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SPY X FAMILY, VOLUME 12 (VIZ Media, LLC)

Written by Tatsuya Endō.

American Translation by Casey Loe.

Black-and-White Art by Tatsuya Endō; Rina Mapa; Satoshi Kimura; Mafuyu Konishi; Yuichi Ozaki; Kazuki Nonaka; & Masahito Sasaki.

Cover Art by Tatsuya Endō. Colors are Uncredited.

SUMMARY:

The black-and-white Spy X Family, Volume 12 was first published in 2019 in Japan by SHUEISHA Inc. out of Tokyo, which also coordinates this title’s English translation rights.  In a 208-page SHONEN JUMP (digest-size) edition, VIZ Media LLC reprinted Spy X Family, Volume 12 for the U.S. market in 2024.   

In a world where Westalis and Ostania are rival factions/countries, Westalis’ Secret Service has initiated ‘Operation Strix’ to gain intelligence on Ostania’s chief political operator: Donovan Desmond, an unstable warmonger.  Sent in for closer surveillance are master-of-disguise ‘Twilight’ posing as psychiatrist Dr. Loid Forger; naïve assassin ‘Thorn Princess’ posing as a city clerk/typist and Loid’s adoring wife, Yor Forger; and a young telepathic orphan, Anya, posing as their daughter.  This undercover ‘family unit’ is completed by lovable Bond, the Forgers’ clairvoyant guard dog that somewhat resembles a seal. 

The operation’s gameplan involves assimilating Anya inside the private Eden Academy.  That way, she can get closer to the Desmond family through her classmates, among which is Desmond’s spoiled child. Also involved are:

  • Sylvia Sherwood, Loid’s world-weary intelligence handler, whose slovenly personal life is mitigated by her loyal German Shepherd, Aaron.
  • Fiona “Nightfall” Frost, who is Loid’s colleague and is secretly in love with him.
  • Yor’s kid brother, Yuri Briar, who is a gung-ho undercover police officer, who despises Loid.
  • Damian Desmond, who is Donovan Desmond’s snotty young son; and
  • Becky Blackbell, who is Anya’s new friend.

Most recently, the Academy was rocked by a school bus hijacking, with Anya among the distraught hostages.  Her telepathy subsequently helps defuse the emergency, but this incident’s repercussions are still being felt.

While a hyperactive Anya continues to interact with her classmates, Loid’s talents posing as a psychiatrist come into play counseling one of Eden’s teachers.  At a dog park, Sylvia meets up with Loid and Anya where she adds a new assignment to his casework.  Their competing dogs, Bond and Aaron, humorously finish in a draw over which canine is the best trained.  Egged on by her co-workers and then Yuri, a meek Yor tries far too hard conveying that she and Loid have marital difficulties, too, like any other normal couple. 

Though bewildered by Yor’s drunken behavior (which she privately regrets), Loid is called upon to go undercover with Fiona to pursue an elusive intelligence mole.  Yet, their quarry’s improvisations heighten the jeopardy they are in.  Case in point: should the mole escape with classified materials, the exposure of ‘Operation Strix’ would dangerously compromise them all. 

Posing as both the fugitive and then subsequently as Yuri, Loid finds himself pursued by the police.  Injured in solo combat, Loid’s super-spy talents may not be enough when facing the enemy alone.       

Also included are a few ‘confidential’ back-up stories, including: 1. Eden Academy’s zoo trip; 2. Loid’s efforts to help teach Anya history has him crafting a spy comic book; 3. Eden Academy students discuss a trip to the moon; and 4. “Franky’s Secret Files” offer some breaking-the-fourth wall insight about Sylvia’s character design.

Notes: This title is also available digitally.  To the publisher’s credit, there is a parental advisory as a ‘T+’ (ages 16 and up) read per the book’s ‘realistic’ violence quotient.   Spy x Family, Volume 12, ironically, is really a mild ‘PG,’ as compared to some DC and Marvel titles where a parental advisory ought to have been (and wasn’t) included for vile content. 

Lastly, for those of you like me where Spy X Family, Volume 12, is one’s first experience with manga, here’s a few rules of thumb.  1. This story begins at the very back with a table-of-contents.  Hence, the book is to be read in a reverse page order (backwards to front).  It initially seems you are supposed to generally read the panels from right to left.  Sometime shortly thereafter (perhaps it’s due to the American reproduction/translation), the reading then shifts to the conventional Western left to right – at least, the dialogue still makes sense that way. 

REVIEW:

Including its quirky sense of humor, Spy X Family, Volume 12 is a fun discovery.  As both writer and primary artist, Tatsuya Endō concocts an assortment of slightly strange characters that consistently fits a classy semi-parody of spy capers.  Hence, his plotting balances the narrative’s shifting from low-key humor to character development to action scenes without missing a beat, in terms of its coherency.

While some intriguing characters (i.e. Sylvia Sherwood) receive less screen time, the compensation plays up, for instance, a seemingly good-natured Yor’s role as Loid’s ‘perfect wife’ vs. Fiona’s resentment that she didn’t get the role.  Endō, suffice to say, knows how to make good use of his cast without resorting to profanities or gratuitous violence (i.e. the extensive Loid/Yuri fight scene is kept clean).       

Though Spy X Family, Volume 12 isn’t necessarily a must-have, its intriguing content delivers a cartoony cloak-and-dagger caper.  Finding it at the library first might be the best option, as far as considering this book for purchase.   

ADDITIONAL CONTENT:

A brief dossier on the characters helpfully identifies the pertinent who’s who and provides a quick summary of the plot-to-date.  Endō’s ‘special thanks list’ credits additional collaborators on this project, along with a brief message from.  Including a personal quote, Endō has a paragraph-long biography. 

BRIAN’S OOD MOON RATING:               7½ Stars

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THE SHADOW: THE MISSING LADY (1946)

SUMMARY:                            RUNNING TIME: 1 Hr.

Released by Pathe Pictures, Ltd., in 1946, The Missing Lady was the last of its three black-and-white Shadow adaptations starring the same primary cast that year.  The preceding films were The Shadow Returns and Behind The Mask.  From an original story penned by screenwriter/associate producer George Callahan, Phil Karlson directed this film. 

Note: The obscure Pathe Pictures, Ltd. was evidently associated with Monogram Pictures. Of interest is that The Missing Lady’s noir mystery-wacky comedy formula is reminiscent of a previous Monogram release: 1943’s The Mystery of the 13th Guest.

Murdering wealthy art dealer John Douglas (Lessey) in his home, a nocturnal killer then pilfers the prized statuette dubbed ‘The Jade Lady’ from a display cabinet.  Specifically, the jade statuette is of Quan Yin, the Chinese goddess of mercy.  Lamont Cranston (Richmond), the police commissioner’s crusading nephew, suspects the unknown culprit has stashed the so-called ‘Missing Lady’ somewhere within the city.    

After a month, the Douglas murder remains unsolved. Cranston’s (Richmond) amateur sleuthing has produced few leads, as his undercover stint in a seedy men-only motel leads to a clash with tough-guy mobster Ox (Overman).  As multiple femme fatales become involved, Cranston is subsequently framed for murder twice the same night in his own apartment building.  Compounding Cranston’s probe is a cantankerous and often-befuddled police inspector (Flavin), who would gladly arrest him rather than consider other suspects.    

Cranston (and his masked “Shadow” alter ego) must trace the elusive statuette first to catch the killer (or then again, perhaps there’s multiple killers).  Supporting Cranston are his bumbling valet, Shrevvie (Chandler), and, for their own reasons, the duo’s suspicious girlfriends: Margo Lane (Read) and Jennie Delaney (Kent).  Inevitably, others in pursuit of ‘The Jade Lady’ won’t mind resorting to deadly gunplay to possess this valued artifact.    

Lamont Cranston / The Shadow: Kane Richmond

Margo Lane: Barbara Read

Shrevvie: George Chandler

Jennie Delaney: Dorothea Kent

Police Inspector Cardona: James Flavin

Police Commissioner Weston: Pierre Watkin

Rose Dawson: Claire Carleton

“Ox” Walsh: Jack Overman

Gilda Marsh: Jo-Carroll Dennison

Terry Blake: James Cardwell

Anne Walsh: Frances Robinson

Miss Effie (Elevator Operator # 1): Almira Sessions

Miss Millie (Elevator Operator # 2): Nora Cecil

Jan Field: George Lewis (aka George J. Lewis)

Lefty (Ox’s Associate): Anthony Warde

Harry the Bartender: Dewey Robinson

Waldo (Bar Drunk): Bert Roach

John Douglas: George Lessey

Alfred Kester: Douglas Wood

Motel Clerk: Tom Plank

Motel Guests: Hank Worden & Ted Billings

Cardona’s Plainclothes Cops/Interrogators: Lee Phelps, Eddie Dunn, & Ray Teal

Bar Patrons: Uncredited

Additional Motel Guests: Uncredited.

REVIEW:

This film’s opening credits playfully tease a fun Republic Pictures-style caper, like that rival studio’s serial cliffhangers were known for.  In that decade, Republic Pictures was adept at adapting comic book and pulp heroes (i.e. Captain Marvel/Shazam and Zorro) into campy three-to-four-hour epics.  Pathe Pictures, Ltd. instead ensures sixty minutes with their Shadow ends up a middling waste of an hour.  Peddling a Dashiell Hammett wanna-be mystery as its premise, The Missing Lady is, in other words, a standard-issue cheapie of its time.  That much Pathe’s paltry Shadow knows.     

For instance, despite the setting of an unidentified big city, contrivance doesn’t explain how the major players seemingly live in the same high-end apartment building where multiple murders occur.  More so, this film’s blend of deadly Maltese Falcon noir and insipid screwball comedy (i.e. Margo & Jenny’s vapid ‘jealous girlfriend’ antics; the wacky elevator ladies) doesn’t mesh as a formulaic substitute for a live-action Shadow thriller. It’s a shame to a degree, as the film’s watchable mystery elements are sabotaged by an excess of goofy comedy relief.

Though Kane Richmond is game to play both action hero and Cary Grant, the movie’s lackluster script strands him (along with a decent cast), with little elsewhere to go.  His vigilante ‘Shadow,’ aside from a black mask and appearing a few times in (where else) the shadows, contributes too little to the storyline.  Given how Richmond’s Cranston makes little effort to disguise his voice, it’s an eyeroll that this Shadow’s less-than-terrified targets fail to deduce his alter ego. 

Hence, the supernatural eeriness viewers should expect emanating from the vintage radio show and the pulp stories is devoid from this bland cliché-fest posing as a Shadow caper.  And perhaps the less said about Barbara Read’s silly Margo Lane the better.    

This Missing Lady, unfortunately, proves a weak whodunnit for Lamont Cranston and his Shadow. 

BRIAN’S ODD MOON RATING:                     3½ Stars

Note: For a dose of slam-bang viewing from that era, at least two of Republic Pictures’ black-and-white cliffhanger serials are recommended.  One would be 1939’s Zorro’s Fighting Legion, and another treat is the first live-action super-hero film: 1941’s Adventures of Captain Marvel.

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G.I. JOE, VOLUME 6: PLAYERS & PAWNS (DEVIL’S DUE Publishing)

Written by Brandon Jerwa.

Art by Tim Seeley; Cory Hamscher; Andrew Pepoy; Brett R. Smith; & Dreamer Design.

“Fantom”  Art by  Talent Caldwell; Jason Gorder; & Christina Strain.

Collection Cover Art by (Uncredited) – possibly Tim Seeley.

SUMMARY:

In either late 2004 or early 2005, Devil’s Due Publishing (DDP) released this 144-page collection reprinting 2004’s Issues # 28-33.  Also included from Issues # 31-33 is Wraith’s eleven-page back-up tale entitled “Fantom.”  

Destro quits COBRA to lead his own mercenary group, which includes his son, Anthony, and Mistress Armada.  The Baroness is left torn between her allegiances to her estranged husband, Destro, and Cobra Commander.  Utilizing some new recruits, the Joes execute an aquatic recon mission accessing Cobra Island’s central computer. 

In Sierra Gordo, Duke’s controversial tactics causes intense heat from Hawk & Flint, despite his capture of Destro.  Cobra Commander and the Baroness disagree on rescuing Destro.  Meanwhile, Hawk seethes over Destro leveraging his own political release in exchange for future cooperation against COBRA.

Placed on probation, Snake-Eyes & Scarlett join Falcon’s Joe unit in Badhikstan to thwart COBRA’s rival: The Coil.  While Zartan and Dr. Mindbender scheme in The Florida Everglades, Falcon’s squad is captured in the Middle East and then later released for an ominous reason.  COBRA’s assault on the Joes’ escort train pits Hawk vs. Cobra Commander.  Hawk is subsequently haunted by its tragic outcome.

“Fantom” has Mistress Armada & Anthony Destro out to recruit the world’s most notorious free agent: the mercenary ‘Wraith,’ who possesses state-of-the-art, ghost-like stealth armor.  Beach-Head and Shipwreck briefly appear, as Wraith penetrates a heavily-guarded prison demonstrating his nefarious potential.  If Wraith joins Destro’s payroll, the question becomes: who else may be facing a lethal sales pitch?  

Note: Oddly, DDP neglects to identify this collection’s issue numbers.

REVIEW:

Upon introducing six forgettable new Joes, writer Brandon Jerwa then focuses on juggling multiple storylines at once.  Though initially successful, his reliance on shifting back and forth between too many sub-plots gradually spins Players & Pawns into an unremarkable muddle.  While Jerwa’s basic plotting isn’t hard to grasp, the sheer number of characters these sub-plots necessitate frankly is, to the point of distraction (i.e. still recognizing all who’s who). 

For G.I. Joe die-hards, Players & Pawns is really more just business as usual, with COBRA’s internal strife an added bonus.  As to the tantalizing “Fantom,” it’s the best asset.  Aspen Studios’ fingerprints are obvious, as their ultra-slick visuals easily surpass DDP’s rudimentary artistic style.  Jerwa ups his game concocting the Joes’ new Iron Man-like nemesis, but this nasty serial likely isn’t enough to make the otherwise ordinary Players & Pawns a keeper.  

ADDITIONAL CONTENT:

In a full-page gallery format, ten covers are included: Issues # 28-30, # 30A-30B-Convention Exclusive, #32A-32B, and # 33A-33B (two additional covers slightly altering Wraith’s 33B cover don’t appear).  Credited cover artists include: Tim Seeley;  Cory Hamscher; Andrew Pepoy; Val Staples; Mike Norton; Talent Caldwell; Jason Gorder; Peter Steigerwald; Christina Strain; Michael Turner; & Aspen Studios. 

Based upon some unidentified signatures, DDP evidently isn’t crediting all of the covers’ contributing artists.   

BRIAN’S ODD MOON RATING:                   5½ Stars

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MEN IN BLACK: DELUXE EDITION

SUMMARY:                       RUNNING TIME: 1 Hour, 38 Min.

Columbia Pictures & Steven Spielberg’s Amblin Entertainment released this sci-fi action-comedy from director Barry Sonnefeld in 1997.  This ‘deluxe’ two-disc, widescreen/full-screen DVD was subsequently in 2002. 

Adapting Lowell Cunningham’s same-named Malibu Comics title, Men in Black depicts a top-secret government agency responsible for apprehending fugitive aliens hiding out on Earth by any means necessary.  Once recruited, NYC street cop James Edwards (Smith) becomes ‘Agent Jay’ and the new partner of enigmatic veteran Agent Kay (Jones) – complete with inconspicuous black-tie suits, heavy-duty firepower, and ever-cool dark shades. 

With the help of a suspicious medical examiner (Fiorentino), the straight-faced duo faces off against a monstrous threat that destroy the galaxy … starting with Earth. 

Agent Jay (James Edwards): Will Smith

Agent Kay: Tommy Lee Jones

Dr. Laurel Weaver: Linda Fiorentino

Zed: Rip Torn

Edgar: Vincent D’Onofrio

Jeebs: Tony Shalhoub

Beatrice: Siobhan Fallon Hogan

Gentle Rosenburg: Mike Nussbaum

Arquillian: Carel Struycken

Jose: Sergio Calderón

Agent Dee: Richard Hamilton

INIS Agent Janus: Fredric Lehne

Note: This film is also available in Blu-Ray and digital formats, as well as included in various Men in Black combo packages.

REVIEW:

The original Men in Black is the ideal alien-busting counterpart to Ghostbusters (and similarly 1987’s Dragnet and/or TV’s The Man from U.N.C.L.E.).  Sporting top-caliber special effects and director Barry Sonnenfeld in vintage form, this high-octane sci-fi caper delivers stellar entertainment.  Though one visual of an alien shedding a murdered human’s skin is definitely kid-unfriendly, the movie, otherwise, seamlessly proportions comedy, action, and sci-fi/horror parody in a coherent manner. 

The ‘odd couple’ acting chemistry between the energetic Smith and a deadpan Jones is the film’s other best asset, as Fiorentino & Torn contribute reliable support in their scenes.  Ultimately, Men in Black earns its stylish reputation, three-fold.  All in one, it’s among the best comic book adaptations, sci-fi/horror parodies, and (let’s not forget) buddy action-comedies ever produced.  Including its surplus of DVD goodies, this first-class treatment for viewers is recommended.

BONUS FEATURES:

A superb booklet insert spells out the set’s multitude of extras, including a list of scenes.  Disc 1 includes digitally-mastered audio and anamorphic video, along with visual and audio commentaries.  Audio options include: English 5.1 Dolby Digital, 2-Channel (Dolby Surround), and French 2-Channel (Dolby Surround).  Subtitles appear in English, French, Spanish, Mandarin, and Cantonese.

Utilizing animated menus, Disc 2 offers a Men in Black II teaser and ‘secret files’ hyping this sequel; extended and alternate scenes; Will Smith & Mikey’s Men in Black music video; a making-of-the film documentary; production notes; a scene editing workshop; a conceptual art gallery; DVD-ROM & web-related links; and some obligatory trailers.     

PACKAGING:

Each disc has a solid casing.  The DVD set’s contents are accurately advertised. 

BRIAN’S ODD MOON RATING:              8½ Stars

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ALAN MOORE’S COMPLETE WILDC.A.T.S. (DC Comics/WILDSTORM Productions)

Written by Alan Moore.

Pencils by Travis Charest (1); Kevin Maguire (2); Ryan Benjamin & Jason Johnson (3-4); Travis Charest, Dave Johnson, & Kevin Nowlan (5); Travis Charest & Dave Johnson (6); Scott Clark & Dave Johnson (7); Travis Charest, Dave Johnson;, & Aron Wiesenfeld (8); Travis Charest & Ryan Benjamin (9-10); Mat Broome, Pate Lee, & Jim Lee (12); Mat Broome (13); Mat Broome & Rob Stotz (14); and Travis Charest (15).

Inks by Troy Hubbs (1); Troy Hubbs, Randy Elliott, Sal Regla, Trevor Scott, & Scott Williams (2); Art Thibert, Terry Austin, Hakjoon Kang, Andy Owens, & Harry Thuran (3); Tom McWeeney (4); Troy Hubbs, Kevin Nowlan, & John Nyberg (5); JD, Scott Williams, & Dave Johnson (6); Bob Wiacek & Dexter Vines (7); JD & Dave Johnson (8); JD; Richard Friend, Mark Irwin, & Luke Rizzo (9); Richard Friend, Sal Regla, Sandra Hope, John Tighe, Mark Irwin, & Luke Rizzo (10); Trevor Scott, Richard Bennett, & Jason Gorder (12); Troy Hubbs & Scott Taylor (13); Troy Hubbs, Scott Taylor, JD, Sandra Hope, & Trevor Scott (14); & JD (15).

Chapter 11: Jim Lee & Josh Wiesenfeld (layouts); Richard Bennett (finishes); & Travis Charest (art).

Letters by Bill O’Neil & Comicraft.

Colors by WildStorm FX; Bad@$$; & Alex Sinclair.

Collection Cover Art by Travis Charest.

SUMMARY:

Released by DC Comics in 2007, this 392-page WildStorm Productions paperback reprints WildC.AT.S. # 21-34 (1996-1997); Issue # 50 & WildC.A.T.S: Homecoming (1998); and WildC.A.T.S: Gang War (1999).  This collection is divided into fifteen chapters.

On Earth, most of the WildC.A.T.S. are believed to have died.  Despite their different objectives, Majestic & Savant recruit three replacements:  Grifter’s lecherous brother, Max; the mind-altering Tao; and killer cyborg Maxine Manchester.  The team soon initiates a counter-strike against gang warfare that becomes increasingly violent. 

In deep space, the other WildC.AT.S. actually survived, as their starship at last arrives at planet Khera.  Among them are Voodoo, the android Hadrian, EMP, Reno, & Zealot, as they’re eager to revisit their home planet.  Yet, several hundred years have already elapsed in Kherubim time.  The team, especially Voodoo, experiences harsh reality acclimating to changes pm present-day Khera (i.e. the fate of surviving Daemonites).  Amidst mixed emotions, the teammates ultimately opt to return to their true home: Earth.

Amidst the WildC.A.T.S. reunion, some members quietly leave to restart their personal lives elsewhere.  Other veterans, like Grifter, resurface to bolster the team’s short-handed roster.  More so, Hadrian’s secret origin comes to light.  A devastating explosion’s fallout reveals a traitor lurking among them.  With three teammates badly injured, a hunt commences for the mastermind manipulating the WildC.A.T.S. for a nefarious ulterior motive.

In the epilogue, the team contemplates adding a reserve squad, but an ominous letter indicates one nightmare isn’t over yet.          

REVIEW:

This project’s vast art squad contributes high-caliber visuals from start to finish.  The flip side is that Alan Moore’s quirky, adult-oriented scripting remains an acquired taste.  Keeping track of who’s who here may be enough work for casual readers, but grasping the underlying sub-plots necessitates prior knowledge of series continuity. 

Hence, established WildC.A.T.S. fans may have a potential dilemma: Moore’s creative run is intriguing and sophisticated, but it isn’t as fun as Jim Lee & Brandon Choi’s original incarnation.     

ADDITIONAL CONTENT:

A full table-of-contents specifies each chapter’s art-team.  There’s also five full-page pin-up images of various WildC.A.T.S. spread out in this book.  Pin-up artists are: Lee Bemejo & John Tighe; Carlos D’Anda & Mark Irwin (twice); Travis Charest & Troy Hubbs; and Ryan Odagawa.

In a full-page format, each cover (and its credited art team) is included.  The cover artists are:

Chapter 1: Jim Lee & Troy Hubbs;

Chapters 2-6: Travis Charest & Troy Hubbs;

Chapter 7: Scott Clark & Bob Wiacek;

Chapter 8, 10, & 15: Travis Charest;

Chapter 9: Travis Charest & John Nyberg;

Chapters 11-12: Jim Lee & Richard Bennett; and

Chapters 13-14: Mat Broome & Troy Hubbs; 

BRIAN’S ODD MOON RATING:                          7 Stars

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THE HOLLOWS: BLOOD WORK (DEL REY Books)

Written by Kim Harrison.

Art by Pedro Maia; Gemma Magno; Emam Casallos; Jan Michael T. Aldeguer; Jezreel Rojales; P.C. Siqeira; Mae Hao; & Zach Matheny.

Cover Illustration by Juliana Kolesova. Flap & Back Jacket Illustration by Pedro Maia.

SUMMARY:

Released by Del Rey Books in 2011, this 170-page hardcover graphic novel is a seven-chapter prequel to Kim Harrison’s The Hollows urban fantasy-horror series.  In an alternate-reality Cincinnati, Inderland Security (I.S.) polices the decadent  supernatural community.  As the I.S. equivalent of a plainclothes street cop, jaded vampire Ivy Tamwood is begrudgingly assigned as the senior partner of free-spirited witch Rachel Morgan. 

The twenty-something duo instantly clash over basic methodology, as they probe a werewolf’s ominous homicide.  Ivy is gradually impressed by Rachel’s investigative instincts, as their teamwork draws them closer to the deceptive truth. Yet, Rachel’s rebellious, good-natured allure triggers an underlying sexual current/blood lust from Ivy. 

Ominously, having arranged the duo’s I.S. partnership, others may share Ivy’s ulterior agenda to someday control Rachel’s destiny.   

REVIEW:

Blood Work isn’t necessarily a huge disappointment, but it still falls far short of impressive.  Though the style is reminiscent of Marvel’s Anita Blake adaptations, neither Blood Work’s rudimentary visuals nor Kim Harrison’s inconclusive plotting deliver much of anything worthwhile.  A semi-naïve Rachel Morgan is marginally likable; otherwise, Harrison’s one-dimensional cast provides minimal incentive to finish reading this storyline. 

More suggestive than flat-out gross as several of Laurell K. Hamilton’s Anita Blake stories are, Blood Work’s premise occasionally presents glimmers of potential.  The problem is that this supernatural-cop murder-mystery concocts an utterly blah read. To give Blood Work the comparative benefit of the doubt, trying one of Harrison’s Hollows novels first makes the most sense. 

ADDITIONAL CONTENT:

Harrison presents a single-page introduction.  Brief bios on Harrison & artist Pedro Maia are provided.  Maia’s eleven-page project sketchbook explores the visual look he created for Blood Work’s pivotal characters (under Harrison’s supervision).  A three-page guide delves into Blood Work’s production.  Lastly, there’s a three-page Del Rey interview with Harrison.

BRIAN’S ODD MOON RATING:                           3½ Stars

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MANTRA (EDEN BLAKE/LUKASZ) # 2 (1993 MALIBU Comics)

Written by Mike W. Barr

Art by Terry Dodson; Al Vey; Patrick Owsley; & Moose Baumann

Cover Art by Terry Dodson & Gary Martin

SUMMARY:

Entitled “The Woman Behind the Mask,” Malibu Comics released this issue for August 1993.  Now possessing single mother Eden Blake’s mortal form, macho warrior/sorcerer, Lukasz, faces Warstrike inside Eden’s suburban home.  Awkwardly adjusting to womanhood, a weary Lukasz also finds that faking Eden’s personal life and work is a challenge.  Lukasz/Mantra is aware that the nefarious Boneyard has his minions set on acquiring a stolen mask up for private auction. 

Infiltrating Edgar Strauss’ nightclub, The Conjuror’s Club, a sultry Mantra makes a desperate grab for the silver cat-face mask that mystically ignites her sorcery.  Teaming with an undercover Warstrike, they must fight off Notch and his thugs.  Amidst bonding time with Eden’s two young children at a movie theater, Mantra is attacked by Notch’s replicating crew of Repo Men.  

REVIEW:

Known as a veteran DC Comics scribe, writer/creator Mike W. Barr’s storytelling here treads the thin gray area between dismal and competent; perhaps describing his rudimentary approach as half-hearted best applies.  Unlike the sufficient (i.e. less blatant) interior visuals, the tawdry cover image fixates on the character’s overt sex appeal.  It’s a predictably sleazy ploy, in spite of Eden Blake/Mantra’s presence as one of Malibu Comics’ best and most original creations. 

Hence, in some scenes, Mantra # 2 conveys potential for an intriguing ongoing series.  The ironic flip side is observing how Malibu’s flagrant male chauvinism defining Lukasz/Eden Blake/Mantra’s depiction spells itself out.

ADDITI ONAL CONTENT:

Include thumbnail cover reveals, there’s a two-page spread for Malibu’s “Ultrafiles” news-and-notes column.  

BRIAN’S ODD MOON RATING:                  3 Stars

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GRIMM FAIRY TALES # 48 (2010 ZENESCOPE Entertainment, Inc.)

Written by Joe Brusha & Raven Gregory

Art by Shawn Van Brisen; Studio Cirque; Bernie Lee; & David Seidman

Cover Art ‘B’ by Franchesco

SUMMARY:

Entitled “The Good Witch,” Zenescope Entertainment, Inc. released this issue for June 2010.  Samantha’s sorceress training with her mentor, Shang, is depicted.  Following plot threads from Issues # 21 and 23-24, bewildered college Samantha’s efforts to return home after Sela’s seemingly fatal sacrifice is complicated by four mystical challenges. 

Ultimately, Samantha’s imminent role is conveyed, as Sela, Shang, & Nissa must now depart for the fairy tale realm.  It’s indicated that the young sorceress will appear in a new spin-off: Grimm Tales # 1.     

REVIEW:

Though the visual quality is somewhat inconsistent, the art squad’s painting-like work is still good enough for an independent publisher.  However, this issue’s pedestrian scripting seems implausibly shallow for a contemporary magical adventure.  Case in point: protagonist Samantha is depicted as a somewhat snarky teenager, but her character simply has too little substance.  Fans of Grimm Fairy Tales may enjoy this issue, but savvy newcomers will likely be unimpressed.  

ADDITIONAL CONTENT:

The inside cover features thumbnail reveals of all four covers.  Later, there’s a nearly full-page cover reveals Sela’s new mission going into Issue # 49.  Zenoscope, otherwise, plugs a multitude of self-promoting ads.  Predictably, these ads push cheap sex appeal in its artwork (reminiscent of images like Cover Art ‘B’).   

BRIAN’S ODD MOON RATING:                    3 Stars

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FATHOM, VOLUME 2 # 3A (2005 ASPEN Comics)

Written by J.T. Krul & Michael Turner

Art by Koi Turnbull; Jason Gorder; Sal Regla; Christina Strain; & Dreamer Design

Cover Art ‘A’ by Michael Turner & Peter Stiegerwald

SUMMARY:

Released by Aspen Comics for September 2005, this issue is entitled “Chapter 3: Illumination.”  Before the Council of the underwater city of Muria, Kiani & her allies plead their defense of Cannon Hawke’s controversial heroics.  Their efforts prove unsuccessful.  Kiani soon finds grim evidence suggesting that Cannon has a sinister agenda. 

At sea, U.S. Navy pilot Chance Calloway infers that Admiral Maylander’s hard-nosed approach against The Blue is growing worse.  Chance is also no closer to drawing a lead to help him find a missing Aspen.   

In The Black’s mystical underwater realm, Aspen Matthews faces the enigmatic Rahger, who claims to be her true biological father.  Imperiously, Rahger expects his daughter’s instant subservience to help further The Black’s agenda.  Aspen’s defiance speaks for itself.        

Note: Included on the inside front cover is a thumbnail glimpse of ‘Cover B,’ which is Turner’s Wizard World Chicago 2005 limited-edition variant.

REVIEW:

The art squad’s visuals are predictably high-caliber.  While the in-progress plotting should appeal to Fathom’s fans, keeping newcomers tuned in is an iffy prospect.  Still, this installment of Michael Turner’s aquatic epic presents a solid-enough read.   

ADDITIONAL CONTENT:

The inside front cover summarizes the series-to-date, as well as the previous issue’s events.  Aside from Aspen’s glut of self-promoting ads (mostly for Fathom), there’s a single-page “Water Log’d” letters-and-answers column.  

BRIAN’S ODD MOON RATING:              6 Stars

Categories
Comic Books & Graphic Novels Independent Publishers (Comic Books & Graphic Novels) Marvel Comics

SPIDER-MAN/RED SONJA # 5 (2008 MARVEL Comics & DYNAMITE Entertainment)

Written by Michael Avon Oeming

Art by Mel Rubi; Brian Buccellato; & Simon Bowland

Cover Art by Michael Turner & Peter Stiegerwald

SUMMARY:

Released by Marvel Comics for February 2008, their untitled 48-page collaboration with Dynamite Entertainment concludes the five-part mini-series.  Separated from Venom, a disguised Eddie Brock witnesses that Spider-Man faces imminent doom as the captive of Kulan Venom (the Venom-possessed Kulan Gath).  The same applies to a wounded Red Sonja (possessing Mary Jane’s mortal body), as she & Spidey are positioned ominously reminiscent of a scene in from 1979’s Marvel Team-Up # 79

Could Brock, along with J. Jonah Jameson and Robbie Robertson’s resistance force, be their last hope?  With Venom loose again, Red Sonja & Spider-Man make a final stand against Kulan Gath to save Manhattan from his diabolical wrath.     

Note: There’s a textless variant cover available.

REVIEW:

Despite a predictably mundane finish, Spider-Man/Red Sonja # 5 delivers some good writing and solid visuals.  Notably, Michael Turner & Peter Stiegerwald’s cover image represents the best of their five efforts for this project.

Writer Michael Avon Oeming adds poignant texture to Spidey & Red Sonja’s relationship, which is his most vital  contribution revisiting a classic Marvel team-up.  Otherwise, Chris Claremont & John Byrne’s 1979 tale becomes even more impressive now.  Their originality goes a long way, so to speak, vs reading Oeming’s competent yet still-derivative homage.  If anything, this sequel storyline offers a relatively satisfactory wrap-up for Spider-fans, as well as Red Sonja’s fanbase.    

ADDITIONAL CONTENT:

The credits page summarizes Issues # 1-4.  The single-page Fury’s Files reveals obscure tidbits about The Fantastic Four.  A two-page ‘portfolio review’ by editor Bill Rosemann examines character designs for his Annihilation: Conquest project.  Marvel writer Jeph Loeb has a single-page interview.  Marvel personnel respond to the question: “What do you do with your comic books?” in a single-page entry.

BRIAN’S ODD MOON RATING:               6 Stars