A Man Called Hawken. Ben Truman (Writer), Tim Truman (Artist). IDW (2012)

A gripping and engaging as well as fiercely violent Western. Kitchell Hawken is on a mission to extract the maximum revenge on The Ring. The organisation scalped him and left him for dead, which was terrible mistake as he was not actually dead. Driven by burning thirst for revenge and with a lifetime's experience of killing to draw on Hawken is systematically killing his way to the top. Followed, encouraged, mocked and berated by the multitute of ghosts of those he has killed Hawken follows the trail to find John Gallis, his ex-employer who ordered his murder. The action is brilliantly choreographed, the cast are never cliches and the pace is as relentless as Hawken's quest. The reveals are superbly staged and the finale satisfyingly grim.
A book that opens "Once there was an old man. He rode a blind mule on the trail called "El Camino De Murte"...The Road of Death" is setting itself a very difficult task to complete in a satisfactory fashion. It has to remain true to a very narrow vision of the reverger coming to claim his due and create enough of a wider story to draw in and keep a reader. The premise is age old, finding an interesting way of telling it is very hard. Ben Truman succeeds with flair and tremendous storytelling by multiplying the circles of revenge that enmesh the cast. Kit Hawken wants revenge on his would-be murderers, the ghosts of his victims want revenge on him, John Gallis wants revenge for the destruction Hawken is causing his criminal empire, Sombre a deformed physocitic killer wants revenge for failing to kill Hawken the first time and Shanghai Mary wants revenge for her husband.
This multiplication does not simply pile up confusion, the cast are too well developed for that, each of their journeys is different which gives each encounter its own particular flavour. The smart pacing  that Ben Truman uses, there are breaks between the outbursts of violence that give the cast a chance to reveal more of themselves that the one dimensional aspect that violence shows. The wonderful, rancid and ornate dialogue that is used gives the cast a chance to emerge as living people before they are brutally killed. Although Hawken is the lead character, the rest of the cast demand the readers attention and create a great context for the story.
The beautiful art by Tim Truman captures the spirit as well as the action of the story, Hawken is a scarred strip of leathery rage and hatred. Everything else has been stripped out of him and he wears it in every line, Sombre is repulsive and impressively competent at his task, he has a contained glee at the cruelty he inflicts and a happy satisfaction at his own nature. The ghostly retinue that crowd around Hawken, each bearing their death wound make a astonishing varied chorus, as distinct in death as they were in life.
There is very little to surprise a reader in this comic, though there are a few, there is a very considerable amount of pleasure from a grim story told with such care and relish .
Other Voices, Other Views:
http://www.goodreads.com/book/show/15896675-a-man-named-hawken

Lobster Johnson. The Burning Hand. Mike Mignola, John Arcudi (Writers), Tonci Zonjic (Art), Dave Stewart (Colours), Clem Robins (Letters). Dark Horse Books (2012)

Great period adventure and action story that mixes the supernatural with gangsters to great effect. Investigating an attack by low level thugs painted up to look like ghostly Native Americans leads reporter Cindy Tynan directly into the middle of a confrontation between major criminal Arnie Wald and mysterious vigilante, Lobster Johnson. Arnie Wald is working to acquire property in the area that will be ripe for re-development as New York expands, Lobster Johnston is fighting to stop him. When a direct assault Arnie by Lobster Johnson fails, Arnie calls in some unusual and very deadly allies and the fight escalates. The reveals are cleverly staged, the action is forceful and the mix of the elements tightly controlled to create the maximum impact.
One of the problems with trying to write a pulp story is that the surface details are so obvious that they distract from the structural elements that actually drive the story. It is a considerable tribute to Mike Mignola and John Arcudi that they have created a story that is both true to its roots and happily contemporary. They get the two most important elements exactly right, the period and the cast. The story is set in the the late 1920s against the rise of organized crime after the the introduction of Prohibition and their need to expand and diversify. The cast feel natural in the context, in particular Mr Isog who is clearly based on Peter Lorre who acts as a subtle key to giving the period atmosphere needed.
The plot mechanics are striking and effective, a relatively straightforward struggle between a very resourceful villain and a masked vigilante is given a lift and a twist by clever details and an engaging cast. Cindy Tynan is a capable and confident reporter who is concerned about the story and her career, supporting cast around Lobster Johnson and Arnie Wald are also capable and confident. Mercifully none are stupid, they resourceful and willing to act creating a smart and very satisfying climax.
Tonci Zonic's art is lovely, it quietly suggests the details of the period without forcing them, the supernatural actors are given a great presence, they move through the context easily and naturally, they do not conflict with it. The action is loud, bright and fast, everything it should be, ambiguity has no place in a story like this, the lines have to be clearly drawn and observed. The mystery about Lobster Johnson and the resourcefulness of Arnie Wald are a nicely judged updating of the formula .
Dave Stewart colours with unassuming flair and a keen eye for detail that serves the story without ever drawing attention to itself, Clem Robins delivers sound effects that are pleasure to read.
A great pleasure to read, a comic that wears its considerable craft with easy assurance.

Revival. Volume 1: You're Among Friends. Tim Seeley (Writer), Mike Norton (Artist), Mark Englert (Colours), Crank! (Letters). Image Comics (2012)

A stunning idea realised with astonishing execution, Revival is clever and deeply engaging. One day in rural central Wisconsin, the  recently dead came back to life, not as cannibal zombies rather as confused people looking to return to their lives. Placed in a quarantine by the federal government the people, living and revived, of the the area struggle with the unexpected and inexplicable return of dead family and friends. With  pressure outside the limits increasing as everyone scrambles to understand what has happened inside the revival zone the pressure is intense. Officer Dana Cyrpess is appointed the Revitalized Citizen Arbitration Team, who will try and manage the problems that arise.A major plot line concerning the activities of a local exorcist who sees that his moment has comes provides the structure, while the ripples from the event are examined. The reveals are clever and thoughtful, there are excellent on-going story hooks and a deeply engaging cast.
The cast is one of the greatest surprises of the book, all of them have been created with care and attention, even the smallest walk on part is given depth and shape. Avoiding the well worn cliches of the zombie genre in favor of a much more gripping approach, the living and the revived are given a chance to fail in individual ways to cope with the extraordinary events that have occurred. The revived are who they were only different, the living are changed by the fact and presence of the revived, if death is nor true what is?
The cast are uniformly and recognizably human, female or male, local or outsider, living or revived, in that order which neatly cloaks and heightens the tension at its core. Reality has cracked the cast have not, yet.
Tim Seeley is too good a dramatic writer to simply run the reader's noses in the facts of the situation, leading with Officer Dana Cypress, the extraordinary is explored through the ordinary. People still have to manage the business of living, as well or as badly as they always did, the fracture lines of their lives have not changed just intensified.
Mike Norton's art is simply gorgeous, the cast are individual, the body language and shapes, are expressive and varied. They have the breath of life in them, capturing and expressing all the the nuances of the story that the art needs to capture. The context , snow bound rural landscapes are a treat to read. The action scenes are full of energy, the low key scenes are equally filled with subtle action as the cast react and respond.
The colours by Mark Engelert are so natural and effective they nearly glide by without notice, they clothe the art so unassumingly that they hide the astonishing skill and thought that they bring to the project. The same can be said for the letters by Crank!, easy to read, unobtrusively giving layers of context and force to the comic.
A great comic that works because it exploits the possibilities if a comic to the full.
Other Voices, Other Views:
http://www.goodreads.com/book/show/16137205-revival-vol-1
http://bloody-disgusting.com/news/3207922/review-revival-volume-1-youre-among-friends/
http://www.scifinow.co.uk/reviews/33338/revival-vol-1-youre-among-friends-graphic-novel-review/

The IPCRESS File. Len Deighton. Panther Books Ltd ( 1962)

A low key and very engaging spy story. The unnamed narrator joins a sub-division of the UK Intelligence Services and become involved with a situation where top scientists are vanishing. The most likely suspect is Jay, a very well connected information broker without any particular ideological alliance beyond money. The narrator find himself identified as a probable Russian agent and gets trapped in a murderous plot. The reveals are slowly let out and very effective when they arrive, the action is nearly all verbal, the tension is held steady by the consistent uncertainty that surrounds the situation. The resolution is bitterly satisfying and entirley true to the tone and intent of the book.
This is a book about the shabby and dangerous bureaucracy of spying and the the atmosphere of betrayal and distrust that it naturally breeds. The shadow of the Second World War hangs over the story as does the Cold War between East and West. There is no heroics just small opportunities for profit, power and possible advantage. The most dangerous person in the story is not armed with a gun but with a statistical analysis that shows the importance of information and the ability to manage it effectively.
One of the striking things about the book is the fact that the use of a computer and the possibilities it offers is the cornerstone of the power for the sub-section that the narrator works for. There is an enjoyable and very English taste for class warfare in the book. The narrator is a outsider in the Establishment circles that he is involved in, he gets to be troublesome because of his competence, a significantly better connected cast member is barely more than a caricature of an upper class twit, in their position because of his social network.
The coils of the plot take some time to emerge and they do so quietly and very effectively, nearly hidden by the low key narrative, when the scope of the betrayals and their consequences break into action is is sharp and effective. This really is a quiet, shadowy struggle that has no heroes, only survivors. The story is drenched in a weary cynicism that never grates as it is off-set by the narrators humor and fundamental belief in what he is doing. From fighting a very visible enemy to a secret one the war continues. The story never feels outdated or old fashioned, Len Deighton has created a cast that are alive and credible, engaging in a natural and gripping way.
Other Voices, Other Views:
http://www.goodreads.com/book/show/171624.The_Ipcress_File

Valen the Outcast. Volume 1:Abomination. Michael Alan Nelson (Writer), Matteo Scalera (Art), Archie Van Buren (Colours, Ed Dukeshire(Letters), Trevor Hairsine (Cover Art). BOOM! Studios (2012)

A classic sword and sorcery story with a really strong idea driven by first rate execution. Valen Brand, once king of Oakhaven is killed and resurrected by Korrus Null as his undead slave. With the help of an old friend Valen breaks the hold that Korrus Null had on him and sets off to reclaim his soul from the necromancer. Oakhaven has splintered after his death as rival fight each other for power, all are united in their hatred and disgust for the undead ex-king. This makes his journey across Oakhaven rather difficult and his needs the help of Zjanna, who helped him escape the leash on Korrus Null and a drunken smuggler, Cordovan.The action is forceful and sharp, the reveals are very well staged, there are enough nicely set up lose ends and story hooks to give the story depth and force.
Originality is not a major requirement for sword and sorcery, it is the execution that carries the weight and in this case Michael Alan Nelson executes the story with tremendous flair and conviction. The twist that the hero is a self-aware zombie looking to recover his soul and exact his revenge on a wonderfully nasty villain is great. It gives the rest of the story a slightly off-kilter edge that is never squandered or, thankfully, overused. The rest of the classic pieces are all in place, the beautiful female witch warrior and the drunken outlaw who is handy enough in a fight, they too are given a chance to be characters as much as cliches. The whole cast is lively and vigorous which is vital in a story like this, there is very little room for ambiguity in such a straight driving narrative, what is needed is that the cast have a relish for their roles. Best of all Valen himself is given the opportunity to show why he was genuine leader in his living days, the same force of character and ability to inspire loyalty is still there. This gives his quest a nice bite against the the repulsive Korrus Null.
Matteo Scalera's art takes a little getting used to, his page layouts are not always obvious, they do have an energy that captures the and amplifies the momentum of the story. The cast are given individual identities and move with menace and grace as required. The colours by Archie Van Buren are astonishing, they gather the story and the art and raise everything up to fever pitch. This is a story that needs to be told at full volume and the colours give it that, from blinding lights to cunning shadows, the world gets a feel that is dirty, hard edged and dramatic in all the right proportions. Ed Dukeshires letters are a subtle and enjoyable pleasure, they never obscure the action while they give added depth to the cast.
Wonderful fun. The quote on the cover suggests an "Undead Conan", a great idea which this comic has no need to try and use, it has its own splendid, bloody life and deserves the credit for it.

Prophet . Volume 1. Remission. Image Comics 2012

Wonderful science fiction that greatly benefits from a range of writers and artists to deliver a gripping opening to a very ambitious story. The first 3 chapters written by Brandon Graham & Simon Roy, art by Simon Roy, colours by Richard Ballerman and  letters by Ed Brisson set the scene with tremendous energy and a cloudburst of ideas. A long buried capsule breaks to the surface and John Prophet emerges in a hugely different Earth with a mission to complete. The first stage is to meet someone who will provide further details of the mission. Prophet crosses a mysterious planet that is full of alien life and soft echos of a human past. He finally meets his contact and receives his mission, to awaken the Earth Empire. The requires a further journey before it can be accomplished. The remaining three chapters written by Brandon Graham, Simon Roy, Farel Dalrymple and Giannis Milonogiannis. Art by Farel Dalrymple, Giannis Milonogiannis, Brandon Graham, colours by Richard Ballerman, Joseph Bergin III, Brandon Graham. A backup story with words and art by Emma Rios complete the package.
The book does exactly what an introduction should do, it is a really strong hook for what will come next, the set up is deeply intriguing and enough potential story telling doors have been opened to make the next step inherently unpredictable and highly anticipated. One of the very best things about the book is the confidence shown by the creative team in the readers, they feel no need to explain everything, instead they simply take a lot for granted and pursue a single story line in each section. This gives the sections a strong element of internal coherence and gives room for the astonishing context in each case to be taken over by the reader.
Too much detail or explanation would have burdened the slender story and possibly drowned it, creating a functioning context for the action with the cast simply getting on with their lives is gripping. There is just enough information to suggest a huge back story which frames the mission the John Prophet is following and the subsequent ripples from his actions.
A multitude of artists and writers can easily create a lost of conflicting and clashing voices and visions, here the multitude is used to suggest the sheer enormity of the Prophet project, the enormous distances and the staggering range of locations is glowing science fiction. The book is full of causally placed ideas that are simply there " One of McCall's children, trying to follow his father by becoming a planet" with art that captures the idea is just a passing moment in the book. The writing has achieved a delicate balance between mystery and momentum without ever becoming obscure or obvious. The arc of the book closes on a great note with a cunning return to the epic simplicity of the opening, a man on a mission has returned and there will be consequences.
The art is a  joy, it changes with each section and never fails to give the story the lift and heft it needs, it fills in the space that the words cannot reach with astounding ideas and dramatic moments that underline the strangeness of the universe. Science fiction thrives on the detail of the moment as well as the giant vistas of space and time and the art captures it all with vigor and clarity. The artists, colourists and the letterer take the possibilities for disciplined freedom that the story offers and take off, they are firmly anchored in the story and they push it far beyond what it could have been.
Smart science fiction comics are a deep pleasure and this is a really smart science fiction comic.
Other Voices, Other Views:
http://www.goodreads.com/book/show/15770131-prophet-volume-1
http://articles.washingtonpost.com/2012-12-11/entertainment/35768098_1_brandon-graham-animation-artists
http://www.geeksofdoom.com/2012/08/22/comic-review-prophet-vol-1-remission

Martyr. Rory Clements. John Murray (2009)

This is a very enjoyable and engaging historical crime story where the context is considerably more than a colorful backdrop. In 1587 in London, John Shakespeare who works for Francis Walsingham, Queen Elizabeth I's spy master, is called to a murder scene. The victim is a cousin of the Queen and there is a strong suggestion that the death has a connection with the Catholic opposition to the Queen. Richard Topcliffe, a very dangerous and powerful man with a professional and personal mission to destroy the Catholic threat is also involved in the case. When Walsingham receives credible information about a plot against Sir Francis Drake, Shakespeare is given the task of protecting Drake from the assassin. The story splinters the narrative across a large cast as the plot threads are cunningly drawn together in a very satisfactory way. The reveals are cunningly staged, the action set pieces are smart and sharp, the conclusion nicely mixes losses and gains.
For any historical thriller the relationship between the plot and the context is critical and in this case the connection is natural and compelling. Protestant England was rife with rumor and plots as the greatest superpower of the age, Spain, was its sworn enemy. There were significant numbers of the population who still professed the Catholic faith and they had a direct conflict between their faith and their loyalty to the government of England. This conflict was consistently exploited by forces on both sides as they sought to force the choice for one side or another, ambiguity was deadly. The relevance to contemporary politics is clear and it gives the story a sharp edge which is never overstated by Rory Clements. The actions of the cast are stitched carefully into the fabric of the times, their choices are informed clearly and fully by their circumstances, there is no imposition of a 21st Century world view on the cast.
The cast themselves are engaging, vivid and full of life. John Shakespeare, brother of  William, is a dedicated and very competent officer of Walsingham's secret service. He his not afraid to use the brutal methods of the time to get what he needs, he does not indulge in cruelty. Richard Topcliffe, the Queens's torturer and hunter of subversives is a driven man who has a dash of personal relish in his work which makes him very dangerous. There are a host of characters with lesser roles , each of them is given the space and time to emerge clearly and they  give the narrative colour and depth. Naturally William Shakespeare himself makes and appearance and it is a tribute to the skill and control Rory Clements has used that the appearance is clever, relevant and unobtrusive, it does not feel like a guest cameo by a well known face.
The plot mechanics are enjoyably complicated and diverse, the sub-plots are worth the time they are given, they push and pull the cast in engaging ways without ever distracting or undermining the central thrust of the story. With a excellent balance between cast and plot this is a gripping read.
Other Voices, Other Views:
http://www.reviewingtheevidence.com/review.html?id=8198
http://www.washingtonpost.com/wp-dyn/content/article/2009/06/14/AR2009061401953.html
http://www.goodreads.com/book/show/6397014-martyr