Waylon Piercy Comic Reviews

The art is solid, if unspectacular. We've had a lot of artists working on this series, some better than others, and Martinez/Fernandez team falls somewhere in the middle. Chung's colors serve the art just as they should, and always set the proper mood. This is a solid issue with a genuinely surprising ending, and I recommend it. Realistically, however, it's pretty obvious that anyone who has stuck with the series to this point won't be abandoning it two issues before the finale. Whether or not the mastermind reveal is legit, we won't have to wait long to find out!

Martinez and Fernandez do a nice job with the art, with figures that look naturally posed, and some nicely expressive (and distinct) faces. June Chung's colors are very nice, as always. This issue builds on last issue's revelation very well, and its ending will make the one week wait for the finale seem very long indeed.

This issue has a lot of ground to cover, and for all its shortcomings, it does its job well overall. Each character is left in an interesting place by the end of the story, and the destination does feel worthy of the year-long trip it took to get there.

This is a good conclusion to what has been an enjoyable story arc. Van Lente just "gets" the character of Conan in a way previous series writer Brian Wood never did, and the comic is all the better for it. The best part of this issue has to be bitter enemies Conan and Thoth-Amon forced to put aside their differences and work together. The rational-minded (for a sorcerer, anyway) Thoth-Amon's incredulous reaction to Conan's impulsiveness is particularly amusing. The art remains the weak link in this series, however. It has a rough look that suits the tone of the comic, but it frequently appears sloppy, even unfinished, in some panels. Dark Horse has set a high bar for the quality of the art in their various Conan series, and unfortunately, Ching's work simply does not measure up. That said, Van Lente's writing is enough to make this a worthwhile read anyway, and Robert E. Howard fans will not be disappointed.

The guide in the back is a nice touch, as many who will be buying this series will likely be unfamiliar with the long and varied history of DC's multiverse. The excellent Van Sciver art is the true star of the issue, delivering some truly stunning pages. You just might be tempted to take an exacto knife to some of these pages so you can frame them. This issue isn't the slam-dunk many of us were hoping for, but it is solid entertainment, and the stunning visuals make up for some of the story's shortcomings. This issue may well be skippable, as it doesn't seem to contain anything essential to understanding the event, but it's worth checking out for those who are interested. Whether or not it's worth five bucks is something readers will have to decide for themselves.

Mignola's plot is a bit thin, but it is intriguing, and the necessary exposition is handled deftly, without stopping the story dead in its tracks. He includes several mythological figures, as well as references to several classic horror tales, such as Dr. Caligari's cabinet. Stenbeck's art is quite nice, bearing a resemblance to Mignola's own, particularly in the backgrounds. Figures are less stiff and seem to move a bit more naturally, however, and that is all to the comic's benefit. Stewart's colors are pitch-perfect. Longtime BPRD and Hellboy readers will find several connections to the larger Hellboy universe, but readers unfamiliar with those comics should be able to dive into this comic with no problem.

Aragones has crafted a plot as absurdly delightful as his readers have come to expect, and Evanier's script is at its usual level of sublime ridiculousness. Aragones is in a class of his own as an artist, and every panel is a visual feast, as ever. The meticulous background details and hidden gags that have become his trademark are present and accounted for, all brought to vibrant life by Atiyeh's impeccable colors. In a marketplace that favors people in tights punching each other, Groo: Friends and Foes is an extremely strong reminder that there are some great humor comics out there, too.

This is a typically packed Groo issue, stuffed with battles, jokes, and epic stupidity, all rendered beautifully by Aragones. Tom Luth's colors and Stan Sakai's letters help set the perfect tone for all the hijinks, with Evanier's pitch-perfect script capping it all off. This team is a finely-tuned machine after so many issues spent with this character, making any Groo series the safest bet in comics. With any Groo comic, you can rest assured that it will be fast-paced, beautifully drawn, and savagely funny, and this issue is no exception.

Each issue of this series is typically packed with action and surprises, and this one is no exception. From the battle with Hordak to the sudden return of Skeletor, the story is quick and fierce, yet makes time for some nice character development moments, such as Rattlor's conversation with King He-Man. Mhan's art isn't the prettiest around, but it is energetic, and there are plenty of dynamic layouts to keep things interesting. This is another very good issue in a criminally underrated series. Do yourself a favor and check it out.

Casallos does a serviceable job with the art. It's not the prettiest art you'll find at the comic shop this week, but it's not ugly either, and it does its job. Page layouts are straightforward and easy to follow, and he does a good job of letting the masked characters emote despite much of their faces being obscured. This is a good kickoff to the second volume of Masks, and I'll definitely be sticking around for more.

This series is definitely "written for the trade." That said, Walker has been doing a very good job with this series from day one, and that hasn't changed with this issue. The same can be said for Evely's art. Figures move naturally, with the stiff poses frequently seen in comics totally absent here. Faces are distinct and recognizable, and the clothing and backgrounds are appropriate for the period. Evely clearly did her research for this series, and it shows. Daniela Miwa's colors accent everything perfectly. Capping everything off is the soundtrack for the issue and the QR code to download the latest free installment of Walker's new Shaft prose novel. (I'm really looking forward to reading that once it's fully released!) Many of us have a tough time justifying a $4 price tag for a single issue of a comic series, but Shaft is a damn solid package for the price.

This issue accomplishes a lot, resolving the Mongul arc (as well as extending his ongoing feud with Sinestro), giving the Sinestro Corps a new base of operations, and firmly entrenching the New God Bekka as a member of the Corps. Bunn has a great handle on these characters, and Sinestro's monologues remain a highlight of the series. His ruminations on the potential of fear in this issue is perhaps the best such musing in the series so far. The art is quite nice overall, but the last few pages see a very noticeable shift in quality as the second art team closes the issue. These pages fare somewhat poorly compared to the rest of the issue, but they are more than adequate to close out the issue. This series has been quite enjoyable so far, and that has not changed with this issue. Recommended.