Mother Russia by Jeff McComsey Review

"I can't imagine anything closer to true Hell on Earth than the city of Stalingrad in 1943 with an army of countless flesh-eating monsters thrown in" 

-Introduction by Chuck Dixon

Mother Russia is a mini-series of comics by Jeff McComsey and the first standalone graphic novel by FUBAR Press. It was initially funded by Kickstarter, released in individual issues, and will be available in a completed edition (which is the one I will be reviewing). 

As part of the FUBAR universe, Mother Russia continues the premise of the undead being involved at various points in our history. This time, it's the Battle of Stalingrad, a battle usually not focused on in America-centric retellings of history. Nevertheless, the premise complements a strong story, mixing elements of desperate survival and war. McComsey is able to convey a sense of hopelessness, combined with the confusion that would naturally occur when zombies appear suddenly on the battlefield.

The plotline of Mother Russia is fairly simplistic, which was beneficial to the graphic novel as a whole. The book never slows down to accommodate convoluted aspects of the plot, as some science-driven zombie stories have done, instead focusing on the situation at hand. Character-building moments are selective flashbacks that give enough to create a vibrant characters but not enough to detract from the driving force of the main story. 

Speaking of the characters, Mother Russia has only a few, but they are all developed and memorable. The main protagonist is a female Communist, a background that is rarely (if ever) used in media. The book does a fantastic job of implementing various aspects of her character, from her inherent compassion to her hardened survival instinct. She finds a fellow survivor in an old military leader, who is both a clever device to introduce the political atmosphere that created the undead and a vivid character showcasing the harsh trials of war. These two characters form the main cast of Mother Russia, though the inclusion of a child and a dog are welcome as well, adding a much-needed brightness to an otherwise dark story. 

The art in Mother Russia is wonderful (and gruesome), conveying the bloody battles that inevitably take place between soldiers and hordes of zombies. The art style was befitting of the novel, properly conveying the desperate expressions of the characters as well as the vast landscape of battle. 

In addition to the main story, the completed edition of Mother Russia includes a few spin-off comics using the same characters, but from different comic book creators. "The Sniper" was a well-done additions of character background that enhanced the main story. "The Child" was a heartfelt tale of love in the midst of a horrific world, emphasizing the emotional bonds between humans despite the need for survival. "Kindern" was a completely horrific look at the world of war and zombies, not unlike those featured in FUBAR: Declassified. These were all welcome additions to the main story, and if you haven't already bought the individual issues, it's worth getting the completed edition for these extras. If you're a fan of the FUBAR series, these extras might even be worth buying Mother Russia twice. 

However, in terms of the main comic alone, Mother Russia is fantastic. A great, engaging story built on a fascinating premise involving vivid, unusual characters creates an enjoyable graphic novel. 

Mother Russia is available (in its completed edition and as a special blank cover variant) in the September Previews. Thanks to Alterna Comics for sending this review copy out early!

  

FUBAR: Declassified Review

Zombie stories are everywhere. Movies, TV shows, books, and more, the idea of the undead has always been a popular trope to draw from for interesting horror stories. Today, I'll be looking at FUBAR: Declassified, an anthology of stories written by Chuck Dixon, Jeff McClelland, and Jeff McComsey and the follow-up to FUBAR: Mother Russia.

The stories contained within FUBAR: Declassified all center around zombies existing in political conflicts throughout America's history. From the Cold War to the War on Terror, this universe establishes that zombies exist and have played a role in various historical events.

The premise sounds oddly specific, and at times, it is restrictive. The first 2-3 stories within the anthology are repetitive, focusing on the military taking on zombies in combat. By the third story, the elements (zombies, soldiers dying, the desire of the government to keep everything under wraps) are told over and over again through the exact same structure. However, these stories are far from boring, containing gruesome battle scenes and the tragedy that occurs when a comrade falls to the undead. Props to the writers for their portrayal of a warzone as well, making sure that the dialogue between the soldiers felt authentic. The characterization is also expertly done, the writing able to convey the commitment to the mission and the adaptability of soldiers in the battlefield. When you add in the gritty art style of the first few chapters, FUBAR: Declassified becomes a very engaging war story, despite the repetitive elements. Nevertheless, for those who aren't into horror or war stories, the first couple of stories in this anthology will seem like a drag.

The highlight of FUBAR: Declassified to me was (surprisingly) in the politics. When you add the incredibly powerful "biological weapon" (zombies) into a divisive global conflict, the story cannot help but become more and more interesting. FUBAR: Declassified recognizes this, and it does a stellar job in exploring all aspects of the politics behind the involvement of zombies. One story focuses on border control and how ordinary civilians' lives are affected by the involvement of the higher-ups. Another brings to light the underhanded techniques political officials dirty their hands with in order to gain leverage. My favorite story involving the assassination of Kennedy cleverly implemented zombies into a story of government cover-ups, questioning what should and shouldn't be kept from the public eye. Though the first part of the anthology was a fairly enjoyable war story, it was the political tension and thought-provoking themes that kept me engaged.

In terms of the artwork, I have already spoken about the grittiness of the first part of the anthology. However, the rest of the novel is characterized by various art styles from the different artists who worked on this project. There are some instances of iffy panels, but most of the artwork can be described as very fitting. Although I am not usually a fan of hyperrealistic artwork in comic books, that particular style fit very well into the drama and tensions of the story it was used. Similarly, another story has a Pixar-esque vibe in its artwork, conveying the tranquility of civilian life. The thoughtfulness behind the stylistic choices should be applauded, despite the minor imperfections in some of the artwork.

As a whole, FUBAR: Declassified was a well-made anthology, as expected of any Alterna Comics release. While I enjoyed this collection, and would recommend it to any horror-loving friends, it did not exactly fit my personal tastes as Metaphase or the recent IF Anthology have. This particular one seems targeted towards a specific audience, so it would be wise to take a look at the preview pages before picking this title up.

FUBAR:Declassified is available on Amazon and wherever books are sold.

*Thanks to Peter Simeti for providing the copy used in this review*

Metaphase Review

Continuing this week of comic book reviews is Metaphase, a graphic novel with a story by Chip Reece, art by Kelly Williams, and letters by Peter Simeti. Unlike the past two graphic novels I've reviewed, Metaphase takes on the superhero genre. However, to remain distinct from the flashy, popular comics of Marvel and DC, this Kickstarter-funded Alterna Comics release features a main character with a disability thrust into a world of superpowered beings.

I absolutely adored this novel. From the very first page I was hooked (of course, it helps that the first page features a heroic depiction of the Sentinel). The character Ollie, a child with Down Syndrome, was instantly likable, and the book evoked a surprising amount of emotion in his attempts to become as strong as his father. Although I have never had any experience with disabilities, the way the comic portrays the tragic situation of Ollie and the pursuit of his dreams was incredibly heartwarming, an unexpected turn from what is labeled a "superhero" comic. Moreover, the novel does spend some of these emotional moments on the father, reflecting the sorrows of a superpowered parent with a child with Down Syndrome. Ultimately, the comic's strength lies in the portrayal of Ollie's relationship with his father. 

The plot centers around a very standard superhero story, with most of the distinguishing attributes left to the characters themselves. However, the comic does a fantastic job in establishing this new world for the characters to exist in. Yes, we've all seen supervillains terrorizing the city before, and we've all seen the evil corporate businessman trope, but the characters that occupy these roles are at least unique and memorable, driving what is essentially an origin story for a different kind of superhero. 

I do have some slight issues with the artwork. Though the colors and the visual presentation of the novel is fantastic, some of the stylistic choices in the facial expressions are a little strange to me. However, once you are immersed in the novel's story, you hardly notice it, and it's a very minor fault to an incredibly story. Besides these instances, the novel's art is done well, with the action scenes throughout being the standout moments of fantastic art. 

Honestly, I don't know what else to say about this novel that wouldn't be repetitive. It's a very hopeful novel, one that tugs at the heartstrings while balancing the pure enjoyment of a superhero comic. I have hardly any complaints, other than I wish there were more adventures to be told beyond the 80-page volume. If you're a fan of comics, great stories, superheroes, or anything that is great art, I would definitely recommend spending some time with Metaphase. 

Metaphase is available on Comixology, and my copy was provided by Peter Simeti for review purposes. 

All My Ghosts by Jeremy Massie Review

With a title like All My Ghosts, you'd expect this graphic novel to be a creepy horror featuring some sketchy dude in a broken-down office building. What you get from Jeremy Massie's 106-page comic is a surprisingly engaging story involving some heartwarming elements and a strong, overarching theme.

The graphic novel is characterized as Slice of Life, a genre that I wasn't aware spanned beyond the generic Japanese manga adored by the otaku fanbase. All My Ghosts features a middle-aged man working as chief of his family's cherished newspaper company, a job that he has become less and less enamored with by the beginning of the novel. The novel explores various aspects of his life, including his personal relationships and the rumors of supernatural activity in the workplace. 

As a Slice of Life comic, All My Ghosts has a fairly simple plot structure, having no need for any dramatic twists or turns. Instead, the comic focuses on the various problems of the main protagonist, Joe, as if they were the realistic problems people pile on themselves on a daily basis. In fact, the novel's central conflict isn't necessarily a huge battle but an issue that weighs down on the main character, lurking in the background as he tries to make his life functional again. 

Despite the main character having a routine job, the elements of the story are visually interesting. When the reader follows him through his day to day activities, the comic never slows down, maintaining a comfortable pace so that the ride is still enjoyable. If I had any complaints with this novel, it'd be that the tone shifts can be quite jarring at some points as the setting shifts from one place to the next. However, this is consistent with the common perception of life, a chain of events that don't necessarily have to "fit" next to each other. (This may also have been because the comic was told in separate issues before it became a complete graphic novel). 

The graphic novel's other strengths lie in the world that Massie creates, one that we explore from Joe's perspective. Each character and aspect of the small town is memorable, making the reader feel as if he's been living in this Appalachian town for as long as Joe. 

At first glance, the story may seem to have a generic "Carpe Diem" message about freedom and the release from the boredom of daily life. However, one of my favorite aspects of All My Ghosts was the way the theme was manipulated. For example, when Joe begins pursuing escape from his routine lifestyle through a "fuck it all" attitude, he is slapped across the face with the consequences of freedom, an aspect that isn't usually brought up in motivational posters. The progression of the story is partly driven by this question of freedom, and it made All My Ghosts a thought-provoking read. The novel also incorporates the conflict between tradition and individual freedom, though it does so with an emphasis on reverence for the past, which I personally enjoyed seeing. 

Finally, a couple words about the art style. Massie's style is not overly complex, but it definitely works as part of the novel and was visually engaging. Moreover, the comic has some fantastic moments where Massie somehow incorporates movement and feeling, evoking different senses through unique choices in the comic's art. These creative choices ultimately contribute to the wonderfully immersive experience of reading All My Ghosts. 

If you are looking for the awe of action and adventure, this graphic novel may not be for you. However, the focused emotions and the portrayal of real life, as well as the incorporation of an intriguing theme, make All My Ghosts worthy of a pick up. 

Speaking of which, All My Ghosts goes on sale August 19 on Comixology.

*Special thanks to Peter Simeti for the review copy, making this review possible!*

2015 IF Anthology (Science Fiction) Review

...in IF there are no questions...

only answers

The IF Anthology is a new project by Peter Simeti and Alterna Comics, an independent graphic book novel publisher that focuses on black and white comics with unconventional artwork. The anthology compiles the work of 36 different comic book creators who are all told to stick to a single theme. The 2015 edition, which I am reviewing today, has the theme science fiction. Though I had never read an indie comic before (Usually sticking with Marvel/DC), I love the science fiction genre and was curious as to what Simeti was trying to accomplish with this bold project. So, when Peter Simeti offered to send out review copies, I snatched one up to see what the book (and successful Kickstarter campaign) was all about. 

As an anthology, IF includes fifteen different short stories that are each about 10 pages in length. The stories are supposedly unified under a single theme, but the incredible amount of variety in the artwork, storytelling, tone, and influences of each story make the set theme seem more like a flexible suggestion. One story may call to mind the bright, superhero tale. Another is a completely creepy horror tale, while the thirteen other short stories pull fantasy elements, monster movies, creation myths, dystopian futures, utopian futures, and sentient robots all into one, 160-page volume. The sheer variety of the comics ensures that no matter where your tastes lie, there is something for you in the IF Anthology. I applaud Peter Simeti for the clear amount of work that went into selecting these stories and making sure that no two comics ever felt alike. 

Despite the different flavors to each story, IF also keeps alive many of the science fiction elements that its theme demands. If you're a huge science fiction fan, you'll be sure to recognize the common elements, from time travel to distant planets to wars with sentient robots. However, despite the common science fiction tropes all being present, the comics in IF shine with individuality from each of its creators. Many of the stories in IF have creative twists or refreshing looks at common situations, and me describing them any further risks spoiling the experience. However, if you do pick up a copy, look out for the interesting storytelling devices, my favorite of which gave exposition through a two-page spread of newspaper clippings. 

The art style of the fifteen stories in IF is just as distinctive as the story elements, with all of it being of exceptional quality. Although some of the strange art is jarring for those used to ripped superheroes (like myself), the quality of the art is unquestionable. In some ways, the unconventional nature of the artwork adds to the experience, making IF that much more unique.

IF (ha) there is anything weak about the works in the anthology, it would be that the worlds within the short stories can never be expanded. It was disappointing to turn the pages of a fascinating premise only to find that the next story had already begun. And yet, the next story would be just as exciting, and the cycle would repeat fifteen times throughout the course of the book. Part of me wishes that there could have been a longer, overarching story, but that would have surely taken away from the variety and the appeal of an anthology in the first place. 

So, for concluding remarks, it is clear that the IF Anthology was a true passion project for Peter Simeti, an avid comic lover, with love and care poured into the book so that it would show the true potential of indie comics. I would highly recommend picking up a copy through Simeti's Kickstarter, and I am personally excited for what surprises next year's IF has in store. 

*The early copy of the IF Anthology was graciously provided by Peter Simeti for review purposes*