Comics Books

This was the first time i ever read citizen dog. I read my first strip in Chicken soup for the cat and dog lovers soul. Then i ordered this offline. Once i read it i ordered the other books. Fergus is so funny. There are amazingly funny stories in this like when Fergus steals all the fire hydrants and Fergus and Arlo challenge the mailman to a basketball game.

"Citizen Dog" Fergus was the best canine to ever hit a newspaper. This initial collection of comic strips featuring the ever suave Fergus and his well-meaning and overwhelmed "owner", Mel, is a real treat for those of us who faithfully read the strip back in the day. For those who haven't had the pleasure of seeing a dog converse with a French waiter or become the top salesdog in a pet store, you don't know what you've been missing. So, if you only buy one book this year...hey, don't be cheap! Get this book, and pick up Mark O'Hare's other two volumes: "Dog's Best Friend: More Citizen Dog Reflections" and "D Is For Dog." (Warning: If your dog happens to read these books, hide the car keys. Really.)

The "Citizen Dog" comic strip was one of the best ever. Mark O'Hare has a delightfully wicked sense of humor and he brings such life and animation to his characters. You don't have to be a dog lover to appreciate Fergus, the smart-mouthed dog in this series ... or the lovable antics of his owner, Mel. Get a taste for the comic strip at: http://www.ucomics.com/citizendog/.

Unfortunately, Mark O'Hare is no longer creating new Citizen Dog strips, so all we have left is these fabulous books. There are three in the series:
1) Citizen Dog: The First Collection [ISBN: 0836251865]
2) Dog's Best Friend: More Citizen Dog Reflections [ISBN: 0836267516]
3) D is for Dog [ISBN: 0740704575]

Buy two of each ... because someone's gonna want your copy!
Happy reading!

I started reading this book and within two pages was hooked. It is hilarious. Help us if all dogs start acting like Fergus. I think O'Hare has surpassed his Purdue "Art Gallery" strip.

Fans of the currently syndicated newspaper strip will find through this collection that Citizen Dog has been through some changes since its origin. If nothing else, O'Hare is a superb artist with a flair for both motionless and kinetic moments. His draftsmanship sustains the strip. At this point, however, the humor is much more slapstick than verbal or intellectual. Many of the gags are Tex Avery-esque, or harken back to vaudeville days. That's an interesting style in itself, but as humor, it pales in comparison to the current incarnation of the strip. Those who think the artistic side of cartooning and gag writing is in decline, however, need look no further than this book for a spirited refutation.

When I was just a boy (many years ago), for a treat to myself, I bought the Classics Illustrated comics. The art work and plot were so engaging that I still carry some of those images around in my mind. Jules Verne's "Mysterious Island" and Dana's "Two Years Before the Mast" and many others were indelibly imprinted on my brain so that they could never be forgotten. Little did I realize that these illustrated novels were real literature, that they would lead many years later to actually reading those works. When I spied the life-sized book "Classics Illustrated: A Cultural History with Illustrations," I could not resist buying this book. When it arrived, I began reading a serious history of the Classics Illustrated publications, their awkward beginning and about the lives of their illustrators, and how the U.S. Postal Service effectively drove Classics Illustrated out of business. (It seems that the post office considered this comic a book and not a periodical.) Colorful images taken from the book abound throughout this edition. It's ironic that this very volume of literature is in danger of becoming a classic itself.

CLASSSICS ILLUSTRATED comprised such a crucial, influential, and above all, entertaining part of my youth that they have never entirely left me, and in fact I still have my entire childhood collection, and then some. The author of this book, William B. Jones, notes that his approach to the subject is meant to be objective in nature; but of course anyone raised on CLASSICS ILLUSTRATED can never be completely objective about them, and time and again Jones' understandable passion for these books seeps through. Nor is it simply nostalgia: when I go back to reread old issues it is mainly for the inherent richness of the storytelling and artwork they contain. Where in all comic book history is there a work so profound and moving as the Norman Nodel-illustrated LES MISERABLES, or as sad and tragic as the Angelo Torres-illustrated TOILERS OF THE SEA? Where is the comic book art that can excel, for its sense of historical time and place and fine drawing, John Severin's treatment of the Alamo and the Mexican War in BLAZING THE TRAILS WEST? Has there ever been a swashbuckling comic book so superbly ALIVE as George Evans' treatment of THE THREE MUSKETEERS? As for THE WAR OF THE WORLDS, I wholly agree with the author that it was never adapted so effectively, in any medium, as it was in CLASSICS ILLUSTRATED. I could go on. This is not to say that there weren't issues that were pretty bad, especially in the early days, and Mr. Jones freely admits this. But for those who are already familiar with this series, and especially for those who aren't, I cheerfully recommend this book as a kind of bible to CI and its several related series. I learned so much that was new to me about the issues, the artists, the editors, and the evolution and ultimate decline of the publishing house, Gilberton Company. The packaging and layout and paper quality of the book is a delight. Bravo, Mr. Jones! And bravo, CLASSICS ILLUSTRATED!

Ever said that line? Then you'll love this beautifully written and lovingly researched book about the history of Classics Illustrated.

Jones manages to evoke the characters of the men and women who contributed to this fascinating niche of Americana: illustrators, editors, publishers, and even its detractors. Interviews were obviously thorough, chapters are meticulously footnoted, and yet it reads like ...well, like an engrossing classic tale of adventure! Pick a chapter at random or read from cover-to-cover... it's consistently a winner.

While occasionally too ready with a disavowal of nostalgia, Jones does not hesitate to reveal his personal lifelong love of the comic book series. Truly, the best works of fandom itself can be so endearing, so contagious with admiration and awe. This book is no exception. Like myself, Jones loved the comics when he was a kid. Just as publisher Albert Kanter intended, as an adult I've managed to read every word of the real Count of Montecristo and War of the Worlds and The Moonstone, but I first learned these vivid and amazing tales by reading the Classics versions. Jones augments my personal appreciation and gratitude in this excellent book.

His work was in-depth and, while certainly using a critic's eye, relatively even-handed when it comes to the series' contributors. Now, reading the book, Jones has even made me appreciate the work of Classics artists whose pages I'd previously disliked.

Excellent illustrations, particularly of rare pages and covers, fill the book. Nice personal photos of the artists and editors are a great touch, seeing as this is a book of both down-to-earth and scholarly sensibilities.

Only fault I can find is that the text sometimes refers to a page or panel or other artwork which is not actually reprinted in the book. It can be maddening, at times, because we want to see exactly what he's talking about. My family's incomplete collection lies in another continent, otherwise it would be nice to have it at hand for referencing these things. Keep yours at hand. The book, I suppose, would be gargantuan if Jones did include these bits. So, by rights, it is an excellent book, and I did enjoy reading it.

The thing I appreciate most about this book is the soberness (with no lapses into pretentiousness or portentousness) the author brings to his subject. A survey of Classics Illustrated, to be sure, could have very easily elicited yet another visually engaging pretty-picture book saddled with a stridently jokey, throwaway text --ala Chronicle Books. We can be thankful that the tone here is intelligent, the level of detail scholarly, and very few, if any, stones are left unturned. The author has done all his homework, giving all known writers, editors, artists of the series coverage commensurate with their contribution.

This is a thoughtful, caring volume that is so much more than a tribute to a long-gone comic series, although it could be read as that too. One can't help but feel this is a primer on the way more books about popular culture really ought to be written.

From 1941-71 Classics Illustrated comics introduced millions to abridged, comics-style version of literary masterpieces. Classics Illustrated tells of the birth of this popular medium, founded by Russian Jewish immigrant Kanter whose operations saw both the heyday and decline of the golden age of comics. The focuses on artists' creations is particularly involving.

Jed and Germaine have created an amazing tool. If a picture is worth a thousand words then they have assembled abundant volumes of coaching wisdom...and they can all fit in your brief case:-) I have already found myself referencing these powerful concepts in several of my coaching calls and presentations. If you are a coach or coach people in your work then you MUST have these books. If you have kids you need this book. It is an absolute perfect life and work companion.

The Power of Coaching...Engaging Excellence in Others!

I am excited about the Coaching Soup books by Germaine Porche and Jed Niederer. I have been a business coach for a number of years and have a library full of excellent coaching books. However, I have not found any books to compare with the positive, fun, and effective approach of these authors. Humor and the ability not to take oneself too seriously are important attributes. I am using their books for my own edification and entertainment and for my coaching clients who range from attorneys, financial advisors, funeral home owners, and other people who are in professions considered to be "very serious."

Great, fun, insightful. I can think of half a dozen coaches I want to send this to.

Brief, witty and insightful--the perfect combination for most written material, and the coaching industry is no exception. Jed and Germaine have once again contributed powerfully to the coaching profession.

I just love the cartoons that Germaine and Jed provide for the coaching industry! These books are funny, funny, funny! Providing coaching services myself, it helps to look at the lighter side from time to time. Thanks, you two, for giving us a way to let off steam in such a positive way!
Casey Lee, author of "52 Ways to Become Famous [and Sometimes Infamous]" Penworth Publishing

Although this book is written for adults, we purchased this book for our 7 year old son who is currently researching comics, their origins, and authors. It has been a constant companion...traveling with us everywhere! I have had the opportunity to read portions also and I too have found very well written, interesting and informative. The comics choosen have given our family quite few chuckles! Great for anyone who enjoys comics and wants to know more about comics through the years.

This gigantic collection of comics describes the strips that appeared in newspapers rather than on newsstands. There is a small amount of natural crossover, but the author is focused exclusively on what appeared in newspapers. For most of the main strips, he gives a brief historical recapitulation of the spirit of the times as well as a short biography of the people who created the strip. For the strips that have continued across generations of cartoonists, he explains when the transition took place and why.
As can be expected, the best part of the book is the cartoons. Walker gives a small but thorough sample of the flavor of the strip and how it changed over the years. There were some that I remember so well from my youth, in particular "Mandrake the Magician." When I was young, I always got up very early and opened the Sunday morning paper to read the cartoons. I always read them in the order from my least to most favorite. This meant that I shifted back and forth, but that was fine to me.
Even though I am now and will always remain a news junkie, the comics will always be my favorite part of the paper. They give us adventure, excitement and something to look forward to, and in this book you can learn a great deal about the people who made and continue to make them happen.

I've felt for a while that the newspaper comic strip is the most ignored form of popular art, rarely looked at critically. While comic books prosper and have gone well beyond the standard superhero format, the comic strip languishes, rarely allowing new and creative strips to break through, while "institutional" strips (those that have not been amusing for years but are institutions, such as Heathcliff or Crock) dominate the paper.

In this sense, this book is not very helpful; it is a relatively uncritical appreciation of the comics. Nonetheless, it is an excellent book, a good summary of the major artists and developments in the comics since World War II. All the big strips are here: Garfield, Peanuts, Doonesbury, Calvin & Hobbes, the Far Side and many more, along with plenty of material from bygone eras.

This book is around 50% text and 50% comics, so there is plenty of fun stuff to read in either format. For what it is - an appreciative history - it is fantastic. The only flaw is that Walker ignores the comic strips of alternative newspapers, therefore neglecting such important works as Groening's Life in Hell (without which, there would be no Simpsons).

For anyone who has ever enjoyed the comics, this book is a great look at the field and a lot of fun.

Blondie, Archie, Nancy, Pogo, Beetle Bailey to Peanuts, Garfield, Mutts and Calvin and Hobbes, here's a lavish, full-color, oversized, hardback, coffee table book celebrating the best part of the newspaper. Comics curator Brian Walker, son of Mort Walker (Beetle Bailey, Hi and Lois), collects the best examples of this much-loved medium over the last half century. Now that the companion volume, The Comics Before 1945, has appeared, Walker's labor of love is complete. Together these inviting volumes offer a compelling tribute to the art of the funny papers. And Amazon's irresistable price is nearly half off retail.

Hey,where to start in writing a review on a book about Comics, when one has been reading them for over 60 years.An excellent book in every way.Physically,this book is beautifully constructed,with top of the line paper,printing and color illustrations.A great dust jacket, as well as glossy hard covers printed with comic strips.A large volume 10X14 inches,over an inch thick and 326 pages...WOW! By the way ,there is a companion book,which is just as good,covering Comics before 1945;same size and by the same author.
What great memories this book brought back.I was born in 1935 and was an avid Comic Strip reader of 10 where this book starts.
While there are many strips covered in this book that are unfamiliar to me,and probably to most people;all my favourites are there.All through the years,in my opinion the Strips and writers were at their best in the 40's and 50's.But then that was when they were really growing up and so was I.
My favourites were Dick Tracy,Little Orphan Annie,Li'l Abner,Smilin' Jack,Popeye,Beetle Baily,Joe Palooka,Blondie,Tarzan,Captain Easy,Mandrake the Magician,Mutt and Jeff ,Smokey Stover,Henry,Superman,Terry and the Pirates,Pogo and later Doonesbury.
Dick Tracy was my overall favourite,especially in its prime with super characters such as Flattop,Mumbles,The Mole,Brow, B.O.Plenty,Gravel Gertie and little Pebbles,Pruneface,etc.,etc.
Then there was Li'l Abner with Daisy Mae and Ma and Pa Yokum.The nation wide craze set off by those wonderful Shmoos and then the creation of Sadie Hawkins Day antics that swept the schools and colleges.Nothing like that kind of stuff today!
I guess all this fun was just too much for the prudes of political correctness, and their misguided efforts put the end to it all.
At the height of the Comic Strip days,everyone was aware of the 'funnies'and knew all the characters.If you didn't know who Dagwood or Annie's dog Sandy,or Fearless Fosdick was;you just didn't know what was happening.There is nothing like it today.I found the papers kept dropping reader favourites,cutting back on the number of strips,introducing strips with agendas and social engineering,to the point many readers lost interest and abandoned them.
As a matter of fact ,I was really following only Pogo and Doonesbury for the last few years and sadly we have even lost Pogo.Dick Tracy is not even carried by out largest paper in Toronto.I just read the Tracy strips on the Net for 2005.Fletcher and Collins give it a good try,but the storylines and artwork fall way short of the master, Chester Gould.Not only that,punching the keyboard and reading the screen is a poor subsitute for sitting back with the funny papers enjoying a coffee after breakfast or dinner;again in my opinion.
This book also covers a lot of what I call cartoons,and does a great job of it,but cartoons just aren't what the world of Comic Strips was all about.
Walker has also included a huge list of references if one wants to dig further.
This book should not be thought of as a review of any particular strip.It is really a history of Comics,a reference to use if one wants a quick look-see of what a strip looked like and a little about the artists who drew the strips.It also tells a lot about what went on behind the scenes with the artists,newspapers and syndicates over the years.
It also talks about Comics as an artform.Here I agree,one only has to look at how the artwork progressed in a strip like Dick Tracy and more recently Doonesbury,to see the advancement from very simple sketches to excellent art of colors, silhouette,perspective and all, to appreciate it.
After reading the book, I hope one day to visit the International Museum of Cartoon Art;although I continue to think of the Comic Strips as one thing and Cartoons as something completely different.
A great gift for a friend or yourself if you were a follower of the "strips".

Pastis's work continues excellent, the treasury contains enough additional information to also give a bit of a view into the artistic process which is entertaining, and a pleasant addition to the strips

Another wonderful book from the warped mind of Stephan Pastis. I love this guy's sense of humour and I own all his books. If you have not yet discovered the weird and wonderful Pearls before Swine, now's your chance.
As with any series it takes a while to know the characters but once you do you're hooked.
If you like "Far Side" by Gary Larson, and "Calvin & Hobbes", by Waterson then you will like Pearls. In fact, as I write this, I realise that Pearls is kinda like what would happen in Calvin and Far Side were to meld together.
Very funny stuff. And, as I've said before, buy this book if even just to keep another lawyer out of circulation. (don't sue me..I have no money)

The Crass Menagerie: A Pearls Before Swine Treasury

Being a huge fan of Pearls before Swine, I have counted the days for a new release. Stephan Pastis has done it again - given an insight to the thoughts behind the lifes of our small friends. Stephan - go work now and give us another master piece!

This is destined to become a classic among comic treasuries. The first time I read a daily strip featuring the clueless but lovable "crocs," I was hooked. Only someone as brilliant as Stephan Pastis could have conjured up a married crocodile named Larry, who holds a job, drives a car, shops at Safeway, writes "Fresh Zeeba Meat" on buckets of chicken from KFC, and proves himself to be a totally inept predator. Along with Larry and his fellow crocs are a wary zebra, an opportunistic rat, a kind-hearted but naive pig, and a trigger-happy duck.

Mr. Pastis includes commentary on many of the strips, thereby giving the reader a glimpse into his creative, somewhat cynical mind. He also pulls some creative shenanigans reminiscent of Thornton Wilder's Our Town by incorporating other cartoonists' work into Pearls.

Buy a copy today...you will love it!

Do you ever wonder what goes through a cartoonist's head (assuming they have one) when they concoct those cartoons? In the The Crass Menagerie, Pearls Before Swine cartoonist Stephan Pastis shares his thoughts, trials, and tribulations for many of his strips. Sometimes he feels he has to "tame" Rat's language. The snout and the accents of the Crocs evolve over time. Pastis enjoys sketching kitchen implements!

I spent the day reading a doctoral dissertation. This is just what I needed to unwind those brain cells afterwards (along with a micro-brew!).

Be warned! Pearls Before Swine is not an "in your face" comic. No graphic slapstick here; its humor is subtle, smooth, and slick. And if you don't care for it, a guard duck will be making a visit...

I bought a copy of this book from Jeremy at his booth at the Alternative Press Expo (APE) in San Francisco last year and I've thoroughly enjoyed it. It's hard to really explain what this book is about without giving away too much of the story, but if you like James Kochalka and Jeffrey Brown, you're probably going to like this book too.

"Cry Yourself to Sleep" is a small graphic novel from Top Shelf who never fails to entertain and elicit emotions with their wonderful, alternative press offerings. This is another of their slice of life books that they do so well. The book centers on the mundane, but all to real troubles of three main characters.

First there is the bunny named Jim who has just been fired from his job at a submarine sandwich shop for getting fur into a sandwich. Hey, it's not his fault that he can't wear the plastic gloves...he doesn't have fingers. That matters little to his boss who fires him leaving poor Jim to figure out how he will come up with his share of the monthly rent.

Next is Andrew, Jim's roommate, a video store employee and aspiring writer, shy, introverted, poor Andrew has just had his novel rejected by a publisher. Furthermore he's trying to get this cute regular customer at the video store to notice him, but to no avail. Finally there is Robot, umm, he's a robot who fears that he is soulless and heartless. He takes to following a little bird, and observing all it does to try and learn about life.

All three of their destinies become intertwined as they all have to make serious decisions about their lives. Poignant and wonderfully told by Jeremy Tinder who has a simple, brisk cartooning style well suited for this material.

Reviewed by Tim Janson

this graphic novel is a very small collection of some very big issues. I love how simple the book is. I bought it at my local comic shop because i have a few extra bucks and i loed the cover image. The characters are painfully funny and their interactions with eachother even funnier. The realness of these silly beings is what makes the book relateable... love it. best on a whim purchase i've made in awhile.
-zacariah

This is a phenomenal debut...Jeremy Tinder is the TALENT OF THE NEW MILLENNIUM! Buy this comic--you will love yourself in the morning.

And I WANT TO SEE MORE OF THE ROBOT IN THE FUTURE!

I decided to pick up this book on a whim based on the cover art and review I read on the web. I was not disappointed. The story is short but packs a decent amount of story told from the perspectives of three characters, Jim the bunny, Andy the dejected writer and robot. Jim has just been fired from his job at the sandwich place because he doesn't wear gloves because he doesn't have fingers. As a result, he doesn't have his share of the rent and has to ask his parents. Andy is a video store worker with dreams of being published, but that's not happening anytime soon. So, all his friends are giving him story ideas, i.e. one suggests the missing idea component of the current novels being menopause. And robot is following a bird in order to know what it is like to be human.

The story is cute and so is the art. The art is simple but beautiful. I should mention that the book is not your usual comic size but is smaller, looks sort of like those manga digests. But for $7.00, it's worth it. Highly recommended.

This writeup contains spoilers about the events that happened in the couple of years of Daredevil prior to the issues (Vol. 2 #s 26-31) reprinted here, so if you haven't read the earlier issues and are planning to, you may want to skip this review; the first issues of Volume 2 are reprinted in the Trade Paperback "Guardian Devil".


The Kingpin knows that Matt Murdock and Daredevil are one and the same, and has for quite some time (okay, everybody probably knows that one; it goes back quite a ways). But it, although the Kingpin's organization and Daredevil are constantly at war with one another, it's been a long time since Kingpin attempted to strike out at the Matt Murdock side of the DD/Murdock double identity. Quite a complicated relationship has developed between these two enemies over the years, and the Kingpin seems to have reached the point where he feels it's some kind of matter of honor to strike only against the Daredevil aspect of his nemesis; this in fact goes along quite faithfully with his character: the Kingpin is a ruthless, murderous individual, but he has his own code of honor that makes sense to him, and he prides himself and not violating it even when it would make his life a lot easier.

Here's the hook for the story: the Kingpin's men also know, with a fair degree of certainty, that Murdock is Daredevil, but they know their employer's general feelings on the matter and play ignorant. Into this scenario comes a breash, ambitious young up-and-comer in the world of organized crime, a new lietenant to the Kingpin named Sammy Silke. When Silke, who's got a deep resentment of all the costumed characters involved in the organized crime business or involved in opposing it, learns of what the others know, he's appalled and launches a two-fold plan: destroy Murdock/Daredevil on his own; and try to convince others in the Kingpin's crime empire to join him in a coup attempt against the now-blind Wilson Fisk, the Kingpin.

"Underboss" may be the single best 6-issue run of Daredevil out there, and brings in some of the most shocking changes in the status qwuo to hit the Marvel Universe in the last few years. Truly outstanding.

I never really liked Daredevil but this changed when I read "Underboss" by Bendis. Bendis' talent lies in making super heroes like Daredevil seem realistic and as if he could exist in our world. Underboss is a story about Sammy Silke, a traditional mobster who is trying to become the new Kingpin. It is reminescent of the Godfather by Mario Puzo but there are no ripoffs of line (Unlike another book called Dark Victory published by Marvel's competitor.) Sammy wants to be the new Kingpin by taking out Daredevil the traditional way:using traditional hitmens form the mob. He doesn't want to hire colorful villians such as bullseyes or boomerang. Just take out Daredevil like the mob would do it. Does he succeed? Buy the book and find out.

Underboss is Bendis at his best. Here he writes grounded and realistic crime stories, even though the main character (to a certain extent) is a blind man in tights.

Underboss introduces Silke, a new player in the crime underworld, that will have a significant impact in Murdock's life by the time this story arc is over. Silke is a very interresting character, I only hope Bendis picks up on his storyline in the next arcs. The plot starts with Silke and some of the Kingpin's men betraying the blind Wilson Fisk Caesar style, while a reward is being offered to the man who kills Matt Murdock. What unfolds from the two plot lines is great and makes the reader want to read the whole thin in one go, I admit wanting to put it down, but not being able to.

Bendis makes this a realistic crime story, which is ultimately about betrayal. He focuses on Silke, Murdock, the death of Wilson Fisk and also has Vanessa Fisk playing a significant part in the story. Bendis writes some of the best dialogue in the industry, and his style of talking heads once again help the story a lot, since its mostly moved by dialogue. Bendis also jumps around a lot in time to tell this story and it works well, never leaving the reader confusued.

The art by Maleev is very good, his layouts are great and his pencils give the book a perfectly suited Noir feel. His storytelling abilities are great as well, as his drawings are never ambiguous, always sending a clear message of what is happening, this is mostly evident in the 'Nuff Said' issue, where there is no dialogue, even without Bendis' biggest device to move plots is not present, Maleev still manages to make the story interresting even though the plot doesnt move forward too much, it still shows the consequences of having a price on your head, as well as teasing the return of Bullseye in the latter volumes of the series.

"Daredevil: Underboss", is not your average superhero book, its an extremely compelling story, which will most definately leave you wanting more when its done, and trust me when I say, the next volume is even better.

Daredevil is a book at its best when the lead character is pitted against real danger and Brian Michael Bendis puts him there. In the Underboss storyarc, a criminal named Mr. Silke has stepped in on the Kingpin's territory and is attempting to root it out from the inside. Convincing his own henchmen that Wilson Fisk's reign needs to end, he manages a coup of epic proportions, with Matt Murdock caught in the midst of the whirlwind. The ramifications of this storyline are still rocking Daredevil's world now.
With Bendis penning the book and Alex Maleev depicting the dark world of Hell's Kitchen, Underboss is an amazing read. These two talents have established a unique style for the book that puts it among the Frank Miller, Kevin Smith and David Mazzuchelli runs of Daredevil perfection.
The trade paperback format does all of the art justice, compiling several issues of intensity into one amazing read.

I was never a huge Daredevil fan, for no reason in particular. With the recent attention from the feature film, and my appreciation for the writing of Brian Michael Bendis, I enthusiastically dove right into "Underboss". Bendis is remarkable, bringing the reader right in with Daredevil/Matt Murdock's thoughts and feelings. Maleev's art is perfect for the portrayal of the darkness and seedier side of Hell's Kitchen. The city lives and breathes around us as we follow Matt through his trials and tribulations.

As much as I enjoy traditional superhero stories, I'm even more impressed with Bendis' intention of making sure the reader knows all about the man behind the mask. By making us aware of Dardevil's internal struggles and imperfections, I was identifying and empathizing with him all the way. After a certain point, some costumed crusaders can lose the reader by being too invinceable, too invulnerable, too perfect. Matt Murdock is a human being, whether he's in costume or not.

Bendis and Maleev also give us a well developed plot and a diverse cast of supporting characters. It's easy to envision "Underboss" as a gripping thriller of a movie, or a page turner of a novel. Congratulations to Bendis and Maleev for giving us such enjoyable reading. I look forward to reading the next collection.

Told by his mother Frigg to search for the one who is "human but not human", Chaos, Fenris, and Iris arrive in the capital of Prontera, with no idea who they are seeking. After Skurai kills everyone at the assassins guild with the help of Odin's Beholders, a frame-up is perpetrated, making Loki think that Chaos has killed the order that keeps Midgard in balance. Swearing revenge, Loki sets out to kill Chaos, and Skurai is not far behind in seeking out a clash that will surely entail powerful blood for his cursed sword.

Ragnarok brings a lot of action to the table, but along with it, the characters and plot are engaging enough to provide a good entertainment for fantasy fans. While this series seems to borrow ideas from other works, whether it be Asgardian legends or Elric, or Dungeons and Dragons, it works. Lee's action sequences could be done much better because he uses so many lines to convey motion that it usually obscures the action, making you have to guess what happened sometimes. But all together this is an above average comic for readers that enjoy action and epic fantasy storylines.

This is definitly an awesome manga! The plot is extremely original, you can easily bond with the characters, and the art is simply magnificent! Myung-jin Lee has really done a wonderful job, and I'm sure he'll continue to do so throughout the series. For all those who love manga, I highly recommend Ragnarok.

I must say that the pacing for books 2 and 3 were a little slow. But Book 4 changes all that. The action in this volune was superb. Actually, not superb because there isn't a high enough word that can accurately describe the fight scenes. I don't think I have seen a better action sequence in manwha or manga.

I'm use to seeing languages being translated and I know that you'll have to lose something when switching between langauges although I never found the translation to be confusing or weird.

This is what I and Many others Have been waiting for!!! No one ever expected this good of things to com from Myung- Jin Lee! A Job Well done though!!!! Myung- Jin Lee must now get to work on the movies and Visual Ragnarok!!!
(P.S. Myung-Jin Lee has Already helped in the making of the Game Ragnarok... Although it just became P2P ( Pay to Play )It is Very good...

A great series with an engaging story and lots of action. My only gripe is that the translator (Richard Knaak) did a mediocre job of translating some text and phrases in certain scenes that just don't fit. The "sound-fx" text also was pretty bad. I.E. Hop, hop, hop...what is that?

Also, I remember reading an earlier preview from someone saying that this was quote "...an awesome manga..." technically it's a Korean comic in which they call it manwha in their language. Manga is comic for Japanese.

I wasn't sure if I'd like this, but I found it cheap. Wow. This blew me away. Like a more poignant, creative and realistic Heroes. The 12 issues collected here are each stand alone stories. The artist changes her style with each one. Such a cool, fast read. If you can dig black and white, intelligent indie book, you'll dig Demo. And catch up now, because the author announced recently that volume 2 will be coming out soon thru Vertigo.

Demo, a collection of twelve short stories in comics form by Brian Wood and Becky Cloonan, reminds me of a great album by some popular alt-rock band. Like the best alt-rockers, Wood and Cloonan twist the devices of mainstream pop to unusually thoughtful ends. In the case of a rock band, those pop devices might be catchy hooks, or crunchy guitars. Think of the way that REM used schmaltzy sentimentality to hateful and ironic effect in their first top 40 hit ("This one goes out to the one I love ..."). It's pop, but it isn't - but, yes, really, it is - but, no, it really isn't. And so on. That's how it's done in music. In the case of a comic book, "pop" means superheroes. Even allegedly non-superheroic pop comics, like Sin City or Planetary, present the reader with superheroes (or supervillains) to root for and/or despise, albeit tights-less, cowl-less, capeless ones. That Yellow Bastard, for example, would be right at home in any Batman story. Demo, on the other hand, remains comparatively non-action-oriented: it revolves around characters with super powers, but in a very different way than your typical Marvel or DC comic does. Well. Okay. That's a bit of an overstatement. Some of the stories, like the first one, "NYC," read like subplots in a 1970's X-Men comic (I totally imagine that the next panel - the one after the ending of this story - involves Professor X's disembodied head, come to save the day; it has to). That is not to say that they're not good stories. They are better stories than most stories you read in comics these days. The best stories in the book, though, the ones that actually make it worth reading, are the ones that push all the way through the pop trappings, and past them, into real and realistic moments that you'd never find in a mainstream comic book, or even in any superhero movie - moments that are dangerous precisely because they are so ambiguous, and so startlingly drab.

(the above is excerpted from my longer review at [...])

I read a lot of graphic novels -- actual stories, not just compiled superhero comics -- and I rarely come across anything this literary. Most of these twelve stories could easily have been published, without pictures, in a "little" magazine somewhere. The intriguing thing is how they evolve, first to last, from "NYC" and "Bad Blood," which actually are about not-necessarily-super powers with a Rod Serling twist, to "One Shot, Don't Miss" and "Breaking Up" and "Damaged," which will stay with you a long, long time. And the last panel of the last story will truly grab you by the throat. Amazing writing.

I read these stories when they were coming out as single issues a few years back. Picking up the collection, I forgot how compelling and different each story is. The major theme linking all of the stories is people with a dilema and some "power" that pushes the story to explore themselves. Each chapter is a stand alone story, yet a common idea runs through the whole book-that no matter what gifts we have about us it's how we use them. Some stories are happy, others depressing, but all have an air of truth that most of us can relate to.
I enjoy the rough, punkesque feel that some of the tales have. It's an atmosphere of being an outsider regardless of the situation and how the individual deals with it. Becky Cloonan's art is wonderful and changes in regards as to what the situations is. It can feel like manga, independent, or stylized but never repeats any of the other chapters. She amazed me by doing so much with so few pages. Wood's writing is quick, to the point and doesn't weigh down the flow. He reminds me of what it's like to be younger, struggling with growing up, fighting the world and ourselves to become something more. Each story plays up emotions ranging from love to hate to empathy to pride and more. Imagine a story where superpowers take a backseat to the heart and that is Demo.

With DEMO Brian Wood and Becky Cloonan present an amazing set of dark stories with brilliant black/white art. Each story is short but telling, as we see several teens coping with the rougher side of having superpowers. This is much better reading and art than can be found in the similar Marvel comic NYX. I highly recommend this collection over the mainstream's version as it has more grit and more heart.

Double or Nothing is a gripping tale of murder, deception, and true love. It boasts a well written script, and an intriguing plot line. This modern who-dunnit is executed masterfully by an exciting cast of characters, led by Leif Garrett and Lisa Collins. They turn in fantastic performances as two fated lovers that time and injustice cannot separate. I have listened to this Audio Movie again and again in the two weeks since I purchased it, and I still find it absolutely captivating!

Imagination was the only form of entertainment in the mid 1920- 1950's and for writer M. D. Baer to take the most fascinating part of the entertainment business full circle. He has created not only a masterpiece for the industry. But has re-established what the original fore fathers of the business took so much pride in, imagination creating reality.

The audio movie "Double or Nothing" brings not only a gifted writer but an aspiring cast of seasoned entertainers from all branches of the entertainment business.

The combination of singing sensation Leif Garrett and Lisa Collins is just remarketable. If awards were given Garrett who is more famous for singing the love songs has found a new genre that highlights his resume.

Garrett plays dual roles in this story and as well as the other 28 cast members. But these piece is more than just a story it is a must to have item for any entertainment collector's den.

Garrett is joined by another music sensation, Michael Hutchence of INXS. This was Hutchence's last performance outside of his musical performances before he died. Also, Baltazaar Getty, Michael DeBarres, Donald Morrison and others whose name is synomious with the business.

For some the story starts out slow, but then you get hooked. It is east to follow and the story get's just stronger as it goes.

For those who like to put the tape in and drive, this is one that really needs to be in the bag. Whether you are traveling by air, train or car it would be like leaving the best part of your vacation at home.

As for the movie as awhole it is like a good book, sometimes it is not easy to put down.

Leif Garrett was the world's most famous "Teen Idol" and sold more albums during that genre and his fans would like this. It is vintage "Garrett".

And just like back in the 1970's Garrett kick down the doors of music and achived rock and roll fame. Garrett, now older and seasoned is kicking at a new door as co-producer with writer Baer for audio movies. As co-producer Garrett's vision is to take it one step further and that is obvious by the production of "Double or Nothing".

From the cover to cover this project is awardable

Double or Nothing is a fantastic story/movie/ listening experience!! it keeps you enticed from the very beginning. Well worth the time it takes to hear the whole thing from start to finish. If all audio movies are like this, I have a new hobby!

Baer does a great job with crackling dialog in this modern L.A. noir story. Sound effects help to create a whole world you can feel amid big mix-ups and bad trouble in the seedy underbelly of Hollywood. Highly recommended

Pour yourself a martini, turn the lights down low, relax and drift away into a world of intrigue, murder, double crosses and passion. From the start this briskly written, intricately crafted audio movie takes hold and won't let go. It is a richly textured audio experience full of music, sound effects and a variety of colorful characters which allow the listener to clearly visualize the action and the drama as it unfolds. Full of humor, clever twists, colorful language and cool style this audio experience is best experienced in its entirety--and once you start listening you won't be able to stop! If you're a fan film noir, radio drama, or classic mysteries then you'll love Double or Nothing, don't miss it.