After years of saving the world without breaking a nail, Buffy Summers faces a personal dilemma that could change everything in Buffy the Vampire Slayer, Season Nine #6. In the first part of the two-part story “On Your Own,” Buffy turns to an old friend for guidance about a decision only she can make.

Buffy the Vampire Slayer, Season Nine #6
Written by Andrew Chambliss
Art by Georges Jeanty

At the end of Buffy, Season Nine #5, Buffy realized what the dream visits from the first Slayer and her frequent upchucking meant as she found herself staring at a positive pregnancy test. Wait, what? Right on the heels of singing the praises of a scaled-back Season Nine, this had me worried. Was Buffy suddenly veering straight into trashy teen drama territory?

It’s not like Buffy Summers hasn’t had her fair share of drama, but usually it stems from problems in the world of the undead spilling over into her personal life. There have been relationships, break-ups, tragedies, eaten principals, but this is uncharted territory for the Scooby gang. Buffy knows it happened during her wild housewarming party, but that’s all she knows, because she was blackout drunk in her desperate attempt to be a normal twenty-something.

We’re treated to some great backstory throughout this issue, which longtime Buffy fans will love. Buffy turns to Robin Wood for advice, and we finally find out more about Robin Wood’s mother Nikki, the only Slayer to ever have a child. Pregnant at 17 and a mom at 18, Nikki’s situation was even worse than Buffy’s; she was younger, had no partner, and didn’t have the support system that has helped Buffy survive so long.  In considering Nikki’s dilemma and her eventual choice to have Robin, Buffy spends a lot of time wondering if a Slayer can be a mom, and almost forgets to think about whether she, as a person, can do it. Vampires (or “zompires”, as the mindless undead creatures post-Season Eight have been described) aside, Buffy’s still young, poor, and has no career prospects. She’s a Slayer first, but sometimes she forgets that she’s a person, too.

Writer Andrew Chambliss handled this sensitive subject material with grace and skill–no trace of the cheesy drama I had feared. The emotions conveyed by Georges Jeanty’s art work perfectly with the tone of the story. I’ve been a fan of Jeanty’s work on Buffy from the start, but he really nails it in this issue. The real drama here isn’t the dusting of vamps, and even though there’s less physical action in this issue, you’re never at a loss for what’s happening and what the characters are feeling, without needing the writer to spell it out. Without giving away too much, the scene with Buffy and Spike at the pool near the end of the issue is very touching, and I love their bizarre friendship. There’s a B-story in which Spike goes on a ride-along with Detective Dowling to teach him about the exciting world of vampires, but that wasn’t nearly as interesting as Buffy’s dilemma and the Buffy/Nikki parallels. I really hope the writers continue to utilize this series’ rich backstory in future story arcs, because there’s a lot to explore.

I’m anxious to see what happens in part two of “On Your Own”, as well as how Buffy’s decision–whatever it is–continues to affect her and her friends. Even though Buffy deals with everything quite rationally in this issue, I have a feeling there’s a lot of drama yet to come, especially if and when we find out what actually happened at that party.

Buffy the Vampire Slayer, Season Nine #6 will be in comic shops on February 8, 2012.

Ed Brubaker and Sean Phillips take a turn down a dark and beautiful road with their latest series, Fatale. Though Bru and Phillips is treading new water with a new publisher, the Criminal/Incognito duo show that there are few creative teams that tell a story as well as they do.

Fatale #1
Written by Ed Brubaker
Art by Sean Phillips

If you’ve been following this site for even just a short while, you’d know just how much I adore Ed Brubaker and Sean Phillips. For my money, there is no stronger creative team that has put out such solid work so consistently in the past decade. Sure, they’ve been working together longer than the last ten years, but they weren’t putting out quite the volume of collaborative work in 1999 as they are today. Recently, Brubaker and Phillips have begun alternating runs of their ongoing series of mini-series Criminal with other creator-owned projects. Fatale is the latest tale to be added into that rotation. Combining the duo’s trademark hard-boiled sensibilities with a horror-filled twist, Fatale manages to feel familiar and fresh at the same time.

There’s a lot going on in this first issue. A multitude of characters are introduced, the story (at least in this issue) takes place in two different eras, and so many plot threads are introduced it can be a bit daunting to take it all in the first time you flip through the issue. While it’s not a bad thing that there’s a lot going on right off the bat, Fatale #1 definitely feels a bit more chaotic than the tightly wound narratives Brubaker typically pens. Part of that may come from the fact that Fatale was born out of ideas Brubaker admits in the afterword he couldn’t quite wrap his head around. The story begins in 2011, but quickly readers will find themselves in 1956, where a mysterious young woman named Josephine is meeting with a reporter. He wants to blow the lid off a police scandal, but she alludes to there being so much more at stake. What follows only serves to prove her point, but without spoiling the mystery, that’s really all I can say.

However, I don’t necessarily see how jam-packed the first issue is as a fault. I’m sure Brubaker has a very concrete outline and idea of where this story is going, who is going to do what, and how they’re going to do it. Keeping the readers on their toes is just another part of the equation. The quick pacing and hecticness of the issue only add to the mystery of each character’s motivations. Particularly so in the case of the femme fatale that has every male character’s stomach in a twist, Josephine. Who is she? How does she make men feel so weak in the knees? What happened during the war to put her in her current predicament? I’m sure we’ll find out, but not until Brubaker wants us to.

I’ve said it before, and I’ll say it again. Nobody draws women smoking better than Sean Phillips. Maybe Eduardo Risso comes in a close second, but Phillips undoubtedly knows how to make a woman look beautiful even when she’s doing something ugly. Now obviously Sean Phillips can draw a heck of a lot of things besides smoking really well. It’s just that with the type of stories he and Brubaker tell, there are a lot of pretty ladies lighting up seemingly every issue. Josephine is no exception to that rule. Outside of that, you can count on the same expert storytelling from Phillips this issue. His penmanship when it comes to these types of stories is unparalleled. And that extends beyond the page. There are very few cinematographers and directors working today that have the acute knowledge of knowing where to put the camera (or how to light/block a scene) to create the atmosphere Phillips does. They at least have the added benefit of having actors on hand, and not having to create them from scratch every single panel.

Now I hate to say it, and this is me admittedly being nitpicky, but I was actually a bit disappointed that we didn’t get to see more of Phillips’ creature art in the issue. There are glimpses of otherworldly and unnatural beings, but outside of a few static shots, Phillips is still just drawing everyday people. They’re fantastically dark and moody people, but I was hoping to see more horrific images in this story. With plenty more story to come, I’m sure there won’t be a lack of monstrous characters in Fatale. This issue though was a bit light on the Lovecraft.

When it’s all said and done, Fatale #1 is a very strong first issue. Anytime Brubaker and Phillips get together, you know you’re going to be in a for a good time. Fatale #1 does a great job of setting up a whole slew of new mysteries and characters, and I’m eagerly anticipating the next issue. Even though newcomers to the Brubaker/Phillips style may find themselves cast into the deep end rather quickly, I have a feeling they’ll be just as hooked. The duo are leading us down a dark path, and I can’t wait to see how weird it gets.

Of all the titles I tried thanks to DC Comics New 52 initiative, the one that I have enjoyed the most is the relaunch of Batman. For some reason the team of Scott Snyder and Greg Capullo has just clicked with me, and has provided some of the best Batman comics I have read in quite a while. While I had heard that Snyder’s work on Detective Comics before this was also good, when he was writing that title I was never inclined to read it. Now that his entire run has been collected in one beautiful hardcover, the result is Batman: The Black Mirror has promptly found a home on my bookshelf.

Batman: The Black Mirror
Story by Scott Snyder
Art by Jock and Francesco Francavilla
Cover by Jock

Now, the first thing you have to realize is that this is not the Bruce Wayne Batman. This book takes place shortly after he comes back from the “dead” and has begun searching the globe for other Batmen to join Batman, Incorporated. The Black Mirror instead stars Dick Grayson as the Dark Knight of Gotham, although it might as well have had Jim Gordon in the title as well, since this is his story as much as it’s Dick’s.

The book features the return of Jim Gordon’s son to Gotham, as well as a ghost from Dick’s past that has come back to haunt him as well. This is much more of a psychological, tense thriller than the type of stories Snyder has been doing on the New 52 Batman title. Where Batman has always played up the super hero aspect of the character, Detective Comics has always been more cerebral, and that is on display of every page of The Black Mirror. Honestly, it wasn’t until I had finished the book that I realized how planned out and well plotted the book is. From the first chapter to the last, Snyder tells a complete story where you have to really pay attention to every detail. Everything you see on a page has meaning and the brilliant thing is that you don’t even realize it until the last page.

The art chores on the book were split between Jock, who I’m familiar with from his work of Vertigo’s The Losers, and Francavilla, who I had never heard of before now. While the styles of the two artists are pretty different, the portions of the book they each work on suit their strengths. Jock handles the more superhero Batman sequences very well, and gives them a dynamic sense of life. Francavilla, on the other hand, handles the more personal Jim Gordon sections, and does an amazing job. There are a couple double page spreads in here that will blow your mind how they are laid out. This is just incredible work.

Reading The Black Mirror is a bit bittersweet. These were the last Detective Comics issues before the reboot, and I would have loved to see what Snyder and company could have done if they had stayed on the book. While his Batman is everything I ever wanted in a Batman comic, these Detective issues take the character of Dick Grayson to a whole other level as the Batman. Plus I don’t think anyone has ever gotten into the head of Jim Gordon like this before. The last time I read a story featuring the character and had a reaction to his presence this strong was Batman: Year One by Frank Miller and David Mazzucchelli. Not bad company to be in, if you ask me.

The Black Mirror is an outstanding book that should be in any Batman fans collection. Unfortunately, these types of books don’t get the Absolute treatment, which is a real shame. So don’t wait for a softcover release and get this stunning hardcover edition while you can. It’s a great book that you will come back to again and again.

I’ll admit that after Justice League Unlimited ended, I haven’t been as diligent on keeping up with animated adaptations of my favorite superheroes. I know there have been some really good shows that I’ve completely missed out on like Spectacular Spider-Man and Batman: Brave and the Bold, but I just haven’t had the motivation to sit down and watch them. When recently given the chance to check out a handful of episodes of Warner Brothers’ new Young Justice animated series, I couldn’t say no. After finally getting to watch some of the show on DVD, I’m glad to report that Young Justice has a new fan.

Young Justice: Season One, Vol. 2
Directed by Michael Chang and Jay Olivia
Written by Various

Though I missed out on the first four episodes of the show, I didn’t feel lost at all when I started watching this collection of episodes 5-8. Each of the stories stands on its own, while there are some overarching plots that run in the background. It’s a smart writing decision, and not only allows newcomers like myself to feel like we’re not left behind, but it also gives viewers who continually stand by Young Justice a payoff. Well, I imagine it will when all the plots come to fruition at some point down the line. The show has a new design aesthetic that strays from the comfortable Timm Universe, and finds itself utilizing a more realistic approach. It definitely draws your eye in, and I actually love the character designs and the crispness of each figure. The cartoon really has its own personality, and it shows through wonderfully in the animation.

The episodes in this collection do a great job of showcasing the individual members of the team, while also giving the people watching an idea of the team dynamic that’s still being worked out between all these kids. Having appearances from the older generation of heroes is important, and seeing what the various elder statesmen of the Justice League think of the formation of this team provides some interesting depth that separates Young Justice from its predecessors. Watching how Superboy has to come to terms with how little Superman wants to do with him, and seeing how Robin deals with the fact that Batman puts more faith in Aqualad to lead the team not only strengthens the characterization of the younger heroes, but it also shows a side of the mentors that we seen in animation before.

http://www.youtube.com/watch?v=nkDLxtXOt7M

Once I sat down to watch, I couldn’t pull myself away, and time just flew by. I was completely immersed in Young Justice. A great deal of that not only has to do with how well crafted each episode was, but with the strong voice acting. A personal voice-acting favorite of mine Nolan North was immediately recognizable as Superman and Superboy. If you’re familiar with Superboy’s origins, it makes perfect sense to have the same actor voice both characters. Nolan’s Superman is akin to the same reserved Boy Scout that we’ve been seeing in animated shows for years, but his Superboy is perfectly full of angst and thinks he knows it all. It’s a nice dichotomy, and North brings the same great work he does in video games like Uncharted. Bruce Greenwood returns to voice Batman, and continues his great take on the character he started in Under the Red Hood (though the two properties are unrelated). Of course, all of the teen heroes are voiced wonderfully, but Khary Payton’s Aqualad is a true stand out.

I don’t know why it took me so long to get into another animated series after the conclusion of Justice League Unlimited. Perhaps I just didn’t think any other property could live up to the high standard set by that phenomenal show. Even though it’s not quite there yet, Young Justice is off to a good start in living up to what came before. It might be a little unfair to compare Young Justice to JLU, but like the cast, it’s a modern take on the classic heroes, and so far I’m impressed. I look forward to catching more of these adventures, and hope the show is able to keep up the good work started here.

Young Justice: Season One, Vol. 2 is available on DVD right now.

90/100 – Great

Mysteries abound in this latest issue of the Atomic Robo saga “Ghost of Station X.” Will Tesladyne find out who’s trying to kill Robo? Will Lewis and Martin find the invisible house? Can someone find Robo pants that fit? Find answers to those questions and more (maybe) in our review of Atomic Robo: Ghost of Station X #3.

Atomic Robo: Ghost of Station X #3
Written by Brian Clevinger
Art by Scott Wegener

We’re now halfway through the sixth volume of Red 5′s Atomic Robo, and like every volume that’s come before it, “Ghost of Station X” raises the bar a little bit higher. I really loved “The Deadly Art of Science,” which was the last arc of Robo tales, and didn’t think creators Brian Clevinger and Scott Wegener would be able to top it so quickly. The duo quickly upped the ante in the first issue, when Robo was sent into space to try and save astronauts on a space station falling out of orbit. Only there is no space station or astronauts to be saved. Instead, there’s a satellite careening towards Robo. His ship blows up, sending him free-falling back to Earth. As we learn in the second issue, Robo was sent up there to die by a mysterious organization he believes is Majestic 12. Now it’s up to Tesladyne to go on the offensive.

You might think I’m forgetting about the subplot about the supercomputer smart enough to make the house its stored in vanish, but I’m not. The focus this issue just happens to be on Tesladyne taking the fight back to the people they think are responsible for the attack on Atomic Robo. While Martin and Lewis are teamed with Sparrow to hunt down the invisible house of Station X across the pond, Robo and his team investigate the source of the original phone call he received about the space station. Clevinger does a nice job bouncing back and forth between the two plots, weaving the important threads in where necessary. Though the way the two events are connected don’t seem that obvious to Robo, we have the benefit of seeing how this supercomputer might have a bit more to do with these attacks than anyone thinks. We’re only at the midpoint of this story, and the way events unfold at the end of this issue, it’s clear that Robo hasn’t even scratched the surface of this mystery.

I’d be remiss in not pointing out how much I love Scott Wegener’s art. If there was any person born to draw this character, it’s him. There are quite a few action sequences in this storyline, and he’s proven page after page that he’s more than up to the task. And as good as his pacing in those scenes is, Wegener is just as good at the more quiet moments. His characters all have life to them, and they never feel flat on the page. Even Robo, whose only real expressive feature is his eyelids (eye shutters?), carries weight and personality panel to panel. It’s amazing how much Wegener is able to convey with just body language. It’s not a skill that comes easily to a lot of artists, and only makes Wegener’s work stand out that much more.

There are still three issues left in the “Ghost of Station X” story, but Clevinger and Wegener have set an incredible pace for the final three issues. If anything, the duo have again proven that the best comic stories are being told outside of the big two. Atomic Robo: Ghost of Station X #3 only serves to show how much more fun and creativity can be had when creators get to play with their own toys in their own sandbox. The series as a whole continues to be great, and if things play out the way I think they will in this arc, I can’t wait to see Robo punch a supercomputer in the face.

Edit: As pointed out by Brian Clevinger on Twitter, the series will only actually be 5 issues.

Considered one of the seminal Batman origin stories, Batman: Year One is a true masterpiece from the minds of Frank Miller and David Mazzucchelli. As both the tale of a young Bruce Wayne’s earliest days fighting crime on the streets of Gotham and that of the burgeoning career of Lt. James Gordon fighting corruption in the Gotham Police Department, Year One gives a unique perspective on the beginnings of the city’s most respected and loyal heroes. Hard-boiled, gritty, and brutally elegant, Miller’s and Mazzucchelli’s tale is one of the smartest retellings of a superhero’s origin of the modern era. Translating that impact to an animated feature was undoubtedly a daunting task, but directors Lauren Montgomery and Sam Liu, along with writer Tab Murphy, prove to be more than up to the challenge. For the most part.

Batman: Year One
Directed by Lauren Montgomery and Sam Liu
Written by Tab Murphy

As much as Batman: Year One is about Bruce’s transformation into the Dark Knight, it’s about Jim Gordon settling into this new city, and becoming the commissioner we are all familiar with today. In the original comic book, Miller paces the tale like a detective dime novel. There’s some corruption that needs to be dealt with, and we see how both Bruce and Jim deal with their respective obstacles. Along the way Bruce becomes Batman, and must find out who he can trust, while Gordon finds he can trust no one. There is no great big bad villain to take down. Instead, the major antagonistic force is corruption. You get to see pre-Batsuit Bruce taking on the corruption on a street level, though he’s not always successful. Meanwhile, Gordon is fighting bureaucratic corruption in the police department. As the title suggests, the tale takes place over one calendar year, and the large-scale narrative where good doesn’t always mightily triumph over evil makes for a very compelling tale. We all know how the story ends because Batman grew into quite a badass, and Gordon is one of his most trusted allies. This is the beginning of that friendship, and it’s amazing to see how it grows from start to finish.

Though there is indeed actual dialogue, most of the narrative is told through the thoughts of both Bruce Wayne and Jim Gordon. In the comic, it works quite well. Miller’s inspiration from the great detective novelists of yesteryear (Hammett, Chandler, etc.) shows through in every sentence, and the way Mazzucchelli breaks down the action only adds to the intensity of the story. It’s difficult for thought-driven narration to carry a film. Even though I think Tab Murphy did a wonderful job bringing the comic to life, I wish there was more left unsaid. There’s just so much talking about what a character is thinking that there isn’t much interpretation to be left up to the viewer. For some, this attention to getting all the detail from the comic into the movie will be a treat. For others, constantly being told what a character’s motivations are can become cumbersome. As someone who adores classic gumshoe novels, I appreciate the style choices made to make the animated film match so closely to the mood and feel of the original work. Ultimately, whether or not it was the right choice will depend on the viewer.

Fortunately the voice cast is strong enough to carry the emotional weight of the film. Bryan Cranston has been getting rave reviews for his TV work for the past few years, and Batman: Year One is another shining example of the man’s talent. He brings heartache and morality to Jim Gordon, and every time he speaks you really feel connected to this character. Ben McKenzie, of whom I am a huge fan, does a fine job as young Bruce. I might get in a bit of trouble by saying this, but after watching the film, he really sounded like a young version of Kevin Conroy’s Bruce/Batman. Even though the original animated series and this film have nothing in common, there’s a similarity in the way the two men play the role. Whether that’s due to Andrea Romano’s casting, or because McKenzie is a big fan of Conroy’s version, I can’t say. All I know is that McKenzie’s Batman felt like he could grow up to be Conroy’s. Eliza Dushku and Katee Sackhoff are both very capable actresses, and though the characters they portray (Selina Kyle and Sarah Essen, respectively) have very little screen time, the female leads both do solid voice work. Alex Rocco (Carmine Falcone) and Jon Polito (Commissioner Loeb) are perfectly suited for the slimeballs they play, and you can really grow to detest them by the end of Year One.

Bonus features on the disc include a new DC Showcase featuring Catwoman. Dushku returns to the role here, and both the animation and tone are quite different from that in Batman: Year One. A lot has been made about a certain scene in a strip club where Selina performs a brief routine to distract some bad men. I don’t really have a problem with that so much as the few minutes before Catwoman takes the stage, where we have to endure a rather long strip dance from an actual stripper for no real reason. It doesn’t move the plot. It holds no bearing on how we see the villains. It could have been way shorter. That quibble aside, the action in the Showcase short is great, and seeing Selina in her Darwyn-Cooke-designed duds is a real treat for fans. There’s a look at the next movie, Justice League: Doom, and a few Batman-related interview sessions that are worth watching if you’re really passionate about the character and comics.

Though Batman: Year One isn’t note perfect, there’s certainly a lot to like about the adaptation. It’s a bit on the short side compared to other DC animated features, but you certainly don’t feel like anything is missing. Year One crams a lot of story into an hour, and its succinctness is part of its charm. I still like Batman: Under the Red Hood a bit more since it has more action, but as a character piece, this is without a doubt the best that Warner Bros. and DC have put out to date.

Batman: Year One is available digitally now, and on Blu-ray and DVD combo pack October 18th.

90/100 – Great.

Be sure to check back next week for some exciting Batman: Year One coverage and interviews from New York Comic Con.

It’s been a while since I’ve laced up the skates to participate in a hockey video game. I used to play them almost religiously, as there are few games that are as fun with a half-dozen friends as video game hockey. For years I’d been hearing about how fantastic EA’s NHL series had become, and how it was a near perfect sports experience. When given the opportunity to try NHL 12 out for myself, I was pleasantly surprised to find EA had done a tremendous job replicating the real deal.

NHL 12
Developed by EA Canada
Published by EA Sports

Having not played a current-generation hockey game, it took a little while to get accustomed to how NHL 12 plays. Though many fans familiar with the series will find some nice improvements to the AI, there was a bit of a learning curve for me to adjust to. I was still stuck in my old ways of dashing around the ice with a single player, trying to make things happen by myself. Only after a few games did I get used to having reliable teammates and goaltending. High-scoring affairs were few and far between for me, as the goalies in NHL 12 are probably the smartest I’ve ever played against. Thankfully, the rest of the computer players on my team were constantly moving into position to help me out. Learning how to play as if it were a real hockey game instead of a video game was part of the fun, and it really brought me back to the days of yesteryear when I followed professional hockey.

What really surprised me about NHL 12, though, was the Be A Pro mode. Unlike the similar game mode in EA’s Madden series, NHL’s is actually good. You can play as either a created player or any existing pro, and whereas Madden’s appeal is limited to a handful of positions, every possible position to play at in NHL provides a much more enjoyable experience. Trying to turn a rookie from the CHL into a first line player in the NHL takes time and patience, and the rewarding feeling of finally becoming a strong contributor to your team is extremely satisfying. Unfortunately, the same feeling was missing from the Be A Legend portion. As great as it was to get on the ice as Jeremy Roenick or Mario Lemieux, I didn’t feel as invested in their career as I did with my own created player.

Though I was skeptical about how well NHL 12’s Ultimate Team would play, the developers actually know how to make a collectible card game fun. Packs of player cards are much more akin to booster packs for games like Magic: The Gathering where you have a chance of getting rare cards (good players) in the same pack as a bunch of more common cards (average/poor players). I got burnt out on the similar game mode in Madden because you can only get elite players in specialized packs, which takes a bit of the fun out of getting a new pack of cards and hoping for that one really phenomenal star. The different ways to play, including tournaments and online, really make the mode stand out, and make Ultimate Team one of the stand out modes of NHL 12.

Playing online is a smooth experience, and NHL 12 is one of the rare sports games I’ve played that doesn’t run into horrible lag problems. Granted, there were brief moments where I had a few delay issues, but nowhere near the scale of other sports video games. That’s a major plus for a game that’s as fast-paced as hockey. I had more fun playing with real teams than I did playing on a small team as my created pro, though it had nothing to do with how the game played. It had a lot to do with how horrible I am compared to the others playing. I never really felt like I was contributing, and as I’m still learning the ins and outs of how to properly play NHL 12, I had more fun in the offline version where I didn’t feel as much pressure to perform. That said, there’s definitely plenty to like about the online modes for people who have been playing the game for the past few years.

I love the way the game looks, and EA did a fantastic job with the presentation and player models this year. NHL 12 is also one of the few sports titles where the commentary doesn’t get worn out after a handful of games. What’s more impressive, the commentary is actually able to keep up with the pace of the game, and call things happening on the ice correctly. Though it should say something about the rest of the sports video game market that a game getting commentary right has to be pointed out as a highlight of the presentation. The game’s physics do make a difference in how different lines play, and how certain teams match up better against one another. I was used to being able to floor anybody on the ice with even the smallest players, but that’s just not the case in NHL 12. It took a bit of adjusting, but once I understood how the game’s physicality worked, I could appreciate the game even more.

Even though it’s been almost half a decade since I’ve had any interest in the NHL, this year’s NHL 12 sparked my passion for the game once more. It takes a bit of getting used to for newcomers, but once you figure out how to play, NHL 12 is one of the most satisfying video game sports experiences you’ll ever have. The kind of attention to detail that’s paid to how the game is played should serve as a model for any and all other developers working on a sports title. Despite not having played an EA NHL title for the last few years, I find it hard to believe any of them were better than NHL 12.

88/100: Good.

I’ll admit to not really being into the whole new scene of classic monsters mixed with teenagers wave that’s somehow still continuing to blossom across all mediums to this day. There are seemingly dozens of television shows, movies, and books that are capitalizing on this trend, and I have yet to see the appeal. When the people behind indie darling The Stuff of Legend sent me an advance preview of The Pack #1, I was skeptical. Werewolves in high school? I mean, come on. Hasn’t this been done before?

The Pack #1
Written by Mike Raicht
Art by Daniel Faccilongo

Okay, so maybe I’m being a bit unfair to a book that I hadn’t even read yet. Writer Mike Raicht is one of the co-creators of The Stuff of Legend, so perhaps I let my preconceived notions of the genre get in the way. Set during the mid-90s, The Pack follows a brother and sister who just moved to a new town as the school year is about to begin. Fitting in is hard enough in high school, but now Greg and Annie have to deal with the added burden of being transfers. There’s some believable locker room drama for Greg as he tries to adjust to being the back-up for the already successful football team. Introducing the reader to the world by putting them in the shoes of the new kid isn’t a new technique, but it is a successful one.

Later, you get a good sense of the people that are likely to be recurring characters, and Raicht does a nice job creating a realistic environment for the fantastical elements to take place in. In fact, if it wasn’t for the opening few pages showcasing a vicious werewolf attack, The Pack could very well have been an interesting comic about high school. Though it does seem at times that the book is simply following the high school stereotype playbook, I’m willing to give the creative team here the benefit of the doubt. You’ve got to set the stage with identifiable characters before you can shatter expectations.

As for the art in the book, I’m a little less enthused. Daniel Faccilongo’s pages are very stylized, and it’s just a little too sharp and sketchy for my taste. The heavy blacks and lighting work well to create a mood and feel that’s right on line with what a horror title should be. His teenagers look like teenagers, which is more than I can say about 90% of comics that star young adults, and he demonstrates an ability for strong facial expressions. There are times though when the panels are just too over-rendered. Like the story, I am willing to give Faccilongo a little slack. This is the first work of his I’ve ever seen, and I’m sure he’s going to find his stride as the pages keep coming. There are glimpses of what he’s capable of in this first issue, but the interiors are still a bit rough around the edges.

The Pack #1 does a lot of things right. It introduces the setting and major players, and keeps the monster elements in the background, leaving you curious and wanting more. I’m still not 100% sold on the art, though it is moody and stylized well enough for the type of atmosphere the book is aiming for. When it’s all said and done though, I want to know what happens next. I want to see more of this story. I don’t think you can ask for much more from a first issue.

The Pack #1 is published by Th3rd World Studios, and is due out in October.

I am almost completely unfamiliar with the Warhammer 40K franchise. I know that it’s a solid and respected tabletop role-playing game, with such a devout following that there have been a handful of video game spinoffs in recent years. While most of those video games continue along the RPG path, the latest game, Warhammer 40K: Space Marine, puts you smack dab in the middle of the action as a high-powered soldier on the frontlines of a planetary war. It would be easy to dismiss this game as nothing more than yet another military shooter, but there’s enough variation here from the standard path to make Space Marine stand out.

Warhammer 40,000: Space Marine
Developed by Relic Entertainment
Published by THQ

Playing as Captain Titus, you’re called out to a planet under siege from the Ork menace. You and your small squadron of Space Marines are tasked with securing a highly powerful manufacturing plant that houses weapons capable of global scale destruction. You’ll see the war for control of the planet from the front, and can find even more out about the world and what’s happening thanks to audio diaries scattered about the planet. There isn’t anything genre-defining about Space Marine’s plot, but that’s not necessarily a bad thing. The events that take place in the game are both interesting for newcomers and longtime fans alike, and despite the plot’s summer blockbuster formulaicness, I was completely immersed in what was happening. Like so many other action first, story second video games, Space Marine succeeds in giving players the equivalent of a Jerry Bruckheimer-produced piece of entertainment. The beats may be similar, but the explosions and action sequences are top notch.

Most of the gunplay in Space Marine is very reminiscent of other third-person action games, such as Gears of War. It’s hard not to draw the comparison since the two titles share so many similarities when wielding firearms. Unfortunately, there is no cover system to speak of so prolonged firefights can be a bit of a hassle. Where the two games diverge quite a bit, though, is the melee combat. Space Marines have a wealth of tools at their disposal for eliminating anything that stands in their paths. That includes a healthy handful of close-quarters weaponry like the chainsword and a gigantic, two-handed hammer. Even though the combat system isn’t incredibly deep, the simple combinations provide the game with some much-welcome variety when battling hordes of oncoming enemies. The game even makes use of some brutal execution maneuvers that earn your Marine health, though you’ll continue to take damage while going through the animation. The executions can also cause your character to get glitched into walls, where he’ll be stuck until you reload your last save. That said, transitioning from shooting to melee is quick and easy. It can get to be a bit daunting and repetitive when you’re absolutely swarmed, but that doesn’t mean it’s not fun for a large percentage of the time.

It wouldn’t be a shooter without some type of competitive multiplayer, and Space Marine will not leave you disappointed in that aspect. Though there are only two modes currently available (there’s a free cooperative multiplayer mode coming later), Team Deathmatch and a King of the Hill variant, there’s quite a lot to like about how they play. Despite the matchmaking being rather horrendous the first week or so out of launch, the online is fairly balanced thanks to the ability to steal the loadout of the person who just killed you. It helps tremendously when you’re on a team of low-level players who are taking on much more savvy veterans, and gives you just a taste of the powerful weapons and perks that await you when you level up enough. Players will be able to earn experience in a variety of ways, including holding capture points, killing enemies, assisting in killing enemies, saving teammates from being killed, and getting a revenge kill, just to name a few. In addition to getting better weapons, you’ll also be able to earn different armor sets, and a handful of perks that can turn even the most basic of loadouts into a powerful force. As with most multiplayer modes these days, the more you play and the better you get, the more you are rewarded. I thought just having two multiplayer modes would be boring, but both game types offer enough for me to enjoy playing for long clips at a time. That said, having cooperative multiplayer available at launch would have added more to the online experience.

For me though, the most impressive point of Warhammer 40K: Space Marine was the presentation. As someone who had only a passing knowledge of the universe, I was blown away by the design sense and graphics in this game. Sure, the game has its flaws like glitching into walls, or lack of facial expressions beyond stone-faced, but the great gothic steam-punk aesthetic really captured my interest. I loved the way the highly advanced and technical human side contrasted with the outdated and archaic Ork race. I loved the way almost all of the buildings in the game looked like huge cathedrals on the outside, yet house a multitude of engineering and electronic wonders once you get through the door. I don’t know if I’m going to go out and buy a whole bunch of Warhammer 40K tabletop stuff now, but I’m definitely much more interested in the world now that I’ve played Space Marine. On a minor note, I thought I would be more impressed by Mark Strong’s performance as Captain Titus, but his portrayal is so subdued, it’s almost like there’s no performance at all. That’s a shame too because I love Mark Strong, and the guy can flat out act like a badass.

I was actually surprised by how enjoyable Warhammer 40K: Space Marine really was. Not being familiar with the franchise, I didn’t have any expectations at all going into the game. Walking away from the experience though, I can see why so many people are fascinated with this universe. Despite the game’s by-the-numbers plot, there’s quite a bit to like about Space Marine. The multiplayer will certainly provide endless hours of carnage, and the combat provides a nice break from the standard routine. Will the game take down juggernauts like Gears of War 3 and Call of Duty: Modern Warfare 3? Probably not, but that doesn’t mean Space Marine isn’t a title that can stand on its own.

80/100 – Good.

I’m a huge fan of the Gears of War franchise, and have put countless hours into both titles in Epic Games’ Gears saga. Delta Squad member Augustus Cole’s days as a thrashball (the football-like sport played on the planet of Sera) player have always intrigued me. Imagine my delight when I saw that this fall, NECA would be releasing a statue of Cole in full thrashball gear. I got my first look at NECA’s statue at Toy Fair 2011, and I immediately knew that it was going to be the centerpiece of my Gears of War 3 action figure display. Though the figures are still not due out for a short while, I’ve got the statue now. Needless to say, the final product does not disappoint.

A form of this statue has already been released by NECA at San Diego Comic Con. Though both versions of Cole are cast in resin, the SDCC exclusive was given a bronzed look and limited to 100 pieces. The version I have on hand though is the full-color edition, which is due out later this fall. To be honest, I actually prefer this version to the bronze one because you get to see the amazing paint job that makes it look as if Cole just burst through your television and into your living room. Not many particulars are actually known about thrashball, but you can see that it’s some sort of a variation on American football. Players don shoulder pads, leg pads, and a helmet straight from the NFL equipment room. In fact, the only real differences between Cole and any number of professionals playing today are that he’s not wearing a jersey, and instead of cleats he wears combat boots. It’s a little odd, but that’s a design choice Epic went with when fashioning thrashball equipment.

Cole’e equipment is appropriately dinged up. At least I think it is. Having never seen a game of thrashball played, I can only assume the wear on his pads and stains on his pants are true to life. There’s some really great detail in the shoulder pads, and even though this statue is frozen in time, you get a good idea of just how flexible and wearable the equipment is. The sense of motion in Cole himself is also really strong. You get the idea that he’s just deflected a defender, and is now rushing down the field, presumably to score. Cole is stepping over some stone debris, though I’m not entirely certain as to whether that’s an obstacle that would be in his way on a thrashball field, or if it just provides a unique base for his pose.

The detailing of all the various armaments Cole wears onto the field of play is plentiful. From the laces on his boots and pads, to straps and padding on his forearms and gloves, the meticulous attention to the various accoutrements lead you to believe thrashball is a real thing. Even the dimpling on the ball is on point for what you expect from professional sport equipment. As for Cole’s actual musculature, he looks appropriately built. There aren’t any crazy muscles where there shouldn’t be, and there aren’t any unnecessary veins bulging forth from his arms or neck. Look at any still shot of a professional football player in a similar stance, and you’ll see just how perfectly Cole’s physical attributes are captured. Even though you can’t really get a great look at his face in the pictures I’ve taken, up close you can see how wonderfully Cole’s exclamation is captured. No doubt he’s shouting to celebrate his recent evasion of the opposite team, and the intensity and focus on the scoring zone are clearly seen in his eyes.

Now even though the bronze SDCC exclusive is a virtually identical statue, it’s missing the punch that the paint scheme and decals give this colored version. I’d wager someone at Epic Games is a Carolina Panthers fan, as Cole’s thrashball team, the Cougars, shares an awful lot in common with that current NFL franchise. Aside from both teams having cat mascots, the color schemes are so close that it’s hard not to see the inspiration. Perhaps I’m wrong, and the guys at Epic just like blue and black. It’s a mighty coincidence if that’s the case. Anyway, the colors work, and are a nice change of pace from the standard gun metal grey the COG soldiers typically wear. Upon close inspection, the decals on the helmet are very evidently decals. To those of you unfamiliar with sports, let me put you at ease. It’s a good thing. While NFL players don’t typically cover the back of their helmets with stickers, a lot of college athletes have helmets covered in them. Most programs give them to players as a reward for a great play or amassing certain statistics. If these decals had looked painted on, I would have been disappointed, but the accuracy of such a minute detail is very much appreciated.

What I really love most about this though, is how Heisman-like it is. An avid football fan, I appreciate when someone pays homage to one of the most respected and coveted awards in American sports. The good people at Epic Games and NECA clearly share similar sensibilities, and even though Cole is doing his own thing, the resemblance is more than happenstance to be sure. Even the few people I know that don’t play video games immediately recognized how much Cole has in common with the Heisman. That says a lot about how strong the sculpt is.

Even though Cole isn’t the most popular character in the franchise, I’m glad to see that he got his due with this statue. Always larger than life, Cole deserves a bit of the spotlight, and this statue certainly stands out. Die-hard Gears of War fans like myself will be thrilled to own this, and the statue will no doubt make a great conversation piece with envious friends. Sure to be the pièce de résistance of any Gears collection, NECA’s Thrashball Cole will be a welcome addition to many households this fall.

To top it all off, we’re giving a full-color Thrashball Cole Statue away. Check out our contest page for more details on how you can get your hands on this statue before anyone else.