Hollow Testament: A Supernatural Noir Crossover Comic Book. Luke Cooper,Frank Martin(Writers) Matt Shults, Stamatis Tzatzakis (Art) Kicksterter

There are never enough good comics and the opportunity to help get one is very welcome.  Hollow Testament is a live campaign on Kickstarter now that I am backing and I hope will get enough support to be completed.

A deeply enticing mash up of two superb comics, Modern Testament by Frank Martin and Hollow Girl by Like Cooper. Hollow Testament has found a deeply intriguing point between the two stories that moves both forward in an very engaging way. The Hollow Girl is the willing vessel for spirits who have unfinished business with those who ended their lives on Earth. Modern Testament takes another look at the the Biblical cast and gives then a new context to shine brightly in.
The Hollow Girl becomes the temporary home for the first ever murder victim, Abel, Death finds that the Hollow Girl is uncomfortable competition, and a spirit wants to prevent a tragedy. All deeply engaging ideas in their own right, Frank Martin and Luke Cooper have a history of excecuting great ideas with confidence and flair.
I love mash ups, well done you get a new view on the individual stories and cast and the pleasure of a new story as well.  Good comics are clinically proven to increase your happiness in living and to improve your life.

www.ModernTestamentKickstarter.com

Modern Testament. Anthology of the Ethereal. Frank Martin (Writer & Publisher) Kickstarter (2018)

A deeply engaging collection of stories that draw on an powerful source in unexpected and striking ways. Biblical creatures and concepts are so much part of the history and imagination of the Western world that it is very difficult to think of them in a fresh way. Until someone does. Frank Martin has the confidence and craft to take on the challenge of giving new, vibrant life to longstanding icons. The approach is simple, elegant and happily unexpected, Frank Martin takes the creatures and ideas at face value and gives them a new context to show their undiminished power. Never metaphors, but entities in their own right they emerge as sharp , striking characters fully in charge of their own stories.  The following are some of the stories contained within this great collection, all of the stories deserve and reward the reader's time and attention.
"The Great Hunt" Igor Chakal (Art), Stanislaus Leonov (Colours). A couple arrive on game reserve looking to hunt a creature that apparently has killed other hunters. Naturally they ignore the warnings from the warden and head out on their way to capture their prey. It does not end well.  Frank Martin includes some details to give the considerably more weight and impact. The reason the couple are hunting the creature is simple and strong and the final pay off effective.The set up seems to deliver stock characters in a well worn situation, the motivation for the trip pulls them directly to life just in time to encounter the Behemoth.
Igor Chakal's art captures the feel of old films about reckless white big game hunters who were lead by arrogance out of their depth in the bush. This is exactly what the straight lines of the story needs, the momentum that leads to the confrontation. When it arrives it is delivered with great force and impact. The details are every bit as bloody and brutal as they need to be. Stanislaus Leonov's colours are a bright and bold as the reserve should be, when the switch comes to night time, the lighting is not dimmed to hide the action. Stanislaus Leonov manages something difficult, the nighttime is important, still the details of the attack have to be vivid and the sequence works without feeling absurd on either count.
"Down with the Sickness" Joaquin Gr,(Art) Matej Stasko (Colours), Kel Nuttall (Letters). A dying man uses his pharmaceutical company as his personal resources when he becomes terminally ill. When he meets the source of his illness his problems become more clearly defined. Embodying an idea is always a tricky proposition, how to balance the requirements of both aspects. Frank Martin makes it look easy as Pestilence jumps from the comic with vivid, baleful life and sharp personality. A nasty sense of humour and a brutally frank approx to his  work, make him fascinating. Joaquin Gr, manages the equally difficult task of making Pestilence human enough to be easily read and foreign enough to be powerful and threatening. Looking like a green almost corpse possessed of enormous energy is a brilliant way to solve the problem. the details of the context give the story a very strong physical anchor that allows the ideas to operate successfully. Matej Stasko's colours capture the two elements of the story, the mundane story of a rich man's fear of death and the resources he uses to fight it and the triumphant march of his unstoppable enemy. The colours give lift and strength to both aspect of the story.
Kel Nuttals letters are consistently subtle, easy to read and change to support the story with care and focus. The sound effects are a joy, they give the emphasis just where it is needed. The ideas never push out the stories and the stories never overwhelm the ideas, a extraordinary balance of precision and force by very talented creators who have delivered a great comic.
"At Death's Door"  Anthony Pugh (Art), Julian Dominguez (Colours), Ken Nuttall (Letters) is the stand out story in this collection, sharp, blackly funny and with a brilliant set up and stunning pay off, it is a serious pleasure. Death is despondent and Cain has been sent to check on him and get him back on track. Frank Martin has taken a wonderfully imaginative and unexpected angle that nicely plays with reader expectations. Anthony Pugh's friendly art sells the story idea with understated confidence, using a very familiar setting to capture and control readers expectations with subtle skill and a wonderfully expressive cast. Julian Dominguez uses the colours to anchor the action with care, amplifying the emotional tones of the story and bring out every nuance the writing and art.Ken Nuttals letters are natural and unassuming , the sound effects are perfect they give the force required when required.
"The Abandoned"  Francesco Conte (Art) , Macerena Cortes (Colours), Kel Nuttall (Letters). An argument between a son and his mother gains heat and volume as the absent father is included in the mix. What is really impressive about this story is the way the argument feels old, it has been had many times before, it is also fresh each time, the emotions are never less than raw. The development of the argument strongly suggests one conclusion before a wonderfully convincing one is given instead. It is sign of the strength of the writing that the weight of the story can be so convincingly turned in a tiny space without cheating the reader or unraveling the story.  Francesco Conte has a considerable task to accomplish with the art, the context is very confined and there are just two members in the cast, the action is emotional rather than physical. The tension is developed fully as the cast respond to the changing dynamics of the argument and the balance of forces shift. The impact of rage is caught with subtlety and force as is the abrupt shift as the fight alters its tone. Macerena Cortes' colours give definition and depth to the context and the cast, they capture the shifting intensity of the emotions as they spill and roar. They are slightly muted which allows the real force of the words to come out loud and clear.
And finally, "God Complex."  Martin Szymanski (Art), Miguel Marques (Colours), Ken Nuttall (Letters). A scientist issues invitations to a conference without revealing the topic, he has enough of a reputation to bring a crowd, he makes a breathtaking announcement and finds that an unexpected attendee has a problem with that. A claim to know everything could annoy someone who does in fact know everything. In a wonderfully bold and unexpected story God is not amused and it does not end well. Martin Szymanski solves a really difficult problem , what does God look like? Martin Szymanski makes an entirely logical choice within the context of the story that confidently strikes out away from the most familiar versions. Cosmic action is delivered with the same attention to detail as a conversation, the move from one to another is entirely natural and controlled. The clever shifts of the story are captured and framed perfectly. Miguel Marques bring bright colours to the story managing to capture the emotional tones and context of the story with pin point accuracy,even at its harshest God's actions will always be full of light. Ken Nuttall's letters make a story with a lot of text light and easy to read.
Frank Martin and the talented team of creators have proved again that there are simply no rules for talent, which is always a deep pleasure to find out again at first hand. What a great comic.
Chief Wizard Note: This is a review copy very kindly sent by Frank Martin. He is running a Kickstarter for the book, give yourself the unbounded pleasure of that only a great comic can deliver and get a copy for yourself.

Modern Testament Issue 4. Insane Comics (2017)

A superb anthology that manages very difficult story problems with tremendous confidence, humour and imagination.
Better the Devil You Know... Frank Martin (Writer), San Espina (Art), Adri Pratama (Colours), Ken Nuttall (Letters). An angry and frustrated man is offered a deal by the devil and he makes his choice. Frank Martin neatly sets up the question, why would you make a deal with the Devil ?, no ambiguity or metaphor intended, the literal devil. In the face of demonic honesty why would you make a deal? San Espina's art is lovely, the devil is a businessman or a horned monstrosity, whatever serves the purpose of the moment. The context of stubborn frustration and anger is stitched into every detail of the context, closing in on the cast as they have their discussion.  The devil is calm, cool and fiercely confident, the best salesman in history letting the customer sell themselves. Adri Pratama's colours capture every subtle nuance in the event and bring them forward without ever upsetting the balance of the story. The dark colours never hide the details, they give them weight and presence. Ken Nuttall's letters are quiet and easy to read, they flow with the story allowing the voices of the cast to be clearly heard.
God Complex. Frank Martin (Writer), Martin Szymanski (Art), Miguel Marques (Colours), Ken Nuttall (Letters). A scientist issues invitations to a conference without revealing the topic, he has enough of a reputation to bring a crowd, he makes a breathtaking announcement and finds that an unexpected attendee has a problem with that. A claim to know everything could annoy someone who does in fact know everything. In a wonderfully bold and unexpected story God is not amused and it does not end well. Martin Szymanski solves a really difficult problem , what does God look like? Martin Szymanski makes an entirely logical choice within the context of the story that confidently strikes out away from the most familiar versions. Cosmic action is delivered with the same attention to detail as a conversation, the move from one to another is entirely natural and controlled. The clever shifts of the story are captured and framed perfectly. Miguel Marques bring bright colours to the story managing to capture the emotional tones and context of the story with pin point accuracy,even at its harshest God's actions will always be full of light. Ken Nuttall's letters make a story with a lot of text light and easy to read.
...Than The Devil You Don't... Frank Martin (Writer), San Espina (Art), Adri Pratama (Colours), Ken Nuttall (Letters). The phrase "The devil is in the detail" is proved to be horribly accurate as the the buyer comes to collect his purchase. The devil has a sharp and clear argument as well as the best tunes, blaming another for a freely made deal is likely to end badly. San Espina is as good at action as he is with a tense conversation, the controlled anger of the devil is captured superbly. Adri Pratama's colours are as dark and dense and the story calls for, there is no redemption or escape here. Ken Nuttall uses the letters to capture the change of tone when it is needed without ever drawing undue attention to the the letters themselves.
At Death's Door. Frank Martin (Writer), Anthony Pugh (Art), Julian Dominguez (Colours), Ken Nuttall (Letters) is the stand out story in this collection, sharp, blackly funny and with a brilliant set up and stunning pay off, it is a serious pleasure. Death is despondent and Cain has been sent to check on him and get him back on track. Frank Martin has taken a wonderfully imaginative and unexpected angle that nicely plays with reader expectations. Anthony Pugh's friendly art sells the story idea with understated confidence, using a very familiar setting to capture and control readers expectations with subtle skill and a wonderfully expressive cast. Julian Dominguez uses the colours to anchor the action with care, amplifying the emotional tones of the story and bring out every nuance the writing and art.
Ken Nuttals letters are natural and unassuming , the sound effects are perfect they give the force required when required.
Modern Testament takes a fresh and unexpected look at ideas that have been used in stories for as long as there has been stories, with entirely deserving confidence Frank Martin and the other creators show that there is always room for more, all that is needed is the huge talent they bring to the work.
Chief Wizard Note: This is a review copy very kindly sent by Frank Martin. To purchase a copy of  Modern Testament 4, you should to give yourself the guilt free pleasure of excellent comics, it will be available from   insanecomics.com later this month.

Modern Testament Vol 3. Anthology of the Ethereal. Insane Comics (2016)

Very engaging and enjoyable collection of stories that are substantial, thoughtful and unexpected. Frank Martin uses unusual source material and rises to the implicit challenge, taking big story risks that pay off handsomely.The dynamic cover is by Jonathan Rector.
Shoulder Djinn. Frank Martin (Writer), Lucas Urruita (Art), Ezequiel Dominguez (Colours), Kel Nuttall (Letters). A young man has plans for the day in front of him, so do the two competing djinns who are giving him advice. Two voices giving contrary advice about what to do. It appears that one is stronger than the other, one strong one weak. A internal struggle is made external and very physical, then the real issue is neatly pulled up to the fore, giving the story a different slant.
Lucas Urruita's art is a pleasure to read, the cast are vivid and expressive, the action is tremendously forceful. Indecision and doubt are hard to successfully express, it can just look bemused, Tommy moves through the various stages to his final decision with clarity. The shifting perspectives of the story are delivered with care and attention to detail. Ezequiel Dominguez's colours are crucial to the story, they guide the reader through the different perspectives with ease, they give the djinns strong physical presence and weight, which is vitally important as the action develops.
The Abandoned. Frank Martin (Writer), Francesco Conte (Art) , Macerena Cortes (Colours), Kel Nuttall (Letters). An argument between a son and his mother gains heat and volume as the absent father is included in the mix. What is really impressive about this story is the way the argument feels old, it has been had many times before, it is also fresh each time, the emotions are never less than raw. The development of the argument strongly suggests one conclusion before a wonderfully convincing one is given instead. It is sign of the strength of the writing that the weight of the story can be so convincingly turned in a tiny space without cheating the reader or unraveling the story.  Francesco Conte has a considerable task to accomplish with the art, the context is very confined and there are just two members in the cast, the action is emotional rather than physical. The tension is developed fully as the cast respond to the changing dynamics of the argument and the balance of forces shift. The impact of rage is caught with subtlety and force as is the abrupt shift as the fight alters its tone. Macerena Cortes' colours give definition and depth to the context and the cast, they capture the shifting intensity of the emotions as they spill and roar. They are slightly muted which allows the real force of the words to come out loud and clear.
Down with the Sickness. Frank Martin (Writer), Joaquin Gr,(Art) Matej Stasko (Colours), Kel Nuttall (Letters). A dying man uses his pharmaceutical company as his personal resources when he becomes terminally ill. When he meets the source of his illness his problems become more clearly defined. Embodying an idea is always a tricky proposition, how to balance the requirements of both aspects. Frank Martin makes it look easy as Pestilence jumps from the comic with vivid, baleful life and sharp personality. A nasty sense of humour and a brutally frank approx to his  work, make him fascinating. Joaquin Gr, manages the equally difficult task of making Pestilence human enough to be easily read and foreign enough to be powerful and threatening. Looking like a green almost corpse possessed of enormous energy is a brilliant way to solve the problem. the details of the context give the story a very strong physical anchor that allows the ideas to operate successfully. Matej Stasko's colours capture the two elements of the story, the mundane story of a rich man's fear of death and the resources he uses to fight it and the triumphant march of his unstoppable enemy. The colours give lift and strength to both aspect of the story.
Kel Nuttals letters are consistently subtle, easy to read and change to support the story with care and focus. The sound effects are a joy, they give the emphasis just where it is needed. The ideas never push out the stories and the stories never overwhelm the ideas, a extraordinary balance of precision and force by very talented creators who have delivered a great comic.
Chief Wizard Note: This is a review copy very kindly sent by Frank Martin, If you want to purchase a copy of Modern Testament Vol 3., and you should as really good comics will endow you with cosmic powers of joy in living, it will be available mid-December from  insanecomics.com .

Modern Testament Tales of the Ethereal. Vol 2.Frank Martin (Writer), Adrian Crasmary, Igor Chakal, Noreus Teves (Art), Stanislaus Leonov, Laura Ruggeri (Colours), Kel Nuttal (Letters). Insane Comics (2016)

A very engaging and enjoyable anthology that executes a strong idea ,bibilical monsters in a modren context, with force and clarity.
"Schoolyard Monster", written by Frank Martin, art by Adrian Crasmary, letters by Kel Nuttal. The set up for this story is simple, Joseph is being bullied at school and neglected by his parents. The relationship between Joseph and the bully, Rudy, is horribly plausible, Joseph is angry, frustrated and scared, Rudy has a nice line in self serving talk about helping Joseph. That the Golem arises from Joseph's frustrated helplessness is quietly made and the need that Rudy has for Joseph as a victim is well established. The Golem is a tool, a means to an end that Joseph desperately wants and cannot achieve by himself.  Frank Martin can deliver a lot of information and context in a very small pace, the single panel of breakfast with Joseph and his parents captures Joseph's home life with cutting economy and great impact.
The art by Adrian Crasmary is a pleasure to read. The absence of sharp lines softens the look of the story and lets the very harsh intent of the story emerge in its own time. The expressive body language and faces of the cast are in marked contrast to the blankness of the Golem. The contrast between Joseph and Rudy is never overdone, there is just enough of a difference in height to make it clear that malice as much as strength is what Rudy uses to dominate Joseph. The muted colours capture the details of the physical context and shade the faces very effectively. Best of all the Golem never dominates the story with his presence, he is part of the context never overshadowing the real action.
"The Great Hunt" written by Frank Martin, art by Igor Chakal, colours by Stanislaus Leonov. A couple arrive on game reserve looking to hunt a creature that apparently has killed other hunters. Naturally they ignore the warnings from the warden and head out on their way to capture their prey. It does not end well.  Frank Martin includes some details to give the considerably more weight and impact. The reason the couple are hunting the creature is simple and strong and the final pay off effective.The set up seems to deliver stock characters in a well worn situation, the motivation for the trip pulls them directly to life just in time to encounter the Behemoth.
Igor Chakal's art captures the feel of old films about reckless white big game hunters who were lead by arrogance out of their depth in the bush. This is exactly what the straight lines of the story needs, the momentum that leads to the confrontation. When it arrives it is delivered with great force and impact. The details are every bit as bloody and brutal as they need to be. Stanislaus Leonov's colours are a bright and bold as the reserve should be, when the switch comes to night time, the lighting is not dimmed to hide the action. Stanislaus Leonov manages something difficult, the nighttime is important, still the details of the attack have to be vivid and the sequence works without feeling absurd on either count.
"What Is He Good For? (Absolutely Nothing)" written by Frank Martin, art by Noreus Teves, colours by Laura Ruggeri. This is the most substantial story of the three due to the fact that Frak Marshall has solved a very considerable problem and made it look easy. In any story if a member of the cast is one of The Four Horsemen of the Apocalypse the story is very likely to buckle under the weight of this character. They are such  forceful concepts that trying to fit them into a human context without them destroying any dramatic tension is a very significant story problem. Frank Martin does exactly that and  then uses the character is  dramatically satisfying way.
Noreus Teves's art creates the necessary physical context for the story, it has to have a very strong sense of place to support the huge weight of the Horseman, the details have to very strong to allow the human cast a chance. The swagger and well founded confidence exuded by the Horseman is  powerfully displayed and contrasted with the fear and uncertainty of the human cast.
The bright colours used by Laura Ruggeri capture the sunshine of the cruise, the darkness is all in the unfolding events. The vivid colours of the Horseman's outfit is a smart contrast to his usual outfits and provides very effective camouflage.
Kel Nuttal's letters are quietly unobtrusive and natural, they are easy to read and never draw attention away from the art or the story.The tremendous sound effects on the other hand are a out loud joy, they add depth to and weight to the action.
This is a very impressive comic, Frank Martin has something to say and does so without ever unbalancing the stories, the artists bring all the nuances of the stories to the fore without crowding or forcing the reader.
Chief Wizard Note: This is a review copy very kindly sent by Frank Martin. Modern Testament Tales of the Ethereal. Vol 2. will be available from  insanecomics.com from Monday 20th June 2016.  You should get a copy, reading good comics has been proven to deliver elevated levels of happiness an satisfaction with living.