The best part of this book is the Lenin Francis-Lu cover.

I found this book to be jumbled and loose in it's narrative. A nostalgic horror/mystery set in the 80's, like Stranger Things or Paper Girls, without a well developed plot or particularly strong characters. It's difficult to buy into the "Sick Sisters" as we are simply told that they are the ..."bad girls that don't give a F#ck" as opposed to actually being shown any behavior that demonstrates them living up to this reputation. Selling cigarettes at school notwithstanding, I wasn't sure if these characters are supposed to be delinquents, troubled teens, punk rock anarchists, or posers trying to look cool. As far as anything remotely resembling nostalgia, having grown up in the 80's in a Midwestern suburb, there was very little familiar to me in this book - from the clothing, to the patterns of speech or colloquialisms used by high-schoolers of the time. It felt as if the creative group simply wanted a story set in the 80's but didn't really understand what that experience was like. As far as the story itself, I found it to be less than compelling. A few students missing, a mysterious factory that no one works at, and the local cops being clueless about what to do - typical stuff that has worked in many stories before, but the presentation of these elements in this book were so scattershot they did not weave together an interesting plot that left me wanting to know what happens next. Overall I would pass on another issue of this book unless you are happy with mildly-interesting characters set in a barely recognizable 80's era, following a weak mystery about a less-than-horrifying monster.

A Bronze Age throwback issue that you might want to throw back on the stands. Marvel is slamming the sentimental switch seriously these days, attempting to give an aging fan base, that might be unsatisfied with their more diverse offerings, a taste of home-cooking. Peter David, Greg Land, and the Secret Wars era Spidey-suit, swinging through a Manhattan skyline, that still features both World Trade Center buildings, should be enough of a nostalgia mainline to satisfy the hardest of hardcore junkies hurting for their fix of Marvel meds. Unfortunately the story is as stale as a quarter-bin copy of The Defenders #152. The issue features a hard-luck Mysterio trying to balance the life of a clownish super-villain with that of a Grade-A Loser by leaning into the classic trope of “...just one more job and I can get out of this life of crime!”. The narrative is counterbalanced by Peter Parker enjoying life of a superhero with a nifty new costume and a hot, cat-burglar girlfriend. Both threads are set-ups for future issues, but handled in a choppy style that left me unsatisfied instead of intrigued. Greg Land’s artwork is the highlight of the book with good energy and a slightly looser line than I am used to seeing in his work. He is an acquired taste for many however and I am sure there will be those that won’t read it simply for his involvement. While the story does offer some mildly engaging character development of both Peter and Quentin Beck (Mysterio), the stiff dialog, bad punchlines, and meandering plotline did little to keep me excited. Symbiote Spider-Man #1 reminds me of an 80’s hair-metal band and that is still on tour with a new lead singer. They look sort of like what you remember, they sound a lot like you remember, but deep down you know they aren’t the same. Then again, maybe you aren’t either. My Rating: 4/10

I loved the Six Million Dollar Man tv show as a kid. The action figure is still one of my all-time favorite toys. Bigfoot has never been cooler. I’m a Steve Austin fanboy. At the same time I can see how cheesey and ridiculous this show was in retrospect and fully expect a comic book based on the show to take a different direction. If you are going to do that however, I suggest doing it better than this. Art is about choices. I feel the choices made for this comic book were the least interesting that could have been made. What we get in this first issue is a young Steve Austin, bright-eyed and a bit naive, entering into his fist mission as a super-secret cyborg spy for the U.S. Government. It’s something new and certainly has potential. What we don’t get however is anything particularly fun,cool or interesting. Lee Majors was cool and charming in a cock-sure way. His chiseled good looks, Kentucky drawl, and physicality offered a sense of a guy that might get in a barroom brawl on Friday and still be good to fly a rocket ship on Monday morning. This Steve Austin is goofy, talks too much, and is rather incompetent for a super spy. If you want to go that direction, push it all the way. Make him a complete jackass so full of himself he endangers the mission. Something akin to Archer on FX would be more interesting than this middle-of-the-road character who is neither heroic, nor the heel. Another failure is that we see almost nothing resembling technology or hinting at how amazing six-million dollars worth of biotech might actually be in 1974 . We don’t experience any sound effects, visual representation, or barely a showing of the fantastic abilities Steve keeps talking about. If the creators were going for subtle, or building up to a reveal, they failed. I feel as if they didn’t make any choices, one way or another, about how to depict the cyborg parts of their cyborg comic. Lastly the art is probably the biggest missed opportunity in my opinion. While fine enough for the job, I feel that if you are going to set a comic book in the 70’s about a show from the 70’s, how do you not have an art style that conveys the 70’s in any way? This book begs to be drawn in a retro style but what we get is a more basic touch. Overall this is a light spy-action story with a sense of fun but lacking any real sense of danger that ultimately left me wishing the creators would have risked more.

A confusing introduction that left me underwhelmed. At first I was hopeful opening the cover of this book. I was impressed with the art style, a subtle retro look that went well with the classic death of a Super Hero opening. As I dug further into the issue, I was intrigued by the concept. Unfortunately the dialogue was so stiff and unrealistic that I wasn't able to remain interested long enough to finish. I do not know if what intentional on Orlando's part to make his characters all sound so similar in tone. Possibly he was trying to continue the homage to a long-gone era of comics. Whatever the case it did not work. Sounding more like individual monologues rather than actual human conversations, the result was a convoluted and confusing introduction to an overly-confusing concept. Any interest I had was quickly lost. With a large cast of characters and a new world that needed introduction, a much higher level of writing is necessary to pull it off. I think the creators relied too heavily on the fact that the concept is a take on a classic Superman story, and did not invest the craft needed to make this book work.

A disappointment, Glow #1 from IDW features little of the complexity, heart, or dynamics that makes the Netflix show such a success. With a plot out of a bad 80’s tv show (used unironically here), the Gorgeous Ladies of Wrestling are forced to try to come up with $75 each in just a few days after their grumpy director Sam informs them that they must attend Reseda Wrestlefest in order to repay the company for lost advertising revenue. This plot device sends the ladies off in various groups, on mini adventures, trying to raise the funds they need before the end of the week. I am reminded of the old Hostess cupcake ads in comic books from the 70’s and 80’s.They featured popular characters like Superman, Batman, the Hulk, and Captain America, and they were made to look like real pages from the comics, but as soon as you read them you could tell the difference. For two seasons the Netflix show of the same name has offered a complex character study, set against a backdrop of the wacky world of professional wrestling in the 1980’s. GLOW (the show) features an amazing ensemble cast dealing with various personal and professional issues in a world that constantly is telling them they won’t succeed. While it is unfair to compare 22 pages of a comic book to two season of a tv show, I saw little in common between the two other than character likenesses and names. Artistically the style fits the tone of the book, for better or worse. Templer accurately captures the essence of the characters without directly copying the actors likenesses. It is a bright and cartoony look that fits the script, but unfortunately because of that, it also fails to convey the complexity of the tv show. GLOW #1 is a lighthearted romp in a world and with characters that are vaguely familiar. It succeeds more as a standalone sports-adventure tale than as a faithful adaptation for die-hard fans of the show. If you are looking for something to fill in the gap between seasons, I would suggest Russian Doll - available on Netflix now.

Marking the return of former Vertigo editor Karen Berger to comic book publishing under the “Berger Comics” line at Dark Horse, I was maybe expecting too much from this first offering. G. Willow Wilson and Christian Ward have attempted to create a lush and complicated sci-fi saga revolving around two very different characters whose lives are connected through the tendrils of a inter-stellar shipping company, the LUX Corporation, a massive conglomerate whose morality quickly comes into question. The story revolves around a pair of women that are literally, and figuratively, from two different worlds. One the captain of a space-delivery cargo ship, the other a being from a marginalized alien race who is being indoctrinated into a strange and secretive religious organization. Their lives intersect when they simultaneously but separately discover that the dubious machinations of LUX Corp. may result in grave consequences. Mixing politics, religion, corporate hegemony, and the unique cultural dilemmas faced by a society dependent on all three, Invisible Kingdom is dealing with very topical societal issues many can identify with. Like the best sci-fi stories, it examines familiar and difficult questions through alien worlds and eyes. Initially I was intrigued but ultimately disappointed by this book. The characters lacked any depth and I found myself disinterested in their struggles. Any perils they faced were anemic and far too subtle to hook me into the story, while at the same time the dialog was burdened by hamfisted diatribes about social ills or flowery religious dogma. While alluring at times the artwork by Christian Ward relies too often on digital techniques and colorful gradients, lacking detail, and at times with wonky perspective. The techniques are more appropriate for static images and landscapes than sequential storytelling and add to the overall feeling of detachment from the narrative. Neil Gaiman has said that Karen Berger was instrumental in him finding the heart of the Sandman comic series by asking him, “Why do I care?” It made him reexamine the story and discover the theme which the series was able to successfully ride on for seventy-plus issues. She might want to ask the creators of this book the very same question.

If enormous shoulder pads, gritted teeth, and bulging belt pouches is what you are looking for, Rob Liefeld's Maor X #1 is a cacophony of 90’s nostalgia featuring more extreme characters than you can shake a tiny foot at. Whenever I review a comic I try and take into consideration what the intent of the creators might be. It is unfair in my opinion to judge an Archie comic in the same way I would Watchmen. THe intent is different in each case and so it is only fair to grade on a curve depending on what I feel the work is trying to accomplish. Major X #1 is obviously trying to recapture the excitement and cool energy that resulted in the extreme success Rob Liefeld enjoyed in the 90’s, and more recently with the resurgence of characters like Deadpool, Cable, or Domino. With a “bad-guy-fights-with-good-guys-but-is-really-a-misunderstood-good-guy” opening, a time-traveling super-soldier picks a fight with every mutant that Liefeld has created (and some he didn’t) and hands them their collective asses. Flash back to Major X’s recent history in four pages of him riding through the desert, we learn he is from an alternate reality that is in danger, and has come to this universe to find help. We are left with a cliffhanger that is not entirely unexpected but somewhat intriguing. Sound familiar? If it ain’t broke, don’t fix it. Reinventing the wheel has never been the secret of Liefeld’s success. Characters like Deadpool, Domino, and Cable are little more than replicas or fusions of other beloved superheroes. That is the formula that has made Liefeld a millionaire many time over. You can’t blame him or Marvel for trying to go back to the well, even if it is running a little dry. Don’t get me wrong, all the classic elements are there; Gun-toting time travelers, misunderstood mutants, adamantium swords, wise-cracking mercs, and pouches, pouches, pouches. However the energy with which they are delivered has been tempered. The art is unmistakable, but without the dynamic excitement from his best days that forgive some of its more wonky aesthetic. The story is familiar territory and let’s be honest - as with much of his writing the characters and concepts outshine the actual narrative. For thirty years Rob has taken fans on a rollercoaster ride of emotions. He has excited them, infuriated them, and eventually drawn begrudging respect from many. Love him or hate him, he has left a unique mark on the industry and there is no denying that his characters have endured the test of time. Major X is a throwback that may eventually find similar prosperity, but for now only the most die-hard of fans will walk away from this issue feeling satisfied.

One of the most common mistakes writer’s make when dealing with female lead characters is in trying to make them tough and independent, trying to show the readers that they don’t need anyone else in their lives, tend to write rather unlikable characters. Yara Flor is no exception. When we first meet Yara, she is traveling to Brazil for a “Brazilian Heritage” Tour. Attempting to connect to the land that she was born in, yet has no memory of. She is driven, and strong-willed, and at every opportunity she shows us that she is not a particularly nice person to be around. Sure she is heroic, and jumps at the chance to save a hapless man trapped in a burning car, but is is the smaller, personal interactions with almost every other character in the book that defines Yara as someone who is self-obsessed and uninterested in anyone else’s lives, to the point of being rude for no other reason than it keeps a wall between her and the world she obviously has contempt for. To launch a new character with such a legacy name, I would hope the writer would be willing to give their audience a reason to cheer for the hero, and to come back for more. While Joelle Jones art is dynamic and page after page of magnificent, if not baroque designs, do a terrific job of setting the stage whether that be Mt. Olympus, Themyscira, or Brazil, there is an opaque rigidness to both the pages and the characters that inhabit them. Launching a legacy book with a new character can be a tricky thing, especially if you are unwilling or unable to give the reader any reason to connect with the protagonist. While beautiful to look at, the ambiguous emotional connections left me wondering if I want to bother picking up issue two.

What happens when the former #1 assassin in the world retire to become a crime boss and gets targeted for assassination? He hires a bunch of other assassins to protect him from the assassins that are trying to assassinate him. The title of this book might be a little too on the nose. I’m not sure what this book is trying to be. It is described by the publisher as “madcap”, “bombastic”, and “side-splitting” with references to action comedy films like Hot Fuzz and Tropic Thunder. To compare a comic book to a film is unfair, especially wacky action-comedies like the aforementioned where the pure charisma and timing of the stars can elevate a mediocre plot. The same cannot be done with the flat panels of a comic book so to do so in this medium requires serious writing chops. If I am to judge this comic book as a comedy, I would say it failed. I found it to be only mildly humorous and lacking any characters that I could connect to. The book is fun, but I found the humor to be sophomoric and at times flat. That being said, the art is very good and fits the type of story they were going for. “Murder is funny” is a tough nut to crack but Squirrel Girl’s Erica Henderson has a terrific handle on action, personality, and character designs. With an large cast of characters to deal with it is impressive that each one had a unique, easy to recognize design and their own physical personalities. Hendersons timing, character designs and clean, colorful work saves this book from being mediocre. While this comic is trying to emulate films like Hot Fuzz or Tropic Thunder I honestly got a Cannonball Run or Ocean’s Eleven vibe from it. Regardless, the writers of any of these action comedy vehicles knew that giving the audience characters to care about with clear obstacles, they may or may not overcome, is the basic element of their success. It was an ambitious effort but one that came up short.

The relative success of a book like Batman and the Outsiders relies on the cast of characters brought together under the watchful eye of a paternal Batman, more than the plot which brings them together. This latest incarnation is no different, trusting that the cast of Signal, Orphan, Katana, and Black Lightning will interest readers enough to bring them back month after month. Spinning out of Bryan Hill’s recent run in Detective Comics #983-987, we see a team in disfunction. Signal is dealing with some undescribed anger issues (maybe it has something to do with that terrible name and costume?). Orphan is trying to learn to work with a team. Katana is still working through her unique marital problems. And Black Lightning isn’t sure he wants the job as leader of the Outsiders, no matter how many penthouse apartments Bruce Wayne throws at him. Meanwhile a mysterious metahuman tied to Batman’s past is being hunted by her father’s killer. Batman charges the Outsiders with finding her before the killer does. It’s a relatively benign plot that does little to excite or hook an audience. It serves the purpose of applying pressure to a team that is already out of sorts so we, the sadistic audience, can watch them twist. Probably the most interesting part of this first issue is that Black Lightning and Katana, the leaders of the team, don’t fully trust Batman and are more than willing to question his motives and tactics. Combining these two older, more experienced member that may not have any loyalty to Batman, with two younger, but closer allied members of the Bat-Family is an interesting dynamic that I assume will cause sparks to fly as the story progresses. Dexter Soy offers a mixed bag with his art. He is very capable at big-energy superhero moments of action, but his character designs are mundane and lacks a strong ability to convey emotions beyond complete anger or icey-cool determination. I do like his panel layouts and the overall energy he brings to the page. While we do not glean any new or particularly insightful information about Batman or the Outsiders in this introductory issue, I do appreciate the lack of a “getting the band back together” cliched moment. Regardless, while this is a respectable debut for a new team that offers possibilities of better stories to come, I was not excited by either the cast of characters or the plot enough to bring me back for a second issue.

A buddy-cop movie set in a Fantasy landscape, Fairlady #1 bends some familiar tropes into a dull adventure story that is more commoner than countess. The War of The Harshland is over and having served her country, even though they didn’t want her because she is a woman, Jenner Fauld has returned home to become the first FairLady, a licensed investigator; A profession formerly held only by men. With the help of her trusty anthropomorphic partner Oanu, they take on jobs that put them in contact with all sort of dangerous and strange characters across the realm. We quickly learn that the Harshlands can be harsh to those that are not men, human or otherwise. Instead of solid character development that should engage an audience and make the characters interesting, the narrative is interrupted by an superfluous inner monologue displayed in an annoyingly difficult to read font. Instead of conflict or stakes, Jenner faces little difficulty beyond insults suffered by rude men. The mystery that drives the plot is entertaining at first but falls into a The artwork is above-average but hardly spectacular. Balboni has a talent for landscapes but her character designs are bland and the pacing is stiff and mechanical. Colors by Marissa Louise are too often muddy. Perhaps influenced by the success of Brian K. Vaughn and Fiona Staples’ Saga series, FairLady tries to skirt the line between satire and social commentary, between clever and unconventional. Unfortunately Schirmer and Calbori don’t have the skills necessary to keep this balancing act going and the story is cluttered by unsuccessful attempts at quirky storytelling techniques. While I appreciate that it is a self-contained story, the novelty outweighs the quality. Characters are only as interesting as the perils they face, and mysteries are only as intriguing as if there are consequences at stake. FairLady #1 doesn’t offer either and the results are another fantasy take that might not leave readers happily ever after. www.brionsalazar.com for more reviews.

Hopeless attempts to give us a new perspective on Vader by seeing him though the naive eyes of a tunnel-dwelling, blue-skinned alien child. However the irony of this could only be lost upon someone as unfamiliar with Star Wars as the protagonist of this story is of the Empire, Jedi, or lightsabers. While this “primitive” character has access to technology like hoverboards and magnifying binoculars, he is also so unfamiliar with space battles, the Empire, or the Rebel Alliance that he simply refers to them as “Space-Gods”. This dichotomy forces you to accept certain logical flaws in order to accept the narrative convention the story relies on. Personally, I found this hard to accept and it took me out of the story almost immediately. That being said, if you are able to get past this flaw, the basic story is enjoyable in a fan-fiction sort of way. While it doesn't give us anything new about such a well-established character like Vader, it allows for a pleasurable experience for fanboys wishing to see him battle against a giant shark-like monster on horseback fulfilling any Star Wars meets Game of Thrones fantasies you might have. The art by Paolo Villanelli is surely the best part of the book. Successfully capturing the familiar characters and other assets of the Star Wars universe, while creating a new world of aliens, Villanelli is able to keep a lively, energetic feel to the pages without succumbing to the natural inclination of adhering to the films so strictly that it makes the art stiff and dead. Overall this is a fun Star Wars story with solid art. Vader is a complete badass and action is much more important that character development or narrative. I’m not sure where the remaining 4 issues will go from here though. This was told as a one-shot story that may or may not have an overarching theme with the rest of the issues. For $4.99 each, I’m not sure I will bother finding out.

In the afterward of Excellence #1, writer Brandon Thomas admits that this is a very personal story for him. Some of the events in this book are real to his life. Writing from personal experiences gives an author the ability to draw from a deep emotional well and ground fictional stories with real feelings. Sometimes however, that emotional well is too deep, too dark, and too difficult to climb out of. Set in a futuristic New York City where magic is real and ten powerful families control its use through an iconoclastic structure of ritual and trial. We witness Spencer Raymond Dales struggle with the pressure of being born into a powerful magical legacy. From birth Spencer is measured and tested for magical aptitude. The sluggish manifestation of Spencer’s powers causes tension between his mother and father, and results in anger and resentment in the boy. By age 15, all Spencer wants is to prove himself to his father, no matter the cost. Heavy use of foreshadowing suggests Spencer’s relationship with his father will turn tragic. Khary Randolph does an excellent job with art duties. His character designs are particularly good, conveying attitude, emotion, and energy. Combining urban cool, sci-fi tech, and traditional fantasy elements, Randolph has created a slick and dynamic world that engages you without overwhelming the senses. He is able to create explosive moments of action as well as scenes of emotional resonance. There are many different concepts presented about the world of Excellence. It is a complex setting filled with many characters, fantastic powers, and long histories. Introducing so many elements in a concise way is a difficult job, one that was overwhelming at times for the authors. I was detached from the characters and confused by the story. It felt as if Thomas had such a close connection to the characters and the world they live in, that he understood it so completely in his own head, he failed to realize the audience doesn’t have as clear an understanding. Overall this was an ambitious start to a story that has great potential. Hopefully future issues will do a better job of expanding upon the interesting world that Excellence takes place in and conveys the emotional connection that Thomas has with the story. Otherwise we will be left with little more than a cool idea and some good art. See more reviews at www.brionsalazar.com

If you are a fan of CW sows, this might be worth checking out. We are quickly introduced to Zadie Liu, a teenage girl that is dealing with a lot of typical high-schooler problems of insecurity and feeling like an outsider, she is also forced to experience the tragedy of having her older brother lying comatose in a hospital bed while her family hopes he will one day return to them. Add to this the fact that Zadie is convinced that shadows are coming alive and trying to kill her and you have an interesting coming of age story with a supernatural twist. While the plot is translucent in its direction, the concept is solid and I can see where Joe Henderson will have opportunities to deal with issues and emotions beyond just the fear or thrills that less interesting sci-fi/horror comic might offer. Lee Garbett's artwork reminds me of JIm Chueng's beautiful style. He is expressive and has distinct character designs. If there is any flaw to his work it is that for a book about shadows and darkness, his style is rather bright and clean. Light on character development or complexity of narrative, I found myself thinking it would make a above-average television series but a basic comic book that left me apathetic. In the end, this is not a book for me, but it is not supposed to be. It is meant for teens and young adults that are much closer to the angst and fears that come with being in high school, when we are vulnerable and might even be afraid of our own shadows from time to time.

At this point the retelling of a super-heroes origin is as commonplace as variant covers, re-boots, and characters returning from the dead. A retelling of a specific moment or time period is something less customary but that does not guarantee a captivating or entertaining story. Set in the 1966, four years after a radioactive spider bite transformed teenage Peter Parker into the Friendly Neighborhood Spider-Man, we find a more mature character who is enjoying being a costume crimefighter, but still finds it difficult to talk with girls (even if it’s just his girlfriend Gwen Stacy), deal with his demanding boss J. Jonah Jameson, juggling his life in and out of costume, and struggling with the moral dilemmas of the Vietnam War. Placing fictional characters in and around real-world events is a tricky proposition for any writer. Using a character like Spider-Man that represents so many different things to different people, to examine the moral complexity of the Vietnam War is, offers a host of pitfalls and hazards. Trying to encapsulate the entirety of such a complex time into thirty-two pages is complete insanity. Fortunately Zdarsky and company don’t attempt such folly but instead offer us a fun Spider-Man tale with just a touch of social commentary. If you are expecting more than you should look elsewhere. Marvel has always been willing to assimilate modern social issues into the pages of their comics with a balanced, almost apolitical approach. Walking a fine line between progressive relevance and simplistic moral conservatism in order to appear “woke” but without the problems that come with taking sides on any issue. This book follows the same formula debating between patriotic duty the moral ambiguity of war, only to interrupt the argument with the relatively straightforward problem of a maniacal Green Goblin threatening to blow up a bar full of innocent people - only to end with a simple message of “Trust your heart”. If you are looking for anything more meaningful out of mainstream superhero comics I am afraid you will be disappointed more often than not. That being said, this is a fun Spidey book with a retro feel, featuring terrific art that does at least try to offer some interesting things to think about. Do we really need, or even want more out of a Spider-Man comic?

I feel that the fact that DC Comics and his editors have given Tom King such leeway to tell off-beat sometimes experimental stories with characters like The Omega Men, Mister Miracle or Nightwing is commendable. Letting him do it with Batman is almost unthinkable, yet they have, and continue to do so. While it may not always payoff in every issue, the overall accomplishment is something I have to stand behind. That being said, there are times when it is difficult for me to recommend readers spend $3.99 on a single issue when that issue does very little to move the story forward in lieu of a more opaque narrative that may end up reading better as a collection than in single issues. Such is the case with Batman #66. Delving into the mind of a character with such a rich and diverse background like Batman offers a creative team many opportunities for unique storytelling devices as well as plenty of traps and pitfalls. In Part 4 of the “Nightmares” storyline we encounter a mysterious scene that we might assume is playing out in the head of Batman/Bruce Wayne featuring Selina Kyle (Catwoman) sitting at a table talking about her history with Bruce with The Question (Vic Sage?). We might also assume that this “meeting” is an attempt by Bruce to answer the question (pun intended?) that many readers may have; Why did Selina leave? Unfortunately we only get the hint of an answer in this issue. What plays out is a clever examination of Selina’s true feelings about the Bruce/Batman dichotomy and that she does not believe those two personalities can co-exist. While we get some answers, ultimately we are left with more questions (but still just one Question). One of the more interesting elements of this issue is the choice of art style to accompany such a moment - Jorge Formes does his very best David Mazzucchelli impersonation throughout this issue, sometimes lifting scenes near-verbatim from the iconic “Year One” storyline written by Frank Miller. In a metafictional sense it is fascinating to think that this might be how Selina sees her own history with Batman while we are given hints that Bruce may see their origins differently. Although ultimately I was left conflicted about whether I liked it or simply enjoyed remembering how good David Mazzucchelli is. It is contrivance like this that make King’s work both intriguing and at times frustrating. While I find his metafictional philosophizing stimulating, it can also leave me feeling as if I ate a candy bar instead of a steak - both taste good but I know one is empty calories.

While not the best issue so far from this series, a solid ‘gap’ issue that was necessary to move the story along. My deep love of everything Jeff Lemire and company has done with the Black Hammerverse is well documented. I have raved about the series inprint and on podcasts,and it is one of the few titles that I will purchase sight-unseen. Even the worst single issues have been entertaining and intriguing. This issue however felt like a necessary evil, having to provide a lot of exposition and very little in the way of action or narrative - taken as an individual dose it comes up weak. While Lucy, Abe, and Mark are stuck in a bland alternate reality where superheroes only exist in the pages of comic books (I know how they feel) Talky-Walky has retained his memories and has spent a long time trying to figure a way out for him and his friend. He tries to convince Lucy that the key is finding her father’s hammer, but she thinks he is crazy or trying to pull a prank on her. Meanwhile she, Abe, and Mark are finding their ‘normal’ lives to be filled with hardships that can’t be fixed as easily as the stories in the funny pages. Colonel Weird apparently died during the Apollo 16 mission and we still don’t know the fate of either Madame Dragonfly or Golden Gail. While not a thrilling story, there are a few moments of drama our heroes face and a cliffhanger that will leave you eagerly anticipating the next issue. Making monthly comics is not an easy thing. Sometimes the individual issues will suffer for the overall good of the story at large. I put my trust in the creators to prove that like pizza, ice cream, or sex - at its worst this book is still pretty good

If you are willing to jump in without testing the water, Bronze Age Boogie is a fun dip into weird waters. I am not always a fan of strange or weird stories. Some writers of the weird create idiosyncratic tales that are little more than exercises in style with scant dramatic purpose. I find little value in looping plots filled with absurd characters that exist for no other reason than to be peculiar. Fortunately this first issue from Ahoy Comics walks the line of intriguing and strange without crossing over into ridiculousness. Employing a wide range of bizarre characters, sword and sorcery, talking monkeys, zombie-dinosaurs, time travel, and some funky 70’s nostalgia, Stuart Moore’ ‘Swords Against Dacron!” doesn’t waste time explaining much but instead challenges you to keep up with the adventures of Britta Constantina, teenage daughter of a Conan-esque warrior leading the battle against an evil army of wizards. It is a lot to ask readers to buy into for a first issue, but Moore and Ponticelli craft an engaging story that is hard to put down, regardless of it’s oblique nature. Ponticelli draws epic scenes with vigor but falters slightly in some of the quieter moments. Next up is ‘Ursa Major’, the story of a woman working in a space program with a trained astronaut bear, who must deal with her bitter ex-husband and current boss. Lighter in tone and more straightforward than the first story, it promises to be a fun tale but offers little more than an introduction in the limited space of this first issue. Two short prose pieces finish the book; “Animal Control Incident Reports”, a humorous horror story by Bryce Ingman with illustrations by Shawn Crystal, and “How to Beat Writer's Block” by Kek-W with illustrations by Derick Robertson. Bother were entertaining in different ways. Overall I enjoyed this issue. While not groundbreaking in content or format, it is unique in that the stories were of a higher quality as well as more upbeat and fun than much of the dark, or grim tales often found in these types of anthology books.

Clawing at the surface, the monster within Kirk Langstrom is more harmful than the monster on the outside. Taking a serious look at a character that could easily be written off as a joke, Wielgosz and Kumar have created three terrific issues that balance action, humor, and an examination of what might drive a man to destroy every relationship in his life by turning into a giant bat. Taking a page from the House of Ideas, DC has made a habit lately of making their villains more sympathetic, if not quite heroic. Not on the level of Harley Quinn’s transformation from psychotic super-villain sidekick to fan-favorite guest-star with against hammer - this mini-series has given us a look at how the monster inside Dr. Langstrom is just as dangerous, if not more so, than the one he turns himself in to. A full-blown intervention and psychological breakdown by the aforementioned Harley Quinn examines the narcissism and delusions of grandeur that drove Langstrom to use his scientific knowledge towards disastrous ends. Specifically for his ex-wife, and sister, two women that both love him, or loved him, and continue to pay for it with physical and emotional damage. We see that Kirk has used both women as a way to excuse his monstrous behavior, as a scientist, husband, brother, and creature of the night. It’s a big step up for a character that to be honest, was not the most inspired creation of Dick Giordano and Neal Adams. I would be remiss to not mention the gorgeous and dynamic art of Sumit Kumar. His bright, energetic lines and striking character designs keep the tone balanced. What could turn into a dreary horror movie pastiche is instead full of life and emotion. He can portray gloom as well as humor. Three issues into this series, I have been pleasantly surprised and entertained. While at times, a touch heavy-handed in it’s morality, I have enjoyed each issue and look forward to the rest of a story that might be more worthy a tale than a guy who turns himself into a giant bat deserves.

Billed as an origin story for The Grim Knight, this issue missed an opportunity to delve into the psyche of an alternate universe Bruce Wayne to try and explain what events might create a Batman who breaks the “rule” by gleefully killing the criminals of Gotham. What we ended up with is a rather pedestrian, although skewed, retelling of the classic Batman origin tale. It gives us little insight into why this version of Batman is a gun-toting psychopath with little regard for human life. From the moment that this Bruce’s parents are gunned down in Crime Alley, he is willing to pick up a gun and extract cold-blooded revenge. On it’s own that is not a unbelievable moment, but when we have already seen this story play out so many times in a different way, it feels cheap to not be enlightened as to why things are different this time. We are never enlightened to the why this Batman is killer, simply shown over and over again that he is good at it. While the narrative is disappointing from that perspective, the artwork is sublime. There may be artists better suited to drawing a gun-toting Batman blasting his way through the dark alleys and shadows of Gotham city - but I would be hard-pressed to name one. We are even treated to moments of a different side of Risso throughout the book that has a softer, painterly style with hints of Sam Keith. It is the everpresent shadows of his ink work however that sets him apart from many others. While this book did not hit the mark for me, it does offer a look into a funhouse mirror and shows us a hyper-violent Batman that is judge, jury, and Punisher of Gotham’s evildoers. For those that can never get enough Batman this might scratch a particular itch.

With might and fury and sharpened steel, doth Conan rage against both the forces of nature and man. Writer Jim Zub gives us an excellent take on the Cimmerian adventurer in this action-packed issue. I’ve always felt Conan is best when he is not simply portrayed as a muscle-bound brute and Zub does not disappoint giving us a charming and self-reliant Conan that faces both beauty and beast with the same intensity. Clever, distrustful of authority, and supremely confident in his abilities to the point of getting himself into trouble; Zub’s Conan is highly entertaining while remaining more than capable of getting himself back out of trouble as well. While this issue is part 2 of the current storyline, it is easy enough to pick up and enjoy without having to have read the previous chapter. Conan is trapped in a foreign land of Khitai (think ancient China or Mongolia) trying to protect a noble woman who has run away from her own prison. A bloody battle with two large jungle cats opens the action before Conan and Meiwei try to figure out a way across the country without attracting attention. Unfortunately for them both, maintaining a low-profile is not one of Conan’s greatest skills which leads to a clash in the streets between imperial guards and a revolutionary uprising resulting in the pair joining up with the revolutionaries in order to get out of town. Zub gives us a very likeable Conan in a very different setting than you might be used to seeing him. While not groundbreaking or unique in any way, we’ve seen this “stranger-in-a-strange-land” tale before, I found it to be refreshing while at the same time natural and fun. A great combination of action, adventure, with a few surprises made this book an enjoyable read from start to finish.

The fourth release of the “Wonder Comics” imprint aimed at teenage readers, curated by Brian Bendis, DIAL H FOR HERO #1 is a solid start with the potential to be special, if it does not fall victim to banality. The original series began in 1966 in House of Mystery #156 and followed the adventures of teenager Robby Reed. After falling into a cave during a hiking trip, Robby finds the mysterious Dial H rotary phone and discovers that whenever he spells out H-E-R-O by turning the dial, he is transformed into a different super-powered hero. This modern version follows Miguel, a teenager with a penchant for daring stunts and extreme sports who after messing up a bicycle jump over a canon, is offered a chance to save himself from certain death when the phone magically appears and a voice tells him to “Dial H”. Miguel is transformed into “Monster Truck”, a 90’s era Leifeld-esque extreme hero and leaps to safety before quickly transforming back into himself. Miguel is a fun and likeable protagonist stuck in a nowhere town, working a lame job for his uncle, and wishing for something more in life when all of a sudden a magical doo-hickey shows up and offers him a life of excitement and adventure, only to most assuredly turn out to be more than he bargains for; Pretty basic comic-book stuff. I have to give Humphries credit for taking that premise that has been around for 5 years and injecting a fun feel into it that should connect with today’s younger readers. Joe Quinones art feels both fresh and classic. At times I was reminded of Mike Allred, Doc Shaner, and the Speed Racer cartoon but never did it look dated in any way. Bright colors, clean lines and a complete switch in style when young Miguel turns into his EXTREME alter ego. Overall excellent choices for this story. I enjoyed this issue and am interested to see where the series goes. There were plenty of loose threads left at the end that could lead the book into some interesting directions. I hope that the creators don’t shy away from taking those chances because otherwise this could end up being a very average story that I believe will feel stale to new readers, and a retread for older ones.

Erotic and suggestive, with a modern tone and the essence of a epic tragedy, Faithless #1 is a dark and sensual tale that teases us into wanting more. Meet Faith, a unsatisfied twenty-something living her average-life filled by a solid group of friends, some light grifting, and a touch of black magic. A serendipitous encounter with the beautiful and enigmatic Poppy offers Faith an escape from the mundane. Events turn strange and dark, but Poppy’s charms outweigh any potential dangers that might scare Faith away - or perhaps the danger is the attraction. Either way, Faith is drawn deeper and deeper into a new and exciting world towards an inevitably carnal yet shocking end that leaves us charged and anxious for the next encounter. Brian Azarello is a man of few words, in life and his work. Not one for lengthy diatribes, prolonged monologues or chunks of exposition in his stories, he does not write down to an audience. Trusting that you are willing and able to put in the work required, his stories rely as much on atmosphere as dialog. Drawing on classic literature, the narrative is simple but effective with a contemporary feel that resonates of larger and more complex works. Maria Llovet’s artwork is a fine complement to the script. With loose linework and simple shadows and coloring, it serves the story well and is outstanding at times. Her character’s faces do need some work as they look very similar to one another. She blends the simple moments, horror elements, and sexuality of the story well. Together they seduce us with a tale that is more tantalizing than satisfying. This light touch might leave those that require a heavier hand feeling ungratified. I was left with a feeling that the best is yet to come. Adult in content as well as depiction, Azzarello and Llovet weave an arousing and dark mystery that requires a little faith from readers that this provocative tale of sex and magic will satisfy them in the end.

Little Bird is a challenging story set in an alternate future version of our world where people are fighting against a bloodthirsty government army led by a bloodthirsty religious zealot. Little Bird’s mother is leading the last of a resistance against the “United Nations of America”, a fanatical religious organization that is invading Canada in pursuit of their Holy Empire. She will do anything to protect her lands, including sending her daughter alone across the Canadian Rockies in search of “The Axe”, an unstoppable warrior that may be the last salvation for the North and the World. It might sound a bit confusing to you - don’t worry, it is, but it is. Also worth the time it might take to make some sense of it all. This story is surprisingly subtle in it’s details. I say surprisingly because visually it hits you like a ton of bricks covered in spikes and it is easy to get swept away by the undertow. It forces you to pay close attention at times. At first glance it might appear nonsensical or haphazard. Especially juxtaposed with the surreal, and at time incredibly violent art. Underneath the surface there is an intricate story about survival, family, sacrifice, and religious ideology. The art by Ian Bertram adds a layer of surrealism to the narrative. This world while familiar is also alien and dangerous. At times Bertram makes you feel as if we are reading a Russian Fairytale, at other times a hyper-violent sci-fi epic, and still at other times a hallucinogenic fever dream. It is an impressive display but occasionally it threatens to overwhelm the plot. This is a complex book with many moving parts that I hope will ultimately come together in the end. My fear is that the creators collective reach may exceed their grasp and we will be left with a challenging effort that falls short of its potential. If so it won’t be a failure by any means, but I am hoping it proves my doubts incorrect.

King shows us the complexities of war and the justifications people make to inflict horror on another peoples. This book, like much of King's work is confusing when taken a chapter at a time. He slowly peels back the layers of his thesis, only revealing enough to keep us entertained and yet, still guessing. I am intrigued watching him show more and more of Alanna's character (or lack thereof) and how she has gone from what once appeared to be an overprotective wife to a manipulative and ruthless politician who has influenced Adam to commit atrocities for her people. What was once a simple story based on the classic white savior trope, King and company are examining both the inherent flaws in the underlying plot device, and the dangers that come with fervent patriotism. Dehumanization of one's enemy is a tactic used by most armed forces and King is showing us that simple tales of good vs. evil are never that simple. As usual the art is beautiful and befitting the nature of the story. The unique usage of Gerards and Shaner in the two different timelines works so well it almost registers that there are two different artists working here.

At first glance Daniel Warren Johnson’s art might come off as amateurish, or even childish. And I suppose it is childish, in the very best way. His inky blacks and scribbled linework offer a kinetic energy that explodes off the page. While some may think his style is more suited to independent comics, I for one am thrilled whenever he works on mainstream titles. Beta Ray Bill is a perfect character for his chaotic and powerful art. Bill has been a fan-favorite since Walter Simonson created him in The Mighty Thor #337 (1983). A surprising thing for what could have easily been thrown away for a strange horse-faced Thor-wanna-be. Yet it was always Bill’s underlying “humanity” that struck a chord with readers. Johnson does not forget this even while presenting pages full of mega-action, bloody battle scenes, and a destructive dragon named FOOM! Johnson’s power of spectacle is matched with a raw talent for storytelling both visually and through his dialog. Don;t get me wrong, this is not the most complex of plot or character development, but like his art, his narrative is more complex than one might assume at first glance. He balances the over-the-top action with just enough emotional depth without ever taking things too seriously. Overall a big, fun, violent, blast of a debut for a character that continues to surprise us.

Jam-packed with tales from a multitude of talented creators, this anthology is a worthy tribute to 80 years of the World’s Greatest Detective. I find it difficult to review a book like this. As with any compilation there will be some tales that are better than others. A character like Batman has many interpretations and writers and artists continue to find new ways to tell stories with him. To some he is the Dark Detective investigating mysteries and shedding light on the darkest corners of Gotham City. To others the patriarch of the Bat Family, mentoring and caring for those worthy to carry the mantle. And still to others he is the lone vigilante, striking fear in the hearts of criminals in a lonely quest for vengeance and justice. Whatever Batman means to you, this book has you covered. While nothing groundbreaking is going to happen in an anthology book, it was fun to see how different writers took the opportunity to expand and play with the Batman mythos. It will be interesting to see how much, if any of it will show up again in future stories. While not every individual story was a home run, all were good at least and some were terrific short stories. Some of my favorites include: Scott Snyder, Greg Capullo, Jonathan Glampion, FCO Plascencia, and Tom Napolitano give us a tale of Batman’s ‘Longest Case’. Snyder shows his mastery of keeping you turning the pages, following the mystery that has taken Batman decades to solve. Kevin Smith, Jim Lee, Scott Williams, Alex Sinclair, and Todd Klein show us what happened to the gun that was used to kill Martha and Thomas Wayne in relevant tale featuring Matches Malone. ‘Batman’s Greatest Case’ by Tom King, Tony S. Daniel, Joelle Jones, Tomeu Morey,and Clayton Cowles which gives us a look at Batman from the perspective of his various family members, as well as a look at a tender moment from Bruce Wayne. With more than a dozen stories, pin-ups, and a star-studded preview for a new book, Detective Comics #1000 shows some of DC Comics most talented creators honoring a character that has thrilled fans for decades and shows why Batman is one of the most beloved characters in comics.

A solid start to Jason Aaron’s mega-event, War of the Realms should please long-time comic book fans and casual readers alike. With a tone that would fit seamlessly into the Marvel films, Aaron offers an epic tale that touches all the mystical realms of the World Tree, but focuses on ‘Midgard’; home of Spider-Man, the Punisher, Daredevil, the Avengers and the rest of the company’s comic book universe. Malekith, ruler of the Dark Elves of Svartalfheim, has been planning a complete takeover of the nine realms. With an army ready, and alliances made with some of the most vile of villains from across the universe, we witness him unleash a multi-pronged attack against his enemies, including Odin, Thor, and the heroes of Earth. As expected, Earth’s Mightiest Heroes (and a handful of Asgardians) don’t plan on standing by and letting Malekith's horde of trolls, frost giant, and dark elves take over Manhattan without a fight. While a lot to catch up on if you haven’t been paying attention, there is a good introduction page complete with recap and “team rosters”. I found it easy enough to jump in without being well-versed of past events. The story is well-paced and clear; a tough task considering how many settings and characters are involved. With a terrific mixture of action, drama, and comedy, it felt as if Aaron was deliberately trying to emulate the feel of films like Guardians of the Galaxy, or Thor Ragnarok. I don’t know if that was an intentional decision or not, but I think it is a good result. My only complaint is that I felt the “reveal” was given up a little early and could have had more impact if delivered nearer the end. A small quibble. The art by Russell Dauterman is expressive and energetic. It conveys both gloom and whimsey well but I feel the storytelling suffers at time from heavy rendering. Aaron has been working towards this story for quite some time, weaving storylines together, placing pieces on the board, and building up to a massive crossover that has promised (once again) to “...change the very face of Marvel!”. While I am not sure if this story will live up to that hyperbole, I am looking forward to see what adventure awaits.

Who is the Fastest Man Alive? Coming off of Future State and Infinite Crisis, we were told that Wally West would be the new Flash while Barry Allen would be off adventuring the Infinite Omniverse. Right away, new scribe Jeremy Adams throws us a classic curveball with an opening that throws that entire storyline into chaos. I have to admit, I have been waiting for a Flash book to enjoy again. I have not been a fan of the last few creative teams. I was looking for something fun again, a Flash book that doesn;t take itself too seriously and captures the spirit of the best of the Scarlet Speedster, no matter who might be holding the mantle. I feel like I have got my wish granted with tis opening salvo and while in the past I have been critical of DC Comics for being rudderless and appearing to not have any direction, the twist presented in the first few pages feels more like an homage to the silver age fun that defined The Flash comic than a mishandling or haphazard effort. Why have multiple universes if you aren’t going to have multiple Flashes (Flash?) running around, doing what they do best which is being heroic, saving the day, joking around, and using some science with their friends in between? While I was thrown for a loop at first, I quickly got swept up in the joy of the story and by the end was looking for more. A terrific, fun-filled adventure story with a fresh feel that should entertain Flash fans both new and old.

Golden Age Flash during WWII? I’m in. Jay Garrick is recruited by President Franklin D. Roosevelt to join The Ray and go behind German lines to stop Hitler from recovering the Spear of Destiny. Things go sideways when they run into a unit of Nazi led by a super-power draining villain working for the Furer. Captured, and tortured, Jay is near the end when a blast of lightning intervenes and deposit’s Wally West’s consciousness into the body of the first Flash. Together, Wally, Ray, and the team of Barry, Oliver, and Mr. Terrific back home must figure out a way to stop Hitler, retrieve the Spear of Destiny, and stop whatever cataclysm the Speed Force is about to create. As Wally says, “...just another day that ends in Y for the speedsters.”. That’s a perfect way to describe this book - It is nothing mind-bending or completely original, just a straight-forward Flash story full of time-travel, Speedsters, and somebody punching Hitler in the face. A familiar friend that comes over to hang out for a while and give you a couple laughs, Flash 770 is a solid superhero adventure comic book that doesn’t try to be anything more.

I cannot say that I am a particular fan of the character Domino. I don’t know all that much about her besides that she is a mutant, her basic powers of “chaos probability”, and at one time I believe she was an assassin. Thankfully in the hands of a veteran comic book writer like Gail Simone, little if any of that is necessary knowledge in order to enjoy this book. While a touch too cute at times for my taste, at the core this is a fun, action-adventure story, filled with international intrigue, cold-war spycraft, a kirby-esque sci-fi artifact, and a gaggle of spunky badass ladies that don’t take crap from anyone - least of all each other. Simone gives us a basic setup of a strange, alien device crashing in Antarctica - only to be discovered by a pair of French scientists that get more than they bargain for in the form of a techno-virus that I have to say made me smile. Fast-paced and fueled with krackle, David Baldeon’s art is fantastic. It is energetic and stylized, with a touch of “Into the Spider-Verse” retro panache. I don’t want to give the surprises away, but I will say his use of a Kirby-inspired aesthetic is used in a way I don’t think I have ever seen before. It looks like a near-perfect translation of what I assume Simone is going for with her plot. The only negative comments I have are that the dialogue at times feels unbalanced as if Simone is fighting between wanting to ensure she puts enough fangirl idioms and “cool” on the page or offering something more elegant. Selfishly I would have liked more time spent “getting the band together” but the story moves at high-velocity and I can see where that may have caused problems. Overall this is a great opening solvo to the mini-series and I am looking forward to becoming a bigger fan of Domino and the rest of the HotShots over the next 4 issues.

Nightwing #80 Writer: Tom Taylor Artist: Bruno Redondo Publisher: DC Comics Release Date: May 19, 2021 Cover Price: $3.99 Dick Grayson is not Batman. Even though his parents were killed by criminals, and he was raised by Bruce Wayne and eventually became the costumed side-kick Robin, the original Boy Wonder has always had something that made him uniquely different from his mentor: Heart. Nightwing has long established himself as his own man, and crime-fighter. Flying out of the shadow of the Batman is not an easy thing to do but over the years he has become a fan-favorite and an established hero in his own right. Tom Taylor and company have not forgotten what led to Dick’s success as a character, and as a book - the fact that Nightwing is not the dark detective, working alone in the shadows, grim and determined to strike fear in the hearts of criminals throughout Gotham and beyond. Dick has never been afraid to ask for help and he is the glue that holds many of the relationships within the Bat-family together. It is his ability to see the best in others and reach out to them when he needs their help the most. Now he faces an enemy who literally does not have a heart, and is claiming the lives of many homeless people in Bludhaven, by taking theis. Dick quickly enlists the help of Barbara Gordon and Tim Drake to track down the killer, all the while we are treated to this clever, fun interplay between the three friends that have very different, yet equally important relationships. Bruno Redondo’s art is a terrific combination of energetic storytelling, simple linework, and visual appeal. Together with Taylor’s pitch-perfect tone for the characters, Nightwing is quickly becoming one of my favorite books on the stands.

The finale of the two-part arc “Bad Weekend”, Criminal #3 is another terrific installment from what has become one of the most consistent titles on the shelves. Brubaker and Phillips deliver solid performances with every issue and have built a world full of characters that readers can care for, feel sorry for, and empathize with. Set ten years before (it’s not a sequel) the “Bad Night” storyline, Jacob Kurtz is a younger, but still struggling cartoonist hustling for work. He is contacted by the operators of a comic book convention and told that his old mentor Hal Crane, a legendary comic book artist and pain in the ass, has asked for him specifically be his minder for the weekend. Jacob reluctantly agrees and almost immediately regrets it. Blending fantasy with reality the story unravels over the course of the weekend as Jacob struggles to keep an angry, bitter, and alcoholic Hal in line long enough to fulfill his commitments to the fans and organizers of the “Comic Fest” convention. When he discovers the real reason Hal asked for him, Jacob has to retreat into the criminal past he thought he left behind to try and help a guy he once idolized and now feels sorry for. Mixing real-life comic book characters, industry legend, and fictional, yet familiar, events - this story is both a history lesson on the underhanded inner workings of the business of comics, as well as a touching character study about choices and regrets. Hal Crane is a fictional creation but also an amalgamation of many different comic book creators, whose sad stories of misery and sorrow riddle the history of the comic book industry like pox marks. It is tragic that Brubaker and Phillips have such a wide range of real-life subjects and events to pull from. Alex Toth, Alex Raymond, Jerry Siegel and Joe Shuster, and Jack Kirby are just a few of the real-life figures that are represented in one way or another. Those less familiar with the skeletons in the closet of the comic industry may find themselves wondering if this story is fact or fiction. Like the saying goes, “Ladies and gentlemen: the story you are about to hear is true. Only the names have been changed to protect the innocent.”

If you think you have a tough job, imagine you wake up in a strange hotel room, a gun on the bed, an address in Florida, absolutely no memory of your past, and a message telling you that you’re going to die if you don’t pay attention - only to have to do it all again next week. A terrific concept executed with style, Eve Stranger #1 is an impressive debut issue from David Barnett and Phillip Bond that has the formula to be a break-out hit for Black Crown books. When Eve Stranger wakes up in a hotel in New York, she is confused and has no memory of her past. A journal entry, claiming to have been written by Eve herself the night before, tells her she has a week to get to Miami and check into another strange hotel room in order to inject a syringe into her arm, or she will die. Don’t trust anyone, don’t go to the police, don’t waste time, and don’t forget the gun because you have a dirty job to do along the way. It is a lot to take in for Eve, and the reader. A story with an amnesiac character, one involved in a story of intrigue, deceit, corporate espionage, and contract killing, could easily become convoluted and loose its audience in the hands of a lesser writer. David Bennet handles this complex introduction to character and story-world with elegance. Eve is a sympathetic character that we want to know more about. The bizarre life she is trapped in is both exciting and intriguing, and hints at a deeper story that will unfold over time. With excellent narration that never strays into exposition, Bennet tells us just enough to keep us guessing at what Eve’s future will hold. Phillip Bond add a novel aesthetic to the story. With a lighter style than what you might typically find in a dark story like this, the story is able to remain cheeky and even charming at its darkest moments which actually make the violent scenes stand out more than if the tone of the book was grim. Eve Stranger #1 is a wonderfully clever concept that unravels into an intricate and captivating story, executed with style and expert handling.With a likeable character, intriguing story, and tight scripting, I can easily see this as a television show or movie in the future. Don’t forget to get a copy before they sell out.

As a 48-year-old man, I am light years away from the intended demographic for this book. However I was a kid once, and yes they made comic books back then, and no they were not carved into stone tablets. They were filled with characters that kids could identify with, that were going through problems kids could relate to, while fighting bad guys and occasionally saving the city. Happily, so does The Magnificent Ms. Marvel #1. Spider-Man is the Gold Standard for comics featuring a character that not only dealt with big, scary, city-threatening problems, but also personal, and relationship problems that often mirrored and sometimes intersected one another. Making comic books used to be that easy; Give kids a character they can relate to, a person they can feel sorry for, and a hero they can cheer for when they are punching bad guys in the face. Somewhere along the way things got really complicated and that simple formula was lost. Amin, Jung, and company have tapped into the magic that Stan Lee (and a host of talented artists and co-creators) once used to spellbind a generation of unsuspecting youths and transform them into an army of loyal Marvel Zombies. With a mix of monster fights and monster-sized personal problems, Ms. Marvel gives the audience a character that is fun, heroic, and relatable on many levels. It captures the classic Bronze Age feel with both art and dialogue, while not feeling the least bit dated. While it may be a bit simplistic for an older reader, this book hits the mark for the intended audience with a fun story, a heroic main character that when she isn’t dealing with monsters attacking the city, is dealing with problems anyone can relate to. It is a simple formula, but it still works, and I for one am glad to see Marvel going back to it.

Families can be complicated. Expectations, legacies, and sibling relationships can make life feel like you are living under a heavy shadow that is impossible to crawl out from under. Even when your father wasn’t a notorious super-villain and head of an ancient criminal organization. Unfortunately for Shang-Chi, his father was. Having taken over the mantle as Supreme Leader of the Five Weapons Society, Chang-Chi the hero, now finds himself trying to balance a normal life with guiding what was a deadly cult of assassins and criminals towards a new path of altruism if not heroics. All the while, having to be both leader, and brother to his formidable little sister who reminds me a bit of a certain son of a Batman, who prefers to stab first and ask questions later. None of this makes life easier when Spider-Man shows up expecting the usual superhero team-up while Shang-Chi is in the middle of trying to stop a drug ring that the Five Weapon Society used to be involved with. Gene Luen Yang (American Born Chinese) does a terrific job of throwing us into the story without feeling like he has to tell Shang-Chi’s backstory, yet again. The tone is fun and exciting on the surface, with a subtle texture of the responsibilities Shang-Chi feels to his legacy, his family, and the superhero community. Dike Ruan has an energetic art style that fits the book very well. While his manga and anime influences are noticeable, it also has a touch of Francis Lenin Yu and does not look out of place next to any other Marvel book on the stands. The only complaint I had of this terrific first issue was that the dialogue at times felt simplistic and less mature than the themes of the story required. It is not terribly unbalanced and keeps the book fun, even when dealing with the more complicated story tone. Ultimately Shang-Chi is forced to admit to himself, and his friends that his father’s past still haunts him, and they are going to have to trust that he is doing the right thing, even if it might not always look like it. Family is complicated, but sometimes they must come first and if your friends don’t understand that, are they really your friends after all?