I recently drew a book for the Vertigo Crime imprint of DC Comics, with a script by Andersen Gabrych. Fogtown is a dark 'n' seamy tale of noir sex in early '50s San Francisco. A number of people were nice enough to review it. Here are a few (not just the booster reviews, either):

Pulp Serenade

Lambda Literary

SF Gate

Bleeding Cool

Comic Book Resources

Inside SoCal

The next review I’m going to put up isn’t really a review, it’s an interview. And the “reviewer” doesn’t even say that I’m Michelangelo — he says I’m “quite good” and “interesting.” But he says he’s “impressed,” with me, and to impress the late Alex Toth is all I need. I consider Toth to be one of the best ever, if not the very best. (Besides, all he says about Mike Allred is that he’s “bright.”) The interview is from a magazine called Anvil Anthology, published in 1995.Darryl Bowen: Your style is so graphic and so bold and like you said, it's simple but everything is there. The essence is there. And today you just don't see that very often in comics.

Alex Toth: Well, you've got Mazzuchelli, you've got Mignola, you've got uh...

Darryl Bowen: Allred.
Alex Toth: Allred, who is very bright. This Brad Rader is quite good too. He sent me his book, The Mark, for a Dark Horse series... and I was very impressed. He had sent me one or two of those early Batman TV cartoon books that he did for DC Comics. I found it interesting, but I think somebody else was inking him on those books. It was very close to the cartoon style he used on the series, which it was meant to be — but he had some nice touches in there. He's really good on this Mark series and I just wrote him a postcard saying so. He's one to watch.

Next, here’s a review from the Fourth Rail comics review site. Randy Lander reviews my work on Catwoman #5 for DC Comics:

Brad Rader and Cameron Stuart turn in a top-notch job. The opening serial squence of Selina slipping into a hospital room is very vivid action work, and the simple but expressive designs for the various characters come through in the artwork as well. Rader and Stewart make Selina sensual without making her a sex object.

Randy has noticed that I try to make each of my characters expressive of an individual personality. It’s always irked me that most female characters in comics look pretty much identical, and I put conscious effort into avoiding that.

Next, a review by Adam Rosko for the Gotham Insider Web site. He reviews my work on Catwoman #6:

And way to go Mr. Rader! The art in Catwoman is awesome, very independent and Vertigo looking. It made me wonder why this book was not chosen to be in with Vertigo. Well, it’s great, everything flows and never looks ugly or awkward, which is the best thing. It just all works like music to the eyes. Cool facial expressions and splash pages, Brad Rader is bound to be a favorite of Batfans and all comic fans if he keeps it up. Definitely a talent deserving wider acceptance, and the book has been getting a lot of buzz, so that popularity is right around the corner. This #6 proves that to the highest extent. The issue was more than solid, it is breathtaking and the best book in the Batfamily. Score: 8/10.

I like to have my page layouts express the action. Here’s a review of Catwoman #9 that Jason Cornwell wrote for In the Line of Fire Reviews:

Brad Rader’s work is remarkably strong from a storytelling sense as it ... detail[s] the action of a character without the need for any explanatory dialogue. I mean, take the page where Detective Allen closes shop for the night and has his run-in with Catwoman, or the absolutely wonderful one-page spread where the action erupts and the panel design follows suit by shattering like a window. Now a good part of this issue is talking heads, but the art keeps it interesting by moving the camera around ... and offering up a nice mix of perspectives. ...the panel sequence where Slam Bradley is shot is a genuinely harrowing scene thanks in large part to the art.

And isn’t that what it’s about? — storytelling, excitement, and drawings and layouts that can be read quickly and can bring immediacy and impact to the story.