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Comic Book Review: Calico

CALICO ISSUE #1
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Welcome back GiGa Community; as you all know, at fifteen years old, in 1992, I had an opportunity and pleasure of interning at Marvel Comics in Manhattan, New York; Spider-man office to be exact.  It was during that year that I had delved into the comic book industry, soaking it all in, down to my very fabric of my soul.  I loved all of the intellectual properties, their stories, and the craft; I knew I wanted Comics to be a part of my future life story.   I was a fan of some characters, and ambivalent to others, but never the less, just like family I loved them all (Some more than others of course); the environment moved my soul.  To this day, I still find being an artist to be one of my first loves, and comic books satisfied that yearning.  The culmination of efforts between a writer, penciler, inker, letterer, colorist, and editor was to me, an amalgamation of geniuses at work.  I love and respect the craft.

GiGa: GeekMagazine was contacted by Sigma Comics asking for an honest review of their newly released comic series, Calico.  I was unsure of who this new IP was that was entering the competitive arena, so I did superficial research, watched an interview, and a review; it seemed to be worth the read.   The first complimentary comic came and as busy as I am, I opened it and felt the cover art seemed acceptable for a comic book in 2021, but I didn’t have a peaceful undisturbed moment to read it, so I left it on my desk to be ready for the day I found a free opportunity to read it, then write a review.  My family and I left the house for a few hours, and when I returned I went straight to my office and hadn’t realized the comic was no longer on my desk.  A few seconds after I sat down, my daughter calls me, “Papi, look what Ivi did”!

Ivi Snow knew She really did it this time.

Ivi Snow is one of my two white German Shepherds, she is 1½ years old, so I am accustomed to finding “surprises” when we come back home; I thought it was poop again. A minute later my daughter comes to my office holding my complimentary issue of Calico in shreds.  Needless to say I was peeved and Ivi knew it. Then I remembered what the premise of the comic was.  “NYC HAS A NEW ANTIHERO. Every day millions of animals are abused and killed. Animal rights groups and charities try to help, yet the savagery continues.”  Sigma Comics appears to be committed to fighting animal abuse. I laughed at the irony of this moment and took a picture of her with the destroyed comic, apparently, she enjoyed the comic.  I couldn’t read it, as a substantial part of the first few pages were now gone.  With that above picture attached to an email to Sigma comics, I humbly apologized and requested another review copy, I was willing to pay for it at this point, but the great people at Sigma found humor in the event as well and sent me another.
When the next copy arrived I kept it in my safe this time, and that night when I was done with work, I read it before I went to bed.  I opened the cover and this time, I was able to really absorb the content.   I applauded the first impression, it was transparent in showing their allegiance to the cause, “American Humane”, as a parent to two German Shepherds, I was sold. 

The first page was gripping, showing an example of the atrocities committed upon animals and the visualization was almost too tough to bear, but I was roped in, I had to read on.  We get our first glimpse into the soul of our Anti-Hero on page two, with tears running from angry eyes, the penciler, inker, and colorist nailed the conviction this character was driven by, and we’re then introduced to Calico “A one-man arsenal of destruction in constant pursuit of justice for the smallest and weakest among us…” 

In his apartment he works his frustration on a double end bag, his thoughts speak poignant commentary as to the nature of life being nothing but conflict in every facet of existence and we see where his psychological state dwells; he’s scared and/or resentful of life and bitterly expresses this in his own twisted way.  The Boxing Gym advertisement on page 5 could easily be dismissed as fictitious until a little research clarified that it is indeed a real business; as an ex-fighter boxer, martial artist, and ex-body guard myself, I respected that blurring between fantasy and reality as it was perfectly in line with the tale that I was uploading to my brain.

The writer then takes the reader on a journey through the life of Calico, recalling childhood memories of being bullied.  This alludes to post traumatic damage; he hates bullies and had long since made the decision to suffer them no longer.  We next accompany the protagonist from his apartment to a local boxing gym where he trains and prepares for an upcoming tournament, and while there, he loses himself in the art of combat.  His thoughts become louder than spoken words; he’s a fighter with unfortunate luck, struggling skill, and lots of animosity.  Here is where the reader learns this character has no reservation about the thought of condemning the abuser to death and that animals were his only friends since his youth.

Page 8 we’re given a full frontal nude of the hero in the shower after leaving the gym, even in the shower he’s consumed by antipathy as conveyed by more flashbacks of the same bully from his youth; he’s never recovered from those years.  This memory was different, ironically, it was in this recollection where he was impressed by an alley-cat that scared off the bully and his dog, which serves as a perfect transition into revealing his super-hero outfit emblazoned with a black cat’s profile in front of what appears to be a moon.  He also has a flying robotic AI assistant named Bumble that is a metallic sphere with one camera eye. Then, we’re back to his childhood memories, this time he evokes the very first time he inflicted pain by punching that bully in the face before fleeing the scene.  Page 13 is where things escalate quickly, so I won’t spoil it for interested readers.

So here’s my honest review and rating:

  • Comic book Production:  
    I feel the writing could have been more impacting and/or expansive; a name would have been nice to have, but it served its purpose; The art is what communicated the story the most.  Lettering was great, the penciling and inking were acceptable as well, but gets a little hard to understand what’s happening during the murder scene.   
  • The Character:
    His real name is never revealed, but from how Calico was insultingly called a “Dominican York” translated from Spanish, he is likely Latino. I think the character is less anti-hero and more of a deranged, sociopathic, villain with post-traumatic stress. He’s fed a list of targets by an unknown accomplice, he intends to kill, (and/or violate) which to me is the modus operandi of a serial killer. I couldn’t see the word “Hero” being applicable to this guy in anyway.
  • The full frontal nude, to me, was unnecessary, but being a student at the Art Institute of Atlanta I’ve drawn male nudes before, so I respect the art, 100%.  That scene only became awkward after the second penis comment. Which helped me to get a better understanding  of the mind of the protagonist as portrayed and communicated by the writer. I think the outfit really is too similar to Black Panther.
  • As per the multiple male phallus related comments and insults, along with, what I found to be excessive homo-erotic language, it seemed in my humble opinion, as if there’s other unresolved issues besides being bullied that Calico has never addressed.   In one scene, I had to look at one scene under better light to understand that Calico actually violates or rapes his victim with a red hot pipe, all while making references to size; he says to his victim, “Relax! It’s only one-inch thick pipe. In penis size its only four-inch girth. You got this”.  the last unnecessary thing I read that really nailed the coffin shut for me was the statement, “F*** em. Hard. in the @ss. With no vaseline”.
  • Concept:
    I personally, don’t think the character could have longevity, and if so possibly as a novelty act; appropriate for an 8-Issue Series. He possibly may develop a fan base, but with a very niche market.  He is not a “Deadpool” type of anti-hero, I’d say this brooding character is damaged psychologically which easily could bleed over into villainy. I couldn’t see the Dark Knight tolerating this character, or working with him in any way, and would probably bring him to justice.  In comparison to other anti-heroes, such as Hulk, Ghost Rider, Blade, or the Punisher, I’d say even Frank Castle wouldn’t see his motivations, means, or ends as acceptable.  I see a more deviant sociopathic “Joker” kind of weirdness from Calico minus the smiles and laughing.

Conclusion:  It’s a comic book, it fits the criteria. I wasn’t left feeling like I want to read more, but I am only one man, with one opinion worth 2 cents.  I endeavor to say it could have been written for a broader appeal to a wider audience; for me, I feel the niche-aspect will leave some put off or uninterested.  But somehow, I’m sure this will pull the targeted audience it was meant for.  In the end, Sigma successfully this debut is a great accomplishment for the creators and production team and for that I salute and respect their creative vision, hard work, and love for the craft. 

I’d give it 3 out 5 Stars
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~Jack~

Image Sources:
> https://sigmacomics.com/wp-content/uploads/2020/09/sigma-comics-large.jpg
> https://prnewswire2-a.akamaihd.net/p/1893751/sp/189375100/thumbnail/entry_id/1_gapzb7c1/def_height/800/def_width/520/version/100011/type/1

Songbringer Preview – An Epic, Pixelated Adventure

Giga Geek Magazine was gifted with access to an early build of the game. All of the opinions in this article are for that early version, some things are subject to change as more is developed.

Independent developers never cease to amaze me. Some of my favorite games of all time have come from these smaller studios, which is refreshing in an age of micro-transactions, always online checks, and broken releases. Songbringer comes from humble folks—inspired by the top down days of Legend of Zelda—and is shaping up to be a memorable classic.

Weiss' pixel skills are impressive. Check out the Nano Sword!
Weiss’ pixel skills are impressive. Check out the Nano Sword!

Songbringer is a procedurally generated adventure through mysterious locales, slashing baddies with a nano-sword or tossing a boomerang top hat. Created by a single man with ambition beyond mortals, Nathan Weis is crafting a science fiction love letter to Zelda. Not only is Weis making this one solo, after twenty years or so of being a developer, but he’s also been streaming daily on Twitch. Keeping it simple, Songbringer won’t have A-list actors doing voice overs, or music played by an orchestra; however, that gives it charm.

Primarily, there are two ways to play Songbringer: normal mode will let the hero die to respawn like a normal adventure game, and permanent death mode, which is exactly what it sounds like, turning the whole game into a rogue-like game similar to Binding of Isaac.

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Playing around with the build sent to me by Weis, there is a lot to love already. Combat is simple and familiar, using items assigned to buttons and swinging a sword. While combat is essential to survive, there is a heavier focus on exploration. The system generates a fairly large overworld, with areas that require specific items before you can explore.

You can gain harder levitra best prices and fuller erection to participate in lovemaking and enjoy intimate moments with her. The heart is built of mystical black freesia, while levitra samples the base introduces sequoia wood accords, musk and amber. davidfraymusic.com india cheap cialis Garlic – Garlic is a common herb used in kitchens. They fit in order generic levitra the budget of a common man can afford. Dungeons also spawn throughout this strange planet. During my time with Songbringer, I saw the conquering of four dungeons. There weren’t any real puzzles to challenge the sword wielding hero, but there were plenty of enemy types to learn. Demons lower their head and charge with their wicked horns, and little bugs attack in large groups. There are some rooms that have way too many enemies in them, turning the challenge into mashing every item to try and survive.

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One of the few criticisms I have for the game is the lack of music. Of course this is bound to come in later builds, but it made the world eerily silent. Overall the sound design is interesting with droning pulses and bit-crushed attack effects, but that lack of music made me realize just how important it is in games like this. Imagine Hyrule Field without that iconic score; it would feel wrong. Once again, the build I played was an early one, so music is probably in the works.

Songbringer is an incredibly ambitious project for a single creator. That alone, the game deserves a large amount of praise. As a game amidst a sea of others, Songbringer does stand out as more than a simple tribute. Its themes and style are excellent and the gameplay is familiar enough to understand in seconds, while building on that framework.

In short, there is a mass amount of potential for this project. I’ll be sure to keep an eye out for future builds and the inevitable release of Songbringer. Beyond that, Weis will be a developer to watch for his creativity and sheer willpower.

To see the game in action, check out my preview below.

Fan-Powered He-Man Documentary Hits Kickstarter

Recently, Giga bore witness to the majesty that is Nintendo Quest, an excellent documentary detailing the story of one man seeking to collect every retail NES game. Rob McCallum and the gang will be working with the makers of another 80s pop-culture-fueled documentary, Turtle Power, a piece on the history and influence of the Ninja Turtles. Led by Randall Lobb, this influential team of film makers and fans seeks to bring the story behind He-Man, She-Ra and the rest of the Masters of the Universe in their newest project Power of Grayskull.

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Power of Grayskull seeks to be the definitive source for the history of the iconic franchise including the vintage series, She-Ra, The New Adventures of He-Man, the 200x series and beyond. Not to mention everything that fans have created over the years, such as artwork, custom toys or viral internet sensations. He-Man and the Masters have been around since the 80s; there’s a ton of content out there to cover.

Wanting to find those behind the magic, the team seeks to learn from the top minds behind the franchise, those who brought the live action series to life and the former president of Mattel. An epic list of people set to help out in the film can be found on the project page on Kickstarter. Given the previous work in Nintendo Quest and Turtle Power, Power of Grayskull will dig deep into what makes He-Man special, with rare and exclusive content pulled into light whenever possible.

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As shown by the awesome teaser trailer, this is a documentary project filled to the brim with love for the Masters of the Universe. It’s filmed and produced by fans for the fans, and with the crowd funding model it can be a reality from fan support. Provided the film reaches it goals, which looks likely, release is anticipated for 2017.

There’s no doubt that Power of Grayskull will be the ultimate documentary for the Masters of the Universe. Now, the project is left in the hands of the fans. You have the power.

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Big Bad Bosses – A Music Team Up of Gaming Proportions

Being the savy game journalist that I am, I would be failing all of my readers if I ignored what is created by gamers. Sure, the world of gaming is built on the minimalist approach of Shigeru Miyamoto or the world building of Todd Howard, but everyday, in unique ways, gamers themselves build on the foundation laid by the greats.

Sites like Youtube, Twitch and Facebook spawned the likes of Jirard the Completionist, Pewdiepie and more. These talented gamers often take their love of digital worlds into other areas of expertise like video creation, writing (cough cough) and even game design.

Music has also been a popular outlet of creation for gamers: the pounding raps of Arin Hanson and Dan Avidan in Starbomb to the somber tones of Lindsey Stirling. The amount of excellence in these works is astounding, trumping professional audio productions and even outselling some of the most popular acts of our time.

A new collaboration effort seeks to join these phenomenal music works with an A-list of talented gamers and composers behind the helm. Behold the Big Bad Bosses‘ first album, Power Overwhelming, a gaming tribute pop album with raps and rocking melodies. The parody album gives some of our favorite villains a voice, which  features the skills of Jake Kaufman of Shovel Knight and Double Dragon Neon glory, Jirard Kahlil, Alex Faciane, Satchell Drakes and Nate Sharp.

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Gaming culture has evolved drastically from the defiant file sharers of early PC gaming. Now, gamers dominate media, just as authors and film producers did. This movement not only helps gamers branch into professional skills, but also shows just how much video games have become a influential medium as a whole. Games used to be the root cause of evil, as Doom was linked to violent crimes and Grand Theft Auto taking the stand after each release, but there is so much more available.

Video games are a medium worth defending. Gamers like the Big Bad Bosses are leading the movement in a dynamic way.

To snag the new album, head over to the official site of That One Video Gamer’s merchandise, Yetee. Or, find them on iTunes and the Google Play store.

VERTOSCOPE: A Look Into the Dark Side

Most stories try to get the audience to relate to the protagonist. A likable main character is an easy sell, it’s hard to get people to look into the uncomfortably warped reality of villains. Stories about villains do exist, but they are rare. In this 200-page graphic anthology, VERTOSCOPE adds more entries to that niche. I was recently given the privilege of interviewing the project head, Nechama Frier, to talk about VERTOSCOPE and her own experiences in the crazy world of comics.

Page from "Witchweed" by Ama.
Page from “Witchweed” by Ama.

What advice do you have for writers seeking artists?

Save up enough money to pay one artist a fair rate, for a short story about 20-30 pages. Once that’s complete, that will be your physical evidence of your work, so you can use it to show people what your writing style is. And it doesn’t hurt to do stick figures while you are looking for an artist, there’s a lot of comics out there that get by on their writing despite stick figure art.

Page from "Taming You" by Grace Park
Page from “Taming You” by Grace Park.

How did you get into creating comics for a living?

I wouldn’t say at this moment I can call myself someone who creates comics for a living, I can say I create art for a living. My main income comes from illustrations and stand-alone products, such as cute earrings or scarfs, and projects such as this are stuff I save up for in order to make what I’m really passionate about happen.

Page from "Bear My Teeth" by FATE.
Page from “Bear My Teeth” by FATE.


Why the title VERTOSCOPE?

Ten and I, my co-editor, wanted to try our best to make up a word that was sightly strange and isoteric, that kinda en-capsuled what we were trying to go for. To give a lens to view the world from a warped view, to get the point across that this is something not quite right.

Page from "Coping Mechanism" by Jenn Doyle and Ursula Wood
Page from “Coping Mechanism” by Jenn Doyle and Ursula Wood.

What inspired the creation of this anthology? Why Villains?

Because Ten and I just love villains. We also spend a lot of time on social media, and we see a lot of discourse between fans of works, who seem confused about the boundaries of fiction. A good example is Game of Thrones, where so much of what’s happening is horrible, and many people say “What this character did is horrible, and you cannot watch this show anymore.” Me and Ten are here to say that, no you can enjoy these things, reality and fiction can be kept separate.

Page from "The House of the Immaculate" by Sey Vee.
Page from “The House of the Immaculate” by Sey Vee.

Obviously, with a concept of exploring the psyche of less than noble individuals, shock typically becomes a component of that. What place does shock value have in this project, if any?

It definitely has it’s place, but I was interested to find out that because of the particular stories me and Ten are interested in, and the writers we hired, shock and gore doesn’t play a large role in the stories. It’s still there, but it’s there to emphasize moments where our characters step over those moral boundaries. One of our stories is just about children playing soccer, nothing of real shock occurs, but one character takes it a little further than his peers, so shock is relevant to the specific situation at hand. The shock value always makes sense to the context of the individual story, but none of our authors used it as a cheap gimmick to horrify and disgust viewers, because that’s really not the point.

Page from "Striker" by Stowell/Stober/Shazzbaa.
Page from “Striker” by Stowell/Stober/Shazzbaa.

Who is your favorite villain in fiction, and why?

This question is so tough, because we have so many. Someone once asked me which villain in comics I’d like to write for, and my answer was Lobo for DC Comics. I would go with the Greek God Apollo, who is not normally seen as a villain, but unquestionably is based on his actions. My view of him as a child was this nice sweet god of the sun, none of which is true. He is not nice, he’s not the god of the sun. A great example of his villainous nature is when he wins a rigged music contest against the Satyr Marcyas. He chooses as his prize to skin Marcyas and let his blood flow into the river, he did name the river after Marcyas though, so good job. I find him particularly fascinating, because his God-like status allows him to get away with stuff like this, no one ever calls him out on it.

Page from "The Devil's Pupil" by Ashley McCammon.
Page from “The Devil’s Pupil” by Ashley McCammon.

I noticed on the project description that you mention creators being pressured to create likable protagonists, is this from personal experience by you or any member for your group?

I think that was a reference to both the industry and to what I mentioned earlier with this discourse of social media. There’s been a long issue in the industry between underground comics and mainstream comics, about having complete creative freedom and having self-published stories, without fear of censorship. It’s not that we are creating something new, just that we are creating our own versions of everything. People get stuck on the word new, I can enjoy the same basic structure multiple times, because every author has their own unique take on it.

Page from "The Wonderful World of Wasps" by H. Preece and A. Lee
Page from “The Wonderful World of Wasps” by H. Preece and A. Lee

What do you feel are the benefits to an anthology format over others?

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I think that the format is ideal for any artist that is starting out, or has lower visibility. Not only are short stories less of a time commitment, but also a combination of veteran creators along with new talent is beneficial to everyone. A publisher can be more willing to take a risk on someone who is relatively unknown. The same benefit applies to consumers, they can pick up an anthology by a veteran author they know, and find a bunch of new talent along with that.

Page from "Tincture" by One of Two.
Page from “Tincture” by One of Two.

If the project is successful, will this be something you revisit, such as with a new anthology or stand-alone series based on the stories?

I would really love to, I know a number of creators already have further plans for their short stories. I’ve taken a portion of what could be a longer story for my submission, and if we have a Vol 2. I would love to include new stories, both completely new, and some having the same artist revisit their stories from Vol 1. I would also love to include a section for prose in a future installment.

Page from "The Devil's Dentist" by Mady G.
Page from “The Devil’s Dentist” by Mady G.

How did you get together your team of writers and artists for this project?

It was completely open submission. We put a call out on Twitter and Tumblr, asking for people to turn in their portfolios, a summary of what their stories would be about, and an estimated page count. We got about 150 submissions, and me and Ten went through each to decide what fit best, and offered contracts to those who made it. Those who didn’t make it were still offered a personal response about why the submission wasn’t accepted. Because Ten and I have both been through that process of getting rejections, we felt it was more constructive to offer people with feedback. There’s never a personal reason why people are rejected but mainly budget reasons. We’d love to accept twice as many creators in the future if possible.

Page from "The Bear and the Jester" by ENOCH.
Page from “The Bear and the Jester” by ENOCH.

This is the first kickstarter you have put together, but it’s not the first group-funding project you’ve done, can you explain your past experiences?

Just last year I put together a 12 month calendar featuring 12 different artists, and it was funded through pre-orders, to make sure I had the funding to print it and to pay the illustrators. I’ve been a pro illustrator for 10 years already, and I have always delivered, whether it’s an order from my shop, or a commission. I think the reason we have been doing so well, is because we have built that level of trust with the consumer to produce a quality product and on time.

Page from "Tails" by Emilee McGlory.
Page from “Tails” by Emilee McGlory.

A large component of your stretch goals is bonuses for members of your project, what made you choose to advertise that?

Because I think that the largest part of running a kickstarter is making sure our artists get the reward they deserve. Ten and I made sure we could pay our artists no matter what. The bonuses are built into the kickstarter, but we made sure we could at least pay the artists $50 a page. Artists don’t get paid enough in the first place, and we want to make sure the book is printed, and the artists get paid enough for their work.

In terms of the commissions that are available for backers of $125 or more, what can potential backers expect from commission requests? Does the $1,000 Comics Royalty tier also include a commission from the $125 tier in addition to a 5 page commission from yourself?

Yes, in essence it does, the $1000 tier includes a water color cover for the 5-page commission. What I have done, is to have any commission backers connected via email to the person they request the commission from. After I connect them, I check in via email, and make sure everything went well for both the commissioner and the artist.

Can you tell me a little about your contribution, “C-259”?

It is a sci-fi story, basically set where humanity has lost Earth. It is set in colony 259, one of the last known bubbles of humanity in the universe. Things are going fairly well for them, they are surviving, but then aliens show up, and basically everything gets fucked. The actual story takes place in that colony, and focuses on the choices the main character, Filip Sawicki, chooses to make, given the situation.

VERTOSCOPE has so far made about half of it’s kickstarter goal.  There is also a $2,000 dollar Associate Publisher and $5,000 publisher tier, with the latter granting the backer 50 softcover copies of the anthology, a publisher credit, a special bookplate signed by all the creators 15 page comic commission (drawn and colored by Nechama), along with a digitally designed and colored cover.

After talking with Nechama about my personal experiences as a writer hoping to get into comics without currently having an artist, she provided a helpful post by VERTOSCOPE contributor Ursula Wood, to assist others in a similar situation with advice.

Nechama Frier was also kind enough to give a full preview of one of the stories included in the anthology, “Breakfast in Bed”

Credit for these images goes to http://swinsea.tumblr.com/post/132566833355/its-camodadcomics-birthday-to-celebrate-you
Credit for “Breakfast in Bed” images goes to http://swinsea.tumblr.com/post/132566833355/its-camodadcomics-birthday-to-celebrate-you

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