I have to say that of the tie-ins to the Witchblade universe, the title I was least excited about was The Darkness. I’m not really a fan of following around the bad guy, and it seems like Jackie Estacado’s whole job, being the Darkness incarnate and the head of a mob family, is all about being the bad guy. So I acknowledge that I wasn’t enthusiastic about picking up The Darkness/Pitt #3 when it was sent by the publisher as a pdf download.

I’m happy to say, however, that the series really deserves a chance, in large part due to the balancing act between The Darkness and Pitt, two series that have come together for this continuing crossover.

At first glance this seems like it could be tagged as “The Punisher Meets Blade,” and that’s not necessarily a bad thing because there are solid differences that give this comic its own signature stamp, so endless comparisons are not needed. In the first panels we’re introduced to William Garrick, a man that’s part of a special task force hunting “the things that aren’t human.” But he’s also on a personal mission of revenge. The opening gives enough background to get things started before the story moves into a tense and revealing action sequence.

The protagonist here has a slick “don’t mess with me” attitude and there’s a nice mixture of darkness and humor. Some of the dialogue in a few spots is a bit cliché but, because of the fast pace of the story and the composition within the panels, it doesn’t detract from enjoyment of the narrative.

Back with another overdue review of Witchblade (provided for review by the publisher in pdf format). Usually I don’t comment on the alternate covers (many of them have way too much cleavage for me to appreciate), but I have to say that Chris Bachalo’s Cover B is brilliant for this issue — it’s an almost Disnified version of Sara wearing very little Witchblade armor, but she’s just so cute that her scantily clad bod seems secondary to the hair and earrings being featured. None of the covers are particularly relevant to the content inside in this issue, so the cute factor goes a long way.

Sejic and Marz continue their excellent work in issue #131, which is really a wrap-up to the “War of the Witchblades” story line. Poor Julie’s been left out in the cold, not knowing about Sara’s secret, paranormal life.

It makes a lot of sense for a small press like Top Cow, which has a lot of great titles on the market, to put everything together into an art book and showcase some of their best pieces. In The Art of Top Cow preview that I received from the publisher, I got to see thirty images of the more than 300 pages that will appear in the final book. Two of them, unfortunately, were nearly naked images of Sara Pezzini of Witchblade that look more like pinups than gallery images; another is a Top Cow poster that features three of the Top Cow women in all their busty glory. Hopefully those three images are not representative of a large portion of the included art (though certainly part of Top Cow’s target audience will surely appreciate them — just not my part of the market share!). In the preview, some of the pieces are really quite excellent, and I’ll highlight some of them quickly here.

As you could tell from my reviews of the first half of the “War of the Witchblades” arc, back in May, I was loving them. Matt would send me a new PDF from the publisher, and I’d eagerly open it to see the next installment.

Except when I didn’t. That’s right, I completely neglected to download Witchblade #128. Rather than miss the fourth issue in the saga after the download period expired, I did what any self-respecting comics reader (and reviewer) would do — I waited for it to arrive at my friendly local comic shop (FLCS) and bought that sucker. This was a good choice, because without issue #128, the rest of the story wouldn’t have come together so well. Since they’ve been on the shelves for awhile now, I thought I’d review the rest of the “War of the Witchblades” arc, and recommend that you all keep an eye out at your local FLCS for a trade collecting these six issues.

Writer Jason Becker and artist Jon Rea are back with the second twisted issue of their series Killing Pickman. Slower paced and more convoluted than issue 1, this issue dives deeper into the origins of Dick Pickman’s monstrous deeds.

As Detective Zhu makes his way to Herbert West Memorial Hospital to finish the job he started in issue one, the act of killing Pickman, Mr. Pickman waxes insane to a hospital psychologist about his transformation into a malicious child killer. When Zhu arrives outside the door to Pickman’s room, gun in hand, he’s confronted by Detective Raimi. Flash forward two months and we find out that this case hasn’t been very kind to those involved with investigating and cleaning out the Pickman house. Detective Zhu is the only one who understands the literally monstrous nature of the case and he has a plan, but can he pull it off while also looking out for the best interests of his wife and their child?

In an era when comic books have the same relationship with zombies as ESPN has with football, it’s difficult to find something fresh about the living dead, no pun intended. However, Grim Crew’s Dead Future Issue 1 is an anthology comprised of three zombie apocalypse stories all of which offer an element of originality in this otherwise predictable comic book niche.

The first story, Real Monsters, written by Martin Brandt II and Illustrated by Paul Petyo is a tale of day-to-day urban survival in a world overrun by zombies. This segment has all the trappings of the archetypal zombie paradigm as well as a few unique wrinkles. One of these is that the living can go about their business among the living dead provided they don’t upset the zombies’ routines and that these excursions take place during the day time.

Author Jason Becker and artist Jon Rea have collaborated to create Killing Pickman, a modern noire tale wrapped around serial child murder and Satanism. And honestly, it warms my heart, but please keep that between you and me.

Issue 1 starts with Detective Bill Zsu canvassing the neighborhood in which multiple children have disappeared. When he knocks on Dick Pickman’s door the hairs stand up on the back of his neck. After calling for back up a showdown ensues the results of which are six new holes in Pickman, the discovery of satanic hobbies undertaken by the aforementioned Mr. Pickman, and a tunnel in which more child victims are discovered alive. Pickman goes to the hospital and Detective Zsu goes a little crazy working the psychopath beat. Little does he know that he’s only scratched the surface of the depravity he’s just uncovered.

When I was presented with a review copy of the “Judge Dredd vs. Aliens” graphic novel, I wondered if I was the best bloke for the job. My experience with both iconic characters is really one sided, favoring the aliens. I’ve known as feared the “Aliens” from a young age but my experience with Judge Dredd was very limited.

True story; in my late teens I was following in my dad’s footsteps and worked as a mall Santa Claus (I was a little young to be playing jolly old St. Nick, but they needed the help.) One day my “elf assistant” brought a stack of comic books to read over our lunch break; amongst the pile were some Judge Dredd comics. While I was a serious comic geek at the time, I hadn’t ever touched a JD comic before. Taking the opportunity I ate my Subbaro’s special of the day while reading a few comics.

Considering I’m a huge fan of Fear Agent (Dark Horse), it stands to reason I’d be on the look-out for other pulpy sci-fi adventure “with stones”. Now I should mention right away that Mr. Phelps Space Detective is not as awesome as Fear Agent. I’m not saying it’s bad, though; oh, no, far from it. In fact, if you are looking for an action SF ka-boom fix, this should do rather nicely.

Mr. Phelps is, as the title suggests, a space detective. He also has a ship called the DeForrest (great name) and a side-kick / love-interest named Kat… who’s a cat. Well, a cat-person. Yes, a bipedal cat… person. Anyway, it all seems to make sense in the comic, which is full of space-faring adventure, explosions and people screaming in vacuum, greedy dudes named Jorge, an attack by clones, an odd device called a “hitchhiker” and lots of made up words like “skunc”, “frik’n scumlick” and “quarb”. In other words: Very, very fun.

There can be no doubt that, love him or hate him, Alan Moore is one of the greatest creative minds to ever grace the comics medium. His story-telling is so earnest, weird, kooky, slick and downright awesome all at once that it’s no wonder he’s one of the Greats. Now, I’m a Moore admirer myself, and I’m especially influenced by his earlier works; specifically Swamp Thing, Captain Britain and his many 2000 AD accomplishments. Sure, I suppose little things V for Vendetta, Watchmen and From Hell are what people mostly know him for, but I like to think his best work was with Mighty Tharg and his humble weekly newsagent-bomb 2000 AD. And with the galaxy’s greatest comic Marvelous Moore laid upon us mind-blowing wonderment-inducing things in the form of titles such as The Ballad of Halo Jones, D.R. and Quinch, his Time Twister tales, Abelard Snazz, and, of course, Future Shocks.

Review by Steven Saunders

This is a massive tome of all things Marvel. Seriously. It’s a 50 pound hardcover of comic book awesome! Ok, maybe not 50 pounds, but it’s a bullet stopper for sure!

I’ve been a fan of Marvel Comics since I was a kid and the comics took a massive jump to a whopping 35 Cents! Comics have changed so much over the years. More than I knew before delving in to the Marvel Encyclopedia. Holy CRAP! This book delves in to every character, major and minor That I have ever heard of and many I hadn’t. It gives all kinds of details on origins, secret identities, story arcs and issues they are showcased in.

As always, the artwork is stunning. There are several large entries for special groups and events like The Avengers, The Death of Captain America, Civil War, The Gods of Asgard and the many variations of The Hulk.

In a world where those with special powers are looked down upon and hunted, a secret team is brought together to protect it from the machinations of fallen angels and their children. From a noble cyborg warrior to a jumpy raver girl with electrical powers, they are brought in by a mysterious stranger and have to save a world that wouldn’t save them.

The graphic novel is a collection of short stories, introducing a reader to the universe of Alpha Gods. It is a world of magic and mutants, with sinister demons lurking in the shadows and with human beings developing strange powers. Called Extra Humans or Ex-Hus for short, the world knows they exist and has a largely negative view of them. The Alpha Gods try to protect the innocent ones while they struggle against a sinister corporation known as Grigori Enterprises that is performing experiments that will aid their demonic masters, the Nephilim.

Review by John D. Kennedy

Of Evil and Darkness follows a film crew to a mysterious island, where they are trying to find out more about the island and the mysterious murders that took place there long ago. The story starts off with humor, as even by issue two the story helps even a casual reader get adjusted to each character and their individual quirks. Upon arriving at the island, the crew is filled with a sense of nervousness from the stories about the island, and as the story progresses each character starts to become afraid. Soon they find that the stories about the island are very real, as they experience the events that took place many years ago, as a nightmare is resurrected on the island and it begins to hunt the crew down and murder them.

The film crew have unique personalities to them. From Henrick, the medium who travels with the cast and seems to foreshadow the evil events that are about to happen by his strange predictions, to the light-hearted nature of Jimmy as he tries to use humor to deal with the horror and anxiety around him.

Can violence solve every problem in the world when applied correctly? Is a quick hand and a quicker trigger finger going to save the world when it really counts? And what about the morality of the common action hero…they look cool as they smoke cigars and fire their guns John Wu style, but are their methods the solution or the problem?

The Prophet is a crime noir comic from Dangerkatt Creative Studios. Set in Mexico, the main character is an underworld assassin by the name of the Prophet. After a series of disturbing dreams, where a black devil keeps offering him deals that would make him the most powerful man on the planet, he has decided he will quit after one last job. Well, a couple of last jobs, it seems. If he can score the Frontera Shipment, which is the largest shipment of drugs across the border into the US, then he believes he and the team he recruits will be able to retire.

Comic anthologies are always tricky business, as you are never sure as to what you are going to get. You might pick up a comic because you love one character and want to read more about them, but be disappointed by the rest. Particularly troublesome is when the anthology features stories that are as widely varied as those found in 2000 AD. There are war stories, crime dramas, and even a space opera tale.

2000 AD, which has been in operation since 1977, has provided a look into alternate futures and new universes for more than 30 years. It still publishes classic characters such as Judge Dredd while occasionally publishing new characters as well. Many famous comic writers have worked for 2000 AD, including Alan Moore, Neil Gaiman, and Grant Morrison.

Review by John D. Kennedy

When I said that the “War of the Witchblades” arc might be a good place to start reading Witchblade, I was wrong.

It’s a great place to start reading Witchblade.

Now that we’re in the third issue of the arc, things are really starting to come together. The Angelus Force still hasn’t picked a host, but we see that one of the Angelus is really jonesing to be the one who will become the Angelus incarnate. But while this Angelus is the leader of the Angelus warriors — winged creatures that are similar to humans but with supernatural gifts — she’s not what you’d call a role model for the forces of good. She shows no pity, no mercy, and no patience — instead, she seems so arrogant and certain that she is destined to be the host to the Angelus that it’s certain to pass her by for someone more humble.

WARNING: This review contains spoilers. If you’re going to read the story arc, read my review of Witchblade 125 and go pick up the series yourself! If you don’t mind being spoiled, continue on ahead.

Witchblade 126 starts to explain a bunch of the questions that began in Witchblade 125. Why does the Angelus force want to kill Sara? Who is the mysterious guy who seems to be connected to the Darkness, and to Sara? As it turns out, when the Witchblade spit, it had to split along the same axis it was created to balance: darkness and light. Sara in issue 126 reveals just how far toward the Darkness she has fallen, while Dani realizes she has to take the Witchblade away from Sara for balance to be restored (and so that Sara doesn’t destroy herself and everyone she cares about).

Coming into the middle of a story is always tough, even in comics. The intro at the beginning of most ongoing series catches readers up – but only if they already have a basic idea of the mythology. The delightful thing about Witchblade #125 is that, even with only half of an idea about what’s going on in the series (I’ve read an earlier volume and caught a Free Comic Book Day promo last year), the art work was so hyper-realistic and intriguing that I was drawn into the characters regardless of the plot.

Since I tend to read novels and comics predominantly for story and character, the art pulling me in so dramatically is a big deal for me. I haven’t seen this style before, and Stjepan Sejic (if he is also the colorist) is doing tremendous work with lighting, making some of his images look almost Final Fantasy realistic.

Think of a world where an alien virus is released; that virus changes you–inside and out. Maybe you get the Black Queen, so you die. Horribly. Maybe you pull a Joker. Mutated and deformed, you stick to a place called “Jokertown.” If you’re lucky, you pull an Ace. You’re a hero–you’re supposed to be the good guy. But are you?

In this Dabel Brothers Publishing adaptation of George RR Martin’s best-selling series dubbed “Wild Cards,” there are good guys, bad guys, and everything else in between.