Sagas of the Shield Maiden Book 1. Asa Wheatly (Writer), Ken Reynolds (Letters), Ayoola Solarin (Editor), Sweeney Boo (Cover) (2020).

A very engaging and enjoyable collection of stories from different stages of the life of the unnamed shield maiden, a Viking warrior. 

A Lesson in Revenge Michelle Marham (Art). The Shield maiden arrives at an inn and finds a Christian warrior she knows, Almund is having a fight with a young woman Ingrid. Ingrid wants to fight Almund as a fight against the encroaching Christianity that is taking over in the country. Ingrid challenges Almund to a fight which has a very satisfactory conclusion. Asa Wheatly sets up the context and the cast with economy and clarity, the stage is set for the fight between an inexperienced young woman and a hardened soldier, the struggle against invading Christianity is explicit.

Michelle Marham’s art is clean and precise, it bring the expressive and forceful cast to the fore Almund is a seasoned fighter who enjoys the fight, riding the incoming wave of Christianity he is a confident winner in the physical and the cultural battles being fought. Ingrid is deeply inexperience, raging against the loss of her beliefs as her culture is being swept away. She I determined to make a stand for her family’s heritage. The shield maiden is calm and thoughtful, fighting for Christians because they pay, supporting a young woman because of her passion for the increasingly old ways. The art brings out all the elements in the story and brings the reader into the story. The colouring brings the details of the art and gives it depth and solidity.

A Death Worthy Of A Shield Maiden. Kay Baird (Art). The Shield Maiden is dying and sets about doing so on her own terms. A flashback shows how her mother died to protect her. The shield maiden’s mother is every bit the fighter her daughter would become and the both find a fitting end. The structure is perfectly balanced between the two stories, each one is given weight and depth by the other.

Kay Baird uses different shape of panels to tremendous effect, controlling the story and allowing each of the narratives to flow alongside each other.  The moves from wide angle to closeup are timed perfectly, the story beats are captured and expressed strongly by the art, the beginning and the ending are in balance without feeling forced or excessively contrived. The colours are nicely keyed to separate the flashback and the present-day action making the story transitions smooth and natural.

A Matter of Fate. Kevin Keane (Art). A chieftain decides to kidnap and sacrifice a priestess of the Norse gods to show his commitment to the Christian faith and to advance his path to power with the Christian king. The shield maiden is the lover of the priestess, she is badly beaten when the attack arrives. The failure to kill her is a mistake.

Kevin Keane’s art is moody and dark, it grips and express the story with wonderful directness and energy. The action is up close and brutal, the shield maiden shows exactly who she is. Asa Wheatly weaves in politics, romance and religion with deft confidence. The colouring is astounding, it is wholly artificial and utterly expressive, it captures the emotional context for the action with depth and subtlety. This is my favourite story in the collection.

A Bounty Paid. Sammy Ward (Art). The shield maiden arrives with a prisoner to collect a bounty and encounters some problems. A classic Western story that is transplanted perfectly to a Viking setting. It works exactly as it should.

Sammy Ward presents the story against a pale green background which makers the colours of the cast and the action pop, it creates the desert of snow instead of sand. The cast are expressive, the shield maiden is the hard-working professional who is not looking for trouble nor surprised when it arrives.  The action is managed with flair, the aces on the crowd when they realise what has happened in front of them is just perfect. I am a big western fan and to see a story delivered as beautifully as this makes me very happy.

A Crash of Thunder, A Flash of Lightning. Daniel Coloma (Art). The shield maiden goes on a viking to East Anglia when she was a young girl. The battle on the beach goes very badly for the invaders and she is lucky to escape on a small ship piloted by a stranger. This is the start of her journey to become the scarred warrior known as the shield maiden.

Daniel Coloma’s art is a please to read and luxuriate in. It is full of beautiful details and is hugely expressive. The storm is superb, it feels wild and threatening, the quieter moments are never flat, there is energy and tension between two on the boat. The colouring is superb, it brings out the details of the art and give a physical weight which is needed.

Ken Reynolds lettering is subtle and matches the changes in the art with care. It is faultlessly easy to read, never slowing down the reader or distracting them

Sweeny Boo’s cover declares what you are going to get when you open this book, a wonderful collection of stories by seriously talented creators.

Cognition 0-4. Ken Reynolds (Writer & Letters), Sam Bentley (Art). www.facebook.com/CognitionComic (2018)

A very smart idea executed with tremendous confidence and skill. The British Occult Secret Service (B.O.S.S.) operating in investigate supernatural threatsVictorian England, false and real mediums, disappearances in marshlands, a demon dog. The threads of the story neatly twist together as myth proves to have a hidden history that threatens the present.
 B.O.S.S.has an unusual staff, Silas Pope is the Director, a man steeped in occult secrets. Hattie Griggs a mechanical engineer with a soaring talent. Calibre 507-'Cal' a robot built by Hattie Griggs inhabited by a displaced human soul and Sigma, a displaced demon in the body of a mouse tethered to Cal by the process that displaced them both.  In this case the Devil has the best tunes, Sigma is the most compelling character, demanding, sarcastic, hungry he pushes himself forward in the story and at the reader. Cal is pulled along by Sigma, a lost soul, his memories gone with his human form, he is aware and trying still to adjust to the circumstances. Silas Pope is given a wonderfully revealing moment in a single panel that highlights both creators depth of skill, Hattie Griggs is gets more space at the conclusion, she remains slightly underwritten.
The plot mechanics are great, the self contained chapters at the start give way to an longer narrative that uses continuity with skill and control. The plot mechanics are thoughtful and sharp, the story creates a sufficient problem for B.O.S.S. to be sorely tried and to be sufficiently successful to credit their brains and experience.
The supporting cast are engaging, the walk ons in the village pub and the cult members are always more than just set decorations, they move and breathe with energy that makes the reader notice them. They give depth to the context and the leading cast.
Sam Bentley's art is a joy to read and linger over, the details draw in the readers eye and the astonishing range that his black and white art delivers is wonderful. The stark contrast in the art captures the emotional tones of the story perfectly, this is a brutal unforgiving struggle that will allow no quarter. There are no shades of gray, just winning or losing. The cast are given lived in faces, Silas Pope wears his experience lightly but clearly on his face and in his body. Confident and capable, the weight of the game still rests on him. Hattie Griggs is not an awkward steam punk engineer, she is a gifted mechanical engineer who is a Victorian female and dresses like one. Placing a bowler hat and a cloak on a steam punk robot inhabited by a displaced soul is a master stroke, it gives an edge of familiarity to the robot that allows the personality shine without being distracted by the mechanics. Sigma is a mouse. A very clever mouse that hides the true shape and intent of the creature, the tension between both is vital to driving the story.
There are a number of back up stories that are used to cast a sidelight on the cast and context and they do so with tremendous skill. The allow for an alternative perspective that adds to the context and a different view of the cast that gives them greater depth without interruption to the flow of the main story.
Cognition is a great comic, story and execution show off the talent of the creators for the benefit of the readers. Read and relish.

Bionics No. 1. Kim Roberts (Writer), Chris Royal (Pencils), Martinho Abreu (Inks), Chunlin Zhao (Colours), Ken Reynolds (Letters). Markosia (2018)

The first installment of a highly enjoyable and engaging science fiction comic that sets up the cast and story with great energy and force. Beth is convinced by her jailed husband, Ben, to meet someone, Zeke, to recover something from the firm he had worked at. Beth discoverers that the firm and her husband had secrets and also finds out that others want those secrets too. Vivian, who now runs Bionics visits visits Ben and the plot kick off into high gear.
Kim Roberts sets up a mystery story that opens nicely out into a  full throttle science fiction adventure, bristling with ideas and details that are a pleasure to encounter. The cast are engaging, Beth is trying to understand how her life could have been upended so dramatically and is willing to take a chance if it will help her husband. Zeke is a cool, mysterious stranger who knows more than he is revealing up front, Veronica is a classic villain. The two who pursue Beth and Zeke are not as human as they appear.
Chris Royal's and Martinho Abreu's art is a pleasure to read, it is distinctive and expressive, the action is powerfully done, the conversations are natural. The panels are used to great effect to control the pace and focus of the story, they bring the reader deep into the story.
Chunlin Zhao's colours are very effective, they bring out the details of the art, adding expressiveness to to the cast and depth to the context. I really like the way the colours are used to give shape and definition to the clothes the cast wear, they are a strong part of how the cast express who they are.
The letters by Ken Reynolds are unobtrusive, easy to ready and placed naturally in the panels.
Bionics does everything a first issue should do with confidence and flair, establish the cast and engage the gears of the story. I am looking forward to seeing where it moves to from here.

Soulless No 1. Kim Roberts (Writer), Chris Royal (Pencils), James Johnson (Inks), Chunlin Zhao (Colours), Ken Reynolds (Letters). Swampline Comics (2017)

Very enjoyable and engaging first issue that neatly sets up the story, delivers a great hook ending and has a generous story to tell in its own right. The Carnival of Souls comes into a small town, it is followed by two people, Raul an ex-priest and Claudia a carnival survivor . The carnival sets up and Rail and Claudia join the customers and it all gets nasty, exactly as it should. The carnival has a deliberate purpose and Rail is determined to prevent it succeeding, a process Claudia may be helping or may be complicating.
Kim Roberts has packed a great deal of story between the covers, the major players are economically and confidently introduced and the action is kicked off with a bang. The reason why the carnival is touring is given, Raul and Claudia are going to be involved in a very serious fight.
The art is lovely, the cast are strongly expressive, they have energy and physical force as they move, they move as individual members of the cast and react to each other credibly. The female member of the cast, in particular Kali and Claudia are treated with respect and given the opportunity be be actual personalities. Kali burns with purpose, all the people she meets are just means to her end. Claudia is in slightly over her head and determined to push ahead. Raul is slightly more conventional, an experienced demon hunter he is not really tested yet. The use of panels to control the pace of the story and create variety on the page is a pleasure to read.
The colouring catches and emphasises the details of the cast and context as well as the emotional tones of the story with precision. The carnival is a riot of bright colours that smartly brings out the dark ideas that swirl around it.The lettering is quiet and natural until it needs to be loud and obtrusive in the sound effects.
Soulless is a great fun comic that showcases strong comics storytelling by very talented creators. It is going to be a thrill ride.

Cognition Issue 1. Ken Reynolds (Writer & Letters), Sam Bentley (Art). (2016)

Very enjoyable and engaging steampunk supernatural investigation story with a great context and cast. The British Occult Secret Service (B.O.S.S.) are called in by the grieving brother of a man who has killed his children and himself. The man had been severely affected by the death of his wife the year before and his brother thought that his grief has lead him to strange and dangerous activities,. The B.O.S.S. team including Cal the stem robot and Sigma the demonic mouse investigate. The story unfurls very nicely, the reveals are very well set up and the conclusion is what it should be.

One of the substantial pleasures of this story is the way that it becomes clear that the Victorian era context is not simply set dressing. The social constraints and rituals of the time are central to the story, the much more contemporary voice of Sigma does not conflict with them, rather they mingle naturally to create a very convincing context.

The dynamic relationship between Cal and Sigma is displayed and demonstrated through the action in the story, the two very distinct personalities and attitudes emerge clearly. Ken Reynolds has developed the idea behind Cognition very nicely, the cast have emerged more clearly and the context had gained additional depth. One of the noticeable elements in the story that serves it very well is the way that Cal and Sigma, a steam robot and a talkative mouse are very much public figures, they present themselves as themselves to the people around them. Doing this means that they can function easily and naturally in the world, they are not oddities, they simply are agents of B.O.S.S. and accepted as such.
Sam Bentley's art is a deep pleasure to read, the multitude of details that emerge from the stark black and white is remarkable. The physical context is solid and grounds the action, the cast are wonderfully expressive. Humans and demons, all are allowed a range of actions and expressions, the confidence in the art is a pleasure. Both Ken Reynolds and  Sam Bentley are so confident in the delivery that the reader has the opportunity to simply soak happily in the story, there is no effort to convince the reader, it simply unfurls as it should.
What the Butler Saw, Ken Reynolds (Writer & Letters),
Ben Peter Johnson (Art) is a short story that gives a different perspective on the B.O.S.S. team. Ben Peter Johnson art is radically distinct from Sam Bentley's and this is a great benefit for the story, the view from the outside deserves a different approach. The butler in the B.O.S.S. offices is writing a letter and included in it are reflections on the B.O.S.S. team. There is nothing new in the reflections, the butler's voice is distinctive enough to gave them a sense of a different perspective.
Cognition is a smart story idea being engagingly developed by seriously talented creators, it has wonderfully enticing possibilities and is a deep pleasure to read.

Cognition Issue 0. Ken Reynolds (Script & Letters), Sam Bentley (Art). (2016)

A very engaging and enjoyable comic that introduces the agents of the Victorian era British Occult Secret Service (B.O.S.S) in three short episodes.
They Never See It Coming.  A couple are attending a séance to contact a dead relative, at the same time a shadowy figure is having a sarcastic commentary on the event. When the medium is exposed it becomes clear that two of the agents of B.O.S.S. are highly unusual, one is a steam driven, small robot named Cal the other a mouse, Sigma. When they encounter a second medium it becomes clear that the robot and the mouse are more than a novelty act.
The Devil's Fishing Hole, a haunted marsh is actually haunted by something very dangerous. When Cal and Sigma encounter it, Cal has to take a significant risk with Sigma to solve it.
Frame Breakers reveals that there are people who are more than willing to traffic with demons in order to get what they want.
Ken Reynolds has managed a number of difficult story tasks in this issue with flair and considerable confidence. The idea of a steampunk occult secret service is a genre staple at this point, getting a new way to imagine it and exploit the strength of the idea is tricky, Ken Reynolds makes it look easy and natural. The weight of the idea rests on Cal and Sigma and they carry it with ease, the bond between them is tricky, they each need the other and are frustrated at the limits this imposes on them. At the same time they have a clearly effective working relationship that allows them the space to  cooperate and to manage. Ken Reynolds has nailed the critical odd couple dynamic that makes they engaging and compelling.
The progression of the stories introduces the cast and each carries a reveal that shows more of the central situation between Cal and Sigma. The information needed to created the set up and establish the cast and the context has been very nicely divided up so that it never just an info dump for the reader. The set up is developed very naturally and the cast given a chance to demonstrate who they are and what they are fighting against.
The lettering for Cal and Sigma is used to clearly differentiate the two, this is very impressive as white letters on black are used for both. There is no confusion between the two due to Ken Reynolds' subtle mastery of the process, the links between the two and the differences between them are clear without ever being obviously declared.
Sam Bentley's astounding black and white art is a pleasure to read, the human cast are all strongly individual, their faces are expressive and their body language is clear. They fit into their context with ease, they never look like supermodels or superhero's, they look like humans going about their work. Cal and Sigma are equally expressive, Cal looks like a steampunk robot should, Sigma bristles with attitude. The art is comfortable with quiet dialogue and explosive action, the panel layout is cleverly done to control the pace of the story.
Cognition 0 is a great fun comic by very talented creators, the story idea is developed in engaging and happily unexpected ways. 

Sliced (Quarterly). An Experimental Comic Anthology. Issue 6. Ken Reynolds (Editor).Ken Reynolds Design (April 2017)

A very engaging and enjoyable anthology that takes a happily generous view of "Slice of Life" as the central theme for various comics in the collection. The wonderful diversity in the stories is never confusing or distracting, they comfortably sit along side each other.
Killing Action Man, Martin Feekins (Writer), Jonathan Scott (Art), Ken Reynolds (Letters), very sharply captures a moment in childhood when we fear that an attempt to evade consequences will be uncovered and the trouble doubled. Talking Action Man suffers in action and the pervasive fear and guilt that follows are conjured up with precision and detail, as is the outcome. The low key tone of the story captures the moment with rueful compassion for the terrors that no one else could see. Jonathan Scott's art is is perfect for the moment, it captures the look of comics from the time , 1968, without trying to copy them. The colours are a joy, they capture the nostalgia essential for the story to work. Ken Reynolds' letters are natural and easy to read, the sound effects are precise and perfectly placed.
7ER MONNEN, 7ER MONNEN: Narrative-Shmarrative , 7ER MONNEN IM NISCHT, Daniel Ableev, are three one page comics that feature a solidary stick figure in different contexts. The first one, 7ER MONNEN is a neat joke, strong colors and strong timing make it work. 7ER MONNEN: Narrative-Shmarrative is a second 4 panel comic that teases the reader to impose a narrative on the panels by developing the context in each one. Daniel Ableev is clearly enjoying himself and the reader gets to do the same. 7ER MONNEN IM NISCHT, is the third 4 panel comic and I did not get it at all, whatever the intent of the the creator it has evaded me completely.
Old Plymouth. Eric Gaghan (Writer), Gregory Floch (Art), Ken Reynolds (Letters), is the most conventionally "slice of life" of the the comics in the anthology. A father who is ill is talking to his son, telling old stories and memories that have shifted and changed in the telling. Maybe the father broke his nose in a boxing match or in a terrible car crash, maybe he met his wife in a casino or a run down pub it does not really matter. It is the telling and the listening that counts and Eric Gaghan writes with sympathy and humour about the telling. The care for the cast gives the stories a warmth that invites the reader into the listening. Gregory Floch's art brings out all of the nuances, told and untold in the stories, the expressive cast respond to each other, the smiles of the father and mother for each other are a treasure. The blue tone saturating the memories/stories gives the memories a soft focus while the action retains it force. Ken Reynolds' nicely differentiated lettering allows the layers of the story to sit next to each other without confusion.
Dreamscape 1: Nightmare. J.M.Bryan (Writer and Art) is a standout even in such powerful company. Writing a comic about dreams is a fantastically difficult problem to solve, the nature of dreams and dream logic is virtually impossible to express convincingly. There are no rules for talent, using abstract art and cunning placement of text J.M.Bryan creates the sensation of a dream in a comic without ever compromising either. Words, pictures and colours are used with disciplined simplicity and powerful effect.
Psychedelic Entropy. Kyle Huston (Writer), Caleb Lindley (Art), Ken Reynolds (Letters), fabulously overboiled writing that is heard as much as read follows the possible disintegration of a mind trying to cope with reality. The wonderful grandeur of the words come right up the limit of parody or outright pretentiousness, they never cross the line because they are anchored so firmly by the stunning art.  Caleb Lindley manifests the words in the art that holds the slippery ideas so firmly that the intent is allowed to be revealed. There is a joyous tension between the flight of the words and ideas and the huge physical weight of the art, the balance is a substantial pleasure to read. Ken Reynolds' letters are hiding their craft in plain sight, they never draw attention to them selves while to bind the whole comic together.
Child Gunther. Bob Schroeder is wonderful, the strongly expressive and dominant art is astonishingly stylised and completely engaging. The story of how a picture of a child was used for years on Kinder chocolate bar, steadily modified over the years is captured with great force and expressiveness. The lettering is as forceful as the art, big blocks of text compete with and try to crowd out the art. The reader is forced to choose one or the other concentrate on at a time. The competition works because the art is so expressive and powerful, it can tolerate the force of the text and incorporate it into the overall scheme. A intriguing story that is served by the powerful artistic imagination of Bob Schroeder.
Without You. Kim Roberts (Writer), Denis Vermesse (Art), Ken Reynolds (Letters) takes an unexpected perspective on a delicate issue. Getting a diagnosis of cancer is such an all encompassing moment that capturing it without without over or underplaying it is extremely difficult. Kim Roberts manages this by taking a deeply unexpected view that reveals the impact, the struggle and outcome with a honest and understanding eye. The art by Denis Vermesse is carefully set up to capture the progress of the story, the passage of time and the ebb and flow of the cancer. The panels control the timing of the story, the overlays capture the rest. The combination is wonderful, the reader is pulled in and along without ever being delivered to false sentiment, the art amplifies every delicate nuance of the writing. Ken Reynolds's letters give the voices clarity and shape, allowing everyone to be heard.
In addition to the comics there is a review of Sticky City, a graphic novel by Joe Bloch. The preview pages of Sticky City are great, strongly expressive, highly disciplined art that looks spontaneous and is clearly the result of deliberate artistic consideration.
Sliced (Quarterly). An Experimental Comic Anthology lives up to its title, the comics are outstanding, made by creators who understand the potential of comics and have the talent and creative muscle to achieve their ideas.
Chief Wizard Note: This is a review copy very kindly sent by Ken Reynolds. To get a copy of Sliced (Quarterly). An Experimental Comic Anthology. Issue 6, and you should because wonderful, creative comics are a reminder of the joy of living, it is available from  www.slicedquarterly.co.uk

AntiChris 2. Writer: Jojo King, Artist: Manuel Mezquita, Letters: Ken Reynolds.Insane Comics (2015)

A sharp and engaging second issue that neatly solves a number of difficult problems. When the warden at St Jude's Home for the Wayward decides to demonstrate her satanic capabilities by summoning a demon she finds out that summoning a demon is by no means the same as commanding a demon. The resulting mayhem involves zombies, a very big demon, a vampire werewolf and a group of teenagers. The results are surprising, cleverly set up and supported throughout with pitch black humour.
Any second issue faces a serious obstacle, the set up has been done and the underlying idea has been established, the second issue has to effectively deliver on the promise of the set up and, ideally, opening up story possibilities for the reader and the creative team. Jojo King has solved this problem with considerable flair and has taken a number of story risks which have paid off very well. The action in the second issue is very nicely framed and managed with a very dark humour this allows JoJo King to pile up the gore, which he does to entirely satisfactory levels, and at the same time not drown the story in blood. The humour gives the cast the room to stand out in the action and balance the horror and the cast requirements.
This is particularly important because of the nature of the cast, they are mostly well established horror staples and teenagers, managing to have this cast work effectively with stumbling into cliche is a significant task. The black humour gives all the cast a chance to be themselves as well as either a monster or a teenager, they become identifiable cast members and the whole outbreak gains weight and substance. This is a significant achievement and Jojo King deserves considerable credit for threading the needle with such smart writing. The multiple story possibilities that have been set up mean that the story can pretty much go anywhere it wants without breaking its own rules or promises to the reader.
Manuel Mezquita's art captures the balance of the story with tremendous energy and force, it does not lean too heavily on either the laughs or the violence, it switches exactly as required and can deliver both together when required. One of the outstanding pleasures of the art is the way the younger characters are drawn, they look and move like teenagers, rather worn down and battered by life teenagers at that. Given the temptation presented by a teenage female werewolf vampire delivering credible confusion and angry vulnerability along side real force in action, the scratchy lines Manuel Mezquita uses so well are a great choice to have made.
Ken Reynolds letters are subtle and telling, they delivery without ever being obvious, the sound effects are a treat.
A second issue that more than fulfills the promise of the set up, a greatly enjoyable comic.

Chief Wizard Note: This is a review copy very kindly sent by Jojo King. You can purchase AntiChris 2, and you should treat yourself to this smart comic,  at  http://www.insanecomics.com/the-insane-comics--store.html,

SinEater 1. JoJo King (Writer), Chase Dunham (Artist), Ken Reynolds (Cover Design) Insane Comics ( May 2015)

A very engaging and enjoyable comic that packs a quiet and very considerable punch. Cassandra is a sin-eater, as the opening vividly shows both her work and the burden it imposes. A very nasty incident at the morgue where she lives leads to a sudden need to exit her village, which becomes significantly more urgent and problematical at the same time.
In a very short space, 28 pages, JoJo King manages to present four significant set ups for the story and none of them trip up over each other or feel cramped or rushed. Cassandra is introduced with a great sequence and then given a chance to introduce herself, this set up is done very naturally with a lot of information being delivered in a natural way with a great balance between showing and telling. A villain is introduced in another deeply effective set up, one of the very welcome aspects to the comic is how a cliché is cleverly used, High Priest Jacob is a villain, however he is a wonderfully dangerous villain. Using a  religious leader as the bad guy is often fatally obvious, sanctity is a great cloak for horrifying selfishness and greed, what JoJo King has done is give Jacob a very dangerous edge. Jacob is not firebrand who rouses the passions of his congregation, much more troubling he gives them permission to act savagely. He does not tell them what to do, he praises them for knowing what to do and doing it, a much subtler, toxic and durable way to hold power.
The incident at the morgue is great, it is not a surprise, it is really well done and the role of sexual violence actually has a direct relevant to the story mechanics. I still wish that JoJo King had found a different route to the same end. This incident is the third set up which leads naturally to the fourth and final set up where the threads of the story are very neatly crossed and the the reader is left happily wondering where the story will move to next.
The cast are vivid and forceful, Cassandra is vulnerable, confident, capable and confused, she is a great lead character and Jacob, who in the very short space given to him, imposes himself very firmly on the story as a heavyweight, I look forward to seeing him flex his muscles and seeing how Cassandra responds and starts to flex her own muscles in turn. The supporting cast are also strong, they demand the readers attention because they deserve it, none feel like they are just taking up space.
Chase Dunham's black and white art is a joy. It is confident and distinctive, the lines are spare and expressive, the action is quietly intense without every being aggressive. Given the content the art has a lot of room to be filled with brutal detail, Chase Dunham instead gives the cast prominence over the blood. This brings the story much more forward as the cast are allowed to drive the action rather than being lost in it. Still when action is required it is delivered, Chase Dunham has a wonderful grasp of movement that gives the moments depth and force.
Sin Eater 1 is a confident, thoughtful and engaging comic from very talented creators, a pleasure.
Chief Wizard Note: This is a review copy very kindly sent to me by JoJo King. To buy it, and you should treat yourself, go to  https://www.facebook.com/InsaneComicsDotCom

AntiChris 1. Jojo King(Writer), Manuel Mezquita (Artist), Ken Reynolds (Letters) Insane Comics (2015)

A very enjoyable and entertaining first issue that delivers an engaging cast and a smart story idea that has a lot of room to grow and develop. Chris, a teenage orphan find himself delivered to St Jude's Home for the Wayward, a halfway house for teenagers and finds that it is as strange as it should be. Chris meets the rest of the inmates,the very strange warden and the equally odd cook. An attempt to kidnap one of the teenagers leads to a strange event which is likely to be the springboard for the story.
Jojo King manages all the problems that come with setting up a story with care, very dark wit and considerable craft. There is an excellent balance between introducing the cast and setting up the plot mechanics. Using teenagers as the cast is a tricky approach, they are so encumbered by cliché that setting up recognisable characters who speak for themselves and feel like teenagers is tough. Jojo King makes it look easy, they have the outward snark and bravado that they should have given their circumstances, they are also afraid and lonely, anxious for acceptance and security. The two selves co-exist very naturally in the story and they mean that when the plot mechanics kick in, the reader already cares about what happens. One of the significant pleasures of the book is that the cast speak like humans, not some strained idea of what "young people" talk like nowadays, they have their own voices and are strongly themselves. The fact that one of the cast is a teenage female werevampire and this does not sink the story on the spot is a strong indication of the quality of the writing.
Manuel Mezquita's art is flat, scratchy, very dark and engaging. There is tremendous energy in his lines and the close ups of the cast are full of subtlety, they give the cast a strong physical presence. I really like the way he uses multiple panels to capture different aspects of a moment and the creative use of page layouts to capture the story. At times the panel sequence is not instantly clear and I had to navigate a bit more deliberately than usual, nothing to distract from the pleasure of reading.
Ken Reynolds' letters are quietly effective in the dialogue and wonderful in the sound effects, they are very nice matching size, font and effect to  add a strong extra element to the mix.
Talented creators and a very promising story, AntiChris is a great start.
Chief Wizard Note: This is a review copy very kindly sent by Jojo King. To get a copy of AntiChris, which would be a good idea as then there would be more issues to read and enjoy, it can be bought here: https://www.facebook.com/InsaneComicsDotCom