DAISY KUTTER graphic novel review at Silver Bullet Comic Books

If you’ve watched even a small share of Westerns, I’m sure you’ve digested this plot at least once: a notorious gunslinger decides to call it quits, settles down and gets busy living a legit (in other words, boring) life. Unfortunately, unforeseen circumstances and the persistent exhortations from other individuals force the gunslinger to perform “one last job.” Essentially, this is the plot of Clint Eastwood’s Unforgiven. It’s also a plot carried over ad nauseum into other genres (i.e. a mob movie like Things to do in Denver When You’re Dead). And it is the plot of Kazu Kibuishi’s 153 page manga-sized black-and-white four chapter story Daisy Kutter: The Last Train.

Although the “gunslinger pulled out of retirement for one last job” plot is derivative, it nevertheless remains compelling IF engaging elements are thrown into the mix…, and Daisy Kutter does just that. Instead of being gruff, grizzled and squinty-eyed, the retired gunslinger in this story is a gruff, “girl with the curl” (quite literally), carrying a shotgun whose length and power really qualify it as portable artillery. Instead of enjoying the charms of a virtuous town school teacher, Daisy Kutter has to suffer the unwanted romantic determination of her ex-partner-in-crime Tom, who’s turned his life around and become the town sheriff. His square personality is emphasized by his squarely-drawn head. Instead of being situated in 19th century Tombstone, Arizona or Deadwood, South Dakota, Daisy Kutter takes place in some unspecified time and place, where telephones, radios, security guard robots, holographic machines and enormous Mechanized battle armor occupy the expected wide-open Western genre vistas, saloons, general stores and gambling halls. The story doesn’t explain this strange juxtaposition of futuristic technology and Old West settings, and to be honest, an explanation isn’t necessary because the bottom line is that visually, this mix works incredibly well.

This book will hook you. Each chapter establishes a situation that keeps you reading until its resolution. The entire story is decompressed. I categorize decompression in two ways: “Lazy” decompression and “Cinematic” decompression. Lazy decompression finds ways to lengthen trite moments over several pages for the sole purpose of padding a 40 page story into a 100 page one. Cinematic decompression draws out a story’s important moments in order to dictate the pace at which the reader experiences the story as if the reader is at the movie theatre watching a story unfold “in time.” Lazy decompression has a shortage of panels; it showcases (often laughably) ineffective and unnecessary splash and double splash pages. A page of Cinematic decompression, on the other hand, can typically have more than eight panels on it where dialogue is sparse and panels get duplicated in order to provide the illusion of time transpiring on a page of static images. Daisy Kutter demonstrates Cinematic decompression. The story’s third chapter exclusively focuses on “the job” that Daisy has been hired to perform. It takes place on a moving train and of course, everything hits the fan. This chapter displays the pacing and choreography of a well-made action movie.

Yes, the pacing is cinematic, the elements of the story are clever and intriguing, but it is Daisy Kutter herself who drives this book. The book is tremendously charming because of her. Despite retaining all the appropriate Western genre masculine traits (she is a proficient gambler, she’s quick-tempered, she’s socially aloof, she’s skilled at gunplay), Daisy remains decidedly feminine. Her openness, confidence, resilience and independent spirit are utterly attractive. But she's no "super-hero," no invincible Amazon. She is vulnerable but not frail. She is desperate but not needy. Her charisma is also the product of the way she’s drawn. Her figure is demure, her hair is girlishly cute, and more often than not, her mouth and nose are simple curved lines. The art style throughout the book is quite cartoonish, which helps eliminate any nihilistic subtext that Western stories often have. Daisy finds herself in some dire situations by the end of this book, but because of the nature of the artwork, I never felt like I was reading some grim amoral tale. That’s a good thing because ultimately the attraction of this book is Daisy’s simple appeal and self-assurance that she can handle any problem thrown her way.

Daisy Kutter: The Last Train reaffirmed my faith in comic book story-telling, and I can’t wait to read it again.

DAISY KUTTER is the #1 COMIC OF THE WEEK at The Comic Fanatic

This is one of those books that’s not quite what you would expect…it’s much more! Part western, part sci-fi, part tough girl comic and 100% fun! Daisy Kutter is unlike anything on the shelves today! And, speaking for myself, I wish there were more Daisy Kutter-like books out there!

At one time, Daisy Kutter was the most feared gunfighter in the New West. After years of living up to that reputation, Daisy has decided to retire and follow the straight and narrow. However…this is Daisy we're talking about, and you'll soon discover that where Daisy goes, trouble and bad luck always follows!

Daisy’s plan to open a general store and lead a good life is derailed when she is unexpectedly drawn back into her old life of crime, much to the chagrin of Sheriff Tom. Due to the luck of the draw - or in Daisy’s case, the unluckiness of the draw - Daisy loses everything. Now, to get back on her feet again, Daisy reluctantly takes a job that appears to be a cakewalk. However, with Daisy…nothing is ever easy!

Daisy has been hired to rob a train…by the train’s owner! Apparently, Mr. Winters wants to test out his most lethal security robots - who make C-3PO look macho - against the great gunslinger, Daisy Kutter. However, Daisy soon discovers that there is more to this test run than meets the eye! In addition to the vacationing Tom, there is an unexpected guest aboard the train. And before all is said and done, death and destruction board this train, too!

Writer/artist Kazu Kibuishi has created one of the brightest, most lovable characters to hit the scene in years. Kibuishi’s Daisy Kutter is a tough cutie along the lines of a female Clint Eastwood with the luck of Barney Fife! Kibuishi’s art captures this essence perfectly, all the while giving this book a welcoming and comforting feel that can only be described as a breath of fresh air in an often stale industry!

DAISY KUTTER receives a perfect score at ComiXtreme

This book has been a huge surprise to this reviewer. In a week with Green Lantern:Rebirth and the end of Batman's War Games, I found this on the top of my stack. The pencil work by Kibuishi is awesome, it really doesn't need inking to look good, in fact the subject matter works with the black and white pencils. The backgrounds are surprisingly rich for a pencils-only book, especially once the train gets in motion, stunning stuff.

This book is written as well as it is drawn. It's surprisingly funny, especially the bits with the old security robots. Kibuishi's dialogue is witty and sharp. The words coming out of the characters mouths are their own. Kibuishi has also created very well-rounded characters, Daisy is your typical train robbing, card playing, bad ass western frontier chick, but she has soft spot for Sheriff Tom. It's interesting that the one person she can talk to is the one person she probably shouldn't. Tom is a perfect foil for Daisy. He's kind of a doofus, but he's always there for her, even helping out when Daisy gets into a jam. It's fun to see the two play off of each other. In fact if I had to give one word to describe this book it would be "fun", because really that's what this book is. Yeah, it's beautifully drawn and the writing is top notch, but it also manages to have the fun factor and that's really what sets it apart. If only Kibuishi could add a submarine and a giant spider it would completely obliterate the fun scale.

Between Daisy Kutter and the Dead@17 series Viper Comics is putting out some truly excellent stuff right now and is worthy of your readership.

DAISY KUTTER receives a 9 out of 10 at X-World Comics

SYNOPSIS

Daisy Kutter is a female who just wants to be left alone. Apparently, Daisy is a former military hotshot of sorts. Living in a small town, running a shop and just trying to live the rest of her life. Shortly after the story starts, she is presented with a suspicious offer that she turns down, on the claim of having quit "the life". The other main character so far is a Sheriff in town that is keeping an eye on Daisy - to make sure she's quit "the life" (which has yet to be revealed).
Daisy was good at what she did, not just because she could handle a gun, but also because she could read people. She has confidence in what she use to do, which helps her today to play some pretty good cards. As it turns out there is a Texas Hold 'em tournament during Poker Night at Shelly's Tavern. When Daisy takes the pot she thinks she's done for the night, until there is a Mister Winters who isn't ready to walk away and wants to play the tournament out.
Daisy's confidence turns to cockiness and arrogance against Mister Winters' calm demeanor and playing skills; which costs Daisy a lot more than the night's winnings, it costs Daisy her store in a fool-hardy emotionally charged bet.

REVIEW

The independents strike again; better yet Viper Comics strikes again and makes sure they didn't just publish a comic in order to publish a comic. As is quickly becoming a new trend in the comic industry, the editors are playing a noticeable role in the quality of comics getting picked up or passed up. Viper Comics has shown an eye for talent with the publishing of Dead@17, so it comes as no surprise that Daisy Kutter maintained the same pacing and quality that made Dead@17 an enjoyable read.
Kazu Kibuishi, the creator behind Daisy Kutter, does a wonderful job of developing this comic book. From Scott McCloud's definition of a comic book in Understanding Comics: Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.

Daisy Kutter is an instance where the artist is able to convey the story without using excess words or dialogue. Kibuishi uses his obvious Manga influence to show the emotions of the character through facial expressions. Kibuishi has a very cool mix of Manga with an American form of art that allows him to express emotion in a Manga way, without have to hyper-over do expressions. Flipping through the pages, trying to "tack down" exactly his style is near impossible. Trying to find exactly the American style, or the Manga style is equally difficult. The mix of the styles is so subtle that to label it one way or another causes the reader to question the label. "It can't be Manga, it doesn't have that over expressed feel to it." "There has to be Manga in it, look at the features." This is just an element that creates interest and excitement in the comic.

The story has tons of potential and will hopefully have a follow up shortly after this first mini-series. The "mystery person" approach has been way over done, but it doesn't have that feel here. Kibuishi is developing the story and the characters in such a way that it really doesn't focus on what isn't there, but what's happening now, mixed with a "something" from the past. It makes for a really fun, interesting read.
Whatever it is about Kibuishi's writing style that allows the reader to not give much attention to the whole "mystery person" approach; is also the same style that allows the reader to not question an unexplained world that seems to be set in the Old West, but has robots walking around in it. Normally, this would be a nice size plot hole, but somehow it just works. Doesn't mean it shouldn't be explained, or at least talked about on some level, it's just not really a concern for wanting to know more about Daisy and where she is headed. Not an easy feat by any means, but pulled off well here.

RATINGS

Writing: 9 of 10
Art: 9 of 10

Overall: 9 of 10.

Viper Comics strikes again. Another very solid, easy to follow, nicely paced series to keep comic fans everywhere in tune with what makes comics great. A solid female lead is never bad thing, a well written, well drawn even better. This comics so far translates universally and is worth picking up.

DAISY KUTTER reviewed at ComicBookResources.com

When I first started reading comics, I idolized the artistry of Todd McFarlane, Jim Lee, Rob Liefeld, and Erik Larsen. But I also redrew panels from William Van Horn and Don Rosa Duck stories. I freeze-framed episodes of DuckTales, Tiny Toon Adventures, and Animaniacs that I had on tape, to learn to draw them. I even did that with The Jetsons when their animated movie came out. I was sure I was going to be an artist when I grew up.

Things changed in high school, but I still doodle to this day. When I doodle, most of what I draw is the stuff I learned from far too many weekday afternoon cartoons, not what I learned from the comic books.

So if you were to ask me today to draw a comic book for myself, I would choose a more animated style. With the current wave of animation professionals currently drawing comic books -- from Darwyn Cooke to Mike Kunkel -- there are role models galore to choose from. They're producing some of the freshest and most vibrant work in comics today. They're bringing something new to the table that may honor the classic comics work, but isn't strictly beholden to it.

The latest in that line is Kazu Kibuishi's DAISY KUTTER. Although at first it might look like another attempt to cash in on the anime-flavored sci-fi western theme that keeps popping up lately, it's really something completely different. The first issue is all set-up, but not in the way that so many stories waste that set-up. There are events happening in this issue that begin the overall story. We meet Daisy Kutter, we see her get into trouble, and we know how she needs to get out. That part will come next issue.

For now, we have a very likeable lead character, the owner of a small western general store in a town inhabited by humans and robots alike. She's trying to get away from her complicated past as some sort of hired gun, but it keeps coming back to her. And on one particular poker night, her life changes.

Yes, for as big as poker has become in the past year, this is the first major use of Texas Hold 'Em I've seen in a comic book so far. I suspect we'll see more coming up shortly. The biggest problem with scripted gambling is that there's no gamble to it. We, as the audience, know the end is fixed to suit the writer's need. There's no need for any logic.

But in real poker, it's all a gamble. You might win, or you might lose. Even when you only have one card left in a deck of 42 remaining cards, you still have a chance. It doesn't break suspension of disbelief for that card to show up. And if it does break that on you, then you haven't played or watched enough poker in your life. Crazy cards come up at the weirdest times.

Kibuishi goes so far as to explain the rules of Texas Hold 'Em in a genuinely entertaining manner. Daisy narrates the segment, and the hand it's narrated over is likewise interesting. You can hear the voice over like you would in an animated film. It doesn't feel expository, and it doesn't stop the story.

The overall feel of the book is very comfortable. There are no overly wordy panels, because Kibuishi knows how to draw a beat per panel. This is pure storytelling, the ability to pace the images to go with the words. He's not afraid to draw a dozen panels on a page, and he never makes them feel cluttered. Each panel is a beat. There's no cheating here. It's very much like storyboarding for animation. Each drawing there represents a moment. In comics, one drawing can represent more than one moment with some slick dialogue. Kibuishi, though, stays true to his animation training, which results in a very smooth read.

DAISY KUTTER: THE LAST TRAIN #1 comes highly recommended. Viper Comics is the publisher. The packaging is very slick, with a square binding, a cardboard cover, and a good stock of paper to hold Kibuishi's gray washed penciled artwork. It's only $3.99 for a 31 page main story, with a 13 page dog detective backup story by Phil Craven.

DAISY KUTTER receives an A+ at PaperBackReader.com

We’ve all heard the warnings about style over substance, yet it still seems that most of the “hot” comics today have plenty of style but are, more often than not, lacking when it comes to depth or emotion in the story. On the other hand, many independent titles feature that high quality story but are missing the style. While I’m enjoying today’s comics more than ever, I’m rarely bowled over by something new.

Then along comes Kazu Kibuishi with a book that has enough style and substance to make this reviewer excited about comics all over again. Daisy Kutter: The Last Train #1 is one of those books that comes out of nowhere and surpasses all expectations. It may not be the dark, gritty crime story I’ve learned to love so much, but this first issue is certainly going down on my top ten list for the year.

Daisy is a retired outlaw who has settled down to become the owner of a small general store in an unnamed town in the wild west—one where robots roam just as wildly as buffalo. But she hasn’t quite adjusted to the slow pace of day to day life, and she yearns for the days of exciting gun fights. When two shady characters come to town and ask her to rejoin the life of crime, Daisy’s life is going to change drastically.

What makes this book so perfect is that everything is fresh and new. The addition of robots to an old west town gives the story a fresh, lively tone. And while the robots are certainly a new look for the western landscape, the events in this first issue are equally unique. While everything feels familiar and seems to be following the line of what’s been seen before, Kibuishi flips everything ever so slightly, forcing readers to expect the unexpected in this good ol’ fashioned yarn.

Kibuishi manages to develop a strong character and setting with minimal words. Within a few pages, it’s easily known just who Daisy is and what her views are on the world she lives in. By the end of the issue, it’s as if I’ve been reading stories about this female gunslinger for years. By making Daisy so believable and letting readers relate to her right off the bat, Kibuishi sets up an ending that is both taut and emotional. In the showdown between Daisy and the silent stranger, the quiet tension is palpable. Every moment stretches into eternity in one of the most exciting and suspenseful moments in comic history—and there’s not a single gun shot or punch thrown in the entire issue.

Kibuishi is a master with the pen, but he’s equally impressive with the pencil. His artistic style is as fresh as his story. The images look simple as if they were drawn with ease, yet at the same time, there are so many detailed expressions and subtle emotions that could only indicate a painstaking, careful approach from the artist. And it’s absolutely amazing what Kibuishi can say without printing a single word. This is sequential art at its best.

Daisy Kutter #1 is one of the best first issues I’ve read in a very long time. If the remaining issues are as solid as this one, Daisy Kutter is going to be huge. And so will Kibuishi.

The copy of Daisy Kutter I was lucky enough to review features a bonus story by Phil Craven, “Mongrel: Trixie, Come Home.” Despite being a tale about a canine detective and a down-on-her-luck call girl, the story fits nicely with Kibuishi’s. It’s a surprisingly powerful story that wraps up nicely in the few short pages we get to see here. I’ll be keeping my eyes pealed for more work by Mr. Craven.

DAISY KUTTER receives a 10/10 at Popthought.com

I'm a sucker for a good western comic. Western comic have been one of the mainstays of my collection and I have a real affinity for Jonah Hex, Hopalong Cassiday, Scalphunter, and the Two-Gun Kid. When Viper announced their new western themed series Daisy Kutter I had high expectations of good things. Even though I anticipated this to be a work I would really like, I was still blown away by the finished product. Daisy Kutter's slick fusion of wild west cowboys and futuristic technology is one of the coolest concepts the comics industry has seen this year.

Daisy Kutter tells the story of Daisy, an ex-gunslinging, poker playing cowgirl who runs a general store in a wild west town. Daisy spends her evenings playing poker in Shelly's Tavern and her days tending her store. This book begins with a few strangers appear in town offering Daisy a job robbing a train belonging to their boss based on her past notoriety as a gunslinger.

It sounds like the straightforward plot of a western tale, but writer/artist Kazu Kibuishi turns the idea on its head with his conception of the series. Daisy Kutter lives in a different wild west, one with robotic poker dealers and thugs as well as mechanized horses. As a combination it works out to resemble a cross between Cowboy Bebop, the film Westworld, and something Sergio Leone would have come up with. The wild west theme and the futuristic elements work well together in Kibuishi's story, and it's a unique spin on the western comic.

Kibuishi's script is well written and the tight dialogue lends to the tough-guy attitude of Daisy and the other characters in the book. My favorite scene in this issue is the poker game; in this scene the dialogue and flow of the story is written in such a way as to add a great amount of tension to the story. Kibuishi sets up the scene with an explanation of how Texas Hold 'Em poker is played. For those unfamiliar with the game the explanation is crucial to the poker playing sequence and makes the book that much more enjoyable. It's an interesting technique and Kibuishi switches between the narration and dialogue during the scene without having the narration seem intrusive. Not only does this scene show the self-assuredness of Daisy, but it makes for entertaining and informative reading as well. Kibuishi is clearly a fantastic storyteller, and this book is one of those few instances where the writing itself is just as good as the story that's being told.

Kibuishi's art is also one of the aspects that makes Daisy Kutter such a good book. Clearly influenced by manga style art, Kibuishi's work lends itself to being entertaining without ever being cartoonish. It's not exactly the typical manga style fans of the genre may be used to as Kibuishi clearly is developing his own unique style that gives the series a good tone. Kibuishi's sense of movement in the panels are fantastic as not only does he keep the pace of the action moving so that the book keeps the reader on edge but also propels the flow of the story very naturally. Each scene moves into the next one with great timing and Kibuishi is able to create tension in the story that works perfectly. The book also boasts a fantastic cover.

I'm very impressed with Kibuishi's spin on the western comic. Kibuishi's sharp writing and stylish art makes Daisy Kutter a book that immediately grabs the reader with it's excellent pacing and highly entertaining story. This is definitely a book readers should pay attention to and one that should establish Kibuishi as a highly talented creator.

Review of DAISY KUTTER at "Still On The Shelf" at ComiXtreme

Ever since the very first issue of Viper Comics’ Dead@17 series, I have made it a point to mention it as often as possible. Aside from the fact that I really did enjoy the series, I was impressed with the way that Viper handled itself as a company, and I wanted to see it grow so that I could eventually get a few more series beyond D@17.

Maybe some people thought Dead@17 was all that Viper had to offer – this is not uncommon in comic publishing. Abstract Studios, for example, rests pretty much everything on a single hit title – Strangers in Paradise. What some people might forget, however, is that Dead@17 was never alone at Viper. Back before Dead@17 was ever released, it was being promoted along with another title, Moonrush, which was to be released at the same time. That title may was dropped before its first issue ever saw print, due to low orders. As a result, Viper has been a one-trick-pony since they started, but this was something that was inevitably going to change.

Enter Daisy Kutter, Viper’s second miniseries. Kazu Kibushi, editor and creator of the Flight anthology for Image, and host of his own web-comic site, BoltCity.com, handles the art and storytelling duties for Viper’s newest outing. Daisy Kutter follows the adventures of a former gunslinger who must saddle up once again, one last time, or else lose everything she has.

Cast of Characters

Daisy Kutter hung up her six shooter in favor of the quiet life of a general store clerk. But though her career is over, her reputation, through stories of her exploits, live on. Daisy is known as a dangerous gunslinger who once shot down sixteen supply frigates in under three minutes using only a shotgun during York’s War. Daisy is quiet, if sometimes grumpy, is a sucker for a good game of poker, considered the best strategist who never served in the military, and is something of a racist when it comes to working with “machines.”

Tom, the sheriff of the small town where Daisy has settled down, once was something of an outlaw himself. He ran with Daisy back in their outlaw days, and clings to the hope that he can get her to walk away from that life, and join him as a deputy. He is extremely patient with the wild Miss Kutter, willing to overlook his “duties” as sheriff in order to protect her. Daisy and Tom seem to have some uneasy romantic tension – I do think that is another story, however.

J.C. Winters wanted Daisy for a job, and he wouldn’t take no for an answer. He sent Morris and Bloom, a pair of robbers, to solicit Daisy’s help for an unusual heist. She declined, in part because she wanted to leave that life behind, and also because she didn’t want to work with Bloom, who is a robot. Winters took matters into his own hands that evening and found another way to force Daisy into his employ. Is his job nothing more than a “test” for his new train security system, or is it something much more?

Thoughts

I have to say that this series really took off for me after the last issue. I thought the first issue was good, but it did have a rather lengthy “poker scene,” that was well put together, but not something I wanted to see issue after issue. And as I pointed out when I reviewed that issue, cowboys (and girls) play 5 card draw, not Texas Hold’em! But that is a minor gripe. This story, so far, does have the feel of a graphic novel that has been broken up into pieces, which may work to the advantage of anyone looking to pick this one up in trade format.

The art is a perfect fit for the story – and it should be. Like Dead@17, Daisy Kutter is written and illustrated by the series creator, Kazu Kibuishi. He has his own unique art style that just clicks with his story. The characters are almost overly simplistic, but seem to fit perfectly with some amazing backgrounds. And I have to say that I love the way he handles rain. And, of course, I would be remiss if I didn’t mention Daisy’s outstanding hairstyle! Makes me wonder if they have hairspray in this quasi sci-fi western world.

One thing that struck me about this series was the quality of the story. I have something of a “law” in comics when it comes to stories written and drawn by the same creator. I try to be as forgiving as possible in regards to the story – I find that usually that aspect of the one-man-show comic is usually the weakest. It makes sense to me – the art of drawing is a very different skill than the art of storytelling. And while an illustrator can be very imaginative and come up with a great story concept, sometimes the execution can be lacking, and I try to be forgiving in cases like that. Here, though, I found that wasn’t necessary. Kibuishi has skillfully woven his tale, with all of the imagination I expected from an artist, along with all of the writing sophistication that I didn’t. It was a welcome surprise, and it is the story that, in the end, makes this title a complete package.

In a first for Viper, each issue of Daisy Kutter has featured a back-up story. Viper is a growing house, and I think this is a great way to give new creators a “try-out” before committing to a new title concept. The first issue featured a bit by Phil Craven called “Mongrel: Trixie, Come Home.” This was one really out there tale – a mix of a Noir mystery and Dogs Playing Poker, this story finds a dog detective in the middle of a domestic squabble between an abusive bulldog and a “hooker” poodle. I don’t know if that story concept has what it takes for it’s own series, but it was an entertaining read.

Issue 2’s back-up was more along the lines of something I would like to see again – Jake Parker’s Lucy Nova, S.E. Briefly, Lucy is an intergalactic agent sent to catalogue planets for her agency. She stumbles through the alien worlds, haphazardly dropping in and out of trouble, trying to meet the impossible deadlines that the I.R.G.A. has set for her. This story was imaginative and full of potential – I look forward to seeing more of this one sometime in the future.

Bottom Line

I mentioned before that I was anticipating Viper’s next series concept since before Dead@17’s first mini concluded, and thus far, I am happy with what they have come up with. With the success of Dead@17, you might expect Viper to put something out that is all-too-similar to that initial success, but thankfully, Daisy Kutter has turned out to be something completely different, and successful on it’s own merits. In fact, the two titles really have very little in common at all, and that is encouraging to see. Viper already has a third title lined up – Oddly Normal, which is set to be released next year. Thus far, Oddly Normal looks as if it too will be totally different than its predecessors. This bodes well for the future of the publisher – the fact that they are able to grow beyond their initial success and branch out into other types of stories indicates some good long-term potential.

If Dead@17 was Viper Comics’ harbinger, Daisy Kutter is proof that they are here to stay. And while it is almost impossible to talk about Daisy Kutter in-depth without comparing it to Dead@17, you can rest assured that it more than stands on its own merits. Each issue is 48 pages, perfect bound with grayscale art. The second issue (of four) is available now, with issue three due out this month. If you want to check out a bit of Kazu Kibushi’s style, head over to check out BoltCity.com, his web comic site. There you can find a few sample pages of the first Daisy Kutter issue, as well as some of this other work.