After a long layover, I'm back reviewing Kickass.

This series is one of those along with The Silencer that I've been down on and found myself writing the same review over and over again. They also have similar issues in concept and even share the same creator in John Romita Jr. 

The main difference between the two characters is The Silencer has superpowers. 

Both characters are really shallow once you remove the masks and a lot more interesting when they are able to cut loose in their superhero personas. 

Silencer has been canceled and I'm not sure how much longer this series is going. Both have potential but have been marred by a lack of vision for the characters. 

Silencer #9 starts with our lead clearing out a mob den. Ass he plans her next move. Her main target, Hector Santos drops off the body of one of her men outside of the door with the promise that this is what will happen to her. 

Kickass compensates her man handsomely to find Santos and fight the war on her behalf. Eventually she tracks down one of Santos right-hand men, Wallace to a fancy restaurant. After a brief exchange, he shocks her by putting his steak knife through her hand and sends his goons after her. 

I won't spoil the cliffhanger but suffice to say it's basically another firefight. The issue is a marked improvement to the last few which can be accounted to the focus being on Patience's Superhero personal. The problem I had this time around is that this issue reads extremely fast.

I was done in about 5 minutes. The standout scene is the confrontation between Kickass and Wallace. The scene is short and seeing him stab her caught me off guard. 

Issues like this are fine in trade but I'm not sure if they are worth the cover price. They have little to no depth but part of a larger narrative add flavor to the material. The downside to Kickass is that outside of costume Kickass is pretty lame. 

The art direction in the issue is nothing special. The scenes are laid out in a fashion that is competent but nothing in particular, stands out. The pencils are solid and the colors are muddy which makes the entire issue feel bland. Nothing is terrible but nothing jumps out as particularly exciting either. 

I hate to go with my initial complaint about the character but it honestly feels like the Pitch was to make Kickass a Badass Black Woman and figure out the plot as they go. I have the next few issues. I hope it gets better and I don't have to keep writing the same review over and over again.  more

After a string of really positive reviews, I knew the streak would end but I didn't expect it to end with Rainbow Brite. 

There are a few glaring problems I had with this comic at the outset that factored into my overall issues with the book. 
First, the artist has changed from Brittany Williams to Xenia Pamfil. She's made Wisp noticeably older in this comic and the contrast between this issue and 1-3 is jarring.

I wasn't the biggest fan of the art initially. It wasn't because of the artist though. Brittany's Rainbow Brite is basically a Steven Universe reskin. It's not bad but it's not my cup of tea.  My biggest gripe here is that I've never been a fan of switching artists in the middle of a storyline. It rarely ever bodes well and doesn't fair well here either. Xenia gets to depict a couple of great pages in the comic but something just feels off throughout the issue and it's mainly because of the change of artists. 

The second major issue I have with the comic is that the scope of the story seems a lot bigger than a 5 issue mini-series will be able to cover. Jeremy Whitley hasn't really covered a lot of ground and with about 22 pages left of the story I feel like we're going to be left with a cliffhanger for a potential second series or the conclusion will simply be underwhelming. (I have issue 5 I just haven't got too it yet).

This comic sees the introduction of the Red Flare, The Red Guardian and Starlight, the talking horse. The characters in this issue seem overwhelmingly snarky and Starlight seems off. During the story, Wisp takes a stand and Saves Starlight only to disappointed to find out that Starlight turns out to be an Asshole. The new characters are stock and seem to be lacking in any of the charm built up in the prior chapters. 

Wisp is the most interesting character in this issue as she should be as she continues her heroine's journey toward becoming Rainbow Brite. Things seem to be a bit too easy for her despite all of the challenges. I hesitate to call her a Mary Sue because their is a legit character arc for her, but the storyline is pushing it. 

Overall this issue was a bit of a bummer. The covers from Paulina Ganucheau and the original Hallmark art brim with imagination and nostalgia. The interiors have been uneven. The story has bright spots but the inconsistencies have really brought down the tone of the series. 

At this stage of the series, I think it's safe to say that if you're a fan of the character it's probably best to pick this up in trade. The single issues simply aren't worth the 3.99 cover price.  more

Naomi #2 may be the first great comic I've reviewed that I had to mark own because It pissed me off. The first issue ended on the cliffhanger of the local mechanic, Dee revealing that the last superhero incident in town the day that Naomi was adopted. 

Dee forcibly removes her from his garage and leaves abruptly. Naomi is deeply distressed by this revelation and rightly wonders what's going on. 

She goes home and during dinner asks her adopted parents how it is that the Mechanic knows her. She even asks if Dee is her adopted father. This clearly is a leap in logic but comes up during the conversation because she literally has nothing to work with in regards to her identity. 

After doing some digging Naomi finds out that Dee used to be a resident of Iron Heights prison. This further upsets Naomi because Dee is seemingly a reformed supervillain. Unable to sleep, Naomi goes back to the garage and runs straight into Dee. The comic ends with Naomi demanding that he reveal what their connection is.


RUMINATION

Naomi #2 is an excellent comic. In fact, it's one of the best single issues I've read this year. The problem is that Issue #1 exists. The comic ends with Naomi confronting Dee at the end. The book essentially ends in the exact same location as the first issue with practically the same cliffhanger going into issue #3.

This is very shoddy and shouldn't have made it past editorial. I understand he is DC's golden child but this is particularly egregious. What should have happened is that these two issues should have been edited into one and the issue should have either been double-sized or sold at a discounted price point. 

Jamal Campbell continues to really impress me. This character is the probably the most natural and normal depiction of an African American girl I've ever seen rendered in comics. He's also great at depicting all of the truly heartfelt moments throughout the issue. Jamal is great at conveying emotions in his characters. In issue #1 a lot of the interactions were exaggerated. It's still over the top in spots this time around but a lot more subdued. 

These moments resonated with me and it's really cool because, in the midst of all of this drama, there is an amazing 2-page spread of a flashback depicting Superman battling the Flash rogues galaxy at Iron Heights. This is great foreshadowing and lets us know that when the action finally is injected into the series Jamal is more than up to the task.

I'm heavily invested in seeing where this story is going. I just hate feeling like its groundhog day. more

I'm not the biggest fan of the Transformers franchise. I'm an older guy but I was slightly younger than the target demographic when Transformers ruled the world in the '80s. The most notable thing I remember loving about the cartoon was the giant Megatron transforming into a handgun, it was the height of absurdity. 

I recently finished Tom Scioli's Go-Bots Mini-Series, which was legit one of the best books I've read in years, and I guess I wanted more of that flavor so I figured I would give this series a try. 

This Transformers series seems to be set slightly at the outset of whatever conflict split Cybertron into Civil War. The story is really interesting. Megatron and Orion Pax (Optimus Prime) are friends. Bumblebee seems a lot different from what I remember in the animated series and definitely different from the Movies. He's tasked with guiding a newly forged Cybertronian, Rubble through the city. Along the way, they meet up with Windblade who joins them on their journey. The comic ends on a cliffhanger our heroes discover that one of the chief leaders of Cybertron has presumably been murdered. 

This issue was an entirely new experience for me, and I thoroughly enjoyed it as a casual fan of the IP. The strength of the issue is the script, pacing, and worldbuilding. Going in I didn't really know any of the characters outside of Prime and Megatron. As popular as Bumblebee is he's a blank canvas to me. 

This isn't an action heavy series but it firmly establishes the wonder of the setting. Credit needs for the art direction for this series. Angel Hernandez, Cachet Whitman, and Joana Lafuente really establish this world and the art evokes the feeling of the cartoons but on a grander scale. There is a synergy between the script and art and it blends into something magical. 

There is a lot of insight provided into Cybertronian culture, and I think the direction to follow a newly forged Transformer is inspired as it gives the reader a POV character that has just as much knowledge of the events as they do.

All in all, this is another great launch for IDW and falls in line with Go-Bots, Dick Tracy: Dead or Alive and the TMNT: Macro series that ended last fall. IDW has been knocking these series out of the park and it's nice to see that they have managed to breath new life into these well-established franchises, kudos to all involved. more

I took a couple of months off from reviewing The Walking Dead but kept it on my pull list.

I'm glad I did because this issue was great. The tensions building within the commonwealth continues to escalate toward full-scale civil war. 

Mercer the chief of security is imprisoned for mutiny. Rick and Michonne discuss their options. Rick feels guilty and believes that the introduction of their group into the commonwealth community has sparked the division. 

Carl's group happens to run into Princess and they deal with a zombie heard. On top of all of the other subplots, we get a nice cliffhanger for the next issue. 

The comic never lets up this month. The tension ramps up and all of the characters feel real in their reaction to the reality of the situation. The standout moment is a brief exchange between Mercer and Governor, Carol. After he lays out his position I can totally see why he decided to turn on her. 

The herd situation was also fun to see. I get that zombies are always a danger but its still fun to see our lead characters deal with them in creative ways.

This is a really sold issue from beginning to end which is great because I was beginning to lose faith in the series.  more

Remember when the X-Men used to have a hard time taking one Omega Class Sentinel? Pepperidge farm remembers. 

Freedom Fighters #2 captures that classic feeling of Days of Future Past with no Mutants in sight. The issue continues laying the groundwork from the first issue as our heroes matchup against the Iron Polizist. 

This is a straightforward comic with the bulk of it being the new Freedom Fighters coming out party against the Reich. The set-piece covers about 90% of the issue and pretty much what I've come to expect from Robert Venditti. The art is for the issue is great and atmospheric. It sells the epic nature of the battle taking place The team coordinates well and it will be interesting to see how these heroes came together as the series goes on. They all get a moment in the spotlight with the standout character being the Human Bomb. 

There's not much else to the issue which is a running weakness across Rob's books. It's not bad because the plotting for his action sequences are some of the best in the industry I just wish there were more than a page or 2 dedicated to moving the story forward. 

The downside of the issue is that this yet another DC comic where the action depicted on the cover isn't actually in the book. The evil Plastic Man is shown on the cover but he doesn't show up at all until the very last page of the issue. 

If you're following my reviews this has happened in my last 2 DC reviews. Damage #11, Silencer #10, this is a really crappy sales tactic and needs to be reigned in immediately. It's a great cover but it borders on false advertisement. A better cover would have been to simply show our heroes fighting the Polizist.

Despite the gripes, the actual issue is amazing and is actually the best mini-series DC is producing right now including Heroes in Crisis and Doomsday clock. I look forward to seeing this series develop its been something special so far.  more

Anyone that follows my blog or my various musings across social media platforms know that I don't read Marvel Comics much. Without being too pretentious I consider this a passive boycott. 

It's been this way for a few years now. This was even before comics consumer revolts like #Comicsgate became a thing. I say passive boycott because I will actually read a Marvel comic if its highly recommended by a someone in my circle or I respect the creator behind the story. 

Major X falls into the latter category. 


Major X is from Rob Liefield, creator of Deadpool, Cable, Domino, and X-Force. The man is a legend in my opinion and is probably the most important creator that has come to prominence in my lifetime. 

If you were a kid reading comics in the early 90's you were one of Liefields children. 

Major X is revealed as a new character and falls in line with other prominent Liefield creations. The exception being that Major X is subdued. The Liefield trademark of huge guns and pockets everywhere is gone from Major X. The character actually looks like a cross between Deadpool/Cable and they both make appearances in this book. 
​

The book takes place across time and space. In the future, Mutants apparently, have left earth for an alternate realm created by an entity known as the X-Ential. Major X searches the setting for cracks in the realm and has the mission of preserving the status quo. (If this interpretation of the future is off or I'm missing something let me know.)

While on patrol the Major is interrupted by M'Koy (Beast?) and reality begins to crumble around them. The characters escape and teleport to the past, which happens to be a variation of New Mutants #98. The first appearance of Deadpool.
​​

 
It's during this sequence that Rob artistically lets his nuts hang. He is often criticized as an artist. Some of the criticisms are valid but none of those complaints exist in this issue. The art is fantastic and Rob gets a lot of mileage out of the locations and action sequences. Every page is interesting to look at and the highlight of the comic are the homages to New Mutants #98.

The book even features direct callbacks to the issue. What's interesting is that we see Major X. Stand up convincingly up to Cable, Deadpool, Wolverine and the entirety of the New Mutants. The comic ends on a nice cliffhanger and we get the reveal the man behind the mask. 
​​

The only weakness to the issue is that the dialogue is wonky in spots. I wasn't expecting Alan Moore but some of the lines are eye-rollingly cringe. 

The issue is an above average reading experience. I'm glad I put aside my passive boycott and picked it up. The book is worth it for the art alone. The story is interesting enough to pique your interest for what's to come. Rob Liefield has sold me on his concept and now I'm hooked and along for the ride. more

It kinda sucks reviewing The Silencer because it feels like I'm reading the same issue over and over again. At some point, you have to question why you're reading the series at all. Furthermore, of "The Age of Heroes" titles The Silencer is the only series that has not moved beyond the initial concept. 

Honor Guest isn't really a reskinned marvel character and that was an advantage for her character initially but now its as if the character is running in place and content in mediocrity. 

This month we get a continuation of the Vacation in Action Land story-arc. Silencer and Quietus are still stuck in each other's bodies as they make an uneasy alliance to take down a massive Kaiju like monster.

Patrick Zircher and Mike Spicer are on fire in this issue. The comic opens with an excellent homage to DC'S Crisis on Infinite Earth's and the monster is simply gorgeous and the highlight of the issue. The action is also incredible throughout the issue.  I'm down on the comic the pictures are pretty and dynamic. 

So what's wrong? First, we're presented with another cover that depicts a scene that is not in the comic. Silencer is being choked by Talia but the two never encounter each other in the book. A better cover suggestion would have been to show Silencer being faced down by the giant Godzilla like monster.

The issue also needs to resolve this situation with Talia. Honor Guest has a single track in the series and it really hurts the development of any of her supporting cast. What makes matters worse is that Dan Abnett, creator of Silencer is one of the chief architects of Marvel's modern Guardians of the Galaxy. Developing the family dynamic for the character should have been a slam dunk but it remains the weakest aspect of the series. 

Every time an opportunity presents itself to establish Silencers family as real characters and not just props, the scene is undercut by a lame joke or a narration that simply doesn't make any sense. 

It sucks because the character has unlimited potential but the creative team seems to be stuck and unable to move beyond the initial pitch. I've love to see Rob Liefield's take on this material. 

As I review the 10th issue of this series it has been canceled and more than any other series in this line of comics I can totally see why. more

Tom Scioli's Go-Bots may end up being the Best Mini-Series to be released in 2019. It's heads and shoulders above any Mini series released from the big two with the exception of maybe Marvels Killmonger and is about 95% better than most of my pull list. 

This series has been better than I could have ever imagined and has one of the best concluding chapters I've ever read in a comic. From a design perspective, there are some page and panel layouts in this issue that are simply genius. 

At one point in the comic, I stopped reading and had an audible reaction to the pages depicted below. In the scene, Turbo Pulls into the Go-Bots base and makes a desperate attempt to save his friend, Scooter.

The page begins with a diagram of the base being infiltrated with Turbo situated in the bottom left corner. As the assault beings, Tom gives context clues from panel to page so you know exactly where Turbo is in relation to the base and to his goal of reaching the top floor. 

The two-page spread is amazing and gave me vibes relating to Tim Burton's Batman "89" as well as any number of Video Games that have also used similar devices. The tactic is just as effective here and even more so because it takes advantage of comics as a visual medium. This segment is essentially comics as a visual diorama. 

There are also various allusions to other stories that I picked up on in this issue. There are probably several more that I didn't catch. There is a nice nod to Frank Miller's Dark Knight, Planet of the Apes, and there are hints throughout the issue that the Go-Bots are the progenitors of the Transformers which may be a meta-commentary on the fact that the Go-Bots line of action figures debuted in the real world 5 months before Transformers before fading into relative obscurity. 

The "Endings" for this issue are open to interpretation and you can endlessly speculate as to happens next. 

The series is also great in that it makes you want to know more about the lore and characters. In issue #4 a massive Go-Bot makes an appearance in the shape of a T--Rex. The Go-Bot's name is Zod and it seems totally out of place with the rest of the series. After reading the book I was curious about the character and after a few keystrokes I found out that the character was real and I managed to find him for a pretty reasonable price on eBay (Steal!).

I had a similar fascination with the lead Villain Cy-kill, who may also end up being one of the top villains of the year. He's evil and his eerie unexplained fascination with humanity takes elevates him to another level. 

We're given clarity regarding Scooters madness and we also get to see Turbo slide into the role as de facto hero of the series. 

It would be criminal for a series like Go-Bots to fade back into obscurity after the masterclass that Tom Scioli puts together on this series. The series is ripe to be adapted into an animated series or movie. I'd love to see a live action adaptation of this material but that may be hoping against hope. 

I mention expanding the Ip in light of the dire financial straits that IDW Publishing finds itself in. This week I finished Dick Tracy: DOA and also follow Teenage Mutant Ninja Turtles Faithfully. TMNT, in particular, is my favorite ongoing series and has been for a while. 

It's a damn shame that IDW is facing these issues with the amount of talent available to the publisher. 

I'm not sure if the situation is as bad as the reports are making it out to be but I would strongly suggest leveraging the talent available into the creation of original IP. 

Tom Scioli is clearly a master storyteller. Kevin Eastman and Tom Walsh are producing epic content monthly and The Allred's are just as imaginative in 2019 as they were when they did a complete teardown and rebuild of Marvel's X-Force. 

The talent is there and actively working for the company. The leaders just need to start eating their own Dog Food and be the success I know they can be. Lowering the pricing point of offering and spending money on developing a legit social media presence would also go along way in strengthening the line.  more

It took about 5 issues but we have finally got some story progression in this issue. 

If there ever was a case to be made against decompressed storytelling in comics, Heroes in Crisis would be the sterling example. Harley Quinn, Batgirl, Booster Gold, and Blue Beetle stop fighting and resolve to find Wally West (Flash) as it seems he may not be dead after all. 

While this is happening Batman and Barry Allen seek to find Wally in their own way. By the end of the issue, they get a bead on Harley and Boosters location and we get a cliffhanger that may or not be relevant in the next issue. 

This issue isn't particularly great but I'm willing to give it a mulligan. With 2 issues left, I'm not sure if I'm more excited for a major revelation or just for the resolution to the story.

The art is amazing as usual, but I feel like we've seen too many variations of the same scenes and moments. Tom King is big on repetition in his scripting to emphasize key points in his stories. It seems that this trait has now extended to the art direction. 

 It feels as if Harley Quinn has been beating up Booster forever now and it's getting old. We're in the end game now and the pieces are being set in place. Tom King is in the unenviable position of wrapping this story up satisfactorily. It's possible but feels like a 4-5 issue mini-series that has been stretched to 9 issues for...reasons. 


Rating C+

**Addendum**

1. Heroes in Crisis
2. The Batman Who Laughs
3. Doomsday Clock

All of these DC events are running concurrently and all seem to have similar problems. They all seem to be decent enough Ideas that have been stretched too thin with editorial falling asleep at the wheel. 

There is definitely something happening at DC Comics with regards to overall quality and its worth keeping an eye on as its trending across the line.  more

I mentioned it a few months ago in a tweet that I think that Snyder has effectively created the DC version of Spiderverse with the DC metal event and it slid quietly under the radar. 

This isn't a negative I've always been a fan of "What If" or Elseworlds stories so I eat this stuff up whenever I get a new or alternate take on an established character. 

That being said, I'm not a big fan of the main "Batman Who Laughs" series. I love Jock in other series but this story hasn't been playing to his strengths as an artist and Snyder's take on Batman has always been cool but really pretentious. I find the Bruce Wayne's featured in this mini-series tend to lean really heavy on the aspects of Snyder Batman that I don't particularly enjoy.

This story covers the Punisher - Batman Variant, The Grim Knight and gives him an origin. The comic starts off with Bruce Wayne's parents being murdered but instead of running off, Joe Chill drops the gun. Bruce picks it up and blows him away. From this point, we see similar beats to the rest of the Bat-mythos with the primary difference being that this Bruce is never shy about killing criminals. Most of his rogues are long gone. This version of Batman has leveraged his resources to turn Gotham into a police state that he runs from the Batcave. 

The primary antagonist for this Batman turns out to unsurprisingly be Jim Gordon. Also similar to Punisher, a bulk of the Gotham PD turns out to be in support of the Grim Knight. Gordon sticks to the case and gets several of his fellow officers killed trying to take Batman down. He survives the encounter and goes Dark and eventually emerges with the help of a surprising ally.

The Grim Knight starts up pretty much where I expected it to and I started rolling my eyes as it seemed at the start that the book would simply be Batman with Bullets. I mean, that is what it is but James and Scott get more out of the story than I expected. Seeing a Jim Gordon obsessed with taking down Batman isn't a new concept it was even in the Batman Animated Series. Seeing Jim Gordon as being the only thing standing between Batman having a complete totalitarian rule of Gotham is a lot more interesting. 

The art in the issue is a mixed bag. The flashback sequences are all great I particularly liked the scenes with young Bruce in Crime Alley. The scenes in the present with The Grim Knight and our realities Gordon didn't really do anything for me and seemed to lack any real detail.

Eduardo Risso is the only artist listed in the book so I'm assuming that the color variants are simply a design choice that the team settled on. The book isn't bad but I wish that the art was consistent throughout and that the one style was chosen over the other. Dave Stewart deserves mention because his colorwork especially the watercolor effects are the standout aspect of this issue. 

Overall I liked the Grim Knight. It's a lot better and concise than the main series. It's an interesting take on this character and the concept of the Grim Knight has legs. I can see him becoming a reoccurring character. He actually makes More sense than The Batman Who Laughs. 

The biggest plot-hole so far is why are these two men working together at all? The Batman who Laughs is clearly evil. I don't get the how this relationship works at all or why the Knight doesn't just kill him?

I hope Snyder and Co. have an answer because whatever they come up with will determine the success or failure of this series. more

Beyond the grid has been mediocre at best. It's not terrible but it's not the most follow-up to 2018's epic Shattered Grid story arc. This issue is a bit better as it puts the focus on giving an origin to the series original character, Ari. She gives her origin and some insight into the situation with the arc's villain, the Praetor.  

Ari backstory is sad she comes from a dying universe that only has a few generations left. In an attempt to steal some food she's startled by a man morphing in front of her. An earthquake seemingly occurs and they both fall off the platform they were standing on. The man dies but not before passing the Solarix (Morpher) to her. She's not given the power based on merit or nobility. She's was just the only option available.

It's not really the most exciting origin at all but it's well written and makes sense in light of the circumstances. We also got a visually cool character out of the deal so I'll accept it. Before dying the Man tells her to keep it away from the Praetor and that the Solarix will seek its own kind. 

We also get an explanation for why Ari looks so much different from the other rangers. She's not properly aligned with the grid and it glitches out and even hurts her sometimes. Using her powers drew the Praetor to her we're given the impression that he friends have been attacked by association with her. 

By the end of the comic, The heroes are tracked by the Praetor and his army and the comic ends with the other rangers drawing power from the Solarix. 

This was a pretty good issue. My only complaint is that there's a lot of standing around here and the dialogue, while great at explaining the situation is a bit much. The art for the rangers outside of Ari leaves much to be desired. I really dislike the choice they have gone with for Kimberly and I'll leave it at that. 

When the art team gets to Draw Ari or the space stuff the art is amazing. There are some breathtaking shots in this issue. It's also noted in the comic that there are 3 artists working the issue. That may be why the art is so disjointed at times. 

The decision to focus on one character was a good one. The past few issues have been scattered and haven't spent enough time establishing who they are or why I should care. I understand that these heroes may be long-standing Rangers from the series or extended canon but in this arc, they are generic at best. 

It appears the next issue may be more action oriented and I'm interested in seeing if the Solarix glitch effect extends to the other Rangers powered by it. I'm more interested in the designs than anything. I'm not sure if that's a good or bad thing.  more

If this comic wasn't $2.99 I would have come down pretty hard on this issue. I read Damage #11 in about 5 minutes and during that time I thoroughly enjoyed it. The comic is essentially a slugfest pitting Damage against Green Arrow, Vixen, Guy Gardner, and Flash. 

If you've followed the series to this point you know that Damage has some pretty impressive feats and as this issue rolls along he racks up even more as he takes down the Justice League in pretty epic fashion. 

The issue is fun, the character is fun and even though there is little to no actual depth to the storytelling, Robert paces the issue well and the issue is still enjoyable. This sentiment is propelled by the art direction. One of the most fun aspects of the series is seeing Damage cut loose and this issue is no exception Aaron Lopresti and Hi-Fi bring it, and portray our lead character as a force of nature not to be trifled with.

Each page is a joy to read and look at and the issue is worth it for that reason alone. 

The downside of the comic that the cover clearly depicts a fight between Damage and Superman. Superman does not show up in the comic until the very last page and it's a cliffhanger for yet another fight. If the Comic was standard 3.99 cover price or had a lesser art team I would have been pissed. 

As it stands the comic was a simple fast-paced story that is worth a read even though you'll probably breeze through it in a few minutes.  more

Unnatural #7 was a decent issue but it was the first issue in the series that felt like filler. This issue is a return to form and closes out the second arc in the 12 issue mini-series giving us resolutions to some keep plot points as well as raising new questions to be sorted out. 

I trust Mirka Andolfo. Leslie and Khal are probably the most unconventional comic book characters you'll ever run across but they are all interesting and even when the story seems to be running out of steam a new element is introduced that will keep you engaged. 

Leslie and Khal form a deeper connection in the issue. We also get some insight into just how powerful Leslie can be when she merges with "The Albino" The comic also ends with a massive reveal is given regarding "The Glance" character. My jaw dropped a few times this issue as the Oh Shit moments kept coming. 

Issue #7 felt as if Mirka may have been rushed or unfocused but this issue is back on track. There is very little to complain about. The art direction is simply gorgeous and the comic works as a single issue or part of a hole. I can't imagine anyone picking this book up randomly and not being invested in knowing what happens next. 

Unnatural continues to be one of the best comics on the shelves. In a sea of mediocre books, it stands head and shoulders above many of the comics being produced by the big 2 right now. You owe it to yourself to check it out. more

Dick Tracy: DOA #4 wraps up the Mini-Series nicely leaving practically no loose ends or unanswered questions. Overall the series is a nice walk down memory lane.

IDW has already announced a new series from Michael Avon Oeming (Powers) so I'm assuming DOA did pretty good with sales. I appreciate the straightforward nature of the series and hope to see more takes on the character in the coming years.  

There really isn't much to say plot-wise The story is really simple. The villains are defeated. Tracy is cleared and reinstated. These aren't really spoilers and were a foregone conclusion to be perfectly honest. What is surprising is how much Big Boy factors heavily into the conclusion of the story and finally delivers a credible threat to our hero.  

The art in the comic is great and a step above the last issue which seemed somewhat rushed. 
​
Dick Tracy DOA was a nice little diversion. I enjoyed the series and I think that the series will read even better as a trade paperback. I highly recommend the series. Not every comic has to be overly dramatic or complicated. Sometimes you just want to see the heroes beat the villains and in this instance that's enough for me.  more

Detective Comics #993 is an example of a comic snatching defeat from the jaws of victory. The comic starts strong, really strong dealing with the presumed death of Two-Face and then fumbles in the endzone leaving me questioning the $20 I spent on the last 5 issues. 

The writing is sharp and the scenes of Batman and Harvey are well paced and constructed. I'm still not a fan of Batman teaming with Two-Face while he carries a pair of handguns designed to kill but this is the story we're getting so, oh well. The art is energetic and I can tell that Carmine and Ivan are having fun in this issue as the art direction is genuinely fun to look at.


So what went wrong?

The second half of the issue it's revealed that Two-Face faked his death and that the whole first half of the issue with the funeral was a complete waste of time. Even worse Batman, knows it's Bullshit and goes through the motions anyway. The comic ends with Batman fighting Two-Face and the status quo remains the same despite 5 issues of teasing otherwise. This issue on it's own is slightly better than the last 4 but its still nonsense. 


I've been reading DC comics regularly since Rebirth began and I have to say this is easily the worst arc I've read since Chuck Austin's X-men from the early 2000's. It could be a symptom of the bi-weekly release schedule but there has been a lack of quality control during this arc and for now, I'm glad it's over. Comics like this make me question the time and money I invest in the medium... more

I picked up a Planet of the Apes vibe from this issue. Go-Bots run the planet. Humans have devolved during the interim and Leader-One maintains tenuous leadership despite constantly being challenged by Cy-Kill and his forces. 

The main plot of the issue is that Leader-One and his team plan to take down the massive Go-Bot, Zod. As this goes on a group of rock-like creatures are introduced and Cy-Kill continues his machinations. 

As usual, the biggest selling point for the issue is Tom Scioli's art. It's simply amazing how much detail he puts into this issue. It gets to be a bit much this time around as it appears that the book has to cover too much ground with one issue left and at times I got confused. 

I this may not be an issue for longtime Go-Bot's fans but I'm a filthy casual. New characters weave in out of the story sometimes for only a few panels and then are gone leaving me wondering what the point was. 

Cy-Kill gets another really disturbing scene in which he tries to get the devolved humans to combine and transform as Go-Bots do. This may be a meta-commentary on children and the childish activity of playing with toys like Go-Bot's and Transformers and making them transform at their whim. Cy-Kill sees humans as akin to bugs or toys to play with. I thought of the Abu Ghraib abuse scandal that happened post 9/11. It's some really dark stuff going on in this comic. 

The heroes aren't quite as interesting as the villains but they are also given a surprising amount of depth. Turbo has become the defacto protector of humans. Scooter has been driven mad after being forced to kill his handler. Leader-One is the stoic leader playing the role of defacto king of the Go-Bot's. Heavy is the head that wears the crown. He's see's visions of this death as he proceeds with his plan to take down Zod. 

The issue is great and despite having an insane amount of stuff going on at times feels like a worthy addition to the rest of the series. Go-Bot's along with The Lone Ranger are my early contenders for best series of 2019. This issue continues to make that case for me.  more

I normally don't read back to back issues of the same title but I was motivated to press on because I'm really disliking this story arc. To be perfectly transparent, If I wasn't so far behind in my pull list I would have probably dropped detective after the last issue. 

This issue continues the Kobra story arc with Batman and Two-Face teaming up to take down the Cult. The story is pretty straight forward with the duo defeating the enemy fairly easily. They then discover that the plot is going to be a lot more complicated than pummeling the bad guys into submission.


The issue is barely passable and the internal logic of the story is flawed. Batman and Two-Face have practically the same voice and when speaking to each other you'd be hard pressed to find much distinction between them.

Another major problem with the issue is common sense characterization. Batman does not use guns and tell's Two-Face not to kill anyone. So why is Two-Face in turn running into the fight with two Pistols blazing.
 
​​If Batman was really concerned about anyone being killed he would have disarmed Harvey prior to engaging the enemy. Two-Face is a villain and is about as unstable as you can get. This is sloppy storytelling and reflects really poorly on the editorial direction of the issue.

The comic also catches us up with the rest of the outsider team as that storyline continues to develop. The art for the issue continues to be serviceable but there aren't any standout moments.
​​

The action is there but with the script being so bland and the locale being confined to one setting the entire issue is a muddy and miserable experience. Batman deserves better.
more

I wanna say that this issue was great but it honestly feels like a continuation of the last issue and in that there's not a lot of surprises. Karai and her crew interact with our heroes and get more of the character development that the series is known for. 

Nothing here is bad I just wish there was more forward momentum and the comic is ultimately skippable. The scene in the issue with Agent Bishop and Metalhead should have been folded into the last issue and the rest of the issue just feels like filler.

If you've read the TMNT Macro-Series even the cliffhanger is something you saw coming. The only thing that got a chuckle out of me was confirmation that Daredevil is Michelangelo's favorite superhero. If you're a longtime fan of the Turtles that was a nice Easter Egg. 

The art isn't really all that interesting but to Michael Dialynas credit there isn't any real action here so to he doesn't really have much to do. Since I've been reviewing the series I have to say this may be the weakest issue yet. I'm excited about the #100 milestone but the decompression really kills the pacing for me. Hopefully, we don't have too many filler issues because this one was a bit of a letdown.  more

There is way too much going on in this issue. 

With #4 of the series, I can honestly see why this screenplay was scrapped. This issue isn't terrible. The plot just seems overly complicated and filled with too many characters that I either don't care about or haven't been established enough for me to be invested in their survival. 

In a vacuum, this is a bad single issue. There isn't much of any recap and the story just assumes that the reader knows what's going on. I'm four issues deep and I'm lost, especially when people start transforming into Xenomorphs. 

Compounding things, Ripley and Newt are still not apart of the story. Newt was sent away the last issue and Ripley is ejected into an escape pod this time around. It's nice that Hicks and Bishop are given a bigger role in the story but without the nuanced acting, the characters feel rather flat and lifeless.

I don't want to spend a lot of time on art. Nothing really leaped out to me as impressive other than a couple of pages of the Xenomorph emerging from the shell of a Human being. The art direction seems off and rather than dumping on the artist Ill just leave it there. 

Were 4 issues deep into this story and it's just not living up to the hype. It almost makes me wish that the series wasn't picked up at all.  more

I reviewed Killmonger #1 a few months back. I remember thinking it was a great start and then I fell off for whatever reason. What The hell was I thinking? This issue is amazing. 

The issue picks up after a time jump. Erik is firmly entrenched in the crew. The bulk of the issue covers our crew as they plan and execute a brutal hit for the Kingpin.
​​

The plan goes without a hitch but King (The Leader) wants Erik to have a plan beyond simply being angry. He tells Erik that anger can be great but it's hit and miss and can only take you so far.

The interactions between Erik and King are the best parts of the comic and come off as a kid talking to someone that has experience and simply knows better.
​​

The issue ends on a cliffhanger as the crew is given the task of going up against Bullseye. King decides that this is a suicide mission and wants no part of going up against such a skilled target. The situation blows up even further as Bullseye interrupts the meeting. 

The art direction of the issue is simply amazing. Juan and Eduardo bring it and it's hard to believe you're reading a Marvel book in 2019. I like the wet behind the ears look of Killmonger and the layout and color palette of of the issue in particular. There's a lot of energy to the book and it feels like a cinematic experience.

The club scenes and the quieter moments are just as poignant as the execution in the middle of the issue. The scene is actually shocking and further establishes Killmonger as a villain. 
​​

Erik is a Bad Guy. You can sympathize with him but it doesn't change who he is. Bryan has a great voice for this character and its really cool that he keeps the edge to the Killmonger when it would be really easy to make him a sympathetic anti-hero. 

Bringing Bullseye into the mix escalates the threat hear but contrasting a masked villain with the street level characters seemingly so entrenched in the real world seems silly. I wish that the issue used the version of Bullseye from the Bendis run that operated without the costume. 
​​

I'm not knocking it but it's the only part of the issue that doesn't quite fit.  

I have the entire series and will pick up the pace of reviewing the comics from here. The issue is great. I don't read much Marvel and even with that caveat, this issue is worth your attention.  more

I enjoyed The Batman Who Laughs #2 and looked forward to this issue. Unfortunately, this one is a bit of a letdown on all sides. 

I'm a huge Batman fan but I'm not a fan of the pretentious version that is sort of a know it all. That variant of Bruce is literally all over this issue. 

This comic marks the first direct encounter between our Batman and the Grim Knight. It's a brief scene that also ends anti-climatically. The character looks awesome and the Idea of a Punisher variant of Batman is beyond inspired. This encounter just seems really weak. There's a moment where the characters are talking to each other within earshot of James Gordon and I'm finding it really hard to believe that the supporting characters don't know Bruce's true identity.  

Another key problem with the issue is Jock's linework. It simply doesn't measure up this issue. I hate saying that because I know what he can do when he's hitting all cylinders. This is not his best work and the story does not play to his strengths as an artist. 

There is a sub-plot with Jame's Gordon Jr. being brought in to help Bruce decipher The Batman Who Laughs plan and even that seems off.

The issue is just rough and I'm thoroughly disappointed. The creators behind this series are better than this.  more

Well, that was intense. 

Last month we were introduced to Conner. A well mannered, cannibal who was hired by our villains to take out our heroes. His impact was is immediately felt as he uses available evidence to get the drop on Lone Ranger and Tonto. 

Conner is a Bad-Ass villain. He matches up well with our heroes and even manages to pick Tonto out of a crowd, catching him off guard. The encounter between the two characters manages to be one of the most intense matchups I've seen so far this year. 
​​
Conner is also given a backstory that is just as tragic as it is horrifying. Even though he's shown to be a monstrous individual, I still felt sorry for the guy. 

As usual Tonto gets the best lines and moments in the comic. I almost feel like The Lone Ranger was an afterthought and that Mark Russell would be more interested in making a comic about Tonto. I'm not complaining but the lack of any real engaging moments from The Ranger is glaring. 
​​
The back and forth between Tonto and Conner sent shivers up my spine. Mark has a flair for dialogue and it shines during this encounter. During the brief scene between the two, the closest comparison I could come up with would be any of the interrogation scenes from inglorious bastards. You know that Conner is a monster and the cannibalistic aspects of the character just make the situation worse.

Bob Q is great with quiet moments and the bombastic action sequences. Seeing the scene quickly transition from a quiet conversation to a full-on action sequence was the highlight of the issue for me. 
​​

I thought that The Lone Ranger was an ongoing series but its not. We got one issue left. It's really sad because this series has been a wild ride. Hopefully, we get a second volume because this has been one of the best series I've read in recent memory.  more

There is a huge contrast between Tom King's Batman and Heroes in Crisis. Batman has been rolling the last several issues while Heroes in Crisis has been running in place during the same length of time.

The Penguin figures heavily into this issue as he actually gets more panel time than Batman.  The comic follows the villain as he grieves the loss of what I presume is a family member. After being defeated by Batman Penguin is sent to Arkham and subsequently dressed down by Bane and given the mission to kill Alfred. 


The comic ends on a cliffhanger and pivots into a completely different direction than I expected initially. Hinting at a possible team-up. 

As a single issue, the comic is fantastic. The art direction from Jordie Bellaire and Mikel Janin is great and atmospheric. It perfectly captures the somber nature of the issue. Penguin is given more characterization here than I've ever seen him given in any other comic. It was also pretty cool seeing him engage Batman in a fist fight. I don't remember ever seeing Penguin actually fighting Batman.
​
It's a nice introduction to the new story arc and manages to keep the momentum going that was built up from the previous issue. It escalates the overarching Bane storyline while also functioning as a great single issue. There's honestly not much to complain about here. more

At first read, I was going to rant on this issue. It was late and the story didn't really go anywhere but I read it again this morning and although I didn't like the book it's not as bad as Initially thought. 

The issue follows Harley Quinn, The Flash (Wally West), and Gnarrk. The comic works as a collection of characters dealing with trauma. There isn't much action at all this issue so the book is a pretty bland affair. The tone of the issue extends to the art and everything about the comic seems off. It's not that Mitch and Clay's art is bad at any point in the issue, it's just not the most exciting either.
​​

Gnarrk is dealing with being a man out of time. Harley Quinn and Poison Ivy connect over her past with The Joker. Flash has the most poignant aspect of the issue as he uses Sanctuary to deal with the trauma being brought back to the Rebirth universe without his wife and children. During his particular segment of the issue, we're given a potential clue regarding the event as Psycho Pirates mask reappears in this book.

The problem with the series is that it feels like every issue after #2 has been inconsequential. Breaking this book into a monthly series makes me wish that Tom King would get to the point. On the other hand I think the series will probably read better in one sitting. 
​​

I would really love to give the book a deep assessment but there really isn't much revealed other than another potential fake-out ending. Earlier this week Bleeding Cool reported that DC Comics would refocus on single issue stories and less decompression for the trade paperback.

One of the books that I think probably is behind the change is Heroes in Crisis. This is probably the most meandering event that I've ever read. On top of the lack of pacing the book is $4.99 per issue. It's not a horrible comic but the lack of momentum really hurts this series. 

I really hope Tom King has a hellava twist in mind because if not Heroes in Crisis may go down infamy as one of the worst events of all time. more

Sideways #10 is easily the best issue in the series to date (Yes I know it's canceled). I'm not sure what has happened but the series has done a complete 180. Derek (Sideways), has managed to settle on a personality and finally seems interesting outside of the costume. In fact, all of the characters seem interesting and behave in a realistic and rational manner. My chief problem with the series to this point is that everyone seemed all over the place an the motivations seemed off. 


Synopsis

The main crux of the issue is transitioning from the Seven Soldiers of Victory crossover and into the next story arc and status quo. 

Derek travels back to his home from the Dark Multiverse. It's revealed that he's been gone about a week and has missed his Mother's funeral. The authorities are also there and question about his whereabout's. He tells them that he was a friends house in Metropolis. Which is technically true if you've been following the series. The lie buy's Derek some time but the detective tells him that he will need a second interview to clear him as a suspect in his mother's murder. 

The cops leave and Derek talks to his adopted father, David. He is understandably frustrated with his son and the loss of his wife. They have a brief yet poignant exchange that ends with David telling Derek that he doesn't really know how to be his father anymore now that his wife is gone. 

Later, Derek rifts and checks in with his best friend Ernie. They teleport to Paris and have lunch at the Eiffel Tower. As they catch up on current events and as the conversation goes on it seems that their relationship may be developing beyond friendship. 

From here the comic transitions into typical superheroic content with Sideways and Ernie being interrupted by an explosion in the distance and Sideways Rifting off to stop it. The comic ends on a cliffhanger as a new villain shows up to ruin his day. 


Review - Rumination

I absolutely loved this comic. This issue is almost perfect and is a great jumping on point for the series. It's really sad it took 9 issues for the series to find its way but I'm glad it did regardless. The art for the issue is fantastic. The last few issues for the series have been muted and kind of bland and its nice to get the change in the color palette as it works to the characters strengths as a light-hearted character. 

I also think its really important to prop out Daniel Brown in this issue. The colors are amazing. Derek is a person of color. It comes across but it's not really as pronounced as it is in this issue. The contrast and skin tones between characters are great. I love how these characters feel real and the diversity is there without the drum beating us over the head with it. 

As of writing the series has been canceled and its really unfortunate because I really feel that the comic found its footing in the last arc and the fruits are paying off here. All of the characters and plots are beginning to gel. The scenes between Derek, David, and Ernie feel real. The scenes with David were especially poignant for me as a married man with stepchildren. I love my kids to death but I couldn't imagine raising them without her. 

It took a long time to get me here but it appears that Didio has finally found a voice for this character and I look forward to seeing how this series wraps up.  more

Stranger Things #3 was the first comic that made me question the use of my time writing reviews for this blog. It's also the reason the turnaround time for this review is faster than previous issues. For my sanity, I needed to get this series over with. 

I'm happy to report that this comic is somewhat better than the previous three but It's really disheartening that we had to get to the last issue of the series before the creators decided to get creative with the storytelling.

If you've been following to this point you know that the comic is following Will Byer's and his time in "The upside down". The series runs counter to season 1 of the Netflix series. The issue culminates predictably at the end of the season and gives a tease for season 2 or possibly another mini-series. 

What makes this issue better than the last is that instead of just following Will's journey across the mundane Jody Houser and Stefano Martino switch things up by linking the issue more closely to the Will's Dungeon & Dragons avatar, Will the Wise.


At the very least, the issue offers a change of scenery from anything else that has happened in the mini to this point and in doing so highlight the main problem with the series. Since "The Upside down is in another dimension the comic was only limited by the writer's imagination. What we've been given is a pretty bland affair that only occasionally manages to hit the giddy heights of mediocre.


This issue provides a lot of variety and is definitely a step forward in establishing the horror and general creepiness of the setting. Another few issues and the comic probably would have found its footing and actually been good but sadly this is it for now.


As stated in my prior reviews, I'm not sure what kind of restrictions Jody was under as this series was being put together but, I expected more. It's not the worst comic I've ever read. As a series, Stranger Things is an interesting conversation piece if you're a fan of the show but I can't see anyone picking up book and being satisfied with the finished product. 

Ultimately this series is a complete waste of potential.  more

TMNT Urban Legends is a strange footnote in Ninja Turtle history. It began as a canonical continuation of the original Kevin Eastman & Peter Laird series from the 80s and early 90s.  It's pretty much forgotten that Image Comics produced a volume of TMNT comics. It is probably even less notable than Teenage Mutant Ninja Turtles: The Next Mutation. The most talked about aspect of the series was how dark things got for our heroes.

Donatello's shell was destroyed leaving him in a Cyborg body. (They did it first) Raphael's face was horribly disfigured in the first issue leading to him wearing one of Casey Jones old masks. Eventually, Raph takes on the mantle of Shredder, leader of the Foot Clan. 
​​

Leonardo loses his hand in battle and Splinter undergoes further mutation transforming into a giant bat. Michelangelo is the only character to escape the series relatively unscathed. The series was canceled with little fanfare before the final storyline was even completed until IDW picked up the license and decided to reprint the series and finish the story. 

I have the entire series but I figured here was as good a place to start with the beginning of the second arc. 
​​
Splinter is gone and Donatello is adjusting to his new body. Donny is nervous about his consciousness potentially being overridden by his cybernetic mind. Leo goads him into a sparring session. Donatello proves to be seriously upgraded and quickly overwhelms his brothers.

All goes well until Casey Jones shows up. Casey sees the fighting and immediately rushes to defend the turtles not remembering that Donatello is now cybernetic. He lands blow after blow until Donny's self-defense protocols kick in taking over his mind and moves in to execute Casey. The turtles manage to talk Donatello down resulting in a close call and uncertainty in Donny's ability to trust himself. 
​​
There is a sub-plot in Michelangelo having one of his poems published. The comic ends with him babysitting Casey and April's daughter and her being kidnapped while he sleeps in the other room. 

Once you get past how jarring some of the changes are for our heroes the story isn't bad. The turtles, Casey, and April all feel familiar which is a hallmark of all TMNT series.

The downside of the issue is that I'm not a fan of the art style. This will probably be an issue throughout the series so I won't mention art going forward unless something really jumps out to me as appealing or egregious.
​​
That being said, adding color to this series was a godsend. Some of the detail is lost but the color makes it a lot easier to understand what is happening on the page. This was a chief complaint I had with the 90's series. I don't really like dumping on anyone's art as they  probably can produce a better book than I ever could nevertheless, I don't like it and I won't lie about it.  more

A couple of months ago Tom King made a Tweet about how he plots out his action sequences. It was extremely simple and didn't really provide any direction for the artist. Seeing Batman and the KGBeast doing battle in the snow with practically no dialogue and a few grunts made me think of that tweet and chuckle a bit. 

Batman #57 concludes the KGBeast story arc with Batman tracking the villain to his father's home moments after he commits patricide. The comic is an amazing read even though there isn't a ton of dialogue in the issue. Just two men fighting it out in the harshest of conditions. 

This isn't to say that there isn't much story here. The action is ramped up and interspersed with the brutality is an illustrated retelling of an equally brutal children's bedtime story, "The Animals in the Pit". The story narrative tells the tale of a group of animals that fall into a pit and end up eating each other. A fox ends up tricking a pig into devouring itself and becomes the sole survivor of the pit. The story doesn't say if the fox finds a way out or not. 

The story is used to frame the battle and turns out to be one of Bruce's favorite bedtime stories. The fairytale may also be a general commentary on Batman and his relationship with his rogue's gallery. As Batman, Bruce is constantly battling foes bigger, stronger and generally more powerful than him but what he lacks in those areas he makes up with intelligence and cunning to stay ahead of his enemies. 

The story may also be a commentary on how Tom King sees Batman's eventual end. There is a strong possibility that Bruce will never make it out of "The Pit" even if the opportunity presents itself. 

The art for the issue is outstanding, Tony S. Daniel, and the always steller Tomeu Morey get a lot of mileage out of a relatively simple story which is surprising considering how limited the scope of the comic really is. The Folktale is also beautiful to look at considering how dark it gets in its conclusion. 

All things considered, this is a nice arc that only falls apart when you consider that Bruce Wayne traveled to the to one of the harshest locations on the planet just to beat a guy up.
more

The Curse of Brimstone #7 continues with another excellent issue. After taking down another of the Salesman's pawns. Joe and Annie continue their journey and discover another small town under his influence. The story direction should be getting old but the scenarios keep getting darker and more interesting as the series progresses. It's a real shame that the series has been canceled. 

In this issue, the town looks pristine from the outset but upon closer inspection, it's clear that something is terribly wrong as all of the inhabitants are missing limbs. 

The situation is already pretty dark and gets downright grim when it's revealed that beyond the dismembered townsfolk, women and children are being trafficked into town against their will. 

The Curse of Brimstone is without a doubt my favorite comic under "The New Age of Heroes" banner. Imagine Spawn on a road trip and you have Brimstone. The art direction for this issue is flat out gorgeous. The team of Eduardo Pansica, Julio Ferreira, and Rain Beredo deserve praise. The issue is the perfect blend of anti-heroics and atmosphere. I'm currently reviewing a legit horror comic and the atmosphere is ruined by the colorist. This issue is a perfect example of how it's done, the right way.

While trafficking is nothing to take lightly I appreciate Justin Jordan, not shying away from mature storytelling and themes. The Curse of Brimstone is a top tier horror series that deserved much more attention than it received. more