David Canham Comic Reviews

Way of X #3 presents a complex, thought-provoking discourse on sex and reproduction. Through characters of wonderful depth and complexity, the issue gains heart and compassion. Maybe the best of the great 'Way of X' series so far.

Strangely nostalgic and amusingly quirky, familiar themes of adolescence are explored through the eyes of a lovable alien robot in an eccentric world of domed cities and anthropomorphic animals.

The central concept of the sci-fi thriller, 'Mindset,' from writer Zack Kaplan encapsulates our modern, smartphone-driven culture so well. John J. Pearson's great art and Otsmane-Elhaou's amazing lettering add layers of depth and intrigue to the thought-provoking examination of what outside factors influence our free will.

'Mindset' #2 gives us more of what made the first issue great. Zack Kaplan, John J. Pearson and Hassan Otsmane-Elhaou continue a fascinating multi-layered exploration of free-will and control based on a mind-controlling app.

Although 'Mindset' #3 isn't quite as strong as the outstanding first issues, it's still a great continuation to an already fantastic series. It starts slow but is saved by a tense and exciting second half.

I would argue that Mindset is the very best comic series of the year. Each issue has left me thinking for days about free will and my cell phone use, all the while wondering what will happen next. In other words, I can't wait for issue #5 to come out next month.

The twist at the end of Mindset #5 alone makes this comic great. It completely changes all that has come before, turning everything on its head.

The final issue of this excellent miniseries brings the all-too-real narrative of a mind-controlling app to an exciting and satisfying conclusion, while revealing even more hidden truths about our modern digital society. The incredible work of the whole creative team has me hoping that 'Mindset' will be considered for a few awards this year.

Ileana Surducan's Eisner-nominated The Lost Sunday is a delightful re-telling of a traditional fairy tale, adding modern-day themes of burnout and the necessity of free time. Through whimsical illustrations, beautiful colors, charming characters and layered storytelling, Surducan captures everything wonderful, joyful and meaningful about fairy tales. And most important, my children (2 and 7 years-old) were completely enthralled from beginning to end.

Whether you should pick up a copy of The O.Z. #2 probably depends on how much you are willing to pay for it, because these kinds of crowdfunded comics often come with a heftier price-tag than a normal double-sized issue. Apart from that, I would definitely recommend this story and the creators are worthy of support. Let yourself get lost in this war-torn fantasy which will remind you just enough of the land of Oz you know, while taking you on an action/adventure you never would've expected.

'Beyond Real' #1 is exactly the type of indie comic I love: a visual feast in which the art carries the story and themes. It"s a comic that explores the deep, existential questions arising out of simulation theory. Or maybe it"s a character study exploring grief and loss within this sci-fi framework. Whatever you take out of it, the entire creative team has obviously given their very best to produce a fantastic book.

Beyond Real #2 is certainly a good comic, but it's missing the elements of the first issue that I really wanted to see explored in more depth. To its credit, the writing, themes, and art once again work together in perfect harmony. The world-building also shows great potential that just doesn't get fully realized in this one issue.

You should pick up 'Beyond Real' #3 simply for the amazing art by Vincenzo Riccardi, especially if you love lively, surreal landscapes in neon-tinged, blacklight-ready colors. Moreover, Kaplan fills the breathtaking scenes with much needed character development as well as interesting musings on the main themes of the story.

'Beyond Real' #4 is a solid next chapter or two chapters in the miniseries. The symbolic journey through two more planes of reality serves as an interesting metaphor for certain struggles artists face, even if the symbolism is a bit too obvious. The art certainly keeps up the miniseries' promise to be a love letter to artists. However, this issue's art just didn't impress me as much as the fantastic art from issues #1 and #3.

There aren't many comics on sale these days like 'Beyond Real.' The fifth and final issue definitely encapsulates everything that makes this miniseries stand out from the pack. It again features a variety of creative art styles, while also bringing the narrative to an emotionally satisfying conclusion.

For what it is, the Jean Grey: Flames of Fear collection is a very good miniseries held up by the strength of writer Louise Simonson and artist Bernard Chang. I was hoping for more Phoenix mythos than "What If" stories, but with these creators, I can't complain too much.

For what it is, The Ministry of Compliance #1 is really very good. But, in the end, it is much more a conspiracy-filled political/espionage thriller rather than a social commentary framed in an alien invasion story. The writing and art are good enough to keep me intrigued. Unfortunately, I'm just not sure that it's really what I was hoping for when I originally heard about the premise.

Writer Christian Ward and artist John J. Pearson definitely take 'The Patron' a good step up in this second issue. Building off the first issue’s last page surprise, they cleverly tease an intriguing plot twist without revealing too much, too fast. Furthermore, a new player adds just the right amount of complexity to the story. Needless to say, 'The Patron' #2 exceeded my expectations.

'Dark Empty Void' #1 sucked me in with the power of the black hole the story revolves around. The intriguing sci-fi concept immediately piqued my interest. But, I was mostly drawn in by the diverse and complex characters. The intricate and emotive images by Chris Shehan together with the colors of Francesco Segala perfectly match the mood of both the narrative and the characters. And I was completely hooked by the well-paced mystery at the center of the sci-fi thriller.

I enjoyed a lot that 'Dark Empty Void' #2 has to offer the complex relationship between the main characters, the subtle symbolism and most especially the wonderful, atmospheric artwork. But at the same time, I just couldn't help thinking about how slow the issue was while reading it. There's not enough excitement.

If you like authentic character-driven stories told within the framework of a symbolic sci-fi thriller, this is a series you have to pick up. Chris Shehan's gorgeous art adds layers of immense depth and symbolic meaning.

Unfortunately, 'Dark Empty Void' #5 is a weak finale to a very interesting series. Although the artwork stays strong, almost all of the most important character work was already finished by the end of the previous issue. Accordingly, this issue feels like a rehash of what we already experienced, but with less emotional impact.

'Our Soot Stained Heart' #1 subtly twists the elements of familiar Santa myths to create an epic, steampunk story of revolution against an immoral and broken world. Debut writer Joni Hgg is supported by an excellent art team Stipan Morian on pencils, Rope Mann on colors and Hassan Otsmane-Elhaou on letters to create a fully realized world in the frostlands of the deep North. Everything about the book feels comfortingly nostalgic while also refreshingly unique.

Changing gears from the conflict-filled revolutionary epic of the first issue, writer Joni Hgg and artist Stipan Morian calm things down as they explore the comfort found within the domain of the Baron this world's Santa Claus. But make no mistake, the urgency of resistance against oppressive forces underlies every page of this second chapter like a spirit wafting under the floor.

'Our Soot Stained Heart' #3 by Joni Hägg and Stipan Morian focuses almost completely on this steampunk world’s Santa and the tyrannical Governor Glass, revealing their joint origin story, while showing their reunion and fateful confrontation. There is just something about 'Our Soot Stained Heart' that makes every issue more enjoyable on the second rather than the first read. The somewhat inconsistent art and rough transitions were distracting the first time through. But the rich world-building, emotional foundation and very good artwork shine through on a second read.

With this fourth issue, Jori Hägg and Stipan Morian bring their creative, Santa-themed, steampunk story of a worker’s revolution to a satisfying close. Morian’s art, Ropemann’s colors and Otsmane-Elhaou’s lettering work together perfectly to create a wonderful visual experience. Although I think the miniseries as a whole would’ve worked better if Peggy had been the true protagonist throughout, Hägg gives each character enough time to bring each arc to an emotionally satisfying ending.

In conclusion, Bea Wolf is a light, silly and fun reimagining of the ancient epic poem that celebrates the joys of childhood while poking fun at grown-ups. Probably most appropriate for 10 to 12 year-olds with a good vocabulary who will enjoy the humorous details in Boulet's drawings while they giggle at the butt-jokes in Weinersmith's light-hearted prose. As an added bonus, both parents and children will probably learn more about Beowulf from Bea Wolf than they ever did in school.

Cyberarchy by Matt Hardy and Clark Bint is dominated by exaggerations and extremes, where everything good about the comic comes with a slight downside. Bint utilizes extreme perspectives and nontraditional page layouts to create mesmerizing images you won't soon forget.

'Lotus Land' #2 is a solid continuation of the sci-fi noir. The art by Caio Filipe with colors by Patricio Delpeche create exactly the right atmosphere for the technologically advanced, yet somewhat dystopian metropolis. Poelgeest probably lays the noir-mystery on too thick in this issue, leaving me a little too confused by the end of the issue. Still, the overall premise exemplified by the fantastic opening page has me intrigued.

'Lotus Land' #3 is a much more character-focused issue of the sci-fi noir series. At once an origin story for the main character as well as a continual build-up of the central mystery.

Darcy Van Poelgeest continues to build the noir mystery in 'Lotus Land' #4. The art by Caio Filipe with colors by Patricio Delpeche create exactly the right atmosphere. At this point, I'm invested, anxiously anticipating the next issue.

The very slow burn that is 'Lotus Land' #5 has drawn its mystery out about as long as possible. What is revealed is done so mostly in the imagery and subtext. But at the very least, by the end, everything is set up for a revealing finale.

if you like gritty, sci-fi noirs along the lines of 'Blade Runner,' 'Lotus Land' is probably exactly the comic for you, and the final issue doesn't disappoint. It answers all the lingering questions left in the mystery while bringing the story to a resolution.

Masterminds #3 continues to impress by keeping up with the breakneck pacing and tense puzzle-solving death traps. While you can enjoy it as a fun action-flick, a closer read reveals layers of metaphors analyzing the cutthroat nature of corporate success. The strong creative team keeps the momentum going from start to finish, ending on a cliffhanger that will definitely have you longing for the next issue.

The action builds upon a palatable paranoia along with the thematic message continue to carry 'Masterminds' #4. But, the leaps in logic and the leaps between scenes were too big to ignore this time.

'Space Ghost' #1 is an action-packed reboot of the classic cartoon character with cool art buoyed by great coloring. It's better than most comics on the shelf, but also doesn't feel much different than any other sci-fi action-adventure.

Space Ghost #2 is a good standalone origin issue that also establishes the series' status quo going forward. Although Space Ghost's origin relies on a well-worn and controversial comic trope, Pepose's writing makes it work both in this issue and in the overall narrative. Jonathan Lau's art is consistently good on the inside. And all of the possible covers are excellent.

Summing up, Space Ghost #3 proves that David Pepose and Jonathan Lau can produce a consistently entertaining sci-fi action-adventure. I enjoyed the focus this issue placed on the villainous Widow, and I like the use of self-contained issues to give the series a fast pace with a satisfying pay-out at the end of each issue. All in all, Space Ghost #3 is a wildly fun ride.

'Space Ghost' continues to be one of the most consistently entertaining comics on the stands right now. In 'Space Ghost' #4, I was most impressed with the excellent artwork by artist Jonathan Lau and colorist Andrew Dalhouse. Furthermore, David Pepose writes action-packed adventures with just enough character and heart to remind you of the best classic cartoons, but a little more grown up this time.

'Space Ghost' #5 continues the reboot's run of fun, action-packed sci-fi adventures. Unfortunately, this chapter tries to do too much with just one issue. Still, David Pepose obviously has a great love for the characters and their relationships, even when those moments feel squeezed into this issue. Jonathan Lau's art is still the highlight, due to the awesome action sequences, even in a slightly weaker showing.

'Space Ghost' #6 provides plenty of good things to keep me interested in the series. The art by Jonathan Lau continues to be excellent. Andrew Dalhouse's colors especially for the villainous Moltar and his molten men are awesome. And Pepose's handling of Jace's and Space Ghost's emotional trauma is authentic and well done. But the heavy theme means 'Space Ghost' #6 doesn't share the same feeling that made the previous issues so much fun to read.

With a simple, somewhat predictable plot, Space Ghost #8 may not be the best issue in the series so far, but it again displays just how consistently well-made and entertaining this book can be. The best part is once again Jonathan Lau's art especially during the many stellar action sequences. But Taylor Esposito's lettering also stood out in this issue. Here's hoping the creative team can stick together for a much longer run.

Get out the popcorn and enjoy the explosive, start-to-finish action in 'Space Ghost' #9. The excitement of the dynamic conflict coupled with an emotional grounding more than make up for minor flaws in both narrative and art.

Space Ghost #10 feels like the start of a new story arc with lots of teases to what's to come, even though the story within is self-contained. This one-and-done approach worked so well in the first few issues of the series, but it makes the character arc in this issue feel a bit too rushed. Jonathan Lau's art continues to impress, and the teases definitely have me intrigued.

I'd say 'The Midnight: Shadows' passes the test. I'm sure fans of The Midnight's music will find even more allusions and layers of symbolism than I did. This graphic novel is definitely a must buy for them. But I'd also recommend 'The Midnight: Shadows' for non-fans like me who love cinematic sci-fi adventure loaded with awesome visuals, good character work, plenty of nostalgia and thought-provoking themes.

'Unnatural Order' #1 by Christopher Yost, Val Rodrigues and Dearbhla Kelly feels like a condensed version of a fairly standard swords and sorcery fantasy story with truly excellent art. It unfortunately lacks character development, instead presenting lots of plot. While the bulk of the story feels average, the last-page reveal is intriguing enough to get me to check out issue #2.

In Unnatural Order #2, Christopher Yost provides much more character depth to the villain, the Druid, as well as the main character, John Murphy. The story also really gets going. The mixing of sci-fi with swords and sorcery separates this series from others on the shelf. But, even without this aspect, the excellent art of Val Rodrigues and Dearbhla Kelly would be reason enough to check out this series.

In conclusion, Unnatural Order #3 is a little better than issue #1, but not as engrossing as issue #2. The art continues to impress. And the characters have grown on me. But it just doesn't seem to live up to its full potential. And it should definitely showcase its compelling main villain more often.

'Unnatural Order' #4 ends the first story arc by completely usurping expectations, taking the the sci-fi/fantasy action-adventure in a new direction. This causes a bit of disconnect from the first three issues, but also creates a more interesting narrative.

'Ionheart' will undermine all of your expectations. What at first appears to be a Arthurian-like adventure of knights and chivalry drawn in a child-friendly, comic-strip style quickly becomes a genre-smashing fantasy meant solely for mature audiences.

The Incal: Psychoverse is a good addition to the Incal universe that doesn't quite live up to the excellence of previous Incal books.

Zack Kaplan's and Arjuna Susini's Forever Forward #1 is a fairly standard time-travel story with a good concept that fails to live up to its potential.

The games that Kaplan plays with time-travel are a bit too obvious for someone who's already read or seen enough time-travel stories. The life lesson is also too obvious for a more mature reader. Consequently, Forever Forward #2 is just an average comic book for me. But if it's trying to be a comic for pre-teens and teenagers, I'd probably call it a good time-travel action adventure with a positive message.

The New Space Age #1 never really gets its intriguing premise off the ground, but rather stays grounded by its exposition-heavy backstory. Strangely, the webtoon-style art often leaves too much of the page white and empty. If the genre-mixing premise had been the focal point instead of the surprise twist and cliff-hanger, I think The New Space Age would've had more going for it.

The character work and the good-natured ribbing of 90s culture are the real strengths of 'Youth Group.' The overall story and art are alright, but nothing exceptionally fantastic. Unfortunately, for a story about an evangelical Christian youth group, there isn't much theological depth. And I just couldn't get past the few elements that conflict directly with my own Christian beliefs.

A few times, 'Hendrix: Electric Requiem' shows how a graphic novel could be the perfect medium for a Jimi Hendrix biography. Unfortunately, most of the book doesn't come close to reaching the level of originality and imagination required to adequately inspire the reader. In the end, we end up with an average biography of one of the greatest rock stars of all time.