Clive Barker's Seduth

Writers: Clive Barker and Chris Monfette. Art by Gabriel Rodriguez, colors by Jay Fotos, 3D conversion by Ray Zone. Published by IDW.

With the slew of 3D movies invading the cinemas, it is no small wonder that 3D is making its return to comics. To tell the truth, I have never read a comic where I felt that 3D added anything to it, often quite the contrary; so I assumed that 3D was in the case of this book nothing more than a neglect-able gimmick.

Not so: the whole comic has been built around 3D, and it probably wouldn't work without it. It's also the best 3D graphic I've ever seen - it works, and it makes sense in the term of the imagery used here.

As to the story line: this is a rather short, surreal tale about the nature of creation and destruction - or nihilism. As Clive Barker's notes at the end of the book suggest, its inspiration comes from the works of surrealists Bunuel or Fellini. There is no real linear plot in the usual sense, more a series of images, as disconnected as can be when taken from visions or nightmares - using horror elements without being a horror comic. The story line can be viewed as an exercise in style; and even though the book purports to be about themes such as creation or existence, there is really no new message here - only some vague notions transported by a narrative swelled with pathos. One is left with the feeling that there is a bit too much ado about nothing - or at least, about very little of substance. Maybe 24 pages weren't enough to fully develop what Clive Barker had in mind. But maybe this is also just a book that was meant to be judged on its visual qualities alone. And as such, it works Certainly, the 3D art is worth the money alone.

Rating: 3.5 out of 5.

Batman Unseen #2

Writer: Doug Moench. Art: Kelley Jones. Colours: Michelle Madsen.

Doug Moench's and Kelley Jone's run with the regular Batman title used to be a highlight for me. So I'm glad to see them back on a Bat title, and to witness the return of the foot-long ears, the yellow bat sign and the impossibly huge cape. Batman Unseen delivers all that in Jones' inimitable style and Moench's tongue-in-cheeck story-line about a mad scientist who turns himself invisible layer by layer, Batman who ponders his own apparent lack of scariness, due to too much invisibility while the Black Mask is hovering in the wings. All in all, this promises to be a great miniseries.

Batman and Robin #5

Writer: Grant Morrison. Art: Philip Tan, Jonathan Glapion, Alex Sinclair.

Having moved from the weird to the more mainstream, Batman and Robin's decidedly dark take on the Dynamic Duo continues to excel. Batman and Robin are pitched against the the two murderous vigilantes: Red Hood, whose identity is surprisingly revealed early on, and the rather scary Scarlet; and, as the laws of comics demand, our heroes are currently losing out to the two villains who are but distorted mirror images of the new Batman and the new Robin. Mysterious Oberon Sexton also puts in another appearance, being set up as maybe an important figure to come; while yet another new villain, the blood-thirsty Flamingo, reaches Gotham.

The plotting slows down a bit in this issue, setting up the players for the next act. The art is still dark and rather outstanding. All in all a very good read.

Rating: 4 out of 5.

Batman #691

Writer: Judd Winick. Art: Mark Bagley, Rob Hunter. Colours: Pete Pantazis.

While DC Comics continue to provide quality comics with the recent Batman spin-off titles, it is amazing that the Batman title itself is allowed to run it's rather mediocre run. The writing is not at fault: while not at its most original, it nonetheless moves along nicely Dick's struggles as the new Caped Crusader and the intrigues of the Black Mask. The issue opens with Batman facing Two-Face inside the Batcave itself and ending up having his butt saved by Albert. Dick / batman is portrayed here as a man who still makes mistakes but attempts to learn from them. At the end, Dick breaks with one more piece of Bruce's past by clearing the batcave, and ends up finding an intriguing link to his own past.

Black Mask, meanwhile, lays his grubby hands on Two-Face, and the next issue will reveal if Harvey throws in his lot with old skeleton head.

The title's weak spot continues to be the art. It's better than it has been but is still below average. The colours are less garish than they were in the last issues, but still rely a lot on awful Photoshop effects. Next issue will see writer / artist Tony Daniel take over the title, which can only profit from this change.

Rating: 2 of 5.

Red Robin #5

Written by Chris Yost ; Art by Ramon Bachs.

I'm not a great fan of teenage sidekick comics, and I picked up Red Robin only because it promised to lead to the mystery surrounding the fate of recently vanished Bruce Wayne. The series started off with an epic, world-spanning romp involving an almost grown-up Tim Drake; and after the first two issues I decided to stay with the title. The series seems to be set out as a coming-of-age story for a character who has lost, within the span of a few years, his father, girl friend, adoptive father, and who has been recently deposed as Robin, and sends our newly brooding hero on a quest around the world to find out the whereabouts of that other brooding hero, Bruce Wayne. He soon becomes embroiled with Ra's al Ghul, also on the look-out for Bruce Wayne, and with the League of Assassins.

Issue #5 opens a new story arc which sees Tim saved by the League and agreeing to work with them to defeat their enemy, the Council of Spider. It sets up a new villain, the Wanderer, and establishes a potential love affair between Drake and one of the assassins, while also throwing one of Lucius Fox's attractive daughters into the mix.

Using a Lost-like time-hopping storytelling technique, writer Chris Yost keeps up the tension throughout. The art work is solid and adequate but not outstanding. The book has one big problem, 'though, and that is Red Robin's downright silly costume (daft even by comic book standards). Red Robin is a solid title with a promising, riveting story line.

Rating: 3.5 out of 5.

Hellboy: The Wild Hunt #7

When the eight-part story arc The Wild Hunt started, the editors were spreading the word that at the end of it, neither Hellboy nor the world would remain the same. Mike Mignola sends the reader on a wild roller-coaster ride through much of British folklore - past witches searching for a new queen, giants, the Daoine Sidhe and the Wild Hunt itself - straight into the mother of all British legends, the Arthurian saga. Both the witches' new queen and Hellboy's fate (and origin) are directly linked to people and events taken from the stories surrounding the mythical King Arthur. In issue 7, we (and Hellboy) are given titbits of the fate that supposedly awaits Big Red, and in the end he does indeed seem to be on the path leading to that destiny. As so often in Mignola's comics, visions and real events are intertwined in a complicated, dream-like sequence of events which leave much open to interpretation. And indeed, the Hellboy saga moves forward for the first time in many years.

Duncan Fegredo's art is fittingly dark and brooding, and he has now made the Hellboy character his own, drawing him with the same certainty as does Mignola himself. Dave Stewart's colors are as always top notch and so much an integral part of the Hellboy comics.

The backup story, by Mignola, Scott Allie and Patric Reynolds, tells of the a 17th century witch-hunter, Henry Hood (a character introduced in earlier Hellboy stories); a solid short story (as were the backup stories in the previous issues).

Issue #7 confirms The Wild Hunt as an imaginative, brilliantly rendered piece of storytelling; comics at their best.

Rating for the series: 5 of 5.

Sherlock Holmes: The Trial of Sherlock Holmes

Dynamite Entertainment's series Sherlock Holmes: The Trial of Sherlock Holmes, came to a close with the recent publication of issue 5. The story arc saw Sherlock Holmes caught in a locked room mystery with himself (being the only one on the premises) as the prime suspect of murdering a former high ranking policeman. Intertwined with Holmes' predicaments are assassination attempts on the life of a visiting German dignitary keeping Inspector Lestrade busy. The final issue sees Holmes, who has surrendered to the police in issue 4, in the docks, where he - obviously - solves the mystery for the jury and the readers alike. The very last page then reveals the link between Holmes' problems and the assassination attempts, in what turns out to be a plot within a plot worthy of Macchiavelli.

The five issue story arc makes for very good reading; the plot retains its suspense until the very end. The characterisation of the major personalities is very good, both in the writing and in the art. Aaron Campbell's art is detailed and moody, with a good feel for the period and the place, without resorting to too many stereotypes. There are a few blunders in the first issues, such as the East End being depicted as a suburb rather than the oppressive slum area that it was. The last issue features some impressive massive crowd scenes, and some well handled action scenes rendered in parallel to the court room proceedings.

A few blunders exist in the writing as well, such as some occasional dialogues using a really horrendous pseudo-period British English. The colours are overall solid and adequate, but resort a tad too much to highlighting, which gives the panels a 'plasticy' look.

Overall, a well done, very entertaining series. For those who missed the early issues, Dynamite Entertainment has already announced the publication of a hard cover edition.

Rating: 4 out of 5.