by Aubrey Sitterson, Giannis Milonogiannis & Lovern Kidzerski
There’s very little that’s exciting about IDW’s Revolution crossover, the companies latest attempt to expand their Hasbro licensed comics past their core audience. There is no shortage of books from main series writer Cullen Bunn across the comics landscape leaving very little reason for casual readers to check out the event’s primary title while the majority of the tie-in series are being helmed by the same creative teams that have been working on these comics for years. And while I get a kick out of reading Transformers More Then Meet’s The Eye via Comixology unlimited as much as the next man (well maybe not as much as this man but you know, sliding scales and all that), crossing it over with a bunch of titles whose only real common trait is that they’re owned by a toy company isn’t really enough to get me running to grab the single issues off the shelf. But for those in the know, there was one book that had an elevated level of intrigue and that was for one reason; artist Giannis Milnogiannis for Revolutions GI Joe crossover series. The first issue debuted last Wednesday and true to form for the illustrator, it’s pretty fucking rad.
Giannis Milonogiannis is a Greek artist with a particular aesthetic of a rough line with insanely precise detail and geometry. He’s primarily known for being an integral part of Brandon Graham’s Prophet revival band and his Akira meet’s post EU Greece Old City Blues with a brief stop filling in on Michel Fiffe’s Ultimates experiment. He’s been comics most underrated artist of the past five years as his style’s singularity has proved adaptable to almost any setting his books are placed in. GI Joe Revolution is no different as it follow’s a small team of Joe’s fighting some type of strange alien/zombie hybrid with Milonogiannis expert craftsmanship in fluidity of movement. In GI Joe Revolution; Milonogiannis constructs a thrilling visual narrative that is on par with some of the best moments we’ve seen from Declan Shalvey or Greg Capullo in action driven comics. He has a unique gift for translating the intensity of movement in combat that is remarkably exciting and engrossing. That’s because Milonogiannis has an innate ability in suggesting motion on a page that is static while his panel composition is able to dictate a pace from each individual part, in effect making a series of singular pictures feel as if they’re moving naturally from one panel to the next in succession. In addition, Milonogiannis excels at perspective, he’s as close as you’ll get to three dimensional in a traditional comics style and it’s even more interesting in contrast to his actual design which eschews realism for an aesthetic that fall’s somewhere in between classic Manga and 1980’s small press black & white books that were designed to upend the comics code. In almost measurable sense, Giannis Milonogiannis excels as a illustrator.
This review is not meant to negate the other elements that make GI Joe Revolution #1 work so well in spite of questionable background. Writer Aubrey Sitterson’s dialogue is incredibly strong in it’s casual realism and instantly endearing. Colorist Lovern Kidzerski provides an extraordinary pallet for the comic and has a way of sharpening Milonogiannis line just enough to make it more palpable without taking anything away from it. Still, the heart of this book is in it’s dynamic artwork from Giannis and if you’re one of the many indifferent comics readers to Hasbro and IDW’s Revolution event crossover, GI Joe Revolution #1 is as good a showcase as any for one of the mediums best and least recognized illustrators and while I wouldn’t call this comic the best one he’s worked on by a long shot, it barrier to entry is pretty low in comparison to the artists past books with a premise that’s easy to enjoy and understand. In that sense, GI Joe Revolution #1 is one of the best introductions yet for casual readers to discover Milonogiannis and that is worth the effort in and of itself.
By Erik Burnham, Dan Schoening and Erik Evensen, Luis Antonio Delgado, Neil Uyetake and Robbie Robbins
It’s been awhile since I covered this book since it’s taken me this long to actually pick up all the proceeding issues (I insist on buying the floppies), but it’s a good time to review as there’s actually a lot happening now. Continue reading Ghostbusters International #9 Review
By Kevin Eastman, Bobby Curnow, Tom Waltz, Dave Wachter, Ronda Pattison, Shawn Lee
The TMNT family is slowly coming apart, right when they need to be most united. Continue reading Teenage Mutant Ninja Turtles #62 Review
IDW adds yet another TMNT book to the stands, proving we still have not reached the point where we’re sick of the four green ninjas. Continue reading TMNT Universe #1 Review
By Joshua Hale Falkov, Brian Churilla, Jay Fotos, Chris Mowry
The debut of Amazing Forest is an interesting if not inconsistent comics anthology that get’s better with each chapter.
All the comics in Amazing Forest are written by the Judge Dredd team of Eric Freitas & Ulises Farinas. To their credit, the four separate stories span a wide range of genre’s and they feel written to match the style of each individual artist. That said, Amazing Forest is uneven in it’s quality with the final two entries far surpassing the first. This isn’t really a problem of the artist per say as each is fundamentally solid and unique in their own way. More that much of the writing lacks anything distinctive about it. Freitas & Farinas have made a significant mark on the new Judge Dredd ongoing partially by having such a unique and modern take on the property but in Amazing Forest, that same feeling of excitement isn’t always there. Unlike more successful anthologies such as Island or Dark Horse Presents, Freitas & Farinas are writing everything here and while they manage to make each individual story feel different from one other, they don’t always work. As a series, Amazing Forest will always be limited by the range of it’s writers and while they’ve proven to be great on a singular narrative in their Dredd work, the prospects of Amazing Forest working really hinges on how much the two can do in a very limited amount of space. That’s asking a lot; more accomplished writers like Hickman or Snyder would have difficulty pulling that off, Farinas & Freitas have just started writing together at this level. As it’s debut issue most distinctive factor is it’s unevenness, if and how they improve on that will determine the titles success.