Brubaker and Phillips put stories together whenever they can, then run them as mini-series before they’re eventually gathered into graphic novels. I love the stories because they’re hard hitting noir tales about tough guys, violence, and constant danger. There’s not a superhero among them, and very few innocents.

Lawless is the second collection, and it’s a barbed-wire punch to the throat. Sleek and deadly as a bullet, the story of Tracy Lawless’s quest for revenge after his brother ends up dead rockets along to a climatic finish that belongs on the big screen.

Brubaker’s narrative, echoed by Phillips’s art, is interesting in this arc. Instead of simply breaking the story out from start to finish, Brubaker reveals everything in episodic chunks. He starts with an action, like killing a man on a rooftop and disposing of his body in a Dumpster in the alley, then circles back around to tell readers who the man was and why Tracy killed him.

Looking back through the graphic novel, I noticed how deliberate the reveals were. Brubaker dropped pebbles of plot into the pond of his story, then chased the ripples out for the readers till everything came together. The method is very effective, like getting a bite-size chunk of a mystery that allows you a look at only one piece of a larger puzzle.

Tracy’s background isn’t delivered in a large info dump either. Nor is everything completely explained. I still want to know what happened to Tracy and Ricky’s father, and even what happened to Ricky that put him into a life of crime. That’s because the character feel so real on the pages. Even though I didn’t get every answer, Brubaker and Phillips provide enough that I knew Tracy Lawless and the kind of guy he was. He’s the same kind of guy who’s adventures I enjoyed in the pages of the Gold Medal novels I read while growing up. Evidently Brubaker haunted the same aisles in similar bookshops.

Ricky Lawless was a wheelman for a gang. He drove the getaway car. But after a heist goes bad, Ricky ends up shot to death. Tracy is a soldier, a man with a harsh past that has no problem killing people he thinks needs to be killed. The problem is, he’s not sure who killed Ricky, but he knows once he finds out he’s going to kill whoever it was. In the meantime, he has to infiltrate the gang, help break out one of the members from prison, and stay out of the clutches of a mysterious group of killers that have somehow gotten onto his tail.

The art in the book complements the story, providing mood and atmosphere. Phillips’s style and take on grungy metropolitan areas and action is fantastic. The layout of the scenes, the exposition of the surroundings and the snap-focus on characters, show just how easily the story could be rendered to cinema.

The language and story are harsh, so Lawless might not be everyone’s cup of tea. But fans of noir are going to feel right at home in these pages.

Joe Hill kicked off his comic-writing career with IDW Publishing with an imaginative and compelling story. Locke & Key flew off the shelves in comics stories, required another printing, and was snapped up almost immediately by movie production companies.

For those who don’t know yet, Joe Hill is one of Stephen King’s sons. Joe wanted to become known as a horror writer in his own right rather than hanging onto his famous dad’s coattails, and Joe has succeeded in a lot of ways. His first novel, Heart-Shaped Box garnered a lot of literary attention as well as readers. His collection, 20th Century Ghosts, became well-known in short order.

Locke & Key is going to be at least a six-issue comic series, though Joe promises he’s got plots that would take the series out to nearly 70 issues if he gets to write them. The story’s focus is on the Locke family, which went through the horrible tragedy of losing there father, Rendell Locke, to psychotic students he once taught.

Issue #2 picks up the family’s story after they’ve moved to Lovecraft, Massachusetts. And doesn’t that name summon all kinds of wicked demons immediately to mind? As it turns out, Keyhouse, where the family moved, has got all kinds of dangerous secrets lurking within it.

I love Joe’s easy storytelling ability. He makes everything look simple as he tells the story through dialogue between the characters as well as Bode’s first-person narration. Bode Locke is in grade school and Joe portrays his voice convincingly throughout. Joe maintains the eye and focus of a child almost effortlessly, filled with excitement, the need to be the center of attention, and the disappointment and irritability that he displays when that doesn’t happen.

Joe also writes Bode intelligently, showing how he’s smarter than the monster he discovers in the wellhouse. But he also has fun with Bode, showing how Bode carries on while he’s bored, such as putting the mop bucket on his head while talking to the woman in the bottom of the well. Of course, the inherent danger of walking on the edge of the well that seems to miss Bode screams in the face of the reader. I found myself tensing up, waiting for Bode to inevitably fall into the well and meet his doom.

Gabriel Rodriguiz’s artwork is stupendous this time around again. His energy and understanding of the characters is on every page, and he works hard to play with different angles so readers aren’t looking at the same kind of picture or view each time. The environment is interesting, spooky, and foreboding all at once, and I love it. You can actually see how the movie should look in these pages.

Joe’s first page of the new comic is a riot. It’s a page taken from Bode’s homework, and it retells everything the family has been through up to this point. His mom believes the part about him becoming a ghost when he goes through one of the house’s doors is just a fabrication. We know better because we saw this happen to Bode in the last issue. In case you forgot, we see Bode in ghost-form watching his mom and his uncle talking about him while they’re sitting out on the veranda.

I love how Joe is slowly parsing out the information and background of the house. I don’t want to know everything all at once, and he’s not a storyteller that dumps everything on you and doesn’t keep surprises or twists to himself. Things are wild and weird in this series, and I’ve gotten totally wrapped up in the world and the characters.

The monster at the bottom of the wellhouse is going to mean a lot of trouble. I really enjoyed the subtle way Joe and Gabriel revealed her evil nature to the reader through the mirror sequence. That was a grabber once I saw it, and it doesn’t hit you between the eyes. If you’re not paying attention you’ll miss it.

I also like the way that Sam Lesser, one of the teens that killed Rendell, remains a threat to the family. Especially when the monstrous lady at the bottom of the well speaks to him and offers him a key to get out of the sanitarium where he’s being held.

With everything going on, I can’t wait till the next issue. I’m just glad it’s only a month away. If you haven’t picked up this great series, you’re missing out on some groundbreaking horror.

Ghost Whisperer is currently in its third season on television and has a few more new episodes that will air now that the writers’ strike in Hollywood has ended. Produces confirmed in February that the show is returning for a fourth season.

Created by John Gray and based on James Van Praagh’s own experiences as a psychic and medium, the series stars Jennifer Love Hewitt as Melinda Gordon. Melinda operates an antique store and has had to deal with ghosts that appear to her to get messages to their loved ones nearly her whole life.

With the success of the television franchise, IDW Publishing has started a comic book series base on Ghost Whisperer. The first issue is out now and is called “The Haunted.” It’s written by Carrie Smith and Becca Smith and illustrated by Elena Casagrande. The two writers have written scripts for the television show, so it’s no surprise that the issue parallels the movement of an episode perfectly. Elena Casagrande has worked on “Star Trek Alien Spotlight: Orions” so she’s no stranger to tie-in work coming from a television series. Her panels come to life with movement and angles deliberately staged to seduce the eye.

I really liked the opening montage in the coffee shop and appreciate the quick way the story got up and got moving. There’s no stopping to explain things. The writers assume the readers picked up the issue because they’re fans of the show, and that’s not a bad assumption to make.

Three girls, obviously well-to-do, are menaced by a girl ghost that’s about their age. The ghost, Alice Henderson, is angry at them and seeking revenge for her untimely death. Melinda steps in and attempts to intercede, but Alice’s rage knows no bounds. When Alice disappears, though, Melinda is left facing a bird-man dressed all in black.

The way the story progresses so quickly is fantastic. A mere flip of the page brings us to Professor Rick Payne, another regular from the show. Quickly, with great one-liners and snappy patter, Rick brings Melinda up to date on Osiris, the Egyptian God of the Underworld.

Back at the antiques shop, Melinda confers with Delia, her partner, and finds out the name of the dead girl as well as how she died after being hit by a car while crossing the street. Melinda goes back to high school and finds the three girls that had gotten menaced in the coffee shop. The scenes set there are great, and Casagrande’s pencils really showcase what she’s capable of when it comes to establishing an environment. I was impressed with her vision of the high school building.

Melinda goes to see the girls again when she finds out where they’re living, and gets there just as Alice sweeps in for her revenge again. The action scenes and the angles Casagrande takes are marvelous. You can almost shoot the episode from these panels, or at least know how the story would look on television. The writers’ dialogue is spare and lean, and keeps the tale moving at breakneck pace.

When the story is resolved in tried and true fashion that’s become familiar to the regular viewers of the television series, the mystery of Osiris deepens. He doesn’t go away as Melinda had thought. Instead he threatens Melinda directly.

This beginning arc hammers the reader with the same kind of seasonal epic usually carried in the series. I can’t wait till second issue to see what happens next.

Green Lantern: No Fear is far less technically ambitious than its predecessor, Rebirth. The previous novel in the “new” adventures of Hal Jordan basically had to re-invent the character and discard a decade and more of maltreatment of the character, in my opinion.However, that said, No Fear offers a lot in the way of great character building. Geoff Johns’s first graphic novel in the Green Lantern saga was all about getting back to the basics and skewering missed approaches to Hal Jordan. This volume reintroduces Hal Jordan and Green Lantern to the world as a human being and a hero. It’s about history and family, about dreams and responsibilities, and the fact that there’s precious little wiggle room for anybody trying to balance all those things and live a good life.

I especially loved the first story. The art by Darwyn Cooke was amazingly simple and really underscored the light but deep tale as Hal remembered his relationship with his test pilot father. The fact that Hal and Kyle Rayner (the latest Green Lantern, and the character that really split the polls on favorite Green Lanterns) are shown together and we get a sense of how that relationship is going. Johns could have totally blown off the Rayner character, but he chose to embrace him in the series to offer the readers the best of both possible worlds.

From there, the stories move into more Green Lantern history with the threat of a Manhunter, the androids created by the Guardians to police the spaceways before they created the Green Lantern Corps. The art is pretty cool, shows lots of action, and allows a great pacing for Johns’s story.

I enjoyed the sequences with Hal’s brother a lot too. Johns seems intent on advancing stories as much as he is on introducing back stories that we hadn’t before seen. The story of why Hal got dishonorably discharged from the United States Air Force was especially emotionally compelling.

Johns also broadens his current Green Lantern universe by bringing in other old enemies: Hector Hammond and Black Hand. Both of those characters are far creepier and more dangerous than we’ve ever seen them before.

I have to admit that the scene where Hal pounded away at Hector Hammond when the man couldn’t defend himself made me uncomfortable. On one level, I understood it because Hammond had used his mind-probing powers to assault Green Lantern, but it still just didn’t seem like something Hal would do.

This collection of stories was much lighter than the arc that ran through Rebirth. Since I read them so close together, I’m glad there was such a difference. Rebirth emotionally exhausted me, but No Fear was – mostly – a fun romp.

The scene where Hal busted General Stone in the mouth the way he had all those years ago, and the fact that that clue was what gave away Hal’s secret identity as Green Lantern, was great. I think having a USAF general know that Hal and Green Lantern are the same guy can’t be anything but beneficial. (You still have to wonder how Clark Kent can go missing all the time from the Daily Planet.)

I’ve got two more of the graphic novels lined up to read, and I’m really looking forward to them. Johns is making magic again, and it’s fun to watch.

Though I’m ashamed to admit it, I’ve never read a single issue of The Spirit until Darwyn Cooke’s graphic novel collecting the first six issues of the new series put out by DC Comics. I’ve read comics nearly my whole life, and heard about Will Eisner and the Spirit for nearly as long.To tell you the truth, the Spirit didn’t fit my idea of a superhero. For one, there was the problem of no superpowers. And two, the costume was really lame for a kid who grew up with superheroes wearing Spandex and their underwear on the outside. The Spirit just looked too…real. That meant boring to the child that I was.So I went on for nearly fifty years with my assumption that I wouldn’t like the Spirit.Enter Darwyn Cooke. Actually, I didn’t know that I liked him at first either. I thought his art was too raw at the time, too two-dimensional and unfinished. Then he did New Frontier, which became an overnight bestseller and is coming out as a straight-to-DVD animated movie soon. I picked up New Frontier and really liked Cooke’s writing and art. His artistry is flamboyant and unique. He played fairly with the characters and showed real talent when reimagining the DC Universe for his story.

Now he’s brought that same understanding of character to The Spirit, a monthly comic from DC. He writes and pencils the comic, something that few people in that business do any more, or are skilled enough to accomplish. From what I understand of the character since I’ve been poking around after getting curious, he’s captured the flavor, pacing, and zest of Will Eisner’s work.

Denny Colt is a private investigator that cracks a big case but gets overwhelmed by the villains. He is also doused in chemicals that makes it look like he is dead. After he recovers and crawls out of the family crypt, he decides to remain “dead” and adopt a new identity to fight crime. He does this with the reluctant acquiescence of Central City Police Commissioner Dolan. Dolan also happens to be the father of Denny’s girlfriend, Ellen.

Even though he looks like a 1940s private eye with a domino mask under his slouch hat, the Spirit is much more than a bare knuckles hero. He doesn’t just investigate; he has adventures. Those adventures are by turns deadly serious, humorous, absolutely loopy, or anything in between.

As I read the stories, I was at first confused. Then I realized that the Spirit was a lot like Jack Cole’s Plastic Man series. Totally malleable. (Yep, that’s a pun, and I’m not sorry.) I settled into the graphic novel for a light-hearted and fun read that vamoosed through the panels with the pacing of a runaway avalanche.

I call the volume a graphic novel, but that’s doing the book an injustice of sorts. In this day and age when every writer and artist is trained to produce a five- or six-issue arc that will fit neatly and conveniently into a graphic novel format a few months later, Darwyn Cooke decided to be daring and write standalone tales. That’s right, you can sit down and read a single comic-length story and get it all in one shot. That was like a breath of fresh air. It also made for more tightly plotted stories.

One of the other things I really liked about the book is the collection of secondary characters culled right from Eisner’s works: the ever missing-in-action Octopus, P’Gell, and others. Cooke even introduces us to Silk Satin, a hard-as-nails female character and member of the CIA, and she’s tough enough to take out Dirty Harry. You never know what to expect from story to story within the pages of this beautiful hardback book.

I do wish that some kind of primer with an art gallery of iconic Spirit characters had been included with the graphic novel as added value. I understood from the stories that some of the characters were ongoing from Eisner’s original run, but it would have helped with more. Eisner evidently created a deep, rich world and Cooke is running elegantly with the ball. There’s no reason for Cooke to try to stumble through all that had gone on before for Denny while in the middle of his own stories, and you can pick up enough to get by. But now that I’m hooked, that little bit of extra would have been great.

If you haven’t read the comics and still maintain your love of great storytelling combined with sheer fun, pick up this graphic novel and prepare to be wowed. Cooke has brought major wowness to a whole new level.

Geoff Johns is one of the hardest working writers in the DC Comics universe. Especially now that the universe there contains 52 worlds, some of which have yet to be explored. But he’s the guy I’d definitely want taking me on the tour.

Johns has a gift of seeing the iconic heroes, a way of peeling down through decades of stories about them, to strip them to their bare bones. Once he’s hit bedrock, he rebuilds them in exactly the way they were originally created and somehow brings them into our world and our now in ways we haven’t seen before. He can take a hero that’s been around for generations and introduce him or her to today’s readers in a way that makes those readers think the heroes were just created for them now.

I’ve followed his runs on the Flash and Hawkman, and now in the pages of Green Lantern. But the greatest achievement Johns has ever done, in my humble opinion, was bringing the Justice Society of America to pre-eminence to comic book fans everywhere.

I loved his run on the previous volume of the book. I have all the copies in monthly magazine format as well as graphic novels. He’s lately reintroduced the JSA once again in Justice Society of America: The Next Age.

In this latest series, spinning out of the events of the year-long event known as 52, Johns once more brings his considerable talents to the re-envisioning of the JSA. The first graphic novel of the new series contains the first four issues of the new monthly title. We get to see old favorites (the Alan Scott Green Lantern, Jay Garrick Flash, and Wildcat – who has been one of my personal heroes for a long time) as well as get introduced to new heroes/heroines.

Johns revisits the JSA’s history to give us Cyclone, the super-powered granddaughter of Ma Hunkle, the original Red Tornado, a new Wildcat (with surprising twists), and even a new Steel (though we don’t get to see the culmination of that origin story in this graphic novel). All of these heroes fit perfectly with the old favorites Johns has lined up.

I’ve loved the JSA from the first time I saw them crossover from Earth-2 back in the pages of the 1960s Justice League comic book. Not all of those heroes were revamped and reintroduced to the world in what has become known as the Silver Age of comics. Mr. Terrific, Hourman, and Dr. Mid-Nite – as well as others – never found their way to Earth-1 except to visit.

In the early pages of this graphic novel, Batman tells Flash, Green Lantern, and Wildcat that the JLA wants to help the JSA rebuild. As Batman points out, the JLA has always been something of a strike force or weapon, while the JSA has always been about family.

It’s wonderful touches like that simple declaration that keep bringing me back to the JSA and to all of Johns’s work. I’ve never read a comic of his that I didn’t like. Story and character always work well in his scripts, and no one plays more fairly with the history of even the most long-lived heroes.

The plot in this graphic novels focuses on the rebuilding of the JSA with new blood while at the same time learning of the attacks against the families of heroes. The action is fast, violent, and bloody, with a number of deaths within the architecture of the story. Johns doesn’t take any shortcuts, and he makes the violence – so he says – as real as he can because readers want to feel like they’re living in hero worlds.

Johns’s words and Dale Eaglesham’s incredible artwork kept me turning pages, and wanting more when I’d finished. The story switches back and forth among several of the characters, and Johns conveys those different narrators skillfully. But he’s definitely aided and abetted by Eaglesham. The panels are beautiful to look at, and they push the story forward with exquisite pacing. With a book dedicated to introducing new characters to readers, there are a lot of dialogue sequences that could have dragged in the hands of a less skilled artist. Johns trusted Eaglesham enough to make it all work, and he does.

I enjoyed this graphic novel a lot, and I can’t wait for more. I hope that Johns and Eaglesham have a long stay on the title. I can’t wait to see what they do next, because they’ve opened up a ton of possibilities.