This review originally appeared on Goodreads on October 11, 2021.

Peepland

By Christa Faust (Writer), Gary Phillips (Writer, Artist), Andrea Camerini (Artist) – Titan Comics – August 1, 2017

Review by Robin Marx

Set in the seedy pre-gentrification Times Square of 1986, Peepland tells the story of peep show booth girls, pornographers, punks, and other outcasts who become unwitting witnesses to a murder committed by a rich kid with a connected father.

I’ve read a half dozen entries in the Hard Case Crime line of graphic novels and this is the best one so far. The art is consistently high quality throughout, and Christa Faust’s neo-noir prose is always a treat. In an afterword, Faust mentions that the feel and some of the characters are based on her own experiences working peep show booths in 80s Time Square, and the story does benefit from authenticity and the humanity with which the misfit characters are treated.

★★★★☆

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This review originally appeared on Goodreads on November 21, 2012.

The Boys, Volume 1: The Name of the Game

By Garth Ennis (Writer), Darick Robertson (Artist) – Dynamite Entertainment – April 21, 2008

Review by Robin Marx

This comic exists in a similar sort of realm as Alan Moore's Watchmen. Superheroes exist, and they are flawed human beings. Sometimes extremely so. When young Scotsman Hughie's girlfriend is carelessly and callously killed by a Flash-like superhero, he gradually becomes involved with a CIA-sponsored anti-superhero group known only as “The Boys.” Who watches the Watchmen? The Boys.

This being a Garth Ennis comic, there's quite a bit of gore and depravity. DC also dropped this series fairly on in its run for its relentlessly negative take on superheroes, but you'd think they'd know what they were getting into. Some bits are over the top, but I have no problem rolling with it. I see the Ennis name on the cover and adjust my expectations accordingly, but there are always some people who get upset by gratuitous sex and violence, so if that's not your thing, this comic book will also not be your thing.

The artwork is excellent. The only distracting thing is that Hughie's appearance is based on actor Simon Pegg. This decision was made before he became the international star he is today, and is acknowledged in the book's introduction, but it's still a little strange.

This first volume is a little slow moving, as Ennis takes his time introducing the characters and their motivations. The series is headed in a very interesting direction, however, and I'm eager to see what happens next.

★★★☆☆

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This review originally appeared on Goodreads on October 31, 2012.

Witchblade Origins, Volume 1

By Various – Image – Top Cow – April 22, 2009

Review by Robin Marx

Collecting the first eight issues of the Witchblade comic in a convenient format, this graphic novel is likely to please existing fans. However, as a newcomer to Witchblade I found the artwork dated and uneven, characterization slight, and the plot clunky.

Witchblade, or at least the beginning collected here, seems very much like a product of its time. In the early '90s, Image Comics and its Top Cow imprint were finding their footing, darker heroes like Spawn were big, and artists like Rob Liefeld (hugely influential then, now a target of derision) received mainstream media attention. Witchblade became a significant part of the creator-owned boom and enjoyed a great deal of popularity. However, Witchblade shares a lot of the unfortunate quirks of comics from this era.

The artwork is a mixed bag. The late Michael Turner apparently started as a background artist, and the scenery on display here is well done. His character artwork is less consistent, however. His women tend to be somewhat aesthetically pleasing, until you notice the weirdly mannerist elongation of their legs and waists. His male characters are what I'd call “'90s badass”: with rippling muscles, bulky shoulders, surfer haircuts, and a tendency to stand with their faces partially concealed by dramatic shadows. When you can see them, the guys' faces are invariably covered in tons of inexplicable fine lines (not hatching, just lines), an artistic quirk that seems to have been borrowed from Liefeld.

The story is fairly clumsy, and manages to be both minimal and confusing at the same time. “Tough cop” (they call her a tough cop, but she didn't seem to be especially tough, nor much of a cop) Sara Pezzini acquires the mystical Witchblade gauntlet, attracting the interest of buff tycoon Ken Irons, who wants to further some vague scheme. Irons' '90s badass henchman Ian Nottingham (who dresses like Lestat and carries a katana) has a few run-ins with Pezzini, and there are hints that he may not be entirely loyal to his boss. There's a final showdown, and the eighth issue concludes. In addition to this, there are subplots about Pezzini's neighbor—a orphan fashion model who becomes involved with “edgy” bondage aficionados—and a Scientology-like organization that Irons is associated with. Neither of these subplots pay off in the issues collected here. There's also a lot of muddled exposition about the Witchblade's origins and capabilities.

The characters are pretty flat, and none of the emotional moments are very convincing. This is true of many comics, but the better series are able to make up for that deficiency with their action scenes. Unfortunately, many of the fight scenes in Witchblade are difficult to follow. There were multiple occasions where it was impossible to determine whether the titular weapon's tendrils were lashing out and spearing someone, or snapping back from them. As the title suggests, the Witchblade plays a fairly important role in the story, so this is a bit of a drawback.

Many comics get off to a rough start, and it's entirely possible that the art became more polished over time, the storytelling refined, and the characters endowed with more depth. Based on what I've seen here, however, I'm not particularly compelled to seek out subsequent volumes. If you already enjoy Witchblade, this is a satisfying collection. If you're not familiar with the comic, however, the '90s quirks and lack of substance may lead to disappointment.

★★☆☆☆

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This review originally appeared on Goodreads on July 11, 2011.

Solomon Kane Volume 2: Death's Black Riders

By Various – Dark Horse Books – October 19, 2010

Review by Robin Marx

Much like the first, this second volume in Dark Horse's original comic adaptation of Robert E. Howard's Solomon Kane stories was a mixed bag.

The Mario Guevara artwork is strong, and the Mike Mignola cover is eye-catching, but the story side is a little weak. Most of the volume is a much-expanded adaptation of a brief REH story fragment. A comic rendition of “Rattle of Bones” (one of my favorite Solomon Kane stories) is incorporated into the middle of the Death's Black Riders tale, but it felt rushed, making an already concise yarn into a “blink and you'll miss it” affair.

This volume closes with a short called “All the Damned Souls at Sea,” but the ugly caricature-style Guy Davis artwork ruins what could be an otherwise interesting story.

The characterization of Solomon Kane wasn't bad, and his visual portrayal is quite similar to what I envision when reading the original stories, but I would've liked to have seen more of the seething hatred driving Kane in his battle against evil. There are hints of it, which suggests that the writers do understand the character, but I want more.

While I may seem rather critical, this seems like a series still finding its footing, and the comic's crew do more things right than wrong. I look forward to future volumes.

★★★☆☆

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This review originally appeared on Goodreads on November 9, 2014.

Marvel 1602

By Neil Gaiman (Writer), Andy Kubert (Artist), Richard Isanove (Artist) – Marvel Universe – February 9, 2010

Review by Robin Marx

Written by Neil Gaiman, this interesting miniseries introduces a world where familiar Marvel characters (Doctor Strange, Nick Fury, several X-Men) are reimagined and placed in a historical setting.

The plot itself was mostly standard fare—time-travel has led to a disruption that threatens to destroy the universe—but it was very interesting to see the Elizabethan depictions of the characters. Part of this was the fun of catching the various references to modern day characters—some more subtle than others—but much of the appeal was seeing how the various characters were interpreted. Nicholas Fury as Queen Elizabeth's spymaster and the monastic X-men worked particularly well, but the Peter Parker and Bruce Banner equivalents (at least in this series; it looks like they're brought back in the spin-offs) seemed like they were mostly around for the “hey, it's that guy!” factor.

All-in-all, this was a fresh take on the Marvel Universe, and I look forward to reading the 1602 spin-offs.

★★★☆☆

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This review originally appeared on Goodreads on November 15, 2012.

The Punisher, Vol. 2: Kitchen Irish

By Garth Ennis (Writer), Leandro Fernandez (Artist) – Marvel Enterprises – December 31, 2005

Review by Robin Marx

Garth Ennis's dark and gritty run on The Punisher continues with a story involving warring Irish gangs in the Hell's Kitchen neighborhood of Manhattan (hence the “Kitchen Irish” label). The Punisher becomes involved when a bomb intended to wipe out an enemy gang detonates prematurely, killing or injuring a dozen citizens. Looking to avenge those casualties, he comes into contact with an old ally from MI-6 and a British soldier, both searching for Irish terrorists involved in the bombing.

While the plot itself works, it wasn't quite as strong as that of the previous volume. There were many more characters than the previous storyline, too, meaning that some of them weren't as fleshed out as they could have been. My biggest complaint about the story is the distinct lack of Frank Castle. He gets minimal time in the spotlight, and it's the antagonists that do the most work advancing the storyline.

Leandro Fernandez's artwork gets the job done, but I missed Lewis LaRosa's moody, shadow-drenched work from the last storyline.

Minor gripes aside, I'm enjoying the Punisher MAX series and plan to track down further volumes.

★★★☆☆

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This review originally appeared on Goodreads on November 14, 2012.

The Punisher, Vol. 1: In the Beginning

By Garth Ennis (Writer), Lewis LaRosa (Artist) – Marvel Enterprises – January 1, 2006

Review by Robin Marx

I've been a Punisher fan since I was a kid, but I wasn't reading much in the way of mainstream comics when the MAX series was being published. I'm glad I got around to checking MAX out, however, as it (or at least this volume) is the purest Punisher I've ever read.

Although he was introduced in an issue of the Amazing Spider-Man, the Punisher has always occupied a sort of uneasy place in mainstream comics. After losing his family to the Mafia, Vietnam vet Frank Castle takes up his guns and decides to wage a one-man war on crime. It's a similar premise to DC's Batman, but there's always been more of an edge to the Punisher. Unlike most incarnations of the Bat, he has no particular compunction about killing, and he usually works closer to the street, squatting in warehouses and funding his war with money scavenged from dead drug dealers rather than living the billionaire playboy lifestyle. The Punisher was a Marvel comic, however, so Castle was invariably drawn into tedious, goofy conflicts with super heroes and villains, and censorship (both imposed and self-) kept the series from becoming too dark and violent.

Here, under Marvel's adult-oriented MAX imprint, Garth Ennis succeeds in portraying the Punisher in a way only coyly hinted at in previous comics. Frank Castle is a singularity of hate, a broken machine driven to kill mobsters and thugs. He has no friends, no social life, no secret identity, no James Bond gadgets. There are no costumed heroes and villains. He's trapped in an ugly, brutal never-ending war, with his own violent death as the only possible conclusion.

This volume centers upon a reunion with Microchip, a computer hacker and Castle's one-time ally. In earlier comics, Microchip used to act sort of like James Bond's Q, providing a variety of plausibility-stretching tools for the Punisher. In this story, however, Micro is clearly alienated from his former friend, pushed away by Castle's relentlessness and borderline psychosis. In his interactions with Castle he repeatedly attempts to analyze the reasons for why Castle acts as he does, attempting to push him into a more socially-acceptable path, hunting terrorists for the CIA rather than snuffing Mafia enforcers and pimps. This sounds exciting. It sounds healthier. But Ennis takes the story in the direction truest to the character. Castle vehemently rejects the attempt to put him on a leash, and denies Micro's pat psychoanalysis; Frank Castle is a machine powered by smoldering rage, he's not yearning to break free from a dysfunctional feedback loop.

Some reviewers dislike the explicit language and the graphic violence in the MAX series, but I felt it was appropriate. It's true that these elements were minimized in previous Punisher series. However, that always rang false with me, just as his encounters with other residents of the Marvel Universe seemed unconvincing. It's a comic about an ugly, hate-filled character in an ugly, hate-filled world. Why try to sanitize it?

This was an excellent start to the series. I look forward to subsequent volumes.

★★★★☆

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This review originally appeared on Goodreads on June 24, 2012.

Warlord of Mars: Dejah Thoris Volume 1 – The Colossus of Mars

By Arvid Nelson (Writer), Carlos Rafael (Artist) – Dynamite Entertainment – November 1, 2011

Review by Robin Marx

Set four hundred years before the events of Edgar Rice Burrough's A Princess of Mars, this comic focuses on the adventures of Dejah Thoris, princess of Helium. This five issue miniseries is about a renegade jeddak (Martian chief) and his attempt to destroy rival city-states through the use of an ancient golem-like war machine.

While it'd be disingenuous to deny that cheesecake artwork—Dynamite's specialty—is a major selling point (as in ERB's original stories, Martians wear very little clothing, and they don't call her “the incomparable” Dejah Thoris for nothing), I was pleasantly surprised by the quality of the storytelling.

If anything, Dejah Thoris is a stronger character here in the comics than in the original Barsoom tales. While in the novels she tends to function as a kidnapping victim or quest object, here she takes a much more pro-active approach. She's generally in a leadership role, comfortable in battle, and proves herself to be exceedingly competent and resourceful. She's got more depth than the cover would suggest.

This story was much more engaging than Dynamite's other Warlord of Mars spin-off, Fall of Barsoom. I look forward to future volumes.

★★★★☆

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This review originally appeared on Goodreads on August 6, 2012.

Blue Estate Volume 1

By Viktor Kalvachev (Writer/Artist), Various – Image Comics – September 27, 2011

Review by Robin Marx

I picked this comic up after seeing a glowing review on BoingBoing, but unfortunately the content doesn't live up to the fantastic issue covers. The interior artwork is a massive disappointment. Characters are all rendered in a sketchy style that makes it hard at times to keep track of just who is who. Characterization is likewise rendered in broad strokes, with much dependence on cliche (there's a Russian gold-digger, Italian thug, Eastern European dealer that can't resist his own product, etc.). I've been searching for a hardboiled crime comic that can live up to the standard set by Andrew Vachss's novels and TV shows like The Wire and The Shield, but it looks like my search continues. I'm not going to bother picking up future volumes.

★★☆☆☆

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This review originally appeared on Goodreads on July 28, 2020.

Aliens Omnibus, Vol. 1

By Mark Verheiden (Writer), Mark A. Nelson (Artist), Den Beauvais (Artist), Sam Keith (Artist) – Dark Horse – July 3, 2007

Review by Robin Marx

This volume collects the first three story arcs in Dark Horse Comics' classic Aliens series. The first two parts, Outbreak and Nightmare Asylum, are absolute classics that made a greater, more positive contribution to the Aliens canon than several of the films. The third part, Earth War (here titled Female War), is a much weaker story, however.

Set after the second movie, Outbreak follows the further exploits of Corporal Dwayne Hicks and Newt. Hicks' trauma and unanswered questions about his previous mission has led him to have a rocky career in the Colonial Marines, prone to drunken brawls. With Ripley nowhere to be seen, young Newt ends up involuntarily committed to an insane asylum, spending much of her time in a drugged daze. When Hicks finds himself drawn into a mission involving a trip to the alien home world, he breaks Newt out of confinement and smuggles her aboard his ship, hoping that the both of them can find closure despite the deadly circumstances. As always, however, the company has a different agenda.

I first read Outbreak circa 1991, collected into graphic novel format and purchased at a mall Waldenbooks. I was a devout Marvel kid, and had never read anything much darker than some Punisher and the original Eastman & Laird Teenage Mutant Ninja Turtles comics. These early Aliens comics came as sort of a shock to my preteen system. The black and white art was moody and grim, and although I was a fan of the movies I wasn't accustomed to seeing this much detailed gore in my comic books. I was a little unsettled by the Aliens comics, but I also found them incredibly compelling. I would spend hours practicing my own xenomorph illustrations based on the artwork from the comics.

Thirty years later, Outbreak still holds up. Hicks and Newt were renamed Wilks and Billie in reprints when both characters were perfunctorily killed off in the opening credits of Alien 3 in 1992, but the story works best as a sort of alternate timeline and I therefore mentally filled in the original character names whenever the retconned ones came up in the text. The artwork in the omnibus has been colorized, which diminishes some of the stark impact of the original black and white, but it's still a fantastic-looking series.

For me, if Outbreak was the appetizer, Nightmare Asylum was the main course. With Earth overrun by aliens, Hicks and Newt find themselves unwilling guests on an orbiting space station run by a ruthless Colonial Marine officer obsessed with the idea of weaponizing his growing stock of xenomorphs and using them to reconquer Earth. The premise of the story—the attempt to tame and weaponize the aliens—is a natural fit for the Aliens universe, and echoes of it later turned up in Alien: Resurrection. Unlike Outbreak, the Nightmare Asylum artwork was color from the very beginning, and incredibly vivid color at that. For a franchise that tends towards dark tones, the effect was striking. Nightmare Asylum remains a great-looking miniseries.

The omnibus includes with Earth War, here retitled Female War. Ripley, heroine of the movies, returns, but her introduction feels strange with the renaming of Hicks and Newt. Why are they so happy to see her? Why does she care for them? Just ignore it and blame Alien 3 for the awkwardness. This time, the story involves yet another return to the alien home world, this time to pick up a “Queen Mother” xenomorph that manages to look far less imposing than the cinematic alien queen. The xenomorphs are psychically connected and it's hoped that by dropping her on Earth they can get all the aliens to flock to her and then conveniently nuke them all in one massive strike.

While the first two story arcs were important parts of my youthful comic collection, I always left the Earth War graphic novel on the Waldenbooks shelf unpurchased. The artwork always struck me as so ugly, and such a major step down from Nightmare Asylum. I bought this omnibus because I finally wanted to read Earth War as an adult, with a more sophisticated palate. Unfortunately, younger me was right not to spend his precious allowance money on this particular installment in the series. The artwork still felt ugly and poor to me, and despite sharing the same writer as the previous series both the plot and characterization seemed to take a step down. The newly introduced Colonial Marines are characterization-free, the premise is kind of goofy, and the whole operation is taken care of with surprising ease. Compared to the first two volumes, Earth War felt muddled and rushed.

Despite ending on a tremendously weak note, this omnibus contains some excellent comics that add a great deal of flavor and excitement to the Aliens universe. Wholeheartedly recommended to fans of the movies.

★★★★☆

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