Dark Horse Comics brings the legend of Conan to vivid life with this fantastic series. If you have always thought of Conan as a brute, think again. As well as great strength and martial skills, he is also a superb tactician. Expertly written by Kurt Busiek and featuring outstanding artwork, this 50 issues series is a must-read for everyone, especially fantasy lovers. If you are a stranger to comic books, this is an excellent place to start.

Buy it from Dark Horse

Excerpt of the review from SF Site:

Contrary to popular misinterpretation (thanks primarily to the Marvel comic books and two feature films), Conan, as presented by Howard, is much more than a fighter. He is a thinker, a tactician, a lover, and a loyal friend. Conan is a barbarian, a thief, a mercenary, and ultimately, a king. The tales are full of political intrigue, romance, swordplay, magic, mythology, and more. Like all of Howard's work, Conan was a vividly imaginative interpretation of a young man's West Texas world.

In the graphic novel, a young Conan has journeyed north in search of the legendary kingdom of Hyborea with its riches and immortals. While saving a young woman's life, he gets embroiled in a confrontation between the warring peoples Aesir and Vanir. Through a series of fights and political machinations, events eventually lead to the frost giant's daughter and eventually Hyborea.

Busiek's masterful manipulation of Howard's playground is supported and supplemented by the artistic talents of Gary Nord, Thomas Yeates, and Dave Stewart. Robert E. Howard was a master of action, who wrote some of the finest and most influential fight scenes ever produced. Reminiscent of Frank Frazetta, the art manages to translate the intensity and flow of the source material. Nord's interpretation of the frost giants is original and inspired.

Excerpt of the review from Graphic Novel Review:

Overall, the point to be made about the writing is that Busiek easily handles the difficult task of blending his own stories, and his own interpretation of the character, with Howard’s: the man is a pro. Yes, the prose is purple, the plots are melodramatic, the characters are thin. But, come on, this is Conan the Barbarian.

What really sets this version of Conan apart from the rest, though — and apart from almost any other action/adventure comic book being published today — is the mind-eatingly splendid artwork. That sort of thing gets said a lot, by graphic novel reviewers, when they’re talking about fantasy books. Usually, it means that the artwork is the kind of overly-rendered, photorealistic, pose-centric crap that you see on the covers of heavy metal albums and in posters for big budget fantasy movies. That’s not what this artwork is like at all. It’s something I’ve never seen before: scribbly, deliberately unfinished-looking, on the lowest level (the figure and the line), and yet gussied up at the highest level with the latest mainstream comics coloring techniques and painterly washes. It’s a strange, tense marriage of styles that works very well. As I mentioned earlier, there’s a bit of Kubert’s Tarzan to Nord’s Conan, but where Kubert puts his ink line in the forefront, making everything all about the line, Nord allows his line to fall to the back, in favor of pure shape and action, when necessary. In some places, the coloring by Dave Stewart swallows the line entirely, giving the characters and the settings a carved-in-soap kind of look. In other places, you get the sense that there was a tightly-pencilled line, which has been covered over by the coloring, and then one or both of the artists came back in with a Sharpie to just touch up a couple of key details with a thin black squiggle. I’m not sure if that was the technique or not, and I’m sure I’m not describing it well enough — suffice it to say that the style is distinctive and well-done. Together, Nord and Stewart have managed to breathe visual life into a character and an idiom that had become tired and old under the influence of geeky fan-favorites like Frank Frazetta, Barry Windsor-Smith, and John Buscema. I’m not saying that these artists weren’t masters — they were great, each in his own way — but that’s precisely the problem: they were masters. Their vision of the character and the world, bastardized by imitators and by imitators of imitators, like fifth and sixth generation mimeographs, had to be blasted out of our brains before we could actually “see” Conan again, with fresh eyes. Nord and Stewart have done that. This Conan is alive: he’s funny (his body language, I should say, is witty), he’s vicious, and he’s something else entirely. The fact that, toward the end of the book, another great fan-favorite, Michael Wm. Kaluta, actually draws a longish sequence in the middle of a story, in a completely different style, without putting the younger and less-well-known artists of the rest of the story to shame, or jarring us in any way, is another testament to their accomplishment.

Usually, the highest compliment I can pay to a series of graphic novels (and so many of them are series, rather than standalone works, that the series structure is probably the norm, rather than the exception — grumble, grumble) is to recommend that you not only buy the current volume, but that you follow the series into the future, and purchase subsequent volumes as well. Not only will I personally be doing that (at least, as long as the current creative team stays on board, I will be doing that), I’m also planning, myself, to purchase the previous two volumes, even though this isn’t my favorite kind of story, or my favorite kind of character, by a long shot.

http://rapidshare.com/files/122725086/Conan_v2_000_-_007.rar
http://rapidshare.com/files/124312965/Conan_v2_008_-_014.rar
http://rapidshare.com/files/122734681/Conan_v2_015_-_021.rar

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Remember the day they killed Captain America, in March 2007? A shock was felt all over the world, except in those countries where people don't know Captain America from Adam. Though I am no fan of any superhero, I was still very shocked and pissed-off because I have always liked Steve Rogers. But I had a nagging suspicion that it was all a cheap ploy to boost sales, that because no one ever really dies in comics the Cap will be back. I was right, and I believe many people had the same suspicion, too. They are bringing Steve Rogers back in Captain American Reborn.

What is that I am hearing? Oh yeah, comic fans everywhere are saying "I told you so".

The original Captain America is finally coming back," Marvel Comics editor in chief Joe Quesada told the Daily News. "We've been patiently planning for this moment for 2 1/2 years."

Read more

"Captain America" writer Ed Brubaker, who scripted the character's death and will also be scripting the five-issue "Reborn" series featuring Rogers' return, has already gone on record saying the gone-and-back strategy was planned from the very start. So, while response to Rogers' return has been mixed (with many of the most vocal critics of his death now equally critical about his return), the most important question coming out of the media frenzy could be the simplest: why did he have to die in the first place?

So, they had planned it all along, eh? That just confirmed what I have always thought: every time some big name get killed in a comic, that's just a cheap marketing ploy to make money. It worked wonderfully in the case of the star-spangled Avenger, though, didn't it? It boosted sales like crazy. And I must admit I am really happy to have Steve Rogers back. I can't imagine anyone else as Captain America.

However happy though I am at hearing the news, I am still extremely disappointed. I have officially lost faith in the comic industry. If you kill someone, let them stay dead, else what would be the fucking point? Deaths of important characters in comic books lose all emotional impact when you know they are going to pull a Terminator anyway. And that is the difference between mainstream comics and indie ones. DC and Marvel will do anything, anything, to make more money.

"Just because we're bringing back Steve, don't think you know everything we're going to do," said Brubaker. "I wouldn't have 'Captain America: Reborn' be this big of a deal and not have some tricks up my sleeve."

Of course I expect no less. I expect fans are going to spend a shitload of money on a truckload of issues before they finally get to see Steve Rogers back in costume.

I have become an unconditional fan of Neil Gaiman ever since I first read American Gods. Neverwhere is the second of his novels I have savored. I have a special fondness for any fantasy book that uses the theme of Alice in Wonderland. Neverwhere is among the best of them. Other similar books I highly recommend: John Connolly's The Book of Lost Things, China Miéville's Un Lun Dun, and Peter David's Tigerheart.

Mike Carey did a great job adopting Neil Gaiman's work into comic book narrative style and Glenn Fabry's artwork is simply gorgeous.



Buy it at Amazon.com

Excerpt from the review at Blog Critics:

Author Mike Carey and illustrator Glenn Fabry have done an amazing job in both telling the story and creating a visual representation of the world it takes place in. While they have had to streamline and leave out some bits from the original novel to accommodate the medium, they have done so without sacrificing any of the elements essential to the tale. What I found especially powerful was their willingness to let the illustrations speak for themselves and tell the story pictorially in places.

There are some truly wonderful moments, where they have elected to use large panels that succeed in both setting the scene and generating the atmosphere of the moment without any dialogue. It's times like these when you realize what makes this media so special and how potent great visuals can be. With one or two panels, they are able to accomplish what would take an author three to four pages to describe.

To my mind, Glenn Fabry's illustrations captured the world Neil Gaiman described in his book perfectly. While I had never developed any clear idea of what individual characters would look like, I had an image in mind of what I thought the world should look and feel like. Fabry was able to capture the essence and atmosphere of this world, a sort of 19th century England gone to seed, with a strong sense of the exotic and fantastic thrown in for good measure.

For those of you who are fans of Neil Gaiman's novel Neverwhere and are looking for a visual adaptation of the novel, Vertigo's presentation of Neil Gaiman's Neverwhere is the perfect solution. It's as exciting as the original story and superbly illustrated. What more could you ask for?


Download:
http://rapidshare.com/files/319349369/Neverwhere__complete_.rar

Writer: David Schwartz
Artist: Sean Wang

Publisher: Image Comics

I first discovered this comic, 2 years ago. After devouring it, my thought was "WOW! Best goddamn comic I have ever read since Watchmen and The Dark Knight Returns!!". I have read a lot of good comic books since, but today, I read Meltdown again and my thought was "Damn! This is the best superhero comic I have read since Watchmen and The Dark Knight Returns!!". With only 2 issues, this tiny mini-series has managed to achieve what 52 and Countdown to Infinite Crisis couldn't: greatness.

I highly recommend you to buy Meltdown in graphic novel format, for it contains a lot of extras. If any comic is worth spending your precious mullah on, Meltdown is it. Buy it at http://www.seanwang.com/comics_meltdown/.

Review from Comics Bulletin:

I don’t even know where to begin my accolades for Meltdown #1, a prestige format series coming from Image later this year. Well, I guess I’ll keep it simple and start at the beginning!

Meltdown has an opening similar to the film American Beauty, with our hero Cal, a.k.a. Flare, explaining his current situation: “They say that when you’re about to die, your entire life flashes before your eyes. I can tell you that it’s absolutely true, and I speak from experience. My name’s ‘Caliente.’ ‘Cal’ for short. I’m a super-hero. And I’m about to die. This is my story.” To tell you the truth, I wasn’t too impressed with the opening. It was a little too theatrical and gimmicky, leading me to believe I was about to head into a preachy 48-page epic. Nothing could be further from the truth, thank goodness! David Schwartz has crafted a slick, involving, emotional tale that is only made better by Sean Wang’s awe-inspiring artwork. It’s a super-heroic biography that gets it right, painting Cal as a human being first, then a super-powered wunderkind. Meltdown has laughs (“Maybe then I wouldn’t have to be here, wearing a ridiculous leather costume in the middle of August in Miami.”), tears (as Cal learns he can’t conceive with his wife due to his powers), and introspection on the nature of costumed heroics (“I did all the grunt-work, while the more established heroes hounded all the glory”). All I could think about was how this comic really communicated the essence of being a super-powered human, something that Marvel and DC have lost sight of in the midst of Civil Wars and Infinite Crises. I care about Cal and his travails, and I can’t wait to see what comes next from this excellent mini-series.

Everything about Meltdown has to do with heat, whether it concerns Cal’s body temperature and powers, his hot temper, or his heated passion for Amara. Fittingly, Amara is a feisty red-head with more than a few similarities to Mary Jane Watson (should we take their eventual break-up as a commentary on Spider-Man?). She is also the catalyst of the tale, as many female love interests become in heroic entertainment. When Amara learns that she can’t have a child with Cal due to his heightened body temperature, she is devastated, which causes Cal to leave. The best transition of the issue is at the point when Cal leaves Amara, as he “freed her to find a better man, a better life.” The panel displays Cal taking off into the air with a fiery stream trailing behind him. The following page almosts presents the same scene; the only differences is the costume Cal wears and the change of locale. He says, “That’s the problem with getting too close to someone. The pain can be unbearable, and here I am, doing it again.” What we realize is the pain he is talking about currently is coming in the physical variety, from his arch-nemesis Maelstrom. Throughout the issue, scenes of insight into Cal’s history and the events leading to his current situation are mixed with his presumably final battle with his main foe. The action scenes between the two enemies are beautifully orchestrated and illustrated, but they pale in comparison to the shocks and revelations that come hot and heavy (no pun intended) for Cal after his break with Amara. I won’t reveal exactly what happens, but there is one scene that will remind you of Civil War in a couple of ways (though much more emotionally involving), as well as final page that will have you cursing Schwartz and Wang for making you wait. I have to wait even longer, darn it!

I haven’t seen anything previously from Schwartz, but after Meltdown, I think he is a writer who understands what comics can do, and I hope we see more from him real soon. The pace of this entire issue is pulse-pounding without being too fast, and, considering that much of the issue is Cal’s flashback on his life, that is a real accomplishment. Main characters are rendered with realism and engaging humanity, except when Schwartz creates caricatured players to prove a point or make us laugh. One of the more interesting minor characters is Neuron, the “most brilliant mind on the planet,” who is unable to help Cal with his childbearing problem and his life-threatening condition. There is no magical cure, secret dimension, or technological wonder that can help Cal, showing that the super-heroic world that he frequents is our world, one where real problems don’t have an "Easy" button. For me, that is the greatest accomplishment of this comic. Schwartz very easily could have meandered into the unbelievable worlds we see week in and week out at our local comic shop, which is not necessarily bad. I’d love to live in a New York frequented by the Fantastic Four! But, from an originality/human connectivity standpoint, Meltdown delivers the goods, creating a super-hero epic with true heart and passion.

But, Schwartz’s words wouldn’t have had as much power without the incredibly rendered artwork by Wang. His excellence in Meltdown revolves around his appropriate touches on each and every page. The tone of his art changes with the tone of the story, which creates an involving visual experience throughout the issue. The fight between Flare and Maelstrom has realistic grit, the early tales of Cal and his crush on Amara have an almost cartoon-like/manga feel, and his early days of costumed heroics have the clean lines that are typical of JLA. The moment in the first issue when Cal finally snaps is communicated to us as much with visual cues as with the scripting. The full-page panel showing the height of Cal’s rage leads to a gritty depiction of destruction and despair throughout the remaining twelve pages of the issue. After seeing Wang’s work in Runners and his work here, I realize that he is an artist with overwhelming talent that needs greater exposure.

Hopefully, people will take heed when I say that this is a must buy once this series hits the comic stands. You can’t ask for more from a 48 page super-hero comic, even though you will feel kinda bummed about Cal’s situation at the end of the issue. But when you think about it, being depressed about Cal is a great thing. It means that Schwartz and Wang have made us care about a character we didn’t know 48 pages ago, and for a super-hero comic in this day and age, that is a tremendous achievement.

Download:
http://rapidshare.com/files/319336891/Meltdown.rar

Written by Brad Meltzer
Art by Rags Morales and Michael Bair
Covers by Michael Turner
Introduction by Joss Whedon

I love this comic so much I even bought the TPB, after having "sampled" it through illegal means. It is responsible for rekindling my love of comic books. Yes, it features a bunch of supes, but it's a murder story and a very humane one at that. Here we get to see the supes as real people with real emotions. The story is compelling, the dialogue excellent and the artwork simply exquisite. Damn, there are even people dying in this comic. 4 corpses out of 6 issues, needless to say, I was truly impressed!!

Buy Identity Crisis at Amazon.com

Review from Review Streams:



Brad Meltzer’s graphic novel, Identity Crisis, is a true masterpiece. This story, published by DC, features a heartbreaking murder mystery and features slews of favorite Justice League characters. Rags Morales pencils the graphic novel, and his work is divine. I would recommend this story to any comic fan.



How many superheroes does it take to solve a murder? The answer that it takes a lot, especially when the spouse of a super hero is murdered in most unusual circumstances. The story is tight and focused and really pulls the reader in from the very start. I felt for these characters in a way I reserve for people in real life. These characters are portrayed as real people, with real emotions and flaws. The dialogue is so realistic it contributes to the brilliance of the work as a whole. Meltzer uses unique colored thought panels so you can easily tell who is thinking what. This also allows you to follow a ‘conversation’ between off screen heroes while watching something else unfound. I found this technique highly imaginative.



This is a story I just cannot put down. The pencils by Morales are spellbinding. They literally pop off the page. The colors are rich and bright. There is nothing boring about this graphic novel whatsoever. Even the quiet moments of introspection are vivid and will pull you in. Meltzer does a masterful job of discussing relationships between spouses, between fathers and sons, mothers and daughters, and members of the super hero family in the DC universe. You are given access to the innermost thoughts of so many characters you can appreciate their diverse perspectives on this tragedy. I want to add that it has a twist ending too! This is a masterful 10 on a 1-10 scale. Buy it right now.





Download:
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Batman is a pussy. Superman is a wuss. Wonder Woman is, well, a pussy - that goes without saying (unless one day she turns out to be a tranny). To put it simply, the entire JSL and JLA and the rest of them superheroes are just a bunch of pussies and wussies.

Why?

Because they don't kill, that's why.

Cops pursue criminals. Criminals shoot cops. Cops shoot criminals dead. Cops are heroes.

Supes fight criminals. Buildings and properties are destroyed. People are killed (undoubtedly, but they don't show us that). Supes put criminals in jail. Criminals escape, commit crimes, kill people again. Supes catch criminals, put criminals in jail. Criminals escape.

Repeat. Over. And. Over. Again.

Who the FUCK do Batman, Superman, Wonder Woman, Green Arrow and the rest of them wussies think they ARE? Above the law? If the law can kill, and justifiably so, then why do supes never kill? What do they achieve with their no-killing policy anyway? Here is what: they put bad guys in supposedly ultra-secure, no-escape prisons. Only the bad guys keep escaping again and again. Who know how many innocent lives have been lost just because the Bat guy didn't put one between the Joker's eyes.

One other reason super pussies don't kill is: villains like The Joker, Darkseid, Galactus, etc are too well liked to be allowed to die. They make money. They keep the fans coming back. Besides, if the famous super villains are to be killed, writers will have to come up with new villains, which I reckon is too much trouble for them. Why fix what ain't broken, right?

Be that as it may, there is no denying that a lot of comics about Batman, Superman, and all the rest of the famous superheroes are pretty darn good. I love them and read them as often as anyone. I just wish one day the supes will stop being a bunch of goddamn hypocrites and kill some super villains for a change. And I don't mean some two-dime villain that nobody will remember a month later. Like Barack Obama would have said: the time for changes has come. Kill The Joker.

Buy this book from Dark Horse

Synopsis:

Mysteriously marooned in an unnamed ocean, a man named Ishmael is rescued by pirates and sold into slavery. His past is a blank. Equipped only with courage, a talent for action heroics and the inspiration of a half-remembered love, he must flirt with the sinister tentacles of Hydracorp to win his freedom. The Territory is a land of wonder and fear; hidden in its dark heart, a haunting truth that Ishmael is driven to discover. But there are no maps to The Territory. Those who would explore it must draw their own.

Repackaged as a hardback on the back of V for Vendetta and the forthcoming Kickback, this flight of fantasy (originally published as a four-part series in 1999) was artist David Lloyd’s first collaboration with writer Jamie Delano since their celebrated 1995 Hellblazer story, The Horrorist. Like that latter title, The Territory is a nightmare tale in which reality and fantasy is inexplicably intertwined as a man suffering from amnesia wakes up in a retro-futuristic world ruled by a tentacled terror known as The Gorgon.

In narrative and visual terms it’s a stylish mix and match of early 20th century fantasy fictions such as David Lindsay’s A Voyage to Arcturus and Edgar Rice Burroughs’ John Carter, Warlord of Mars, with a bit of Raymond Chandler thrown in. The dénouement is an all too familiar cop out and the storytelling doesn’t quite strike the right note of irony, but it’s entertaining escapism nonetheless. --Source



http://rapidshare.com/files/318208538/The_Territory_HC_Dark_Horse_2006__Clasher_.cbz
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"Inside this attache case is irrefutable evidence that what I'm telling you is true. Also in the attache, a gun and 100 rounds of ammunition. All untraceable, all yours. Do with it as you see fit. If you act on this information, you will have carte blache."
— Agent Graves to Dizzy Cordova, 100 Bullets #1.

100 bullets on Wikipedia


Review from Graphic Novel Reporter:

After a serial publication history spanning nearly 10 years, the final issue of 100 Bullets was published by Vertigo in April, followed in October by the final trade paperback collection, bringing an incredible, extended noir tale by writer Brian Azzarello and artist Eduardo Risso to an absolutely explosive conclusion. And while the ending wraps things up in grand fashion—and fans wouldn’t have it any other way—the real fun is in the journey.

One hundred issues for 100 Bullets seems like such perfect construction, and from the very begging, Azzarello’s story is smart. We are introduced in the very first issue to Dizzy Cordova, who goes on to play a bigger role in the series. Cordova’s family is murdered in Chicago. A mysterious man in a suit named Agent Graves approaches her and offers a way to avenge their deaths—an attaché briefcase with a handgun and 100 rounds of ammunition that by some method, initially unknown, have been rendered untraceable. Any police investigation that comes across the rounds will halt immediately. The case also includes indisputable evidence regarding the culprit. Essentially, it is a way to get away with murder, seemingly without consequences, and a nudge in the right direction.

Cordova’s initial short story wraps up in three issues, and then 100 Bullets moves onto a man wrongly sentenced in a child pornography case and the woman who set him up. As 100 Bullets progresses, we meet a full cast of characters who learn in their own short stories that there is someone to blame for the way their lives turned out. In each case, Graves offers the individual a way to rectify it with an attaché briefcase and 100 untraceable bullets. Some question the consequences of a higher power; some question the contents of the briefcase; some question their own accountability for where their lives are at; some simply take the opportunity to kill…and not always just the person responsible. No matter what, they all deal with the moral dilemma of that briefcase and their actions following it.

But as the stories unfold one after another, characters start to return as the reader learns that they are all connected by something more than the mysterious man and his attaché briefcases, and then a larger plot and conspiracy begins to unfold, keeping readers on the edge of their seats until the very last pages of chapter 13, “Wilt.”

The individual stories as well as the overall arc in 100 Bullets feel like good old-fashioned crime fiction, with beautiful, big-breasted blonde women, suave men in business suits carrying out some of the most violent action around, with everyone trying to stay one step ahead of the other in a plot that will keep readers thinking the entire time. But 100 Bullets also stays away from major clichés, and we also get women who, while, yes, are still almost universally big-breasted and beautiful, are such in a less traditional sense. Likewise, the guys are all cool in their own way, but each of them has a unique back story, leaving different reasons to both root for and despise them. The story finds a level of complexity unique to the storytelling in comics, and that’s what makes 100 Bullets truly special.

But arguably none of Azzarello’s story works without the art of Risso and his supporting staff. Risso’s management of designs for an incredible cast of characters is noted, but the real treat is how he handles perspectives, panel construction, focusing on small details and most notably his shadings of characters and shadow. This is accented by colorist Patricia Mulvihill. From the scenes bathed in sunset oranges to the nighttime blues and blacks, she possibly does the most in creating the true tone of 100 Bullets. And Dave Johnson doesn’t leave one cover in the entire series unmemorable.

Like most ongoing series, 100 Bullets has some rough edges at the very start, as Azzarello and Risso try to click and find their groove. The dialects Azzarello tries to recreate can be jarring at the beginning, but whether he gets better or the readers simply become accustomed to his incredible work along the way, it doesn’t take long for things to sink in, and then the story and the visuals grab hold. And unlike most other ongoing series, 100 Bullets never lets go. It’s hard to find a dull moment or an uninteresting character, dilemma, or story along the way, making 100 Bullets a true testament to what can only be accomplished with collaboration in the comics medium. It is a pulp-driven extravaganza, striving for deeper meaning about the history of American violence. For the most part, 100 Bullets hits its mark, and like the crime saga greats of cinema, it is always entertaining.
-- William Jones

Download the entire series (100 issues)

http://rapidshare.com/files/317961990/100_bullets__1-10_.rar
http://rapidshare.com/files/317968449/100_bullets__11-20_.rar
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Did I mention that I loved anything noir? And is there anything better, more delicious than a hard-boiled noir story set in a world full of posthumans, especially when it's written by one of the master of the noir genre: Ed Brubaker?

Sleeper and its prequel Point Blank are excellent graphic novels that, sadly, didn't get the recognition they deserve. There are rumors about a movie based on Sleeper, starring Tom Cruise and directed by none other than Sam Raimi. I am crossing my fingers and hope to see it some time this decade.

Wikipedia


Comic Review: ‘Sleeper’ Vol 1 and 2

Jack Bauerstein83 Posted by Jack Bauerstein83 | September 30th, 2009 at 7:26 pm

Sleeper
Vol. 1: Out in the Cold
Vol. 2: All False Moves
Written by Ed Brubaker
Art by Sean Phillips
DC Comics/WildStorm

Back in 2001, a funny thing happened. Noir style comics got popular. Sure, they have been around for a pretty long time but I think it hit its peak once noir-esque style writers like Brian Bendis, Greg Rucka, and Darwyn Cooke started to make some engrossing pieces of comic book fiction. And with the popularity came the glut of noir comics, filled with morally ambiguous heroes and deadly femme fatales. Some were good but a lot were not great. The worst part of it all was that with so many books out there, a great book was bound to be lost in the fold. Sleeper by Ed Brubaker (Daredevil, Criminal) and Sean Phillips (Criminal, Marvel Zombies) was one such title.

Though it garnered a lot of critical acclaim, sales for this title was okay at best but because of solid following plus strong trade sales, the entire series is finally collected in two volumes.

Okay, so let’s start with the basics. Sleeper centers on Special Agent Holden Carver. When a mission to grab a mysterious artifact goes south, Carver and his team of government agents are left for dead. Lucky (or unlucky?) for him, Carver is the lone survivor. The artifact bonds with him, saving his life, and leaving him with the power to store and distribute pain to other around him. With the world believing he is dead, Carver decides to help his government the only way he can: become a double agent.

Flash forward to four years later, as Carver has established himself as one of the top men in a super powered criminal organization. Carver’s very close to nabbing the organization’s boss, Tao, but a wrench is thrown into the mix when he discovers his handler on the outside (and the only person who knows who he actually is) is put in a coma by an unknown attacker. To make matters worse Tao suspects a rat in his fold and plans to do all he can to smoke him out.

Like everyone else, I was late getting into Sleeper. I remember picking up the first issue but for one reason or another, never picked up the subsequent issues. It was only until I picked it up at my local library that I got hooked on all its greatness.

For one thing, it is written by uber writer Ed Brubaker. Anyone who has read any of his works knows the man can spin a yarn and he doesn’t disappoint with this. The characters are developed, engaging, and most of all, you really root and feel for the characters, even though a majority of them are immoral homicidal criminals. The best character is the main character Carver, who is the quintessential noir hero. He is basically a guy that is trying to do what is right, despite the cards he was dealt with, and you root for him to come out of this mess alive, even though deep down you know there will be no happy ending.

Yes, dear reader, sorry to burst your bubble but there is no happy ending at the end. It is a noir story after all. No character comes out of this story unscathed as Carver’s criminal and government lives begin to intertwine, and I think it was a wise move on Brubaker’s part to fashion such a story. It is not a pretty story so it shouldn’t get a happy ending.

What is pretty though is the art by Sean Phillips. Many should be familiar with his work on Marvel Zombies but I really love his work on Sleeper. His dark tones and style fits the mood of the story perfectly. I can’t imagine anyone else would be able to fill his artist shoes.

Sleeper is a hit on all counts. The writing is solid and the art is perfect for the tone of the story. You will not be disappointed with this read. -- Source

Download Sleeper vol 1 and 2 and Point Blank.

http://www.multiupload.com/ACOP90UZ5T (part 1)
http://www.multiupload.com/BBFPA59USM (part 2)

Download both parts before extracting.