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Quote: Writer: Tom Waltz, Artist: Casey Maloney

To call this collection good would be a severe understatement. This is probably one of the best comic book stories IDW has ever released, even though this was originally published by Shooting Star Comics. What we have here is an exciting combination of thrills, drama, and philosophy, all packaged beautifully and fittingly for the subject matter. IDW is known primarily for their horror titles, and in some ways this collection is being marketed as a horror title. However, this simple categorization is horribly wrong. While some parts of this tale incorporate horror elements, most of the tale concerns the exploration of the main characters and the insanity that surrounds all acts of war. The four main characters here (you have to include Assan, who is a dead-on Osama Bin Laden) are put through their paces, and all characters come to resolutions that are fitting for their particular situations. The growing amount of survival horror comics lately probably stands as the reason for this series reprint, but I think IDW’s editors also saw an excellent story presented with style.

Tom Waltz’s story concerns the Orphans, a group of three soldiers who have been assigned to assassinate the aforementioned Bin Laden clone, Assan. Think Jarhead with an actual plot (Sorry, Sam Mendes! Loved Road to Perdition!). Unfortunately for them, the soldiers (and Assan) are tormented by nightmares pertaining to lost loved ones, particularly those deaths that have effected the course of their lives so far. Then, there are the walking dead children of the title, whose mission is not clear until the very end of the series, though we know that their intentions are not truly malevolent. Yes, the walking dead are not evil, but that doesn’t mean that this story is without creepiness. In one scene, after an intense battle with Assan’s troops, Lt. Drake has his first true contact with the dead children, who tell him that he must not assassinate Assan. Drake complies and prevents Lil’ Pete and Shiv, his fellow Orphans, from killing any more opposition troops. Afterwards, Drake looks to continue the conversation with the dead kids’ spokesgirl, but finds the children are gone. Instead, he is greeted with the words of a young woman who is dying from a head wound sustained during the firefight. A soldier would normally expect gibberish to spout from the dying woman’s mouth, but what she says has direct pertinence on the soldiers and their plights. She says in wavering tones, “Their revenge is your redemption. You must understand this. You are bound to them.” When Drake says he doesn’t understand, she further complicates the matter by saying “I see what you see.” Finally, when Drake asks what she sees, she replies, “Death, only death.” Talk about creepy foreshadowing! Yeah, it might be slightly heavy handed, but readers cannot deny the magnetic effect this has on the coming circumstances and resolutions. Waltz clearly wants this story to mean something more than a normal war or zombie comic book, just like David O. Russell with Three Kings or George Romero with Dawn of the Dead. His story clearly demonstrates his military knowledge, but even more important is his ability to tell a moral story with true meaning for all readers and hiding it under the guise of a horror/military comic. In addition, due to his experience in the armed forces, the banter between the soldiers is not cheesy in the least. In fact, almost all of the dialogue is well done, with a realism that further draws readers into this dangerous desert stage that the characters inhabit.

Waltz isn’t the only reason this comic book is so entertaining. In fact, his partner in crime, Casey Maloney, probably has about as big an impact on the whole as the writer. Mr. Maloney’s art is not only gorgeous to behold, but extremely fitting for the story being told. The gray tones that shade everything in his black and white presentation portray a landscape that is bleak and horrible, an area without elaboration save the players in the drama. This is not to say the backgrounds are minimal; in fact, every panel screams out with the effort Maloney has put into it. His facial expressions are absolutely perfect, portraying shock, anger, and enlightenment with effectiveness. I cannot think of any instances in this entire collection where I thought the art was inappropriate or out of place (even the zombie kids are done with taste while retaining their grotesque state). But, I can think of many panels I thought were excellent! One that sticks out for me is an image near the end of the story, when Assan is attacked by all of the dead children. This could have easily been made into a gory spectacle by any other artist interested in shocking the readers with blood. Maloney makes this scene all about realization, ascension and redemption, everything that Waltz is trying to accomplish with the story. Assan is raised in a column toward the sun and sky by the horde of children all around as the soldiers and Assan’s dead parents look on. Visually, this is a great splash page to begin concluding this tale. However, the grand graphics are not what propels Maloney’s art from good to great. There are the many smaller panels where we may only have a distraught face with a tear streaming, an outstretched hand, or the sun peeking over the horizon created by a soldier’s helmet. Everything is beautiful, terrible, realistic, and dreamlike at the same time.

Children of the Grave is a complete comic book tale that doesn’t keep you wanting more. Normally, that would stand as a complaint on my part, but in this case it is a compliment. Everything here is created, deconstructed, analyzed, and resolved in the span of 100 pages without seeming rushed in the least. Plus, we are left with a morally enriching conclusion that acts to remind all people what is really important in life without preaching or overbearing rhetoric. How’s that for an unexpected circumstance when reading a comic book?


Children of the Grave
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Quote: Writer: Kevin Munroe, Penciller: Dave Wilkins

El Zombo Fantasma was the most famous and notorious Mexican wrestler on the planet, up until he was murdered ... apparently for throwing a match. Now the luchador has fallen into a strange land of purgatory, and the only way to avoid an eternity of fiery damnation is to return to Los Angeles and guard the well-being of a struggling young spitfire, ten-year-old Belisa Montoya. However, this role as an undead guardian angel gives El Zombo the opportunity to hunt down his killer ... and unearth far more than he bargained for.


El Zombo Fantasma
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Quote: Writers: Pat Mills, Tony Skinner, Artist: Duke Mighten

Got a problem that needs fixing? Permanent fixing? Call Mike Fallon, a.k.a. Accident Man. He can arrange a discreet, unsuspicious and entirely unavoidable accident for the victim of your choice -- if you can afford his fee, of course.


Accident Man
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Quote: Writer: Ron Marz, Artist: Luke Ross

Beginning in feudal Japan of 1704, Samurai: Heaven & Earth follows Shiro, a lone samurai warrior sworn to be reunited with the love of his life who has been spirited away by his enemies. His pursuit of Yoshiko will carry him farther than he could have imagined --from his native Japan to the sprawling empire of China, across Europe, and finally to Paris itself. There, in the fabled halls of King Louis XIV's Versailles, he must cross blades with the greatest swordsmen ever known if he is to reclaim his love.

Ron Marz and artist Luke Ross, fresh off their triumphant finale on Green Lantern, have turned their skills to a historical epic in the tradition of Lone Wolf and Cub and Alexandre Dumas' The Three Musketeers. Joined by Eisner-nominated colorist Jason Keith, they have produced a lushly illustrated tale of devotion and high adventure.


Samurai - Heaven and Earth
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Quote: The Fall, a graphic novel which was written by Brubaker and drawn by Berlin creator Jason Lutes was published by Drawn and Quarterly in 2001. This work had previously been anthologized in five parts in Dark Horse Presents in 1998. The story involved a convenience store clerk who gets involved in a ten year old murder mystery after he uses a stolen credit card. In 2004 IDW Publishing announced that Brubaker and artist Sean Phillips would collaborate on a creator owned pirate series titled Black Sails for them. [4] That series has not yet materialised and The Fall is the last independent comic book work by Brubaker to date.


The Fall
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Quote: Writer/Artist: P. Craig Russell

The Eisner Award-winning series, finally collected in one volume, presents one of the grandest stories of Western civilization, now one of the most explosive epics in the history of comics. Giants plot against gods, who in turn tear human lovers apart, while the lives of great warriors are ruined, and murder after murder is committed in the name of love and gold. This new high point in Russell's distinguished twenty-five year career as a true artist's artist includes behind-the-scenes production art, notes on the adaptation by the artist, and a signed and numbered frontispiece. It's the epic as it was meant to be read, in the final, permanent, yet limited edition.

Elegant hardcover edition, limited to 500 numbered copies, each signed by the artist.

"P. Craig Russell's beautiful telling of The Ring Cycle manages both to be the most faithful and inspiring reworking of the opera into comics form, and the ultimate high-fantasy saga." -- Neil Gaiman


Book 1: The Rhinegold
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Book 2: The Valkyrie
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Book 3: Siegfried
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Book 4: Gotterdammerung
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Quote: The first issue of this all-new series includes "24 Hour Room Service" and "A Creepy Homecoming," both written by Peter David, penciled by Kieron Dwyer, and inked by Tom Sutton, as well as "Bloodsuckers" by David, penciled Gene Colan, and inker Steve Leialoha. Also in this issue: "Turn of the Wheel," written by Jo Duffy, penciled by James Fry, and inked by Viscardi. Distributed by Dark Horse Comics, this is the first of the new Creepy stories published under the Harris label.


Creepy
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Quote: Author Raymond Chandler wrote, ìDown these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.î

Chandler was talking about his own character, Philip Marlowe, but he could just as easily been referring to the Hire, the star of BMW Filmsí series of short films. Now Dark Horse and BMW Films are bringing The Hireóthe enigmatic hero capable of doing the hard thing for the right reasonsóto the comics page.

Just as each of the films is directed by a different top director, each issue of The Hire will be a stand-alone story by a different top creator or creator team. First up: Matt Wagner, the creator of Grendel and Mage.

When the Hire is asked to sneak a rich manís spoiled, scandalous daughter out of town, he thinks the worst heíll have to deal with are persistent paparazzi. Then the bullets start to fly


BMWFilms': The Hire
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Quote: Hundreds of years in the future, Manhattan has become a deadly slum, run by mutant crime-lords and disinterested cops. Stuck in the middle is a young girl who thought she had no future, but learns she has a great destiny. In a world so poisoned that it doesn't notice the monsters on its streets, how can a street kid like Fray unite a fallen city against a demonic plot to consume mankind? Joss Whedon, the celebrated creator of Buffy the Vampire Slayer, brings his vision to the future in this unique tale. As inventive in the comics medium as in that of television or film, Whedon spins a complex tale of a skilled thief coming of age without the help of friends or family, guided only by a demonic Watcher.


Fray: Future Slayer
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Quote: Writer: Mark Verheiden
Cover Artist: Dave Dorman
Penciller: Chris Marrinen

Reporter Dennis Hough sees a golden opportunity (not to mention dollar signs) when he's asked to help with a governor's re-election campaign. The only catch is...Hough must deliver the American as the governor's new spokesman, and the American has joined s mysterious cult and disappeared!


The American: Lost in America
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