I missed most of the original X-23 stories when they were released. One pleasant surprise while reading the X-Women graphic novel (2010) is that I got to read an impressive collection of stories that are leagues better than the endless Krakoa non-sense we are getting in current year.

This one-time is told entirely from Laura Kenny’s (X-23) perspective and touches on her origin’s and her time on the streets as a sex-worker. Laura’s story is tragic and hardcore stuff. The character has been used by everyone she has had a meaningful relationship with, including X-Force a team that sends her on assassination missions.

The book switches from origin to present day as Laura catches the scent of the group of kids that accepted her with open arms with no hidden motives or agendas. This presents Laura with a dilemma, to stay with her peer group or go back to the X-Men.

I really liked this story. It totally establishes Laura Kenny as her own character independent from the Wolverine and the X-Men. The comic also made me question why this character would ever go by X-23 or Wolverine for that matter. Laura has clear identity issues and PTSD issues based on the manipulation she has faced her entire life. If anything based on this issue alone. I would expect Laura to forge her own identity. It is pretty weird that Marvel basically lost the plot had her take on someone else’s mantle a decade later.

The art for the X-23 One-Shot is dark and stylistic. The art direction is unique and works to contrast the character against Wolverine. I have reviewed 3 of the 4 stories featured in the X-Women graphic novel. I did skip reviewing the Dazzler story because it was dogshit. I really feel like I missed some solid stories. If you are a fan of this era of X-Men, please offer suggestions in the comments below.

In Short: X-23 provides a definitive breakdown of the character and her origins.

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I was not reading many comics circa 2010 and missed this entire era of X-Men stories. I recently reviewed Chris Claremont and Milo Manara’s X-Women One-Shot. Cloak and Dagger #1 was also included in the trade paperback

Cloak and Dagger #1 is easily the best story I have read featuring these characters. It is also the first story I have seen them treated as individuals with different motivations that don’t necessarily align with one another. Historically, both has been symbiotically tied to each other so seeing them at odds is a bit refreshing.

In this one-shot we see both Cloak and Dagger seeking relationships outside from one another. Dagger seeks a new life with the X-Men. Cloak, on the other hand sees the X-Men as a group of segregationists. In his Downtime Cloak teleports to his old neighborhood and has rekindled a relationship with an old flame. Cloaks new relationship causes tension with Dagger as they both seem to want more out of life than their co-dependence to one another. The situation breaks down further when Cloak is captured by an anti-superhero group and Dagger needs to go solo to bail him out.

Cloak and Dagger #1 is the sort of comic that will make you go and track down back-issues. I was not expecting such a quality story. Both lead characters are in a weird situation and their feels are valid. Cloak and Dagger have one of the most tragic origins of any superhero team. The two characters leech energy from each other, so any squabble is detrimental to both.

The art from Mark Brooks is Steller. He has a really clean art style. This is complimented by the colorwork from Emily Warren. I have never seen Cloak in his human form and would love to see more of it. The story gets creepy at times. The relationship our heroes have is an odd one, but it makes Cloak and Dagger one of the most unique teams in comics.

In Short: Cloak and Dagger #1 One Shot is of the best One-Shots I have read in a long time.

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"In Celebration of the Male Gaze"

X-Women #1
Words: Chris Claremont | Artist: Milo Manara | Publisher: Marvel Comics

**Review**

Full Disclosure I review Comics, but I also have a Facebook page and group called Bluelines: Babes, Cars, Comics and other cool $hit. This page celebrates the female form in every shape and size, real or imaginary. I wanted to preface my review because this story is right up my alley. However, I am very aware that this story would never be told in current year.

If you are sensitive to women being sexualized this comic is not the one for you. Milo Manara is an expert artist, but he is primarily known for depicting traditional variations of femininity and sexuality. The art direction is not offensive but if the comic were released in 2022 there would be significant changes, fair or not. If this book were released 2022 one or more characters would be LGBTQ, frumpy or morbidly obese.

What I liked about X-Women beyond the art is that the characters feel real and true to themselves. This is a testament to Claremont’s reverence for these characters. The X-Women are the characters know and love, but the setting is a lot more relaxed than that you would see in a regular comic. It is also refreshing that there is no social justice messaging in this book.

There are excesses to this story. The plot between Storm and the Pirate Captain is a bit overboard and I am surprised Marvel approved this plotline even in 2010.

Other than the cited gripes X-Women is an excellent X-Men story. I enjoyed it more than about of the 90% of the X-Titles released today and would like to see more from Claremont and Milo.

In Short: X-Women perfectly encapsulates comics before political correctness stifled creativity.

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In my Batman #69 review I mistakenly listed it as the end of the Knightmare’s storyline. While #69 was the end of the dream aspects of the story, this is the end of the arc.

In this installment we see Bruce escape from his fear toxin induced coma and make his way out of Arkham Asylum. Along the way we see an extremely angry batman dispatching several rogues while swearing vengeance on Bane.

It is hinted that Bane is secretly controlling the rogues in this comic. I still find it weird when Batman (or any hero for that matter) beating all their rogues in a single issue. These guys tend to give Batman problems in any given issue so having him wreck several villains seems cheap, lazy, and diminishes the characters.

I went back and looked at some of the reviews for this issue when it released in 2019 and fans were giving King a pass because the plot finally moved forward. On that note this issue is an improvement over the last several comics. However, the book continues to be held back by lame dialogue and the weird poetry that Tom King keeps inserting into his scripts.

The art from Mikel Janin and Jorge Fornes is inoffensive, but the art direction is undercut by the lack of any narrative tension in this story. I have seen an angry Batman before; this take seems forced.

In Short: Batman finally escapes his nightmare’s and waltzes into his next story arc.

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"80's Slasher At its Finest"

Maniac of New York: The Bronx is Burning - #1

Writer: Elliott Kalan | Artist: Andrea Mutti | Publisher: Aftershock Comics

**Review**

Maniac of New York: Bronx is Burning is a homage to the 80’s slasher film. It is also the sequel to an indie comic I never knew existed. Like most true horror movie sequels from my youth Elliott Kalan and Andrea Mutti invite you to revisit past events while moving the story forward. The community is still reeling from the events of the prior series. Entire task forces have been created to deal with the Maniac if and when he shows up again. The problem is nothing work, and he shows up at a local public school.

The Bronx is Burning #1 is not a deep or complex issue, but it is a lot of fun especially if you know the formula. Everyone in-universe is freaked out by The Maniac. The situation is so bad that copycats are using his visage to take advantage of the fear spread across the city.

The art direction from Andrea Mutti is gritty, brutal, and transitions well from the mundane to horrifying. The Maniac himself is this universe of Michael Myers and Jason Voorhees an unkillable force of nature. In fact, it would be quite easy see The Maniac as a Jason rip-off. However, I will allow it since we have not seen a proper Friday the 13th film in ages.

In Short: Maniac of New York: Bronx #1 Bronx is burning nails the tone and atmosphere of every classic slasher film you have memories of. If you grew up in the 70’s and 80’s this series is the perfect send-off.

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"Feels Like Something Special"

Star Henge Book One: The Dragon and The Boar
Writer/Artist: Liam Sharp | Additional Art by Matylda McCormack-Sharp | Publisher: Image Comics

**Review**
I have been a fan of Liam Sharps work for years and was excited to support this creator-owned project as soon as I saw the solicit on the Comic Hub App. Liam does double duty as Writer and Artist which is a combination that proves to be comics gold.

Star Henge is a high concept project that blends Sci-fi and Fantasy. Book One lays the groundwork for the series, introducing characters and laying the worldbuilding foundation.


If I am interpreting the issue correctly, humanity discovers faster than light travel via magic and begin colonizing the galaxy. Everything is great until a group of astronauts inadvertently awaken an ancient A.I. that brutally murders than and launches a war on the rest of us.

The narrative transverses time and space. It is tied together by the narration of Amber who recounts the events in question and her relationship with Darryl who has a deeper relationship with the overall story. I admit I got a little lost reading this book. The narration helps but the story is not in focus at this time, and I expect more clarity as this series goes on.


Liam’s art is as sharp as ever and if the book were presented without words, it would still be worth the cover price. The art direction is God-Tier and even the segments that are confusing were still captivating.

The story feels epic in scope and scale and imagine by the end of the series we will be looking at one of the most beautiful works of art produced in the comics medium.


In Short: Some of the concepts presented in Star Henge Book One flew over my head but the issue is a visual masterpiece blending sci-fi and fantasy. I was intrigued from beginning to end of the issue.

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"Sometimes Dead Is Better"

The X-Cellent #1
Writer: Peter Milligan | Artist: Michael Allred | Publisher: Marvel Comics | Variant cover by David Mack

**Review**
Peter Milligan and Mike Allred’s run-on X-Force which evolved into X-Statix is my favorite take on the X-Force franchise by a wide margin. The series was different from the X-Books that were being released at the time.

The group also stood out because of the team’s celebrity status in relation to most mutant titles. The series was also distinct in that readers could not get attached to any of the cast. X-Statix team members were subject to being killed off at any time. Not even DC’s Suicide Squad had a larger rotating cast of characters. If nothing else, I will always admire the creative team’s ability to keep me invested in characters that may only be around for an issue or two.


The focus of The X-Cellent #1 is split between X-Statix and The X-Cellent. The X-Cellent are a new group of mutants led by Zeitgeist, The original leader of this iteration of X-Force. The comic is dedicated to public perceptions of both teams.

While I appreciate Peter and Mike being true to the spirit of their take on these characters, we have lived through 20+ years of celebrity/reality TV culture. Unfortunately, a lot of jokes and references to social media culture feel dated.


I also thought it was odd that in the Krakoa era of X-Men the mutants of X-Statix/X-Cellent are still dead. The oversight may be explained in this series, but X-Statix has always been detached from mainline X-Men titles so, shrugs.

Mike and Laura Allred have not missed a step and the art direction for The X-Cellent is just as solid as ever. I get that the art may not be for everyone but the simpler style contrast against the shocking violence and humor was always a key selling point for the series.


I was not blown away by this issue and was bored at times reading it. The celebrity obsession was a bit much in current year. I am tempted to go back to my old stash and see if it was as pronounced back then. I could just be getting older and now have different sensibilities.

In Short: While it is nice to revisit these characters. I am not sure if the X-Statix format still has legs in 2022

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I reviewed Nubia & The Amazon #3 awhile back and gave it a scathing assessment. Issue #4 does read better this time around. The story may land a satisfying conclusion depending on the direction the creative team goes in the final two issues. On the positive side of this comic, Nubia has a few solid action sequences. This change allows Alitha Martinez and Darryl Banks to flex and show that they can do more than draw bland characters spewing even blander dialogue. There are also some meaningful insights revealed about the characters of Nubia, Andromeda, and Medusa. On the positive side of this comic, Nubia has a few solid action sequences. This change allows Alitha Martinez and Darryl Banks to flex and show that they can do more than draw bland characters spewing even blander dialogue. There are also some meaningful insights revealed about the characters of Nubia, Andromeda and Medusa.

The comic flashes back to Nubia’s time in 70’s Chicago. It was during this period she developed a romance with a schoolteacher, Ms. Knight. I may have missed it but considering these characters become lovers It is odd that Knights first name is never mentioned. Nubia saves Knight and her students from a random monster which sets off their awkward romance. This section of the comic also comes off as weird. The dialogue is rough. Knight seems overly smitten with Nubia from their first interaction. It gets even stranger when Nubia follow’s Knight home and prevents an attempted rape. The scene gives us a lesson on toxic masculinity while downplaying that Nubia is a creepy stalker. 

Back in present Themyscira, the Amazon’s spend the issue trying to save Andromeda from being possessed by Medusa. The weakness of these scenes is that aside from a couple Amazon’s everyone is still eating Nubia’s ass. Clearly Nubia has abandoned her post as guardian of Doom’s Doorway at several points in the past. You would think this would be a bigger issue for the Amazon’s, but it is glossed over like every other clever idea in this series.

The story is clumsily coming together. I think the biggest problem with Nubia & The Amazons so far is the weak editing and pacing the series for a collected edition. This is a very simple story bloated by very pretentious dialogue.

The story is clumsily coming together. I think the biggest problem with Nubia & The Amazons so far is the weak editing and pacing the series for a collected edition. This is a remarkably simple story bloated by very pretentious dialogue. We see these elements in every series that tries to combine superheroes with Game of Thrones, political intrigue (X-Men - Krakoa, Black Panther - Wakanda). The high concept format does not work for superheroes. I hope this trend ends soon because it zaps the excitement from short-form 22-page storytelling.

In Short: Nubia and The Amazon’s gets out of its own way and puts more focus on the elements and downplays those that do not. The series is still a mess, but I have seen worse.

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One of the biggest regrets of 2021 was falling behind on IDW’s TMNT comics. Like Tom King’s run-on Batman, TMNT is a series I will keep reviewing. Neither run is in great shape at the time of writing this review, but I will plug along until the series flatlines or gets better.

TMNT #110 has two plots running concurrently. The main plot follow’s Leonardo as he gathers intel on Old Hob and his plans for Mutant Town. The cover plot follow’s Raphael and Alopex’s date night.

I am not the biggest fan of Sophie Campbell’s chosen direction of this series. The story is not bad, but her creative choices are not the best for this series. If TMNT: Mutant Town was a side series, and the main book was more action oriented I do not think the fandom would be as apathetic to the comic book.

This issue is over a year old. If you have stuck with the series to date, I am curious of your thoughts on how Sophie’s direction is playing out?



It is nice seeing the Turtles lives when they are not on missions. The relationship between Raph and Alopex is cute and the interaction they have with the mutant biker gang goes does a nice bit of character buildings for all involved.

The segments with Leonardo are a lot more interesting and serious. He gets to show off his skillset as a ninja and goes undercover to infiltrate Hobs base of operations.

The strongest aspect of Sophie’s direction is that Mutant Town feels like an actual community of mutants that have lives independent of whatever is going on with our heroes. It just feels weird that everyone seems to have acclimated to being mutants so quickly. I would be losing my shit if I woke up one day as a mutant Cockroach. There are elements of the Mutant Town storyline that work but the presentation is a bit too whimsical.

In Short: TMNT #110 is okay single issue, light on action heavy on world-building and character progression.

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I checked the reviews of Casual Fling on Comicbookroundup.com and it’s hard to believe that the series is scoring as low as it is. I have a few theories, but I won’t get into them in this review.

The story picks up with Matthew meeting with is Sensei (Mentor) and doing a deep dive into his wife’s sex tape. The goal is to find out who Alex is really.

The first half of the issue is great. I lie that Mattheo and Jennifer are proactive in dealing with the situation. The Sensei character is also hilarious and has the best line in the comic when she suggests that next time that the couple feels like stepping out, they have a threesome.

The downside of the issue is the pacing of the second half. We learn that “Alex” has preyed on other women and they are naturally nervous about coming forward. This fine and makes sense but the act swerve comes out of nowhere and leads me to believe that the final issue’s conclusion will be rushed.

Casual Fling was originally solicited as a five-issue series. This may be a mistake but based on where this issue ends, it feels like the additional issue may have been needed to flesh out some of the character motivations that are presented here.

It would have been hard for any writer to top the last issue of this series. To _ credit I have no idea what to expect when Casual Fling ends but it’s been a hellava ride so far.

In Short: Casual Fling #3 is another solid issue but nailing the ending will be tough.

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1985’s Fright Night is one of my favorite Vampire movies. When I saw the solicit for a direct sequel to the film by the original writer/director the purchase was an easy decision.

I never watched the 1988 sequel or the remake, so my memories of the franchise was pure going into this issue. I could do some more research or watch the movies, but I’d rather keep my reaction to this material as raw as possible.

Tom Holland’s Fright Night #1 is a follow-up to the film that I know and love. As a sequel this take is nearly perfect. The story gives a detailed recap of the 1985 film before pivoting and catching up with the surviving characters.

Charlie Brewster and Amy Peterson are now in senior year and have parted ways. Meanwhile, Peter Vincent has written a novel detailing the events involving Jerry Dandridge and the vampire killings but presents the account as a work of fiction.

While establishing the status quo of the principal characters the comic also introduces a new group of protagonists who have for our heroes to deal with.

The issue feels like a natural progression of the story. The series is still in setup phase so there isn’t much action. However, the issue does not feel decompressed like most current year mini-series.

Ironically, the weakest section of the book is the recap of the film. This segment is effective but the art direction for this portion of the book isn’t the best and it is glaring. Thankfully, this part of the book does not take too much of the page count. The reminder of the book has a different artist who is better fit for the story.

I do not want to spoil the comic for fans of the source material. The pace and progression of the story is great. James Kuhoric has a great voice for these characters. The scale of the story also feels self-contained. The hook of the series is obviously nostalgia and to revisit these characters, but the member-berries are not overblown which I appreciated.

In Short: The Fright Night Sequel you’ve been waiting for. more

I read Kane Abel about a month ago while stoned and didn’t remember much about it aside from its presentation being akin to a fever dream of ideas.

I reread the original graphic novel again today and though I can recall the events of the book, I’m not sure who the book is for aside from fans of batshit crazy anthologies.

The closest series I can compare Kane & Abel to would be Heavy Metal. The comic is an anthology featuring several short stories crafted by creators Shaky Kane and Krent Able. I’ve never heard of these creators, but I’d love some of what they were smoking while writing this book. Although some aspects of the book didn’t land for me, I admire the presentation and imaginative nature of the project.

Even upon the second read some of the stories and concepts went over my head. Including the main narrative through-line that features a character suspiciously bearing a resemblance to Jack Kirby. These sections of the book are nice, and I appreciated the Easter eggs I did pick up on. I’m also pretty sure that there are a ton more that I missed out on.

The standout section for segment of the book features “Black Fur” a talking bear vs A Non-Binary kaiju sized Monstrosity named Lady Death Roach. The segment totally caught me off guard by the sheer absurdity of it all. This story has it all, including a pair of infants wielding chainsaws.

Another notable segment features Nightmare and his sidekick, Sleep as they investigate a possible vampire infestation. The story isn’t as out there as Black Fur and Death Roach but it’s just as imaginative and has a pretty slick twist ending.

Kane & Able is 72-pages and features a 12.99 cover price. The book was released by Image Comics over a year ago so you may be able to catch it on discount. The title has a retro style like classic horror magazines from 60’s and 70’s. The characters are also presented in a nostalgic way that makes them feel vintage and familiar even though I had never experienced them before.

The only real downside is that stories felt totally disconnected from each other. I know there is a through-line that readers familiar with these creators may pick up on but I couldn’t and It left me feeling a bit frustrated. I also found myself asking the point of this project? The point could also be that there is no point at all.

In Short: Kane & Able is a nice anthology to pass time with but the disparate nature of the stories and events may make the project inaccessible to mainstream readers.

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"Southern Belles of the Timesteam"
Majorie Finnegan: Temporal Criminal #1
Writer: Garth Ennis | Artist: Goran Sudzuka
Publisher AWA: Upshot | Mike Deodato Jr. Variant

**Review**
I am not sure why Marjorie Finnegan: Temporal Criminal #1 presented me with such a rough review. The comic has a lot going on. It’s written by Garth Ennis (The Boys, Preacher), one of the greatest comic writers of our time. The art from Goran Sudzuka is solid, varied and shockingly violent. I guess the main gripe is that nothing about this issue connected with me. As much as I like Ennis, this issue feels like he’s phoning it in.

This is a time travel story. Marjorie is a fun-loving character that pulls heists across the timestream. She also keeps a talking severed head that fantasizes about fucking her as a companion. There are a few laughs to be had in the issue The first half of the issue is a decent intro and focuses in on the time heist element of the series. This section of the book also does a solid job of explaining how time travel works in this section.

The B-Plot of the issue sets up the antagonist and why the two will eventually bump heads. In its entirety the book is functional and there isn’t much to knock aside from the general mediocrity.

This series ended months ago. I have the entire comic run in queue and hope the plot picks up. Nothing about Marjorie Finnigan #1 stood out as must-read material despite the creative team. The lack of excitement after reading this comic is kind of sad considering how varied the action and locales are in this issue.

In Short: If you have a spot on your pull list or bookshelf Marjorie Finnigan: Temporal Criminal be worth a spot but there simply are better options available. We will see how the series develops.

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Batman: The Detective #1 - A Dark Knight in London
Writer: Tom Taylor | Artist: Andy Kubert | Publisher: DC Comics
KAEL NGU Variant Cover

Review ✍

Since I relaunched “GTMedia Reviews” as “I Review Comics”, the Batman titles I’ve reviewed have been hit and miss. I’m currently reviewing the tail end of Tom King’s run, as well as Joker: Puzzle box and Suicide Squad: Get Joker. Of the Bat-books, I’ve reviewed non have stood out as anything other than mediocre which is sad because:

A. Batman has always been one of my favorite Superheroes.

B. DC is producing so many books featuring the Bat-Family of characters.

Batman: The Detective by Tom Taylor and Andy Kubert is easily the best of the Bat titles I’ve reviewed recently. The story appears to be set in the future. I haven’t read the solicits for the title or any other reviews. I am not exactly sure of the background surrounding the series. I’m not even entirely sure this is Bruce Wayne in the suit.

This Batman may be Bruce Wayne, but since no one mentions him by name so I won’t assume. In any case, the character is jaded by events that the series isn’t clear about and focuses on taking Batman in a new direction away from the status quo (Gotham City, Wayne Manor, Etc.).

The book follows Batman as he investigates a terrorist attack on a plane that leaves over 100 people dead and one of his allies, Beryl Hutchinson A.K.A. Knight critically injured. The opening action sequence is over the top and beautifully rendered by Kubert. It sets the tone of the series and also raises some interesting questions. Why are the bad guys wearing Batman cowls?

In addition to wild action, the supporting cast is surprisingly strong. In addition to Knight, Squire is another interesting character that reminded me a lot of Robin without being a ripoff.

I am interested in seeing where this story leads without having much knowledge of the series getting into it. I am curious about how Batman got to this point and excited to see Tom and Andy’s take on these heroes and villains. The issue is dynamic, has a lot of energy, and doesn’t feel like it's written with a Trade Paperback in mind.

In Short: Sometimes a comic just work and Batman: The Detective #1 is one of them.

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The Worst Dudes #1 - Too Crude To Be Cool
Words: Aubrey Sitterson | Art: Tony Gregori

Review ✍
Before getting into the meat of this review I have to mention that this is an ugly comic book. I’m not sure why this art style was chosen but It exacerbates the other issues I have with this title.

The Worst Dudes #1 reminds me a lot of Mark Millar’s Space Bandits. So much so that I could easily see this series existing in the same universe. That’s not to say that this comic feels like a rip-off. It's just thematically similar.


The Problem with The Worst Dudes is that Aubrey Sitterson is no Mark Millar. The book tries way too hard to be edgy. The story follows Sam Sugar, a detective given the task of locating the Queen's Daughter, Zephyr Monsoon. To assist in this task he’s also given a sidekick, Bang, the Queen's asshole son.

The two don’t get along and Bang has an obvious superiority complex, think Damien Wayne. After introductions, the two are sent on their way and run into Caligula Monomacho, a giant cat who seems to have had a sexual relationship with Zephyr.


I mentioned that The Worst Dudes is an ugly comic. To Tony Gregori’s credit, I think the art direction may have been intentionally messy to hide some of the more egregious content. The book is crude and every joke or sight gag is over the top. You get trans characters with obvious bulges and nipple twisting. Other characters are getting blowjobs in a panel.

Underneath all of the depravity, The Worst Dudes is a buddy cop story. The cops don’t get along but you see the foundation for mutual respect developing between the leads. There are flashes of a good story here but it's buried underneath the nonsense and the jokes simply don’t land. The book isn’t great but the I have the series in my pull box so I guess I gotta review it, grumble…


In Short: I can’t recommend The Worst Dudes #1 but it has barebones elements that work and may come together into a solid story by the end of the series.

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Batman #69 - Why is Bane Naked?
Writer: Tom King | Artist: Yanick Paquette
Cover by Francisco Mattina

Review ✍

Tom King’s Knightmares is a very weird story arc. It doesn’t start with a bang, doesn’t have any shocking reveals and there isn’t much of a climax. The arc just ends like sex in a loveless marriage.

As this issue progresses we get more “Bat-Simp” as Bruce uses his connection to Selina to pull himself from under the influence of Scarecrows fear toxins. This aspect of the comic is written as a below-average romance with Bruce pining after a woman that left him at the altar. The fact that even in a dream Bruce can’t get the girl without groveling is kinda pathetic.

While Batman slumbers on, the rest of the issue hones in on the blooming alliance between Thomas Wayne (Flashpoint Batman) and Bane. This story is more interesting than the Bat-Cat stuff which is way to melodramatic but also has its weird shortcoming in that the two characters spar and Bane is naked throughout their scenes together. There’s no real reason for Bane to be naked here and the fact that Thomas Wayne is smiling through much of this exchange is weird.

The variant cover by Francesco Mattina is fantastic. The art from Yanick Paquette is gorgeous in spots and utterly bizarre in others. The nostalgic takes on Bruce and Selina are a nice touch as they dance through the comic but these moments don’t make up for the odd sequences in this issue or storyline. It’s as if Knightmares was a throwaway storyline designed to fleece Batman readers who were looking for any sort of resolution to the Bat/Cat storyline.

At a glance, there are some brief moments of imagination in the Knightmares storyline. The silent issue of #68 comes to mind as well as the Professor Pyg fight in issue #62. Those comics worked because Tom King was able to get out of his way and let Lee Weeks and Mitch Gerads do the heavy lifting artistically. The rest of the storyline had no clear direction and even the ending feels Low-T.

I can’t see a new reader picking up this graphic novel and seeing it as a definitive take on any of these characters which is a shame because like comics, dreams are only limited by imagination.

In Short: After 6 issues of Knightmares, I’m still trying to figure out the point of it all.

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Not All Robots #3 - The Obsolete Machine
Writer: Mark Russell | Artist: Mike Deodato Jr. |
Publisher: AWA Upshot

Review ✍
In my previous reviews of “Not All Robots”, I put a lot of stock into the Human/Robot conflict that had been brewing. Mark Russell shifts that dynamic a bit by introducing a new wrinkle that should have probably been obvious from the start.

Not All Robots #3 introduces Omni, the corporation behind the machines currently plaguing humanity. Omni plans to introduce a new line of Robots with human-like features (Man-Droids). This threatens the current model of House-Bots with the same fear of obsolesces currently facing humanity. It's an interesting twist that grants the Robots a degree of empathy that was lacking in prior issues.

The irony is that all the death and misery is being caused by a small cabal of elites that could care less about either group. Profit and power is the ultimate goal and everything else is a means to an end.

Thematically, Not All Robots #3 is brilliant. It puts a new spin on the working class vs. corporate elite trope. There is the obvious allusion of automation supplanting large swaths of the workforce and how this impacts those left behind. The head of Omni looks suspiciously like Jeff Bezos, which is ironic because most of the Amazon workforce is a few lines of code away from being replaced by A.I.

The story also presents a tongue-in-cheek example of capitalism run amuck with no apparent safeguards. The series has covered several ugly aspects of society and feels even more timely in an age where fascism and authoritarianism seem to be reemerging across the world. There is a political subtext to the series but I never felt talked down to nor did I feel that Mark Russell was using the series as a soapbox.

When Mark is at his best he draws attention to an issue in a matter-of-fact way. He presents the problem to the reader and allows them to take the stories and implications from there. It is a cool philosophical way of storytelling that I wish we got more of across entertainment.

Mike Deodato Jr. shines again in this issue and manages to capture emotion in the faceless machines. There’s also a ton of detail conveyed in the linework and inks throughout the issue. The detail in the art makes the story feel grounded yet larger in scope in scale than it would have otherwise. It was also a nice touch that the lead character suddenly becomes a spitting image of Michael Douglas from “Falling Down”.

In Short: Not All Robots is one of the best titles on my reading list. It's easy to see the real world through the lens of this scenario, which is a hallmark of the best science fiction.

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"The Queen of The Amazons and Her Hoes"

Nubia And The Amazons #3
Writers: Stephanie Williams & Vita Ayala | Artist: Alitha Martinez | Publisher: DC Comics

Review ✍

**Disclaimer** If you’re enjoying Nubia and the Amazons please I’d love to read why in the comments below.

Stories set within Themyscira, Krakoa, and Wakanda tend to have the same problem. The settings are presented as Utopian to the point that all the characters have a pretentious air that takes away relatability on a basic level.

I get “gods” being distant from the reader. It’s a different story when Nubia and her supporting cast are all written like second-rate Shakespearian actors.

Nubia and The Amazons have been more miss than hit so far. If you’re collecting this series I’m curious as to why. I have a blog, and I try to stick with a mini-series until the end but why are you slogging through this miserable experience?

This issue is rough. Medusa makes her move on Nubia using Andromeda as a vessel. The two fight to an obvious conclusion. A secondary plot is also established with New Amazon, Bia having ominous visions of things to come.

The rest of the comic is a hot mess. The story reinforces how much the new Amazons look up to, revere and lust after Nubia. Aside from sucker-stroking the lead character, this is one of the most boring comics I’ve ever read. The comic doesn’t offer much aside from confirmation that Nubia is the best Amazon ever, and screws her subordinates.

The art from Alitha Martinez is just as dispassionate as the script. There’s no energy to any of the events taking place. Even the action sequences are a bland affair. Nubia and The Amazons have a lot of potential but the creative team lacks imagination and aren't suited for superhero comics.

This isn’t the best use of Nubia. Beyond the virtue signal of the character being elevated to Queen of the Amazons, this series has been generally worthless.

In Short: Nubia and The Amazons backslides. This is one of the worst single issues I’ve read in recent memory.

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Casual Fling #2 - A Little Too Close To Home..
Writer: Jason Starr | Artist: Dalibor Talajic

Review ✍

I read Casual Fling #1 a few months ago and while there was a solid premise established it wasn’t exactly must-read material. However, as a person that has had a tumultuous marriage at times, this issue hit a bit close to home.

After the first issues affair, Jennifer is placed in a position as her “fling” has plans that go beyond a one-night stand. Later night calls turn into daytime visits and quickly evolve into threats and extortion.

The situation gets so bad that Jennifer is forced to admit the affair to her husband. I’ve been married several years now and based on personal experience, the scenes between Jennifer and Matthew are very real. Jason Starr is fair to both parties in this marriage and although Jennifer is clearly in the wrong it's hard not to empathize with her situation.

Matthew is also presented as a stronger co-lead than we were originally led to believe in the first issue. In the first installment, Matt was presented as the typical current year beta-husband. This perspective changes on a dime when shit gets real and he has to take the lead on the safety of his family.

I still contend that Casual Fling isn’t the most original story but it moves at a nice pace and the tension surrounding the characters is palpable. This is also a comic that could easily translate to other mediums. This is also a story that I think many professional women and housewives will gravitate towards. I gave my wife a rundown of the premise and she was immediately on board.

I’m a lot more invested in Casual Fling now than after reading the first issue. I don’t believe that the series is decompressed. I do believe that Jason needed to establish the monotony of Jennifer and Matthew’s relationship before tearing their lives apart.

Casual Fling has been collected as a Trade paperback. Although the series probably reads better in the collected format, it’s been a solid story in its original monthly format.

In Short: Mommy does a bad thing and suffers the consequences…

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I love comic books. It's the primary reason I write long-winded reviews of books no one will ever read on a site that no one will ever see.

One reason western comics are losing ground to Manga is the idea that every comic is someone’s first. It’s often hard for new readers to jump into a 700+ issue ongoing series. The question is often where do I start?

There’s also a sense that most comics and mini-series don’t matter. Comics are constantly shifted in unpopular directions by unpopular writers which kill enthusiasm within the core fanbase that cares about the character and their continuity.

Both positions cited above are contradictory at first glance. However, a nice jumping-on point will often entice new readers to invest in previous volumes of a popular ongoing franchise. This doesn’t work when you’re reading a reboot of a reboot of a reboot. This is the main reason I don’t review a series I have a working knowledge of or have Issue #1 on hand.

Fist of the North Star Volume 1 is my first Manga. I’d seen images of Ken floating around for decades and did watch a few minutes of the Anime. I still had no idea what the story was about or idea of what I was getting into.

Once I settled myself into the differences between manga and western comics I was immediately hooked on the Story of Kenshiro. This isn’t a deep story. However, I did appreciate that there weren’t 50-word balloons on every page. It’s also cool reading a story where the writer's political views aren’t driven home on every page.

Fist of the North Star reads a lot like a classic western blended with Mad Max. There is a narrative through-line that develops between segments of the story but each segment stands alone and begs the reader to keep going.

Most comics I review lately don’t seem to value standalone storytelling. If you pick up a random issue of a random comic book you’re probably going to be lost. This is a symptom of story decompression. In fairness, a 6-issue storyline will generally tell a complete story but jumping in is almost impenetrable, especially within a meandering story.

Fist of the North Star does not have this problem. Each segment of this volume starts with Kenshiro stumbling into a bad situation. By the end of the installment, justice is served in the most violent way possible. Stories are presented in a simple episodic format that makes this material easy to adapt across genres.

In addition to Buronson’s stellar narrative focus Fist of the North Star is a beautiful book. Tetsuo Hara’s characters are stylized and presented in equal parts power and menace. Kenshiro is a hugely powerful man. He’s often matched against threats that tower over him. This gives the impression that Ken is an underdog in the same sense that Hulk Hogan would be seen as an underdog against an opponent like Andre The Giant.

I loved Fist of the North Star Vol: 1 and its format. I’ve been reviewing the latest volumes as they are released. I'll also be checking out more Manga including Golgo 13 and Akira.

It is also nice to read a story that offers genuine escapism and not get dragged into whatever social ill is up the writer's ass this month.

In Short: Fist of the North Star Vol: 1 is your favorite Western blended with Mad Max and presented in a brilliant package. more

I wasn’t exactly blown away by Batman 89 #1 and I’m sad to say that this issue doesn’t get any better. I had several problems with this issue. Some are personal biases others are with the story itself. The criticisms may be unfair depending on perspective but it's my blog and I gotta be honest.

The first problem is that this story isn’t Batman 89 at all. Aside from Harvey Dent vaguely looking like Billy Dee Williams there isn’t much that ties the story to the Tim Burton Batman films.

The second gripe is with DC comics in general. Whenever a Black Character is given a platform in a DC comic social ills become the driving force behind their motives. This isn’t an issue in itself but when you’re releasing several issues covering the same ground it gets tired, really tired.

Bruce/Batman doesn’t get much to do here. Batman isn’t presented in the most heroic light. He inadvertently causes the death of a kid while on patrol. The death causes him to reflect on his responsibilities as Batman and a change in his approach to fighting crime.

Harvey Dent is still attempting to catch Batman but has also taken up the BLM position against the GCPD. This causes officers to call him “Two-Faced” in his backhanded approach to law enforcement.

While the situation between Harvey and Batman escalates Tim Drake gets the goofiest character intro ever. If this was the version of Robin Tim Burton was going for I’m glad the character was cut altogether.

I don’t have anything positive to say about this comic. The comic has a stock art style that doesn’t stand out and as someone that lived through the Burton Era of Batman, this issue is as vapid as you can get. This comic feels more like Batman 2022 than anything from the 80s or 90s.

In short: Batman 89 has been a huge disappointment so far as Current year politics continue to override any ideas Tim Burton may have left on the cutting room floor. more

Vampirella 1992 One-Shot
Writer: Max Bemis | Artist: Roberto Castro & Marcos Ramos

Review ✍

Vampirella 1992 is one of the weirdest comics I’ve read in a long time. I am honestly shocked that it got green-lit in the current year, especially in light of the current political climate.

The book opens with some toxic masculinity and the threat of rape towards a female character. It’s an oddly unsettling start to the book and could have worked if the rest of the book was as serious as the introduction. Sadly, the rest of the comic is all over the place.


I could dig into plot details but it honestly doesn’t matter. There are some cameo’s from a few other 90’s Bad Girls, presented as cosplayers. There’s a supernatural angle to the story but nothing comes together and you’re left with a nice cover and a mess of a comic.

I'm not sure who this book is for aside from the variant cover crowd. The comic is a parody of the 90’s “Bad Girl” era of storytelling blended in with 2022 identity politics. It doesn’t mesh well and comes off weird and offensive.


The comic reads like the script to a bad Troma movie, which is saying something. I’m not sure if this is what Max Bemis is going for but Vampirella 1992 is one of the most ill-conceived comics I’ve seen released by a mainstream publisher.

In Short: Vampirella 1992 is a comic that wouldn’t have got greenlit in the ’90s and that's saying something.

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Wonder Woman Historia: The Amazons Book One
Writer: Kelly Sue DeConnick | Artist: Phil Jimenez | Publisher DC Comics/Black Label

Review ✍

Kelly Sue DeConnick is not a writer I usually check for while visiting my Local Comic Shop. She famously stated that if “don’t like her politics, don’t buy my books”. Being conservative this is normally the point when I check out on a creator and their works. I doubt that Kelly and I agree on most issues but I am a fan of Wonder Woman and DC Black Label has not let me down so I figured I’d give the series a shot.

The main draw to Historia is the art. This book looks different from most other titles on the shelves today. Phil Jimenez’s art is intricate, striking and at times feels ethereal. The art is perfect for this format and worth the cover price alone.


Historia is a Feminist story but it's not one of those Feminist stories that exist only to bash Men. There is a fair bit of Man bashing in the book but there there are several poignant points in the book that elevate the material beyond the typical hatefest.

The story does take some warming up too but by the end of Book One, I found myself heavily invested in the direction of the series. The comic begins with the Pantheon of Goddesses airing their grievances to Zeus regarding Men. The segment could have been cringe with a lesser writer. However, the complaints are valid in their own right. Kelly also uses Zeus to push back on the idea that men are all bad and suggests that each side has a role to play in the grand scheme of things.


For some reason whenever the Amazon’s and Greek Gods and Goddesses are written into a story the dialogue gets pretentious and I start to zone out. This isn’t a Kelly Sue issue, it happens in every Wonder Woman story I’ve ever read. I wish DC would do a better job grounding these characters but it will probably never happen.

Once the grievances are aired and Zeus dismisses the Goddesses they hatch the plot to create the first Amazons. The lore and world-building here are stellar and the situation picks up steam when Hippolyta is introduced to the story. She is called to midwife and deliver a child.


Hippolyta is put into a rough position and choice that many women have to face daily and is nearly lost before the Goddesses intervene. I won’t spoil the book but the last third of the comic was genuinely powerful and leads to what I believe will be the birth of Diana.

I’m glad I gave the book an honest shot. Kelly and Phil have great chemistry and I do not doubt that Historia will be a complete epic by the end of the series.

In short: Wonder Woman: Historia presents a compelling origin to the Amazons. This is an amazing start and one of the best Wonder Woman stories I’ve ever read.

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Inferno #4 - An Ending
Writer: Jonathan Hickman | Artists: Valerio Schiti & Stefano Caselli

Review ✍

With Inferno #4 the Jonathan Hickman era of X-Men is finally over. This series isn’t a triumph or tragedy it is simply an ending.

The Mystique/Destiny subplot is resolved. Moira X is outed and we get a fairly epic confrontation between Xavier-Magneto and Nimrod and Omega Sentinel. The issue also sets up the status of the X-Men going forward.


Inferno #4 is entertaining and makes up for the series lackluster start. Although I’m happy with the resolution of the series I can’t say I’m interested in this overarching storyline without Hickman.

The main reason that I dropped 95% of the X-Men line was that the Dawn of X storyline got too big and didn’t seem to have a firm direction. Many of the writers weren’t up to par and Even Hickman checked out over time. With over a dozen titles and muddied direction, the investment in the Krakoa age of X-Men didn’t seem worth it if this was the outcome envisioned.


If you loved House/Powers of X, Inferno is a worthy follow-up. There are some genuinely awesome moments. The standoff between The Mutants and Orchis may be one of the most memorable fights I’ve seen in years. The book also pays off with an amazing cliffhanger that I won’t spoil.

Nimrod is as menacing as ever and is one of the few villains that maintains intensity just by appearing in a panel. The intensity of the Orchis fight is perfectly executed by script and art direction and the main reason I won’t sell this book short on merit. Inferno shows Xavier and Magneto at their Apex and it's beautiful to see if you’re a fan of these characters.


If you’re happy with the current direction of X-Men you’ll be getting more of it going forward. I wish I could be more excited about this issue but the overall story feels disjointed. and rushed.

I’m not a fan of this incarnation of X-Men as many of them have been acting out of character for years now. Figuring out why the X-Men were acting so weird was one of the most interesting aspects of the for me and now it seems that it will never be resolved. The creators are too invested in the underlying socialistic utopian theme that Krakoa represents and aren’t gonna let it go anytime soon.

In Short: Inferno #4 The end of an uneven era of storytelling

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Hardware: Season One: #1 - Not Just a Black Iron Man
Writer: Brandon Thomas | Pencils: Denys Cowan | Publisher Milestone/DC Comics

Review:
I didn’t read many Milestone comics in the ’90s. During the Milestone heyday I had limited income and except for Static none of the character designs stood out to me and the diversity of the cast of heroes wasn’t enough to pull me away from X-Men or Daredevil.

I’m older now with a little more disposable income and figured I’d check out the 2021 incarnation of Milestone. First impressions can make or break a title and although the Black Iron Man tag fits Hardware, the character isn’t a reskin or ripoff.


Curtis Metcalf is a prodigy with a humble upbringing. This catches the attention of Edwin Alva, who gives him all of the resources necessary to succeed in life. He also sees Curtis as an investment, which eventually bears fruit as he introduces tech innovations that could potentially change the world.

The book flashes forward to the present as Curtis has been framed for initiating the ”Big Bang”. The event which creates the Dakotaverse. The rest of the comic pits Hardware against Alva and his forces.


Brandon Thomas does a great job setting up this series. I have a nice understanding of what Hardware can do in a fight. The motivations of lead characters are also laid bare in this issue. I appreciate that the creative team didn’t drag the setup for the series out several issues for a trade. This is almost unheard of in the current landscape of mainstream titles.

The design of Hardware is a unique, powerful, and imposing figure among modern superheroes. The character design isn’t my favorite but it works and Denys Cowan’s frenetic style makes blends perfectly with the script which is already engaging in its own right.

The only knock I have for the issue is how race is used in the issue. The race of the leads is pointed out several times in the story. My problem is that the racial element is obvious. Comics are a visual medium and the power dynamic between Metcalf and Alva is obvious. The narrative would be even stronger if readers were able to come to these conclusions for themselves, sometimes less is more. The racial angle also feels out of place because both characters acknowledge the Surrogate Father/Son relationship between the two. As a father in a blended family, I’d never look at my child as my “White” kid in any serious way. The material would work better if the rift was a break in between Father and Son.


Aside from the current year gripes, Hardware: Season One #1 is a solid introduction to Milestone and this character. The issue is a lot of fun and I’m excited to see where this story goes. There is a lot of interesting material here and the action is top-notch. You can do a lot worse. This is a lot more interesting elevator pitch of a Black Iron Man story.

In Short: Hardware Season One: #1 delivers a lot of action and intensity. giving us a new take on an Iron-Clad classic.
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The Joker Presents: A Puzzlebox #1 - A Trailer for the Rest of the Series.

Writer: Matthew Rosenberg | Artist: Jesus Merino - Joshua Hixson | Publisher: DC Comics

Review ✍

I read through The Joker Presents: A Puzzlebox #1 before starting my shift this morning and although the story is coherent there wasn’t enough in this installment for me to latch on to.

I am Jokered out but when I heard that Chip Zdarsky was working on the title I figured I’d give it a shot. The Zdarsky part was a bait and switch. Although he’s all over the promotional material he’s only handling the covers to my knowledge. I haven’t read much from Matthew Rosenberg, but the story solid enough to recommend even though I believe at the outset of the review that the story will read better when collected in trade paperback.

The story picks up in the aftermath of a massive party thrown by Batman’s Rogues Gallery. The party gets out of hand. Batman shows up. The Rogues are arrested, and The Riddler is shot and killed during the raid.

The surface plot of the issue follows an interrogation between The Joker and Commissioner Gordon. The underlying story appears to be a mystery for the reader to decipher. The reader is being asked to figure out:

1. How much of the Joker’s story is true?

2. What exactly is going on with Riddler?

My primary gripe with the comic is the premise itself. I feel like I’ve read this story before. Joker is an easy muse for a story featuring an unreliable narrative. It’s not the fault of the creative team. There are only so many situations you can put these characters in and at this moment Batman and his rogues are oversaturated. Moreover seeing Joker being interrogated is trite at this point.

None of the material in Puzzlebox connected with me. As a single issue, the comic felt like a waste of $4.99. The setup feels incomplete and the ending doesn’t leave much to latch on to unless you’re a fan of the creative team or a Joker Stan.

In short: Joker Presents: A Puzzlebox reeks of decompression and may not come together until the end. Cannot recommend this series at this time.

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Batman #68 + Bruce Dreams of Being Cuckold.

Writer: Tom King | Artist: Amanda Conner
Publisher: DC Comics

Review ✍

After giving high marks to the last few issues in Tom King’s Knightmare story arc we get this shit.

The focus of this issues nightmare is the Bat/Cat respective Bachelor and Bachelorette parties. It sounds interesting considering the characters involved but boils down to Bruce and Clark engaging in a few lame activities. Meanwhile, Selina and Lois have an actual party in Superman’s Fortress of Solitude, involving booze and strippers.

Batman #68 is a very odd issue and represents the worst of modern comics focus on the trivial. The comic also highlights some of King’s worst writing ticks. Prior to this issue, I was tempted to write the Tom King hate as overblown but this issue didn’t help his case at all. What man dreams of being this lame? Who dreams of his wife getting a nude massage from his bestie? There’s porn out there covering this subject matter.

If this story was a Catwoman/Lois Lane One-Shot the story would have worked. If this was Selina’s dream it would make sense but the idea that this is Bruce’s subconscious at work is just bizarre, even for a comic book

Amanda Conner’s art doesn’t stand out and there isn’t much for her to do with this material besides tell a coherent story. Everything else in this issue is mundane and feels ultimately pointless. The best part of the book is the very last page which hints at what is actually going on with Batman. A strong explanation may salvage this storyline but I’m not getting my hopes up.

In Short: Bruce and Clark get cucked on the way to the alter.

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Not All Robots #2 - A Run Up to Judgment Day
Words: Mark Russell | Art Mike Deodato, Jr. | Colors Lee Loughridge Publisher: AWA Upshot Studios

Review:

Not all Robots is an interesting title that gives a tongue-in-cheek take on the classic trope of Man versus Machine. Make no mistake this is a bleak setting but the heavier implications and themes are undercut by a joke, wink, or a nod.

This issue explores the fallout from a mass casualty event in which 200,000 humans died horribly as a result of a robots actions. The alleged murderer is tried and exonerated within seconds which causes a fissure between an already tense relationship between Humans and the Robots they depend on.

The remainder of the book hones in on the Walker Family and their assigned Robot “Razorball”. Within each community, factions prepare for war while others remain delusional about danger brewing underneath the surface.

I generally cringe whenever a story features a resistance movement because it's such an overused trope across fiction but it works well here in light of the circumstances.

While there aren’t any bombastic action sequences here Deadato’s art style lends itself well to the deadpan humor and horrific subtext of the series. The Robots don’t care about the fate of Humanity. However, this indifference is conveyed beautifully in the lack of expression in the designs of the machines.

The lack of Human features also plays into the story thematically as Robots are afraid of being replaced by less inhuman variants called Mandroids.

In the first issue of Not All Robots, Mark Russell mentioned that the story was about Toxic Masculinity. I’m still not convinced of that. I am keying in on the theme of Humanity giving too much agency to third parties that have no need for them and are passively working towards their destruction.

In Short: Not All Robots presents a nice change of pace from the typical Man Vs. Machine tropes across fiction.

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I didn’t hear much about Suicide Squad: Get Joker aside from chatter from Ytubers who took issue with minor anti-hero “Wild Dog” participating in the January 6th riot. It’s mentioned in the comic that he took a shit on Nancy Pelosi's desk. I found this detail to be hilarious but I’m not as well versed with the character and I’m conservative so I may be off-base.

All jokes aside Get Joker is probably a definitive take on what seems to be the Modern Suicide Squad. Amanda Waller recruits a group of losers to take down a threat that is seemingly above their skillset or ability. Squad members are killed off while others find some semblance of redemption as the story progresses.

This iteration of the crew is led by Jason Todd (Red Hood) and features several other Z-list heroes like the aforementioned Wild Dog. On the surface, Joker doesn’t seem like a treat that the Suicide Squad would be called in to take on. However, Azzarello adds Red Hood and Harley Quinn into this mix and suddenly you have a potentially inspired series.

Joker doesn’t get much page time in the book but his presence looms large. When he does show up he takes control of the situation and presents the biggest plot twists I’ve seen in recent memory.

Alex Maleev delivers the goods on art and presents a comic that feels like a storyboard for the next film. The pacing and quality of this installment are top-notch and justify the oversized Black Label format. The setup of the issue is nearly identical to the films yet benefits from years of DC comics continuity. Changes are made that are surprising but none of the character revisions pulled me out of the story. My hope is oversized books like Black Label and the format used by IDW (The Last Ronin) take off because it offers real value per page and offers a prestige format that feels tangible. Get Joker is a beautiful comic and I’m stoked to see where the story goes. My only gripe is that I didn’t get to review this book sooner.

In Short: Bravo!

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I’m not a fan of current year politics in my entertainment. It’s not because I’m conservative or closed-minded. The problem tends to boil down to writer's virtue signaling to a hot button issue that they aren’t equipped to discuss with the complexity, nuance, and maturity needed to sway an audience one way or another.

I do lean conservative so take this review with a grain of salt. However, I did grow up in a Democratic household and can usually relate to topical arguments as long as they are presented in good faith. I mention my political leanings to say that “I Am Batman #0 opens with one of the most ridiculous sequences I’ve ever read in a comic book.

The comic opens with a confrontation between the GCPD and a group of “peaceful protestors”. The situation seems to be escalating on both sides of the conflict as protestors begin throwing projectiles and the Cops begin to move in. Whether you’re on the side of the Cops or the protestors is irrelevant. The scene is written clumsily and gets worst when the lead officer is fired for doing his job. Commissioner Montoya says that “People hate cops but cops don’t hate people”. No context is given for why the police were at the protest in the first place and the only impression left to take is that Police bad, protests/riots are good.

Once the weird opening segment is out of the way we’re presented with a flashback to Tim Fox’s time in Japan before changing his name to Jace. It turns out this is his war name and his primary motivation is to Fight “The System”. The book flashes to the present day and we see Jace’s first attempt to break into the Batman armor. He sees people like Bruce and his Father as thinking they are above the law and wants to use the technology to show them that their strengths can be turned against them.While repurposing the armor, Jace is informed of a false flag operation to infiltrate the protest group and turn it into a full-blown riot to justify government forces moving in. This aspect of the story is the most interesting and should be relatable no matter your position on the nation's current political climate.

The book ends with Jace Fox hacking the Bat-suit and showing up at the protests. He’s able to take down the provocateurs but amid the chaos, he’s targeted by the cops due to his vigilante status. The incident also goes viral as protestors unaware of the False Flag get a glimpse of Batman attacking protestors.I am honestly confused about why anyone thought this pitch was a good idea. Jace Fox has daddy and identity issues. He changed his name from Tim to Jace to solidify his place as a revolutionary. He’s also using the Bat-suit to repurpose what Batman stands for. It’s an odd foundation for a series that I don’t believe comes off as the Ridley is intending.

The series feels like there was a mandate in the DC office to create a Black Batman that had little to no ties to Bruce Wayne or the Bat-Family. The downside to this story is that it feels like Jace is stealing Bruce’s gear and identity to work out the issues with his own.

I think the story would have been better served by Jace taking the Wayne/Fox tech and carving out his own identity. We’ve had a similar storyline in the past when James Rhodes transitioned to War Machine over at Marvel. Even then, James had a long history with Tony before he ever wore the armor.


Duke Thomas seems like the perfect candidate to take on the Batman Mantle if DC was hard up to have a Black Batman. Putting Jace in the role feels wrong. Jace doesn’t benefit from an established relationship with Bruce or the Bat-Family which makes this entire scenario seem off.

In Short: There are some bright spots to the issue but the foundation of the series is flawed. I cannot recommend this series at this time. more