Review: The Black Hand digital collection.

Written by: Erica J Heflin

Art: Fares Maese

Letters: Wes Locher, Erica J Heflin, Weston Design Studio

Logo: Jim MaQuarrie

Editor: James O'Callaghan

Publisher: Alterna Comics

Release date: December 30th 2015 

It's New Year's Eve and I spent a good part of the day, in between tending to my five month old child's needs, reading The Black Hand, and I loved it. 

The Black Hand is an exciting, action filled romp that tells the story of Victoria Addair, who is left with a black hand that has the power to vanquish the undead, after a childhood brush with death. She is taken in by the order of the black hand. Brash, headstrong and with a vicious sword arm, Victoria is sent to investigate the grey boy, a ghost who is terrorising a mountain community. Victoria soon discovers that everything is not as it seems and the secret of the grey boy could have dire consequences for the whole land.

Sounds gripping right? Well it is. I read this in good time, not just speed reading, but soaking up each panel and page like a delicacy. Heflin's script it tight and the book is plotted well, sitting each page with intrigue enough to keep you turning the pages. 

There is a continuous thread of suspense woven into the script that builds toward a spectacular finale. 

There is the occasional line of stereotyped dialogue but unless you're activity looking for it, it's difficult to find. 

The artwork is sublime and Maese gives us a beautiful paradigm of storytelling through sequential art, each panel is vivid, organic and alive. Now each of the four chapters is drawn and coloured in a different style. I have to admit I was worried that this could make the whole book feel a little disjointed, or a little clunky, but it doesn't. It actually helps the pace and rhythm of the story, and feels like each chapter is seen through a fresh pair of eyes. 

The great thing about the book is that you can feel the partnership between Heflin and Maese throughout, the pages almost drip of the synergy of a great partnership. This is a prime example of a writer and artist working together brilliantly. 

This will be the last comic I read before 2016 and I'm so glad I chose The Black Hand. It's fantastic little fantasy and adventure comic that mixes it's elements of horror and mystery into its pages well. Sure they are deeper meanings that resonated with me, I mean the lead character is a strong, independent woman so the message of equality is apparent. But you can take from comics what you will, this is a brilliant comic with a deeper message, and it's also one hell of a fun read. 

Happy new year everyone. Wishing you all prosperity and joy. 

Review: Spring Heeled Jack digital collection

Writer: Tony Deans

Art: Martha Laverick and Seth Kumpf

Letterer: Joshua Cozine

Publisher: Alterna Comics

Released: December 23rd 2015

So this is likely to be my last review before Christmas as its Eve is upon us and I've been looking at Spring-Heeled (referred to henceforth as SHJ) from Alterna Comics. Now you're likely to of heard of the myth of Spring Heeled Jack, the demon of London at some point in your life and this is a good twist on the character.

SHJ tells the tale of a series of brutal murders in Victorian London. A baffled police force turn to Arthur Conan Doyle for answers, and when he's equally stumped he requests the assistance of his mentor Joseph Bell, to uncover the truth. 

This is a detective, horror and mystery comic packed into 95 digital pages and it's a fun read. I did a receives of the final issue a while back so if you're interest in that head to http://retrogradereview.blogspot.co.uk/2015/10/review-spring-heeled-jack-4.html?m=1

Otherwise stay with us for a brief look at the collection. This is a good comic, but sometimes the script spoils itself by giving away too much of the mystery, you feel that if it held a little back, it may captivate your attention a little more. Don't misinterpret that though, there's still plenty to keep you hooked for one sitting, but you just feel a little let down that much more could have been achieved. The artwork is solid and had its own esoteric charm, with it being largely consistent through the panels. Ordinarily I'm not a fan of when artist change mid series but here it's nice to see a different take on the characters.

As you may of guessed from the synopsis this book takes historical characters and subverts them for its own purpose, to give you an interesting version of each. The interplay between this characters is good and Deans shows a good understanding of dialogue. 

So, in summary, this is a good little book that is reasonably priced and hits the right targets that make comics enjoyable. Sure he script is a little trite in places, but on the whole that isn't distracting from the books quality overall. 

Review: The Actual Roger #4

Story and art: Hank Tucker

Publisher: Alterna Comics

Release date: 16th December 2015 (Digital) 

This week saw Alterna's digital release of The Actual Roger #4, which sees the 9 year old super sidekick on the run and heading towards confrontation with the diabolical mastermind behind everything so far. This is a fun and irreverent series that doesn't take itself too seriously and pays dividends in not doing so. 

Now The Actual Roger is a fun read. The script is irreverent and humourous, Roger himself is a fun character and the cast is a tapestry of well thought out characters with well defined personalities and traits. So this all adds to a comic that bucks superhero trends and is all the better for it.

However I found it difficult to be entirely absorbed and lose myself in the panels while I was reading. Hank Tucker does a good job of fleshing out his ideas and turning his story into sequential art, though I think maybe he had too many ideas, that he is trying to convey too much all at once. This leads to some rather cluttered panels and pages that are difficult to follow and stunt the pace of the book awkwardly. 

I just feel that if Tucker had took a deep breath and prioritised some of the information and narrative a little smoother it would of flowed much better.

That being said, when you get your head around what's happening this is a fun comic that does bring a smile to your face with some quirky humour and action. 

This isn't just something you can dip into though, so if you're interested a in a fun superhero story that steps away from convention, you'll probably want to start with #1 and catch up. 

Overall the story does suffer a little from the overstuffed panels and clunky pacing as mentioned, but it's still a fun and interesting read and adds to Alterna's solid line up of independent comics. 

At £1.49 on comixology, it won't sting your wallet either, so it's well worth a look.

Review: DeaDBeat AnniverSERIES edition.

Story and art: Jeremy Massie

Publisher: Alterna Comics

Release date (digital): 9th December 2015

Another quality release in the AnniverSERIES imprint from Alterna as they celebrate their ten year anniversary. This edition is essentially the first two chapters of the original, which was released back in 2009, serving as a means to introduce and entice you to the book; I have to say it works perfectly. As soon as I'd finished this I was hungry for more and tracked down the original to finish the story.

The DeaDBeat follows a down and out, stuck in a rut ex-superhero who's life is turned upside down when his daughter suddenly walks back into his life. It's a tender little tale and Massie pulls it off well.

Massie creates the story like he he is in tune with what he wants to convey, blending the words and art nicely. The story moves along at a good pace after the initial inciting incident and the tete a tete between the hero and his daughter is compelling and written with sensitivity.

In fact it's this sensitivity that makes the tale, it's refreshing to read a superhero story that doesn't focus on the hero punching something until it's defeated, or building something that effectively punches said thing until it's defeated. Weaving a certain frailty into his character builds empathy well and you can't help but root for the downtrodden soul.

Now as always, it does seem like the AnniverSERIES are like a little taster, a bite size chunk that tantalises you and just befor your excitement peaks, it's over. So a part of you almost feels that you should just buy the real deal. But at 99 cents, or roughly 69 pence, this is a great way to introduce yourself to the book. Especially if you're unsure of what you're getting into.

DeaDBeat has took root firmly in the list of my favourite reads and I'd recommend this book to anyone, so you really haven't got anything to lose considering it's price. Join in with Alterna's celebration and head over to comixology and get yourself a copy, you won't be disappointed. 

Review: Mother Russia

Story and Art: Jeff McComsey

Publisher: Alterna Comics (FUBAR Press)

Release date: 18th November 2015

Now I'm a little slow off the mark here. This book has been out for over a week and I am lax in writing the review, so many of you, I'm sure, have already picked it up and know how fantastic it is. 

The premise alone is like a curiosity sucking black hole that draws you inescapably towards its call. It's the zombie apocalypse. A lone soviet sniper, alone in Stalingrad in 1943, stumbles across something rather unexpected, a two year old child, walking amongst the undead horde. Action and excitement ensures. 

It's a gripping concept.

McComsey tells the story with passion and conviction. Stalingrad during the Second World War was a meat grinder, as explicitly outlined in the introduction. Stories set against the back drop of the horrors of war run the risk of losing their impact and impetus, but Mother Russia doesn't suffer this issue. McComsey takes the terrible setting and makes it all the more horrifying, but all the more intriguing.

The story is moves along at lightning pace, leaving us as readers little time catch our breath. Layers of suspense are continually added, and I found myself turning pages faster and faster in anticipation of the climactic ending. 

McComsey is a supreme talent, both writing and illustrating this tour de force. The artwork is remarkable, the panels are consistent and fluid, showing a creator in tune with the story he wants to tell. There's some interesting panel choices and plenty of variety which helps to maintain your attention and keeps you turning the pages over.

I loved this book, I always try to write reviews based on how a book makes me feel, what it means to me during the time that the book and I connect on that special level. This book made me feel sad, happy and brought a smile to my face. It's not uplifting in the usual way, but it is a compelling read nonetheless.

If you haven't already, get on comixology or Amazon and order yourself one. My print copy has already been dispatched by the online giant. What are you waiting for?

Review: Novo AnniverSERIES edition

Written and artist: Michael S Bracco

Publisher: Alterna Comics

Released: 11th November 2015

Novo is a great book, it was when it was initially released back in 2008 and this edition just reinforces the fact that it still is. 

This edition is basically just the first chapter of the first volume, serving as an introduction or jumping on point for new readers, leaving them salivating for more.

On the surface of things Novo is the tale of a child of two worlds, torn between both. It's quite a compelling story and is told well by Bracco, who both writes and illustrates the book. I'm unsure whether his dual creative input is why the characters and world is so lovingly crafted, but you do get the sense that he inhabited the world while creating it. From page one, panel one, Novo is a instantaneously likeable protagonist, filled with innocence, but gilt with underlying bravery. You cannot help but be drawn into his plight and root for him quite vocally. 

Bracco's writing is skilful and he weaves a rich, inviting mythology into the script, that makes you desperate to uncover the mystery, I found myself finishing this special edition, then going back to find my original so I could continue reading, to continue delving into the adventure with Novo. 

His artwork is also eye catching and salient. He creates interesting characters and draws them with consistency. They are inventive, fun and varied. The scenery and backdrop is as much a character throughout and there are some truly beautiful and detailed backdrops that you shouldn't overlook. Whilst pouring over the pages you can see that the blueprint of this fantastic world Bracco has created is laid out in wonderful realisation before you. 

The only real drawback for me is that Bracco maybe could of used some more interesting panel layouts, there are some pages that are a little formulaic, but to be fair I'm being pretty pedantic with this.

It also has to be said that this editon is lacking a little in bonus content, for a AnniverSERIES editon it would of been nice to see maybe some scripts or alternate covers, but hopefully it will get a blank cover edition along with some of Alterna's other titles, which I would snap up straight away and doodle to my hearts content. 

It's a fitting addition to Alterna's celebrations, as Novo has been a popular title for them. 

The AnniverSERIES collection are special editions of Alterna's popular titles that celebrate their ten years as an independent publisher. They're perfect jumping on points for people who are nature, and great to add to collections for fans. Particularly when this editon is available on comixology for 99 cents (exchange rates mean variable price for UK residents), you can't really go wrong. 

This is a wonderful and inviting series that I can't really do justice to. This edition is well worth a go, but then so is going back to the start and getting all of the volumes.

So get to comixology for the digital editon as soon as you can, released on 11/11/15

Editorial: Esoteric Equality

I can still remember, quite vividly, the first time that I was told I wasn't cool enough for something. I was eleven years old, new at 'big' school and somewhat socially awkward. That shouldn't predispose me to being banned from anything at all, but this girl of the same age had obviously decided that it did. The something in question was the song 'bleed American' by Jimmy Eat World. The fact that to this day I cannot hear the song with what can only be allowed as indignant rage slowly swelling inside me, is testament to the damage that this sort of behaviour perpetuates.

Now I'm fully grown and equipped enough to take care of myself, I've got a mortgage and everything, I still find it saddening at the prevalence of intolerance that people face; simply for liking different things. For liking comics, warhammer, anime, manga, heroclix, yu-gi-oh, anything a little different or outside the norm. Of course there are a huge range of wider issues around inequality, race, gender or socioeconomic state to name a few, but these issues are too involved to delve into on my humble comics blog. Especially in the wake of all the global atrocities in Paris, Syria and a long list of countries, but all these issues can be boiled down to one thing; intolerance.

Now this is a blog about comics, so as I've said, I'm not going to go off on a tangent and rant about the state of worldwide political affairs- there's a great deal of saturation around this subject already, rather I'll stay on topic.

No one should be made to feel terrible because they like different things. The wonderful things about comics is the wider audience they attract, my local comic book shop is a melting pot of culture, a wonderful blend of gender, race, lifestyle, religions and creed. There is something to be found for everyone and if they go in unsure of what they want, there is something to be discovered. 

Now I'm not going to pretend that this was always the case, comics did have a tendency (maybe sometimes they still do) to perpetuate stereotypes, especially surrounding women. But look at all the change that is happening, the comic book landscape is transforming and comics are benefiting from this, ergo the fans are benefiting too. The number of women writers is growing and their work is, quite frankly, excellent. At the minute I'm a fan of Gail Simone, Margueritte Bennet and Noelle Stevenson, whose work is an example many could learn from. 

Looking further at diversity, the level of ethnic diversity to be found. Now I'll be honest, when thinking about race, I'm a big advocate of not seeing someone black, white, Asian, Arabic or any of the other multitude of humans on the planet, rather I see a person, not a colour. That being said it's fantastic that the number is different background being represented is growing in size. 

I suppose the point I'm trying to make is that comics are accepting. They won't judge you, nothing you love doing will judge you, so you shouldn't be bothered by the people who feel they have a right to; because, they don't. The fact is whoever chooses to do so is afraid of you, afraid of your ability to enjoy something so completely, afraid of your ability to do what you want with your life. 

So like the age old addage, they're more scared of you, than you are of them.

Retro Review/Preview: Cannon in the clouds

Writers: Daniel Woolley, Anne Gresham.

Artist: Jorge Donis

Colourist: Kirsty Swan

Letterer: Peter Simeti

Release Date: January 27th 2016

This week I've had the opportunity to look at the upcoming graphic novel from Alterna Press 'Cannon in the Clouds' which is a fast-paced and fun adventure romp from the first panel.

Against a backdrop of floating islands, Sela Windbourne, a rebellious heiress of high society, is plunged into a world of violent conspiracy, subterfuge and swashbuckling.

You would be forgiven for thinking that this sounds a little familiar. Cannon in the Clouda does follow some rather common stereotypes and conventions. For starters you've got the highborn daughter of prestige desperately trying to live life her own way. You've got the impertinent war hero trying to do right by said daughter. Then of course the buccaneering female pirate captain, who is the very epitome of strength. All of this is set against a tapestry of war, conspiracy and rebellion, so it does seem a little tried and tested. 

Honestly though, that doesn't matter. This book knows it's following a certain trend and it has great fun doing it. There's a fantastic series of panels with a tongue in cheek pastiche of famous pirate captains (a particularly obsequious Jack Sparrow is a treat) that had me howling with laughter. 

The writing duo of Woolley and Gresham have laced the script with a fevered enthusiasm that draws you in and keeps you turning pages. The characters are well fleshed out and so despite the familiar conventions, they seem fresh and stand out. You care about Sela's plight and are helplessly drawn to the allure of Captain Avery. To feel this way about characters that quite easily could of just been more listlessly stereotypes churned out onto a conveyor belt, shows the skill that these writers have, making something original and exciting. 

The story moves towards its conclusions without stalling. Occasionally I like a break between my comic reading stints, especially with my young son, separrating each chapter into a readin session. With this book though I struggled to do so, as each chapter ends with such a hook, a cliffhanger, that you can't help but conitinue reading. 

The artwork is lavish, to be frank. The characters are distinct and Donis had a nice, slightly cartoonish style that works well here. Sure there are a few minor inconsistencies, but nothing outrageous or distracting from enjoyment. For me though the scenery is one of the most salient things about the art. This is a story set on floating islands, of great cities in the sky. Donis creates a detailed and beautiful backdrop to take in, filled with detail and ornate buildings and scenery. It's a majestic sight to behold at times. Kirsty Swan's colours match the artwork well with a chemistry that adds to the flow of the book. Swan matches the colours to each individual panel, allowing the tone of the writing to influence the mood of the colours. Needless to say it works well. 

Peter Simeti, the father of Alterna Press, is responsible for letters and does a stalwart job. You almost begin to question if there's anything he can't do. 

So really this is a fantastic graphic novel to delve into. It's well written, well drawn, well coloured and well lettered. Despite the seeming familiarity, that maybe this story has been told before, this isn't the case, this story stands apart from any stereotype. So come January 2016, give consideration to adding this Novell your collection, it would be a richer bookshelf (digital or otherwise) for it. 

News on Alterna Comics

Now you may be aware that I wrote a lot of reviews for Alterna Comics. I do, there can be no denying it, nor would I want to. I'm on their press list so I get a new issue to review each week and several press releases from time to time. 

I enjoy reviewing their offerings and feel a sense of pride at helping to spread the love for independent and creator owned comics. There is so much fantastic work out there with so much potential, and Alterna give a voice to what would be otherwise unseen or unheard work. 

Testament to the impact that creator owned comics, particularly Alterna, are now having on the comic landscape is the fact that two of their titles on becoming available in print, sold out at distribution. FUBAR: By the sword and the blank cover introductory issue of Alterna's flagship title The Chair. This a remarkable achievement and you should try and pick up a copy for that reason alone. You'll find reviews of both books on this page.

If you're alone right now (even if you aren't) let this information soak in and just give Alterna Comics a little round of applause. Then dust off of your pens and start writing that story at the back of your head, you know the one that starts flirting around when you try and sleep, because you never know, it could be the next one sold out at distribution. 

Review: Spring Heeled Jack #4

Writer/creator: Tony Deans

Art: Seth Kumpf and Lucas Duimstra

Letters: Joshua Cozine

Publisher: Alterna Comics

Released 28th October 2015 (digital)

Spring Heeled Jack is a nice little interpretation of the old legend. It's nice to see mythology explored and subverted to tell a story and when it's done well, it's very enjoyable. This issue sees the climax of Doyle and Bell's struggle against the demonic Spring Heeled Jack.

Now for me the climax does fall a little flat. The writing is a little trite in places and this makes the story roll awkwardly towards it's conclusion, rather than hurtle excitedly towards it. Don't get me wrong you still care about the character's plight and the issue captured my attention enough to read it in one sitting, but it just lacked that extra punch to really give you palpitations. Positively there is some snappy dialogue and a neat little twist on the last page, but I wish more had been made of Bell's metaphorical conflict with the underworld when he confronts Jack, it had so much potential that was only partly realised for me. 

The artwork is good, it isn't the most detailed of comics, but it's mainly solid work and it has that independent comic charm that I have come to enjoy. There is some inconsistency but not enough to distract you from its overall impact. There are points in the issue where more could of been made of the panel layout, that would of emphasised some of the drama, but again it didn't put me off, I still remained engrossed to the end. The colour work is good and the underground sections reflect the dank and murk well, again sometimes it's simplistic but it's part of its charm. 

Overall this is a neat little horror comic that has it's own thrills and charms. The script has its weaker moments, but they never made me lose interest, rather become a little exasperated over how it could be improved with a few tweaks. The art is independently charming and so it is a little esoteric and may not be for everyone, but I enjoyed it nonetheless. Remember that all reviews are subjective and really are a reflection of what we, as reviewers, feel when we pick up a book. So bear that in mind, I moderately enjoyed this issue but that doesn't mean you won't find it completely thrilling. There's a lot to be said of the strides independent publishing is making, so this issue is worth giving a go to support that at least. It will be available on comixology from 28th October. 

Again, if we must give numerical values, for me this would achieve 7/10. 

Retro review: Uncanny X-Force #2

Writer: Rick Remender

Art: Jerome Opeña

Colours: Dean White

Cover: Esad Ribic

Publisher: Marvel

My mind was caught in a fierce battle over which issue of Uncanny X-Force to review, this particular gem or number one of Remender's series. Both are, to me, incredible issues (in fact the whole run is) but #2 won out in the end as there was one moment that made me laugh uncontrollably and put a smile on my face for the rest of the day, but we'll get to that later. 

I first became aware of Remender after I picked the first volume of 'Black Science' and, after reading the first page, soaked all the pages that same day. It was unabashed, unashamed, glorious and well written sci-fi. His writing was emotive and humourous, resonating with me in that special way that comics can. 

After that I became more alert to other work he was involved in, I love his independent work, but his work with Marvel is pretty spectacular too. His blend of drama punctuated with humour works well with this series. X-Force is a team entered series and how he writes the team dynamic highlights Remender's knowledge of these characters, more than that, he understands and cares for them. You can see it in the tenderness between Betsy and Warren, the friendship between Wolverine and, again, Warren. It's shown in the irreverence and recklessness of Deadpool and Fantomex.  The writing is fantastic throughout and keeps the story moving along at a cracking pace, keeping up hooked along the journey.

I'm not a big fan of spoilers and doing retro reviews allows me a bit of leeway as this material had been around for some time, so I'm less likely to ruin everything. However there are people who, like me, are still discovering and unearthing new treasures, so there's every chance that this is new for someone out there. So I don't want to give too much of the plot away. So in this issue the team find themselves on the blue area of the moon, chasing down 'someone' from the big reveal at the end of issue #1, when they are beset by the final horsemen.

This leads me to the moment that made me choose #2 to look at. It, of course, involves Deadpool, how could it not? Deadpool is one of those characters that it is immense fun to read and, judging from Remender's full use of his beautiful insanity, immense fun to write. If you're not a Marvel fan, which happens, or you like different genres of comics altogether, the chances are you still like Deadpool. The Merc with a mouth is popular not only because of his self-awareness in some series, his inane wit but he's also a complete badass with a pretty cool skill and power set. Anyway, I'm detracting from the point slightly. Deadpool becomes engaged in a fight with the horseman War and, like no one else can, begins to sing Edwin Starr's Motown classic 'War' (good god y'all) and its a moment of comic book brilliance. This use of wit by Remender is one of the reasons I find his work so endearing.

Opeña is a frequent collaborator of Remender, working with him on 'Fear Agent' and with characters such as Punisher and Wolverine. I first noticed his work in Avengers with Johnathan Hickman and I'm rather fond of his style. It captures that point between comic and reality, blending both nicely. His character work is vivid and emotive, while the action sequences are kinetic and pacey. In a world of subterfuge, White's colours match Opeña's style well, creating an almost pastel colour effect that gives the illusions that the characters are operating just behind the veil of public perception. It's an art and colour dynamic that works really well, as so often a mismatched pairing can ruin a book, but in this case it's one of the things that helps to make it. The truth is, you couldn't have this issue without Remender, Opeña or White. That may sound like I'm being deliberately obtruse or even stating the obvious, but I'm not. If you took one of the trip away I think this issue in particular would lose its impact, it's comedic moments and dramatic fight scenes, the melancholic but beautiful relationship that Angel and Pyslocke have, would be shadows of what they are when the three are together. 

As you may of guessed I'm a huge fan of this series, it's one of the few I own both in print and digitally, so I'll forgive you for believing me to be biased. I'm only so because I've read the series, I implore you to do the same. Either get on Amazon, comixology or pop to your local comic shop and grab a issue or volume or two. You'll soon find yourself becoming as biased as me. 

Review: Bleen #4

Creator and writer: Jon A. Colunga

Illustrator: Landon Huber

Publisher: Alterna Comics

Release date: 21st October 2015 (digital)

Horror comics seem to be prevalent lately. I don't know if it's because of things like Snyder's Wytches, or if I'm simply more aware of them, but their new popularity isn't at all damaging for fans of the genre, or comics in general.

Bleen is Colunga's first personal publication and is a foray into a fantastical world of horror. It's one of those books that could of easily been overlooked and missed and it owes a lot to independent publishing. As he says in the final acknowledgements it was given a chance to be published by Alterna Comics and I, for one, am glad it did. Indie books like this are testament to the quality of stories out there that and showcases the benefits that independent comics give the whole readership.

I'm writing this review on my break during the night shift. I'm a nurse and have just played my part on effectively restarting man's heart with my bare hands. I have chosen to relax by reading Bleen and writing about it. Now this isn't about massaging my ego, it's an attempt to display the diverse appeal that comics have and how independent publishing aids that appeal. You could be an accountant, teenager living with your parents or even a high powered lawyer dressed in a luscious and crisp suit; we all have comics in common. 

Bleen #4 is the final chapter in this series. Before reading this I was unfamiliar with Bleen. I'm on Alterna's press list so every week I get a shiny review copy of a book to enjoy and review, Bleen was this weeks offering. M So I wanted to jump in at this chapter, which is far beyond my usual comfort zone of knowing every minute detail before diving in headlong, to see how I felt about it. I wasn't disappointed. The writing is smart and snappy and the artwork suitably grim. The story moves along well and it was way to come into at such a late juncture. I even felt a great empathy with Bleen at the grand finale. It's a good smashed of a book when you can come in at the final hurdle and still fall for it greatly. It's inspired me to go back and catch up with the events, which is a point in Bleen's favour. 

The art by Huber helps the story along at a good pace and is well suited to a horror comic. There's not really a panel out of place and there's some interesting layouts that drew my interest. The creature of Bleen's torment is reminiscent of Jack Skellington from 'the nightmare before Christmas' and holds quite a sinister appeal.

Overall this a good closing chapter to the story. It builds to a tense, if somewhat inevitable climax that holds your attention to the last panel. The writing is solid and complimented well by the noir artwork. The only downside for me is the misspelling of 'future' in the acknowledgments, but that's just the pedant in me playing silly buggers. Colunga hints at more to come and if this series is anything to go by, I'm excited to see what comes next.

Reflections on Sandman. Volume 1- Preludes and Nocturnes.

Writer: Neil Gaiman

Artists: Sam Kieth, Mike Dringenberg, Malcom Jones III

Colourist: Daniel Vozzo

Letterer: Todd Klein

Covers: Dave McKean

Publisher: Vertigo

I'm in danger of repeating myself, I realise that. I'm in danger of turning into a machine that perpetually harps on about breaking free from my shackles and discovering a whole new world of independent and creator owned comics. Bragging about being brave enough to leave behind the comfort of the familiarity of superheroes and their outlandish adventures. If this statement begins to bore you then I bear you no ill will, I'm on the cusp of boring myself. However it is leading to an important point here so afford me a jot more patience before you jump ship into the deep, vast waters of Internet distraction. 

Like many people it began with Batman, how could it not? Batman led to other DC characters, which in turn led to Marvel. You cannot blame me I was twelve years old, impressionable and was what is colloquially known as a geek. As I grew older my interests burgeoned and become more well rounded, but I still loved Batman; I fear I always will. Much like Neil Gaiman who, in the introduction to 'Whatever happened to the caped crusader?', confesses a similar love. So really it is fitting that someone who I can identify with on some levels is responsible for the work that opened up exciting new worlds for me.

Now Sandman isn't my first brush with independent or creator owned works, that privilege lies with 'The Boys' which was my first memorable experience outside of the 'big two'. Though if 'The Boys' opened a crack in the door, then it was Sandman that blew the door into innumerable splinters and shook the foundations of the universe (and the dreaming).

I was well aware of Neil Gaiman before I came across Sandman, I'd read many of his novels and they had a profound effect on me. Every so often you will discover something that changes your outlook, your nature and almost everything that he has written falls into this category. If it does not, then it's likely because I haven't read it yet. So having been initiated into his style of writing, in the way that he captures the magical in the mundane, forever hinting at the existence of a world hidden just beyond ours. Building layer upon layer of story, flawlessly blending a multitude of ingredients to create an immersive fantasy. I began to hear whispers of 'The Sandman'. It was spoken about in hushed tones of reverence by people I knew, almost like a kind of worship. It felt too grown up, too far removed from the standard archetype to be enjoyed by a young man who still clutched Batman and Spider-Man tightly to his chest. However having just recovered from the epic 'American Gods' I needed a Gaiman fix and was convinced that it had to come in the comic form. So I headed out bravely to my local comic book shop, the same shop that opened my eyes to the boys, and enquired about Sandman. After spilling my guts about my current situation, the kindly manager informed me that he too had gone through a similar process, although for him it was Green Lantern he was struggling to tear himself away from years ago. He took the plunge and recommended that I do the same; as you may of guessed I'm ecstatic that I did.

Much like Gaiman's other literary dreams, Sandman affected me deeply. I fell in love with comics all over again. In fact the extent of its affectation runs so deep that I am physically struggling to finish the series. I'm serious, the last two collections 'The Kindly Ones' and 'The Wake' are currently sat on my shelf eyeing me with a wistful gaze emploring me to pull them off and read them with furious gusto. However I'm not sure that I could emotionally handle it, as I have an inkling of what will transpire in the hallowed pages and worry that I'll have trouble letting go. I'm slowly building up the courage and am hoping that writing this will help me come to terms with the closure. The fact that work like this exists is the greatest testament to how truly amazing comics can be, and this is the volume that started it all. 

Preludes and Nocturnes introduces us to Morpheus, the King of the dreaming and his kin, the Endless. It's a dark and, thanks to Gaiman, lyrical literate world. Beginning with 'Sleep of the Just' which reads a little like a classic English horror story and sets up the shape of things to come. Roderick Burgess attempts to entrap Death, but only succeeds in imprisoning Dream, incurring his wrath and setting off a chain of events thus beginning our journey. Now this volume does have some linear story progression, i.e there is a central story arc that flows throughout the issues, but there are seemingly infinitesimal events occur here that take on significance later in the series. That's one of the things I adore about Gaiman's writing, how he makes a tiny ripple that later becomes a tidal wave of revelation. He creates this world and I think that, at least for a while, he becomes a part of them. In later volumes there are standalone stories that involve the dream king as well as entire story arcs, but there is always this overbearing shadow that something great is in play behind the scenes. The writing is both uplifting and haunting, it is incisive and moving, and affects you negatively and positively. In the fact the whole scene in the diner in '24 Hours' is absolutely harrowing and I found myself reading it peeking out from behind the sofa, afraid of what would happen but unable to look away. Gaiman has an inimitable style of writing and as Stephen King has once said of him is "..a treasure house of story..". Gaiman has a vast wealth of knowledge about stories, both those he is writing and those he is not. His explorations of historical drama, myth and legend is twisted to his own needs and interwoven beautifully. He draws upon multiple elements and layers them as only he can to create this fantastic, well rounded world. His knowledge and love of character shows throughout, calling on classic historical characters such as duo Cain and Abel while also including cameos from DC characters such as Etrigan, Constantine, Martian Manhunter and, of course, Batman. Batman only exists in a single panel but it's a nice nod to a character Gaiman loves. Although Gaiman has stated that his attempt to mix superheroes with the world of Sandman, this blend of well known comic book heroes and characters of legend shows how Gaiman understands character and uses it to his advantage. He is a masterful storyteller and uses the dream king to exhibit this, after all what are dreams but stories?

The artwork took a little getting used to for me, not because of its quality for it is simply sublime, rather because I was so used to 'newer' artwork. Don't forget that the first release of Sandman was around the same time that I was born, so the comics that I had started with had quite a different style. That initial shock passed in moments and I think that quite often I actually now prefer this style of art. It's the perfect foil for Gaiman's scripting and has a dreamy quality that of course suits the story perfectly. Some of the panels appear to be caught in the penumbra between worlds, with a sort of sonombulant ethereal quality that is enchanting. Sam Keith left the book after saying he felt as though 'he was in the wrong band' and starting with '24 Hours' Mike Dringenberg, who had been inking, took over on pencils and Malcom Jones III took over the inks. The transition though is seamless, it can sometimes be jolting when an artist leaves part way through but it was handled properly and the story doesn't pay the cost. At the time these were the industry's most sought after artists and the fact that they gave their services so willingly is testament to the appeal that Sandman holds.

The artwork again exhibits perfectly the diverse appeal of comics and showcases their potential for discovery. I unearthed something that changed my opinions, changed my tastes and my preferences and ultimately my perceptions of what comics can be. The artwork shows this because, before I maybe would of neglected to read or enjoy a work because it didn't quite fit with what I was expecting, but the skilled artists here have taught me that there can be much more to enjoy beyond the realms of your comfort zone.

My first contact with Dave McKean was Arkham Asylum written by Grant Morrison. I thought his artwork was gorgeous and the way it was painted across the pages was quite magical. For Sandman he has created a series of covers that are majestic in nature. The way they are painted, even sometimes built, mirrors how the layers of story are built by Gaiman. Looking at them is a glimpse into the mind of McKean himself and you get the sense that, like Gaiman, that mind operate at just a higher level than most people. If you're a fan of beautiful artwork, Sandman is worth it for this alone too.

There is so much more to Sandman that this reflection could never be large or comprehensive enough to do it justice. The only thing that could is to go out and buy 'Preludes and Nocturnes' and read it. No pore over it in detail, soak in every word, every letter of each word, each deft stroke of the art and let it slowly open up your mind. If you have already done this and are already familiar with Sandman, then for heaven's sake pull your copy off the shelf and do it all over again, you may discover something you missed. I was hoping that writing this would be an act of catharsis that would help to me to finally read the last two volumes, but I think I have given myself the thirst to start from the beginning once more.

Gaiman inspired me in my own writing and his offerings with Sandman inspired me to follow my dreams, showing me whole new worlds of possibility. Ultimately you take what you want from works like this, stories that creep inside you. Opinions are subjective but Sandman offers something for everyone and I defy you to read it and not be moved in some way.

In summary, you really cannot summarise Sandman. For me it is beyond analysis, it sits outside of critique. It is a masterpiece that has stood fast in the tides of time. Gaiman et al have created something poetic, beautiful, lyrical, delicate and literate in a world of pictures. Something unstoppable and resolute, Sandman will still be here in years to come and, almost ironically, will refuse to fade into dreams.

News

Not a new review this time, but more of a little heads up. FUBAR: By the sword is released in print today. I reviewed the digital release a while back but if you like to feel and hold the comics you read give the print version a go. Here's a link to the initial review http://retrogradereview.blogspot.co.uk/2015/09/review-fubar-by-sword.html

Thanks for reading. Come back soon for another review. 

Review: Alterna AnniverSERIES The Chair

Writer: Peter Simeti

Art: Peter Simeti & Kevin Christensen

Publisher: Alterna Comics

Released: October 7th 2015

Today I've been looking at the AnniverSERIES edition of 'The Chair' from Alterna comics. The AnniverSERIES is celebrating a decade of publishing for Alterna, which when you think about is a pretty massive achievement. I've mentioned before that my education in comics started with Marvel and DC, so discovering that there has been whole worlds of quality independent comics, hiding just behind the veil for so long, is testament to the amazing opportunities for discovery that the medium provides.

Though I'm relatively knew to the world, I'm no stranger to furore surrounding The Chair. Having followed Alterna Comics on Twitter for some time, I did dip my toes in the pool of understanding from time to time from reading various tweets and following links, though this is the first time I've read it fully. I wasn't disappointed.

The Chair follows the story of Richard Sullivan, an innocent man wrongly sent to death row. This isn't a tale of supernatural horror, the main character isn't stalked by some beast from another dimension. This is a tale of authoritarian brutality, the horrific cruelty that we as a species are capable of. As the tag line says "on death row, the only monster is man". That's part of its appeal, that it doesn't resort to classic archetypes, but rather exposes the lack of humanity that humans can have. 

Peter Simeti is the founder of Alterna Comics, and has had experience with about every job going in the business. His wide breadth of experience shows in the writing here. The story builds at a good pace, layering up the suspense page by page. As should be expected with a story set in death row, the tone is suitably gritty. The speech drips with a near intensity that instills a sense of foreboding, that something terrible is coming to the protagonist Richard Sullivan. The splash page at the end is a cliffhanger that leaves you aching to know what's happening. Though Sullivan is a bitter character, understandably, he is written in a way that doesn't remove you're empathy or sympathy for him. You find yourself keeping your fingers crossed for his safety, which is a futile practice, but you do it nonetheless.  

The artwork from Kevin Christensen and Simeti too, is an exercise in doom and gloom in keeping with the setting of the story. The prison is a mess of shadows and darkness, as much a ominous character in the story as the people trapped within it. The black and white moody panels add to the general murky darkness of the tale being told. On occasion you do feel that a touch of colour would add to the gory splash pages, but I understand the decision to keep the colour out of the story. This is a chance to immerse yourself in darkness after all. The art flows well throughout and you never struggle to understand what panel is coming next. 

Overall this is a brilliant read, it's easy to see what it's one of Alterna's best selling works. I found myself gripped to the very last page, then eager for more. The graphic novel will be out in December 2015, so I think a few rereads will be done before then. The story moves well and the pace never slips or trips and its general murkiness is well matched by the artwork.

I've learnt my lessons recently not to be pigeonholed into one genre, or limit myself to publishers. There's a vast universe of amazing work out there and 'The Chair' is a good place tot start a journey of discovery. If you're looking for something different than the standard horror archetype, or trying to branch out into something new. I implore you to give this a try, you won't be let down. 

I'm not going to belittle this work by giving it an overall rating, it's simply fantastic. It is much more to me than 30 pages of comics fun. To me it is the totem for my journey of comic freedom. So let me just say, wonderful. 

Review: 2000ad prog 1950.

Now I realise I'm a little late to the party here, over half way between this prog and the next, but the combination of four 13 hour shifts in a row and my ten week old son delayed me slightly. There's also the fact that I had the last chapter of The Alienist to finish from prog 1949, I realise this wouldn't of affected my understanding of this prog, but hey I'm a bit of a stickler when it comes to reading.

1950 is replete with four new stories, all at their nascent, so that readers can dive straight in, a status quo reset of sorts. After a fashion I'm approaching this prog as a semi-lapsed reader, my first memories of 2000ad are as a forbidden fruit at my grandmother's house. My uncle had an extensive collection of annuals, which were on the 'big' shelf until I was old enough. However that didn't stop me climbing the desk underneath the shelf to reach the summit and immerse my self in the amazing world hidden in the pages; Strontium Dog, Judge Dredd and Dan Dare singing to me from the pages in a harmony of unknown excitement. Sadly though over the years I lost touch, until recently in the last couple of months. I happened across the submissions page of 2000ad inviting writers to submit their future shocks s

ideas (my attempts at this are another story all together) and instantly my memories came back and I rushed out to the newsagents and picked up the most recent copy and have purchased it weekly since, almost religiously. So this prog, for me, comes at a time when I'm rediscovering the different worlds that this stellar publication had to offer. Which brings me to the point of this little diatribe, that it doesn't matter if you're a lapsed reader, consistent obsessive reader, part time delver or completely new reader, this is a fantastic prog to jump into. 

Now my standard prog reading habit is to read through the pages in a flurry of excitement, be disappointed that I've finished so swiftly when I reach the back cover, then begin again and pore over each page in detail; and these pages have detail in abundance. Starting with the cover by Chris Burnham, I'm a Burnham fan so when I heard he was doing the cover art I was excited to say the least. It doesn't disappoint, it's kinetic, detailed and captures ol' stoney face dispensing some harsh justice, which is what we all want right? Nathan Fairburn's vivid colours help the cover stand out amongst the shelves and add an extra nuance to overall appeal.

Of the four new stories we open with Judge Dredd, probably the publications recognisable character so there's no surprise there. 

Serial Serial (script by John Wagner, art by Colin MacNeil, colours by Chris Blythe, letters by Annie Parkhouse) reads like a crime thriller. There isn't much in the way of action in this first chapter, but the script is well written and the story flows smoothly, layering up the suspense and intrigue nicely, which is unsurprising as the script is from one of Dredd's 'parents' John Wagner. It's also no surprise that Wagner draws on Dredd's rich history to add to initial mystery, bringing PJ Maybe back to the fold. Now in the wake of events like chaos day and Enceladus, showing the stress that Mega-City is under and a stretched thin justice department struggling to grasp control. Ghost Town in the previous two progs expanded on that idea and showed exactly how draconian and ruthless a Judge can be. So a part of me was hoping that the stories would continue in this vein, taking time to really examine justice as an idea. However this murder mystery is a nice change of pace I'm excited to see how it pans out. MacNeil's art and Blythe's colours render a world with a subtle element of the cartoon but the pages look gorgeous and the panels translation smoothly across the page in a way that makes reading so easy and enjoyable. This is the work of professionals who know what they're doing and do it superbly. 

Defoe is a new venture for me, as I previously missed it out in my hiatus. The London Hanged (script by Pat Mills, art by Leigh Gallgher, letters by Annie Parkhouse) is a pleasing introduction to the world. The script is spot on, easy to read and paced well. The characters have their own individual voices which are distinct and give you a sense of the cadence with which they speak, Defoe comes off as suitably surly. The black and white art is a suitable companion to this dark, moody tale, creating a grim miasma that suits a story centred around the undead. The panel layout is a little formulaic but that is not bad thing when each panel is superbly detailed; the title splash page is a wonderful spectacle to behold. Defoe was created by Mills and Gallagher and the pair seem to be having fun returning to this world, you can't help but be absorbed back into it. 

Brass Sun: Motor Head (script by Ian Edginton, art by INJ Culbard, letters by Ellie de Ville) is a clever work of science fiction. Edginton's script is well written, interesting and keeps your curiousity piqued, with a lovely twist to keep you wanting more until next weeks prog. Culbards's art is explosive, literally, the two page spread is filled with glorious details that knock your eyes back into your head a little and promptly weep that your drawing will never be quite that good. 

Bad Company, as I understand, is a celebrated series not seen since 2003. For me this is again my first experience of this futuristic war story, but it was again a pleasing introduction to the world. First Casualties (script by Peter Milligan, art by R.Dayglo & J.McCarthy, letters by Simon Bowland) is set ten years after the war with the Krool. Bad company, what's left of them, are growing old and frail in a veterans compound, drugged to the maximum to keep their nightmares suppressed. The script does a good job of exposing the veterans vulnerability and you can almost feel the post traumatic stress in each panel. The art is dark, detailed and, especially in panels showcasing the compound, makes you feel enclosed and trapped. The two combine to pan out a tale that begins to build toward intrigue and conspiracy. There's also a nice little reference to Brett Ewins that even I managed to understand. 

So in summary this is a fantastic prog and I thoroughly enjoyed reading it, three times. However on a slight negative note there is sometimes a little assumed history. Parts of each story that the writers take for given that the reader will understand, for a prog that is offered as a jumping  on point it is a little downer. It is inevitable though, as 2000ad has such a rich tapestry of characters and stories in it's illustrious history that you cannot expect not to draw on it for influence. It's all about how you perceive this assumption, I for one was happy to greet the stories as something to be discovered, something for me to research in the next few weeks. This prog is rife with creators, writers, artists, colourists and letterers at the top of their game and it is a shining example of just how good comics can be. Despite the minor assumptions, I really can't give it less than a full 10/10. 

Review: Satanic Hell #6

Story: Grigoris Douros

Art: Kevin Enhart

Additional art: Newel Anderson

Colours: Jimmy Kerast

Lettering: E.T. Dollman

This week I've had the chance to look at the penultimate issue of Satanic Hell, which is available on comixology today. Now this issue was my first foray into Satanic Hell's world, so I had a little bit of catching up to do and as that meant reading more comics it was no trouble at all.

Comixology has the genre for Satanic Hell listed as 'music' and in a way I suppose it is, after all the titular characters are a metal band who become embroiled in a religious conspiracy. However if you scratch the surface this series is about so much more, it's a subversive, satirical look at theology and dictatorships in a world where everything isn't as it seems. At a deeper level it is a look at the dichotomy of good and evil, at what happens when everything you thought you knew was exposed as a lie, and it brings all these elements together nicely to make for a pretty enjoyable read. 

Coming away from the series and back to this issue. I'm not one for spoilers or just summarising an issue, so just a brief sentence or so on the plot. In this issue Reverend Scudder and Dr.Wartech's machinations for the Satanic Hell trio come to light, while Eva is desperate to prove herself after stepping out from under her father's shadow. 

The writing, on the whole, is solid. The characters are well built and you get a sense of their personalities throughout the issue, which helps to identify with the protagonists. In comics (in fact in entertainment all round) I think it's important that the villains are given elements of humanity, complex layers that build up an explanation of their evil nature and save them from becoming one dimensional. Of course there are exceptions but, generally speaking, evil for it's own sake isn't exciting. So it's a positive note that here the script does give subtle indications and hints at the antagonists remaining streaks of humanity; clues to their aspirations and dreams, albeit malevolent ones. However, on occasion, the story does take a few awkward steps and the pace suffers because of it, so there is the odd panel that is difficult to read. Overall though this doesn't draw too much away from the series building to its conclusion as a whole, so it's easy enough to overlook. The dialogue is suited to the tone of the book but at times it does suffer from being slightly predictable, which is one of the reasons the pace suffers as mentioned before. However it is still relatively easy to hear the conversations taking place in your head, which is a good marker a well scripted book.

The cover for this issue is dark and moody, which as the title is Satanic Hell, you would expect. The cover is a good indication for what's to come throughout the issue, as the artwork follows a similar tone; dark and moody. If I was being truly picky I would say that there is a slight inconsistency in the art in some panels, the odd face or place that doesn't quite match up, but these are very few and don't detract from the quality in general. There are some nice splash panels that show a lot of detail and are a joy to look at, also for all you gore fans there is a gruesome surgical scene that is intricate and quite horrifying too. The downside to the art is that sometimes the spacing of the panels could of been slightly better and there are times where the pages don't flow too smoothly, making them a little difficult to follow, but overall it's easy on the eye. Kevin Enhart's art pairs up nicely with Jimmy Kerast's colours and the book gets a dark, ominous feel that benefits it greatly. Kerast uses shades of black well and the muted colours conjure up images of the inferno just behind the pages. It helps build up the suspense and gives you a feeling that something is inevitable is about to happen, appropriate as the series heads towards the finale.

Overall this was a pretty fun read, and it succeeded in grabbing my attention sufficiently enough to go back and read the previous issues with vigour. There are a few negatives that do impinge on the flow of the story, making some pages difficult to concentrate on, but these shouldn't be enough to scare you away from what is a relatively poignant issue. I'd recommend this issue (and indeed series) to anyone interested in something a little deeper than a straightforward good versus evil scenario. Again if we must follow the archaic stereotype and attribute base values, then I would give this issue 7/10. It's only let down some clunky pace at times, but as I've said a damn good read otherwise.

Review: FUBAR, By the sword.

Release date: 23/9/15

Publisher : Alterna Comics

This week I found myself in the privileged position of reviewing this visceral offering of a collection of stories surrounding the again-walkers, hungry ghosts and the hordes of the undead. 

Now as this is the first review that I have posted on the page, allow me a moment to provide you with a little background information. As with many enthusiasts of comics, my passion began at a young age. It began with Spider-Man, Batman, Hulk, Superman and the X-Men to name a few, really my main focus was on 'the big two' namely Marvel and DC. However in the past 15 years as I have grown and matured (after a fashion) so has my passion become more erudite and diverse. My interest over the last few years has burgeoned into something much wider and more rounded, expanding into creator owned works and indie publishers. This expansion and discovery has allows me to enjoy comics much more and led me to uncover works that I wouldn't previously looked twice at, to my own chagrin. I'm glad that I didn't stay pigeonholed to the aforementioned publishers and books like 'by the sword' reaffirm that joy. 

Now like I've said I'm new to this, my interest in Alterna Comics is relatively recent and so this book is my first experience of the FUBAR world. However this didn't hinder my enjoyment as you aren't expected to know the intricate ins and outs of what's come before, this is a collection of 28 stand alone stories to be devoured and enjoyed. From your initial view of the beautiful cover, by Leonardo Pietro, it's clear that you're in for some hack 'n' slash action, which is no bad thing. There are so many contributors to this work that it wouldn't be prudent of me, or enjoyable for you, if I just listed them all now, instead you should honour them by getting your copy now and seeing their names with your own comic fueled reading devices we call eyes. If relevant though, I will mention creators.

As is the case with the collections opening story 'The Draugr' (story and art by Matt Smith) which is an undead take on the Beowulf legend. For me it's a good story to begin with as it pretty much sets up the pace and tone of what to expect. The art is moody and dark, befitting of a collection about undead ghouls and the story jumps quickly into the action. 

In line with this, there are a few stories which seem to be interpretations of classic legends, stories and archetypes, Don Quixote, The Millers tale and a Trojan Horse to name a few. Some would accuse the collection of relying on subverting these tales but I think they work well and each tale has its own tone and twist to make them interesting varied. There are also zombie pastiches of certain situations, such as the strongest warrior decides the victor and this is given a nice twist too to help keep the excitement flowing.

There are also a lot of stories that are heavily influenced by far eastern culture, these stories echo themes of love, honour and sacrifice, of nobility among the undead menace. In fact one of my favourite pieces 'The Grove' (story by Benjamin Truman, art and letters by Peebo Mondia) reads like a classic whodunnit mystery with elements of the Far East and zombies entwined, however I do think that a lot of the stories use this far eastern, samurai warrior motif a little too frequently. Don't get me wrong they're great stories and it doesn't put me off to the point where I wouldn't read them, because I would again and again, but a little more variety wouldn't of hurt the overall feel of the book. I would of liked to see one or two more Norse inspired stories, Hell even one or two Kung fu hand to hand combat stories would of given this Far East theme a little extra spice. What I did like about this theme is the variety in art, a different artist was used for almost each story and it's nice to see how each envisions the setting and we get some stunningly detailed panels and splash pages because of this, it's clear that they enjoyed working on this book. This invariably leads to some cracking panels of brains being eaten, limbs being hacked off and eyeballs popping. This enjoyment comes out in the writing too, each writer is writing a gory story and absolutely loving doing it, which makes the dialogue flow, easy to read and helps the panels move generally seamlessly.

Inevitably, as with any compilation or collection of stories, there are some comparatively weaker works. There is the odd tale in which the pace of the story is a little awkward and I think this is largely due to the size of the length of the stories, it is difficult to fit everything you want to convey into a few pages sometimes and the writing does suffer on occasion because of this. However I think these weaker stories are only salient because they're rubbing shoulders with well crafted companions and, if you were to take them away and read them as a separate entity, this shortcomings would be much less noticeable. So it's really only a minor drawback. 

I'll give mention to the artwork on the title pages for the stories now, which is underrated but gives you a glimpse into what to expect on the next few pages. I think they work well, not only as a set up to a story, but to who's tale you'll be engaging in. However sometimes the structure of the panels is a little too rigid in the story telling, sticking to standard layouts. It would of been nice to see some of the action sequences breaking out the panels and through the gutters, but it doesn't impinge on the storytelling overall. At the back the pin up artwork is really impressive too and you can't help but feel a slight bitter pang of jealousy knowing that anything you try to draw, just won't be quite as good. 

So, in summary this was a really enjoyable read. The stories are broken down in separate entities nicely and it's easier to dip into the book, but then oh so difficult to put down. Just one more story you will find yourself saying, until you suddenly find yourself on the last page. As said there are some stronger stories in the mix that not only entertain you, but offer moments for introspection and reflection on different subjects. Then you're greeted with a gore fest to bring you back down to earth. The artwork throughout is pretty consistent, appropriate to the story and tone and there are some truly amazing pages and panels. The writing, apart from the odd slip up is solid and creates believable characters in a few short pages, which is no mean feat. 

So if we were being archaic and attributing points out of 10, then I would give this title a solid 8. It's fun, it's enjoyable and you do find it difficult to put down. So if you're after some good zombie action, or looking for something a bit different to your standard comics then get to your local comic shop or nip on over to comixology and give 'FUBAR by the sword' a try. I know this has inspired to see what else the FUBAR world, and indeed Alterna Comics have to offer.

Welcome to the page.

Greetings and warm salutations, welcome to the inaugural post of Retro Reviews. As you can see from the basic and wildly off target layout of the page there is work to be done. Work that will hopefully see this page transform into a safe and comfortable home where one can read about comics, science fiction, films and the various ephemera that are often categorised as geeky or nerdy interests and pursuits. Worry not this will be a place free from judgement where anyone and everyone is welcome to comment and debate upon any subject or article as they desire.

Retro is defined as:
1- retroactive
2- of or designating the style of an earlier time.
It is a term that is often now used as a prefix applied to something a little old fashioned or from the past., perhaps a little erroneous but the word serves my purpose her. I will, indeed, be offeeing reviews on comics, books and films from the corridors of history. Trawling through that vast ocean of time that has passed and passing comment on the fish that I find. The idea came to me when I was at my local comic shop, buying the classic and timeless Sandman series. Had it not been for the friendly man who runs the shop, I would of had little insight into what I was buying. Now in this case I wouldn't of needed insight to read this seminal work, but that isn't always true and reviews of things several years old are often hard to come by; in true cliche form, Retro Reviews was born.
Though worry not, if you have come here looking for reviews of modern or upcoming works there is a place for you too, I will not exclusively looking into the past but at our esoteric passion as a whole. So there will be reviews of new and ongoing series. So if you have any ideas, or are a comics publisher looking to have your work reviewed, then please do get in touch. In the meanwhile I'm working on something to make this place a little more, homely.