#rena roundups

DC’s Batman Beyond (2016-present) #10 Dan Jurgens, Bernard Chang, Marcelo Maiolo

Well. You’ve heard it from me here first, folks. I’m dropping a Batman Beyond book. I know, I know. Shocking. I haven’t done that since the last Batman Beyond book, or the Batman Beyond book before that. It’s just astounding how bad DC is at capitalizing on what made one of their properties not just one of the most successful series it had out at the time, but literally my favorite animated series that they every produced.

Jurgens’ Batman Beyond in a weird way was always doomed to not capture the magic of the original series because, for one, Jurgens was one of the most enthusiastic people about the awful crossover event Futures End that spawned the New52’s Batman Beyond series to begin with, a series that pretty much focused around the murder of an unproven Terry McGinnis, and then he spent a few years writing a Batman Beyond book that did not involve Terry at all, centering around Tim Drake as Batman instead, and missing the point with just about every supporting character in Terry’s world.

So I was always probably going to subscribe to this book out of nostalgia rather than hopefulness that the creative teams loved Beyond for all the reasons I did, but I have been surprised by just how much in this second arc that Jurgens and company seemed determined to strangle any vitality from the series with a noose of continuity they weaved themselves.

Not only are they wanting me and other readers who love the Batboys enough to buy a comic based on an early 2000s Batman cartoon, but they also want me and others to accept that this continuity is the same continuity that the current comics are in including the excellent Robin: Son of Batman series which, more than any other series, proves that Damian has more than outgrown his honoring of the al Ghul bloodline and is a hero of his own making and in his own subtle way makes countless sacrifices even as a child to keep these things going. And then I’m supposed to buy that he becomes the next Demon’s Head, mostly out of jealousy for a new adopted brother, and is now going to blow up the world even though he… already watched the Brother Eye apocalypse happen.

And yes. That is what they are saying because Jurgens bothered to bring Goliath in… and have AI-crazed Terry strangle a beloved fluffy Bat-Dragon to death with a chain (that he doesn’t even wear anymore in real continuity but whatever obviously my point is that this series is a middle finger to continuity).

Once again, DC has taken something hopeful and unique and beloved and turned it convoluted, unnecessarily unpleasant, and without any foreseeable joy.

There’s one issue left to this arc, so I do have a debate on whether or not I want to take up the next issue and at least complete the story or just stop cold turkey now and…. honestly? I’m not even interested anymore in how this story is going to end so. Probably the first.

DC’s Detective Comics (2016-present) #961 James Tynion IV, Alvaro Martinez, Raul Fernandez, Brad Anderson

So. I guess we’re… just at the point where it’s accepted that Cassandra is mostly monosyllabic except for when she decides to deliver perfect Shakespearean quotes. That’s a thing that we’re just… gonna take for granted now I guess. Was this built up to. is this truly a good thing for her character. Who knows because she got a focal story in another arc, guys, we can’t dive too deep on it anymore!

And I guess Kate and Bruce are following the previous continuity’s grand tradition of doing nothing themselves with helping Cass learn to read, write, and evolve her vocabulary. We’ll just… keep supplying her with crimefighting costumes and not worry about the fact that she’s collecting trash and living in the attic of a ballet studio like the freaking Phantom of the Opera complete with a literal Christine.

But. Believe it or not (and for me it’s hard to believe) this is not entirely a book judged on the merits of its Cass. Which is good for it because while not the worst thing ever in that regard, it continuously raises its own expectations and then fails to meet them. No, I need to evaluate how the rest of this story goes because it is, at the end of the day, an ensemble book.

Azrael is taking over Jean Paul and Luke who is his best friend, no homo (for now), has the solution of bringing back the literal embodiment of terrible Batman fashion choices of the 90s but without the full ZUR-EN-ARRH-esque color scheme. Because the solution to any evil suit is an evil suit. And yet they STILL won’t give Cass a decent costume— sorry, sorry, no more about Cass.

Bruce and Zatanna’s moments and history is sweet but we’re like… back at the drawing board when it comes to invasive mind control/memory erasure procedures in the DCU which has never been a good thing and worked to DC’s benefit so I’m still not sure why we go down this road.

That being said, Kate got a few fun lines, and I do appreciate that Jean Paul’s plight is at least sympathetic to him especially since he’s always had the undertones of mental illness. And I’m genuinely invested in how all this works out and why Bruce magically (heh) knows he needs Zee and the weird orb’s help to stop whatever BS Ra’s is up to.

IDW’s Ghostbusters 101 (2017-present) #5 Erik Burnham, Dan Schoening, Luis Antonio Delgado

We’re getting incredibly close to this series ending and honestly that makes me a little sad. As much as I like all of the IDW Ghostbusters universe they’ve built, it’s been a whole other pleasure seeing the 2016 cast of Ghostbusters get to show their stuff and even work off the criticisms I’ve held of the way the movie last year handled them and their characters.

But this issue did something even more special, at least in my mind. It was determined to give us a moment between Abbey and Erin specifically that addressed the inadequacies and fears a lot of fans of the 2016 movie have felt in the wake of its tumultuous response from the general Ghostbusters fandom. Which again is something I never really understood even as someone who loves Ghostbusters as much and as unapologetically as I do because there are so many other things since the 80s that have been done with that original movie that could be pointed to as “selling out”, the only different between any of them and the movie last year was the all female cast. But whatever.

The fact is, especially with IDW, you can have your cake and eat it too. Everyone can be Ghostbusters, there’s a whole damn Ghostbusters multiverse that includes freaking Caddyshack just because Bill Murray was also starring in it. And you know what? I love that. I love that media’s at a point where we can love two different takes of the same thing for wildly different reasons, even if we default to one more than the other. That’s something we’re allowed to do.

And Turnham and Schoening just do their stuff, proving to be wildly creative while at the same time understanding all of these characters far more than almost any fans of Ghostbusters before them. And I love it.

Marvel’s Moon Girl and Devil Dinosaur (2015-present) #21 Brandon Montclare, Natacha Bustos, Tamra Bonvillain

I read a fair number of child-age comic books for a few reasons. I find them particularly important for growing the next reader base because there’s no better way to get people into comics than having them grow up with comics (as I like to think of myself as being a shining example of). Another reason is that I have a lot of people in my life, specifically friends and relatives, with young children who are very interested in reading comic books because of the saturation of superheroes and other comic franchises in the world right now but are themselves not comic book fans so aren’t sure what to get for their kids.

As a result, I personally have given out comics like Scooby-Doo Team-Up, Princeless, Young Justice, and, of course, Moon Girl and Devil Dinosaur out to many of the children in my life and have been very happy to read along with them.

And honestly, none of them are as engaging both for me and for the children in my life as Moon Girl and Devil Dinosaur is. The stories are simple, but the emotions are complex without being unreliable to children. They recognize the relationships between Lunella, her parents, her friends, and especially with Devil and even when they’re in different dimensions, kids know that the emotions that carry from one adventure to the next is what makes them happy to read. Which is why even in a kid’s comic we get cut aways to the family life without Lunella even there and aren’t afraid of losing the attention of the kids.

It’s a great comic that uses color and themes in ways that are truly unique to the age group its aimed for and also make it a joyful break from my usual Wednesday comics fare.

If this book isn’t something you want to read on your own, I really encourage you to at least share it with some of the children in your life because it’s truly something special.

Kodansha’s Princess Jellyfish (2008-present) Chapter 83 Akiko Higashimura

Higashimura continues to baffle me by defying all the expectations I hold for how a medium can handle women’s rights, LGBT issues, and mental illness all at once. And it’s one of the most relaxing yet fulfilling reads I have every time it comes out. 

This time around we’re still knee deep in the drama unfolding with Tsukimi’s new line of dresses (I can’t begin to explain how astounding it is that a comic is making me feel things for the fashion industry as a plot point at all), but mostly this issue gives us a lot of calm reflection and character interaction more than anything else. 

Tsukimi has very subtly grown into her own over the 83 chapters, and it was never change she needed but confidence, and the ability to express herself in ways she never realized she needed. 

We also got the ever deepening and ever important relationship between the brothers, Kuranosuke and Shu, both still pining for Tsukimi but both still each other’s greatest support in the raw environment their family has given them emotionally and the difficulties of their current situation with Tsukimi and the Nunnery. I thought it was fascinating that Shu remarked that his dream would be to one day live together with Kuranosuke and Tsukimi, even if it wasn’t romantically. Just having a home and a family he loves as much as them all together. That’s... such an oddly millennial goal and it really resonates with me. Romance isn’t truly the objective, companionship and valuing people are.

We also get more drama unfolding, which involved Kuranosuke’s unintentional outing. We’ll have to see how this storyline is handled coming up in future chapters, but I have faith in Higashimura and in Princess Jellyfish. 

Image’s Saga (2011-present) #45 Fiona Staples, Brian K. Vaughn

Saga is, impressively and unconventionally, Saga. This comic book is such an unreal read, such an unexpected gem that it’s hard to really quantify it compared to other monthly comics because, well, it doesn’t feel like other monthly comics. Not just because of the breaks between chapters, but because more than any comic I’ve ever read before it, Saga manages to live up to the name of being a complete and total immersion into the long story that follows all the lives of its gigantic cast.

It’s really difficult to explain what Saga has done for comics just yet, really. The expectations are higher, the question of mature content in opposition to “adult” content feels like it’s being completely flayed and laid alive for us all to posture on.

The comic is just something else, and I really wish there were better ways for me to fully dive into just why it is such a gigantic deal for comic readers to have so much quality available to them.

Saga’s not perfect, but it’s one of the most experimental and surreal experiences that edges damn close to that ambition to be perfect, and right now it’s the kind of story I really really need.

IDW’s Teenage Mutant Ninja Turtles (2011-present) #72 Kevin Eastman, Tom Waltz, Dave Wachter, Ronda Pattison

It’s time for my monthly fawning over the IDW experiment that is Teenage Mutant Ninja Turtles and failing to fully encapsulate just how much my mind is blown over how much this series has managed to incorporate every part of every beloved series of the franchise while still amazing everyone with its unique storytelling, much loved subversions of various genres, and ability to still hold true to the dynamic that has made this series so beloved to begin with.

I just genuinely wouldn’t have believed, if you told me years ago, that this series would do all that while also weaving in its world’s own very unique, very unexpected mythology. Not mythology in the sense of greater TMNT canon, I mean mythology in that it has its own pantheon of original godhead figures from around the world that weave into the histories of the characters we know and love and build the world out even more.

I’ve talked before, at least in part, about how each of the turtles’ personalities and personal interests lends the whole franchise the ability to deal with different comic book staple genres. Mikey’s interests make them superheroes, Don’s personality and ingenuity make them sci-fi figures, Leo’s stalwart interests in family and honor make them ninja, and Raph’s high emotions and tendency toward fighting authority and also falling into tumultuous love lives makes them teenage dramas.

And I think it’s telling that each time the IDW comics focus on any one of those genres, the corresponding turtle tends to take the lead of the story. But here we have something unique. High fantasy and mythological epics is something that — for all their magical tampering and run ins — has never been the central focus of the turtles’ stories. It’s usually tied into one of the above mentioned genres more than anything else, and this mythologizing started very similarly, growing out of Kitsune and Japanese lore first in a storyline that was, very much, the IDW’s series most Leo-heavy storyline “City Fall.”

This broader focus on fantasy really makes it more clear that this is a purely new IDW take, and that none of the turtles are taking focus here, but rather the family they have made for themselves — the Hamato Clan — are center stage to take on something that’s bigger than any one of them individually could be.

It’s interesting though. We borrow from so many different Ninja Turtle continuities and this “Father Dragon” that the Immortals refer to really only reminds me of… one villain from the TMNT’s past…

And while the main four aren’t magical… they did once… have a fifth turtle… who… was a shaman… who fought that dragon…

Hm.

Naaaahhhhhhhh.

IDW’s Teenage Mutant Ninja Turtles/Usagi Yojimbo (2017) Stan Sakai, Tom Luth

Okay so, I have actually been looking forward to this crossover for a while because if you’ve been following my blog for long you know that I am a real shellhead at heart and just adore every version of Teenage Mutant Ninja Turtles even to my greatest fault, and I also am just a huge fan of and greatly admire the masterpiece that I consider Stan Sakai’s Usagi Yojimbo to be, and the fun, loving, mutual relationship that both works have shown for each other throughout the decades and how TMNT has honestly gone out of its way to continue to keep Usagi in the public’s eye beyond the diehard comic readers who already would know of him is something I truly enjoy.

And while this isn’t as bombastic and fun as the last big crossover they head, well, ages ago in all honesty, over in the Usagi Yojimbo comics, this was a fun adventure that is meant to introduce IDW fans to the Usagi Yojimbo canon.

There are lots of interesting bits to this crossover, like the revelation that of the IDW turtles Mikey is the only one fluent in Japanese, which I find strange, the fact that Usagi considers himself and Leo to be good friends and his confusion and upset at being attacked by him, and just the fact that … well I guess Usagi’s greatest nemesis, Jei the demon, is just wandering around the countryside now without his precious niece. And also that this is like… Jei Prime as opposed to the current Jei.

Basically the continuity is a mess here for both franchises but it’s a purely enjoyable mess and I can write off a lot of it being that Sakai is known for not always using a linear storyline to tell the stories he wants to. We’re talking about a series that had a crossover with feudal War of the Worlds because why not.

In any case, I found this comic enjoyable, and while I think the coloring was a compromise between the very elaborate coloring that the TMNT books get and the simple black-and-white of Usagi Yojimbo’s normal titles, seeing a crossover by Sakai and Luth themselves without the classic black and white kind of makes me appreciate the simple beauty from their usual style. But that’s perhaps just me.

Now, this is a costly comic, far more expensive than any comic I usually buy, and my justification for it was I want to support IDW reaching out to other creators and other properties more, especially someone as important yet as underrepresented in comics as Stan Sakai, but I absolutely understand that being a much harder sell for other comic readers. So use your money as you see best, guys!

IDW’s Transformers: Lost Light (2016-present) #8 James Roberts, Priscilla Tramontano, Joana Lafuente

People have incredibly high expectations for the IDW books and it’s not without reason. For the last several years they have provided some of the most consistent quality, diversified and reconnected the canons of much beloved decades long franchises, and have also managed to keep refreshingly new and experimental without straying from content. But I have to say, that this is the issue of Lost Light that has me feeling like I did when I first discovered More Than Meets the Eye myself a while back and re-submerged myself into the Transformers lore.

And not only is that a pretty impressive feat, it was a feat accomplished purely through the value of the characters which this book has provided us. Anode, Lug, Velocity, and Nautica would not exist without this book and the relationships, the diversity, and the love which they bring along with them are purely thanks to the creative team and to IDW for allowing what was once one of the most aggressively masculine toy commercials in the world to become something greatly new and unexpected.

I love this book, and I love the way I can be at the edge of my seat for a book that’s 90% four lady robots walking around a flea market.

I have been curious, given the track record of popular characters not staying dead in the series, if or how Skids could be returning but I have to say, that ending was… wow. Horrifying and surprising to say the very least.

And why are blacksmiths being targeted!? There’s so much great stuff going  on.

Also how pissed is Rodimus going to be that they’ve been gone for basically one day on their trip to find the Knights of Cyberutopia and they’re already sidetracked by his crew not obeying orders. I’m fucking dead I can’t even. I look forward to that explosion.

DC’s Wonder Woman (2016-present) #27 Shea Fontana, Mirka Andolfo, Romulo Fajardo Jr.

I won’t lie, this was a particularly weak opening for a new creative team. Not necessarily substantively, but as far as developing a new villain and trying to wrap things up within two issues. I’m not sure if that sort of introduction was the wisest, planning wise, after Rucka’s tightly knitted together, year-long double epic, regardless of my criticisms of it. There is definitely a sense of less grandeur here and… honestly wondering how this will impact the rest of Diana’s narrative at all.

This minor, minor character within the span of two issues was introduced, shown to be evil due to shitty American healthcare systems (which is… unfortunate bc I am definitely feeling crushed by healthcare atm), and then… without any real warning kills herself after revealing she feels hopeless about her terminal diagnosis.

Basically there wasn’t very much joy to be had in the conclusion of this thing despite the HARD left turn the tonal shift took at the end with Diana planning to eat cookies and enjoy watching Friends with Etta. I mean, I love my girls and I love how much emphasis these two issues put on their friendship but… #toosoon?

I mean. Speaking as someone who was kicked off her healthcare recently for preexisting conditions, there’s some real disconnect between showing someone literally killing herself due to a lack of health coverage or research for her illness let alone having no money after her mother died of the same genetic disorder bc America, and then shifting immediately to Etta who has what we must assume is government health insurance covering her as she has a nice hospital room to herself. I mean. Two years ago I stayed with my mother after she donated her kidney to my uncle and uhhh they did not have such nice accommodations and we were at one of the best hospitals in the country.

Basically this is… weak sauce for a Wondy story to introduce us to the creative team and… kinda really tone deaf for those of us who are kinda struggling for these same reasons.

There’s also the matter of the flashbacks to the Amazons that Di keeps having. Nothing too alarming just yet, but it definitely seems that we’re striking a harder edge to their interpretation than Rucka’s and that always puts me a bit uneasy because people are so bad at giving the Amazons their due justice. I’ll reserve judgment for later because I want to be fair to Fontana but I’m wary.

That being said, I am grateful for a shorter wrap up and a story that seemed more down to Earth with Diana’s every day life after having a whole year of grand arcs and epics even if this particular story had some squick and reservations for me. And I’m really hoping for this team to prove themselves because it’s still such a rare thing to have a female-led creative team helm the most important female superhero icon and I’m hoping we’re starting to see a shift in that.

So it’s time for that pick of the week portion, the part that no one really cares about and yet consistently seems to get the most commentary of all the stuff. That’s fine. Nothing wrong with that, I just think it’s funny. And now I’m also postponing. And while this had a lot of great comics competing this week, I have to take my hat off to Transformers: Lost Light this week. There was just so much good wrapped up in this comic and it is hard to compete with this creative team when they’re firing on all cylinders. It really is one of the best, most unique comics to come out of IDW, and if you read the reviews just for this week alone then you know that that is quite a statement coming from me. 

But those are just my choices! What did you think about this week’s comics? Think I missed something I should’ve picked up? I’d love to hear from you.

Once again, before I end entirely, I’d like to ask that if you’re interested in helping me out with making more time for content like my reviews, and for access to reviews in the future which won’t be hosted on this blog like my in progress review of Spider-Man Homecoming (2017), please help me and my aspiring start up comic career by contributing to my Patreon! I couldn’t thank you enough for the help.

Tesladyne’s Atomic Robo and the Spectre of Tomorrow #2 Brian Clevinger, Scott Wegener, Anthony Clark, Jeff Powell

There is a certain amount of dry wit and scientific community knowledge that is instrumental to getting the full experience out of the clever writing and deceptively simplistic design of Atomic Robo, and for the past few months I’ve been making a solid attempt to evaluate these comics and Robo himself based on the entertainment received without much of that. And, in all honesty, the more I’ve looked into this the more I wonder if that’s the wrong approach for “unbiased” evaluation to begin with. 

For example, I’ve been very firm on my description of Usagi Yojimbo as being one of those great comics that only gets more and more enriching as you grow a personal interest in history, Japanese culture, and mythologizing -- it’s far enough removed from our actual realities and accessible enough that I recommend it to people who don’t have those interests, but I find that those interests add so much more to the experience. The simple designs, the consistency, the way the narrative is built in episodic spurts more than long form narrative -- those are all reasons I can in good faith recommend these comics to people outside of niche interests, but those niche interests add so much to any reading that it’s difficult to really express why anyone would want to read without so much as acknowledging it. 

That all said, this particular issue continues that same level of quality and intrigue, but also rewards the emotional investment you may have in the characters involved. PersonallyI relate a lot more to Robo’s sense of self-exile and reclusive depression which only causes more and more problems to pile up far more than I’d have ever thought I would, and I don’t think I’d be alone in that. There’s also the long time readers’ reward in seeing consequences to that stollen crystal from Doctor Dinosaur’s island ages ago. All great stuff which is only more greatly emphasized by the creative use of familiar real world scientific organizations and entities wrapped up in this bizarre and surreal reality of Atomic Robo.

Image’s Black Magick (2015-present) #9 Greg Rucka, Nicola Scott

Sometimes the real value of storytelling lies less in identifying the complete package and more in being able to identify the way it weaves multiple elements and even genres at once to provide a new kind of satisfying narrative. And it’s in that way that I think Black Magick has so quickly become not only one of my favorite Greg Rucka and Nicola Scott comics, but one of my favorite recent publications in general. 

Black Magick follows a noir-style crime drama in structure, but its embrace of the supernatural and, especially, in witching stories provide the sort of edge that makes the tiredness of the former genre feel fresh even in the heavily saturated market for procedurals we have currently, while the latter feels completely reborn from that small but influential boom we felt in the 90s. I have never been closer to re-marathoning The Craft, Practical Magic and Charmed outside of the Halloween season. But each new issue of Black Magick brings me that step closer.

This issue also happens to follow the very specific to this week trend of leaning heavily on emotional stakes to really pull itself and its characters above even the thickest of genre settings however, and Black Magick specifically manages that while maintaining an incredibly tight hold on Rowan’s perspective. Which is fascinating because on reread you really realize how much the POV shifts away from Rowan and onto the other characters and their subplots but in reflection it all feels like it’s only in service to Rowan’s main story more than anything else. 

Nicola Scott continues to prove she is perhaps the most gifted and, really, the most prolific of comic book artists in the modern era and I maintain that seeing the true extent of her talents is best assessed by reading this comic and just allowing yourself to be blown away by it all.

This issue also gets major props for introducing a familiar. Good, comic. Perhaps not as action filled or breathtaking as the last issue which was a nail biter from start to finish, but most certainly deserving of those 4/5 stars. 

DC’s Super Sons (2017-present) Annual #1 Peter J. Tomasi, Paul Pelletier, Cam Smith, HI-FI

If you’re one of those people -- and let me absolutely clear that it is more than understandable to be one of these people -- who find super pets and the absolute general ridiculousness of a storyline that involves super animals in any capacity with a timeline that makes no sense and the only real dialogue that matters being literal growls barks and yips, this is not an issue worth your $4.99, you’ll hate it and be annoyed with people like me screaming from the rooftops that you should buy it and read it and love it. And that is completely and utterly fine and reasonable.

I am not fine or reasonable, however, and this is literally the most rewarding $4.99 I’ve spent on a comic in ages. Because no joke there were several times while I was liveblogging this issue both on my main blog and to my friends in PMs that I was literally in tears crying with laughter because

because

Holy shit guys.

In recent years a continued criticism I have carried for superhero comics is that there is a huge tone problem, in that there is a genre’s worth of tones and atmospheres that could be played off of to give at least each individual book if not each individual issue its own feeling and its own intrigue that would set it apart from the rest of the line that given week. DC, especially, has contributed greatly to this tone problem because as I’ve said many times, there was about five years there where even the color palettes for their comics had no variation between them. And it was maddening. 

So to have something goofy, to have something different, and to have it be fun, enjoyable, full of twists and turns, and not so damn determined to take itself beyond seriously, it makes this comic throwback feel like a breath of fresh air in the most necessary of ways. 

And I should be clear, I don’t mean that this comic is for everyone, or that Super Sons as a comic in general doesn’t manage to strike that cord a lot since it really is one of the most enjoyable comics DC has put out in years, but this really felt like a treat, an additional, ridiculous, hilarious story set so far apart from what’s come before. It’s greatly enjoyable. Genuinely deserve of my coveted 5/5 stars. 

IDW’s Teenage Mutant Ninja Turtles/Ghostbusters II (2017) #5 (of 5) Erik Burnham, Tom Waltz, Dan Shoening, Charles Paul Wilson III, Luis Antonio Delgado

We finally come to an end of this second giant mashup of Ghostbusters and Teenage Mutant Ninja Turtles, truly the sort of framework and pairing that is as old as time, and I get to reward everyone’s patience with me reviewing these for a month an a half straight with some final thoughts of sorts. 

I compliment both of these writers quite a bit for their respective contributions and the absolute mastery they both have shown for the voices of their respective franchises, but as this week is pretty well summed up with Rena Waxes Philosophically And Is Old, I think both of our times are better spent here by pointing out something a bit different that really came together with this issue. And that’s that for how pitch perfect these writers are for capturing the long expected voices of these beloved characters, the real remarkable compliment I can give them is how they have uniquely captured and redefined these voices to really make them their own.

Despite how much my childhood might have desired these team ups (and believe me, it so did) the fact is that these interactions and these relationships are utterly a modern invention, and what could easily fail outside of the concept states instead flourishes with us here specifically because they are sticking to their guns and not always angling for the obvious route with these interactions. That’s what makes all of this so fascinating and so rewarding as a fan.

In comparison to the predecessor, Teenage Mutant Ninja Turtles/Ghostbusters II does not have as tight of a storyline with a steady but consistent pacing and understanding of where it’s going. But I think because that set up was taking care of in the original these five issues allowed for more experimentation and more concentration on character development and fun scenarios. So if you’re far more invested in character interactions and in comics taking full advantage of the outrageous and unique tone of its medium, there’s probably all the more for you to enjoy with this compared to the first. But at the same time, it would be lying to say that the main driving plot and stakes, with Darius Dun’s ghost and the Fast Forward Evil Turtles-lite trying to harvest souls in a complicated and underused concept didn’t come off as overall a bit weaker than the original.

All that said, ultimately this comic is a joy for fans and it seems to be aimed quite specifically at that audience either way. And in that case I have to give it my highest regards.

IDW’s Transformers: Lost Light (2016-present) #11 James Roberts, Jack Lawrence, Joana Lafuente

Ever since the last arc of James Robert’s parent series, More Than Meets the eye, there’s been a few gaps in the concept of what happened on the Lost Light during and after the mutiny, whether or not the crew saw the Rod Squad’s las message, and especially curious to people like me who can’t help themselves but love our affable and entirely flawed co-Captain Rodimus, what was his final request for his burial and what not since we saw the rest of the crew’s.

And in the second part of this “Mutineer Trilogy” that we have for Lost Light, we are at long last getting our answers to many of those questions. And for a reveal that was a year coming, the Lost Light manages to pack all the twists, turns, and punches that we could hope to expect! 

It’s fascinating to see Getaway’s sense of grandeur when it comes to himself, his plans, and really the whole driving force with the mutiny, but I really find that where Roberts’ writing and where we as readers get the most out of is the interesting and very layered sense that Roberts has for the lore of the Transformers. It feels like every subtle piece of dialogue, whether it concerns lore and mythology of the universe or not, is really weaved throughout with a submersion in this fictional culture. And that, especially, is really revealing here. It’s a very rewarding way to handle lore and I greatly appreciate it. 

One that does make me apprehensive with the turns Lost Light has taken most recently, however, is that moral grayness sometimes feels really blurred with a light take or even somewhat forgiving light given to what are undeniably and outright stated as fascist and genocidal elements of the Transformers’ past, especially Megatron. Having this issue completely dedicated to Getaway’s perspective while tackling these themes doesn’t really help because he is most egregiously one of the most villainous and traitorous characters the series has tackled, but while it feels like he’s only using the aghast feelings of the crew toward Megatron, ultimately he’s the only one who gives a speech against Megatron’s past of genocide and fascism while also taking over in the most truly reprehensible and fascist ways possible himself. This is further blurred by having some very topical buzz words like “fake news” uttered by Getaway in a... lbr pretty nonsensical way in-universe, but then have him going around imprisoning or hideously killing all of the crew which doesn’t agree with him.

I’m basically waiting for Roberts to fully address all of this in the story but right now it feels very much like “both sides are extreme and bad” mentality that, given Roberts’ politics and statements irl, I don’t think is what he ultimately wants this story to be coming away as, but I’m nervous and would like for things to tread lightly considering the current environment. 

ALL of my apprehensions and concerns out of the way, this is still a fascinating and ultimately fantastic comic that I really truly enjoy and would love to see more of because if Roberts’ Transformers is guilty of anything it’s definitely guilty of raising my expectations and setting that bar so high because of how good and how complicated and interesting all of it ca be in the right hands.

Hey there! We finish up another pretty fun, if not quick, week in comics with lots of stories and characters, and another pretty great time from yours truly. And if you enjoy these write-ups or anything else I do whether it be the Roundups, my Rambles, my personal creative projects, or you’re interested in my upcoming podcast, you can help contribute through donations to my Ko-Fi, Patreon, or PayPal. For as little as $1 per project, you make all of this possible.

You could also support me by going to my main blog, @renaroo, where I’ll soon be listing prices and more for art and writing commissions.

IDW’s Teenage Mutant Ninja Turtles (2011-present) #77 Kevin Eastman, Tom Waltz, Damian Couceiro, Ronda Pattison

I have to really give it up to the ingenuity that goes into IDW’s take on Teenage Mutant Ninja Turtles once again because I am just so stunned and amazed by how near flawlessly they are able to make something that all fans are most certainly familiar with and turning it not just on its head but providing the familiar in completely surprising and innovative ways to where even I, the Turtle Historian that I am, can’t predict where we’re going with this.

It’s not exactly novel that the Turtles had a relationship with the Triceratons prior to the Invasion forces. That dates back to Eastman and Laird’s original stories in the 80s. But every representation of the Triceratons since then and even then have provided an outsider’s perspective as the turtles were caught up in a conflict completely outside of their personal connections and to which the Triceratons were a slaver, gladitorial, and genuinely unrelatable force of evil from the start. With only one-off exceptions of solitary Triceratons they befriended (or... dated in Mikey’s case because the early 2000s Vol. 4 comics were weird), the perspective of the Triceratons was never something that had shades of gray.

After all, they were such a warring, barbaric race that their original origins had it that they accidentally blew up their own planet which had spawned conflict with forces like the Federation to begin with. 

But in the IDW comics, villains come in layers and dimensions, to the point that even Stockman as the hilariously played straight Mad Scientist antagonist, is someone that the Turtles and April can conceivably work with to meet the same ends. To the point that we’re at odds with Master Splinter, that him working with Bishop’s forces is not shocking even in the gut wrenching feelings of betrayal. 

Everyone has their motivations and everyone has good reasons for those motivations, most especially the Triceratons themselves. They want a home. They were molded by generations of warring and enslavement. They were attacked first. And the camaraderie that they have with the Turtles genuinely makes them not just sympathetic but heartbreakingly backed into a corner. 

This is great storytelling made all the better with solid art and even more solid execution of it all together. I am constantly impressed with this series and that doesn’t seem to be ending any time soon. 5/5 stars well earned.  

Dark Horse’s Usagi Yojimbo (1984-present) #164 Stan Sakai

Now that we’re on part two of three of this storyline, and fully progressed in the overarching mystery of what I’m for the time being referring to as the Inspector Ishida Mystery, I’m feeling more and more comfortable in assuring new readers of Usagi Yojimbo that the current arc is just a fantastic jumping on point for new readers. Because, really it’s been one of the most engaging and entertaining storylines arguably since the original “Grasscutter” saga itself.

One of the things that Stan Sakai is a master of is the episodic narrative, and how easy it is for readers to engage at any point that they start picking up issues and in any order. And while that continues to be true -- which is marvelous in the current age of pushing for trade-style storylines -- more and more he’s also presenting the outline of the larger narrative and rewarding readers for engaging on every level.

That’s a difficult balance between two very different forms of storytelling but I find myself further awed by just how well Sakai manages it. He truly is one of the great modern masters of the medium and it’s just a comic that fans of the medium have to eventually read for themselves to get a full appreciation for it all.

Viz’s Yona of the Dawn (2009-present) Vol. 9 Mizuho Kusanagi

One of the fascinating things about the current landscape of media is that we have so many examples of how to not only deconstruct certain genres and storyforms, but we’re really living in a reconstruction of them the likes of which hasn’t had the momentum or tenacity that it has now at least in my lifetime. And I think there’s probably no better example of that right now for fantasy and fairy tales than Yona of the Dawn. Yona has been running since 2009, but it’s pretty clear why it was picked up for an anime in the last few years and also why interest in the original manga has reached the English speaking fandom more and more. I can definitely say that there’s more Yona on my dash here on tumblr this year than there was in previous years and it’s certainly not because I follow different or more blogs!

Yona is a feminist reconstruction of fairy tales, of the roles of princesses, and of the nature of strength. The more our titular protagonist yearns and struggles to prove herself again and again by masculine measures, she is inspiring to those around her. But what makes her endearing and what earns her the faith and love of her newfound family and all the people they have helped throughout her kingdom on their journey, is the strength of her more feminine traits and how she does not lose them but instead yields them even more powerfully as she grows into a woman. 

I feel like, more than any other volume officially translated yet, Vol. 9 does the most to portray this dichotomy directly and because of that, her reverse harem of faithful suitors’ relationship development with her and with each other this time around feels more earned and feels more respectful of the character that Yona already is. And with the setup at the end, with the second son of the Fire Tribe’s general coming to face her once more, it’s clear that there will be even more juxtaposition between the Yona of the past and Yona as she is now with someone who once knew her confronting her again as the more empowered and more protective force that she has become. 

It’s an incredibly exciting read and a fascinating reconstruction of a genre I really love. But it’s still far from perfect. For a feminist work, the fact that no permanent members of the cast are women besides Yona and that, in this volume, no speaking roles are given to anyone but Yona is pretty stunning. And there are some stilted interactions still predicated on the very tropes Yona tries to break down that feel uncomfortable at time, particularly her interactions with Hak and how “innocently sexual” Yona tends to be. I hope like many of the other story elements, these evolve as the story continues but they’re still negatives large enough to drop this volume of Yona of the Dawn from 5 to 4/5 stars.

Hello friends! That’s the end of the Roundup for this week, but fortunately if you enjoyed my takes on the comics of the week, for my Ramble reviews, or more content that I produce, I’m able to continue to do so thanks to the support and backing of my Patrons on Patreon.

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Marvel’s All-New Wolverine (2015-present) #27 Tom Taylor, Juann Cabal, Nolan Woodard

Like most comics that have come to my pull list and like most comic teams that I continue to return to time and time again, All-New Wolverine proves its quality through reliable consistency and a general improving of my expectations for the genre overall. The art is fantastic, the twist was well handled, the character interactions were beautiful, and the way we are continuously rewarded for following along with Tom Taylor’s continuity and his interpretation of these things the more I feel inclined to tell my friends all of the reasons why All-New Wolverine is something they must pick up to really appreciate the elements of superhero comics I know them to love.

The Logan family has never been more firmly established than it has been under Taylor’s pen and while I would agree that it involves quite a bit of softening of the characters and their histories to justify itself, the competency with which it’s done and the ways in which he uses the essence of these characters to really play off each other makes it more human and more consistent than it has ever been. 

The inheritors of Logan’s legacy end up not only being the children left in his wake, but the bonds they forged for themselves in his absence in their lives and the mounting scrutiny and misplaced aggression they receive as his descendants as much as they receive being mutants, an oppressed minority, as it already is. 

And really, I think this proves ore than anything that family is the true ingredient of Taylor’s series and his additions to the X-Men mythos overall. He gets how to make these characters more relatable and more connected than they ever have been before, and in turn that feeds into the drama of their regular escapades far more than it takes away. It’s a fantastic balance and one that makes me so incredibly interested in how this storyline will continue soon. And it passes my mid-storyline test of managing to change enough of the stakes that this issue fundamentally could not be shifted in the storyline or missed entirely which, for me, gives a rare seal of approval from me for a mid-story issue. 5/5

Marvel’s Amazing Spider-Man: Renew Your Vows (2016-present) #13 Jody Houser, Nick Roche, Ruth Redmond

On a completely unrelated note for this issue and my feelings on the series overall, can I just put it out there that seeing Nick Roche on any non-Transformers project just makes me automatically start asking when we’re getting the next installment of the Wreckers saga over at IDW since that’s his passion project and no one on Transformers is going to touch it besides him. C’mon, Nick Roche. I love your take on the Wreckers! Please come back!!!

Joking aside, I’ve been quite a fan of the Renew Your Vows comics overall and not the least of which because as much as I’m a fan of the 90s Spider-Girl Mayday Parker, it’s been a huge relief to see the inspiration from that pulled in lightly in favor of going a completely new and different direction for Annie and her parents here. 

That of course only becomes harder as we instead have a series chronicling her time as a high schooler rather than her earlier life with MJ and Peter basically watching over and training their daughter as a kid (which did lead to a pretty funny line from Peter this issue about how it felt like she was “his little girl just a month ago” -- I see you comic). There was a pretty unique dynamic between Mayday and her parents in Spider-Girl and part of that was while her parents and her definitely had their share of understandable rough patches, overall May had an incredibly positive relationship with her parents and was responsible and worldly in the ways Peter was. Which was good and refreshing for teen superhero comics of the time since it was still fairly uncommon for superheroes’ parents to know about their identities and such, but could lead to some trappings in current times where that is more of the norm.

Renew Your Vows decides to tackle that by going a fairly conventional route, it seems. We’re still in a situation where Annie’s parents know about her alter ego, of course, but the trade off here is that she doesn’t seem to have a different relationship with her parents than any average teenager who is annoyed that her parents don’t understand her. Which leads itself to some pretty conventional openings for further stories, but also attributes to what I took as my biggest problem with this issue, unfortunately.

And that problem is that we’re having a huge transition and very little to appreciate in the change. We’ve had a massive time skip -- Annie’s now eight years older and has been a superhero the majority of her life, her parents are superheroes alongside her, and she’s also actively training with the X-Men and specifically under the tutelage of veteran hero Wolverine. But for all that change, the biggest and most noticeable change was that a story that shifted around its POV before pretty regularly, giving us nearly equal amounts of time with Peter, MJ, and Annie each issue, now was solely from Peter’s perspective and dealing with... basically a midlife crisis spurred by his teenage daughter not appreciating him enough. Which...

*long sigh*

Look, I love Peter. I’ve gone most of my life actually rather adoring him. He was my first superhero! But at the end of the day there’s a reason that Peter is getting increasingly scrutinized by people overall. And part of that is the simple fact that his limited perspective is increasingly not providing anything new or that couldn’t be found with a unique spin elsewhere. Think about that -- “aging father has midlife crisis spurred by teenage daughter not appreciating him enough” and think of just five examples of that which aren’t Peter at all.

There are good reasons to play it safe during this transition, for sure, and Peter has consistently been one of the most marketable superheroes of all time so what do I know. I just think that the unique parts of Renew Your Vows, the parts that can’t be found in other comics, especially Spider-Man comics, aren’t exactly Peter himself or his position in the current situation. It’s the family unit and how that changes common spins of superhero tales. And it’s hard to be completely encouraged at the new direction for the series when this issue feels like it’s avoiding those aspects. 

IDW’s Teenage Mutant Ninja Turtles/Ghostbusters II (2017) #4 (of 5) Erik Burnham, Tom Waltz, Dan Schoening, Pablo Tunica, Mark Torres, Tadd Galusha, Luis Antonio Delgado

Much like everything else on my pull list, there isn’t a whole lot to be said for this series that I haven’t already made abundantly clear. It’s just so refreshing to have consistently and overall competently made comics come out with the level of quality that both Burnham and Waltz manage month after month with their own respective series, but seeing them come together and unleash this series in five consecutive weeks and having it weave so well into the comics that they’re currently publishing for their franchises is just something beyond compare. 

And it’s that sort of ease that carries over into how well this team-up manages the relationships between the Ghostbusters and the TMNT -- they’re so comfortable with these characters and how well they’ve done with their respective worldbuilding and previous team-up that it’s very clear that for all the development and stakes and how much actual plot was covered in this issue, the really amazing part is just how much fun they’re allowing themselves and, subsequently us readers, to have as a result. And it is a hell of a lot of fun through and through. I’ve actually phenomenally enjoyed this series, maybe even more than the first team up.

That being said, even at being a five issue series it does feel like there’s been either too much room or not enough for all the directions they’re weaving this story for. And I’m not really entirely sure which will ultimately be the case. Fortunately, though, I won’t have to wait too long as the finale is this Wednesday!

Hey there! We finish up another pretty fun, if not quick, week in comics with lots of stories and characters, and another pretty great time from yours truly. And if you enjoy these write-ups or anything else I do whether it be the Roundups, my Rambles, my personal creative projects, or you’re interested in my upcoming podcast, you can help contribute through donations to my Ko-Fi, Patreon, or PayPal. For as little as $1 per project, you make all of this possible.

You could also support me by going to my main blog, @renaroo, where I’ll soon be listing prices and more for art and writing commissions.

DC’s Batwoman (2017-present) #8 Marguerite Bennett, Fernando Blanco, John Rauch

I was already fully on board with this storyline for Batwoman last month when it was revealed that the Needle was the Scarecrow all along and Kate was in a fear toxin induced fever dream for most of the out there visuals and flashbacks, but that grounding came through in full force this issue as Kate proved herself to not only be a badass and to get herself out in the most seasonally appropriate and cool one-liner of comics this month, but also while never undermining the threat that the Scarecrow poses. 

One of my problems with how the Scarecrow has been underused is that not only is he almost always the underling to some greater plot and easily tossed to the side within the narrative -- I could even make a good argument that this is still the case in this storyline -- but the existential threat of having a psychiatrist who is more fascinated with abusing his knowledge and position of power over those he examines, and forcing confrontation of someone’s worst nightmares and fears, is just a fascinating subject that has hardly received its dues in decades now. 

And Marguerite Bennett, who has always been someone I trust with a focus on character first, understands that potential and shows that brilliantly over the course of these last two issues. Really, Kate’s character and history has been the focus of this entire run thus far, sometimes even to the detriment of the pacing considering that we take so long to -- for something like the tenth time in half as many years -- retell her origin story, which is something I was pretty critical of, but it is something I appreciate so much more now.

Bennett is truly making Kate her own, and all the backstory, all the set up, helped make the fears and anguish of the fear toxins feel that much more earned within the comic itself when we showed them. Yes, if you’ve been following Batwoman for the past decade which... well, I have -- you can infer a lot of these things without all that set up. Her relationship with her father being complicated, her mother’s death and sister’s kidnapping her original trauma, even the turbulent romance of her year abroad. She didn’t need these things, but having them all presented within the run and really allowing for an insulated story experience for new readers and old alike, frees Kate of so much of the baggage one might have otherwise expected from her at this point. 

And it works as it gets us to the gates of a true confrontation with Scarecrow himself. Kate Kane’s traumatic life before and as Batwoman has always been the source of her unyielding attitude and her drive forward. It defines her far differently than the other members of the Batfamily. So facing her fears and overcoming her trauma may have just unleashed a Batwoman that the Scarecrow is even less prepared for than he realizes.

The art in this issue, as the art for this entire series so far has been, is just excellent. It’s stylistic and weaves in and out of traditional paneling to complex, interwoven dreamscapes and I love that we can have that level of detail and understanding without sacrificing readability, which has been a critique I’ve had of Batwoman stories as far back as Elegy itself. 

Just overall this was a really inspiring read and it feels especially powerful during the Halloween season. So fantastic timing.  

DC’s DC Comics: Bombshells (2015-2017) Vol. 5The Death of Illusion Marguerite Bennett, Laura Braga, Mirka Andolfo, Elsa Charretier

I am not the huge fan of Bombshells that most of the people I know are, and as such I’ve not really gone out of my way to comment on the last few volumes, but it felt a bit incomplete this week to not mention Bombshells since it did come out this week and is taking us to the “new season” that is currently being published. 

There are too many artists to really get into on an individual level so I’m instead going to focus on the formatting, as the adaptation from a Digital First to a printed volume is something all the issues share regardless of artist or style. I just want it noted that while I do enjoy the retro pinup style for some characters, I don’t always like it for all characters, and it’s also a judgment call on how well it adapts from artist to artist. 

Strangely enough, it feels like the comics that are the least exploratory with being a part of the digital medium and instead are drawn like comic strip-sized panels that are then stacked for physical publication and volumized format are usually the ones that read the weirdest. That continues to prove true in this comic especially since, as overstuffed as this cast is, the limitations of being drawn like they only have half the page to start with, means we get lots and lots of pages where everyone in a scene are crammed in together -- which you can sort of see in the panels I chose to post above. And that inhibits something that Bennett, as a writer, is usually exceptional at. And that’s building female characters from and around their environment. 

Look at those last two panels and think of how much more impactful that sense of loneliness and being surrounded would feel for Ivy if there had been more space to allow that sense to come across. 

And that bleeds right into a general writing issue I’ve had with Bombshells since the start. I, on principle, love all the characters and I love the world and the world building. There is precious little that is not inherently appealing to me about this series. 

But I feel like I have so few central characters to focus on because of how bloated the cast is and how intertwined all the characters and events are, that I’m left almost annoyed at the fact that we can’t say who, in any one issue, is the central protagonist. And even if that’s a problem I’ve had a sense of from the start, it’s becoming more of a problem in this volume than any of the one before because they’re fitting so much in any one issue. We had the introductions of at least ten characters that I can remember who are obviously going to be prominent, the concept of this universe’s Suicide Squad, and the idea that Hugo Strange is working for all sides and countries at the same time while cloning Kara even though.... Russia had had her loyalty before and... I don’t know. It’s a lot. It’s a whole lot at once. 

And even though this is counter to my main argument, I’m getting really damn annoyed that every Batgirl and Batgirl adjacent character in the damn world has been featured now as a Batgirl or otherwise now except for Steph and Cass. Like. Why. What’s the point. 

DC’s Super Sons (2017-present) #9 Peter J. Tomasi, Jorge Jimenez, Carmine Di Giandomenico, Alejandro Sanchez, Ivan Plascencia

Super Sons wraps up yet another arc but this time around we have a bit of a juggling act being performed with the artist chair. This isn’t to say it gets completely distracting, but there are a few transitions that were not nearly as smooth as they could have been. I am more of a fan of books who switch artists at least attempting to maintain a theme, but as far as getting the job done story wise, Super Sons more than steps up to the plate. 

But of course that leaves the question of what I feel about the storyline and... I still enjoy it! I stand by my consistent criticisms that without Gleason, Tomasi tends to invest more in Jon being the Perfect Child foil to Damian rather than digging into his own insecurities and flaws, and that definitely applies here where he moralizes to save the day and also drops the very interesting thread of plot that actually had me hopeful that we would be seeing more angles to Jon’s naivety, what with the possibility of Damian finally revealing that it was Lois who asked Damian to befriend/train Jon all along, but does it work for having our two young heroes inspiring an entire future of heroes for a parallel dimension?

Sure! I would think so. It feels like Jon and Damian’s new friends and this parallel world are going to be the Legion of Superheroes to Jon’s Superboy which is honestly a pretty exciting idea and is neat to see in the context of modernizing an old idea with a whole new spin and within the current comic landscape. 

Or we’ll never see any of this again because comics do that sometimes. It’s hard to tell. 

Personally, I enjoyed the ending, even if it was mostly action and explosions, but it’s like I always tag here on the blog -- Every Story Needs an Explosion!

.... I also have a tag on this blog that is “Sun Bleached” for characters who are whitewashed and goddamn DC, you have got to get a memo out to all your colorists on rather or not you’re going to commit to Damian being dark skinned or not. And don’t think I don’t notice that he and Talia both shift between “white” and “brown” depending on the morality they’re showing at any one time. I’ve seen the panels of Batman #33. I see you. 

DC’s Titans (2016-present) #16 Dan Abnett, Brett Booth, Norm Rapmund, Andrew Dalhouse

I’ll be honest.... this wasn’t the best issue. And it’s not that it’s bad it was just that it felt entirely skippable. Young Wally shows up but we don’t at all get any time with him to have more than a surprised reaction -- there’s no time to see him mourn or get angry or anything. And the rest of the Titans don’t really have that time either. They’re just more angry than they had been in the last issue and... judging by solicits Wally’s going to be back so the emotional stakes and catharsis were pretty much all we had for this issue. 

Instead it was purely fighting and not really even fighting that came to a conclusive end. After all, we still have another issue to go and none of the possessed Titans were freed either. Instead it just leads to.... well an Evil Donna reveal which... I don’t know what that’s going to lead to because I’m still wondering what we’re going to be doing about Wally and Wally!

Overall I still like Titans but this is one issue that really gives me nothing to add or even to say that I haven’t mentioned in previous Roundups because, for me, this issue didn’t do a great job of adding anything writing or art wise. 

Just gotta wait for next month then.

IDW’s Transformers: Lost Light (2017-present) #10 James Roberts, Jack Lawrence, Joana Lafuente

In all honesty, the last couple of issues of Transformers: Lost Light have made me feel things that I haven’t since James Roberts’ “First Season” of MTMTE. It really, truly feels like he is back on his A-game and that we’re getting places where his original outline had us going before the whole Dark Cybertron stuff jumped into the fray. 

And if it wasn’t obvious from my Batwoman review, it’s because i really really love fridge horror and mind trips and just in general when stories shock me with where they’re willing to go with their characters. Because this is dark. Arguably this issue reveals itself to be darker than almost anything else that Roberts has shown us in his Transformers yet. 

Which, again, is saying something. 

And it’s darkness an passing a moral event horizon that is really necessary to get us on board with having Getaway and other mutineers as bigger villains than the likes of every other antagonist that the Lost Light crew has encountered so far. I mean, that’s a hell of a direction to take us and yet it’s managed because we’re now beyond just the hatred for what he did to Cyclonus and Tailgate, we’re down the moral sinkhole where his actions are not justified at all. Where you arguably could see the reasons for mutiny when they did so in the last arc of MTMTE. 

Now he’s just. Straight up a villain? Though that comes with some questions of its own because before he didn’t seem to be happy that the Black Block Consortia was going to destroy all of them. He jsut... wanted them to not be on the Lost Light? Or so I thought? He did call the DJD, but specifically he thought it was just for Megatron so idk. I literally don’t know but I’m fascinated to see things from Getaway’s perspective.

And speaking of perspectives, I already adored First Aid but he was so good in this issue, and this his discoveries and the further and the further and further down the hole things went from there felt like my stomach was dropping each time. To the point where I wanted to just scream “it’s a trap” multiple times. 

It’s just good stuff, I really enjoyed this issue and am on the edge of my seat for what’s coming up.

Lion Forge’s Voltron Legendary Defender Vol. 2 (2017-present) #2 Tim Hedrick, Mitch Iverson, Rubine, Beni Lobel

Okay. All my skepticism before, all my complaints, all my concerns that both art and characterizations were lacking in this story compared to the actual series? I take it back because... I had an absolute blast reading this issue. 

So along with our art change, we get something in this issue that we honestly haven’t even gotten from the series, and that is non-food related Hunk centric storylines with him being hailed as a hero to an entire species, having girl problems, and people literally fighting for the right to marry him. Even if those people are more like... sexy female Knuckles and Sonic. 

Anyway. This issue pretty much addresses everything I was worried that we were missing before. There’s a coherent plot with a clear need for the individual paladins as well as Voltron all together, there’s jokes but not so much at the expense of a character’s dignity, and Hunk... Hunk is treated better in this issue than he is for the majority of episodes for the last three seasons of the show and I’m genuinely kind of floored by this fact.

There’s a scene I absolutely loved where Hunk, baffled at his own situation, even goes to Lance and they have a whole page dedicated to their heart to heart. Lance ranges from jealous to sarcastic, to genuinely helpful and it’s the first time that any of the franchise has remembered they were friends and roommates first before anyone else. 

I was genuinely surprised with how much I enjoyed this issue and if I could give a reward for the single most improvement from one issue to the next it would go to Voltron this week.

Though I will say, c’mon artists, backgrounds are a pain but you have to treat them like your friends. You can’t rely on gradients 100% of the time.

So while there was some harsh criticisms I had this week, I think overall it showed to be a pretty good week for comics, and more than a couple of surprises came up to really make me sit back and reflect on things. But with little doubt, my pick of the week has to be Batwoman because that series and Marguerite Bennett just as a writer on her own have managed to really redefine a familiar character and make her story her lore, and her personality stand proud and alone from all the strings of continuity that has been supposedly holding her back for all these years. I absolutely love it and can’t wait for the next issue.  

And those are the comics for this week! Did you happen to agree with me? Disagree? Think I missed out on picking up a comic that was good? I’d love to hear your thoughts.

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Tesladyne’s Atomic Robo and the Spectre of Tomorrow #1 Brian Clevinger, Scott Wegener, Anthony Clark, Jeff Powell

To say I have been curious about how Atomic Robo was going to deal with the current political and scientific landscape is sincerely an understatement, because I have been just sitting on edge, wondering if we would be getting another historical arc or at least placed in the not-so-distant past for context. After all, here in America that hasn’t really been an anti-science climate quite like there is right now. At least not within my own lifetime. 

But, of course, I should have had far more faith in the foresight and boldness that Clevinger and Wegener have always shown in their craft. Which, of course, is a perfect description of their ongoing science-adventure epic Atomic Robo, because for as scientifically and fiction minded as the pulp adventures are, the fact that it is art is undeniable.

Art is about communicating concepts and ideas, and as scientifically minded as Robo and his team of scientists at Tesladyne may be, and as much as science based nerds like myself appreciate how the science is not bent or broken entirely for the sake of the storytelling, it is masterful at portraying science in a way that is accessible and, most important of all as it relates to Robo, humanizing. 

While it’s a slow start to this new arc, what really drives it home is Robo’s frustration and sacrifice for the sake of his dream, and how ignoring the human elements has allowed the politics and general climate of the world around him to drown out his work and inhibit him. Even if the only insight we get to the hurdles is his humorous annoyance with the desert’s self-proclaimed HOA that is between himself, Elon Musk, and Sir Richard Branson, the imposing and overly restrictive hold of Red Tape and permit seeking is imposing all throughout the issue, even for the major parts of it center more around the wily antics and return of young Foley. 

And of course, it wouldn’t be Robo without major hinting toward something larger and unexpected to come. 

It’s not the most perfect introduction to an arc, especially not for Atomic Robo which has at times had some of the most engaging first issues of almost any long form comic I’ve seen, we are talking about a comic where the electricity-driven skeleton of Thomas Edison is a villain. So it is just short of the high bar that it has set for itself, but even falling short Atomic Robo manages to be one of the best comics of a given week. That for me is justification enough for a solid 4/5 Stars.

DC’s DC Essentials Catalog 2018

Straight up, I am not a fan of Catalogues and I’m definitely almost never in agreement with the books they choose for each of the catalogue’s sections. So it’s not like I’m going to be less than truthful with this guy. 

But my harshness is probably best explained as to why I’m being harsh, after all most people would not care that much about what is essentially a free throw-in with someone’s pull list in the week. And, honestly, my answer there is that because it’s free, because it’s promotional and being pushed onto new readers, its viability as a good entry level or at least how helpful it is as a guide for interested new readers, increases exponentially here. 

So how does it work on that level, especially with the release of the Justice League movie looming over DC currently? How likely will this persuade a new reader to start getting more submersed into the comic books it’s trying to represent?

Annnnnd the answer there is not great? 

There’s a short comic at the start, introducing the Justice League and wow is it a testament to how out of touch the lineup is with the increasingly diverse culture of nerds and comic book fandom. Five beefy white guys, one white woman, and one black man. Like it’s seven years into the new DC Universe (technically) and you couldn’t trade anyone here out for some more, less milk toast characters by this point? Hal Jordan couldn’t be traded out for any other Lanterns at all? It’s annoying. And at least something the Justice League movie will be at least somewhat better at thanks to the very awesome casting of Jason Mamoa as Aquaman.

But that’s still only a small part of this issue. The rest of it, and by that admission the vast majority of this digital freebie is dedicated to the “essential reading” of DC as of 2018. And much like the lineup of their premiere team, DC has repeatedly proven in the last couple of years that they... don’t know what to suggest. Most notoriously there was the Essentials collection where they literally had a section for each of the male Justice League members and like. One book for Wonder Woman. That was embarrassing and if we had anything remotely similar it would be our first 1 star of the new rating system, but it’s honestly a much longer, much more thorough and comprehensive version of a reading list for DC and in that way, while still not a “standard” or “satisfactory” example of how to really capture the attention of new fans, and its choices aren’t always the most coherent alongside each other, it doesn’t completely fail at its mission by my estimate. 

DC’s Batgirl and the Birds of Prey (2016-present) #16 Julie Benson, Shawna Benson, Roge Antonio, Marcelo Maiolo

The Benson sisters already have to win me over after the first arc of this series which I found terribly disappointing so far as uniting the team that I know and love as the Birds of Prey and not really being on board with the last issue for all the reasons I said in this review.

So I was somewhat apprehensive from the start but, honestly, if you follow this blog for a while you know I’m a sucker for giant superhero team-up storylines and am really willing to hold my sense of disbelief a lot more than even what I regularly do for comics. 

....

So why are the villains of this team-up literally militarized paper feminists in.... well, in the United States the first thing that comes to mind when a lot of white people wear uniformed cloaks with hoods and masks is the KKK, of course these masks are old plague doctor masks that double for some kind of... gas. Okay. 

But like. Considering the current environment in not just the US but the whole world... just putting into words “the real problems in the world right now are radical feminists” here and having our superheroes literally say “Not all men in Gotham”... If I’m being generous this is a whole lot of shady and uncomfortable. If we’re not supposed to read deeper into this, then why the surface level imagery and blanket statements that so immediately bring to mind current issues. If we’re supposed to read deeper why does it feel so unrewarding with none of the characters having enough time in a team-up this large to really experience the events any deeper than surface level.

And there’s still not even a mention of how this event would effect trans men or women, or how this disease is even supposed to be effecting only people who identify as men to begin with. It’s apparently scientifically based according to this issue and the continued mention of medical investigation from Ivy and the villains themselves. If someone claims it’s due to the Y chromosome then trans and nonbinary people would be effected differently on a case by case basis, giving the medical community a pretty quick idea of what was happening. Not to mention that XXY women and men, XYY men, XXX women, and so on should be effected differently. Now I’m not expecting a comic book writer to write a genetics dissertation for research on a comic idea but if they want to be a mature or adult comic in subject matter, then high school biology should not immediately tear their entire plot apart.  

I just. Really feel like this book wanted an all-female superhero team-up and thought there needed to be justification for why the men weren’t around instead of it just.... being unsaid as to why there weren’t men on the team. And things have spiraled out from there. On top of that, the art is not strong enough to regain the things that are lost in what is a clustered and puddle deep storyline. 

These sorts of team ups are best when the subject being dealt with is not so politically or culturally charged, or when there is very clearly a reason for each of the present characters to be in the exact positions that they are in. And so far this crossover hasn’t really managed to believably pull this off. 

DC’s Justice League #1 - Justice League Day 2017 Special Edition Geoff Johns, Jim Lee, Scott Williams, Alex Sinclair

This issue is really a sampler for the larger issue that is Justice League (2011-2016) #1 which... I’ll be honest, has not aged the best of the Justice League origins that I commonly think of, and really the fact that this sample contains pretty much no Wonder Woman or Flash, it’s hard to really see why outside of this scene between Batman and Green Lantern which has become somewhat iconic in the superhero community, I don’t really get. 

I mean, the scene itself is so anti-climactic specifically because it ends with Batman stealing Green Lantern’s power ring to prove that Batman Is Always The Best Period. And if you’re of my persuasion in the comic reading landscape, that probably means you just rolled your eyes as much as I usually do at those sentiments 

This is probably okay for a new, entry level fan to pick up for free, but personally I feel like I’ve picked up this particular freebie now five times for different FCBDs or other marketing pushes DC has had in the past six years and it’s just not enough that I’d consider it worth more than sacrificing the literal $0.99 it would cost you to pick up the whole issue on the same website.

Viz’s My Hero Academia (2014-present) Vol. 10 Kohei Horikoshi

I have been making more of an effort lately to keep away from any spoilers to My Hero Academia, be it the anime or the manga, and while it’s not always the easiest thing to do on a content aggregator like tumblr, it’s an effort I’m particularly happy with myself for doing because I love this series. And one thing I love about this series is how it seems so familiar and yet, time and time again, I am floored by the changes and impact it makes through those choices. It’s honestly astounding. 

And for this volume, that wait is paid off because of the unique choices that are made throughout it in dealing with Katsuki Bakugo, Deku’s childhood friend and rival who seems to be, easily, the most surface level and simple of the class of 1A, especially among Deku and his friends, and yet is continuously shown throughout here to have something much better and greater about him.

And while Katskui and his choices which ultimately subvert and turn on its head the trope that he seemed to so easily be fitting into throughout the previous nine volumes of content are the most interesting and engaging storyline of this book, he’s by far not the only one to shine in the volume. Deku, of course, being our main gets lots of great moments and we get to see him really develop his skills  and instincts as a hero, but the entire gang of 1A classmates in this volume are really shown to grow from the characters we met back in the first volume of the story. They are reckless without completely losing sense and reason, they’re cautious without allowing written rules to inhibit them from what they know is right, and more than anything, they are all coming to recognize that something special in each other and especially in Deku and Katsuki which the two of them have been able to see all along. And it’s honestly all rather wonderful.

This volume also has more attention paid to the adult heroes and what they’re doing the serious responsibility they take in protecting and saving their charges. Which is a bit of superrealism sprinkled in this story that really elevates it above a lot of stories meant for young readers, especially shōnen. 

The art’s always great, the story is not like anything else you’ll read East or West, and there honestly just aren’t characters like this you’ll see in other stories all with as much care and development as they have in My Hero Academia and that’s part of why it is so special and deserving of 5/5 stars.

Marvel’s Old Man Logan - Marvel Legacy Primer Pages  Robbie Thompson, Andrea Sorrentino

Of the freebie samplers, the ones that I tend to be the most interested in, at least for this week, are the ones that offer something additional to the things we’ve seen before. And in the case of Marvel’s “Legacy Primer Pages” marketing campaign, that’s exactly what the aim to do and actually achieve. 

These are good little samples because not only are they uniquely written for this event and with this very intent behind them, but they are more importantly written by a writer I already really enjoy, Robbie Thompson, and all have different artists which not only tap into the style of the books being promoted bout also have a unique flare compared to the other “Legacy Primer Pages.”

In this case, I’ve never been particularly interested in the Old Man Logan books, as I’ve never been the biggest Mark Millar fan, but this is definitely a sample which gives me a good enough taste of what the universe is about and what Logan’s history is in it that I feel like I could readily pick up the next issue. I won’t. But I could. And that’s a delivery on the whole premise of the series. 

Even if it’s super annoying that these things are 3 pages long.

A star earned for each page, I say.

Dark Horse’s Overwatch (2016-present) #13 Michael Chu, Ryan Benjamin, Anthony Washington

It’s been far too long since I read a good comic with Ryan Benjamin on art, it’s been sincerely missed in my usual comic appetite. As I’ve gone over quite a few times, the Overwatch comics Blizzard has been putting out has really gone the extra mile in helping someone like me who likes Overwatch but doesn’t really play the games to feel really immersed into the world they’ve created. And it’s in that way that I really enjoy reading these.

This whole issue seems a lot more plot driven than the rest of the comics, it seems to be in the present timeline, it’s showing the moves being made by the Talon operatives after the events we’ve seen unfold in previous issues and in the cinematics Blizzard has provided. And just overall it seems to have a much tighter schedule with a lot more direction than what has been expected.

It’s a little concerning to me that so many of the Talon operatives are heavily pulling from the more diverse characters in the franchise, but that’s not something I suspect rests squarely on the shoulders of this issue, obviously, but it is something I can look toward the writer of this issue, and the overall creative head of Overwatch’s story as a whole, Michael Chu. And with Chu writing it also makes sense why this feels a lot more plot driven. 

All fo this aside, it’s a very nifty, very cool spy thriller from the perspective of the team of Bond villains, which has tight control of the characters and dialogue, and a wonderful use of a great artist whose style is fun yet very believable and action oriented. 

Marvel’s Runaways (2017-present) #3 Rainbow Rowell, Kris Anka, Matthew Wilson

When you’re really analyzing and critiquing something, one of the things you have to ask yourself is what more could I ask of it? And I think when you’re torn about your personal, subjective impression of something and the quality of what you’re looking at, it’s important to ask that question and really analyze how much of a difference that can make. 

For me, that question is particularly interesting in Runaways because while I’lm personally fairly new as a fan compared to some, I am still someone who has read through and fully submerged myself into the history of the characters up to this point and have a vested interest in seeing how they end up as characters and as a story outside of just “where are they now” more than just someone who was being newly introduced to these characters from this issue forward. And in that way, I can honestly say that Rainbow Rowell and Kris Anka have put together one of the most beautiful, slow paced, and yet completely rewarding personable comics I have read in a long time.

There’s not a lot of action, there’s an ongoing plot and a sense of danger and risk for our heroes, certainly, but at the end of the day the driving force of this plot and this narrative as a whole is and will remain the question “can they still be a family?”

And in that way, as much as my apprehensions remain, as much as my personal biases on where characters should go or should have gone, are completely overwhelmed by how much thought and care is put into every conversation, every action, every beautiful panel of this comic. And it is also in this way that I am just so blown way and impressed by the insight this comic has.

There are nitpicks, like I think that Karolina should have probably been more receptive and affectionate with Gert even through her surprise, but it’s hard for me to get nitpicky when I’m just so glad a book so much as exists, and can say it’s one comic that I look forward to immensely each and every month. 

Definitely glad that this comic is continuing to earn every ounce of my support, 5/5.

DC’s Superman - Action Comics (2016-present) Vol. 4: The New World Dan Jurgens, Patch Zircher, Ian Churchill

I remember back when I was reading every bit of comic book criticism and review that I could find a few years ago, one analysis that I found profoundly changed the way I evaluated comics and how I chose to consume them, was coming across an analysis of the culture around comics, and that was that for most committed comic book fans, which I most certainly qualified as, aren’t really focused looking at individual comics as narrative fiction, but like reading a newspaper, keeping peripherally aware of things that are happening within a given universe.

Now, the crux of that analysis was that readers who do this should stop and not feed the beast, opting instead for comics which are wholly good and further narrative and critical thinking. 

But, I’ll be honest. I don’t really look to do that with comics either. I absolutely understand and support using comics as a means to relax, a comfort. A romp. And if you read certain comics like newspapers.... hell, you’re still reading more than like half the entire planet each week. I don’t read the parts of the newspaper I don’t have an interest or investment in, and I don’t read comics I’m not at least interested in as well. 

I just drop them and stop buying them. 

But there are hundreds of comics published every week in America alone, and to buy and keep up with all of them on an issue-by-issue basis, especially if the vast majority are “standard” or lower, doesn’t make sense to me. If a comic isn’t something I “have” to have each week, I move it to a trade wait and buy it that way. And I go over this now not because I want to convert everyone to my way of reading comics, but as an explanation for why certain comics I’m obviously enjoying are moved to this latter experience compared to their “peers”

For me, the events of Action Comics was something I was peripherally aware of through other comics and context clues, but wouldn’t read for myself until I got enough of a story to really sit down and read all together. 

Which is a good thing, because as with the common theme of this week, long form arcs are super difficult to do well and so it’s more powerful to read a whole story together once it’s done. Action’s “The New World” story does that, but what it does even more than that is it reestablishes a context for the Super Family in the Rebirth universe. 

The start of this issue, really the entirety of the first issue of this arc, is dedicated to showing us the new timeline with retconning the older Super Family and Jon’s birth and growth into the current DCU events. And this is one of those issues that by itself, if I had paid full price for what ended up being a wiki entry to the new universe, I probably would have been super ticked. But in a volume like this, with a whole new story set up by it and cause for moving forward, I find this to be a really good way of telling new readers and friends interested in Superman to read this volume and get a small history for context before moving forward.

And let me just say, as confusing and over the top as the Superman mythos has gotten in the past six years? This was a good call on the writers’ part here. Even if I think that first issue definitely suffers from exposition fatigue. 

Now, unrelated to my scoring, I will say that this does upset me as a long time Superman fan because they bought back one of my absolute favorite characters from the previous universe, Chris Kent, but then completely undid everything lovable about him, made him a generic looking foil badguy to Jon’s Superboy, and for the time being seem to have no plans on having his heartbreaking and heartwarming story of finding an adopted family that loves and accepts him in Clark and Lois be revitalized and used to really meaningfully change the bad handling he received less than a year after his invention before. And it’s really disheartening and depressing on a fan’s behalf. 

All that said, this is a solid comic and a pretty easy jumping on point for new and old readers alike. It cleans up a lot of the continuity confusion that has been brought on in the last two years for the Super Family, and gives us a lot of solid team ups within the family. So for me, this is a good 3/5 stars.

IDW’s Teenage Mutant Ninja Turtles/Ghostbusters II (2017) #2 (of 5) Erik Burnham, Tom Waltz, Dan Schoening, Luis Antonio Delgado

Sometimes you enjoy a property so much that it becomes difficult to look at it with fresh eyes, and sometimes even worse that leads into a point where it takes a very special, a very extraordinary talent to come by and present you with something from that property that not only feels new and refreshing, but in many ways can almost feel like it’s a coming home of sorts. 

When I read Burnham’s Ghostbusters or Waltz’s Teenage Mutant Ninja Turtles, I genuinely feel like it’s coming home to two of the teams that kind of helped me, like they helped a lot of kids, grow a real sense of self and exploration from a young age. There’s a line that’s sometimes difficult to explain to people when it comes to fiction but especially with comics and something as outlandish as the superhero and sci-fi genres, where the line is drawn between things that push the line for things to be ridiculously stupid into ridiculously amazing, but I think if there’s any comic that I would use it could very well be this issue. 

The thing is, I mentioned before how I try to always think of a comic as being someone’s very first, and whether or not that would really provide them with anything that would entice a new reader to continue on. But I think there’s another perspective on that which can be just as relevant. And that would be the complicated question, if a comic has already found its audience, can it continue to reward and interest that audience?

And while I would always warn new readers when a comic doesn’t really meet the prior on average, I’m also comfortable with approaching a comic that knows its audience and, as a part of that audience, evaluating what I have gotten out of an issue. In that way, I feel like Ghostbusters/Teenage Mutant Ninja Turtles II is able to tap into something even decades-spanning properties like DC and Marvel are always juggling and struggling to maintain. It has an audience that Burnham and Waltz have personally been entertaining for almost a decade now, and so their main interests now are in rewarding those fans with the most payoff, the most development, and the most new spins on familiar faces that they can possibly give. And I think this is just another in a long list of examples of how they do that incredibly well.

This isn’t the only comic this week which is in the middle of a story, obviously, but I think of the available comics this one does the best job of doing something that I look at when examining an issue on its own. I ask myself, going into this issue from the last issue, what stakes are there and where (mentally or physically) are all the characters when the story starts, and do those things change by the end, and by how much. Sometimes, in a weak and drawn thin premise of a comic, those things don’t move the dial for the three or four middle issues that the story has, and it’s one of the reasons I am incredibly critical of long, 5+ issue storylines. They very rarely seem to fully payoff for what time and effort you invest in them by this measurement, especially in those middle issues.

Ghostbusters and Teenage Mutant Ninja Turtles are not those kinds of series, and their crossovers reflect that comfort that their teams bring to the table for these events. There’s an understanding of how much change is needed to reward the readers, and even if this is one of the incline issues taking us on our way to the climax very early in the story, it still manages to focus on the things we need to change within an issue. 

In this case, that is character development and it’s something that these creators do fantastically well even with a huge ensemble cast. We have a lot of touching and vital moments for each of the characters, seeing the different groups bond and play off each other. It’s more than just the eggheads, the leaders, the comic reliefs, and the hotheads (respectively) together, it’s about taking those personalities and having them play off each other in a way that makes the characters reflect on themselves and the issues they’re not addressing in their personal arcs without being heavy handed. 

Basically, if I could, I would teach a graduate level course on how these IDW comics understand how to make an ongoing comic’s individual issues maintain story structure while still contributing to an overall narrative. 

It falls short of perfect, I still think it would be very difficult to tell someone new or fledgling in either property to pick it up, and I think that for a lot of people waiting each week, even it’s only a week, can be difficult with the price of comics these days, but it also feels so completely worth it for those of us already on the train.

DC’s Titans (2016-present) #17 Dan Abnett, Minkyu Jung, Mick Gray, Blond

A lot of people over the years have come along to debate me on my assertion that monthly comics should fix their publication method or write comic arcs to be four issues or shorter, and while that’s never been a position I deter from it’s one I am more than willing to hear other opinions are. There are good examples of stories that go on for longer. 

But most of the time they don’t. And you end up with pretty run of the mill issues that take up the majority of the middle of the arc and more take away from the momentum of the storyline that had been building than anything else. This isn’t a complete condemnation of this arc, but it is a point I’m willing to stand on for this issue. 

We start this issue with the exact same circumstances that we ended it in. Wally I is dead and Wally II is... around. Evil Future Donna reveals herself as the leader and the ultimate betrayer (more on that in a second). Mel and Gnarrk are still mind controlled. Other villains from the Titans’ pasts are also fighting for Donna. 

Annnnd that’s it. This is the ultimate example of a filler issue that takes away from the momentum that had been building the entire time before all this happened. None of the characters are in a drastically different place, none of the personalities are changed, none of the circumstances are changed. t’s a lot of exposition and evil pondering that gives us... what is basically the cliffhanger from last issue -- is Donna evil? Will Wally live? 

The stakes have not changed and thus this issue doesn’t add to the story. If anything, issues that pull stunts like this, basically pushing the pause button for another month, add to the reputation comics have that they have no real direction or conclusion to offer, that they just are endless cycles of the same game. And I’m saying that as a fan of not only comics, but of this series and this storyline. And it really doesn’t help its case that it all but flat out states a reference to “Who Is Donna Troy?”, a storyline that on one end of the spectrum could be a perfect example of a one-shot story that is self-contained and gives a change to the narrative and characterizations it touches... and on the other end of the spectrum is an example of convoluted retcons, disappointingly missed stakes, and a generally forgettable multipart “epic” that bit off more than it could chew. So we really could be barreling toward one side or the other. 

For what it’s worth, I’m not at all saying that this is a terrible issue, but it’s a perfect example of why my skepticism toward comics which stretch stories to 6 issues or longer has grown as thick and impenetrable as it has. Issues of a comic series, like episodes of an ongoing TV show, are best served when you can either watch them on their own, or have demonstrably changed the stakes from the start of the issue/episode to the end, making it matter whether or not it is placed before or after the previous part of the story. 

It also doesn’t help that this is the third-ish twist on the “Who Betrayed The Titans” thing they’ve had going for this story arc which has.. basically just been using as many twists as possible to try to combat the Information Age and how covers and solicits are released months in advance, making the element of surprise so questionable. Why else would they throw off the trail by having the traitor be Lilith and then maybe Dick and then maybe Roy and then, oh wait all the clues and lead up had been red herrings it’s Donna.... from the future... who turned evil because everyone died.... and now she wants to kill them earlier... Oh, comics.

On its own, this comic is a solid, standard issue, 3/5, but it’s going to contribute to the overall story arc feeling lax in pace and honestly stretched pretty thin in order to make it to that oh-so-desirable trade length.

IDW’s Transformers: First Strike (2017) #1 John Barber, Guido Guidi

It feels like over the past two years, as I’ve excitedly expanded my library for the IDW Transformers comics, I’ve had to deal with the ongoing struggle of following my favorite characters as they jump around between the various titles, and no two characters probably personify that more than Arcee and Kup right now. While I haven’t picked up Revolutionaries yet as I wait for the trade, I’ve enjoyed the general premise of the book from a distance and wondering if/when we’ll get more tie-ins to Sins of the Wreckers, which is where my love for Arcee and Kup has really been fostered. 

This stand alone issue for First Strike is in itself fairly interesting. Even without a lot of the background from Revolutionaries or even the more recent arc of Optimus Prime, I followed the characters and relationships pretty easily. A good part of that is thanks to how John Barber’s consistent voice across all of the Hasbro line of properties has led to a real feeling of being able to follow the characters first and filling in for the storylines after. Which is a really good note for a multi-series shared universe like Transformers (and many other IDW properties) have become.

But that doesn’t entirely make it an easy read for newcomers jumping into the adventure. There is a lot with Blackrock and that whole nonsense (aka the main crux of the issue) that was really lost on me, and that cheapens the issue significantly when it goes for a “power of friendship” basically ending like this one does. It’s something that may very well easily be rewarding for more avid followers of the Revolutionaries storyline but not so much for my own limited perspective. That’s not necessarily a problem with the issue so much as it is for me.

What is a problem for the issue is the more inconsistent aspects of the art. Now, any Transformers fan is probably pre-packaged with a high tolerance for inconsistent proportions. That’s.... just part of the deal when you’re a Transformers fan. But even with that in mind, the changes characters would have with their sizes in this issue was really getting to me, especially with the humans serving as a consistent marker for height throughout. 

I also felt that while the character art wasn’t bad, the tones and colors felt too bright and inconsistent with the surroundings, often not shifting shades even as the environment changed, which probably speaks more to the amount of time crunch here and not the actual quality of the digital colorists. But it is still pretty distracting even if you can’t exactly put your finger on why the characters seem to stand out so much to you as you read. 

In general the issue is standard in a lot of ways, so I can’t say it’s the sort of jump on point that if you don’t love Transformers already you’ll be jumping over the moon for or something. It’s a good stand alone for a larger appreciative whole. And for me that’s a pretty solid, if just below exceptionalism, 3/5

Hey there! We finish up another pretty stellar week in comics with lots of stories and characters, and another pretty great time from yours truly. And if you enjoy these write-ups or anything else I do whether it be the Roundups, my Rambles, my personal creative projects, or you’re interested in my upcoming podcast, you can help contribute through donations to my Ko-Fi, Patreon, or PayPal. For as little as $1 per project, you make all of this possible.

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Marvel’s All-New Wolverine (2015-present) #25 Tom Taylor, Juann Cabal, Nolan Woodard

Will I ever run out of good things to say about All-New Wolverine? No? Good. I wouldn’t want to be dishonest and that would be the only way I’d have negative things to say about my love for this series.

Story: So believe it or not, the relationship between Daken and Laura is something I have desperately wanted to see more of. In the Daken/X-23 crossover they had a few years ago, I really felt like we got somewhere with their relationship, and the bits and pieces since then have really helped my attitude only grow stronger on the subject. So seeing Taylor hint at it growing more in the last arc, and knowing it would be delivered on in this arc has me SO excited about what is to come. 

You know. When Daken is around for more than an awesome bar fight that... leads to his dismembered arm being hung from a bridge. THAT old plot device. I’m a little sad to see that Gabby is being left behind (especially since her outfits never cease being adorable and hilarious) but knowing that we’re dealing with Mutant Bigots this time around somewhat made me appreciate that decision. I worry way too much about Gabby to take that at face value.

And then that cliffhanger hits like a freight train and it’s like WHAAAAT. But no like what. Oh my god. Is this real? I know we have to wait a month but. uh. Kudos, Tom Taylor. I am not often surprised by characters seemingly returning from the dead anymore. To say this was not expected is VASTLY underplaying my shock.

Art: There have been a lot of great artists on this title and I don’t think Juann Cabal is an exception to that rule. He has solid character art, lots of good control of backgrounds and paneling, and got pretty inventive with combining flashbacks with Laura’s current travels and actions. And the bar scene with Daken was just fantastic all around like, a simple but highly effective action sequence and I’m really excited to see what action he’ll draw Laura herself in as we carry on. 

Marvel’s Amazing Spider-Man: Renew Your Vows (2016-present) #12 Ryan Stegman, Brian Level, Jesus Aburtov

We wrap up another storyline of what has quickly become my favorite Spidey series of the ‘10s and it comes with highest of highs and lowest of lows. And lots and lots of adorable hugs.

Story: I was concerned that with the pacing we had had for this storyline up to this point that there would be a lot of things that would have to be knitted together a bit too tight or not at all, and that definitely seemed to be the case. We flew through this issue with revelations hitting in waves. Ms. January was the villain all along, Normie is suddenly a perfectly normal kid who was just misled, the symbiote is removed from MJ using sonic waves, Annie saves her parents, and just overall there was a lot that happened within this single comic. It all made emotional sense, and the hug between Annie and Normie at the end, bringing their family feud at last to an end, felt completely right. 

I liked small callouts like having Liz be the parent Normie needed, the X-Men coming to help the Parker family, and the amazing banter between MJ and Peter, but I think because there was so much fit into this last issue there felt like a bit of continuity bending to make logical sense where the emotions didn’t quite carry us. Like Normie’s... complete change in character. And Ms. January’s apparent obsession/love of Harry and need to avenge him. These things make sense if they fed into each other -- Ms. January’s influence inspiring Normie to cut his mother out of his life even more than she had been already and then feeding him more and more hatred toward Spider-Man by saying that it was his fault. But that doesn’t make so much sense with what we read in the issues before, specifically the issue where Normie took up arms to protect his company and revealed his backstory through his own internal monologue and flashbacks. 

So while this confrontation has been 12 issues in the build up, the resolution mostly came... only from this issue. Maybe the last two issues, too, if we’re being generous. 

The epilogue confuses me. It feels like Renew Your Vows is trying to wrap itself up and yet I know from solicits that it’s not, but we are justifying a timeskip to eight years in the future so that artists have an excuse to draw a teenage girl in a tighter costume --  I MEAN BECAUSE THEY WANT TO TELL MORE TEEN ORIENTED STORIES OBVIOUSLY. But I worry that this change is going to make what has been a unique take on the Parker-Watson family and turn it into Sider-Girl Lite, which is unfair to everyone all around. Also were they... not operating for those eight years? Why is the new costume a big deal for her eighteenth birthday? How much sense would it make for them to just... suddenly find a way to stop Annie from going out as a superhero with them when the whole point of the past 12 issues is that they couldn’t. 

What about Dr. Connors and his son? What about Annie’s additional precognitive powers? Did she end up going to the Xavier institute? 

I feel like I was asked to bite off a bit too much in this issue, and as much as I enjoyed it and enjoyed this series, I feel this is a rare storyline where I actually would have preferred an extra issue to set all of this up.

Art: The art is beautiful. Soft and textured but also sweeping and animatic like you would want for any good Spidey story. And considering that there has been a fair rotation of art teams on this book since the first issue, I really appreciate how much they worked toward giving the book a consistent style of its own. It was neat and helped even artist style changes feel coherent still and I’m really interested to see if this dedication to that continues, especially since the epilogue appeared to have a different feel to it. 

It’ll be interesting to see next month either way. 

DC’s Batgirl and the Birds of Prey (2016-present) #15 Julie Benson, Shawna Benson, Roge Antonio, Marcelo Maiolo

Well, I’m sure for 99% of you this is an unexpected addition to the roster. For those unaware, I have put the first volume of Batgirl and the Birds of Prey on blast on my personal blog @renaroo for having some things I consider to be insufferable in regards to the handling of Barbara and specifically the consistent villainization of Oracle. Which you know, I’m about sick of. 

So why am I picking up BoP now? Simple: Cass is going to start appearing regularly beginning with this particular storyline and I will support her here since for finances I’ve had to move ‘Tec to trade wait. 

and oh boy. This is. Something.

Story: So there’s this old episode of the animated Justice League series where an Amazon OC standing in for Donna Troy unleashed a plague on Earth that only affected men and it was putting all men in comas and the such and it left the only two women of a seven-person Justice League because of course there were only two women to deal with it and save the world... well half of it. It was broad strokes of feminism as written by men which included Diana being the strawwoman feminist who couldn’t understand if losing men (including her friends???) would doom society and Hawkgirl being the relatable cool egalitarian alien bird woman to be all “guuurrrrrlllll you need to respect men more”. It’s like. The episode i remember the most from my childhood and I hate it with the burning passion of a thousand suns. 

Apparently I’m not the only one who remembers it however because that... that is the plot of this storyline. I don’t know why they couldn’t just bring back the ebola plague from Batman: Contagion which was a legitimately good storyline I like but we’re doing the... gender specific plague. 

Are they going to address trans men and women? How is this disease preying specifically on men? Is it magical in origin and that why it follows no rules? Why is Lois here? Is Wonder Woman here just because of that Justice League episode? 

I don’t know. 

I appreciate that we didn’t waste a whole lot of time with Batwoman’s squad duking it out with Babsgirl’s squad over whether or not antiheroes who.... one of which she’s worked with before and... another of which she knows for a fact is... engaged to her cousin. But whatever. Also Steph in her post-Belfry uniform is... going along with this okay. I’m picking too much but there’s a lot of what in those four pages.

I do appreciate that the dialogue seemed to match everyone’s character very well, and Oliver and Dinah were hysterical and lovable together. .... But damn is it difficult to wrap my head around Babs’ character anymore. Like literally falling to her knees and tearing up begging Poison Ivy (who she was friends with in the previous BoP???? which is sitll canon bc they bring it up???) to help because “people she loves” are affected by the disease like. It’s the antithesis of the Babs I knew and was familiar with and admired in the day but. I guess that’s the Babs we have now. And I’m just... supposed to roll with it I guess. 

Also enjoyed Helena being a teacher again, that was awesome. Even if her calling up Dick instead of Babs was... still difficult to process but whatever. 

Art: It’s good! Really consistent, the lineart was sometimes a little softer than I prefer, but there were varied bodytypes and lots of good action sequences handled concisely enough that it didn’t feel like panel space was wasted. I really enjoyed it overall.

Marvel’s Captain America - Marvel Legacy Primer Page Robbie Thompson, Valerio Schiti

I have been pretty vocal in my disdain for how Marvel has handled Cap for the last two years and I join pretty much everyone in a chorus of “how can you misunderstand something so bad” but at the same time I’m... just tired. And it’s hard to even be excited at the fact that the reign of Spencer is over because it feels like the enjoyment and interest I’ve felt for Cap for all this time is simply used up. which is why a primer like this is really something that I needed. I needed to see a reminder that Cap punches Nazis and Hydra and Marvel -- or at least some people at Marvel remember that still. I don’t want that history gone, cosmic cubed or otherwise. And given Waid and Samnee’s interviews it seems they’re going to push for just that. 

Here’s hoping they accomplish it because even these three pages of Cap acting like Cap again was enough to make me smile at least a little. 

Marvel’s Guardians of the Galaxy - Marvel Legacy Primer Page Robbie Thompson, Marcus To

If I was going for snark and snark alone here I would begin and end this with “why is Scott Lang here” because no really why is Scott Lang with the Guardians of the Galaxy. And it’s something I shouldn’t be asking because I really have still -- even in liking the movies as much as I do -- not found myself any more persuaded to read into the space opera stuff over at Marvel. It’s just not something I want in my life right now. 

Marcus To’s art is very nice, though, and usually worth it on its own. Even if I’m beginning to notice a touch of samefaceness in the art style At least it’s a very pretty face. 

Marvel’s Immortal Iron Fists (2017) #6 (of 6) Kaare Andrews, Afu Chan, Shelly Ghen

Immortal Iron Fists has come to an end and I’m both saddened and yet incredibly enthusiastic about how everything turned out!

Story: So I feel like it should not have taken the better part of 5 issues for me learn that Pei and her friends are sixteen and not... middle schoolers despite how they were drawn and how they acted as way way younger than that. But the more I thought about it, the more I realized that... it’s not that they’re drawn or written younger, it’s that it’s that unusual to find an American comic that actually shows teenagers appropriately and that helped me gain a whole new respect for a series that I was already very much enjoying.

Everyone coming together and remembering Pei for the impact we have seen her make in their lives, Pei fully realizing her power as Iron Fist, and the general fun of a huge climactic battle that was a three way fight between Pei, demons, and the Mother of All Dragons is probably one of the most bombastic that can be asked for. And I love that Brenda made a comeback after her truly terrible exit from the finale of Immortal Iron Fist under Andrews, but at the same time don’t... really care for how it wasn’t set until last issue. 

All the positives of this story almost make me overlook the unnecessary, though appreciably subverted, kiss of life Pei gives her guy friend and I love that Danny, man serial dater that he is, is flumexed by this turn of events. 

Everything is fun and delightful and I really really appreciate how dedicated this comic was from beginning to end to be Pei’s story and not letting that focus escape it the entirety of the six issues. 

Also Brenda flying off on the Mother of All Dragons at the end and being like stfu Danny you ruined a good thing was hysterical and I loved it.

Art: There was definitely more production in this finale There seemed to be a lot more variation in coloring and textures, and even the characters seemed to keep almost perfectly on model the entire time. The one distraction of note, though, was that Pei... developed more into a traditional teenager look by the end... by which I mean.... boobs are now a thing and I’m not sure if it was just that she wore thicker clothes throughout the story or if it was because much like myself, the art team realized last issue for the first time that Pei was a sixteen year old and not... twelve. Anyway. It was a little distracting, but the increase in panel variation and high number of action sequences definitely made the story far more fulfilling in my view. 

DC’s New Super-Man (2016-present) Vol. 2: Coming to America Gene Luen Yang, Billy Tan, Viktor Bogdanovic

After what felt like a long wait, we join Kenan and the rest of the Justice League of China once more on a bombastic quest as written by Gene Luen Yang. And much like last time, the results are rather unexpected and honestly kind of remarkable.

Story: Going off of my experiences with Yang’s work, I really feel like his passion in storytelling lies in finding the balance between the question of identity and how identity is formed by the cultures that nurtured us and how it is formed by the influences of the cultures around us. I think that was the main focus of American Born Chinese but it really is beginning to shine through Kenan’s adventures here as the New Super-Man and how much of the titular’s character is being drawn from the two huge influences he is feeling -- the pressures and dangers of the Chinese government and culture, and the admiration and sometimes oppressive shadows of the American culture that he is both attempting to copy as Super-Man and attempting to circumvent by finding the focus of his powers in Chinese philosophies and values. 

And I think that’s where his supporting cast -- Wonder-Woman and Bat-Man and now also Avery Ho’s take on the Flash -- are really coming into play. While Kenan is being torn back and forth by his responsibilities and his bombastic self-absorption both in his internal conflict and his external conflict of learning the truth of his parents, we are getting a broader exposure to what being a superhero in China means as opposed to the normalcy we’ve come to expect from Western comics. 

Bat-Man is just as influenced by his family as Batman, but the pressures are more in the focus on building his exceptionalism and in differing from his sister on whether to stay within a system that robs children of their childhoods and individuals of their sense of self, or to find purpose within that system and excel based upon the traits which only he can bring. 

Wonder-Woman, like Wonder Woman, is derived from myth and legend but instead of a Western legacy, it is purely Chinese and her alienation and stand offish nature initially toward the rest of her team only makes that much more sense given what has brought her to her current state. She is a myth, a legend herself, but she is nearly forgotten by the current times -- Kenan even has to be told the story of her origins by Bat-Man -- and her finding the will to fit into a China that is so influenced by external cultures and influences are a struggle we’re only now beginning to appreciate. 

And finally, with Flash, a Chinese-American, we’re going to receive yet another wild perspective, and considering Kenan’s already developing friendship with Avery I imagine that this is a perspective that will only receive more focus in stories to come. And I perceive that Yang’s inclinations to reference the struggles of culture and self-identity are going to be explored further here.

All around i greatly enjoyed this volume and am looking forward to the continuation now that Kenan has finally learned the truth about his family. There are a lot of interesting new angles to explore and I hope we do just that.

Art: The art is really reminiscent of Greg Capullo’s run on Batman, but has a whole lot more color and variety breathed into it which I personally really appreciate. The colors do a good job of presenting the differences in everyone’s base personalities and also makes the action sequences easier to follow even as the action itself becomes increasingly complex. The page layouts were fairly reserved considering the DC standard lately, but I personally appreciated it because it kept the focus on the storytelling and in doing so enhanced the nuances therein. 

Great work all around, and yet another enjoyable volume. 

Image’s Rat Queens (2013-present) Vol. 4: High Fantasies Kurtis J. Wiebe, Owen Gieni, Ryan Ferrier

I only recently jumped on the barge for Rat Queens and I’ve been more than happy with the results of caving to the advice of many friends. Because what is better than female-full cast of hilarious and dramatic DnD like adventures with more swearing than a naval ship? I gotta say, not much!

Story: So compared to the previous volumes, I actually found High Fantasies to feel like it had a lot less at stake. Although part of that may just be that I was somewhat anticipating a Betty-centric volume finally to elevate her out of being the shroom eating comic relief and bring more of the assassination attempts and her outlaw past into the forefront. And that’s clearly a problem of my own expectations and not necessarily the story’s fault itself. That said, the focus on Vol. 4 being on a gender bent loser version of the Rat Queens was pretty funny but also not something I would have thought carried enough weight to pivot as the main plot, but that would be just me. 

I do appreciate Braga being in a larger role this time around, and really I wish we could see more less human creatures on the roster in general. It was also a huge heartwarming feeling to have Hannah more comfortable around her Queens and even showing some horns now and then in public. It feels like a huge progression of her character, even as she spends a fair amount of time earning the girls’ ire and.... walking in on naked mayors. As you do.

Basically Vol. 4 isn’t as character centric as the previous volumes have been, but it is a great adventure that feels like a good ol’ fashion DnD campaign with the friends you love at the helm and for fantasy nerds like me that’s more than enough to bring me back into the story.

Art: The art is always spectacular with Rat Queens, but I did find  that this volume -- mostly as a result of not going to as many unestablished and important/original locations, did have a significant lack f inventive background use. That’s not always a slam on art, really the art was very good, and I actually am just... happy to not have Upchurch as the artist, honestly. That alone is worth three and a half gold stars. Though the whole controversy there is still my largest apprehension with the series at this point. 

DC’s Red Hood and the Outlaws (2016-present) Vol. 2: Who is Artemis? Scott Lobdell, Dexter Soy, Kenneth Rocafort

Okay who authorized this? Who made this comic exist and who made it be actually good?? Because I didn’t and I feel offended at the amount of emotions that were forced upon me in this single volume of a comic written by Scott friggin’ Lobdell of all people. You couldn’t have told me a month ago that I would be enjoying anything that was remotely connected to Scott Lobdell and expect me not to laugh hard enough I’d bring myself to tears. 

And yet here we are.

Story: Having learned a bit from how lackluster the attempts of balancing the concentration of the narrative was for his previous incarnations of the Outlaws, Lobdell somehow learned how to, y’know, write an ensemble narrative that is still heavily Jason Todd’s perspective, but does not lose any opportunities to expand on or even concentrate on the stories and character development of Bizarro and Artemis. oth of which are shockingly well handled and shockingly controlled, well paced, and interwoven into each other’s stories. 

Like legitimately, did someone nab the Lobdell who wrote decent 90s Marvel comics and put him on this project? Because that feels like the kind of bizarre logic that would seem acceptable at this point.

Now, of course, it’s not perfect. Far from it. But at the end of the day we got an intriguing ongoing story, a team building exercise, Jason’s internal struggle personified both through his inner monologue and flashbacks, but also moments like his sparing of Bizarro whic not only didn’t have overly wordy exposition bringing attention to it, but was strong enough and meaningfully enough that from it alone we could see what Jason couldn’t: he is not as lost, he is not as amoral, and he’s not as cold as he has tried desperately to prove himself to be.

I actually found the take on Artemis and the Bana Mighdall pretty interesting in this retelling, and I like that we have a rogue Amazon as a new enemy for the team. 

I can’t believe I’m saying this, but I’m super excited to see what will come after this. 

Art: There was a range of artists, which is fine, the industry standard of pushing out these comics with the turnaround that they do does cause some disconnect, but for the most part an artist stayed for at least the completionof their storyline and then she was. And overall the trade still fel tconsistent, with some artists just standing out more than other. 

Marvel’s Runaways (2017-present) #2 Rainbow Rowell, Kris Anka, Matthew Wilson

The new run of Runaways absolutely blew me away last month by shooting any and all expectations I had right through the skylight and beyond, so a good premise with beloved characters and a set in conflict really leads to a question of how do the pieces fall in order?

Story: I absolutely adore how Gert being the heart and glue of the family is being so blatantly emphasized throughout this (and that Old Lace is back). I also love that... honestly the trauma and lingering horrors Chase and Nico have survived in particular are being treated as real and damning in the eyes of someone who knew them only two years ago already. But most of all I love the emotional balance. Gert’s anger and disappointment are justified, but her crudeness and accusatory nature are also clearly shown as being wrong and too subjective. The important thing to her, and thus to the group, is to come together again. And I love that it is her prime motivation through and through. 

That all being said, after such a bombastic first issue, it was a little difficult to have the momentum come to a halt so quickly. I don’t want to be taken wrong, I love issues where comics take their time and really meditate on the characters, their reactions to evens former and to come, and really develop relationships and the such. But it does feel a little unnatural to have that only two issues in when the previous issue was SO incredibly packed. 

I’m still fascinated with where we can go from here and very excited to see that Victor, Xavin, and Klara might not be destined to eternal obsecurity like I assumed when the book was first announced. 

Art: Honestly I’m still amazed at just how fantastic the art really is in this comci. .It’s SO good and the designs for all the characters are simply gorgeous. Though probably the best thing about all of it is the great coloring we see done here. Top notch. 

Marvel’s Spider-Man - Marvel Legacy Primer Page Robbie Thompson, Valerio Schiti

I think I know less about what Marvel plans to do with Miles these days than Marvel knows what to do with Miles, which is horrifying because I just set that bar about as low as it could possibly have gone. But we.... have Rio Morales back which is the big reason I stopped keeping up with Miles to begin with so yay? I don’t know. 

I feel like this primer is actually aimed at fans like me who got off the wagon back when the Ultimate title lost most of its steam both from killing off too many of Miles’ personal supporting cast and becoming too much about tertiary cast’s origins and then Peter Parker returning to life and stuff’s weird. This feels like a big neon sign that says “Things are back! The origin’s the same! Do not look behind the curtain!” It makes me curious but also apprehensive at the same time. 

also can we get robbie thompson to write miles’ book and bendis let someone else write some books already jfc this was such a relief. 

IDW’s Teenage Mutant Ninja Turtles Universe (2016-present) Vol. 2 Nick Pitarra, John Lees, Brahm Revel, Ryan Ferrier, Adam Gorham, Sophie Campbell, Bobby Curnow, Pablo Tunica

So unlike the rest of the reviews, Teenage Mutant Ninja Turtles Universe doesn’t really fit my review format since it’s more like a collection of vignettes across the TMNT universe that feed into the main book and each story is written and drawn by a different team, so it wouldn’t have that same cohesion. 

As the giant Ninja Turtle fan that I am and probably always will be, I can’t get enough of the mythos and the characters in TMNT, so having a book that has a solid, even meditative point of just exploring smaller stories and little character developments that wouldn’t fit in the very tight and controlled narrative of the main title is something of a perfect godsend to me. I love it in concept and in execution.

One thing I worry about, however, is that there definitely seems to be a lot of stories here that feel necessary to keeping up with the main series. Such as the story of how Alopex and Angel ran into the Toad Baron and escaped -- that was a pretty crucial piece of information for the Eternals storyline a few issues back in the main book. So it feels like more and more, because of how tight and concentrated the main book is, they’re using books like Universe to fill in everything else, including buildup to larger more important narratives. And while that’s fine and even something I enjoy, it’s a move that will really push people to start being more choosy with their books. It’s much like keeping up with Transformers right now, and that tends to lead to some mixed bags. But I suppose we’ll trust and see.

At the end of the day, I have to pick the comics that really stuck with me the most. And while I was a little disappointed by a few titles this week, there was a pretty intense competition between the ones that genuinely caught me and made me really feel while reading them. And I think by that measurement I have to give the Pick of the Week this time around to the conclusion of Immortal Iron Fists. I was so worried about how this story could wrap everything up and it’s with mother flipping dragons that’s how. I love it. I love Pei and I love her being officially adopted by Danny who is TOTAL ridiculous dad now. This is the kind of Immortal Iron Fist I am happy to support. 

As far as trades go... wow I for some reason was not anticipating getting slammed as much as I did, but I really didn’t feel like any of the books let me down. They were all pretty amazing and I felt like I also managed to incidentally cover the entire span of comic book genres and types in a matter of two days, which let’s admit it, pretty impressive. I feel like the new releases this week are honestly a harder competition than the single issues but twist my arm, surprising no one nearly as much as I’m surprising myself here, I have to pick Red Hood and the Outlaws for managing to be a comic that... is unexpectedly good and unexpectedly sincere and unexpectedly emotionally motivating in ways that I wish... more comics... were? I just. have a real hard time complimenting Lobdell after tearing his books a new one for..... six years straight now.  But... thank you? for writing well? And making me feel things? For Jason Todd, Bizarro, and Artemis? Am I doing this right?

And those are the comics for this week! Did you happen to agree with me? Disagree? Think I missed out on picking up a comic that was good? I’d love to hear your thoughts.

But before I let you go, I have to (yes have to) plug once more:

I have exactly a month to pack up everything I own and move halfway across the country again which is not helping those financial crunches I mentioned before either.

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