Rereading this series brings back a great deal of memories. Dawn was one of my oldest looks into the independent publishing world of comics in the mid 1990s. The landscape at the time was rife with pure and unreadable garbage. From that desolate land there were a couple of shining beacons for the faithful that decided to remain and continue to read comics in general; these included Billy Tucci’s Shi, David Lapham’s Stray Bullets, Frank Miller’s Sin City and Joesph Michael Linsner’s Dawn. I remember Wizard magazine lumping this along with a number of other series in what they claimed was a Bad Girl craze at the time. They seriously missed the point as Dawn was a great deal more than just a pretty picture. It was an intricate world unto it’s own, JML’s masterpiece stands tall and proud over 10 years after it was originally published by Sirus Entertainment and recently recollected from Image Comics.

Although the series is called Dawn, this first story revolves mainly around the character of Darrian Ashoka, a man living in a post apocalyptic New York City. This isn’t exactly the New York we know, or even a work that we fully understand, things are not exactly what they seem. Demons and Angels roam the world freely. Gods and Goddesses are part of the landscape.

In what seems to be a weekly ritual Darrian and Jaynus set off to “Time Square Free For All”

Kill who you want, and take what you can

However this time, things are different. Darrian’s night is interrupted as he catches the eye of Dawn. He follows her up to the rooftop of a building where they see angels being slain by demons. After a night of passion, Darrian’s world is turned upside down as he leaves New York City to get into the “Church” aka Heaven. Thus begins the story of Darrian on his quest to find himself.

Meanwhile God has summoned Dawn to ask a favour. Dawn is the Goddess of Birth and Rebirth. She is not part of Heaven nor of Hell. There is something in hell that he wants back. It was an oversight. He want’s Lucifer’s Halo back. These two separate threads are directly linked, but I wouldn’t dream of telling you how.

The story is a layered one, filled with odd metaphors and quotations. The real intentions of the story only become clear much later on in the game, around the fifth chapter, but Linsner plants the seeds right from the first chapter, dialogue, actions, reactions and events, they all intertwine into this story, nothing is there by chance.

In the landscape of the mid 90s glut of rubbish comics, Dawn was a crowning achievement, because it had a story. As you can imagine though, what brought it into the spotlight back then was the awesome artwork that graced the pages. In what was a rare thing indeed, Dawn was a fully painted series, printed on coverstock. Each cover was/is completely striking and can easily be framed and put on your wall, yes the artwork is that good. All the colours pop of the pages and the character designs are second to none.

What’s completely clear as the nose on my face is that ‘Lucifer’s Halo’ was in fact a complete and utter labour of love. Linsner pours his heart out into every single page, every single panel and really tries his best to tell the story, by using his craft to great effect. The characters have expressions of supreme sadness, of contempt, of surprise, of glee and the range goes on. It’s a wonderful thing to find a craftsman that can handle this in manner that comes across as easy. It’s not easy, it’s called pure talent and Linsner has buckets of it.

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Tell me Batman, you let one Robin die. Want to go for two?

Batman: Hush is a dark and captivating tale by writer Jeph Loeb and artist Jim Lee. Batman: Hush takes you from the darkest corners of the Dark Knight’s mind to the deepest depths of his soul as he faces his toughest challenge yet. When nothing is as it seems, who can you trust, and will you be able to live with the truth?

The Dark Knight was born of tragedy. The loss of Bruce Wayne’s parents forged an iron-hearted soul within him, one which sought to punish those who would bring tragedy to others, but this dark soul within Wayne was not invulnerable. It would be changed again by tragedy, on the day that both Bruce Wayne and Batman mourned the death of Jason Todd, the second Robin, a death in the family.

Years later, Batman flies through the night sky in pursuit of Catwoman, when a Batarang screams through the night and severs the only tether between the Dark Knight and the sky. He falls hundreds of feet into the maw of Gotham City. Battered, broken, and barely conscious, the Dark Knight is not without his protectors. He is safely returned to the Batcave and diagnosed with a near-fatal skull fracture. Aware of his condition, Batman taps the name “Thomas Elliot” in Morse Code.

Thomas Elliot, a brilliant surgeon and childhood friend of Bruce Wayne, brings him back from his near-death experience. And, for a while, everything appears to be normal. Even a long-desired romance begins to blossom between Batman and Catwoman, as secrets are shared and identities are revealed. In the midst of a romance that should have happened long ago, the Dark Knight is caught off guard by the actions and manipulations of a mysterious man who knows the Dark Knight’s most closely guarded secrets, a man known only as Hush. Batman’s quest for the identity of Hush will bring him to face all of his arch-nemeses, the diamond-crushing strength of Superman, and even the grave of a long-buried companion.

Batman: Hush is a dark, gripping, and powerful tale, written by Jeph Loeb and penciled by Jim Lee. Loeb’s captivating story takes the Dark Knight on a journey of discovery that leads him to face all of his fears and re-defines the depths of his soul, while Lee’s artwork brings the Dark Knight to life in a Noir-ish atmosphere with characterizations and emotions that practically tell the story for themselves.

The story and artwork of Batman: Hush combine to make a reading experience that feels more realistic than your average comic. The story is immersive, with enough detail and depth to make you feel as if you relate to each character and event in some way, and enough mystery and intrigue to captivate your attention throughout the entire novel.

Batman: Hush is a must-have for any fan of the Dark Knight. The Absolute Edition of Batman: Hush, released in October of 2005, features all twelve issues collected in one hardcover volume with oversized border-less pages and makes the perfect addition to any graphic novel collection.

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Blacksad is probably one of , if not the very best anthropomorphic graphic novels currently on the stands, if ever published. I know this might sound like hyperbole, but in this case it would be a fact. Not trying to pigeon hole it or anything I’ll even go a little further and say that it’s one of the best crime noir series I’ve read in a good long while. Make no mistake, just because animals are used here instead of humans does not mean you can give this to your little brother to read. This isn’t Donald Duck we’re talking about here.

The story is set in what seems to be a place very much like LA during the 1950s. So the buildings, cars and clothes all fit within that time period. The book starts off with a murder case (how else would a book set in the 1950s start?) and John Blacksad, a private eye has been called in by the Police because he knew the murdered woman in question. They give him the regular qliched line about him not getting involved and leave it to the professionals, which of course he doesn’t really bother listening to and he begins his search for the person who murdered his ex-movie actress girlfriend. That’s the setup, the middle part continues in a very familiar fashion (at least to those who have seen this sort of movie before), however it ends in a way you wouldn’t really expect.

The characters all have unique voices It’s clever, it’s funny and oddly, it’s very very human, which I guess is Canales’s greatest achievement in this book.

However the real star of the show here is the artwork by Guarnido. This is the first work I’ve seen published in sequential format but he’s got pedigree. He’s an animator and has worked in that field for several years, including Walt Disney. The funny thing is it shows, but in a very very good way. His artwork hearkens back to the early Don Bluth animations. The character’s expression’s are absolutely priceless and tell so much more than most artists get out of regular characters. You are transported to this world and you can smell the coffee there, you can hear the cars beeping because he makes it all look so real and plausible. By the end of the story you forget that you are looking at animals in suits and dresses. Sure he could have drawn this as people, however he would have lost a great deal of intensity that comes with using animal features.

I’ve got good news and bad news. The good news is that there is more Blacksad adventures (the second volume has been published, and I’ll be reviewing shortly as well). The bad news however is that it seems that it’s going to be limited to 5 volumes in total, which is a shame because it’s such a great series that I wish they could keep on going and build up a library like Asterix or something along those lines. Blacksad is a rare gem that deserves to be on your shelf.

Written by Juan Diaz Canales
Art by Guarnido
Publisher ibooks

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Listen closely because I’m about to introduce you to one of the greatest graphic novel series to ever be published. This isn’t hyperbole, this is fact. If you’re looking for a series that keeps you thinking and questioning what just happened after you’ve put the book down then this is the book for you. See this book respects you. It respects your intelligence and by giving you that respect it deserves some in return. Without a doubt the single most thought provoking series on the market right now. You’re about to enter the gritty world of 100 Bullets.

Here’s the tag paragraph to get you in the mood:

Agent Graves approaches you and provides you with an attache case. Within the case is irrifutable evidence of those that have done you wrong, 2 guns and 100 untraceable bullets. You are now above the law. You have carte blanche.

What would you do? It’s such a simple concept and opens the door to a floor of questions. Some might ask, how did Agent Graves get these bullets? Why is he doing what he’s doing? He’s effectively telling you to kill someone right?

The list of questions goes on. Agent Graves isn’t telling you to kill anyone, he is providing you with the opportunity and the means. What you choose to do with the case is your business. This series is all about choices and more often than not you’re actually surprised by the choices that are eventually made.

One thing that 100 Bullets does better than any other graphic novel series published, is making sure that NOTHING is to chance. Every single character introduced is done so for a reason. Every detail on the page has been put there because Azzarello wants it there. He wants you to go back to that page to find the clues he planted there for you to see and slap your forehead.

The dialogue just cracks off the page. The thing is though, that the dialogue would actually fall flat if it wasn’t for Eduardo Risso. Azzarello struck gold when Axel Alonso paired these two guys together. He found the only person that could possibly do this story any justice whatsoever. See Jim Lee would do a crap job at this. Frank Miller would be horrible and Adam Hughes would die of old age before he finished the first storyline. The point I’m trying to make is that if there was ever a book where the writer and the artist were made for each other, and came together from the same angle and created magic, this would be it. In case you haven’t noticed, yes I’m a complete fan of this series and I wish that other people would see the light as well.

When this series first came out many people didn’t get it. That didn’t really stop Azzarello. He continued his story and kept adding his layers. The first book, First Shot, Last Call, sets the stage. It collects two seperate stories. That of Dizzy Cordova and of Lee Dolan. Dizzy is about to find out who killed her boyfriend and child, while Lee is about to find out who and why his life was ruined 4 years ago. Trust me when I say that there is oh so much more than meets the eye here. You’d be good to remember that nothing happens for chance in the world of 100 Bullets. There is no such thing as a throw away storyline.

The covers are courtesy of Dave Johnson. I’m a massive Dave Johnson fan as he really puts a lot of thought into his work. His compositions are fantastic and he’s got this great edgy style that fits incredible well with the world of 100 Bullets. The first couple of covers didn’t really gel with me, but he soon found his stride and he was off creating some of the most memorable covers to grace of Vertigo comic. The only man in my eyes giving him a run for his money is James Jean over at Fables, but that’s another story for another time.

100 Bullets is the sort of book that slides in alongside your Fight Club dvd and The Godfather. It’s crime noir at it’s very best. Brian Azzarello and Eduardo Risso have created a series that many creators strive their entire careers trying to achieve and fail. If you’re going to ever buy a graphic novel based on what I write about this would be a good time. I will be following up this review with a much closer analysis of this first book because it deserves that sort of treatment.

Writer: Brian Azzarello
Artist: Eduardo Risso
Colourist: Grant Goleash
Letterer: Clem Robins
Cover Artist: Dave Johnson

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Before I get into the review of this book I just wanted to make an observation regarding the nature of graphic novels and the creators behind them. It’s such a small tight nit community that it’s completely normal for the readers to interact with the creators online as soon as they’ve read and devoured the work. Case in point, I sent an email to Jock earlier yesterday asking him for the above trade dress for the full wrap around cover, to which he graciously sent to me in like a few hours from me asking. Direct contact with the man. That’s just another reason that makes the sequential storytelling art form special and unique in direct comparison with other entertainment mediums.

Ante Up collects the first 6 issues from this great little action-political-mystery series from Vertigo Comics. The first chapter is self contained called Dead Man’s Hand, while the rest of the book concentrates on a single story arc, Goliath. The best way to describe ‘The Losers’ is one of the best action movie you’ve ever seen drawn on paper. The action movie model is taken and translated extremely well within the covers of this book.

The story
The plot centres around a group of agents who have been betrayed by the Company (CIA). The Company didn’t really do that great a job of killing them off completely so they’re out to find both answers, retribution and hopefully a chance to get back to their normal lives or at least that’s the plan in the beginning. The story involves American foreign policy, corporate politics and a slash of espionage.

While it may sounds all very simple the way in which the stories are presented and setup does make you take stock and think things through. The real mystery beings on the last page of the book however where the direction of the series is hinted at. It’s not 120 pages of stuff blowing up, it’s a whole lot more than that. However when stuff does blow up Diggle and jock make the page itself want to explode as you don’t get that type of energy found on each page in many other action comic books.

The characters
This is easily one of Andy’s strongest assets as a storyteller. His characters shine through. Each one of them has a distinct voice that rings true. Jensen has the best lines, and I guess I like him because of that (and being the computer jockey/geek of the group). Aisha’s completely crazy but at the same time you know she could can hold her own. You’ve got the Colonel, the second in command Roque, Pooch (the fly-boy) and Cougar (the sharp shooter) as well completing the dirty half dozen characters.

The Art
Jock provides the artwork for this series. You can tell he has the most fun when he’s drawing machinery, helicopters, trucks, tanks, oil tankers, cars whatever. He skews the angles a bit.

Another thing he captures very well is mood. Through the use of thick solid blacks he gives you that darker edge that you want. The artwork is slightly sketchy, which comes off as a little dirty, and that’s the overall feel you get reading this book. It’s not about the happy and clean, it’s about the ugly and dirty. Another fine example of the art complimenting the story to be told. So if the artwork doesn’t grab you straight off the bat, know that by the end of reading this you won’t be able to imagine another artist doing the characters any justice but Jock.

The Covers
The thing that does stand out for me are the covers which are done by the series artist. It’s an important point to make as traditionally in Vertigo comics there is usually a cover artist. It’s usually a visual treat with people like Dave Johnson and James Jean doing the honours, but it’s hardly ever the interior artist. In addition to that the covers are usually painted, whereas in this particular case Jock does it with a bit of pencil and a lot of ink, and the results are what made me pick the book up in the first place. The covers are soo distinct and colourful. They’re also telling of what is in the books themselves. This is a concept that’s been lost for a while. I know it’s a series of comics put together into one package, so the covers are little more than pin ups, I see them as dividers to chapters, giving me a brief glimpse of what I can expect in the new chapter effectively.

The book design by John Hill is also one that breaks the normal standard Vertigo fare. I like a certain amount of experimentation in the cover designs. Books like Wildcats 2.0 (review coming soon) definitely brought the cover design aspect to the forefront after people like Warren Ellis hammering on about it for ages, but Hill and Ryan Hughes are actually doing something about it.

Writer: Andy Diggle
Artist: Jock
Colourist: Lee Loughridge
Letterer: Clem Robins
Covers: Jock
Book Design: John J.Hill
Publisher: Vertigo Comics
Book Volume 1

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