Some of my fondest memories growing up was having the weekend off from school and sitting in front of the television watching Godzilla movies. I think I’ve seen them all at least twice. What is it about watching a giant lizard destroy Tokyo over and over that I find so fascinating?

When IDW announced its new series of Godzilla comics, I was doubtful they could capture the same sense of wonder that the movies had. I mean, they’re comics. But somehow they pulled it off and have published some great Godzilla stories. Now IDW has is launching a new Godzilla ongoing comic, the first issue of which has just hit the stands. How does it stand up? Is Tokyo in trouble?

Godzilla #1
Written by Duane Swierczynski
Art by Simon Gane
Cover by Arthur Adams

From the IDW solicitation: “Ex-special forces tough-guy Boxer is a man with a grudge and vows to end the terror of Godzilla, no matter what. He assembles a top notch team to take down monster-sized threats… at $7 billion a bounty. What starts as a vendetta could become a lucrative business for Boxer… if he can live past day one!”

IDW decided to take a different approach for this new Godzilla series, and have added some human characters as regulars in addition to all the giant, city destroying monsters. It’s a bit jarring if you read and enjoyed Godzilla: Kingdom of Monsters, but a change in tone that I think is necessary if you want an ongoing Godzilla book to have a chance to succeed. How many times can you read Rodan or Mothra run amok and not get bored?

I’ll be the first to admit that Duane Swierczynski is not the first name I think of when it comes to writing a Godzilla comic. More known for noir novels and the DC title Birds of Prey, it might seem that he would be a fish out of water here. It turns out that about as far from the case as can be. The man writes a mean Godzilla, and he has created a great character in Boxer. He would be a perfect fit in any Godzilla movie and after only one issue he has made me a fan.

Simon Gane’s artwork has a cartoon like quality that takes some getting used to, but once you do you’ll have a hard time picturing anyone else drawing the comic. Every panel just explodes with action and energy. His Godzilla is huge, intimidating and looks outstanding destroying Washington D.C. You couldn’t ask for much more.

Add in an Arthur Adams cover (who else are you going to get to draw the cover of your first issue?) and you get one hell of a fun comic. Check it out and see for yourself.

For my money, The Ultimates 1 and 2 by Mark Millar and Bryan Hitch are probably among the best superhero comics ever produced. They mixed just the right combination of widescreen action, characterization and keep-you-guessing storytelling I just could not put down. Then The Ultimates 3 came along and left a distasteful stain on the legacy of the title. The less said the better.

Now Marvel is giving The Ultimates another shot with a new monthly title; the first six issues of which are collected in this hardcover. So does it live up to the ridiculously high expectations of the first two volumes? Let’s find out.

Ultimate Comics The Ultimates vol. 1
Written by Jonathan Hickman
Art by Esad Ribic with Brandon Peterson
Cover by Kaare Andrews

Nick Fury and S.H.I.E.L.D. are tasked with keeping the world safe from any type of threat imaginable. The first line of defense is the Ultimates, a group of some of the most powerful heroes in the Ultimate Universe. When the mysterious City appears seemingly out of nowhere, and its inhabitants, The Children of Tomorrow, come spilling out laying waste to anything in their path, it seems nothing can stop them. What are Earth’s Mightiest Heroes supposed to do when they face and enemy they simply cannot beat?

Picking up the writing baton from Mark Millar for this new volume of The Ultimates is Jonathan Hickman, the man who single handedly made the Fantastic Four cool again. While I can appreciate what he did on that book, I was never a big fan of his FF. So I went into his Ultimates with optimism, but low expectations. Imagine my shock when I finished the book and not only liked it, but thought it was more than worthy of the legacy of the title,

Part of the problem writing a book like The Ultimates is something I call “The Superman Paradox;” how do you create a villain that can go toe to toe with the most powerful hero in the universe? To solve this issue, Hickman creates a new enemy in the Children of Tomorrow, a group of hyper-evolved humans who seem one step ahead of the Ultimates at every turn. They’re a fascinating, interesting group who become all the more so when we meet their leader, a plot point I won’t spoil here. Needless to say, it gives the whole situation a new layer that makes dealing with the Children of Tomorrow all the more complicated.

Hickman writes the book in the widescreen style that is the hallmark of The Ultimates. Massive battles and an impending sense of doom permeate every page. More than once I couldn’t tell you where the story was going to go with twists and turns on every page. The characterization is spot on, and several smaller Ultimate characters, such as Captain Britain and The Falcon, get a chance in the spotlight.

Another key to The Ultimate’s larger-than-life feeling is the art. Esad Ribic proves more than capable of meeting this challenge. No space on the page is wasted, and each and every panel just explodes with motion and gravitas. His pencils have a very clean, detailed style that makes following the story easy, and there are a couple double page spreads here that will just take your breath away. In the last two chapters Brandon Peterson handles the bulk of the art, which is a real shame. While his work is good, it has a rushed, unfinished quality and doesn’t really mesh that well with the work of Ribic. While it would have been great to see Ribic draw the whole book, I guess if you need a fill-in, you could do a lot worse than Brandon Peterson.

Now, a word of caution; this first volume of The Ultimates ties in heavily with the Ultimate Hawkeye book that came out at the same time (Look for my review in a couple weeks). Hickman writes both and as a result they seamlessly form one story. You don’t need to read one to enjoy the other, but you will get a more complete picture of what is going on if you read both.

It looks like The Ultimates is in good hands, at least for now. Hickman has already announced he is leaving the title, so we’ll have to wait and see if the new writer (Sam Humphries) can pick up the baton and run with it as well as Hickman has. But for now I’ll begin counting down to the next collection.

In the second part of “Apart of Me”, Buffy is forced to consider the life that could have been and gets a cool new robot arm. Check out our review of Buffy the Vampire Slayer, Season 9 #9.

Buffy the Vampire Slayer, Season 9 #9
Written by Andrew Chambliss, Scott Allie
Art by Cliff Richards

What would life have been like for Buffy Summers if she wasn’t the chosen one? If she hadn’t spent her high school and college years patrolling graveyards and dusting vampires, what kind of career path would she have chosen? Would she have hobbies, friends, a good job, a serious relationship?

There’s no doubt that Buffy’s had these thoughts before, but in the second part of the story arc “Apart of Me”, she finds herself confronting them when she comes face-to-face with the life that she could have had–if she was normal. Because she’s a robot, and real Buffy has been hidden away in some kind of alternate life that Andrew created, with no memory of who she really is.

With every pained look, we can see how hard it is for Buffy to see the “Buffy dream house” that was made to protect Buffy–the real Buffy–by hiding her in a normal person’s life. Completely unremarkable. Ordinary to a boring degree. To most, nothing special. To Buffy, more reminders of the life she’ll never have.

Things are unnecessarily complicated for her, all the time. Like in this issue, where she’s still a robot. Yes, she’s got Buffy’s mind and memories and Slaying skills, but she’s still a robot, and one who’s missing an arm for the first part of the issue. And to make matters worse, the real Buffy is now missing, kidnapped by a rogue Slayer with a big ego and a thirst for vengeance.

Meanwhile, Xander and Dawn–yay, more Scoobies!–are helping Detective Dowling deal with the loss of his partner, who is now a zompire (Season 9‘s special blend of vampires and zombies). Downling is reluctant to slay her, as anyone would be, which leads to a touching moment in which Xander remembers slaying his best friend Jesse in the pilot of the Buffy the Vampire Slayer television show. (And just as a side note, it always bothered me that they never mentioned him again, so it’s good to know that Xander hasn’t forgotten.) While I don’t want this comic series to spend its time dragging up the past, moments like that reassure me that these are still the same characters I have loved since middle school, and they haven’t forgotten where they came from. The tension between Xander and Dawn is still palpable, and I hope the next issue digs deeper into their relationship, which appears to be falling apart.

Even without a lot of action to move the plot forward, issue #9 still packs an emotional punch. With this story arc wrapping up next month, I can’t wait to find out what direction Season 9 will take our Scoobies next. As the season approaches its halfway point over the next few months, I have to assume we’re going to start seeing a lot more action, but smaller character moments like the ones in this issue are great, too. I do hope Buffy gets out of the robot and back to normal soon, though… well, as normal as life can ever be for Buffy Summers.

Since the release of 2008′s Iron Man, fans have been eagerly anticipating the release of Marvel’s The Avengers. With subsequent releases The Incredible Hulk, Iron Man 2, Thor, and Captain America: The First Avenger, Marvel slowly laid the foundation for the ultimate team-up movie. There was a chance The Avengers could have been a crowded, jumbled mess. Fortunately, under the deft hand of Joss Whedon, and with the impeccable skills of the cast, the film doesn’t come anywhere close to collapsing under the weight of lofty expectations. The Avengers is the film fans have been waiting for, and even better, it’s probably the best comic book superhero movie ever made.

Read on for our completely 100% spoiler-free review.

The Avengers
Directed by Joss Whedon
Written by Joss Whedon, Zak Penn

For four years, Marvel has been building to this moment. The biggest characters (not under the control of another studio) teamed for one gigantic all-star extravaganza. Little nods and hints and post-credit sequences tied the universe together, but no amount of teasing could have saved The Avengers if the movie proved too big for its own britches. Comic book films with large casts haven’t had great critical success in the past (to be fair, the Schumaker Batman films and Fox’s Fantastic Four flicks did make loads of money), and even with fan-favorite writer/director Joss Whedon at the helm, there was a cloud of doubt surrounding The Avengers. Would every character get enough screen time? Was Loki a strong enough villain? Would other cast members be able to hold their own against Robert Downey, Jr? Would “normal” heroes like Hawkeye and Black Widow work in a world with a Hulk? The Avengers answers all criticisms, and does so resoundingly. Mere minutes into the film, any preconceived notions you had will be washed away with a sense of awe.

To any comic book reader, The Avengers‘ plot will seem fairly paint-by-numbers. The individual heroes will meet, fight, discover they share a common goal, and become buddies just in time to take down the big bad they’ve been after all along. The movie doesn’t deviate from the typical team-up formula, but that’s not a bad thing. There are a lot of people out there who haven’t seen this cliche brought to life ad nauseum over the years on the printed page. What’s more, Joss Whedon and Zak Penn bring enough nuance to the story that even though you might know all the beats, you’ll still be thrilled to see them fall into place. The insane amount of action is complimented perfectly by smaller character moments, and Whedon and Penn show a lot of skill in balancing all the various elements at play at any given moment.

It should come as no surprise to longtime fans of Joss Whedon that he’s more than capable of juggling a large cast of varied characters. That skill set is on display throughout The Avengers, as not only does every character get his or her due, but the characters are also arguably more fleshed out here than they have been in their own individual movies. In having to create a film that both ties the past half-decade of blockbusters together, while also making the movie completely accessible to people who’ve yet to see a single Marvel adaptation, Whedon is able to cut right to the essence of the characters. The dynamic between Tony Stark and Steve Rogers is brought to life brilliantly, and it’s refreshing to see Scarlett Johansson’s Black Widow treated as more than window dressing.

A superhero movie wouldn’t be much good without an appropriately menacing villain, and Tom Hiddleston’s Loki (who stole all thunder from Hemsworth in Thor) is outstanding in his role here. Sure he’s got an army on his side to help fight the physical battle, but Loki’s strength lies in his cunning and ability to instill doubt, panic, and fear in our unnerved protagonists. Hiddleston has really stepped into the shoes of the iconic Asgardian, and brings him to life in such a way that you really do hate Loki, but you also kind of like him. There’s a reason why Downey and Hiddleston share so much screen time, and that’s because these two are acting on a completely different level than anyone else in the movie. That’s not to diminish the efforts of actors like Mark Ruffalo (who plays Bruce Banner just as good if not better than the revered Ed Norton) or Chris Hemsworth (whose Thor actually has some depth this time around), but nothing comes close to the give and take chemistry Stark and Loki share on screen.

Of course, it wouldn’t be a comic book movie without loads and loads of action, and The Avengers is filled to the brim with white-knuckle sequences. Once the movie reaches its climax, there’s no taking the foot off the throttle. Whedon crafts the big moments with ever-increasing intensity, and once the big battle starts, it’s tough to remember to breathe. The scale and scope is so massive it can be tough to keep up with everything that’s happening on screen at once. Several times throughout the film, Whedon makes use of faked long-takes, which even with computer-aided assistance make for some really remarkable sequences. Of course, it wouldn’t be a Whedon script without some bouts of humor sprinkled in, and the auteur’s trademark sensibilities break up the action very nicely.

There’s almost nothing The Avengers does wrong. It’s a truly wonderful action movie with great characters, imposing villains, and a strong script. No comic movie released to date is as complete a package as The Avengers. This is a film that will have you laughing, clapping, smiling, and on the edge of your seat for the entire duration. The wait has been worth it, and the work of Marvel’s film production studios to build to such a tremendous crescendo has paid off in spades. The only disappointing aspect is that we’ll now have to wait another four or five years for the next adventure.

One final note, we saw the film in 3D. Despite the conversion happening in post-production, The Avengers actually has some really great 3D. The sense of depth is the best we’ve seen in a post-converted film so far; however, some of the action is a little too fast-paced for the 3D at times.

100/100 – Amazing.

The Avengers is rated PG-13, and arrives in US theaters Friday, May 4 in regular, 3D and IMAX 3D screenings.

Another story arc begins in the eighth issue of Buffy the Vampire Slayer, Season 9. Check out our review of part one of “Apart (of Me)”. Season 9 spoilers ahead!

Buffy the Vampire Slayer, Season 9 #8
Writer: Andrew Chambliss
Penciller: Cliff Richards
Inker: Andy Owens
Colorist: Michelle Madsen
Cover Artist: Georges Jeanty

Previously on Buffy the Vampire Slayer, I was… confused. I wasn’t crazy about the way the last issue ended, for a couple of reasons: it seemed like a cop-out to the unintended pregnancy storyline, and it kind of came out of nowhere. Now that the issue has been out for a few weeks, I can safely discuss the fact that Buffy is, apparently, a robot. And therefore not pregnant. Also, missing an arm. Yeah, issue #7 was a bit befuddling.

The mystery of robot Buffy is cleared up pretty quickly in this issue, though that by no means solves the problem. I’m glad that the story has once again taken a turn for the interesting by veering through totally unexpected territory, despite my complaints in my last review. Fan favorite Andrew makes a return in this issue, which shouldn’t be much of a surprise–where there are Buffybots, there’s Andrew.

I’m glad Season 9‘s plot is back on track, but I’m a little unsatisfied by the elimination of the pregnancy storyline. Sure, I’ve never seen another storyline get rid of an unexpected pregnancy with a surprise robot, but it’s not that much better than the old “has a miscarriage right before the abortion” or “pregnancy test turned out to be wrong” trope (indeed, the pregnancy test was wrong, though I suppose that was a programming error, not a biological indicator).

I’m also missing the rest of the Scooby gang, though we do get a quick look at Dawn and Xander in this issue. Something has been brewing with those lovebirds for several issues; though it’s presented subtly, there’s some tension in that relationship, and I have a feeling it’s going to explode at some point. Dawn’s more independent now than ever before, but she’s gone from being Buffy’s kid sister to Xander’s college-aged girlfriend. Maybe if she spent some time on her own it would really allow the character to grow.

Penciller Cliff Richards does a great job of conveying a lot of emotion without the need for many words in this issue, which is a sign of a great partnership with writer Andrew Chambliss. However, we’re once again left with a cliffhanger at the end of this issue. I understand the need to leave readers wanting more (and I always do!), but I’d like see the resolution of one or two of these open threads.

In just a few weeks Buffy’s focus has gone from getting an abortion to not being a robot, which I guess isn’t even that unusual in the life of a Slayer. I know she’s the star of the show, but I hope we get more time with what’s left of the gang next month.

Buffy the Vampire Slayer, Season 9 #8 will be in comic shops on Wednesday, April 11.

Buffy’s serious troubles take an odd turn in Buffy the Vampire Slayer, Season 9 #7. Read on for a review of the second part of “On Your Own”.

Buffy the Vampire Slayer, Season Nine #7
Written by: Andrew Chambliss
Penciller: Georges Jeanty
Inker: Karl Story
Colorist: Michelle Madsen
Cover Artist: Phil Noto

In the second part of the story arc “On Your Own”… wait, what?

Let’s start at the beginning. At the end of the last issue of Buffy Season 9, Buffy had decided–after weighing her options heavily–to have an abortion. Even with her support network of close friends, she wasn’t ready to become the second mommy Slayer, and she turned to Spike for help.

In this issue, Buffy’s roommates, who have recently discovered that she’s a Slayer, vote not to kick her out of the apartment. They like having her around, and feel safe having a Slayer nearby in troubled zompire-filled times. However, it’s too late, as Buffy has flown the coop and is moving into Spike’s giant bug-filled spaceship.

Didn’t I say something about BtVS returning to normalcy in season nine? Perhaps I spoke too soon.

This issue is very weird and, ultimately, a little disappointing. When reading it, I had a lot of trouble figuring out Buffy’s motivation for moving in with Spike. Yes, he’s already an insider to her world of stakes and blood, but he’s also clearly still devoted to her, and it seems uncharacteristically cruel to lead him on.

Other than Spike, the Scoobies are mysteriously absent in this issue. There’s a B-story with the San Francisco police trying to fight zompires on their own, and both storylines converge during a climactic fight at a nest.  The ending isn’t so much a cliffhanger as a “what the hell just happened?” I had to read it twice because I thought I had missed something, but no, I’m still not sure what’s going on.

While the artwork in this issue was solid, there wasn’t a lot of variety in the environments or characters. No page or panel stood out as being exceptional, though the characters, as always, looked consistent, and really embodied their television counterparts. Georges Jeanty has done a great job of bringing these characters to life throughout the comic series, and he continues to do so here.

Clearly, this wasn’t my favorite issue of Buffy, but I’m optimistic that #7 is just a small misstep in what has been an otherwise fantastic season. I’d love to know where this story is going after the unexpected twist at the end of this issue, and I’ll eagerly await the next issue of Season 9. Hopefully by the end of S9 #8 I’ll have a better idea of what this twist ending actually meant.

We’ve finally gotten to catch up with our favorite teen heroes in the latest volume of Young Justice: Season One. These four latest adventures put the junior Justice League in some precarious situations, but it’s nothing Robin, Artemis, Superboy, and the gang can’t handle.

Young Justice: Season One, Vol. 3
Directed by Michael Chang and Jay Oliva
Written by various

This DVD consists of four episodes: “Bereft,” “Targets,” “Terrors,” and “Homefront.” Picking up not too long after the conclusion of the Volume 2, this volume sees our favorite teen heroes conquering their insecurities almost as much as they’re toppling bad guys. From the relationship between Miss Martian and Superboy growing from crush to a full-blown, secret romance, to Artemis overcoming her fear of being inadequate both as a daughter and a hero, this installment is full of wonderful character moments. There’s plenty of action in there too, but the writers of each of these episodes really spent time getting to the core of the emotional experience these young adults were going through, and it makes you really care about what’s happening to these individuals outside of the costume.

Some of my favorite moments from this particular collection come from the first and final episodes on the disc. “Bereft” finds the team separated, and without a clue why they’re in a foreign country. Slowly, the memories return, but the action is on point, and the camaraderie between the kids is showcased perfectly. Even though none of the members really remember who the other are, they still find a way to work together to save one another. “Homefront” is a bit different, but is action-packed nonetheless. The team comes under attack at their base, and it’s up to Robin and Artemis to save all the powered members from the mysterious threat. I have to commend the way the episode was written, as Artemis is really given a chance to shine, and the way her character is handled is a true testament to the character (even if she is a bit different than the comic book version).

http://www.youtube.com/watch?v=RWHB0rG-OQ4

Again, the voice acting and animation are continually superb. This volume gives each of the characters a bit more time to really shine, and all of the voice actors involved do a fantastic job no matter what the scene calls for. The animators really do a nice job of capturing emotion, and they seem to have just as easy a time keeping the action fast-paced. The series really starts firing on all cylinders in this collection, and when great characterization is met with solid acting and animating, you’ve got an incredible viewing experience on your hands. If I had to come up with one gripe, it’s that there are only four episodes on this disc (like the previous volumes), and I just want to keep watching more. Hopefully Warner Home Video is working on a complete box set for release at some point.

Truthfully though, it’s tough to complain about such a well-put together series. Young Justice is clearly ready to make its mark as one of the premiere DCU animated properties. I’m eager to see how the rest of this season plays out, and whether or not Young Justice can keep up being so consistently strong. I’ve got faith in this show to do so. I just hope I’m right.

90/100 – Great.

Justice League: Doom is the latest animated adaptation from Warner Home Video. Not only does it highlight the strengths of the original comic story it was based on, but it also continues to raise the bar ever higher for DC Comics animated features.

Justice League: Doom
Written by Dwayne McDuffie
Directed by Lauren Montgomery

As Justice League stories go, “Tower of Babel” is one of the most memorable of the past decade. Pitting the Justice League against the greatest foe they never knew they had, the story focuses in on just how well-prepared Batman is for all possible outcomes. Unfortunately for the Justice League in this story, the contingencies Batman is prepared for are the members of the League going rogue. It’s an incredible story that really tests the limits of morality and consequence, and Mark Waid handles it with a deft hand. Thankfully, the extremely talented Dwayne McDuffie was tasked with adapting “Tower of Babel” into a feature, and the result is a slightly tweaked story that’s stronger for all the right reasons.

In the original comic, Batman’s plans are stolen by Ra’s Al Ghul, who then turns these fail-safes against the JLA. Here, Vandal Savage is the mastermind behind the attacks, though McDuffie has him recruit his own Legion of Doom to assist in the removal of the Justice League members. While the core of the film’s dramatic problem comes from Batman inadvertently causing everyone in the League all this trouble, having each of the members pitted against one of their biggest rogues adds a bit of depth to the story that was otherwise missing from the original tale. Ultimately Ra’s and Vandal are after the same thing (complete world domination), but in Justice League: Doom, the inclusion of characters like Bane, Mirror Master, and Star Sapphire gives each of the heroes something more to do than be angry at Batman. Additionally, the slightly tweaked methods of eliminating the Justice League are a bit more interesting in the film then they are in the comic. It’s a testament to McDuffie’s strengths as a writer that he’s able to tweak such an already strong narrative and make it more interesting.

Like any of the DC animated features to bring back a majority of the cast from the Justice League animated series, Justice League: Doom is one of the best acted films in the DC animated library. There isn’t much left to say about Kevin Conroy’s Batman or Tim Daly’s Superman, other than having these two actors reprise the roles once again only proves how definitive their takes on these characters are. Michael Rosenbaum, Susan Eisenberg, and Carl Lumbly also bring their respective characters to life in ways that only they can. While Nathan Fillion’s tenure as Green Lantern has been short, Justice League: Doom gives the character some surprising emotional moments that really resonate thanks to his performance. Bumper Robinson gets a go as the new recruit Cyborg (in an effort to make this JL cast as close as possible to that of the one starring in current comics), however his screen time is limited, and he acts as more of a plot device than anything in this film.

As for the villains, Phil Morris has played Vandal Savage before, but never with such bravado and calculatedness. He’s truly a villain that could go toe-to-toe with the League at any time, and it’s great to see him bring life to this character that is otherwise left to the wayside in favor of the Lex Luthors and Jokers of the world. Paul Blackthorne (Metallo), Olivia D’Abo (Star Sapphire), and Alex Denisoff (Mirror Master) do some solid work, but Claudia Black (Cheetah) and Carlos Alazraqui (Bane) leave more lasting impressions. As with any ensemble, it’s tough to really stand out when sharing so much of your screentime with the much more memorable and iconic heroes. That said, every single one of the actors holds their own against the longtime actors behind the League. Movies like this really showcase just how important Andrea Romano’s skills as a voice director really are for the DC and WB properties.

What really stuck out to me watching this film was how much more of an anime influence there was in the art direction. Even though the animated features have each had drastically different styles, none of them have been quite so Eastern in their style. It’s not a bad thing at all. The new style brings a kinetic energy and a looseness to the film that would otherwise have been missing were the art style more along the lines of what many have dubbed “Bruce Timm style.” The action sequences have more explosiveness in them, and the characters have a new life to them thanks to the heavy anime influence. Some people will undoubtedly be turned off by the new look, but honestly, Justice League: Doom looks great in motion.

I probably sound like an old record constantly talking about how each of the DC animated movies is better than the last, but that’s truly been the case. Justice League: Doom is no exception to that rule, and once again raises the standards of what we should expect from strong superhero features. It’s a great story. It’s got the best cast of all the films to date. There’s really no way this film can’t be the best one that Warner Home Video has produced to this point. I didn’t think any of the films would supplant Justice League: Crisis on Two Earths, but they did it. I just hope whatever film is next can live up to this impossibly high new standard.

Justice League: Doom will be available on DVD and Blu Ray combo pack February 28, wherever videos are sold.

95/100 – Great.

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.