REVIEW: Death Moth #1

Creator: Joseph Morris
Publisher: Torc Press
Review: Art Bee

A couple of weeks ago our own Cody “Madman” Miller messaged me and asked me a question. “If I give you a comic book, will you promise to review it?” Never afraid of trying something new, I agreed very quickly. My expectation was a really off the wall comic, and I was determined to find something positive about it. Cody presented the comic to me this past weekend. The cover told me a lot about what I was in for.

The good news is I am still alive, but it was rocky for a minute. The urges of self-mutilation surfaced and threatened to inhibit my review writing capabilities.

The cover of this comic could only have been more effective if it was emblazoned with a biohazard symbol, although that would not keep everyone from opening it. Unfortunately the cover IS the best part and that is not saying much. It is mediocre at best. The death moth that has been drawn on the cover looks like the moth version of Nemo.

Take a breath and open the cover . . .

On the inside cover is the following statement:

"Warning!
This comic is not for children!
Viewer discretion is advised."

This is partially true. After reading the entire comic, “children” should be changed to “anyone”.

Death Moth is about Jack Hawksmoth, who happens to be a super hero. Anyway he gets murdered, goes to hell, and comes back for revenge . . . sound familiar? This guy even jacks the emblem of Spawn. HEY, TODD MCFARLANE WANTS HIS IDEA BACK! The story is really a shit sandwich. It is broken, hard to follow, and pointless. The writer obviously created this comic to publish his nasty minded filth, which he must view as creative.

Most solo independent comic creators who I have met or read are artistic and creative, so they need no one else to be part of the project. In the case of Death Moth, Joseph Morris needs to hire an artist, writer, and letter before publishing any more trash. The artwork is completely horrific. There is nothing well drawn here. After finishing the comic I had the urge to gouge out my eye balls, soak them in kerosene, ignite them, and overnight the ashes to Joseph.

The last point I need to make about this comic is Joseph’s focus. He has a crude and very, very disturbing fascination with penises. A description cannot be provided, because I have been violated enough already and refuse to regurgitate that crap. Trust me it is bad . . . very bad.

Cody “Madman” Miller can be expecting a groin punch in the near future followed by the return of this comic. Now I am going to curl up in a corner and cry. I may need therapy.

REVIEW: Bulletpoof Chicken

Script/Letters: Jon Westhoff
Art (1-8), 19) Bobgar Onnelas
Art (9-18, 20-29) Mat Nixon
Colors: David Halvorson
Review: Cody "Madman" Miller

I decided to do a review of a back issue this time 'round the prickly pear, at least that was my intention. The plan was to review quite possibly my favorite comic in the whole of my funny book horde, Undead Zombie Biker Chickens From Hell and Other Tales #1 . . . yes. It doesn’t have the greatest artwork or the greatest writing, but the little bundle of awesome is wrapped in my favorite cover of all time. It does indeed have an undead zombie biker chicken from Hell perched majestically atop his chopper complete with wheels o’ fire. Just picture the Ghost Rider but with a flaming chicken skull complete with that little red flappy thing that chickens have . . . it’s a gottdamn thing of beauty.

So anyway, I dug my ol' friend out of the short box that contains my most prized comics and that’s when I remembered I had purchased another chicken comic at a con a while back and hadn't gotten around to reading yet.
Poof! Enter Bulletproof Chicken.

Bulletproof and his partner are on the case of the Cluck Twins. BP doesn’t let people do bad shit in his city and live to talk about it. He’s been doing this for years. It’s just another day for the cock with a glock. Today would be different . . . sold.

This adventure starts with Bulletproof Chicken chicken-kicking his way through the wall of a restaurant while dropping a plethora of F-bombs. Shortly thereafter (one panel to be exact), BP and his partner Ed engage the evil lizard men behind the counter in a gun battle of epic proportions. Now, during this fight there is a guy in the background happily eating a chicken leg. At first I just thought this was meant to be some kind of corny ironic chicken nod. It turns out it kinda was because after all the Cluck Twin’s lizard lackeys are all dead, BP chicken-kicks a door in and there is Lisa, his hen, tied to a chair her left leg nothing but a bloody nub. That’s right, the Cluck Twin’s evil lizard lackeys fried it up and served it to the previously mentioned guy in the background. Kirkman, eat your heart out. That’s some demented shit.

Now enraged, BP puts on his mean face and chicken-kicks in another door (obviously his preferred method of dramatic entry) and faces off with one of the Cluck Twins. Bulletproof ends up blasting a cap in the evil doers face, but as it turns out Bulletproof isn’t so bulletproof and he is slain.

Fast forward 8 years into the future and Ed, BP’s old partner, is married with children to BP’s ex-wife (who now sports a robotic chicken leg). Ed gets a phone call from his old chief of police and is called in to inspect a crime scene. The scene is mass carnage with dead lizard dudes all hacked up and mutilated. Ed leaves the scene and shortly (2 panels to be exact) is busting in a room and there sits the Cluck Twin that was not shot 8 years earlier. As it turns out Ed and this Cluck Twin were in cahoots. The twin wanted his brother out of the picture and apparently Ed had a thing for BP’s wife. The two planned the whole attack 8 years earlier.
Bastards.

Shortly after Ed leaves (3 panels to be exact) he turns around and goes back in the Cluck’s office. He returns to find dead lizard lackeys and the evil Cluck Twin dead. The Cluck has a knife protruding from his forehead with a Business card from the restaurant where Bulletproof was killed. Ed rushes home but finds his hen and chicks murdered. With nothing to lose Ed heads to the aforementioned restaurant. Once inside Ed is confronted by the Cluck Twin who had been murdered 8 years prior in this very establishment. After the brief flash back ( 2.5 pages to be exact) explains that the Cluck had bionic part implants to cheat his way out of death. He explains how he also saved Bulletproof in the same manner. His plan was to control BP and make him do his bidding. Not long after this revelation (5 panels to be exact) as if on cue...BP crashes through the door again except this time he looks exactly like Robocop with a beak and robo-chicken legs. Then we are blessed with watching Robo-Bulletproof Chicken kill every living thing in the building (6 pages to be exact).
The End.

So, I confess, I was entertained. The story and characters were hilarious. I never take life to seriously. I will say the artwork could have been a bit more detailed. It was pretty bland in parts and came off as rushed and sloppy, but not to the point it hurt my eye holes. If given the chance I’d buy the 2nd issue in a heartbeat (7 heartbeats to be exact). Bulletproof Chicken now has a home in the mythical short box of awesome right next to Undead Zombie Biker Chickens From Hell. I guess I’ll need to make an official chicken section divider now . . . know what I mean Vern?

Interview with Ryan Browne 2014

Ladies and gentlemen, boys and girls, mollusks and Protozoa, if you're unfamiliar with the work of Ryan Browne you're doing yourself and the world of comics a disservice. Browne has worked on Bedlam, The Manhattan Projects, Smoke & Mirrors and various other sundry books. His penultimate funnybook is God Hates Astronauts. From its humble beginnings as a DIY indie book, GHA has steamrolled it's way to Image Comics and is now on Volume 2.
I hear it outsells The Walking Dead.
That's a complete lie. I've never heard that.

In the past, the Hammond Comics Blog has wrangled Ryan Browne and squeezed an interview or two out of him (found in our interview archive), and we figured it was about time for another 7 Questions with Ryan Browne.
So without much further ado about nothing:

Hammond Comics Blog Question #1: If God Hates Astronauts was ice cream, what flavor would it be?

Ryan Browne: Uh, seriously? Well clearly it would be Neapolitan Astronaut Ice Cream! NEXT QUESTION!

HCB Question #2: Do you prefer to comic book sober or buzzed on adult beverages?

RB: Stone cold sober! I save my drinkin' for answering interview questions.

HCB Question #2.5: Which one of your characters would you most like to be stranded on a deserted island with?

RB: The Impossible, of course! She could get me the hell out of there! MORE QUESTIONS, PLEASE.

HCB Question #3: What’s your favorite flavor of Snopple?

RB: Cran-Rasapple Pina-Coloda.

HCB Question #4: Have you ever driven a forklift?

RB: Funny you should ask that. I am currently driving one to Montana! I should really pay attention to the road instead of answer these-- OH $#!+!!!

HCB Question #5: Who is your favorite bearded man and why?

RB: I don't know who is, but I will tell you which bearded man isn't. This cop that is currently arresting me for vehicular homicide with a forklift has a big beard and I hate him.

HCB Question #6: In the event of a zombie apocalypse what would be your weapon of choice ?

RB: Well since I will be in jail for the rest of my life, I think I'll just sleep through the apocalypse in a comfy cell.

HCB Question #7: As a comic book writer do you consider having one or more extra nipples a super power?

RB: How can you ask me questions like this when I am facing a life sentence because of your stupid interview! I killed a man with a forklift and it is all your fault! CURSE YOU HAMMOCK COLON BLORG!!!

We at the Hammock Colon Blorg would like to thank Ryan Browne for his participation and continued support. I encourage all of you to buy his books, multiple copies even, as Mr. Browne is facing hefty legal fees in light of his recent forklift mishap.
With good behavior he should be eligible for parole in time for Hulk Hogans 90th birthday party.

Interview by: Cody "Madman" Miller

REVIEW: Wildfire Vol 1

Writer: Hawkins, Matt
Artist: Sejic, Linda
Review: Art Bee

Over the last two decades there has been a growing concern with the rising population and food production. “We’ll need to produce 70% more food by 2050 to sustain a world population expected to grow to 10 billion.” (http://techcrunch.com/2014/11/20/farm-2050/; accessed 11/20/14) With numbers like that, how can we produce more food with the same amount of land and resources? The answer is we can’t. This leads us to either finding more land and resources capable of growing crops or finding another scientific solution. Matt Hawkins and Linda Seijic have used this concept in their science fiction tale, Wildfire, from Image.

In Wildfire a group of scientists headed by botanist Dan Miller are working to solve this future dilemma by manipulating growth processes resulting in plants growing in a fraction of the normal time. At the beginning of the series the scientists are forced to give a demonstration before they are ready. They use a dandelion enclosed in a glass casing. The dandelion grew from a seed to a flower and the produced seeds in less than a minute. This was the success they were looking for, but due to an unfortunate clumsy accident the case was broken. This triggers the cascade of events that leads to the destruction of Los Angeles by plants taking over. “Wildfire” is the code name used by the government to indicate the uncontrolled spread of a biological agent.

Could you imagine the frantic “perfect lawn” people trying to keep ahead on dandelions that grow in less than a minute? That would be the death of many older people from the sheer heart attack rates alone.

This series from being to end (all four issues) was just incredible. Matt Hawkins built and conducted the story perfectly. Wildfire stayed on track and to the point while building great suspense. The characters were very dynamic and realistic with a spotlight-eager journalist, guilt driven scientist, and protocol bound military officer (just to mention a few).

Linda Sejic is a brilliant artist. Each issue is filled with beautiful and elegant artwork. In issue #3 (I believe), the reporter team is driving in a van. The image is looking at them through the windshield, and the windshield is reflecting the trees and surrounding objects without any loss in detail. Even all of her covers are absolutely gorgeous.

Wildfire was not listed as a mini-series which left me pretty sad when I found out that issue #4 was the last installment. At the end of the series they announce that Wildfire Vol. 2 will be in Fall of 2015. They give us the teaser showing that the plants have affected the insect population. Now if that does not sound exciting, you are not any kind of science fiction fan. The trade paperback for the series will be out on Dec. 3 for the awesome price of $14.99. I would suggest grabbing it and getting ready for the wildfire of insects next year. I hope people are stockpiling cans of Raid.

REVIEW: Death of Wolverine

Writer: Charles Soule
Penciller: Steve McNiven
Inker: Jay Leisten
Colorist: Justin Ponsor
Letterer: Chris Eliopoulos
Review by: Alexander J. Diaz

Wolverine, Weapon X. Logan, or any of the other names he has been called over the years, is one of Marvel’s top characters. Almost everybody loves him, or at least loves the action in his books. It's weird that such an amoral character has become such a guiding force in Marvel Comics, but he has and many thought he would always be there.

That fact has brought about this comic. The Big Two know that the only thing that sells more comics than a war or a crisis is killing a character, and killing a character that cannot die makes a good story. That is what put Marvel on the path to this comic, and (not-such-a-spoiler alert!) Wolverine does die. The problem is that if you’re taking the time to read this review then you know that comic characters come back to life all the time, so it loses its edge after a while.

We all know that Wolverine is coming back, especially since he has a new movie coming out in a few years. That means that the character will probably be brought back right before the movie premiers. The thing I take from this is that Wolverine will be out of the Marvel universe for a few years. That’s a long period of time to kill a top name character, so it is interesting move. I definitely went into this comic wondering how they would pull it off in a way that respected the character, and left you with the feeling of how are they going to get him out of this death. Oddly enough I think they did pull it off.

I loved the detail in the story, and the fact that they stayed true to the character. Logan went to his end alone, and that is how it should be. Wolverine is the loner of any team he is a part of, so making him face death alone was very necessary and believable. The other thing I liked was they didn’t show the antagonist’s eyes until Wolverine had the edge and that was only to show the fear he put in them. Before that moment it made the villain seem soulless, and I like little nuances that a reader only notices if he is looking for them, but play on your emotions even if you don’t notice. My biggest problem here is explaining how well they killed off Wolverine without ruining the book for the reader, so I won’t explain it. I’ll just say it was symbolically great, respectful of the character, and left the reader feeling, “how the hell are they going to bring him back from that?”

The coloring in this book was also great. The artist set the book right before sunset making the beginning very colorful and bright, not the dark tone you expect from a book that is going to be killing a character, but that's the point. This book isn’t about mourning Logan’s death, but celebrating the great life of the character. Even when Logan enters the baddies lair the colors don’t get dark, just cooler. It lets the reader know that Logan is ready to face his end if he must, and he does. The end of the book brings the colors back to their original palette of reds and oranges as the reader sees the sunset. It is great symbolism. We know it is Logan’s end, but we also know, thanks to the sun analogy that the artist throws your way, that the sun will rise again because it always does.

The lettering was great, but the awesome thing about this book was that it had more panels without the need for lettering than most. Logan is a character that lets his actions do the talking, and so it was for most of the panels for the book. It was more about the visuals, and as a comic reader, the pictures are what I am here to see. If the panels can do their jobs without words then I applaud the artists and writers of that book.

In the end, this book was great and actually very fitting for the character. I’m actually going to be sad when they bring him back because I don’t think they will ever be able to top this death for him. I like what the writer and artists did with this book and wish that all titles for the Big Two took this kind of care and detail into each story. I know this review is short, but without being able to go into detail for risk of ruining the story for those yet to read it I think it covers every aspect it can about this great story, so read this book if you can.

REVIEW: Second Avenue Caper

Writer: Joyce Brabner
Artist: Mark Zingarelli
Review: Will Dubbeld

The medium of graphic sequential storytelling is a funny one. Dozens of throwaway books are published per month, from major publishers to basement indies. All of these books are important to the preservation and propagation of the media but every so often a book is published that is important on a broader scale.

Second Avenue Caper is one of those books.

Many of our readers were not yet born in the early 1980s, many others young enough to only remember them through a hazy memory, like Vaseline smeared on a camera lens. The remainder, however, will vividly remember those early days when HIV first became prevalent, first as a problem relegated to the gay community, then becoming more widespread and branded an epidemic. Second Avenue Caper harkens back to those early days as a tightly knit group of friends in New Yorks gay community battles misconceptions, lack of medical care, and a general lack of public awareness about HIV/AIDS. The focal character is a nurse named Ray who takes to selling marijuana, first in order to supplement income, then to bankroll missions of mercy.

Experimental drug treatments that would alleviate the symptoms of HIV were available in Mexico at the time, not FDA approved, and this meant smuggling. Ray and his companions use the money from peddling drugs, favors garnered from running errands for the mob, and a sense of familial obligation to make runs across the Mexican border and secure medication for their community.

Although Second Avenue Caper seems largely framed around an altruistic moneymaking and smuggling scheme, the core of the book is about Ray and his group of friends. This is where Brabner's gift as a storyteller shines. The characters are bound, in many cases tighter than their own families, unified and fighting for the gay community and the lives of their peers. A rather sizable group of friends at the beginning of the book dwindles as members die, one by one, driving home the intense feeling of mortality that flows through Second Avenue Caper. Names, likenesses and locations are changed throughout the story, but the events depicted are true and serve as an excellent reminder of a darker time in our society, a heartfelt tribute to those who were there at the beginning, and those who didn't make it through.

I said before that I believe Second Avenue Caper to be an important book, showcasing a piece of American history that doesn't see much exposure in the comics industry. I don't mean in the way that Strangers in Paradise, or Bone, or Watchmen are important.
I believe it's important to society as a whole, not just amongst graphic novelists and comic book readers.

No time for love, Dr. Strange

Post: William R. Davis, Jr.

My love of comics was inherited from my much older brother. Being 15 years my elder and a social outcast, this meant two things: we had plenty in common, and he had an old light blue Oldsmobile that made plenty of visits to the comic shop. Once arriving there was plenty left of his part-time supermarket paycheck to get a nod from the man working behind the counter. Those were some nice memories of simpler times.

Although the Sorcerer Supreme can no longer boast a monthly title of his own, there has been plenty of talk recently about his upcoming feature film which could prove to be pretty exciting. Marvel should’ve chosen to revisit the old Asian stereotypes of Ditko and Lee’s initial Strange Tales. Those first four issues were the best hands down. There are undoubtedly plenty of people who would disagree, but I would argue: “What’s better than ancient Tibetan high fantasy and the dark arts?”
Boom. Argument won. There’s nothing better.

While most covet Strange Tales #110, give me #111. I can easily afford an 8.5 CGC #111, and instead of getting Johnny Storm confounded by mirrors on the cover, I can see him battling Asbestos Man, someone I am sure my brother faced at some point being a child of the 70s and 80s.
I heard they used it to make soup after they pulled it from the public school walls.

Marvel should’ve taken a moment to do something different with the casting, and methinks they need to kick Kahn to the curb, although we all know that this will never happen.
Nothing against Cumberbatch, though.
He’s pretty good for a white guy.
My point is this: Tibet, Greenwich Village, and black magic is a guaranteed box office hit. It would sure make me happy, anyway. Marvel street cred is at an all time high after Guardians of Galaxy, so I will buy a ticket hoping that it is incredible. At the very least it will give me a license to bitch about it with impunity. I can already see the fanboys on Twitter picking nits right now. I think we can all agree that the worst thing that can happen is a visit from the Ghost of the Last Samurai.
There is a reason that I am not the CEO of a blue chip company. In addition to being dangerously unqualified, it would’ve been awesome to watch the internet explode after saying that Marvel Studios has just cast Tom Cruise as the next Dr. Strange in an otherwise all Asian production. That would definitely be good for a grin.

REVIEW: Chilling Adventures of Sabrina #1

Story: Roberto Aguirre-Sacasa
Artwork: Robert Hack
Review: Will Dubbeld

It's that time of year again, ladies and gents. The air turns to chill, leaves change color and drop to loamy earth, and costumed urchins prowl the streets panhandling for treats.

It's the best time of the year for a stereotypical comic book/sci-fi/horror fanboy like yours truly. The time of the year when things go bump in the night and rap on your chamber door, when Jaime Lee Curtis runs like Hell from a Shatner-faced ghoul, and T-Bird, Tin-Tin and the boys set fire to Detroit.
Peter Cushing's Van Helsing smites Christopher Lee's Dracula with the holy hand of God and all those old Misfits records sound that much better.
Somewhere H.P. Lovecraft's shade nods approvingly.

I love it.

I'd love to say I spent the month of October rolling around in Pre-Code comic books, but alas even in reprinted form those things are a bit pricey. That said, I search instead for the next best thing.

Quick caveat: Rachel Rising is the best horror comic on the stands right now and the lot of you should be buying it. For purposes of this experiment we'll take RR out of the equation.

Yoe Books tossed us a few affordable Pre-Code reprints, but not enough to slake my thirst. At one point my LCS was kind enough to stock a dollar box with a good sized run of Tomb of Dracula and that was a godsend.
Finally, a decent amount of publishers (who will remain unnamed) print a decent amount of horror titles (that will remain unnamed) written by a decent amount of highly lauded creators (who will remain unnamed). Unfortunately many if not all of these wildly popular horror comics are sub-par. C minus books full of trite human drama, eye-rollingly bad twists, or straight up barrel-scraping torture porn.
Few, if any, current horror books channel that lightning-in-a-bottle magic of an old EC comic or a Hammer Studios gothic horror film.

So I figured, what the Hell, I'll check out this Archie Comics zombie apocalypse book.

Impressed with that little endeavor, my brow raised with inquisitive scrutiny when I heard about a Sabrina comic in the same vein from Archie Comics.
I debated, hemmed and hawed, and finally opted out of pre-ordering the book.
Flash forward to Halloween Comicfest at my local brick and mortar shop and . . . well it is the season and it WAS Halloween Comicfest and there was only one copy left on the stand and alright fine give it to me.

Chilling Adventures of Sabrina #1 has a gimmick cover, a die-cut, nothing as 1990s cliched as a lenticular 3-D cover or, god forbid, a hologram, so it's a good gimmick on thicker, nearly cardstock paper. The interior pages feel almost a hybrid of slicks and newsprint and the book even smells unique, as if blended from a nontraditional paper recipe.

The art is fantastic, conjuring stylistic images reminiscent of 1970s horror comic magazines.
The full, magazine-sized books mind you, not the standard floppies.
Vampire Tales and its ilk.
The color palette is subdued, almost dull, with slashes of bright color here and there for a beautiful contrast on page and panel.

Roberto Aguirre-Sacasa opens the tale on October, 31st, 1951. Sabrina's first birthday.
It seems young Sabrina Spellman (I know, bear with me...) is the daughter of a Satan-summoning warlock who has promised his little girls upbringing to a witch coven.
Mrs. Spellman will be having none of these monkeyshines and she flees with baby Sabrina into the Dark Foreboding Woods.

Needless to say it doesn't end well for Mrs. Spellman...

After the brief intro, the book details several points in Sabrina's life and her burgeoning sorcerous abilities.
1957, 1962, and finally settling on 1964 as young Sabrina readies herself for high school, helped along by her cousin Ambrose and her 2 maiden aunts. We're introduced to her smart-mouthed cat familiar, Salem, a potential love interest, and by the end of the book we see a succubus summoned from Gehenna who appears to be a future antagonist for the teenage witch.

The book is great, not necessarily the elixir I need to fill the horror comic void, but a great book nevertheless. It's extremely atmospheric, a bit thick, stuffy like an episode of Dark Shadows.
The one with Jonathan Frid.
Not with Jack Sparrow...

There's more than a couple of Easter Eggs enclosed as well.
Ambrose mentions sending someone to "the cornfield" (canny Twilight Zone fans take note), his cobra familiars are scions of the Roman snake god Glycon (canny Alan Moore fans take note), and the two coed witches who summoned the succubus appear to be thinly veiled pastiches of Archie Comics own Betty and Veronica.

I'm on the fence as to whether I'll continue to pick this book up on the regular or not, but there's plenty of worse choices a reader could make. The script and art are solid thus far; it'll be up to the story arc's progression to pass final judgement on the book.
Curiosity has been piqued.

I'm off to convince Barbara Steele to read ghost stories for my bedtime. Until next time, kiddies, candy apples and razor blades...

REVIEW: Veil #1-5

Writer: Greg Rucka
Artist: Toni Fejzula
Review: William R. Davis Jr.

It feels great to be back writing for the HCB after a long hiatus. Since my last contribution, I have since moved into the vast frontier that is mainland China. Telling you that I have stories for days would be the understatement of the century, but if I can offer a quick vignette: just picture me walking down a trash-strewn open air market, eating a fresh slice of cantaloupe on a stick, and to my left squatting on the pavement is a small child peeing into the street whilst hundreds of unaffected onlookers riding bicycles pass anonymously.

But let’s be honest, I know you’re not here to bask in any of the nonsense that has become my life; your Twitter hashtag has directed you to this site because you are wondering whether to purchase this freshly completed miniseries by writer Greg Rucka and artist Toni Fejzula.

Sadly enough it is my sworn duty to inform you that Veil is a completely moot release from Dark Horse Comics. From the wildly inconsistent art, hurry up and wait storytelling, and extremely poor use of space, rest assured that if you are still wanting to take the plunge despite this strongly worded caveat all five issues of Veil are destined to be found in the dollar bin at your local LCS quicker than you can say Plebian.

Almost nothing happens in issue one, and if I didn’t have a deadline to meet my journey would have stopped there. Things start to get mildly interesting around issue five, but by then it was much too late for William Q. Comicbookreader. I am only one man.

Upon finishing the series, I spent a good ten minutes smoking a cheap cigar and reflecting on what I just read. As a concept, Veil is not bad. The poorly developed characters, sophomoric dialogue, and shoddy pencil work are what doom this series from even grasping at the hem of its potential. It fails as a horror comic and as a thriller. The misogynistic overtones and forgettable characters are merely the icing on the cake.

Until next month dear readers, I bid you adieu, or as we say in China: “Vaya con dios, motherfuckers.”

REVIEW: Translucid #1 (of 6)

Writers/creators : Claudio Sanchez & Chondra Echert
Illustrator: Daniel Bayliss
Colors: Adam Metcalfe
Letters: Ed Dukeshire
Review: Cody "Madman" Miller
​

My coffee table eats things. To be more specific I suppose it’s the dark void under the coffee table and not the table itself. The argument could also be made that the shadow the table casts is just an extension of the table itself . . .
Based on this final point I’d just like to go ahead and stick with my opening statement. My coffee table eats things.

Sometimes my coffee table regurgitates random things from time to time. That is the very circumstance in which we now find ourselves.
I found this book sandwiched between issue #3 and #4 of the David Hine Spider-Man Noir books that I had dug out of the amoeba with the intention of rereading an old favorite. Unfortunately my coffee table had other plans and into the void they went . . . until today.

I have no idea where this Translucid book came from. I don’t remember buying it. I don’t remember reading it, in fact I don’t think I've ever laid mortal eyes on this book before.
Ever.
I’m fairly certain that, if I had, I’d remember, because the cover is so ugly it hurts my eye holes. It’s Gottawful. It’s like drinking Wild Turkey from a fire hose, up the nostril, and that’s the Gottdamn truth. Today my coffee table puked up ugly. It happens from time to time.

Well, there’s more to the story. I was so happy that the first page and all the pages thereafter were not a reflection of the aforementioned fail of a cover. The pain in my eyes subsided and morbid reckless curiosity consumed me, so I bought the ticket.
It didn’t take long and I was totally and hopelessly lost. First we see a kid drawing a prototype for some suit of armor or the like, then suddenly we’re thrown into the world of “Horse Guy”, a villain who thinks wearing a giant white horse head mask is a super-awesome badass thing for a villain to do, and The Navigator, our hero who apparently is either:


-Too lazy to do the hero thing anymore

-Butthurt

-Just doesn’t Gottdamn care anymore

-With great power comes great responsibility


First, in as few words as possible:

The ass with the horse head tricks Navigator into thinking some other bad guys tied him up, rigged him to a bomb, and put him in the basement of the Empire State building. The hero goes to save his archenemy only for that bastard horses ass to sneak attack the hero with a quick jab to the neck with a syringe loaded with LSD.
Instantly I was blinded.
The damn comic turns into a black neon light wonderland of three eyed guys in horse head masks and other things you can only see while under the influence of mind altering substances or perhaps mid-coitus. It got neon . . . way, way neon.
Turn the page and we’re back to the little kid again. This time he’s just waking up from a nightmare, leading me to think that all this is going on inside the kids imagination or his dreams. Either way, unless issues #2-5 somehow find themselves into a dollar box I cross paths with, I doubt I’ll ever find out what transpired in the lives of The Navigator and the guy in the horse head mask.
Some things are better left within the dark void under my coffee table. Now the only thing left to do is lick page 19 and get on the Gottdamn day-glow bus headed to NYC.

REVIEW: Nailbiter #6

Writer: Joshua Williamson
Artist: Mike Henderson
Colors: Adam Guzowski
Review: Art Bee

Earlier this year, Image started publishing a captivating series called Nailbiter. The title struck me as completely laughable, but the cover art was so sinister (pictured below). Since starting the series, it has become one of my most anticipated comics on my pull list.

Why did Friday the 13th, Halloween, Silence of the Lambs, Seven, and Saw do so well? They all involved highly motivated serial killers. Why do these types of characters and story lines appeal to the masses? It can be summed up in one simple word.

Drive.
A serial killer is quite simply the top of apex predators. An apex predator is a creature that has no natural predators and exists at the top of its food chain. For the most part serial killers do not eat their victims but do hunt, stalk, and consume them. The consumption gained is the result of the drive to murder. This can be in the form of sex, thrill, control, or any other form of gratification.

In the world of fiction, serial killers are a great, recyclable machine for terror. They are also a great platform to build awesome heroes and protagonists out of mediocre ones. That brings us to Nailbiter.

When the story started, FBI agent Eliot Carroll disappeared after figuring out that 16 of the country’s worst serial killers, including Edward “Nailbiter” Warren, were from one single town, Buckaroo, Oregon. Agent Carroll’s disappearance causes his friend Nicholas Finch from the NSA to come and figure out what happened with the local Sheriff Shannon Crane. Ironically they have to enlist Warren to help find Carroll. Since that first issue the story has been a roller coaster ride of a thriller.

In Nailbiter #6, the story switches gears into its next arc. By the sound of this issue we are going to get a taste of Buckaroo’s culture. At the beginning of the issue Alice (I think she is the niece of the Sheriff, but I am too lazy at the moment to go pull the last issue) is sitting in a diner when a new character comes onto the scene, Mallory. Mallory is a serial killer fanatic and wants her baby which is about to crown to be born in Buckaroo. She thinks, if the child is born in this town, the child will be a serial killer and make her famous. I absolutely will not share any more than that about this issue. You've got to admit that is just a creepy and weird way to start the issue and have to find out more, right?

Williamson has done a superb job at creating this story. He is continually building suspense while delivering gore and violence in a meaningful way. Gore has never bothered me unless it is pointless. There is nothing worse than gore that is overly done. Williamson uses developed characters, a dynamic setting, and a solid plot to build an absolutely sexy story.

Mike Henderson and Adam Guzowski combine their talents blast this story at us. Their work is good but not great. What I like about their work is how they use color and deliberate lines to project certain scenes right at you. For instance in the current issue on page 8, they deliver a doctor screaming as a large syringe needle is thrust through one cheek, the tongue, and out the other cheek. The image really pops out as you turn the page. The placement and delivery is absolutely brilliant. In my opinion, even though their skill is less than that of other artists, Henderson and Guzowski know how to use what they have and make it worth more than it is.

Check the series out. It is worth it. The trade collecting the first five issues will be out soon, and issue seven is promising a special guest. That special guest is Brian Michael Bendis. Hell, if Bendis is stepping over to have his name in it, it has to be worth something.

Review: I Was the Cat

Writer: Paul Tobin
Art/colors: Benjamin Dewey
Review: Will Dubbeld

I'm a cat person.
My family is cat people.
Nothing really against dogs, I just prefer cats. They're like a semi-ambulatory appliance or a piece of furniture.
A hassock, probably . . .

Anyway, cat people have a tendency to habitually anthropomorphize their pets, accrediting them with spades more intelligence than should be allotted.
Myself, not so much. My cats are generally as smart as a sack full of doorknobs.
Paul Tobin's fictional talking cat, Burma, on the other hand, is taking over the world with his intelligence.

I Was the Cat spins the story of Burma, the titular cat, and his nine lives. Lives he's spent attempting to conquer the globe. From ancient Egypt to the trenches of WW1 and into the modern era, Burma has been pulling strings and manipulating players like Napoleon Bonaparte and Mary, Queen of Scots in his bid for domination. Chronicling his exploits for a memoir is Allison Breaking, a gutsy reporter in the tradition of gutsy women journalists. Allison is accompanied by her plucky friend Reggie, who treads water dangerously close to the Manic Pixie Dream Girl trope, but nevertheless serve as an engaging foil to Allison as the pair record Burma's exploits whilst slowly uncovering his plans for ruling the world.

Paul Tobin and artist Benjamin Dewey spin an engaging and incredibly entertaining tale in the pages of I Was the Cat. Certainly not pretentious or full of itself, and somewhat tongue-in-cheek at points, the books 186 pages (plus a couple of extras) are a quick, enjoyable read made all the better by Dewey's art which is detail minded but careful not to overcrowd the panels. The cover is especially engaging and well done, and it certainly is what drew my attention at the time of solicit. The inks and colors are a hair thick and muddy (respectively) at times, but certainly not enough to detract enjoyment from the almost watercolor look of the book. The color palette in daylight scenes is especially pleasing and contrast well with Burma's flashbacks which are primarily monotone in color.

I Was the Cat is a smaller (6"x9", roughly), beautifully bound hardcover available from Oni Press. The price point may give some readers pause at $24.99, USD, but it's well worth the price of admission.
Trim a few books from the Big 2 you'd otherwise buy this month and pick up I Was the Cat instead.

Let's be honest. You don't really care about "Futures End" or the "Death of Wolverine" anyway . . .

REVIEW: Copperhead #1

Writer: Jay Faerber
Artist: Scott Godlewski
Colors: Ron Riley
Letterer: Thomas Mauer
Review: Cody "Madman" Miller

There it is! That 'holy shit' moment where you lose control of your bladder and most of your motor functions . . . where you’re like, "F me, I’m sitting here feeling like I bathed in Novocain and a tiny bit of my own urine but you know what? It’s perfectly fine because that was a Gottdamn great comic".

Reading Copperhead is like touching boobs for the first time . . . Mind-blowing. Bags of sand.

Seriously though I’m not even kidding. Not even a little bit. Zero, kids.
I’d go as far as to say right now, one review into the HCB’s new calendar year, that Copperhead is the comic of the year. I know its only the first issue but that doesn’t matter to me because it’s that good.
I’ve been a Jay Faerber fan ever since I read his Near Death, another great book. To be totally honest I kind of forgot about the chap until I picked up Copperhead. It won’t happen again.

So let’s talk turkey. We’re thrown into the dirty alien streets of Copperhead, a corrupt mining town on some far-off planet. We’ve got various alien characters running by, from bright pink hammerhead shark-looking dudes to multi-limbed bright green Jabba the Hutt- lookin hillbilly white trash. It’s like Chalmun's Cantina on Mos Eisley minus all the Jawas kinda vibe.
Copperhead is in need of a new Sheriff ( with two f’s ) and Clara Bronson is just the badass chick for the job. Not to say we get a lot of info in regards to Clara except she has a son named Zeke and, like I said before, she’s a badass.
I can see fans of Firefly getting into this one. It’s the wild west in space . . . with aliens and stuff.

Jay Faerber isn’t the only one holding all aces here either. Godlewski and Riley have the purdy scribbles covered. I couldn’t find fault here if I tried. Ron Riley has worked with Jay Faerber on other works, including Near Death. Riley does a real damn good job of adding the western desert feel to Scott’s artwork with his fantastic colors and texturing.
This is going to be the longest month of my life, waiting for the second issue.
Comic of the year.

Zero, kids. Remember when you didn’t buy the first issue of TWD?

Don’t be an idiot twice.

The 2014 Hammy Awards

Ladies and Gentlemen, girls and boys, neckbeards and gamergirls, tentacled other-beings and pin-up models, gather 'round!
Herein lies the 2nd Annual Hammy Awards, brought to you for the low, low price of free (donations accepted) by myself and the rest of the staff at the Hammond Comics Blog.
Without further ado, if you dare, step right up and see the freaks of nature that the Good Lord has seen fit to grace us with the 2014 Hammy Awards!

Art Bee's picks:

The last year has been a mostly decent year in comics. DC had their major villains push while all of our DC heroes took a short vacation, but at least we got Joker’s Daughter out of the deal. The issue that introduced her with the 3D cover was a great comic book (I even considered it for Comic of the Year).
Marvel has been doing some very interesting things since the reboot, such as breaking time, killing the Watcher, bringing us the offspring of Wolverine and Mystique, and the return of an old favorite, Peter Parker.
Image has done a great job at giving many creators the chance to be published, and this year we have seen the main stream birth of several good series. Of course we have also seen some crap come out with them. Now let’s look at some of the best and worst comics of the year with the Second Annual Hammy Awards.

Comic of the Year:
Assailant Comics recently published one of the greatest comic books I have ever read. Open Tree, Legends and Tall Tales #1 contains the touching and captivating story "Freedom Run". The writer, Chris Charlton, crafted this story in one issue without making the reader feel like the story is rushed or missing something. In addition to the writing, the artwork is superb. The artist, Brian Latimer, and the colorist, Vasco Sobral, really round this comic book off with their talent.

Best Cover Art:
Earlier this year I caught the variant cover of one of my favorite series, Uncanny from Dynamite. Uncanny #6 Panosian Variant by Dan Panosian features the main character on the cover with his back to us and on one shoulder is an evil, winged demon woman with an angelic lady on the other. Granted this cover is not elaborate, but it looks good and is very effective.

Best New Comic:
Image has done a radical job in the last year with presenting us with a great array of new comic series. My vote for "Best New Comic" is split. I have had such a hard time trying to decide between two fantastic products. The first is a comic that has brought us a group of four great and hilarious women in Rat Queens. The second series is an awesome spin on history that follows the voyage of Lewis and Clark in Manifest Destiny. Both of these comics are wonderful stories with exceptional artwork.

Most Overrated:
When I started seeing advertisements for Pretty Deadly from Image, I got really excited. The first issue came out. I bought it. I started reading it. It blew so much I could not even finish it. The story sucked so bad I could not make heads or tails as to what the story was supposed to be about. I tried to give it away and no one would take it. That says a lot.

Most Underrated:
Towards the end of the year last year, Dynamite turned out a good series called Uncanny. This series turned out six issues and stopped. I have not been able to find any information whether this series will be continued. The main character has the ability to gain all of the skills and knowledge from any one person he touches. He only retains this information for a short time, but the potential for so many different concepts and scenarios.

Most Disappointing Comic:
Frank Miller’s original screenplay for Robocop was used for the miniseries, Robocop: Last Stand. For those of us Robocop fans, this was a crap stain on paper. It is hard for me to believe that Frank Miller’s original screenplay was that shitty. I really gave it a shot, but I could not get past the third issue. This series had me very depressed.

Most likely to be sent down under in the event of a toilet paper shortage:
The worst comic book I have seen this year was Image’s Umbral. The first issue of this comic was gross. Sorry to sound so juvenile about it, but it fits. Antony Johnston, the writer, needs several lessons on writing including what a plot is and how to introduce a story. The artwork done by Christopher Mitten was horrible. It was unclear exactly what he was trying to portray in his work.

Best Miniseries:
Deadpool vs. Carnage was by far the best miniseries of the last year. This story was exciting! The action was smooth and constant. I really enjoyed Deadpool’s wise-ass comments aggravating Carnage, while Carnage was trying so hard to kill . . . rip Deadpool apart. The whole miniseries was very entertaining and the artwork was phenomenal. If you don’t have this in your collection, get the trade. You will not be sorry.

Worst Miniseries:
Hit List from Zenescope was by far the worst miniseries I encountered over the last year. This series had its high points on artwork, but most of the art wasn’t the greatest. The story was really hard to follow due to the lack of a plot.

Writer of the Year:
I had a really hard time with this category. Considering the different series and amount of comics I get and enjoy. The choice started to come through clearly. Assailant Comics’ Chris Charlton is my choice for Writer of the Year for his hard and great work in Binary Gray, Black of Heart, and “Freedom Run” (Open Tree, Legends and Tall Tales #1). His writing style is solid and flows very well through his stories.

Artist of the Year:
Manifest Destiny’s Matthew Roberts is my choice for artist of the year. The artwork within the pages of Manifest Destiny is just the best I see each month.


Cody 'Madman' Miller's picks:

Comic of the Year​:
This probably won’t come as shock to anyone who follows the HCB, but I’m giving the big one to Dan Slott and his Superior Spider-Man. This happens to be the exact book I gave the top spot to last year. I loved it last year and it only got better building to the grand finale. I’ve been a Spidey fan for ages and this run in my opinion is as good as it has ever been.

Best cover art:
I’m giving this one to DC and their Forever Evil villainous 3D covers. You might call it cheese but I call them badass across the board. My favorites were Sandman, the Riddler, and the Joker.

Best new comic:
Manifest Destiny hands down no question. Take relevant history and drown it in fantasy . . . sold. Well done, Mr. Dingess, well done. Aces up every sleeve.

Most Overrated:
I kept coming up empty trying to figure this one out. I’m going to side with Art Bee on this one and give it to Pretty Deadly. Everything I had seen prior to this books release had me super pumped for the first issue, unfortunately I didn’t get it taken off my pull list in time and became the not so lucky owner of the 2nd issue as well.

Most underrated:
How come no one I know but me reads Dynamite’s Pathfinder books? It’s the best of both worlds for a gamer/comic geek like myself. They put out a few different mini series over the past year and I think I read them all. I truly enjoyed each and every one of them, Goblins being my stand out favorite. But wait there’s more! Each and every issue has a pot of gold on the last couple pages, I’m talking maps, npcs, monsters, adventure hooks and anything else you could possibly need to bring a little what-have-you to your adventures.

Most Disappointing Comic:
I was hoping this was the year for me to get my Superman on. I’ve never been into the Man of Steel personally. I just cant get over the fact that unless you have kryptonite on your Batbelt there is zero chance of you messing up that jerrycurl. I made it to issue #3 but I could’ve stopped after the first issue. I don’t know why I didn’t , I’m just an idiot like that. Superman Unchained = Major disappointment and only reinforced my distaste for DC’s poster boy.

Most likely to make you throw up in your mouth:
Superman Unchained. See above. Absolutely horrible. Epic Fail. Even Superman fans know it’s crap.

Best Miniseries:
Helheim for the win. This was one of those random impulse buys that actually paid off for me for once. Cullen Bunn was probably taking a big dump one day and a thought occurred to him…"I know, I’ll turn Frankenstein’s monster into a raging undead axe wielding death machine…" Yeah, I know that sounds badass and it was. The art was amazing and my top scribbles of the year.

Worst Miniseries:
Robocop: Last Stand. I think I actually got pissed off after reading the first two issues. For shame!

Writer of the Year:
Dan Slott, take your freaking trophy.

Artist of the Year:
I’m going with the dynamic duo of Joelle Jones’s pencils and Nick Filardi’s colors. Helheim, I’m telling you.


William R. Davis Jr.'s picks:

Comic of the Year:
Saga. Comic of the decade? Century? Saga is a must read treasure that everyone should have on their pull list.

Best Cover Art:
Francisco Francavilla-Silver Surfer #1. As a lifelong Surfer fan I couldn’t be more disappointed by the series. I don’t think I’ve ever received more backlash than I did for that review. However, the variant cover for the first issue was absolutely perfect. It captures the essence of the Silver Surfer with simplicity and grace.

Best New Comic:
Rat Queens. Hilarious. Great Art. Amazing characters. Rat Queens never fails to entertain.

Most Overrated:
I hate to beat a dead horse, but The Walking Dead wins this one for a second year in a row. It used to be so good, full of characters I cared about. When they died, it mattered. When the tiger died, I cheered. Then I read cherry picked letters from outraged fans pissed about the tiger dying. That is when I realized that the world is full of idiots.

Most Underrated:
Manhattan Projects- This comic never fails to impress, and while it’s not overly underrated, it should get way more love.

Most Disappointing Comic:
The Wake - You had me and then you lost me. Although most other fanboys I talk with loved this one, it fell way short and I lost interest around issue four. Sean Murphy doesn’t need a writer, especially Scott Snyder.

Most Likely to sent down under in the event of a toilet paper shortage:
Marvel and DC- The tandem of endless gimmicks and the cancellation of quality titles finally broke me this year. I no longer read any monthlies from the Big Two.

Best Miniseries:
Shaolin Cowboy - One of the most creative miniseries I have ever read, great use of the medium, both spellbinding and highly recommended.

Worst Miniseries:
Superior Venom - I’m fudging this category a bit, because I had to sound off about this arc in Superior Spider-Man. Never been a Spiderfan but I loved Superior. Superior Venom was some of the hands down stupidest stuff I have ever read and cemented my leaving the pages of the Big Two forever.

Writer of the Year:
BKV. While the art in this book is incredible, the true strength of Saga is the neverending litany of well developed characters and the Saga universe itself.

Artist of the Year:
Fiona Staples- I’m obsessed with the art in Saga, as is everyone else who knows their way around a comic shop. The difference is that the hype is real. Saga may very well end up becoming the greatest comic ever created.




Will Dubbeld's picks:

Best Cover Art:
Manifest Destiny. Man, oh man, Matthew Roberts and Co. have been absolutely killing it with these covers. Hyper detailed, beautiful inks and colors, kudos all around

Best New Comic:
Magneto. Cullen Bunn and Co. are bringing back my favorite Magneto. You know, the one that sinks Russian subs, the one that EMPs the planet, the brutal, ruthless Master of Magnetism that takes no guff from you Flatscans. Thank you, Mr. Bunn, for giving back my favorite X-baddie back his stones.


Most Overrated:
Batman (Scott Snyder and Greg Capullo). I know these two are DCs Golden Children right now, but I could not disagree more with the choice. All of Snyder's arcs start out interestingly enough, but they fall the fuck apart in the third act. I was even enjoying The Wake, until about issue 7, when Snyder Loeb-dicked the last act. He even tried to out-Frank Miller Frank Miller with his Year Zero arc, and nope. I've already read about Batman starting out in Gotham, and it was spades better than Year Zero.
As far as Mr. Capullo goes, he is a fine artist as far as his previous work on Spawn and The Haunt go. He's hyper-attentive to detail, and not a square centimeter of page is left un-crammed with pencils. It's fine work, but sometimes less is more.
Also, I don't like the way he draws noses.
And he talks about working out and Black Label Society waaaayyy too much on the Internets, but that's really not relevant...

Most Underrated:
East of West. I fully admit that I've no idea what's going on in this book a good 40% of the time. It started out going one direction, changed horses in the middle of the stream, went another direction and then blindsided me with an entirely new crop of characters and subplots.
Perhaps my tiny simian brain cannot comprehend Jonathan Hickman's wheels-within-wheels writing, but I'm more likely to believe that everything will fall into place after 20 some-odd issues of setup, plot threads, and pitfalls, as Jonathan Hickman's are wont to do. Nick Dragotta's art is great, simple line art that makes use of space in the best way and is supported fully by Frank Martin's vibrant colors. Top notch, fellas.

Most Disappointing Comic:
Guardians of the Galaxy (Brian Michael Bendis).
Bendis, Bendis, Bendis...
Well hey, anything's gotta be better than Age of Ultron, right? A meteoric rise to fame this year for the GotG nets them a mediocre comic book. Uninspired, and seemingly a vehicle to shoehorn Angela into the Marvel U and Venom into space. If you're into the Guardians, read the Star-Lord and Rocket Raccoon solo books. They are far superior. Granted, Bendis had big shoes to fill after Dan Abnett and Andy Lanning's AMAZING run at the Cosmic Marvel, but still, I shouldn't have the urge to crumple my comic and yell, "BE BETTER!!!" at the cover in impotent nerd-rage.

Most likely to sent down under in the event of a toilet paper shortage:
Kick Ass 3. Well, thank Christ this mess is finally done and over with...

Best Miniseries:
Rover Red Charlie.
Garth Ennis writing a comic about three best friend dogs at the end of the world.
What could go wrong?
Certainly Garth Ennis couldn't tear your heart out and jump up and down on it with that set up...
This miniseries is amazing. Reading it you'll think, "yep, that's what a dog would do" and "yep, if dogs spoke, they'd say that".
And I'm a cat person.
Buy it. Read it. Be afraid that Garth Ennis is writing about 3 cute dogs and has no leash, so to speak.

Worst Miniseries:
Battle Scars. Boy, did this piss me off. I really liked this series with the spy vs. supercriminal vibe, but then the end of the series revealed it was just a backdoor way to introduce Agent Coulson and Sam Jackson's Nick Fury into the Marvel U. Fuck you and your bait and switch, Marvel.

Writer of the Year:
Jason Aaron. Between Thor, Southern Bastards, and whatever else he's managed to squeak out, Aaron takes home the gold.
Runners up: Dan Slott and Ed Brubaker. Read Superior Spider-Man. Then read Fatale and Velvet. I'd even recommend Dan Slott's Dr. Who fan-fic, Silver Surfer.

Artist of the Year:
Roc Upchurch (Rat Queens). This was a toughie, but I've gotta give it to Rat Queens. Upchurch has a masterly understanding of expressions, background, linear action, and the female protagonists aren't put together like spandex superheroines. Top notch.


Well, there ya have it, folks. The 2014 Hammy Awards. They run from SDCC to SDCC (roughly) and will return next year.
No refunds, kids.
You get what you pay for.

Interview: Jeffrey Morris from FutureDude Entertainment

Interviewer: Art Bee

About a month ago, I was presented with a preview copy of the new Sci-Fi comic book Brainstorm from FutureDude Entertainment. I was thoroughly impressed with the story setup and began finding out more about the company. This led me to contact the FutureDude, Jeffrey Morris, to present him with Another Seven Questions.

1) Hammond Comics Blog: FutureDude Entertainment is a fairly new company. Please tell us the story of how FutureDude came into existence and its vision for the future.

Jeffery Morris: I am really interested in three major areas: science (exploration), entertainment, and education. I founded FutureDude in 2010 as a way of unifying those unique disciplines. I grew up with an avid interest in space exploration, oceanography, and meteorology. My company reflects these interests by wrapping them in nearly two-dozen intellectual properties. These IPs are all sci-fi and cover a range of topics that have influenced and inspired me—from parallel universes to weather manipulation. We are building upon these ideas to create comic books, mobile device games, feature films, and television projects. I also hope to expand into related merchandise like toys! I miss the days of cool futuristic toys!

2) HCB: Mr. Morris, who are you? In other words, what makes you the FutureDude . . . of FutureDude?

JM: I’m an artist and entrepreneur. But most importantly, I am a dreamer. I have always looked forward instead of backward. I grew up believing in the promise of stories like Star Trek and Space: 1999. I imagined a futuristic world populated by smart people doing amazing things. Pushing the envelope and expanding horizons. The gender and racial diversity reflected in 60s and 70s science fiction gave me hope as a child for a better tomorrow than the one I faced as a sometimes-bullied kid growing up in the suburbs of Phoenix. I have worked hard to create connections between scientists, educators and the public through my work with NASA/JPL and individuals like astronaut Buzz Aldrin. I have worked with kids to create curricula about the future while sharing visions of science and tomorrow. I try to infuse everything I do with sleek, believable design and forward-minded art direction.

3) HCB: What would you say separates FutureDude’s science fiction apart from the rest of the sci-fi genre?

JM: Big ideas mixed with real human stories. Spectacular production design and art direction—all created to serve a specified brand experience. We also try to focus on realism and plausibility. Starting from a basis in fact makes for some interesting storytelling. Very few stories in popular science fiction focus on a reality based approach. Aside from 2001 and a handful of other stories, movies are more about fantasy with a number of made up elements. We do occasionally stretch concepts. For example, in Brainstorm, we pushed the existing Fujita and Saffir-Simpson scales up by an additional number. This was done on purpose. We are completely aware the current limitations, however, we wanted to say that storms get so severe in the future that the scales have to be expanded. Science evolves. So should our perception of it — as long as there is a reasonable explanation for why and how it all changes. In many of our stories, we try to stay are real as possible, while perhaps breaking a few rules to maintain the fun factor

4) HCB: On futuredude.com, it states that it is “changing the face of science fiction in 2014”. It looks like this campaign will be starting in August with the release of Brainstorm. Please tell our readers in your own words why they should order this mini-series.

JM: Brainstorm is at its core, a human drama. It is interspersed with cool technology and a rip-roaring disaster film-style adventure. If you like your science fiction tinged with humanity, I think you will definitely enjoy it. It has fun twists and turns and a ton of surprises. The story also features a gay protagonist, something that is not typical in today’s marketplace and something that readers searching for diversity are clamoring for.

5) HCB: I am a huge fan of multidimensional thinking, so the premise of Parallel Man (Oct. 2014) is very exciting. In the series Agent Nick Morgan fights against the evil Ascendancy across the multiverse. How is the multiverse handled and traveled in the series?

JM: There are multiple concepts regarding how and why a multiverse might exist. I decided to look at quantum state as our basis. The Ascendency has developed “skipping” a technique that basically changes the “tune” of objects light changing a radio dial. The effect is visually spectacular and it extends beyond moving objects to actual weaponry in the story. We have everything from “skip bombs to skip pistols” — all of which alter quantum state and send objects between universes.
In the Parallel Man story, we have a hierarchy of universes that are conquered and explored. Alpha worlds are controlled by The Ascendancy. They have used their technology to control twelve worlds. Ours is next. Beta Worlds are ripe for exploitation with potential slave labor and resources. Gamma worlds are deadly and unfit for annexation by the Ascendancy. We visit all three in the story.

6) HCB: Next year FutureDude has planned on publishing a series called Oceanus. The series features survival at the bottom of the ocean after an asteroid collides with Earth ending life on land. Is there anything else you can tell us about the series?

JM: As of right now, we are focusing on producing a film project as opposed to a comic book series. I am directing it and it will be shot in Hollywood this Fall by an amazing team. I have assembled veterans who worked on films like The Abyss and Star Trek: The Motion Picture. My goal is to revitalize the underwater sci-fi genre. I will have more info on that project soon, including cast announcements.

7) HCB: If you were able to instantaneously receive one piece of futuristic technology, what would you get and why?

JM: My immediate inclination would be to have a transporter or replicator, but I would have to go with a Spinner—the flying car from Blade Runner. It would look extremely cool while allowing me to experience the dream of flight in a very fun and practical way on a day-to-day basis!

All of us at The Hammond Comics Blog would like to thank Jeffrey Morris for his time and awesome answers to our Seven Questions. It looks like Science Fiction fans will have a lot to expect from FutureDude. Be sure to check out Brainstorm and keep your eyes out for Parallel Man as well.

PREVIEW: Binary Gray #8

Publisher: Assailant Comics
Writer: Chris Charlton
Artist: Rowel Roque
Colors: Anthonie Wilson
Cover: David Hollenbach
Review: Art Bee

During my review of Binary Gray #7, I described it as the eye of a hurricane. The calmness after the fallout of Issue #6 made it a good analogy. What I was not aware of was exactly how good of an analogy it was. Now that the calm eye of the storm has passed, we are hit with winds from the opposite direction. If you are reading this series (and you should be if you are interested in comics at all), Issue #8 is going to hit you like you are standing in someones back swing. Once you come to, you will be saying, “Wow!” rather than “Ow!”

The past several issues have been more about The Virtue and the Agency. They have been at each others throats trying to either protect or capture Alex Gray and his unusual powers. Issue #8 is primarily focused on Alex and his current situation. The cover of this issue should give you a pretty good clue as to what is about to happen.
The issue is entitled “Karma Police” and starts off with a huge piece of Alex Gray’s background. This first portion is centered on his father back in 1972. Even though this is a huge piece of the puzzle that is Alex Gray’s past, it raises more questions than it answers. Chris Charlton is doing a superb presentation of the story line and backstory. The last few issues have been ending in cliffhangers. When you reach the end of “Karma Police”, you will need to remind yourself to close your mouth. The ending will leave you in disbelief.

Now that I have mentioned the cover, David Hollenbach deserves some cheers for his unbelievable work on this cover. As I have mentioned before, David H.’s style and technique is very unique and gorgeous, and this cover featuring Alex Gray’s face is no exception. On September 19th the Cincinnati Comic Expo begins, and Chris Charlton has informed me that Hollenbach is supposed to be in attendance. It will be a great honor to finally meet this gentleman and talk to him, so be looking for a possible interview in the near future.

Rowel Roque and Anthonie Wilson have gotten back on the same page in this issue. In Issue #7 the coloring was off and looked very bland. Fortunately this is not the case in Issue #8. The coloring looks great. Shading and line look really clean and well done. My favorite panel in the issue is on page 8, the long panel on the right, where Alex Gray extends his finger and thumb causing an electric blue image to form at the end of the finger. The blue in this panel really sets of the image and the rest of the work on the page. The electric image looks to be really glowing blue.

Again I would love to provide spoilers and talk on and on about what occurs in the issue, but then why would you pick it to read it? That would not be very fair to Chris Charlton and Assailant Comics. Binary Gray #8 will be available in about two weeks. Preorder yours today at AssailantComics.com. While you are there you can download the first two issues of Binary Gray for free straight from the company. This series is getting really juicy. I am just waiting for a “Luke, I am your father” moment to spring forward in any issue in the near future.

REVIEW: Alien Legion, Uncivil War #1

Alien Legion: Uncivil War #1

Story: Chuck Dixon
Pencils: Larry Stroman
Inks: Carl Potts
Review: Will Dubbeld

Fans of obscure 1980s military science fiction comics rejoice! Alien Legion has returned!

First appearing as part of Marvel Comics Epic line, Alien Legion was described as the French Foreign Legion in space and told the tale of Force Nomad, composed of, “Footsloggers and soldiers of fortune, priests, poets, killers and cads—they fight for a future Galarchy, for cash, for a cause, for the thrill of adventure. Culled from the forgotten and unwanted of three galaxies, they are trained to be the most elite, and expendable, of fighting forces. Sometimes peacekeepers, sometimes shock troops, the Legion is sent into the Galarchy’s most desperate internal and external conflicts. Legionnaires live rough and they die hard, tough as tungsten and loyal to the dirty end.”

If that doesn't get yer blood pumpin' for some sci-fi action, go read Distinguished Competition's far inferior Legion comic . . .

Alien Legion was a staple of my youth, as back issues were plentiful in the quarter bin of my old comic shop. The art was phenomenal, the scripts were visceral and packed a punch, and any character (with a few exceptions) could die at any time. An almost revolving door of cast members attested to their mortality and as a youth I was glued to this book.
Riveted, even.

Hearing the news that Titan Comics was dragging the Legion through the mud again after years of inactivity brought a smile to my face.
Ear to ear, ladies and gentleman.
The fact that series originals and favorites Chuck Dixon, Larry Stroman and Carl Potts were back on board iced that cake. I promptly preordered and eagerly awaited.

Issue 1 arrived.
Page 1 was a full page spread of gunfire.
This was like slipping into your favorite comfy shoes after losing them in the closet for a decade.
Uncivil War's premise revolves around the Legion's age old enemies, the Harkilons, who are currently embroiled in a civil war. Harkilons are a race of reptilian...insect...
I dunno. They're bad guy aliens and the elite leaders can change shape. In any case, these evil aliens are having a civil war because without that deus ex machina we wouldn't have a comic book. Refugees from this civil war are fleeing Harkilon space and the Legion must serve as a border patrol for all intents and purposes.

Uncivil War #1 lays a bit of groundwork for the story, but serves mostly as a shoot 'em up on the ground and in space both. Readers familiar with the series see the returning staple characters; Sarigar, a serpent-tailed stoic warrior who serves as Force Nomads commanding officer, Torie Montroc, a nobles son who volunteered for the Legion, and fan favorite Jugger Grimrod, a cutthroat, hardened criminal.

The action is nearly nonstop, I fear because Uncivil War is a miniseries and that leaves no time for foreplay. Fans familiar with the Alien Legion universe will be able to plug right back in and go but I fear new readers may be at a bit of a loss, bombarded with strange terminology and stranger characters. Dixon and Co. have tempered that a bit, as the issue is bookended with a few pages of character bios and a glossary of Alien Legion lingo.

Larry Stroman and Carl Potts are on point with the art, giving us clean, detailed panels with a very poppy color palette. I've always been a fan of Stroman's art due to its otherworldly style, which has mustered a few complaints from folks I've talked to who've read his more mainstream work (i.e. X-Factor). It's never bothered me in the least, but I could see the point of view. No such issue could be argued in his Alien Legion work as it's composed of bizarre extraterrestrials and technology. His unique vision is applied perfectly, and I couldn't be happier to see him back in familiar territory.

Alien Legion might be a tough sell for new readers but I'd highly recommend the book to fans of science fiction, especially fans of settings not bogged down with hyper-sterilized Utopianism. This isn't a neatly dry-cleaned and pressed Star Trek sci-fi book, this is dirty sci-fi, a used, lived in sci-fi with grit in its teeth like Blade Runner, Alien, or the Warhammer 40,000 universe.

It's difficult to give an unbiased opinion of this book as I've been enamored with the material for nearly 25 years, but I'm not a bit ashamed to unabashedly support Alien Legion and I'd suggest the lot of you ladies and gentlemen do the same. Scour through some longboxes for back issues of the original series while you're at it. You'll be pleased with what you find, just don't get overly attached to some of those early characters . . .
My only complaint about Alien Legion: Uncivil War is the fact that I believe it's only a four-issue miniseries and not an ongoing one.

Perhaps this is the last we'll see of the Alien Legion, perhaps not. In any case, kudos to Titan Comics for bringing the series back and Long Live the Legion!

PREVIEW: Binary Gray #7

Publisher: Assailant Comics
Writer: Chris Charlton
Artist: Rowel Roque
Colors: Anthonie Wilson
Cover: David Hollenbach
Review: Art Bee

This issue of Binary Gray resembles the calmness of the eye of a hurricane. Issue 6 delivered an action packed issue with all of the grand excitement we all love to see from super hero battles. Issue 7, “Take Me Home”, presents us with the fallout of the events up to this point and also sets us up for another big clash with the Agency, the organization that is after Alex Gray. For the entire series, I have had great things to say about each issue, and this one is no exception.

The cover of Binary Gray #7 is another winner from David H. The cover shows the fight between Dash, from the group Virtue, and Optimo, a new villain, fighting high above the city. The image looks like it uses a photo of an aerial view of a city as the background, and the characters are drawn or painted onto the background. The look on Dash’s face is what really sets the image off, and my eyes were just drawn to it.

“Take Me Home” continues the saga of Alex Gray. In the aftermath of the battle with the Agency, Alex Gray is feeling a lot of guilt over the injuries suffered by Chris, the retired Cross. His guilt leads him to leave the Virtue’s headquarters against popular opinion while the rest of the group splits in two other tangents. Meanwhile we get another piece of the puzzle of Alex’s past.

Now I have read many comic books where an issue has left me with a huge cliffhanger, and usually the next issue resolves it. Charlton has done something totally surprising with this technique; he has extended it with issue 7. In essence, he left us standing on a cliff then handed us beer goggles. It’s great. Binary Gray #8 is going to be huge by my prediction, and I can’t wait to see what’s in store for our hero.

I have become a fan of Chris Charlton’s writing over the last year. His writing and editing is remarkable, but there is a problem with Binary Gray #7. If this is the first issue of the series someone reads, they are going to have a problem with knowing the names of two of the major characters. The Moth is not identified at all and has several panels of dialog. The Cross is only identified with his real first name, Ken. This does not affect the story at all but could leave a new reader wondering.

From the start of the series, the artwork of Binary Gray has been really good. Rowel Roque and Antonie Wilson have been a great combination. In this issue, they seem to be out of sync. My first read of the issue left me completely feeling that Roque was losing his touch. After my second read I compared issue 7 to the last two issues and found that the coloring was not as intricate. The shading and shadowing quality has faltered in this issue. My hope is this is just a fluke.

Binary Gray has been one of my favorite comics for the last year, and I feel very fortunate to be allowed the opportunities to preview the issues. Binary Gray #7 is due for release on July 30th. The issues will be available for $3.99 (hard copy) and $0.99 (digital) at Assailant Comics’ website. Some great news is the release of issue 8 is just around the corner. I have said this before and I am saying it again, if you enjoy reading super hero comics, you should give this series a try. It is a great read and an original idea. You can get FREE digital copies of issues 1 and 2 directly from Assailant Comics right here. Everyone loves free stuff, so go get yours.