Red Lanterns No. 1
As principle writer Geoff Johns handles Hal Jordan's descent into depression and the Green Lantern Corps follows classic commander Sinestro, there's a lot of hubbub surrounding the ring-wielding heroes.
And while green seems to be the color of the week, a whole-hearted, half-received attempt to push forward the rage-consumed Atrocitus and company worked better than predicted. Although it was, most certainly, less than was desired.
"Red Lanterns No. 1" comes from an interesting collaboration of two DC staples. Peter Milligan, a popular '90s word-smith, and Ed Benes, a tried and true artist rising in the ranks at DC, poured much of themselves into the comic. Unfortunately, it seems the two may have been a better pair on paper than they are in ink.
Milligan's story is unforgivably weak, and while Benes' artwork is absolutely stunning to look at, it does nothing to further the seemingly floundering plot. Milligan belabors the relationship between the mighty Reds and humanity's deep, dark soul and the final product is more coddling, than actual story telling.
Admittedly, the issue's redeeming factor remains unaltered. The comic provides insight for readers who are uninitiated into the realm of rage, the Red Lantern Corps. While first discussed in Sinestro Corps War and built up in subsequent Lantern issues, there is always a piqued curiosity surrounding the universe's angriest inhabitants that "Red Lanterns No. 1" seeks desperately to satisfy.
While this issue shouldn't replace this week's mainstreamed heroics of Batman and Robin, Green Lantern or Batwoman, it does serve as supplemental reading for those whose lack of interest in Hal Jordan have them seeing red.
Punisher Max No. 17
With more brawls than the latest Bourne movie and 10 times as much blood, Jason Aaron's Punisher Max is one of the most disturbing yet oddly compelling comics available in stores. It's violent, explicit and incredibly brutal; it's the embodiment of everything The Punisher stands for, and for that, it's absolutely beautiful.
This issue's plot picks up as Frank Castle gets back on the streets after doing time behind bars for the attempted assassination of one of the city's most nefarious criminals, Kingpin.
The scene is eloquently set; Castle, a man pushed to the brink of extinction, aged far past his prime, now has to go up against a criminal mastermind armed to the teeth with the latest weaponry and grossly overpaid guards. Yet, the second to last panel of the comic shows Kingpin, eyes wide, unable to sleep knowing that Castle is out for blood.
All the while, Aaron is meticulously weaving this fantastically articulated thread, as panel after panel, Punisher inches towards the Kingpin's inevitable death. Dialogue, at spots, does elicit a serious offense, taking the reader out of this magnificent issue to question Aaron's rather unconvincing conversations.
The plot thickens with Kingpin's recent addition of Elektra to the company payroll. Yet, undeterred and relentless, the now homeless Castle has a chip on his shoulder that only Kingpin's funeral will remedy.
Highest praise for one of the industry's most brutal tales of murder and suspense, and at its grotesquely undervalued price at $3.99, it's worth every penny.
Criminal Macabre: No Peace For Dead Men
Unapologetically hysterical and morbidly depressing, Criminal Macabre walks the line of genuinely intriguing material with an art style to match, forming a Dark Horse series worthy of its fair share of the limelight.
Beyond it's gritty, ghoulish exterior, the comic lends itself to the idea of what the term "war" means. For writers like Jason Aaron, Brian Bendis and many more Marvel and DC veterans, this term means little, save to say it means men on a mission.
Steve Niles, the creator of the series, has taken the meaning of war home. Each and every character his protagonist encounters is dead nearly five panels later; each heart-wrenching kill accumulated against Cal McDonald's character is just one more reason for him to fight back.
Emotionally gripping comics are hard to come by, and for what this comic sets out to do, it accomplishes it on every level.
Artist Chris Mitten produces an astonishing combination of images that tell a tale beyond the written word, and for all but a few panels, add incredible depth to an already competent comic.
Tonality and depth go hand in hand building a strong foundation for further issues. Beyond its easily anticipated ending, Criminal Macabre provides solace in the fact that a sequel is not only possible, but also probable.
Niles, known for his work on the 30 Days of Night miniseries, has long had the talent to produce exceptional work; now, with a cast of syncopated teammates, his work is reaching extraordinary new heights.
Indie enthusiasts and comic connoisseurs should look no further than Dark Horse's supernaturally infused noire exploit for a bit of action, intrigue and emotional consequence.
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