It's been a minute since I've read a Hawkman comic but diving back in I felt right at home. I don't remember most of the details this arc aside from Hawkman encountering different versions of himself in different locales across time and space.

In this issue, Robert Venditti gets you up to speed quickly and gives a concise refresher on the relationship between Atom and Hawkman.
<br/>I've never read any books featuring the two characters but they seem to have a real bond. I totally buy that the characters have been friends for a long time. The issue focuses on their relationship as they try to figure out what the hell is going on with Hawkman's situation and memories.

The first half of the book is exposition-heavy the second half is action-driven. Bryan Hitch is the artist and during the second half, there's a splash page that gave me chills and reminded me of The Ultimates. For that reason, the comic gets high marks.

Hawkman #5 was a solid filler issue. I don't have much to say about the comic despite all of the praise. This has been an excellent series to date. more

I read this issue a few months back while heavily intoxicated and never got around to reviewing it. I remembered the basic framework for the story but I also recalled being bored AF by it.

I'm looking to get back on a regular review schedule for this series and decided to try to power through the "Beyond the Grid" story arc. There are a few decent elements in the story but the biggest hurdle for me is lack of familiarity with the Rangers featured in this run.


Reading the issue a second time it wasn't that bad. We're still in the middle of "Beyond the Grid: and still following a bunch of characters I don't know or really care about. The focus of the issue is Heckyl. He finds himself depowered and on his homeworld Sentai 6, a paradise planet. The planet is also protected by Zenowing Who acts as a mentor and also happens to be a Ranger.

Initially, Heckyl is totally enamored by the beauty of the world and its people. However, when he considers the potential threats he comes into conflict with Zenowing. He wants to prepare the citizens of the planet for war. Zenowing feels that militarizing the populace would cause the world to lose the qualities that make the world worth saving.


The situation escalates to the point in which Heckyl compromises his relationship Zenowing and puts the safety of the world at risk in attempting to secure it.

I initially thought the comic was bad because of the pacing as well as my growing frustration with this group of heroes. The comic isn't terrible. Its also not the most exciting issue. It's a solid story that serves to humanize one of our background heroes. I think readers will get more out of the issue depending on how invested they are in MMPR lore.


The art is the weakest aspect of the comic. Simone Di Meo is sorely missed. French Carlomagno and Francesco Mortarino attempt to ape Simone's style with mixed results. The odd pacing and boring art style add up to a pretty bland issue. I got more enjoyment out of the book when reading for the review but I still wasn't blown away by the content. The story is actually pretty generic.

I'm not sure who "Beyond The Grid" is for but it increasingly feels like it's not for me. I haven't dropped the title but it's hard to be excited for a storyline you're just not interested in. more

Justice League #12 is proof that the problems with the JL Drowned Earth tie-ins aren't Scott Snyder's fault. The problems fall almost entirely on the editorial group assigned to this title. This issue is loaded with locations and sub-plots. The large cast, constant shifts in location and plot point have led to a mess of an issue.

I don't want to blame the writers. James Tynion IV and Snyder do a decent job coordinating things but there is simply too much going on in a 22-page comic.

The Legion of Doom - Batman subplot is particularly jarring when contrast with the rest of the Drowned Earth plot. It has next to nothing to do with the main story and feels like more of a distraction than anything. It should have been put on hold or segregated to its own mini-series or one-shot. The issues would have read better that way.

The book splits time between Batman and the Legion of Doom; Superman, Mera and Flash; and Poseidon Aquaman and Wonder Woman. The heroes do battle with the space gods and actually gain some ground in this issue. The comic isn't actually bad but readers picking the comic up may be overwhelmed. The book doesn't stand up as a single issue.

The art for Justice League #12 is solid. The scenes in the Hall of Justice with Batman fighting off the Legion of Doom are drawn in a traditional style by Bruno Redondo. The rest of the book is drawn by Frazer Irving. These segments have a beautiful otherworldly quality. The two styles don't mesh well and I wish that one style was chosen over the other, preferably Irvings. The mashed-up art styles reinforce my belief that the editors were out to lunch when this issue was put together. The comic Isn't the worst on the shelves but the cramped nature of these Justice League tie-ins are definitely holding this event back from greatness. more

My last Drowned Earth review boiled down to Scott Snyder joggling too many plot points which led to what felt like a mess of a comic. Aquaman #42 validates my criticism. This book picks up immediately from the Justice League cliffhanger. Arthur is on the verge of death and must find his way back to our reality.

The comic focuses on Arthur and the relationship he has with his father. The story also speaks on Aquaman's destiny. Throughout the issue, we see him overcome various obstacles thrown his way.

We've seen this trope many times across fiction but it still manages to be effective here. Prior to seeing the Aquaman fil, I had no knowledge of Aquaman's familial situation. DC's characters tend to be more stoic and Godlike. the focus on the father-son relationship ground's the character and makes the entire issue more relatable.

Aside from scenes with dad the rest of the issue pushes the Drowned Earth story forward. Diana and Aquaman confront Poseidon. The interactions between these three characters are great and are a nice change of pace. Dan Abnett doesn't have to bounce between several groups of characters so the story is easier to digest.

The cover for this issue is God-Tier and pulls from the Aquaman film for inspiration. The covers for this event have been generally been great and if a cover gallery for the event is ever released. I'd buy it.

Ian Medina's art also serves the story well. The event has had problems throughout. One of them has been the inconsistent art choices. Medina's character models are clear, distinct and the monsters whenever they appear are horrifying.

All of these elements combine to make a compelling issue. It works as a single issue of Aquaman and also works to strengthen the Drowned Earth event. I've never been a huge fan of the character but with this storyline and the film, I at least have a newfound respect for the character. more

The Drowned earth event has been pretty solid. The story is decent and the villains have been fun. The weakest link in the chain has been Justice League. I'm reading this series as well as Undiscovered Country, I had similar concerns with both titles. Both titles have cool concepts and are content-heavy but feel overstuffed.

One of the primary criticisms of the Disney Star Wars films is that the characters are always running around like a chicken with their heads cut off. Justice League #11 feels like that and lost a lot of entertainment value about midway through the issue. It's not the worst comic on the shelves but its easily the worst title for me in this event.

The book focuses on three fronts. Batman in the Hall of Justice. The rest of the issue splits time between Aquaman, Wonder Woman and Superman, Flash, and Mera. The villains show up and are menacing but there isn't enough time spent on any one element and it makes the entire issue feel like a mess.

This is an event that probably needed more space. The Batman stuff could have been pushed to a Batman: One-Shot or mini-series. This would have given Snyder enough room to focus the story on a couple of elements rather than several.

I don't want to be a total downer. I wasn't a fan of the interior linework and won't spend time on it The Francisco Mattina variant, on the other hand, is God-Tier. If the poster was available I would buy it immediately. The event is somewhat uneven but even with the lesser titles, Drowned Earth has been a net possible so far. more

My last review of TMNT was probably all over the place with equal part praise and concern. I wanted to be nakedly honest about the issue. The book had a lot of good in it but there was some underlying stuff that bothered me.

Issue #102 brings the new status quo further into focus and sets up some really interesting subplots for our heroes and villains. The comic opens with Raphael and his pet dinosaur, Pepperoni gearing up to go back on patrol for the evening. They are interrupted by Sally of the Mutanimals. Raph's wearing his Black mask and armor which seems to be homaging his Nightwatch costume from the underrated TMNT movie as well as his black Suit from the old Archie comics.

The exchange between the two characters is pretty cool and layers in some setting building for the Mutanimals as well as the general state of mutants in Mutant Town. The scene is eventually interrupted by the previous issue's cliffhanger. Jennika and the newly introduced Mona Lisa (TMNT 87 Series) were attacked by a group of mutants looking to steal their stuff. The fight scene here is great and seeing Jennika get pinned by a giant mutant porcupine was equal parts hilarious and horrifying.

The book also checks in with the rest of the turtles. They are a complete mess and Mickey has my favorite line of the issue. He mentions that no one talks anymore even though they have so much to say. This hit me really hard. Shortly after my mother passed away circumstances led to me being somewhat estranged. It felt like my siblings and I went our separate ways and you sort of see the same thing happening in this issue. The writing for this interlude is amazing and it will be great to see the guys pull it together, find themselves and figure out a path forward.

I also really dug the new villains. I really liked the design on Diamond, the aforementioned porcupine. He steals the show in this issue and oddly enough reminded me of Sonic The Hedgehog. The book checks in with Old Hob and he seems a bit more villainous than usual. Prior to this issue Hob always seemed at least somewhat justified in his actions. In this issue, he seems to have crossed a line that he may not be able to come back from.

I loved everything about this issue. It looks great, has great pacing and the color contrast Ronda Pattison uses to differentiate Mutant Town and April's farmhouse is understated yet stunning. When you combine the visuals with dynamic action and new interesting concepts and characters you get something special.

If you were on the fence about the series post issue #100 I suggest giving it a shot. It's the same book you loved but with a different flavor. more

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I don't know what Justin Jordan is doing nowadays or if he's even writing comics anymore. With the exception of a few legends, he has become one of my favorite comic writers working today. I'm not being hyperbolic.

In this issue of Brimstone, we see our protagonist go up against a legit DC powerhouse in Dr. Fate. Much like in DC's Damage comice Brimstone does a lot better than expected and in doing so got an audible reaction out of me.

This is another comic that works perfectly as a single issue. The art from _ is gorgeous and this may be the best rendition of Brimstone we've seen to date. The colors from _ also deserve special props. The flames look glorious.

Besides the fight, there isn't much else to the issue. It also seems that I may be missing part of this story. There was a Brimstone annual released around this time and will probably be my next review in this series.

The issue starts great and ends with a pretty intense cliffhanger. On top of all of the excellence in this comic, it also carried a $2.99 cover price. more

It feels really weird reviewing this book for a number of reasons. First off, its another book from 2018. It's also technically the first issue in the event even though I've already reviewed three of the tie-ins. The reading order for the event has been weird but here we are

Drowned Earth started awkwardly in Justice League #10. It's gotten progressively better as the event has gone on. Titans #28 was a solid prelude and from a storytelling perspective, this issue is great.

Space Gods have decided that now is the time to take revenge on the earth based on actions taken in the distant past by Poseidon. The premise is simple but gives the League threat worthy of their powerset. The story also works as a nice primer for the Aquaman film which was released around the same time.

'm gonna get the major complaint out of the way first. I'm not a fan of the art style. Howard does a decent enough job with the backgrounds and landscapes but when he has to draw the heroes and villains some of the character models and face's get rough. I'm not gonna say the art is trash but I wouldn't have chosen him to man the first part of this event.

I remember reviewing Justice League Dark/Wonder Woman: Witching Hour last year. That event felt rushed and confusing. Drowned earth is clear, concise and easy to understand. If you can ignore the slow start this is one of the best starts to an event I've read in years from a mainstream publisher.

The villains are all appropriately menacing and worthy of the League's attention. We see Atlantis, Gotham, and Metropolis fall by the end of the issues and it's hard to imagine a quick recovery after the event is over.


I know the review is late and the event has largely been forgotten but in hindsight, the story was pretty good and should be a really big deal in relation to DC's continuity. We'll see how it goes, so far so good. more

I'm a year removed from the Drowned Earth event. I feel really bad for not covering it in a timely manner because the prelude issues have been pretty solid. It's just really hard to be excited about reviewing a comic that came out in 2018.

With Titans #28, Dan Abnett crafts the perfect tie-in issue. It's not a perfect comic but it doe's its job admirably. It present's the Titans to new readers and establishes the drowned earth situation for readers that may not be aware of whats going on in the Justice League or Aquaman.

The art direction is also solid. Clayton and Marcelo get a lot to do in this issue. The comic has a nice pace and the characters visit a variety of locales. The issue starts on a ship, the Titans launch an invasion and the comic ends in a retreat and cliffhanger. All of the scenes are conveyed appropriately particularly the ending sequence.

The only problem I had with the comic are the voices for these characters. The Titans are young but they feel a bit too young in light of their experiences. I'm not sure if this is Dan's fault or editorial mandate but it's strange seeing characters that should be mid-twenties at the very least speaking like teenagers. I'm reading Teenage Mutant Ninja Turtles and even Michaelangelo comes off as being more mature this the members of this team.


I want to credit Dan Abnett for having the best grasp on continuity that I've seen in a DC comic since I started reading their books with DC Rebirth. The issue references Nightwing being shot over in Batman as well as Roy Harper's death in Heroes in Crisis. I'm not used to any semblance of tight continuity in a DC comic so to see the threads being pulled in a tie-in was somewhat shocking.

This was a perfectly acceptable single issue. If you weren't interested in Drown Earth I can see Titans #28 inspiring some new readers. It sets the table nicely for the event while maintaining its own identity as an ongoing series.

Titans #28 us proof that we have at least one creator in mainstream comics that knows how tie-ins are supposed to work. more

When DC comics split the Justice League into three titles (Justice League, Justice League Odyssey, Justice League Dark) I was pumped. I added all three titles to my pull list. I got back into comics in 2015 and hadn't found a team book that worked for me. The best of the bunch was Justice League Dark but one of the nagging issues with all three titles was the decompressed storytelling. This hits JL Odyssey particularly hard because I'm not familiar with most of the team and they are in a location I know even less about.

Decompressed storytelling only worked in books that are manned by top tier writers who are great at pacing. Decompressed books also need to be affordable or readers will either wait for the trade or drop out of the title entirely or begin pirating. This is where I am with this series and I think this will be my last review for this title.

Justice League Odyssey has a couple of pages of excitement but the plot still moves at a snail's pace. The Stjepan Sejic cover is great and does the job of selling the book. Its also worth pointing out that the events portrayed on the cover happen in the comic, sorta. Philippe and Jeromy do it a fine job with the art direction. The backgrounds really stood out to me this time around. I've read comics recently where backgrounds were a complete afterthought so its nice to see artists that give a damn.

The story picks up with Cyborg and Azrael discovering that they are also being worshipped as gods. Some of the populace do not believe and force them into a fight. The battle is the best scene of the book, but the fight ends too quickly. Elsewhere the rest of the team investigate the plot. The issue also touches base with Darkseid and his plot.

The issue works on its own but if you've been reading since issue #1 it feels like nothing has really happened to progress the story. This works when the book has a lower price point, but at $3.99 an issue the book doesn't feel worth the money or my time.

There are some pretty pics and the plot may eventually come together but I'm not gonna keep throwing money at the series hoping that it eventually comes together.
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One of the most visionary writers working today is Mark Millar. He was one of my favorite creators in the early 2000's when he collaborated with Bryan Hitch on Ultimates. In the past couple of years, he's been on fire.

I just reviewed Space Bandits #4 a few days ago and gave it a 10/10. American Jesus has a totally different vibe but it still a master class in storytelling and shows off Mark's versatility as a writer.

Luciana has been having dreams of carrying the child of God since she was a very young girl. This continues throughout her teenage years. She starts dating and shortly into her relationship she inexplicitly becomes pregnant. The problem is that she's still a virgin.

The story isn't anything new. We've seen Christ reborn across fiction. I'm currently reviewing two other titles centering around Christ's return in the current year. American Jesus is easily the best of the bunch. Like Chrononauts, American Jesus is the second volume of a series that I didn't read. Reading this issue I didn't get the impression that I was missing anything.

The book touches on a lot of Biblical prophecies that you've probably heard of if you've been in religious circles. I was raised in a religious family so I was right at home with the material.

The Characters are intriguing. Luciana feels like a real child just getting her footing in life. The most powerful scene in the book involves a very real scene you hear about but don't really see depicted. Mark rarely shies away from controversy and he's learned to pick his spots over the years. Where Chrononauts is over the top action and exploration. American Jesus brings a millennia-old story into the modern-day.

Not much to say about the art direction. The pencils don't really jump out one way or another. The artist doesn't really get a lot to do in this issue outside of basic slice of life stuff so Ill reserve judgment. The script is the prime driver of this story. On another note the covers are amazing.

I can't find any fault with this story. American Jesus is amazing and I left the issue mouth open and pondered potential story direction. If you haven't checked it out I highly recommend it.
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The Netflix logo is listed on the back cover of these books. It's appropriate because of all of the Mark Millar titles I've read in recent months Space Bandits is the one I'm most excited to see translated.

I adore the lead characters and the voices Mark gives to them. Thena is billed as the badass but seems to get her ass beat in every issue. Cody is the brains of the pair but is totally useless in face to face confrontation. Together they create an odd couple style dynamic that works perfectly as the leads bounce off of each other and their enemies.

The comic is a ton of fun. It's so refreshing to see women presented as people with legit goals and motivations and not just avatars for some feminist agenda. It's also really cool that neither character is a Mary Sue. They both have unique strengths and weaknesses.

This issue is a blast. The book picks up immediately at the conclusion of the last issue. The gals confront Bowser and spend the first half of the issue working to escape the pleasure ship.

Before long they locate another target in another exotic locale and we're off to the races. I'm a big proponent of smaller story arcs or graphic novels but I'd really love a regular series in this universe. Sadly, Space Bandits ends in issue #5.

At first glance, the cliffhanger ending seems to be setting our leads up for another setback/betrayal but I'm convinced that these characters are nowhere as stupid as they are being made out to be. The book insanely good and remains one of the best series I've had the pleasure of reading in a long time. more

It's been a very long time since I reviewed issue #9 of Kickass. I remembered the cliffhanger of the last issue and Kick-Ass being stabbed through her hand but not much else. I haven't been too keen on this series but I'm not sure if it's just absence making the heart grow fonder but this issue wasn't that bad.

This comic picks up with Kick-Ass retreating from the scene of the attack, ditching her costume and resuming her civilian identity she gets treatment at the local hospital. From here she touches base with most of the supporting cast. They don't get much beyond surface-level attention but something about the comic is more endearing.

I found myself interested in them which is a feeling I don't recall having at all during this run. I was also interested in seeing what the villains were up to. The only problem I have with the book is the problem I've had with the series since it's inception. Patience's origin is garbage so it leads to scenes that simply don't make sense. She's pressed for cash yet she's technically a mob boss funneling millions of dollars. It's goofy, but thankfully only comes up once in the issue.

The sooner that this mob boss sub-plot is resolved the better. Trying to play both sides doesn't work for this character. The logic is that she's a Robin Hood type character but it doesn't work. She's a killer and pays killers to commit crimes. Trying to reconcile those two facets of her character isn't working and just makes the story not work when she can just leave. Complaints aside, the issue solid and keeps the focus on the supporting cast.

The book reads a bit too fast but nothing in the book feels rushed or wasted. Kick-Ass #10 is a bottleneck issue. Action will undoubtedly pick in #11. I can't see anyone invested in the title being disappointed in this issue and I can't see new readers being turned off. It's a decent enough issue and I'm not sure I could have asked for anything else. more

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I didn't know at the time of reading the first installment that this was a two-part series. If I had known this at the outset I would have held off on the purchase and reviewed the comic once it had been collected in trade. The story wraps up in this issue but suffers some serious pacing issues most likely due to the process of condensing a 209-page novel into a 53-page series.

The comic book picks up immediately of the cliffhanger of the last issue. Ellie has the creatures at her back and Moreau's men closing in. Ellie eventually is convinced to back down after the doctor tells her that he sent his men after her not because he wanted to do her harm but because the creatures are unpredictable.

Later on, the two engage in conversation and discuss Dr. Moreau's philosophy and why he conducts his barbaric experiments. I won't get into the details to avoid spoilers but I found the exchange to be fascinating and the best part of the series.

The problems start at this point as the story begins moving at a breakneck pace to its conclusion. The book also suffers due to its format. Every page is broken into a 2-page spread. The format emphasizes the action and movement which seems to be the strength of Gabriel Rodriguez. What is lacking is plot and story details that could have been better conveyed with a traditional style of panel-layout. Going back to my Star Trek review, it had its own set of problems but one thing that it did great covering enough of the plot so that the reader didn't feel that anything was missing. This story works in broad strokes but I get the impression that a significant portion of the book was lost.

I mentioned in the last review that the lead character Ellie was gender-swapped. The reason given was for diversity. Apparently the ending was changed as well. I didn't read the novel so I'm not sure what the ending was. I don't have a problem with the changes but I feel that the book should have been sold as a reimagining rather than an adaptation of the source material.

I also don't see any real reason to change the lead character into a woman. It doesn't change any aspect of the story significantly. Her gender is mentioned one or two times and one of Moreau's men tries to sleep with her. Those exchanges could have been cut entirely and the overall tone of the series wouldn't have changed. The swap just feels arbitrary and bizarre.

Gabriel Rodriguez and Nelson Daniel do an amazing job with the art direction. The energy here is intense whenever the action picks up and the monsters look great and varied. I wish that the series was expanded an issue or two because I would have loved to see more creature designs and action. Many of the beasts end up standing around and don't get much dialogue. I don't blame the art team as it seems more like an issue with the editorial direction.

Overall The Island of Dr. Moreau is definitely worth checking out if you're a fan of the source material or were like me and had very little knowledge of the book. Strange editorial decisions aside, it's a pretty comic and the story is solid. I would recommend waiting for the collected edition though and reading it in one sitting. more

Three issues deep and it finally feels like Second Coming is going somewhere. Not sure why but we have lift off.

The plot with Sunstar just isn't grabbing me at all. In this issue, we spend time with him as he tries to find his missing grandmother in Littleton. This segment of the book was a bit boring and Sunstar honestly comes off as a crybaby. At one point he has a monologue in which I wished his girlfriend would cut him off and say STFU. At this point in the story, I feel like a street-level superhero with a passive ability may have served this story better. He'd still have superpowers but would be more grounded. Choosing a Superman type character doesn't seem to be adding anything. Yes, I know that issue #6 came out this week and I'm late with reviews. The situation may have changed so I'll reserve final judgment, no pun intended

I'm sure the Sunstar story is going somewhere but for me, he's getting in the way of the more interesting aspects of the series. Jesus is left alone midway through the issue. It's during this point that Christ is forced to come face to face with the realities of current year and his place in the world.

Things go as well as can be expected when you have a guy claiming to be Jesus Christ walking the streets and he ends up in jail. It's a cynical take on religion and the role of religion in 2019-2020 but in this case, it pays off.

Christ being jailed got a visceral reaction out of me. I'm not religious but I was raised in the church and in trying to put myself in Jesus's shoe's this scenario would be a nightmare. The last time Christ was imprisoned he ended up being crucified.

During the Christ portion of the book, the art style and finishes look outstanding. It was also used in the first issue and it was just as effective. I'm not a big fan of the regular art style as it comes off a bit too cartoony but when we're left with Christ and the style shifts it's almost like the lens in which Christ sees the world.

God's motives are also called into question this issue and I imagine this is where most people well call blasphemy. I don't because it's pretty clear that the god we're supposed to be following is the one from the Old Testament and his motives always seemed contradictory and counter-intuitive.

My biggest complaint with the series is that some of the irreverent humor seems forced, and doesn't really add anything to the story. The layers added in this issue have piqued my interest and I'm tempted to just knuckle down and finish the series in the next few days. I'm glad I didn't give up on the book. The padded nature of the story could just be a symptom of decompressed storytelling. In any case, we're in a good spot and I'm interested in seeing where we go from here. more

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It's always a pleasure to dive back into Bloodshot Salvation. Even without much information on the character or lore Salvation continues to provide a clinic on what it takes to make a great comic. The art, stakes, threat, and actions are top-notch and portrayed at a level few creative teams are able to match.

Bloodshot #11 has a lot of action beautifully portrayed throughout the issue by Doug Braithwaite. The linework epic and every action sequence suitably brutal. I also want to call attention to Jordie Bellaire's colors. I've been running into a lot of comics that are bland to look at even when the pencils are great. Jordie makes sure every scene is lit properly and the variety in colors adds depth to every encounter. There fire, ice, and excitement throughout this issue and everything is rendered gloriously.

Bloodshot is hit with a helluva moral dilemma. Does he kill an innocent family man in order to save his own family? The past and future settings are both great. This is a testament to the writing and pacing ability of Jeff Lemire.

In the present, the action continues to ramp up when Rampage makes another appearance. We also get an extended cameo from Punk Mambo. Mambo is a cool character but she has a really shit design. She appears to be weird for weirdness's sake. Appearance aside, she plays a major role in the issue and its great to see Jeff weave other Valiant properties into the issue without being intrusive. Just like with Shadowman and Ninja-K, I want to see more Mambo stories. I just wish she would fix her hair.

This issue ends on a cliffhanger that I can see going either way for our hero. He's clearly making a deal with the devil, and the devil is known to lie.

Bloodshot #11 is the type of single issue that makes you realize just how mediocre comics really have become. This issue along with the rest of the series has been outstanding. If you aren't reading Salvation I suggest you either collect the single issues or pick up the trades. The series is a must-read. more

TMNT #101 shifts the title in a number of ways. Its the first title that I can recall in which Tom Waltz isn't the primary creative force for the series. It's also the first issue since Master Splinter's death.

The book is really solid but I have some potential concerns. The concerns may be unfounded but I figured I'd mention them anyway. Sophie Campell begins her run with this issue. She's a great writer and earned my trust with Macro Series - Leonardo Teenage Mutant Ninja Turtles #3. I reviewed it back in 2018 and it remains one of my favorite TMNT stories. Sophie had a great voice for the turtles there and that extends to this issue.

This comic puts the focus on Jenny for the first time which is good because we really didn't have much time with her during City at War. Jennika feels like a real person and speaks more natural here than she ever has in the main series. She's dealing with some pretty massive changes in her life so its nice to get some insight into where she's at as a character.

My primary concern is that the rest of the guys don't get much face time in this issue. Donny does the opening narration. We quickly touch base with Leo, Mike, and Raph, but they are all notably absent from the second half of the book.

The second concern contains ***Spoilers*** for the issue so proceed with caution.

Following Splinter's death, Leonardo doesn't have any interest in being the leader of Clan Hamato, Raphael has struck out on his own and is helping the new mutants that have appeared in NYC. Mickey has become obsessed with his pet cat and Donny is apparently working on a sci-fi novel. This leaves Jenny possibly taking over as leader of the group for a time.

I'm gonna hold off with judgment because Sophie has earned my trust. I'm not sure fans will be receptive to Jennika getting such a heavy focus. I'll also admit I'm not totally sold at this point.

It's great seeing Sophie on pencils again. My description can't do it justice but Sophie's linework gets to the essence of these characters. You feel for them because of the situation they are in, but you also care because of the emotive qualities within the linework.

I don't want to be too negative, the issue is solid. The Status quo takes a big and logical leap forward. Thousands of new mutants are suddenly on the streets of New York. The turtle's trauma is also handled gracefully despite my concerns. I lost my mom and dad in the span of a year. The losses totally devastated my family. I understand the general malaise that the guys are probably feeling right now.

I have concerns, but the issue continues the tradition of being one of the best series on the shelves and issue #101 sits firmly in the net positive category.

#TMNT #Teenagemutantninjaturtles #SophieCampbell #RondaPattison #Indiecomics #IDWPublishing more

During the weekly zombie walk about my local comic shop, I stumbled across SFSX. I flipped through it, clutched my pearls and added it to my stack. After reading the issue I immediately called up my guy and added the rest of the series to my pull list. I was totally sold by the comics narrative and needed more.

I've caught heat for years for being a conservative. Although I'm right-leaning when it comes to fiscal and security issues I've maintained a progressive streak when it comes to social issues and commentary.

SFSX is a progressive story I can get behind, no pun intended. The comic is wild as hell and just may be the most explicit comic book I've ever read. The basic premise of the series is that a conservative feminist political group has taken over America and has clamped down on civil liberties in relation to sexual expression.

The comic premise may sound goofy and radical until you scroll through certain circles of social media and see free speech advocates and sex workers attacked daily for their lifestyle choices. The conversation is almost always related to morality, but when you drill down the commentary amounts to censorship and social fascism.

I thought that the premise presented in this story was fascinating and ironically reminded me of Mirka Andolfo's Unnatural. That series also had a fascistic government controlling the reproduction of the populace.

The lead character, Avory gets away from the lifestyle after a raid shuts down the establishment she works out of. She gets married to avoid scrutiny and comply with government regulations. Conformity and employment become an issue as she is unable to explain gaps in employment related to her time as a sex-worker. I've dated and linked up with a few sex-workers in the past and Avory's concerns are very real and relatable if know anyone that dabbles in the profession.

The linework for the issue isn't big or bombastic but Michael Dowling does a great job in establishing the mood and general atmosphere of the series. He's also great at drawing anatomy and action, pun intended. I wasn't expecting an action setpiece but we get one out of nowhere and it's great.

By the end of SFSX #1, I was thoroughly engrossed in the story and excited for the series direction. Only in indie comics can you get concepts that are executed this well. Tina Horn swings for the fences and scores a home run. SFSX is excellent.
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I enjoyed Marauders #1 more than a lot of other reviewers out there. This review is coming late and issue #5 is sitting on my shelf. The series isn't bad but I'm not sure if I'm gonna keep the series on my pull list much longer.

Issue #1 was a fun read but was definitely one of the lighter X-titles I'd read in a while. This is especially true considering the direction and tone of HOX and POX. Marauders #1 established the team and their mission statement. I didn't have much reason to complain. Marauders #2 is more of the same but whereas the first issue got a solid recommendation from me, this issue gets an enthusiastic meh.

The problem is that this incarnation of Kitty Pryde is rubbing me the wrong way. This is not the Kitty Pryde I grew up with and it appears that another personality has been grafted onto the character I knew and loved. I understand the adjustments for the series but I question why have Kate in this role at all?

After reading the issue the character that immediately comes to mind to lead the Marauders was Callisto of the Morlocks. I realize the choice isn't the sexiest or most marketable choice but it makes sense from a setting and in-universe perspective. Callisto already has experience leading a nation of mutants. She looks like a pirate, fits the antihero vibe and has a long history Kitty Pryde and Storm. With the case presented, Callisto seems like an easy pick to be Emma's choice as Red Queen.

The book itself is okay but the tone is a bit too snarky and goofy to be taken seriously. The opening action set piece has the Marauders going up against Batroc The Leaper and his crew. He gives the team a lot more trouble than he should have considering that Storm and Iceman are a part of the group.

Kate gets more great moments showing off her combat abilities but aside from her everyone feels like background noise. While the marauders are doing pirate stuff Sebastian Shaw and Emma Frost discuss business and how Sebastian has been screwing up the books.

I'll spare the details to avoid further spoilers but I will say I thought their scenes together were boring. I'm also not a fan of Shaw's depiction in Marauders and X-Men. It's hard to believe that back in the '80s this guy was capable of nearly taking out an entire group of X-Men on his own. In Marauders Shaw can't handle his finances and in X-Men, he's getting beat up by old women.

The scenes are written for laughs and ultimately undermine one of the X-Men's strongest villains. If you're a new X-fan and don't have the years of history with these characters you may find the comic serviceable, even good. From my perspective, many aspects of the book are just bad. I can't recommend the issue for anyone except for die-hard X-Men fans and completionists. more

The last Power Rangers/TMNT crossover appeared in the mid-90s and was a catastrophe. It took over 20 years but we finally have a proper crossover between the two franchises.

The plot isn't fully laid out in this issue but the pace is fast without being decompressed. The gist of the issue resolves around Tommy disappearing from the team and joining the Foot Clan. The reason behind Tommy joining the ninja clan seems sincere but I'm holding out hope that he's here on an undercover operation. Time will tell as Tommy Oliver has always been the most mercurial member of the Power Rangers.

The books have a couple of things going for it. First of All, Simone di Meo has a really great take on the Turtles and joins Mateus Santolouco and Sophie Campbell as my favorite TMNT artists. The art style chosen for the series is simply amazing. The locations are varied and the colors provided by Walter Baimonte really make every page come to life whether it's a daytime battle between the Rangers in Angel Grove or a late-night encounter between the TMNT and the Foot Clan.

Simone has been a regular writer on the main Power Rangers series and does a great job integrating both franchises and making it appear as if they occupy the same universe.

Ryan Parrott also does a great job in the portrayal of the Turtles. They feel right and I enjoyed their interactions with each other and the Rangers. There is a great exchange between the Turtles in which they talk about what traits they would want if they were human. It's not a big deal, but it layers on a few traits onto our heroes that I had never considered. The banter also makes them feel like normal kids and further humanizes them. Leonardo wishing he had hair was particularly funny.

My fear was that the Turtles would be upstaged in the series. This concern was a bit premature. The two groups have the obligatory crossover misunderstanding and fight. During the exchange, both sides are represented as equals. Surprisingly, Raph and Tommy are set up as potential rivals and both have some pretty impressive showings against each other as the issue progresses.

The teams have some really good interactions with each other, and at this time I feel like we may be in for something special. The art direction and script perfectly blend each franchise and I was beyond impressed by this mashup.

There were so many ways in which this could have gone wrong and I appreciate all involved in making this series happen. MMPR/TMNT #1 is a Godsend and one of the best starts to a mini-series I've read in a long time. more

A few months ago I reviewed Radically Rearranged Ronin Ragdolls, a one-shot clearly inspired by Mirage Studios and the original incarnation of Teenage Mutant Ninja Turtles. Drawing Blood #1 was initially released as a companion to the RRRR one-shot. It does something I've never seen in my 20+ years of reading comics. It builds a fictional setting within another fictional setting.

Drawing Blood feels like a semi-autobiographical take on Kevin Eastmans' life and career as a comic book creator and publisher. I'm pretty sure a lot of the story is fabricated as in most comic book fiction is but it would be interesting to dissect just how much of Eastman's truth is in this book.

The comic follows Shane Bookman, Co-Creator of Radically Rearranged Ronin Ragdolls. The book takes place after the rights to the characters were sold and _ has fallen on hard times. It doesn't help that his partner commits suicide leaving a 2 million debt that Shane is being held accountable for.

What I really liked about the issue is the meta-narrative. Retroactively this comic makes RRRR better. You see the inspiration there and when reading together, it makes Drawing Blood sort of a mindfuck. At one point in the comic, you see an advertisement for the Ragdolls movie and its surreal because you're more than likely reading this book knowing the history of TMNT just how big it was at one point.

The dialogue is also a lot of fun. The exchanges between characters come off as silly at times but it's not overblown and never hinders the book.

Toward the end of the book, it's mentioned that Drawing Blood was originally conceived as a movie or television series. I can see it becomes the book reads and is paced like a TV show.


There is also a surprising amount of action here. I doubt Kevin Eastman was involved in shootouts and drug deals in the 90s but after reading Drawing Blood I'm 100% sure. There's a lot of variety in this issue and it allows Ben Bishop to show off his abilities as a storyteller. There's a fair amount of sex, violence, drugs and straight-up flashbacks to the Mirage Studio house style of art. It all adds up to a book that feels like a legit passion project instead of a cash grab.

There is a lot to love here and although it's off of the beath path Drawing Blood #1 is a solid read and when reading along with RRRR it makes an enjoyable experience even better. more

One of the reasons I tend to enjoy reading a Mark Millar comic is because something cool happens in every issue. I'll get an interesting concept backed up by something really cool that happens either in the story or the linework which is also usually strong.

As I read Undiscovered Country for the second time I was reminded of Mark Millar. I love the concept of this series but unlike a Millar book, I didn't really care for the story here. Before digging into the issue I want to commend the creative team for launching the series at 3.99. Undiscovered Country is a high profile title and it could have easily demanded a 4.99 or higher cover price. Maintaining the industry standard for a 34-page comic is a class act and should be pointed out regardless of my overall feeling regarding the issue.

The premise sets up a couple of mysteries. The big mystery is why has the United States cut itself off from the rest of the world. People are saying the comic is an indictment of the Trump Administration. I didn't see it, at least not in this issue.

The second major plot point is the mission to save the world from an airborne virus threatens to destroy it within six months. Both the A and B plot points are really intriguing. Where the issue fell apart for me was the connective tissue. In between the reveals, Snyder and Soule drop a lot of exposition and worldbuilding. Even with the detail provided, I couldn't remember any of the character's names within a few days of reading.

The only moment that stood out at all involved a man-eating cow. Giuseppe Camuncoli and Daniele Orlandini provide the linework. The pencils are adequate but there isn't much variety in the colors so every page looks pretty much the same.

There are a couple of nice spreads including the approach to the United States but aside from brief moments, the book is a bland affair. Soule and Snyder are both great writers and I assume that things will get better as the series goes on. This just isn't the start I was looking for and based on the first issue I'm expecting the series to be a decompressed affair. more

While casually scrolling through my local comic shop I stumbled across V Wars. What drew me in was the amazing cover by Ryan Brown. I was also interested in the comic because it was a One-Shot. It's nice to pick up a self-contained story and not have to wait for 6 issues for a series to find its direction.

V-Wars provides a setting in which vampires not only exist but are plentiful and coexist with humans. Think X-Men but with Vampires as stand-ins for mutants. The story follows Luther Swann and his team as he works to prevent the resurrection of Michael Fayne, a vampire described as the Vampire God.

There is a lot of lore established through exposition and even with the heavy dialogue the comic moves at a brisk pace that's easy to follow. It's definitely a different take on the vampire mythos and blends horror with science fiction. This story doesn't feel like anything else on the shelves.

The book does have a few problems. As referenced above there's a lot of exposition and at times it feels like a bit much. I appreciate the worldbuilding but some of the dialogue felt unnatural and more for the benefit of the reader and not the characters who should already know whats going on. Although V-Wars: God of Death is a one-shot, it's also a piece of a larger narrative also written by Jonathan Maberry. I don't wanna beat the writing up too bad because it's clear that Jonathan is making a pitch for his expanded works.

The weakest aspect of the book for me was the linework. The cover is simply gorgeous but the interior pencils are pretty basic. The inks are a bit too dark which makes every page seem to bleed together. There are no standout moments visually, but Alex Milne's storytelling ability was competent enough that I was never bored while reading.

I'm not sure if I'd be interested in following V-Wars but I could definitely see the property finding an audience. There are enough hooks here to intrigue a general audience. I'm not sure if the book justifies the $4.99 cover price but its a solid read and if you're a fan of horror or Vampires you can't go wrong. At the end of the day I got what I needed out of this one. more

It's been so long since I reviewed a Deathstroke comic that I almost forgot that it was on my pull list at one point. Issue #39 continues the Arkham storyline. Slade is an inmate in the asylum and while that much is certain, everything else in the comic is questionable.

The closest analog to Deathstroke in this arc is Jeff Lemire's Moon Knight (another excellent series). On the one hand, you have Deathstroke's unofficial sidekick Devon trying to get Slade out of the Asylum so that they can stop a potential alien invasion that only they know about.

On the other hand, you all of that may be bullsh*t and Slade has just lost it. I think the truth is between those extremes.

Carlo & Fernando put together a great book. Everything looks perfect from the action beats to the quieter moments between characters. Even when something mundane is happening on the page the art direction either makes the panel look cool, dynamic or humorous. There is also some pretty horrible stuff going on at Arkham if taken at face value. I loved the linework and colors throughout the book. When you combine the excellent main plot and the art direction you have a great single issue.

Devon AKA Death Dasque is becoming this arcs standout character. He's essentially a Black Deadpool and is the only one that believes in the alien invasion. He has a cool look in or out of the mask and I hope he gets mileage outside of this story arc.

There is also the Two-Face - Rose subplot but that aspect of the comic didn't really do much for me so I won't spend too much time on it.

I'm curious as to how this story will play out because this entire arc has been a mindf*ck.

Here's my theory as to what's going on. I believe that everything that is not involving Deathstroke directly is real. This means that Devon's story about the invasion is real and that Two-Face really has kidnapped Rose.

I think that the stuff in the Asylum is in flux because of the medication that Slade is on. There is also a possibility that the invading aliens have taken over the asylum which would explain how there's a Two-Face in the institute and also with Rose. If Devon's story is real it doesn't really make sense that the Villains stopped an invasion and ended back in the asylum a couple of weeks later. I don't trust any of it and it should make Issue #40 even more fun when all is revealed.

Overall a pretty solid issue, fun story, great art my only real knocks on the issue are that the running subplot with Slade's kids isn't as interesting as the main story and throw the pacing at times. I'm also really burned out on Harvey Dent, dude needs a vacation.
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I've referenced a few titles for consideration when it comes to the best single issue of 2019. The first issue that comes to mind would be House of X #2 which covered the lives of Moira X. House of X #4 which covered the X-Men's assault on the Mother Mold facility. The Walking Dead also ended this year and did what Game of Thrones could not in providing a satisfying conclusion to that series. />
Even with those releases, I feel pretty comfortable naming TMNT #100 as 2019's top comic. All opinions are subjective and I admit at the outset of this review that my enjoyment of this issue is colored by having read about 90% of all of the TMNT content that has been released since IDW acquired the IP.

Before getting into the actual content of the book, I do want to mention that the book is 7.99. The price bump is expected and in this instance, as with the last month, the increase seems fair. I'm also a fan of DC's Black Label line of comics. I don't have an issue paying more for a book if I'm getting more for the money. The comic comes in at 45 pages and is in the format traditionally reserved for a trade paperback.

Books like this one make me question the monthly format. I often lament comics that come in at 3.99 that I read in 5 minutes. I often feel ripped off. TMNT #100 is a bigger comic and offers a lot more value. If the series was released bimonthly at 7.99 in this particular format I wouldn't complain at all.

On art duty our old favorites Dave Wachter, Mateus Santolouco and Michael Dialynas provide linework. Ronda Pattison does her thing and maintains color consistency throughout the book. The overall editing of this issue is solid and although the issue juggles a lot of artists and characters nothing looked jarring or inconsistent.

On a surface level, TMNT #100 marks the end to the City at War story arc that has been running through all of 2019. If you've been following the IDW line of TMNT stories you know that this issue also is a direct follow-up to Shredder in Hell #5. This book works as a conclusion to both series.

The Turtles and Agent Bishop's Earth Protection Force have converged into the Foot Clan's base. All hell has broken loose. While the battle is raging, Kitsune performs a ritual that if successful will resurrect the Dragon God that could potentially destroy the world.

The issue pays off many of the ongoing storylines that have been going on in the supplemental material. TMNT: Macro-Series was my favorite series of 2018, many of the seeds planted in that series bare fruit here. In the Raphael Macro, Raph was captured and tortured by the EPF. Raphael finally catches up to Agent Bishop in this issue and the scenes are just as intense as you'd imagine they would be.

The series has wonderful callbacks throughout. The funniest one for me was pulled from Bebop & Rocksteady: Hit The Road. I spent a lot of time with that series and often felt like I was the only person reading that comic. Seeing Bebop & Rocksteady's pet Raptor show up and save their asses got an audible reaction out of me. It was an ongoing gag in their series and the scene wouldn't have worked at all if I hadn't read their mini-series.

The book also has one of the best and bittersweet conclusions I've read in a longrunning story arc. There are casualties on both sides of this war. I'm sad that I pretty much called the conclusion of this book and Shredder in Hell months ago, but I'm also excited to see the new status quo for the series. I won't spoil the book here, but I will make a supplemental video later this week going over my thoughts and providing predictions for the series going forward.

Sophie Campbell is the new writer starting next month and I'm confident she can continue where Tom leaves off. She wrote one of my favorite TMNT stories ever with the TMNT Macro-Series: Leonardo. She gets these characters and their personalities. It will be great to see her deal with the fallout of this issue and I think Sophie is the perfect candidate to steer this ship going forward.


TMNT #100 isn't just a culmination of Tom Waltz and the gang's run on the characters. It's also a culmination of much of the supplemental material. The issue is a direct follow-up to Shredder in Hell #5, which ended last week. It also either resolves or addresses plot points going back to the early days of the series. This a beautiful issue from beginning to end. The creative team clearly loves these characters and it will be hard to top this conclusion going forward.

If the series ended with this issue I wouldn't complain. I know it won't happen, but I can't think of a more satisfying conclusion for these characters that would fit thematically. The issue is simply amazing. more

The only selling point I had for this series was the art by St Jepan Sejic. I'm not the biggest fan of Harley Quinn to start and never got the appeal of the character beyond simply being Jokers sidekick. Her background as a brilliant psychotherapist was generally played for laughs or during brief moments of clarity.

Harleen: Book 1 provides a definitive look at Harleen Quinzel and is the most mature and thoughtful take I've seen on the character. The book is entirely from Harleen's POV and the impression I gathered was that the book is generally being honest about her past and origins which is a big contrast to deep dives to Jokers origins

We get a look at Harleen's early life before we finally get into her first encounters with the Joker. What surprised me as I was reading was the reveal that Harleen became a villain at the age of thirty. I don't know why but I always saw the character as early to mid-twenties. It may be a throwaway line to most but it stuck out to me because setting the character at thirty works to give her a bit more agency in her decisions.

This isn't a wide-eyed girl being groomed by the Joker. Harleen was a grown-ass woman prior to her journey into madness. Sejic also establishes a pretty basic and relatable reason for why Harley may have been drawn to a destructive personality like the Joker's in the first place. Speaking of the Joker, I had a friend mention that Sejic's take on the Joker was ridiculous.

Speaking of the Joker, I had a friend mention that Sejic's take on the character was ridiculous.
I agree that Joker's look is definitely different, but with the story being from Harleen's POV it stands to reason that we're looking at a romanticized version of the character. During the scenes where the characters interact, Joker's personality was in line with most interpretations of the character. I just took the sudden good looks as emblematic of Harleens infatuation with him.

I loved everything about this book. It's honestly the best Black Label book I've read since the line was launched. The 6.99 cover price is more than a standard comic but the book is square-bound, fits nicely on a bookshelf and clears 64 pages. The art is stellar and really complements the writing without overpowering it.

I rarely draw attention to a book cover but this is one of the best covers I've seen in a long time. It definitely jumped out at me as the fractured mask of the harlequin reveals a broken woman beneath. The cover is a story in its own right.

I follow Stjepan Sejic on Twitter and Deviantart. I'm familiar with his art but I had no idea he was also this great a writer. On the strength of this book, I decided to order a couple of his other projects. Harleen is near the top of my list of 2019's best. more

I watched a recent video by Yo Boi Zack, from the Comics Matter, Youtube Channel. He spoke about Comic Publishers pushing writers over artists to the detriment of the comic book industry. To an extent, I agree. Artists like Jim Lee, Brett Booth, and Todd Mcfarlane can push units on pretty much any title they put their names on, at least initially.

The downside is that once you got the book in your hands and actually read it, the comic still needs to have a good story. In the '90s, a lot of garbage writing got a pass because of the popularity of the artists of the time and rampant speculation. It was a very popular era of comics. The downside was that most of the comics from the era contained pretty pictures, but don't hold up at all. It also led to a comic book bust that nearly destroyed the comic book industry.

Good art will get the reader's attention and may get the initial purchase but a good story keeps readers coming back. I have Bloodshot #1-3 but I probably won't review any more of this series unless something dramatic happens in issue #2.I've picked up three Bloodshot series since 2018. The only series that has resonated with me beyond the art was Jeff Lemire's Bloodshot Salvation. I'm still reviewing that series off and on mainly because of Jeff's storytelling was so strong in conjunction with the amazing artists that helped bring that series together.

I grabbed this issue because of the preview art from Brett Booth. I didn't even read a plot synopsis. Brett is one of the best artists working today and this issue reflects that. Bloodshot has never looked better and it's pretty clear that he is having a blast on this series.

Aside from the overwhelming positivity surrounding the art direction of Brett and _ this book has problems.

The first problem is the cover. This is one of the worst 1st issue covers I've ever seen. In fact, I walked past the book multiple times across multiple weeks before finally seeing it and making the purchase. With Booth on the interiors, it's insane to me that he's not doing the covers as well.

I hate crapping all over an artist's work but bad covers really grind my gears and Bloodshot #1 has one of the worst covers of 2019. Declan Shalvey did some great work on Marvel's most recent Moon Knight series, but he's not doing any favors for Valiant or this title.

Brett's pencils are also let down by shoddy storytelling. There isn't much story to speak of. The book opens with an amazing setpiece of Bloodshot vs a group of soldiers. We get a basic rundown of his powerset and the basic premise of what we can expect from the series.

Bloodshot is declared the most dangerous man on the planet which is laughable to me in light of events that have occurred across the Valiant comics line in the past few years.

The story would have been great in the 1990s when cover prices were around $1.50, but with a $3.99 entry fee, I didn't have much patience for this issue. The main downside of the issue aside from the cover is that you can read the book in about five minutes. You'll read it, and put the comic down and never pick it up again. Tim tells an okay story but its really basic compared to the other Bloodshot series that have been released in past years.

The simplification may be due to the upcoming Bloodshot film which is understandable. The series is clearly being set up as an easy jumping on point for the character. I'm just not a fan of selling a $4.00 book for 5 Minutes of entertainment. more

TMNT fans always cite the much-maligned image volume as being too dark. The series is a bit darker than I remembered but the standout flaw for me is the linework. Frank Fosco isn't a terrible artist. I did a google search after reading this issue and some of his work is truly inspired but this series just isn't his best.

The impression I'm getting from this series is that the publisher saw the series as a cash grab rushed out a series and didn't really give it any oversight. The art is rough, really rough. One of the selling points of the Urban Legends run is that the pencils are colored. The linework is admittedly the weakest aspect of the book but even the added colors can't save it. Carl Ritter probably could save this one but even then it would be a herculean effort. It's just a rough book to look at. I'm a hardcore TMNT fan but I can see a casual reader being grossed out and just dropping the title.

The only book I've reviewed that has worst linework is Bebop & Rocksteady: Hit The Road #5, a book I reviewed over a year ago. The linework is the weakest aspect of this series and even the added colors can't save it. It's just a rough book to look at. I'm a hardcore TMNT fan but I can see a casual reader being grossed out and dropping the series.

The Turtles here are being maimed and being pulled into different directions but the characters aren't really recognizable to longtime readers. The loose comparison I'll make here is to Star Wars: The Last Jedi. The series may not technically be bad but it's not the TMNT you know and love or were expecting.

I really don't have a lot to say about this issue. It's not a bad single issue. It's entertaining but if you're following the series, the plot for UL #8 is basically identical to the previous book with a different turtle taking the lead. In the previous issue, Raphael attempts to rescue Casey Jones Daughter, Shadow and fails. In this issue, Michaelangelo makes an attempt and succeeds. I debated on spoiling the issue but there really isn't much else going on.

Leonardo decides to investigate the disappearance of Splinter as a lead pops up and Raphael recovers from the injuries he sustained during his botched rescue attempt. Casey Jones and April get a nice moment but aside from that, the issue is ultimately filler. I'd love to give a more in-depth review but if the creators didn't care, why should I. more

Dick Tracy Forever started out simple but transitioned into being the most complex story involving the detective that I've ever read. The story also goes from being an examination of modern-day white-collar crime in issue #3 to an eerie sci-fi scenario that feels more plausible than most would care to admit in this final installment.

My reaction to this series has been mixed but I've enjoyed it for what it was. My biggest issue with the title has been that the books have been so loose narratively that this did not feel like a title that justified the $3.99 cover price. Although I still cannot recommend buying this title in floppies, I do believe that if IDW had released the series as a Graphic Novel or presented "the twist" earlier in the series I would have enjoyed the earlier issues a bit more.

Due to the nature of the reveal, I won't spend too much time explaining the plot. Doing so would ruin it for anyone that has been patient with the series so far. What I will say is that you will get definitive answers. Michael has not just been pulling random Dick Tracy stories out of his ass and there is a reason for all of the time jumps and weird continuity errors presented throughout the series. It's clever and now I want to reread the series over again to see if I missed any other details that That Michael may have slipped in.


The art isn't really my cup of tea but it was nice to see Michael cut loose in a future setting. He's clearly having fun here and it comes across in the linework. You'd think that Dick Tracy would stick out like a sore thumb in the future but he doesn't which reinforces the timelessness of the character, and his appeal.

Overall this issue was easily my favorite of the series. It's a nice detour from the regular comics on my pull list. I'd argue that the title should have shipped at $2.99 or less in this format. I wouldn't recommend single issues unless you're getting a break on the cover price. If you can read the series in one setting do so I think it will work out better that way.



I'd still like a gritty realistic take on the character or at least something in the mode of the 90's movie. One thing that is clear is that Dick Tracy doesn't have to be confined to the Golden Age of comics. His worldview may seem too black and white in regards to our modern sensibilities but It's part of the reason I find the character so endearing and also the reason he'll be around forever. more

The current state of the comic book industry isn't great. Due to this unfortunate reality, there isn't much innovation when it comes to mainstream titles. Occasionally Marvel or DC will swing for the fences and launch new series with original characters but if the new characters don't immediately catch on the series will be canceled and they will go back to properties that are proven to generate sales. There is a reason there are several "Dawn of X" titles on the shelves and a handful of Batman related titles being released at any given time.

Because I review titles so sporadically at times I tend to forget how much I enjoyed The Curse of Brimstone. The premise is simple. A small-time guy makes a deal with the devil gains power at the expense of his soul and spends the rest of the series riding along with his sister trying to break the contract and doing battle with other poor souls that have also entered into the same twisted arrangement. If you are a fan of Spawn or Ghost Rider you know the deal.

While the series isn't all that original what works is the horror beats and the twisted scenarios our protagonists keep running into. In the last arc, they dealt with a group of kids that murdered the adults in a remote town. In this arc Joe (Brimstone) and his sister Annie encounter another agent, La Bel Dame Sans Merri. Le Bel has complete control of the citizens of this town and also has the ability to raise the dead.

This comic follows the same formula as the prior issues which provides some positives and also some negatives.

Negative: You're getting a variation of the same story you've been reading since issue #1
Positive: The variations have all been imaginative and fun especially the villains.



Brimstone tries his best to take down Le Bel but she proves too powerful and as his sister is captured and he is overwhelmed he's forced into making a particularly brutal and tragic sacrifice.

I post all of my reviews to the aggregator site, Comic Book Roundup. I'm surprised that this series has been hammered as hard as it has because generally speaking the story is solid, the $2.99 cover price makes the series a great value and the art from Eduardo is great.

Even the muted colors manage to shine throughout the issue which is surprising considering that this is a horror comic. I adore the art direction for this arc and had an audible reaction that I noticed that Eduardo made a homage to Michael Jackson's thriller in this book, It was totally unexpected.



As a single issue or part of an arc, this issue is great. If you've been here since issue one I understand if you're looking for more story progression. You can only go so far with a premise this simple and only one supporting cast member.

Even though I recognize the complaints that a series like this may receive I personally loved this issue. It appeals to my sensibilities as a comic reader and it pains me that the series isn't still going on. I would love to know where Justin would have ultimately taken these characters. If Spawn can run for 300+ issues we could have got more than a year of Brimstone. more