Some may know I’m a big fan of VALIANT comics and as I of late I have been rereading the early VALIANT titles, which is not to say - at least not limited to - that I am just enjoying the individual origins and exploits of great characters. No, the creative goal of most companies is only half of the obligation, only a portion of the mandate cast upon a Pre-Unity title. With VALIANT, every title, every arc, every issue has significance and relevance. How do we gauge this? The answer to this question is muddled by how we have come to gauge what is important in comics. Presently, companies view the success of a comics on the complex formula of initial kewlness - if it works when it’s thrown out there and purchased, it’s worthwhile. This, again, is only halfway to optimal storytelling. You see VALIANT is not just an umbrella brand, it is more than a unifying selling point for otherwise an in cohesive product - VALIANT is a true comic universe. Certainly such a product demands more of the readers, and investment, or invitation to walk a world full of lives, not just in one; where one can brush up against others and the effect will still be applicable not just a month after. It is not the history dissected into runs or creative teams - it is the history of the entirety of the universe and the footsteps left by characters.

Stranger in a strange land…

So when we read X-O Manowar#1, part one of Retribution, you, even if unknowingly, are not only introduced, but become a participant not in a single life, but a world through his eyes. What shouldn’t be lost is this: it’s about an ass kicking Visigoth barbarian living in our time with who happens to have sweet, semi-sentient, alien suit of armor that makes one Aric Dacia one of the most powerful men on earth that forgot him. It - like the universe it inhabits - is a measured mixture of reality and pulp sensibilities. The first page looks to be something that could have been discussed at a meeting with the Lovecraft Circle or seen in the pages of 1920’s Weird Tales, something Edgar Rice Burroughs may have enjoyed flipping through; a splash of a single man going toe to toe with spider-like monsters, some of which who carry guns in backdrop from a technological level feels much too advanced for either and has you asking who is being invaded who? You come to find out that the man is a displaced barbarian, abducted from his time by a technologically advanced alien race that are a fixture in the VALIANT universe, present in some fashion for thousands of years in the continuity. Aric Dacia spends several years as a slave most of which in a stasis and when we join him in his attempt at escape, a rush to an alien weapon, an armor and a ring, that he has been told will grant him the ability to leave the prison. The X-O Manowar armor is the pride of the Spider Alien’s military development and thus when taken by the enemy become their greatest fear. It leaves, now in the possession of a man who has a history of violence and upholding vendettas. How long a history would surprise even Aric, as he plummets home, to earth, where it’s now 1992.

These opening issues show us a man trapped out of his time, yet the keeper of an armor that’s technology that is before its time. Aric has gone from a warrior amongst many in the 5th century to arguably one of the most powerful individuals on the planet and that’s before via hostile take over, he achieves controlling interest in a powerful corporation. There is a simplistic quality or plainness to the narrative that in some regard may be overdone, I’d like to think humanity didn’t have a personal train of thought of a retard even in the 5th century, but I think for the most part conveys, before you are even told that his is not you or me - yet he is - in true VALIANT fashion we are thrust into a story that not only has more to come, but is already the culmination of an as of yet untold story. We assimilate the new environment with Aric; to him he is in a foreign land of wizards and magic, where he as if a member of Arthur’s court visited Hank Morgan instead. Aric becomes a target, even as he always perceives himself as the ultimate predator, he is the true wolf, and indeed in wolf's clothing, yet still a perceived sheep in a world that has passed him by. The Aliens on earth - able to disguise themselves - want their armor back and perhaps even more of a threat he garners the attention of other powers in the world.

“What men won’t do for power"

I have said this before but the VALIANT Universe’s continuity - the portion of which that took place in our time - is chronicled in real ‘time’. Toyo Harada, the head of the Harbinger Foundation and one of the most powerful men in the world even if he wasn’t an Omega Harbinger first perceives Aric as a threat then see’s the possibilities of being his ally, we see the cast from the Harbinger title - a group dedicated to stopping Harada also take an interest in Aric due to his communication with Toyo. Solar appears; VALIANT’s most powerful character leaving a warning in true hero fashion. In short we witness convergence of powers, a reaction to another extraordinary element added to the world - X-O Manowar. What must be understood is that the VALIANT Universe is meant to be our own world, where its inhabitants may be reading DC and Marvel comics. What is also a rather unique VALIANT technique, and illustrated in this issue span (issue#4) is the unheralded first appearance of a future major player in the universe. In an era associated with the speculative boom, and certainly VALIANT practiced in some of the more undesirables flair associated with it, this was the best gimmick: When I say unheralded, I mean no crazy banners, no audacious or obnoxious billboard covers advertising it - they give you a reason to read their books, and in the future, the promises revealed occur in-page, not on the cover or final page, and be it days or months later it affords the reader that special, almost now unheard of opportunity to think, "Oh shit, the books I read before really matter", and it was planned, not a retcon, it was creative not clever manipulation. In the case in this issue you literally just have to sit back and enjoy the ambiance and just listen to the music.

Now do not mistake me, these issue don't force you to buy other titles to get a complete story to then decide whether the first one was worthwhile or not - it instead genuinely makes you want to explore the other titles, other corners, to follow that glimpse. It appeals to our curiosity. Who were those crazy kids in taht ugly green careand why did they jump me? If I want to find out I can go read Harbinger - but for now Aric has more important things to do like getting his pimp on at Mardi Gras. It's so not superhero-comic like yet completely rational to us, we don't question it, we just love it.

"House…Broken.."

We also see that Aric is not a ‘hero’ at this point, he certainly has a moral compass and belief system, but it is from his time. Aric may go out and bring back somebody’s head - without the body - you see him make gaffs and his frustration as he assimilates our language and modern customs but he draws apt parallels; muggers are bandits, and again we see those instances that keep us grounded.: In true comic fashion he foils an ambush and promises vengeance but what does he do next? He has to rest - the tranquility of the moment exhibits that this is what Aric has done his whole life - X-O Armor or not. You are able to use panels to showcases this when you are committed to the atmosphere by expressing it in the pages. His rite of passage, his understanding will take him where many of us thought to go in our own youth, in our own exploration of a brave new world, where stage names are given to performers on stage not to men or women in spandex.

The zero issue was actually released around the same time as the 19th issue yet can be read prior to the regular series. Personally, I prefer reading it after the first 6 issues I this case as it takes us to the activities just prior to the first page of the first issue and offers Aric in his own time, the birth of his rage, where in a short turbulent time span, Aric will change faiths, witness Roman demons, and find himself the prisoner of Aliens. It does not answer all the questions, but it attempts to, even finally telling us the fate of the King.

There is this semi-prevalent comparison between Iron Man and X-O Manowar, and I guess the comparison would have some veracity on a very superficial level. X-O Manowar done badly, could have been a catchpenny pastiche of Iron Man, a thought that may have been perpetuated by a crossover between the two characters in 1996. This hypothetical concern, at least in VALIANT’s early years was averted. Creative direction is not all about pushing boundaries and just seeing what can be done, it’s also about knowing what shouldn’t be done - and acknowledging the key word ‘direction’ is as important as the preceding word. On top of that, ‘creative’ doesn’t imply originality, the man lost in time, the man given something beyond him, a suit of kick ass armor, alien invasions, the rise of powerful Global Corporations exerting influence in our world, a barbarian warrior, these are elements any functional semi-aware person has seen or experienced in fiction or in the real world, but much in the way they took two, storied, pre-existing characters in Magnus and Solar to be the foundation of their new Universe, it is the application and the editorial sensibilities that make it work. There is a distinct ‘real science’ flavor to the universe that one would comically think and is contradicted by being ran amok by a mixture of iconic pulp facsimiles’, Conan finding Robotechnology, yet what occurs is this fascinating place - our own world, and the exploration of it from as many diverse perspectives as possible. I feel like the first family on Yancy Street in 1964, stalking down familiar but fictionalized roads, I know where I am, but something else is out there, watching, fighting, and drawing the same breath as me.

I’m holding mine for the hope for more, not just looking up in the sky, but in the corporate board room, the Jazz filled bar, the strip club, central park, N'awlins, stories can come from anywhere, and with the early issue of X-O Manowar, VALIANT tried to take us there.

Jay Tomio
The Bodhisattva

*Just a note: As I noted before VALIANT Entertainment apparently has plans to offer hardcover edition reprinting the early issues of X-O Manowar that will also include a new story by Bob Layton and cover by Sean Chen much in the way they released Harbinger: The Beginning earlier this year. I will next be reviewing Harbinger: The Beginning and for those interested in a recent VALIANT review please check out my thoughts on the RAI TPB that I reviewed earlier this year.

“Inside Straight” is a Wild Cards novel. The Wild Cards universe is a shared universe that was created in 1987 by George R. R. Martin. A number of authors write individual chapters/short stories focusing on a specific character, which Martin then edits together into an overall story. “Inside Straight” is the 18th novel set in the universe.

In the Wild Cards Universe, an alien virus that re-writes human DNA was released on Earth in 1946. It killed 90% of the people it infected. 9% were mutated into Jokers, who were deformed into a wide variety of non-human looking appearances. 1% gained superpowers as a result of their exposure and became known as “Aces”.

In 2008, 62 years have passed since the wild card was introduced into the world. An entire generation has grown up with it. The first generation of aces has grown up, become famous for their status and powers, had children, and in some cases died.

“Inside Straight” now focuses on the new generation, which has grown up with this as part of their lives and imprinted into society’s popular culture. Familiarity with the other books is not necessary. Many of the heroes and events from those books are spoken about, often reverently, by this younger generation. These were the stories that they’d heard every day as they grew up. These were their childhood heroes, and the people that they looked up to. “Inside Straight” does a good job of weaving that into a rich history of the world.

Even when one has superpowers, there are enough other aces around that it is a struggle to stand out, or to find one’ niche in the universe. “Inside Straight” firmly plugs into the culture of the day. On the very first page of the book Daniel Abraham brings us the character of Jonathan Hive, as seen through the postings he makes on his blog. The very first sentence of the book sends the message that this character is going to be edgy, complex, well detailed, and easy for the reader to relate to, whether he has an ace ability to not. Mr. Hive’s ability is that he can turn into a swarm of wasps. In spite of that, he has other ambitions and dreams. He wants to be a writer. His perspectives as seen through his blog are hilarious, brilliant, and serve to continue to tie the various chapters of the book together as the larger plot continues to unfold. I especially liked the blog chapters in the book. It was very cool to see a character just casually talking directly to us, the reader. The style also provided much of the comic relief in the book.

Jonathan Hive knows that what he needs to get his foot in the door of a writing career is exposure. He needs more people to read his blog. So to get that exposure he does what many people in the 2007 real world do. He appears on a reality TV show.

He is not alone. He is joined by a unique and varied cast of characters, such as Jetboy, Drummer Boy, Stuntman, the Maharajah, Water Lilly, Rosa Lotera, Jade Blossom, Diver, Digger Downs, Brave Hawk, Mistral, The Candle, Toad Man, Spasm, Father Henry Obst, Hard Hat, The Amazing Bubbles, Tiffani, Rustbelt, Earth Witch, Curveball, and Wild Fox.

“American Hero” will give one lucky ace the chance to win a million dollars and become the next big ace hero. Not only that but it gave me chapter and chapters of amusement and laughter. This reality show was better done on paper than most reality shows I’ve ever watched. The authors nailed the character interactions, as all the contestants interacted in the house and in their various team challenges for the show. Personalities came together and clashed. Certain ace abilities were more spectacular than others. Some were downright comical. But were any of them useless? That was part of the lesson of the reality show and of the book as a whole.

There’s much more to the book than a bunch of superheroes competing in a reality show. On the other side of the world there is big trouble in Egypt. A new Caliph had united Syria, Palestine, Iraq, Jordan, and Saudi Arabia, and now Egypt, under his rule. Unified Muslim rule was beginning to sweep the Middle East. But in Egypt 6000 + years of culture had caused many Jokers to mutate to the appearance of ancient Egyptian gods and other beings from their mythology. This had led to a rebirth of the old religion that had been in place before the rise of Islam or Christianity. Now in 2008 the rise of a new religious movement and the rise of the old were clashing violently. Not that anyone in the United States was noticing, as the “American Hero” craze swept the nation.

Have no fear. Everything meshes together. Jonathan Hive and his blog is the thread that weaves its way through the story until the big “Aha” moments when it all comes together. “Inside Straight” brilliantly pulls no punches, whether it be characters with colorful language, issues of sexuality, issues of race, the fact that many characters are deep and are not entirely what they appear to be, or just being brave enough to put it out there that even if someone is a superhero sometimes they will die in the performance of heroic duty. This is not “Superfriends” where everyone returns back to the Hall of Justice unscathed to fight another day. If I had to compare it to anything it’s like “Heroes”. But Wild Cards and its group of authors came up with this idea 19 years ago.

“Inside Straight” is a brilliant rendition of people with super powers living in a real and contemporary world. In some cases they are just trying to live normal lives. Almost every contestant gets a chance throughout the various chapters to move to the forefront for character development. The chapters are each told from the perspective of a particular character, so the book gives many opportunities to get into the head of one character after another.

I can say this without a doubt for “Inside Straight”. This is the 22nd book that I’ve reviewed for the site. It was funny. It was deep. It was original (I’ve not read any other books in the Wild Cards universe. In fact I have to admit that I’d never heard of it). In my opinion this is the best book I’ve read so far. That includes my two beloved DragonLance novels. It takes a pretty original telling of the superhero concept to get my attention. I am not a comic book fan. Tales of invulnerable superheroes flying around are usually dull to me. But these characters are not indestructible superbeings who can only be foiled by radioactive rocks from outer space, being bathed in sunlight, from a red star, or other Achilles’ Heels so exotic that it stretches my suspension of disbelief to see them manage to appear with regularity. Most of the characters in this book are regular people, most with regular jobs, who “drew an ace” and happen to have an ability as a result of their response to the alien virus which did not destroy their lives.

I would never have thought that a “book by committee” could have come together so cohesively and seamlessly. I wondered if there would be any inconsistency in character personality or behavior as we saw them through the eyes of a different author. That never happened. I absolutely give a standing ovation to the fine writing of Daniel Abraham, Melinda M. Snodgrass, Carrie Vaughn, Michael Cassutt, Caroline Spector, John Jos Miller, George R. R. Martin, Ian Tregillis, and S.L. Farrell, and to the outstanding editing done by George R.R. Martin. “Inside Straight” makes me re-write my rating scale. I’ve given several other 10’s over the course of the previous 21 books. Based on that I would absolutely have to give “Inside Straight” an 11.

Identity Crisis is a DC mini-series that love or hate is a legitimate benchmark on the DC timeline noting the company’s trends as the beginning of a shift in their line’s direction as a whole. While being far removed from my introduction to the DC Universe, as I had been a fan of several characters and runs at one time or another prior to reading it, it is the series that made me a fan of the DC Universe and ultimately is the series I credit for bringing me back to the hobby itself after more than a decade away. I was what I’d call a Marvel-fan boy and excluding scattered reads I’d extend that to not even thinking DC so much as fell off as much as me not ever being alive when it was ever ‘on’. One day, no longer a comic collector or reader, a chance encounter led a stranger to loan me this series in its collected trade paperback form and in a way that watching the first Superman movie introduced me to the concept of heroism, this story felt like my first encounter with characters and institutions I had known for years but hadn’t met yet. When reading the series it is your fan boy subconscious that is stimulated , as someone who had never read the Brave and the Bold, when Meltzer invokes the title in story you intuitively know it is significant, you know it is part of comic book lore that still tugs at you when there was never a previous tangible connection.

Whodunit Love Story…

The seven issue miniseries is written by Brad Meltzer, a bestselling novelist, and Identity Crisis is in its most basic sense, a classic old-fashioned murder mystery; the targets seemingly the spouses and/or loved ones of the heroes themselves. The wife of the Ralph Dibney, the Elongated Man, Sue Dibny, herself a fixture in the DCU is murdered at her home as she sets up a surprise for her Husband – the first time she has ever been able to fool her husband for his birthday - her pregnancy. It is act that will rock the core of the DC Universe, and expose a rot in the legacy of the heroes that turns into a debate of the definition of a hero and the reality of it. It will tear it down and leave it as a hanging query to be answered every issue of ever title afterwards. Something to prove, something to live up to, a mantle earned daily, never to be taken for granted by those they serve and more importantly amongst themselves.

The Crimes…

The murder of Sue is the first crime revealed but not the first committed and with it answers to a question never asked – what readers accepted a leap of faith – dealing with how Heroes have been able to keep their and the identity of their families and loved ones a secret from villains possessing power or resources that would make one believe such information would be impossible to keep from. Amidst telepaths, time travelers, geniuses, magicians, demigods, and aliens among others, how are such secrets maintained? They burnt Prometheus. A group within The JLA had been in the practice of having Zatanna mind-wipe certain adversaries to protect themselves. It is one of these former victims who became the chief suspect, a villain we have come to know as being rather incompetent even with formidable powers, Dr. Light. We learn that Dr. Light previously infiltrated the Watchtower only to find Sue alone and they would remain so until he was caught mid-rape by the JLA. He is subdued and a decision is made that would become semi-policy – it’s always the hardest the first time – he would be brainwashed and made a shadow of his former self (the one we know). It would not be the worst of their deeds…

Batman returned, and mortal, just a man, he charges the rest of the league – Hawkman, Flash, Ralph, Zatanna, Green Arrow, Black Canary, Green Lantern, Atom and what would occur would then start the schism that would create the true Dark Knight and would tear the Justice League apart. This is Metzler’s assault on our heroes, their home, the DC Universe as a whole but most importantly reader expectation.

The Trinity…

What Meltzer is able to capture is that truly iconic quality possessed by the trio that is known throughout the hobby as the Big Three. No matter what triumphs another company or even DC will have, no matter what the flavor of the month or even decade is, no other characters will assume the position of Superman, Batman, and Wonder Woman – The Trinity. They are the very foundation of the current superhero genre, not the first, not perhaps the best selling in a given Diamond report, but they are the benchmark for everything that occurs afterward either as facsimiles or reaction. They are at the same time classic and the standard, and even though a title like Wonder Woman has struggled to find a consistent audience or benefited from as successful a modern retelling like Batman or Superman, her in-comic presence is one that befits her permanent stature. To construct a story that could be viewed as a viable candidate for being described as the starting point of everything that would come after from DC and to tip toe the line of having the Big 3 in subsidiary roles but still loom large via how they interjected them in the storyline was a large part of what became policy. What we see is DC acknowledge the position of the three, they don’t refute or run away from it, and they separate by embracing it and having the other characters – pantheons themselves in any other company, like the Flash, Green Lantern, Hawkman, Green Arrow, the Atom, Robin, the Elongated Man, Zatanna, members of the mighty Justice League, the classic Justice Society, and Teen Titans acknowledge this without diminishing themselves. It offers a unique vantage of gods from the perspectives of heroes and validates an understood hierarchy as if the rest of the DC all broke the fourth wall for a moment and winked at us - we know.

The Essence…

Ultimately I have issues with the actual story, there is a hokiness to the ending, and while a showdown between the JLA and Deathstroke is the stuff of fan boy gushery, the scene ultimately feels cheapened because – simply stated - it’s rather stupid. Don’t get me wrong, Deathstroke is pimp, but he’s not Doomsday* – Flash and a Green Lantern? Isn’t this the guy that historically gets thwarted by the Teen Titans? I understand that this was supposed to be a vehicle to heighten the stakes by heightening the villains themselves, and I love the idea, but this particular transition was just a bit over board and it would succeed as a legacy much better than it does in-story. I'm definitely for the result, but how we got there felt a bit odd. If nothing else it served as the action scene that needs to be thrown in.

As noted above however Meltzer hits the moments with unbelievable precision, his understanding of not only these characters and where they have to go to be relevant and compelling beyond this series is dead on. You walk away from this series with the feeling you just found a new best friend, but you have known each other forever; he maximises moments, and makes them part of the permanent tapestry of storied characters. Meltzer brings intangibles that negates some of the negative tangibles of the story itself – he is the Mark Lemke squared – and is the writer that I credit to introducing me to DC and the characters that all others aspire to. His is a seven issue crash course, that has turned into a love affair, and the series fulfilled the promise that came with it when it was handed to me: If you don’t know Superman, Batman, and Wonder Woman – you cannot claim you love comic books, as you don’t have the bible to validate preaching of any other scripture be it labeled Love and Rockets, Bone, Blankets, Maus, Eightball, or the Endless.

I’m not at all sure there is a finer example of universe start -off point for a new reader while still being a story that has impact to long-time fans. You may not love the Elongated man, but you will love, cry, smile, - you will feel Ralph Dibny.

Riches to Rags…

When a book goes beyond simply being successful it is because the writer and penciler create this synergy that transcends achievement in either facet and becomes a storytelling accomplishment. Modern examples include combo like Moore and Bolland, Gaiman and McKean, Moore and Totleben, Ellis and Cassady, Ennis and Dillon, Shooter and Lapham, Moore and Ha, Miller and Mazzucchelli, Moore and Gibbons, and Morales delivers his most powerful, meaningful work to date that dabbles in that company. His pencils make scenes like a meeting with the Spectre – the Green Lantern to prior generation – and Green Arrow into a heartfelt chat between old friends: Ollie and Hal that goes back to days of O’Neil and Adams. The way Wonder Woman was rendered in her brief appearance shows the proper majesty an encounter; the look of horror on Tim Drake as Bruce Wayne embraces him; the pure love emanating from Ralph when speaking about his wife…she saw him, the grief - twitch and all - of a husband. Rags Morales has put his stamp on a work that is unique in that it occurs in continuity and involves touches on so many. I’m not sure I’d describe Morales, - whose work in VALIANTS’s Turok I also admired - as an all-time penciler or one that will come to represent the cream of an era but he has under his belt a project that stands artistically as an achievement It’s a legitimate top shelf effort in my mind that’s a label people don’t like to give modern art – but they’d be lacking for not doing so. Art and story really were as one here, in a way it wasn’t in say another major storyline like Civil War where McNiven (minus a few instances in the final issue) really delivered first-rate work but Millar never exhibited the desire to write dialogue that would be appropriate for anyone but John Cena, and didn't display his range as a writer.

Prefunctionary (Over) Reaction…

Originally this section of the review had about a page and half on some of the reaction this series. My final decision was to remove it as I’m trying to get away from reacting to reactions as honestly when I read the book the issues in question didn't even occur to me. Call it being socially unaware, simple dimwittedness, whatever, I tend to view it as not practicing in actively looking for elements to be offended by. I think I’m known to be able to identify layers, and strands of storytelling (whether existing or not!) but I don’t read looking for blanks to fire. Personal reflection equals content, the best ammo for a review in my mind. There are some thoughts that some may find interesting regarding the rape of Sue Dibny and I suggest googling them to get that angle from others. They just weren’t part of my original experience and my reviews are about my sandbox not the playground. Back to a comic book…

I read the story as a fictional tragedy. The Dibny family - and thus the DC universe - became family and turned Doctor Light into public enemy number one, but we were conflicted. He didn’t respond to violation with violation - indeed it was the opposite. Our heroes did. There have been failures in scattered call backs to the series and some apparent continuity gaffs regarding background appearances and while it speaks on some amount of sloppiness it also speaks on the undertaking itself; no foundation is without its cracks originating from above and below and Identity Crisis is no different but it succeeds at being an evolution that occurs overnight; it’s arriving at the summit and finding an infinite staircase.

Godfall…

No, not the horrific, puerility-personified Superman story by Kelly and Caldwell, but speaking on the effects of the occurrences in Identity Crisis would effect the entire DC you and in a series that would come out later the fallout and ramifications of Identity Crisis are summed up rather aptly by the most unlikely of characters when in the series Villains United – Catman – tells a smug Green Arrow:

What occurs at the top reverberates and is felt by everyone beneath. These are not just our heroes, they are the heroes of heroes, they are what villains or what the anti-hero couldn’t be but still - from somewhere - admire. The destruction of that truth…well, I have always said a good story is one that continues and lives past it's pages.

The next day, my new friend - after giving him back his book - talked comics. The first time I had done so in my adult life.

Jay Tomio
The Bodhisattva

_{*as dumb as Doomsday admittedly is}

Trinity Blood is a reprint of a 2001 collection of stories. This book is the first of 6 volumes and is comprised of four short stories about characters that are a part of the Vatican’s AX Agency to combat vampires. Each story is connected to each other but this is not just one single story in four parts. Each section is completely separated from the rest with the exception of the last in which some events that occurred in a previous section were mentioned. Otherwise, only the characters and their mission are connected. Of the characters we meet, Father Abel Nightroad seems to be the author’s favorite. This seemingly mild-mannered and clumsy priest is also a deadly vampire killer. Other characters are Gunslinger or Tres Iqus, who is exactly what his name says, a literal killing machine; Hugue de Watteau, codename Sword Dancer is the one I found most interesting. Not only did we get a bit of his background, it was an interesting story that made me want to investigate the hints further.

While the characters and stories are fun and interesting, they come off as very comic book-like. A great deal of this may be due to the translation of the dialog, much of it sounds wrong for the characters and setting. After finishing the book I did a bit of research and apparently this book was later turned into actual comic books. I can understand the draw for a comic book from these stories. They have that over-the-top heroic feel that many comic books favor.

I found the book to be easily readable, fairly entertaining and at the very least, very nicely illustrated. I found it a bit simplistic, especially most of the dialog – though again, this may be attributed to the translator and not the original author. It will most likely appeal to comic and manga fans as well as other young adult readers.

Chance Fortune takes place in a world that has a prevalent super-hero population. The goal for those with powers is to be accepted into the Burlington Academy for the Superhuman. Josh Blevins has one goal in life, to be a superhero. But there is a problem; he has absolutely no powers to speak of. But his luck changes when a retired superhero, Captain Fearless, moves into his neighborhood. After Josh discovers his true identity, Captain Fearless agrees to train Joshua and teach him everything that he knows. When Josh’s application to the Academy is rejected Captain Fearless interjects and pulls some strings creating a false identity for Josh, Chance Fortune, whose power is unnaturally good luck. When Chance gets accepted into the academy Josh is off to new adventures.

Berryhill has an obvious love for all things comic book and pulp related and it shows on nearly every page of Chance Fortune. The obvious glee that is readily apparent on every page become infectious as the story kicks into gear. There are numerous references to comic books, super heroes, movies, books, comic book creators, silver age super heroes and pulp heroes, I swear there was even a reference to the movies Stripes and The Outsiders but I cant prove that. As engaging as the central story is, picking up on the myriad of references becomes its own game. Now, if the book were only homage then it would be a flat reading experience, but Berryhill has a firm grasp on the pulp type story that he is paying homage to that his story stands on its own.

One of my favorite moments happens when he first arrives at the Academy Josh and the other new students are introduced to the presiding council of seven super heroes (most if not all of whom should be recognized). As each super hero is introduced it is reminiscent of a professional wrestling event with each one receiving their own theme music and dramatic entrances. The scene is indicative of the fun tone of the book; I couldn’t help but smile when reading this and could easily imagine Berryhill doing the same while writing it.

Upon arrival Chance is grouped together with other students. They become a team and will train together and work their way through battles that are scored on school wide inter class rankings. The other members of Chances team are Psy-Chick, Shocker, Gothika, Space Cadet, Iron Maiden, and Private Justice and together they are known as The Outlaws. As they coalesce as a team and rise in the ranks the action culminates in a tournament with an older class of students that have proven themselves to be devious, underhanded and the arch nemesis' of The Outlaws.

We discover that there is an enforced hierarchy at the school that extends from the highest levels to the lowest. The students are divided into a rigid caste system: there are demigods (those with the highest level of powers), mortals (those with one specific power) and adventurers (those with minor unique attributes at best). All of this serves to divide the populace of the school and sets up the necessary battle lines of the "haves" and "have not’s" that most stories set in a high school type environment seem to have.

The battles, which serve as real world tests and lessons in a controlled environment, are some of the highlights of the book. At times this is reminiscent of the battle school in Enders Game and fans of that book should check this one out as well. These battle lessons are not glossed over. They are conveyed in tight action packed prose that lasts for multiple chapters. The details that are given puts one right in the middle of all that is happening on the battle field. Berryhill never loses track of any of the participants and keeps everything moving swiftly until their conclusion.

Appropriately for its pulp fiction aspirations it ends on a cliff-hanger. The worse part is that we have to wait for the other books to come out. This book is a lot of fun and a light-hearted read. I look forward to seeing what the further adventures of Chance Fortune & The Outlaws bring us.


-Brian Lindenmuth

Isiah, a powerful immortal, works to keep balance in the world. This time he has to save an evil soul from the devil, to stop a worse evil and avert a disaster. However, the devil is determined to have this soul and Isiah battles demon’s to try and keep the Balance.

Personal Thoughts – The first chapter opens with Isiah facing the devil to retain the soul of an evil murderer. Here we glimpse the power of Isiah, centuries old, who’s developed incredible abilities in his quest to keep the Balance. The fast pace of the first chapter continues throughout; making for, at times, an exciting and tense plotline.

As the story unfolds we learn more about Isiah’s past and how he became of a tool of the Balance and I couldn’t help but be reminded of Connor from the Islander movie. Perhaps this was unintentional, but there was an influence.

This is very much a good verses evil story, were an evil man has to kill another evil man, to prevent the death of a good person. There is a lot of pondering on the why’s and wherefores of human nature throughout this story and sometimes I found the character’s reflected a stereo typical image.

The idea’s of the Balance was interesting and I was hoping for something a little different and felt it was a shame that the author missed the opportunity to be more risky in his approach. It’s easier to deal with a story dealing with evil to beget evil and save the good. However, wouldn’t it of been more interesting if Isiah had to prevent a good person from living, as that could also shift the Balance and cause future calamity. This of course would have been a more unsettling subject matter, one I felt the author decided to avoid.

There is plenty of excitement in the story if you’re looking for an easy read. However, don’t expect anything different or refreshing. A good reasonably good debut from this author and I hope to see him tackle more risky storylines in future as there is plenty of scope with his Isiah character.

The title itself has a simultaneous effect on Marvel fanmen; one that stimulates boundless enthusiasm, an ebullience that can only surround one of a handful of Marvel’s most prominent characters or DC’s Big Two. This reaction must soon be followed by a chronic déjà vu-like sensation, as the terms ‘Wolverine’ and ‘origin’ have been associated with each other much too often over decades for it to still be a mystery. Indeed, I vividly remember reading past promises, a wide-eyed child picking up issue #50 Wolverine - die cut cover and all – and through another mini-series (entitled Origin), and now a new monthly series that finally chronicles a Logan armed anew from recent occurrences gifted to him in Marvel's House of M crossover.

Aldous Huxley said, “Every man’s memory is his private literature”, and with this series we are given the opportunity to read the past as Logan chooses to encounter it. The beginning – and by this I mean the first sentence - is apt. The questioning of Logan’s motto, an axiom in Marvel lore; the first words we see after a promising cover by Joe Queseda (whose work I have enjoyed since he was penciling Colin King), a dark, feral Logan and a wolf staring at their truth revealing reflections belies the motley coloring of the book which may be the single most evident detraction of the first issue. The coloring is atrocious, the contrast from cover to interior presenting a synthetic feel from the beginning that is only bearable due to pleasure of seeing Wolverine donning the Byrne brown and tan again.

The first issue is essentially present-day Wolverine breaking into the White House to apprehend a lead that is a government official, only to cause the appearance of a Shiva to kill the lead. It felt like filler deemed necessary to reintroduce a character in the end to set up a confrontational reunion in the next issue. Origins is written by Daniel Way, and due to not being familiar with his prior work I can’t say whether he is regularly an ineffective writer or not, but this is not an effort that would convince people quantifying the potential value of adding the title to their prospective pull list to do so in my mind. It simply lacks any form of tension, sequences simply occur, leaving no lasting residue, making thoughts lead immediately to the next issue, and not pondering what was just read. The art is by Steve Dillon who collaborated with Garth Ennis on the simply sublime Preacher run at Vertigo, yet even if we somehow overlook the aforementioned coloring debacle, this title seems not to be the proper canvas for Dillon’s unique abilities. It just doesn’t inspire, and in this regard perhaps paralleling the narrative too closely. Regardless of what reason one picks up this issue beyond the beginnings or continuation of completist motivation, I can see perhaps only the basest of expectations being either fulfilled or confronted with an equally stimulating alternative with this issue.

I know the sword wielding Wolverine will most likely be the subject of most questioning quips, and admittedly Wolverine carrying a sword is a lot like Megatron carrying a sawed–off, but the far eastern aspect of Logan, always represented a spiritual dynamic to the character I enjoyed, and the sword is symbolic of the warrior, and what is Wolverine if not Marvel’s ultimate every-man warrior?

Luckily there is time, and continued covers by Joe Q and the popularity of Wolverine will give the series a long line to dangle out to fans, but issue one is simply more of the continuation of a seemingly inexhaustive reel - void of hook or meat at the end of it.

Jay Tomio
The Bodhisattva

My favorite comic book series is Ultimate Spiderman. It always has great artwork, battles, and guest appearances. It doesn’t always have the best story, but it’s consistent and no other book incites more laughs than this. Example: Black Cat was on spideys jock for a while, (stalker) when she gets him alone and makes a move, he’s so hor… Um yea, that he lets her take his mask off. When Black Cat sees that Peter is just a kid, she’s so horrified that she throws up right on his feet then runs away (priceless).

So Spidey is out battling some goon calling himself The Ringer, when his girlfriend Kitty Pride (X-men) drops in to give him a hand. After the ensuing battle, and a make out session, Kitty heads home to find the Mansion empty. (Spoiler Warning) Kitty is soon attacked by who she thinks is Wolverine and Storm and in her distress sends the X-Jet back to Peter for help(Spoiler Ended).

This month’s story was okay. It continues Peter’s relationship with Kitty, and leads into next month’s introduction of a new Deadpool. [Always Recommended]

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