving a nuclear apocolypse as we see in the stark renderings of so many of the panels.  The hordes of Zombies pushing forward against chain link. 

A mindless horde that runs in a primal tenacity. 

I keep wanting to see a little chat bubble float up that reads nothing but, "Braaaaaiiins."

Robert Kirkman leads us to ugly places, much like Joss Whedon, we grow to love these characters and we don't wish harm on them.  But just when you think that things may look up he's going to do the most horrible things he can think of.   And it works, it grabs you and holds your attention.  It also leves you to wonder, who is the enemy in this seires.  Is it really the zombies? Or are we, like we are at all other times, our worst enemy?

The brutality of the story comes through rather vividly in the artkwork and panelling.  The penciled lines drawn together with the black and white imagery truly adds to the grit and desperation of the story. 

And no, I'm not getting into the story.  It's a Zombie comic, comon. 

This is a must read series for any Zombie fan.  Hell, any comic book fan.  Between the story, the art and the sheer invocation of fear, Robert Kirkman has solidified his place in the Zombie Storytellers hall of fame.  Hang a picture.  This work is incredible. 

Now, go read.  I'm not going to hold your hand and review every last issues of the series!

Vertigo 1999-2007

Writer - Mike Carey

Artists - Scott Hampton, Chris Western, James Hodgkins, Warren Price, Dean Ormston, Peter Gross, Ryan Kelly, Craig Hamilton, David Hahn, P. Craig Russell, Ted Naifeh, Marc Hempel, Ronald Wimberly, Colleen Doran, Michael Wm. Kaluta, John J. Muth, Zandur Cannon, Aaron Alexovich

Colorists -  Daniel Vozzo

Letterers -  Comicraft

Consultant -  Neil Gaiman

In many ways I think that reviewing the Lucifer series on a whole is much of a swansong.  This may be entirely debatable, but after spending a month travelling to Toronto in order to get my hands on the books themselves; it feels this way.  An epic regardless of the series status as a spin off from the Sandman series.  Speaking of the Sandman series, I will be reviewing the series as a whole next, so stay tuned! Now that the shameless self plug is done with, let us carry on with the subject at hand.  The stroyline highlighting the indelible character of Lucifer Morningstar. 

I have to say this much, looking at the stack of all eleven graphic novels is almost daunting.  It was hard to begin the journey.  Though, I am leaving out the other reaons that comlicated the journey, but the just remains that it was a task.  Truly.  A task.  A smart person may have tackled them one by one.  But as my love for Sandman is true and deep, I was unable to hold back.  The pages of the first ten installments were thin and almost like newspaper in true comic form.  Housed between thick covers that creaked like the doors in the antique house I rent a room in.  I could still smell the ink coming off the pages.   They seem to somehow emphasize the gritty and ethereal nature of the story itself just upon a first impression. 

And that first impression clings onto you like wind chill on an already blustery day, it gnaws at your bones and requires you to pay heed because it's not about to change it's tone.  In the series, Sandman, Gaiman gave us a world revolving around dreams and mythology.  In Lucifer, writer Mike Carey gives us a very different yet, not so unfamiliar aspect; religion.  He embraces us in the tales of hell and offers us Lucifer Morningstar.  Satan.  Guadian and Prince of Hell. 

If Joseph Campbell could've told the story of hell while having a torrid affair with Camille Paglia, this is the story that would be born. 

Before I get too far into the aspects of the story and my thoughts on that, I want to delve futher into the superficial.  The art and the look.  What blew me away the most about this series and disaapointed me that most was the art work.   While the core team of illustrators was a brilliant team, Lucifer, like many other series brought in guest artists who really seemed for the most part, to have no feel for the series as a whole.  I was assualted by issues that made me want to cry tears of blood or pray maybe that I was a blade of emo grass.  On the other hand, there were issues done by guest artists that made love to my eyes and soothed my mind.  One particular issue stands out, the very last chapter of the eleventh book.  It is a beautiful array of water colors that seem a very fitting ending for the series.  It is ethereal art at it's best. 

Now, don't let that paragraph turn you away from the series.  Overall, the illustrations and the paneling was flawless.  The characters were all very expressive and ever-changing as our storyline evolved.  And in true Sandman form, the text for each character changed slightly.  From the cryptic to the comforting.  You knew the tone of voice and could imagine very clearly just how a particular character would sound.  I love this practice and wish I could see it in more of the modern comics, but like so many things, I believe it is a Gaiman-esque tribute. 

Now, I can tell you that you will not find me swearing my ovaries to Mike Carey by the end of this review.  While I was entirely impressed with Lucifer and throughly enjoyed my epic journey through it's pages.  I found myself having an issue loving the comic.  I was unable to.  I don't know if it was the religious aspects of the story, (I do believe God is in the Tele) or the interludes with wonderful characters such as Guadium who interrupt at the worst damned times. 

Middle of an epic battle?

There's that little Cherub. 

Mind you, I love.. LOVE Gaudium.  He is a rare comic relief character in stories such as this and does so in a very dionysian way.  Regardless of the fact of the Shinto paralells drawn between Pan and Lucifer.  But, I didn't feel like having Guadium drop in for a visit and a cup of coffee as I'm about to watch my favorite character in the series, the beautiful and sexy Mazikeen kick some angelic ass. 

This leads me to a new aspect.  The characters of Lucifer.  I love them.  This I will scream from the rooftops and dance like a voodoo goddess.  I love the main characters of this series.  Elaine, Mazikeen, Lucifer, Gaudium, Michael, Jill, Lilith.  They are excellent characters who truly grow and evolve with the progression of the series.  Lys, Christopher Rudd...

It's a dream ensemble!

And that even goes without mentioning the array of Endless cameos in all the right places.  From the serenity of Death to calm an entire issue, or the confused answers Destiny has to offer...

Even Delirium, who is a very angry little thing and for good reason. 

We remain attached and drawn back to the world that Neil Gaiman had blessed us with in the 1990's. 

Mike Carey is an excellent groundskeeper to this world.  His storytelling abilities truly graces the pages and keeps us drawn in.  I honestly wish I had been able to love Lucifer.   But it's not a comic that will leave me anytime soon, that love may just be a seed planted with the first reading that needs to be nutured with a second and third journey into hell and the Silver City. 

I will gladly venture there again. 

And I highly recommend that you do the same. 

Lucifer Morningstar.  How you evolved into something incredible.  Good job. 

Vertigo 2001

Writer and Illustrator -  Jill Thompson

A small review for a little book.  Part of the continuing world of the Sandman series that was originally created by Neil Gaiman, The Little Endless Storybook takes us on a whimsical journey.  From the mind of Jill Thompson, who has taken the series into new horizons, we get a story for children of all ages.  Even the grown up ones as 'adult' is a bad word in my realm of existance. 

Through a water color world we follow Delirium's companion, the dog Barnabas, as he travels to each of her siblings in order to find his missing Delirium.  It is a great journey of whimsy that is a fun interlude to any day.  Five minutes with this book and even on the worst days, it will coax a smile. 

For any Sandman fan, child of a Sandman fan, or just someone seeking an eccentric romp through the realm of strange... pick this title up.  It is absolutely brilliantly fun.

The Walking Dead

Volume 1

Days Gone Bye

Image 2008

Created, Written, and Lettered by Robert Kirkman

Penciled, Inked and Grey Tones added by  Tony Moore

Additional Grey Tones Provided by  Cliff Rathburn

Image Comics 2008

Two blocks away from me is a little comic and cards shop that seems to retail mostly to the tabletop role-playing community.  They have a handful of comics, not a great selection but when stumbling upon something for the first time that happens to be in my own general neighborhood I tend not to be choosy.  After spending at least an hour debating the benefits of buying a new comic versus adding to my non-digital "Transmetropolitan" collection, I decided to go with a fairly low priced Zombie tale from Image comics.  What I got was well worth my money. 

I know, I know I said I wouldn't review a single issue.  And I really don't mean to this time.  I was just blown away.  Not in the same way of say Warren Ellis or Neil Gaiman, but blown away all the same.  With that being said, I issue a warning...

This is a review in progress.

And don't remind me, I know that my review of "No Heroes" is also a work in progress.  Don't worry, I won't forget.

The pages are what originally drew me to this unknown.  Heavy pages that feel as if they have been laminated in a form of new science fiction plastic that maybe the CIA has been developing.  Gritty black and white artwork that seems to epitomize everything that I have imagined in the ways of storytelling post-Zombie Apocalypse.

Tangent:  Now, as people who read such things as Max Brooks, we know the importance of vision in such a time.  I have my Zombie Survival Plan, do you?

And in speaking of Max Brooks, my tangent has become a full circle.  The art stylization reminds me of things such as "World War Z" and George Romero’s "Diary of the Dead." The viral video feel and sound that is captured best, in an artist sense, in the gray toned black and white imagery that illustrator Tony Moore offers us.  The imagery offers us a startling picture of the reality that could be without the dodgy question that plagues us in the Zombie film genre of, "Who are these people?!"

Unless of course you're watching a Troma movie and from that there is no salvation.  Though I will see you in hell. 

The graphic novel series begins with an introduction from the author, Robert Kirkman.  Formerly of a more comedic styling, he wishes us to give us an excellent tale that will "be the zombie movie that never ends." Or so he has promised.  I'm left to wonder if a threat like that is looming over my head like a sadistic Rainbow Brite then I might as well see if he can deliver.

The first few pages are slow to start but the beauty behind the non-traditional artwork used drags me under.  "The Walking Dead" seems to be doing its part in expanding the lines of traditional beauty in Comic art.  The glossy pages serve to bring out the subtle lines of definition. And while the introduction dialogue may be lacking, the expressions on the characters faces almost changes the game.  This first issue is nothing but a tale of explanation and discovery. 

**Possible Spoilers**

It's in this first installment that we meet the main character, Rick Grimes.  He's a small town cop who wakes up from a coma after being shot to find that the Zombie Apocalypse has come.  Needless to say, the world, as he knew it has changed forever.  Robert Kirkman smoothly transitions us into this post-apocalyptic scenario. 

Zombies have come to eat our brains.  They are the majority.  Human kind has been forced into small refuge camps to survive.  Naturally and without explanation he takes us to this base instinct we all have as human beings and he epitomizes the core essence.  There is no holding back in this issue; Kirkman familiarizes us quickly with both the world and the characters.  Giving us a reason to keep on reading quite quickly. 

About midway through the graphic novel, there is a series of panels that truly highlight this.  It's a crow picking off the flesh of a zombies face as it lays dead on a car hood with Rick Grimes walking past and trying not to take a look.  It serves as a hard reminder to cut against the campfire fire tales and staunch snippets of reality that our cast uses to delude them of the life that they face. 

This comic is filled with hard choices and impressive content that really brings a fresh look to this new generation of Zombie storytelling.  I say bravo thus far! I'm looking forward to reading more.