Fallen Angels was my most anticipated Dawn of X title. The hype wasn't over any of the characters or the pitch. I'm a huge Brian Edward Hill fan and after his run on Detective Comics and Killmonger the Idea of the creator on an X-Title just seemed like a money move.

Fallen Angels is shaping up to be the first misfire in his catalog, at least in my eyes. The first issue was a mixed bag that ended up being a net positive. This issue devolves into a mess by the end. The biggest problem with the issue is the art direction. The book is way too dark. I don't mean tonally. What I mean is that you can't make out what's happening on some of the pages. I know the choice to keep the lighting dark is intentional but it takes away from the story. This is especially true when you're trying to make out what's happening during an action sequence.

The script also feels a tad pretentious. Its almost as if every line of dialogue is supposed to be deeper than it actually is. It worked in the last issue with Sinister. He's a theatrical character but when every piece of exposition feels overly dramatic it veers into a writer being self-indulgent.

The comic focuses mainly on Kawanna's (Psylocke) interactions with X-23 and Cable. She's cryptic and mysterious throughout the comic. These scenes are interspersed with flashbacks to Kawanna's time before her life with the X-Men. These sequences are lit so poorly I almost missed that the character we were following was Kawanna. These are the most interesting parts of the book but are held back by the art and really overblown dialogue.

You combine all of these elements and it feels like the series is a bit superfluous. Fallen Angels is currently on hiatus but I think it was canceled based on the premise not having enough gas to sustain a series. We're two issues deep and I'm already bored and asking what's the point? It may turn into a solid series before the end but I'm not surprised at all that it's been canceled. more

I'd love to blame COVID-19 for lack of reviews of the Dawn of X line of stories but the truth is that the current run of X-Men comics is a mixed bag and there are better books out there.

Marauder's #3 feels like a setup or filler issue with the bulk of the book following Sebastian and the newly resurrected Shinobi Shaw, his son. I hadn't seen Shinobi since the '90s. I always thought he was a cool character I just wish he showed back up in a better book.

Sebastian spends this issue reacclimating Shinobi to the world and the Hellfire Trading Company. Shinobi, still coming to terms with the situation openly speculates whether he still wants to kill his father.

There is a lot of plotting and foreshadowing in the issue that will probably pay off down the line. I hate to say that the book is a waste of money but a lot of this could have been done in the background with a more interesting story being in the actual comic.

Michele Bandini does a great job on figures and Federico's colors are also standout. I liked the stark reds and blacks. Aside from that there isn't much else going on. The artists don't get much to do other than draw characters moving from scene to scene spewing endless exposition. If this was my introduction to the series I'd be hardpressed to keep it on my pull list. It's not the worst comic on the shelves but it's the sort of book that will leave readers questioning the $3.99 they are dropping every month on the title. more

The problem with having so many gaps between reviews is that you forget bits of the previous issue which provide context for the content you're about to consume. I'll have to go back and read Excellence #2 but even without the context Brandon and Khary drop another excellent installment.

Spencer Dale has become a tool of Aegis after the fallout of the last issue. As punishment, he's sent on missions to investigate the unauthorized use of magic and magic users that have gone rogue. We see him take down a couple of low-level magicians. Spencer is also working on his own agenda behind the scenes.
Things get complicated when Spencer's father gives him a mission to take down Aaron. Aaron has fallen in love with the woman he was assigned to steer along the path assigned by Aegis.

This is another great issue with many solid moments including a great interaction between Spencer and his Grandmother Gi-Gi. She's lost her faculties but Spencer uses a low-level spell that grants him a few precious moments with her without the impairments. These are powerful scenes that I feel will resonate with anyone that has parents with Alzheimer's or dementia. I lost both parents and the idea of having them back for any length of time would mean the world to me. I totally get Spencer's motivation here.


When Spencer finally encounters Aaron we're given another cliffhanger. It's clear that the men don't really want to fight but are being pitted against each other by the system they operate under. This is a case of free-range slavery. The only difference between the comic and the real world is that the characters in Excellence know who their masters are.

Khary and Emilio provide amazing art direction. It's a Godsend to have an artist that can draw Black People and not have them look weak or ineffectual. The action sequences are great and the scenes between punch-ups are just as good. I love the energy given to every scene here. Too many comics have artists that only excel in body language or action. Khary is the total package and no matter what's happening on the page it's always interesting and engaging.

The background worldbuilding is complex and the comparison to Hickman's X-Men is undeniable. The infographics give a lot of passive information that comes into play The main difference is that whereas Marvel and Hickman are juggling 19 titles, Brandon can focus on this one and the narrative is stronger for it. Excellence is a great example of not diluting your storytelling.


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I was so disappointed with Jennika #2 that I bumped #3 up in my review schedule to get it out of the way. Fortunately, this installment is a little better but not enough to recommend to anyone outside of completionists. In fact, if the second issue had been shorter or dropped and left the political stuff on the cutting room floor this could have been a solid mini-series or One-Shot.

This issue resolves the sub-plot involving the mutant cure and introduces a somewhat surprising villain into the mix. The conclusion turns out to be a lot goofier than expected and further adds to my belief that a lot of this series was thrown together with little editorial oversight.

The main problem with this issue and the last is that we spend way too much time reading about Jenny being manipulated into a sketchy situation she should have seen a mile away. The excuse given is that she wants the cure to become human again. I understand her wanting to be human but every character introduced in the series is either sketchy or dumb which makes Jennika come off as pretty stupid as well.

I'm a fan of the art style chosen for the series. It's a unique take on these characters and although I like it, I can see a lot of readers being turned off. The linework isn't perfect. There are odd drawings of hands and feet all over the place. The storytelling however is effective and the odd panels never detracted enough to pull me out of the story. If there was ever a TMNT manga or anime I could see this style catching on. It's very energetic, expressive, and fluid despite the flaws I've pointed out.

I can't get much deeper into the book without heavy spoilers. I think the reveal of the true villain is worth saving if you're invested to this point. The best way to sum up the title is that the mini-series has been a bit of a letdown. This is especially true when you consider that the cover price has been bumped up to tell a story that was paper-thin to start and never got much deeper. Jennika deserved better in her coming out party. more

I don't remember why I dropped Justice League Dark from my pull list but clearly I shouldn't have. I don't even remember most of the previous book aside from Bobo (Detective Chimp) monologing and drinking.

This issue picks up with Detective Chimp captured and still morose over the death of his partner, The Nightmaster. He is eventually set free by Wonder Woman who convinces him to carry on and live up to the faith that Nightmaster had in him.


The comic checks in on the rest of the team. Swamp Thing and Constantine witness a huge battle between Swamp Thing and the Phantom Stranger. We also get to see Zatanna investigating how Bobo got them into the situation in the first place.

This is a solid chapter in an ongoing series. I really was down on Constantine in my review of Batman #63 but here he feels like a real character. I still think he's a bit overrated. The entire team dynamic works better than expected with the exception of Manbat. I still question what the hell he's doing here. I have a suspicion that he's probably someone on the creative team's favorite character.

The art is perfectly paced with the script. There are huge action beats and introspective moments, particularly between Bobo and Dynamic. The characters have chemistry and you buy their relationships as friends and teammates. There's a lot to love in this issue and it looks like I'm gonna have to track down issue #7. I'm sort of invested in the outcome of this story arc now. more

With Damage #13 it's pretty clear that the creative team has checked out on this series. It's been a while since I checked in on the book and upon revisit Damage now feels like a waste of time and investment.

The series was canceled with issue #16 and I'm not sure if the character has appeared anywhere else since being axed. I do believe that there are a couple of signs in this issue that the end was nigh.


First off the cover price jumped from $2.99 to $3.99. I often joke that this series reads extremely fast. I don't think any of them take more than 5 minutes to finish. The same holds true here but an additional $1 and lack of content make this issue feel even dodgier. If I produced the comic It would be apart of an anthology series or sold digitally. The character is still fun but this is not a $3.99 comic.

This issue features a confrontation between Damage and Batman. Batman tries to take Ethan (Damage) under his wing but he declines. He tells Batman that the offer is too close to what he'd already gone through with the military. He throws it back at Batman asking him how long before the Justice League drops him into a group of unsuspecting enemies.

The rejection puts the two men into conflict and after one of the most surprising chains of events, Batman gets the best of Damage.

We've seen Damage beat the Suicide Squad. He's gone toe to toe with Wonder Woman and mashed an entire team of Justice League members. This was all before running into Superman and putting on a solid showing against him. Having Damage lose to Batman just comes off as lazy. Normally I don't do spoilers but nothing else happens in the comic of note.

The art from Aaron is nice and the fight is well choreographed but its let down by a really mediocre story. I'm a big Robert Venditti fan and it hurts to say that. Ethan's character even feels off. At one point he encounters the Justice League and he straight up turns into a fanboy. The entire comic feels like that. It's like the comic is self-aware that the sales suck and the creative said screw it, the book is getting canceled anyway.

If you're a completionist the comic book may have some value but for everyone else, stay away. more

On the Stomp was one of the series I discovered on the ComicHUB app. I didn't know what the series was about but I saw the Sanford Greene variant and thought what the hell?

The title is honestly one of the best I've read in a while. I'm generally not a fan of politics in my books but in this instance, it adds to the flavor of the story and works. The comic also does something cool and unique with the political backdrop that I'd never seen before.


The basic plot rundown is that in this world senators are allowed to set policy through brutal no-holds-barred fights resembling Mixed Martial Arts/Wrestling matches. These matches are called "Stumps" and in winning matches Senators are able to get their laws or pet project funded.

The story starts during one of the brawls and is one of the most brutal fights I've seen depicted in a comic in a long time. Senator Jackhammer battle's Senator Sweet Smell Moore. After a vicious beating Jackhammer wakes up and scores a victory. This catches the attention of F.B.I. Agent Annabelle Lister who is investigating another Senator looking to deregulate killings in the ring.

While the two work out the terms of their arrangement they are attacked. The second half of the comic follows a developing conspiracy. There are some shocking scenes of violence and more than a few "Oh Shit" moments. Some of the brutality stuck with me days after reading the issue.

The comic is about politics but it's not really partisan and didn't distract from enjoying the book. The character designs are also great. The fighters most closely resemble Pro-Wrestlers I grew up with which further adds to the unique nature of the issue. Everything feels insane and over the top yet Chuck & Francesco pull it together to tell an interesting and engaging story.

In short, I loved this issue. You can order a physical copy from my local comic shop or you can download a copy from Comixology. The title gets my highest recommendation and will only get better as the setting is fleshed out.

For More: Gtmediareviews.com more

I'm a fan of Conan The Barbarian. I love the Arnold Schwarzenegger movie from the early '80s but I'm not as familiar with the comics aside from an adventure here and there. Nothing has ever grabbed me as the movie did.

I'm assuming Cimmerian: Red Nails is being pulled out of the public domain as the character is currently being published by Marvel Comics across multiple books. I'm not sure if the trend will continue but "The Cimmerian" is probably the best Conan comic I've read in decades.

The story seems pretty organic for the character. Conan is on a mission to Darfar, a heavily forested area populated with strange creatures. Along the way, he meets a fellow warrior Valera. They eventually banter back and forth a bit but are cut short by a Dragon's approach.

The comic covers a lot of ground quickly but never feels like it's rushing things. Lore is established and the action sequences are varied and dynamic. The fight with the dragon is amazing and establish Conan as more than just a brutish warrior. He's cunning, brave as well as an excellent strategist. The locales are also varied. The comic starts in a forest before ending up in a city populated by savages.

The scenario isn't deep but seems true to Robert E. Howard's vision for the character. This take on Conan also feels definitive. Valeria also works as a companion and I could totally see a spinoff series spotlighting her. She looks great and seems just as competent as Conan. You know she'll eventually fall for the barbarian's charm but he'll have to work for it.

Oliver and Didier's art is simply gorgeous. The colors are lush and the varied locales work to make the comic feel a lot bigger than it actually is. The structure also keeps the issue interesting. Nothing is ever boring and new elements are introduced on every page. This version is very different from the Conan currently being published by Conan and is closer to the magazines that were published in the '70s and '80s. The only thing missing from the comic was a stray boob, but you know it's coming.

If you're a fan of the character or just want something different than Marvel books this publishing, Red Nails is definitely worth your time. Conan is a pulp hero so there is only so much you can do with him but with that knowledge going in this book is a lot of fun and can't miss fantasy adventure.

For More: GTMediareviews.com more

John Constantine and Batman just... fit together nicely, conceptually, at least. One is a cynical, sarcastic dick, and the other is a bruting, cold introvert. There's a lot of potential for such team-up, mixing street vigilantism with magic and demons. Too bad these two, every time they appear in the same place in the same time and interact, don't have anything valuable to say. Justice League Dark movie shoehorned Batman for no reason, Brian Azzarello completely bastardized these two characters in an abomination that is Batman Damned (albeit at least Johnny Boy didn't try to rape Bats like Harley in issue 2 - yeah, that's how bad things went with this comic), and now, Tom King came up with the same idea - to team up John and Bruce, in a mysterious story. And yes, it sucks like the two aforementioned teamp-ups.

First of all, the story - it's dull for the most part, and features two of King's most well known gimmicks: repetition and dualism. Remember #50, with all these boring beyond belief interludes featuring commentaries from Batman and Catwoman, regarding the same subjects? Like their eyes? You'll find that in this issue as well, thankfully used just once. You'll also find repeated scenes from the same issue - and look, I get it, it's a long story arc, and it's understandable King wants to put more emphasis on important scenes here and there - remind us what's happening with all key characters, since lat 10 issues barely push the main narrative forward. And while I understand why, I can't say I enjoy reading the same thing over and over again, basically, if I'm stuck in a never-ending loop of repetition and duality, parallels thrown in my face. And this week, once again, we learn nothing important - the comic leads somwehere, I guess, but it's as stagnant and slow paced as its predecessors. It's just boring. more

I've settled on the reality that I'll probably never get caught up on my backlog of comics and get them all reviewed. At the time of writing this post, I'm about 40 issues behind on my Batman reviews that doesn't even include Detective Comics. I'm basically going forward for myself and as a time capsule to other readers.

This issue finally gives us hints as to what's going on in this story arc. Batman has been moving from a nightmare scenario to nightmare scenario for the past three issues. The only problem with the plot device is that if you're a fan of the series or have been in and out of the loop like I have the last few issues have been incomprehensible.


In this issue, the dream picks up at the wedding. In this scenario, Catwoman shows up and the two are married. John Constantine shows up out of nowhere and tells Bruce that she's another dream and at the end of the dream she's going to die. The rest of the comic is pretty bland. You get relationship stuff between the characters and more incomprehensible scenes hinting at Batman being captured by villains and tortured by Scarecrows fear toxin.

The background stuff is interesting but the comic is not. This may be one of the most boring Batman books I've read in a while. The scenes of Bruce and Selina frolicking around are lame and the stuff with Constantine just feels like Tom King throwing an audience a bone. If he wasn't there this would have been another ridiculously incomprehensible issue.


On a side note, I'm pretty tired of Constantine. I don't have the reverence to the character that some people do. I wasn't reading DC comics much in the 80s or 90s so when he shows up being mysterious for the sake of being mysterious and talking in riddles It feels like the writer trying to make stories deeper than they actually are. I've read 4 issues in the past year with Constantine and he pretty much plays the same role in each cameo. It's a lame and lazy way to use a fan-favorite character.

Mikel Janin and Jordie Bellaire are wasted on this issue. The figures and colors actually great but the comic book feels more like a soap opera than an actual comic. It's a very Low - T affair especially when the comic ends the exact same way you were told it would. I'm not sure who this is for but it's not Batman Fans.


There has been a gradual decline in the overall writing in this series. We're a long way from the initial I am Gotham arc. I'm not sure how Tom Lost the plot but I hope he finds it or Ill just be voicing the same criticisms everyone else had when these comics were released.
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Jennika has been dragged by many in my circle as being a woke SJW character. I pushed back against the criticism because the character has been given a fairly deep backstory. She's also been a fixture in the series dating back to the earliest days.

That changes in this issue. The plot is flimsy at best and a "Woke" sub-plot derails the entire issue making it one of the most TMNT comics I've read since IDW started publishing the line.



Jenny meets up with her Ex who seemingly has knowledge of a cure for the Mutants currently being sequestered in Mutant Town. Due to their past relationship and Jennika's underlying want to be human again she allows herself to be manipulated into a plot to obtain the cure.

This part of the story could have been compelling but the Ex is obviously shady which makes Jennika look less competent as the story goes on.



The real problem with the issue is that mid-way through the comic there is an altercation between Jenny-Silas and a pair of obviously far-right gun-toting beavers. Silas breaks into their establishment which causes the pair to begin firing into the crowd and spouting hateful rhetoric against mutants. Jenny steps up and stops the shop owners from killing innocents caught in the crossfire of the exchange. What this effectively does is cast the shop-owners into a negative light which makes no sense in that they are the ones being vandalized.

The characters are an obvious analog for how the Left views Right-wing conservatives and supporters of the second amendment. Due to the blatantly political nature of the exchange, it serves to alienate anyone that not on the left side of the issue. Even worst, the scene could have played out the same way without the rhetoric and got the same point across. The whole scene is just weird.



There is also a really cringy sleepover scene added on as a backup story. The backup features all of the female characters introduced in the main series since issue #100. The segment is brief and offers little in the way of entertainment value. I also think it's worth noting that the women all describe what they do for fun and what's described is far more interesting than what we get in the segment.

The art for this issue is slightly more polished than the first issue. I got the impression that Bhram had more time to complete this assignment and the linework benefits from it. It's not enough to salvage the SJW nonsense but there is a notable improvement in the art direction.



Aside from the gripes I still would like to see how the story ends. The TMNT side stories tend to loop back into the main series in some capacity and I'm a bit of a completionist when it comes to this series. I'd be lying if I didn't acknowledge the disappointment I had in this issue though. more

I think part of the reason for the declining sales of Comic Books is that fans are starting to realize that many of the books being released don't really matter or are simply being shipped to support the additive nature of comic book readers. Even worse, it seems that the books are designed to exploit local comic shops. The true goal is to compile these series as trades and sell in book stores and eventually large chains like Walmart and Amazon.

I support the idea of moving beyond the direct market but I hate to see retailers being exploited in the interim. Many of the Mini-Maxi series produced by DC seem totally out of alignment with traditional comic storytelling. The entire Hill House line of comics comes off as books that should have been released as graphic novels. There are other examples such as Niomi, Far Sector, and the Martain Manhunter series that was released last year. All of these books would have been better served if released in trade format but retailers and fans are asked to pay monthly for comics with severe pacing and format issues. Some of the comics even end in the same spot they begin with literally no story progression beyond exposition inching the plot forward.

The goal seems pretty clear with DC comics pulling out of Diamond and moving into alternative distribution channels. I predict that DC will eventually transition to releasing these titles as trade paperbacks and ditching the monthly format altogether aside from core titles they consider to be evergreen.

Other books like The Batman's Grave, Daphne Byrne, Metal Men, etc. will be released Digitally or in stores as graphic novels only in prestige format. Whether this is a good thing for retailers time will tell but change is in the air. I just wish DC was transparent or honest about their long-term intentions.

I mention all of that because after reading The Batman's Grave I have no idea why this story wasn't tabled and released in either the main Batman book or Detective Comics. The selling point is Warren Ellis and Bryan Hitch on the creative team. The two are legendary creators but unfortunately, there is nothing in this issue that feels like it deserved to be pushed into separate series.

The story follows Batman after a night of patrol. Prior to going in for the night, he receives message from Alfred regarding a case that the GCPD is too overwhelmed to attend to. Upon investigating the crime scene and parties involved it appears that the case will be a lot more complicated than he was expecting.

Not really much else to the issue. The writing and art are solid as to be expected from this creative team but the story at least in this issue hasn't formed yet. There is an amazing exchange between Bruce and Alfred that calls out Bruce's methods but aside from that nothing of note happens here.

As usual, I'm behind on the series. The Batman's Grave #7 just released last week and aside from this review I haven't seen any mention of the series on social media. If I hadn't had the book on my pull list and been so behind I would have immediately dropped the title and waited on the trade. Readers are in for a decompressed story that will read a lot better in one sitting, which is clearly the intent.

Nothing here is bad but unless you're a completionist or just a fan of the creators I'd probably stay away from the series until it's done. It may get better or become a must-read title but how much money are you gonna invest in a hunch or a maybe? more

IDW makes a habit of throwing Transformers at any franchise available. The crossover with Ghostbusters ended last year. The My Little Pony crossover is next and I just finished reading this issue yesterday.

IDW makes a habit of throwing Transformers at any franchise available. The crossover with Ghostbusters ended last year. The My Little Pony crossover is next and I just finished reading this issue yesterday.

I never guessed that this mashup would be a thing so I didn't have any expectations going in. I did find the book to be entertaining despite thinking the initial premise to be goofy. The basic premise is that Decepticons have taken over the planet. In response, Skynet sends a Terminator into the past in an attempt to stop them from taking over.

The Story starts after an apparent war between Skynet and Transformers. We see the bodies of many established Autobots strewn about. The comic follows a guy that appears to be a blend of Kyle Reese and Arnolds T-800. I think it was intentional misdirect because by the end we learn that he's a machine.

Sarah Conner makes an appearance that I thought was cool but we also get a lot of member berries that I'm not a fan of. I get playing on nostalgia but it becomes a distraction when we're pulling threads from every other page. The pacing of the issue also feels rushed. The story probably needed a few more pages to breathe before the conclusion. I hope the pacing slows down and we actually get more depth than a punchup between franchises.

Criticism aside, I found the offering solid enough to lead to further investment in the series. The final splash page was also pretty dramatic. I wasn't blown away by the scenario but it's worth a revisit. more

I discovered Tom Scioli with IDW's Transformers Vs. G.I. Joe series. I also really enjoyed the reimagined Go-Bots series that dropped last year. This is my first time seeing Tom on a Big 2 comic and the results are glorious.

Fantastic Four: Grand Design follows the footsteps of Ed Piskors X-Men: Grand Design in that it reframes the original books along with the broader Marvel Universe. This acts to make the entire narrative even more cohesive than Stan or Jack could have done. That's not a slight against the original creators. It's just that stories like these benefit from having 70 years of hindsight and continuity. Special consideration must also be given to Chris Robinson who had the gargantuan task of editing this project.

The issue dives into the character's lives pre-Fantastic Four as well as the broader Cosmic Universe. It then shifts focus and covers issues #1 through the "Coming of Galactus" storyline of the original series.

The characters feel true to themselves and the voices given to them by the original creators. When I see Scioli's art style I immediately think of Jack Kirby. Jack is one of my favorite artists so when I saw that Tom was attached to the project I added it to my pull list immediately. I saw the Kirby influences all over this issue but I've also read enough of Tom Scioli's work to see the distinction in the material.

The attention to detail is almost overwhelming but I believe it adds to the readability of the title. Fantastic Four: Grand Design is a book I believe that fans can pick up and probably see something different every time. This is an exceptional love letter to Marvel's First Family and their early adventures. more

Daphne Byrne #1 was one of the last videos posted prior to taking a hiatus as a Youtube content creator. I don't remember the actual review but I remember giving it a middling rating and mentioning that the book would have read better in trade.

Daphne Byrne #2 is interesting but it garners the same criticism I gave to #1. This doesn't appear to be a comic with a monthly review schedule in mind. Furthermore, I question why the comic wasn't just collected and released as a graphic novel. This is a complaint I've had across the Hillhouse line of comics but it's really apparent here.

The fact that the book was released this way is troubling and calls the real intent behind the series into question. I get that shops need something to sell but I can't imagine anyone picking up these two issues and being satisfied by the story.

Issue #2 is simple enough. Daphne establishes a relationship with the entity/ghost that is following her. It promises her that it will let her talk to her deceased father. It also promises to help and protect her. At one point we see her use supernatural abilities against school bullies that had been bothering her.

The comic checks in with Daphne's mother who seems to be pulled under the sway of mediums. This aspect of the story hasn't actually come into focus at this point another hint that this story is going to be thoroughly decompressed.

The script is fine, the art is decent and atmospheric which works great with the Victorian setting. None of it is particularly horrible I'm just not blown away by any aspect of the narrative. Daphne Byrne may end up being great but the story so far has been uneventful. more

Killadelphia comes highly recommended by a couple of sources I highly respect in comics Twitter and Youtube. Unfortunately, I was drunk while reading the book and didn't get the comic at all. I reread the book today and it was so good I actually reconsidered alcoholism.

Killadelphia follows Jim Sangster, Jr., a man walking in the footsteps of his father, literally and figuratively. After his father dies under mysterious circumstances Jim finds his father's journal and discovers an entirely new mystery. The plot apparently involves John Adams and a sect of vampires operating in the shadows of Philidelphia.


The art direction and tone of the issue are deeply atmospheric which is a credit to Jason and Luis. Most of the linework and colors have a dreamlike quality and it calls into question if the events described are even real.

The writing is also top-notch. At the time of review, Killadelphia has been optioned as a streaming series, and it's pretty easy to see why. This particular story would translate well on Netflix or even as a feature-length film based on the first issue alone.


Further discussion would get into spoiler territory so I'll hold back. The issue is solid especially if you're a fan of horror or crime drama. Killadelphia is a must-read. more

Mark Millar has been on an absolute tear. It's hard to believe that Space Bandits, Chrononauts, American Jesus: The New Messiah, and Prodigy come from the same creator. Each series is wildly different from each other and each has been amazing. This bodes well as the series transition from print to streaming.

Space Bandits is particularly impressive in that it gave us a pair of really interesting female leads without falling into the "woke" trap of introducing "Strong" female protagonists that don't have much to offer beyond gender identity. Space Bandits would have worked just as well if the lead characters were men and I respect the thoughtful nature of the series.


This issue wraps up the opening story arc and puts a bow on the series. The girls execute their largest heist yet along with Viggo. The situation goes about as well as can be expected as they are betrayed and have to figure a way out of the mess they have found themselves in.

I'm still not entirely sold on the 80's influence in the background. The motifs and color palette are spot on but it never impacts the story. I believe the look of the comic will transition better once it hits streaming especially when the soundtrack comes into play.

The art direction remains one of the strongest aspects of the comic. Most artists don't get much to do and the trend is to provide little action and endless exposition. Space Bandits has exposition but it's generally used to set up the next action set piece or gag. There is also a ton of variety in color, locales, and alien species. This makes Space Bandit's one of the most visually interesting books on the shelves.

The book ends exactly the way I expected which isn't really a complaint. If the ending went in a wildly different direction to subvert expectations it would have thrown the series out of wack thematically.

There is bait for a sequel although I don't believe the series needs one. If a sequel does happen I will support it as Space Bandits has exceeded all expectations. more

The Curse of Brimstone Annual #1 is the first issue where I questioned how much gas was left in the series.

I say this because the opening act of the book is nearly identical to the last issue I reviewed. The only difference is that Dr. Fate has been swapped out by John Constantine. It's a legit concern but in a vacuum and without prior knowledge of the previous issue the story here is solid.

The episodic nature of the book has been one of it's selling points of the series. It delivers the classic trope of the hero rolling into town, getting into trouble, and resolving a crisis. All of this is done with tinges of horror elements thrown in. The twist is that the hero actually being an agent for the villain. It's basically Spawn meets Ghostrider.

The central premise of this installment involves Brimstone and Annie teaming up with Constantine and Swamp Thing to take down another of the agents ensnared by The Salesman. It's another entertaining issue but the story suffers from the same hangup of the rest of the "New Age of Heroes" line of comics. All of the stories were nearly a year deep at the time and most had not evolved beyond the initial premise of being rip-offs of other characters. The notable exception of the trend being Sideways.

I'd love the characters to be moved to an anthology series a la Heavy Metal or Marvel Comics Presents. Shorter stories would benefit all of these newer characters and allow them to continue to be fleshed out. There is so much potential in this line that its a shame that all of the characters have been shelved completely.

The annual also contains two backup stories. The first gives an origin to one of the Agents that escaped the Salesman's deal. The other story follows a potential antagonist that has been stalking our heroes since the first issue.

There isn't much else to cover. The series doesn't have many issues left. This is a series begging to be collected into a trade or omnibus. more

I mentioned in my review of the first issue that it felt like Superman was placed into the story as an afterthought. The comic could have been easily released without the hero or his name on the title and the book could have still worked.

The issue immediately rectifies that concern and places a huge emphasis on Superman and his alien heritage.

Clark keeps getting visions of his parents and they question why he only uses abilities that humanity could identify with, namely speed and strength. This story beat potentially layers in a retcon because it explains why he could only run fast, leap tall buildings, and be super strong in the original stories. In this scenario, his otherworldly abilities are held back so that he can fit in with humanity.

This is a really interesting take on the character and further ties him to our lead characters, the Lee family. The Lee's are forced into a situation where they seemingly have to sacrifice their heritage in order to assimilate into the middle class.



The Klan is part of the story but their influence is dialed back a lot in this installment. Their threat caries through the issue but it's always in the background before roaring back to the forefront in the ending cliffhanger.

I'm not sure how close this adaptation is to the original radio play but the story is portrayed in simple terms that are easy to understand for children or adults who may have missed the memo on racism and the feeling of alienation that immigrants face when integrating into another culture. I can also see the book being featured as required reading for elementary or middle school children.

The art direction is great and works a lot better with this issue. I believe it's because the book's subject matter isn't quite as dark as the first issue. The last issue felt off because the anime style didn't seem to mesh with the story especially when shit gets real with the Klan. This issue has dark moments but it's nowhere near as heavy as the last issue. There is a lot of variety and Gurihiru gets so show off a real range as an artist. I love his take on Superman. It's the classic version with a Manga bent.

Overall the series continues to impress and the conclusion should be just as good. The creative team has earned my trust and I can't wait to review the closeout issue. more

"I offered you a kingdom. You wanted to be a slave. Slaves do what they're told"

-Killmonger

We're finally concluding this series of reviews of Brian Hill and Juan Ferreyra's Killmonger series. The comic picks a year after the events of the last issue with Erik fully embracing his Killmonger persona.

Erik's depiction here is night and day from the first installment and it's wild considering that this is still just the beginning of his journey as a character. He's more competent and cunning here than he's been shown in the series and it pays off in a big way across multiple scenes laid out in this issue.

There are plenty of breathtaking moments laid out by Juan and Eduardo Ferreyra over the course of the series. This issue is no exception. It's hard to discuss this book without getting into spoilers but we do see a resolution to the plotline with Knight as well as confirmation of whether Erik makes it to Wakanda or not. I won't say what happens but if we get a sequel I would like to see a follow-up covering the immediate aftermath of this series with the same creative team. This is a truly tragic situation for the character and the outcome appears to be more of a case of fate than agency from the lead.

The series has been brilliant and if any character deserves the Disney+ treatment its Killmonger. A direct adaptation of the comic would be Ideal but it's hard to imagine the series being greenlit, and even if they did I doubt the show would be as raw as this title has been.

I love that Bryan has taken the nearly blank framework of Erik's origins from the comics and Marvel cinematic and filled it in. The material would work as canon in either universe. I also think that with a few tweaks here and there the comic could have worked as a wholly original IP. I mention that because I know that many in my circle do not read mainstream comics anymore.

Even if you aren't reading Marvel comics anymore or are unfamiliar with the character I think you'll enjoy this series. That's the highest compliment I can give to the series, it's been amazing and I'd love your thoughts on it. more

It may be a hard pill to swallow but DC is a better publisher than Marvel. There are some rough patches like Brian Michael Bendis's take on Superman or the Batman Wedding that turned into a disaster but the line has consistent bright spots regardless of the missteps.

DC does seem to have more cool concepts that work and even better art. Elseworlds/What if Stories aren't new but the stories presented from the Dark Multiverse exist to tell a natural progression of an existing story rather than trying to reinvent the wheel or pushing some sort of social agenda.

A couple of years ago we had the New Age of Heroes line where DC blatantly ripped off and repurposed Marvel heroes into the DC Universe. The line failed due to lack of promotion but the characters were generally fun and some even beyond being reskinned Marvel heroes.

Tales from the Dark Multiverse gives us another blatant rip-off. This time it's Marvel's What if? series. The rip even extends down to Tempus Fuginaut (Sideways) acting as a stand-in for Uatu, The Watcher. The difference is that DC flips the What If? comics format and production values into an actual event. Tales from the Dark Multiverse also clocks in at 53 pages and is presented in prestige format.

What happens if Jean-Paul Valley remained Batman after Knightfall? The fun of any What if? comic is seeing how a slight change in circumstance can alter the entire story, usually with horrifying results. I won't spoil any of the key events in the book but believe me when I say that things are messed up.

The general premise of this story is that Azrael remains Batman after Knightfall and turns Gotham into a police state. The story is very grim and keeps the tone of the Dark Knights Metal One-Shots. Azrael has never been my favorite character but I enjoyed seeing his evolution into "Saint Batman". This seems like the natural progression of the Knightfall event as well as Azrael's character.

The ideas are wild in some cases. Some characters have been killed off and others have been irreversibly changed. The book is very efficient and gives you the info you need without wasting your time on stuff that doesn't matter.

Another thing worth pointing out is the art direction. There are a lot of winks and nods to the original Knightfall storyline and the art style is right out of the 90's. There is a brief montage of the original event in the opening pages which catches the reader up to speed. Javier Fernandez manages to homage the original while keeping things fresh. All of the new designs are cool and feel like natural extensions of what already existed. There is also a creepy undercurrent to the story and the atmosphere conveys it perfectly.

I have the entire "Tales From the Dark Multiverse" event but hadn't had the chance to really get into it due to my day job. It was a pleasant surprise as the comic was excellent. The story, art, and premium format go a long way. The twists and turns are also genuinely surprising. If you haven't read the book I suggest you pick it up. Especially if you're a fan of the original Knightfall storyline.
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Marvel is often accused of flooding the shelves with series that have no real merit or reason to exist. Major X is one of those series. When I picked up Major X #1 It was sold on Rob Liefields return to Marvel and working on new characters. Five issues deep and we're looking at a hot mess. Is it the worst title on the shelves, possibly.

In this issue, we see Major X, M'Koy, and The X-ential travel to what I assume is the 616 universe. There is exposition and action but not much in the way of substance. It's an issue that makes you question your thoughts on the 90's comics. By the end of the book, we get further revelations about the Majors parentage which left me with a resounding meh.

There is some decent art throughout the issue. Brent Peeples does his best to keep things interesting but when he's not drawing an action sequence the characters all feel stiff and static. This happens even when the characters are fighting. The linework feels like an artist posing action figures.


This is one of those series that should have been released as a graphic novel or potentially online only. It would probably read okay in one sitting instead of breaking it into meaningless installments. The plot is mediocre at best and straight nonsense at worst. It hurts because I wanted the title to succeed but a win for Major X is a loss for the comic book industry.

Would, Major X fit into the current Marvel Comics landscape, Hell No! It's almost like Rob Liefield is trolling his fanbase and Marvel. This issue was dogshit. more

Simone Di Meo is God-Tier, we can start shilling this title there. Power Rangers/TMNT is a gorgeous comic book. I'm reading this mini-series and also catching up on the main series "Beyond the Grid" arc. Between each series, Simone has displayed tremendous growth.

If you're a fan of either franchise this issue is absolutely perfect. Ryan portrays ideal versions of both intellectual properties which borrowing from various incarnations of the characters. In one scene Mikey and Zack bond over bizarre pizza recipes. This was clearly a homage to the 1987 animated series and was hilarious. All of the interactions between the Rangers and Turtles are beautifully crafted and left a smile on my face.

The creative team deserves all of the accolades they have received in regard to this series. It's been a joy to read and it's hard to believe that we're only on issue #2.

There is a pretty awesome cliffhanger that I saw spoiled online. I won't spoil it here but it's about the coolest mashup I've seen in a while and it comes totally out of nowhere. If you can't tell I'm giddy over the issue and all praise is well deserved. more

It's been a while since I've read Batman: White Knight. It was an excellent and self-contained Batman story that ended cleanly. I never thought that the White Knight story would see or need a sequel. I feel that way regardless of how this story turns out.

The Murphyverse is Sean Gordon Murphy's imprint and feels like the spiritual successor to Batman: The Animated Series. I like Murphy but I think his profile is slightly overrated by people in my #Comicsgate circle because he's not a twat on social media. This is not a slight on him as an artist. I find his art to be interesting but It's not my favorite. How the story lands for you will also depend on your nostalgia for Batman: TAS. If you're a fan of the classic stories you'll feel right at home here.

The story takes place after the conclusion of the last series. Jack Napier has returned to his Joker personal and Batman is called in to take him down. We touch base with all of the key characters that have been established, Bruce, Jim, Dick, and Barbara. New elements are introduced to the story like Azrael. It's a solid narrative with very few flaws.

The comic does look great admittedly and the style does blends well with the setting. The story is off to a great start although I'm not sure how many more stories are gonna be able to be culled from this setting. I can see why DC approved the series and the Murphyverse imprint though. There are very few comics that actively push the Batman mythos forward or beyond the status quo. This is one of those series. more

Bloodshot Salvation ended up being one of the best mini-series I've ever read. I never read a Bloodshot comic before. I don't even know if I'd ever picked up a Valiant book prior to 2018. I'm finally closing out this series of reviews and looking back it's been a master class of a series.

This issue covers Bloodshot finally escaping the future after completing his mission of killing an innocent man for Baron Samedi. He runs into conflict with the future version of himself recently introduced to the series. In addition to the situation in the future, we get an epic battle between Omen led by Peter and Rampage v the oldskool members of Rising Spirit.


It's an amazing battle depicted from the opening page of the issue to the bittersweet conclusion. I've read the two series released after Salvation. The heart and emotional core of the character seem to have left with Lemire.

It's maybe cliche to say but Jeff really gets this character or at the very least gets what makes this character work. The entire series has felt like an odyssey and seeing the character succeed despite all of the challenges and setbacks really gave me a fuzzy feeling inside.



The art direction of Doug and Jordie is also incredible. I first noticed Jordie Bellaire's work in Britania and I'm impressed with every title I see her name attached to. Doug's linework keeps up the intensity throughout the issue and meshes perfectly with the action and emotional beats Jeff provides here.

Very few series manage to stick the landing as well as Bloodshot Salvation. The conclusion solidifies the series as one of my favorite books of all time and earns my first God-Tier Rating. more

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I picked up "The Resistance" #1 before the state-mandated shutdown went into effect. It was one of the last comics I picked up from my LCS before it got shuttered at the outset of the pandemic.

This is my first AWA title and the presentation is of incredible quality. The story and art direction are awesome. It becomes apparent very quickly that this may be one of the best-written titles on the shelves right now.


The book covers a particularly virulent pandemic, it's recovery period, and the aftermath. The series will shine a light on the players involved in the new world. The situation will probably get more complicated considering how the first issue ends.

I'm pretty sure J Michael Straczynski wrote this book before COVID-19 hit. The timing of the book and real-world events had to be a really shitty coincidence. The problem is obvious and takes on a world outside your window vide regardless of the intent of the book. Reading about millions of people dying from a virus just didn't sit right. In about six months I might feel differently when and if we're back to some semblance of normalcy.


Nevertheless, I finished reading the book and felt kinda down even though I do intend to add the book to my pull list. There is way too much talent involved in this project to write it off despite my reservations.

I really hate to be unfair to the creative team but The Resistance just feels like a book released at the wrong time, despite being nearly flawlessly executed.

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I've read the last couple of Deathstroke arc's and I never really felt like I had a firm grasp on the series. I love the character but can't get into his supporting cast. I never walk away from the book with a bad experiment but I'm never excited by the next installment.

This issue finishes the Arkham installment and I still don't know quite know what's going on. What I do know is that the arc is over and whatever was going on with Hugo Strange has been foiled, at least I think it is.

Even the alien invasion plot with the Pulorian is unresolved. At this point, I don't even know if Devon, Deathstroke's unofficial sidekick is real. I guess I could keep going with the series but I'm not. I'm a fan of Christopher Priest. I also enjoy the atmospheric art from Fernando and Carlo. I'm just not enjoying the comic enough to continue.

There is a lack of energy and excitement in the series that prevents greatness. I can see the story being a great arc in some circles and will probably read better in trade. I didn't hate the story but I'm glad to be over it. more

I happened upon Stealth by accident. It had two things going for it immediately.

1. The Story was set in Detroit, my Home Town
2. The Lead characters were Black, yes I'm that shallow.


Beyond that, the comic is solid and has one of the most clever and out of nowhere plot twists I've ever seen pulled off in a comic. The twist is so awesome that I had legit "Oh Shit" reaction while reading and immediately added the title to my monthly pull-list. I won't spoil the twist in this review.

I absolutely loved the opening monologue about Detroit. I knew that the writer had to be from Detroit and I was very excited to find out on the letters page that he was from "The Hood". I also liked the lead character, Tony He's likable and I appreciated the time we see him spending with his Father.

Before my mom passed away she was prone to accidents and hurting constantly herself. She was diabetic and would often do damage and not realize it until the situation escalated. I totally understood what Mike was going for in conveying this relationship between the father and son. The concern Tony has for his elderly parent as he loses his faculties

In the background of the comic is the character of stealth. Stealth serves as the local superhero that the title owes its namesake. The character reminds me of a lot of Falcon with a little Iron Man mixed in. I'm sure we'll learn more about the hero as the story develops. Pencils are currently down for the comic book industry but this is one series I hope continues post-COVID-19.


I wasn't blown away by anything happening in the book in regards to the artistic direction. There are a couple of pages that stood out and Nate nails the emotional beats of the story. The Stealth scenes were also all pretty decent. The primary driver of this comic is the story which works because this is simply a beautifully written book.

We're still in the setup phase of the series and it becomes pretty clear that Nate isn't drawing the most exciting material that the setting has to offer. I expect more as the series develops. Nothing about the art is bad though and everything is easy enough to follow.

Stealth #1 was a lot of fun, I can't wait to see more of these characters. more

Tina Horn's Safe Sex #1 was a surprisingly awesome introduction to this world. Upon reading the first issue I added the series to my pull list and described the book as 1984 but with sex workers. This issue pushes the story forward a bit and by the end adds a layer of "A Clockwork Orange" into the mix.

Avory is roundly rejected by her former associates after pleading for help in saving her husband. After the rejection, she reaches out to a former client who offers to help after hearing her story.



The situation escalates further when the founder of the Dirty Mind establishment reappears publically apparently brainwashed and working with the authoritarian group known as "The Party".

It's not the deepest story. We've all seen riff's on this scenario before. What makes it stand out is the Sexual freedom of the lead characters. I've never read a story where Sex Workers are the lead characters and they aren't portrayed as victims or simple playthings. Avory is a compelling lead and even though the story may be headed in a potentially predictable direction I'm still interested in the outcome.



I hesitate to call the issue filler but we're still in the introductory portion of the series. The plot is moving along and by the end of the comic, I felt the characters were out of the setup phase. All of the pieces are in place and we can focus on the revolution. more