Elena Rainn

KRKY Y

Kyrsten Iris

Coen Van loo

_ eshago@uw.edu

Watashi Wa Jigabudesu

Roman Bryzhatiy

Karl Halmos-Westram

Timothy Galvin

Ljsly Bernard

Ruby Brown

Dimitri Nuri

To most, Rob Zombie is the musician who fronted White Zombie during the '80s and '90s before going solo... and nothing more. Others will recognize his move into the cinema, helming such films as The Devil's Rejects, House of 1,000 Corpses and The Haunted World of El Superbeasto, the last one an animated feature. However, he also wandered into the realm of comic books for a time, which is where the oddball Superbeasto made his first appearance. Those Spook Show International issues can all be found in one convenient place for those who missed them (or who would simply like to see them again): Image Comics' trade paperback collection Rob Zombie Presents: The Haunted World of El Superbeasto (ISBN 978-1-58240-788-3; $19.99). And, just like the film that would eventually follow, this collection is absolutely not for everyone. As writer (and narrator), Zombie brings his offbeat sense of humor into print, sarcastically (sometimes even sardonically) telling us what he thinks we should know, which is not always related to what actually unfolds before our eyes. The book presents a series of twisted, unbelievable stories with plots so jumbled even a master jigsaw puzzle solver would throw his hands in the air in defeat. But anyone who comes into a production involving El Superbeasto expecting a well-told story is very much missing the point. The Superbeasto series is both a satire and a parody and targets everything in pop culture from very recent to very outdated, and the references fly so fast and so often that one has to be very, very knowledgeable of pop culture to possibly catch all of them. Many are hilarious, some are below the belt and just about all of them are wrong in so many ways. There are plenty who would find this book offensive just because of some of these take-no-prisoners gags, and this is before one takes into account the graphic violence, nudity, sexual situations and frequent profanity that grace its 288 pages. The back cover warns: "Mature Readers Only!" And it isn't kidding. These comics are strictly for adults. Specifically, it's for those adults who like this sort of thing. It's for people who like goofy adventures filled with flying blood, crazy monsters, naked women and insane action. It's for people with sick senses of humor and odd taste. In other words: people like me. This full-color graphic novel is divided into four major sections. The first section focuses specifically on El Superbeasto and his nutball adventures (including an early version of the story that would later find its way into animated form, complete with somewhat different renditions of Dr. Satan and Velvet Von Black), the second focuses on his hot eyepatch-wearing sister Suzi-X, the third on monster slayer Simon Deadmarsh (a fun character who was not lucky enough to make it into the film) and his team, and the fourth on presenting a gallery of cover art and other bonuses. Origin stories for El Superbeasto and Captain Frankenstein (a crimefighting ally of Beasto and Simon Deadmarsh) are included as well. Several artists lend their talents to this collection, with Kieron Dwyer (whose work includes Batman and Daredevil) contributing to the largest number of stories, including the opening story featuring Dr. Satan. My personal favorite story, which comprises chapters seven through twelve of Beasto's section, is drawn by E.J. Su, whose style combines elements of Western and manga-style art in a very attractive way. (It's my understanding that Mr. Su left the business for the less-than-fulfilling industrial designer career. I have something to say to him: get back into the comic book industry! You liked it better, and we like your art! You're good at what you do; this is where you belong!) Suzi-X's adventures are drawn by Pat Boutin and Simon Deadmarsh's by Fabio Laguna (not the musician as far as I know, though I could be wrong). Laguna's art bears more of a resemblance to the art style seen in the animated film, making it feel familiar to those who have viewed it. Zombie seems to enjoy poking fun at British culture, and just about every story has some element of this. Captain Frankenstein himself is the most obvious example, being an English rock star turned crimefighter. In one story, Suzi-X and her robot sidekick Marvin (who is noticeably not the horndog he is in the film) are surrounded by zombie Ringos sporting the classic mop-top hair, and their slang is so contagious that Marvin winds up speaking precisely like them for most of the story, which naturally drives Suzi-X insane. Another story depicts Suzi-X meeting up with Bobby Wolfgang and the Moloko Boys, who look and speak just like Alex DeLarge and the droogs ("Oh, my droogies, I've got a warm feeling down in me gulliwuts! This sweet young devotchka has got me yarbles all bunched up real horrowshow, right, right?"). Even Angus, the man-bat member of Simon Deadmarsh's team, speaks in a thick British accent. What is likely to get the attention of most, however, is the amount of nudity and sex, which isn't quite enough to label this as a pornographic book (arguably), but may fall just shy of the mark depending on whom you ask. El Superbeasto is only too happy to dash into action and a daring escape only to turn right around and have a threesome with Ultra-Twins Mandy (the blue-haired one) and Candy (the purple-haired one), who spend nearly as much time providing us with nude scenes as Suzi-X. Simon Deadmarsh's daughter Cordelia also shows us what she's got, although in her case it's due to mind control (the reason for which is so absurd you have to see it for yourself). Anyone who has already seen (and enjoyed) the film won't be surprised by anything presented here, but those who still believe for some reason that comics are only for kids are in for quite a rude shock. As an example, I'll mention that Beasto's little threesome with Mandy and Candy really doesn't leave anything to the imagination. The dialogue, in addition to its frequent use strong language, is notable for seldom being serious, and when the characters aren't busy contributing to the growing pile of cultural references, they're making insightful remarks at odd times or throwing out cheap insults or strange non-sequiturs. Another member of Simon Deadmarsh's team, Milo the Mighty Man of Rock, somehow manages to walk away with some of the best lines in the whole book ("I'm ready to kick this mug's ass just like my momma used to kick mine!" and "Reminds me of my momma's pea soup! I'll tell ya, that broad couldn't cook a pot of water!" being two particular favorites). Beasto himself bluntly speaks his mind in a hilarious manner, not comprehending how his honesty about favoring hedonism over saving the day could somehow hurt his superhero image ("As usual, the world crumbles as soon as I take a friggin' vacation!"). Zombie himself, however, dishes out some of the biggest laughs with how directly he acknowledges the sheer ludicrousness of it all, even going so far as to apologize for the childish words of a supposedly genius-level scientist who has just soiled his drawers. It is worth mentioning that this book is referred to as "Volume One." This implies that there is or will be a Volume Two, but this does not look likely to materialize. This is probably the only book of El Superbeasto comics we'll ever get, and really, that's too bad. I know I wouldn't mind seeing a follow-up to this, especially if Zombie decided to get even more outrageous with it. It's not for kids, it's not for prudes and it's not for those who take their funny books seriously. The Haunted World of El Superbeasto is violent, sexual comedic excess for readers who enjoy those comics that step out of the mold. If this doesn't sound like your sort of thing, stay as far away as possible for your own good. But if this is your kind of thing, you're going to love it.

A seasoned team of bank robbers, including Gordon Jennings (Idris Elba), John Rahway (Paul Walker), A.J. (Hayden Christensen), and brothers Jake (Michael Ealy) and Jesse (Chris Brown) Attica successfully complete their latest heist and lead a life of luxury while planning their next job. When Ghost (Tip T.I. Harris), a former member of their team, is released from prison he convinces the group to strike an armored car carrying $20 million. As the "takers" carefully plot their strategy and draw nearer to exacting the grand heist, a reckless police officer (Matt Dillon) inches closer to apprehending the criminals.

Three generations of method acting giants unite for this crime thriller written by Kario Salem and directed by Frank Oz. Robert De Niro stars as Nick Wells, an aging thief whose specialty is safe-cracking and who is on the verge of retiring to a life of ease, running his jazz club and romancing his girlfriend Diane (Angela Bassett). But before he can ride off into the sunset, Nick is pressured to do one last job by his mentor and business partner, a flamboyant and extravagant upscale fence named Max (Marlon Brando). Max is plotting the heist of the Montreal Customs House, and he's got a man on the inside, Jackie Teller (Edward Norton), a talented but volatile crook who has managed to ingratiate himself with the facility's staff as a fellow employee suffering from cerebral palsy. Jackie bristles at Nick's interference in "his" score, however, and threatens violence when it seems he's going to be cut out of the action. In the meantime, Nick grows increasingly ill at ease about the operation, as it violates his two most important dictum in thievery: always work alone and never pull a job in your own city.

Miles Logan is a jewel thief who just hit the big time by stealing a huge diamond. However, after two years in jail, he comes to find out that he hid the diamond in a police building that was being built at the time of the robbery. In an attempt to regain his diamond, he poses as an L.A.P.D. detective...

Marty McFly, a typical American teenager of the Eighties, is accidentally sent back to 1955 in a plutonium-powered DeLorean "time machine" invented by a slightly mad scientist. During his often hysterical, always amazing trip back in time, Marty must make certain his teenage parents-to-be meet and fall in love - so he can get back to the future.

Arun Verma lives in India along with his widower dad, Hiralal. He gets married to Kaajal mainly due to the fact that Hiralal wants grandchildren to lighten up his life. When Kaajal fails to conceive, Hiralal is disappointed and asks Arun to re-marry, but Arun is reluctant. Arun and his friend, Jumbo, leave for a trip to Nepal, and in their absence, Hiralal has a heart attack, and is looked after by Kaajal. When Arun gets the news he hastens home to find his dad recuperating and insisting that Kaajal is now his daughter as well as his daughter-in-law, and asks Arun to adopt a child instead of re-marrying. Arun and Kaajal adopt a male child and also find a nanny named Manisha for him. Then chaos and uncertainty descends on Kaajal's world as she finds that Arun is having an affair with Manisha - who it seems is more than just a nanny for their foster son.

Serene and laconic, yet powerful and lethal, Dalton is an expert in martial arts and the best professional bouncer in the business. With such a reputation, Dalton is summoned in a small town in Missouri to clean up the sleazy bar called The Double Deuce from the troublemakers who terrorize the customers, without knowing, however, that the villainous local entrepreneur, Brad Wesley, wants things to remain unchanged. As Dalton cleans up the nightclub, and with it, the town from Wesley's hired goons, a deep wound from a knife will inspire a passionate affair with local Dr. Elizabeth "Doc" Clay. Now, the corrupt Wesley has enough reasons to take Dalton out of the way, nevertheless, the bouncer has the final say.

Stu Shepard is a fast talking and wise cracking New York City publicist who gets out of trouble and lies with his clever charm, connections, and charisma. Stu's greatest lie is to his wife Kelly, who he is cheating on with his girlfriend, Pam. Upon answering a call in a phone booth in belief it is Pam, Stu is on the line with a dangerous yet intelligent psychopath with a sniper rifle. When realizing it is not a joke, Stu is placed in a powerful mind game of wits and corruption. The New York City Police eventually arrive thereafter and demand Stu comes out of the phone booth- but how can he when if he hangs up or leaves the booth he will die?

Belle Williams is a speed demon. Flying through the streets of New York in her tricked-out taxi, she's earned a rep as New York's fastest cabbie. But driving a hack is only a pit stop for her real dream: Belle wants to be a race car champion. And she's well on her way--until she's derailed by overeager cop Andy Washburn, whose undercover skills are matched only by his total ineptitude behind the wheel. Washburn, whose lack of vehicular skills has landed him in the precinct doghouse, is hot on the heels of a gang of beautiful Brazilian bank robbers, led by Vanessa, their cold, calculating--and leggy--leader. To nab the evasive crooks, drivers license-less Washburn convinces Belle to team up with him to pursue Vanessa and crew. Belle has carte blanche to drive at any speed and break any law. The car-less cop and speed-demon cabbie--New York's unlikeliest partners-- begin a high-speed game of cat and mouse with the robbers. That is, if Belle and Washburn don't end up killing each other first.

In Marseilles (France), skilled pizza delivery boy Daniel who drives a scooter finally has his dreams come true. He gets a taxi license. Caught by the police for a huge speed infraction, he will help Emilien, a loser inspector who can't drive, on the track of German bank robbers, so he doesn't lose his license and his dream job.

The story follows the adventures of El Superbeasto, a washed-up Mexican luchador, and his sultry sidekick and sister Suzi-X as they confront an evil villain by the name of Dr. Satan. The adventure, set in the mythic world of Monsterland, also has a character named Murray the robot.

Ohio high school student Scott Thomas is a good student and nice guy - albeit a little predictable - who is about to graduate and go into pre-med. He is unceremoniously dumped by his whorish girlfriend Fiona on graduation day. Among the people he turns to in his hour of despair is his German pen pal, Mike. Scott and Mike seem to have a special connection. After Mike makes advances to Scott now that he and Fiona are not seeing each other, Scott abruptly sends Mike a message saying he never wants to hear from him again. However, Scott learns shorty thereafter that Mike is actually a beautiful girl named Mieke. By this time, Mieke has blocked his messages. Thinking that Mieke is actually who he was meant to be with, Scott, impulsively for a change, decides to go to Berlin to be with her. Along for the ride is Scott's best friend, the girl crazy Cooper Harris. They manage only to get a flight into London, and thus have to make their way from London to Berlin. Along the way in Paris, they run into their high school friends, twins Jenny and Jamie, who are backpacking through Europe. Scott and Cooper consider them the most mismatched twins ever, Jamie who is a walking encyclopedia, and Jenny a girl who they treat as just one of the guys. As the four try to make their way to Berlin, they run into a few obstacles and few adventures. Scott hopes that all these problems are worth it when he has his much hyped in his mind meeting with Mieke.

A former rock star, Johnny Boz, is brutally killed during sex, and the case is assigned to detective Nick Curran of the SFPD. During the investigation, Nick meets Catherine Tramell, a crime novelist who was Boz's girlfriend when he died. Catherine proves to be a very clever and manipulative woman, and though Nick is more or less convinced that she murdered Boz, he is unable to find any evidence. Later, when Nilsen, Nick's rival in the police, is killed, Nick suspects of Catherine's involvement in it. He then starts to play a dangerous lust-filled mind game with Catherine to nail her, but as their relationship progresses, the body count rises and contradicting evidences force Nick to start questioning his own suspicions about Catherine's guilt.

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