There’s a new status quo when it comes to the Punisher. Now the “High Slayer” for the Hand, the Punisher has teamed up with criminals to wage his war against other criminals. In exchange his wife has been resurrected. It’s an interesting direction and one I’m not totally onboard with. But, it’s still interesting and entertaining storytelling. With it brings back the traditional companion “War Journal” series, kicking off with Punisher War Journal: Blitz. The series will give us stories not told in the main series, a series of tales that expands Frank Castle’s latest war.
Torunn Grønbekk delivers a tale of Castle versus the Hate Monger. Told during two time periods, we see two men who deal in absolutes and nihilation. If they don’t succeed then their death is the only acceptable alternative. It’s an interesting exploration of two men who are willing to sacrifice others so easily to also gain so little overall. But, it’s Frank’s decisions as to who is worthy to sacrifice and who is not that’s the interesting part. There’s a clear logic to his decisions and it shows there’s still humanity within.
Grønbekk piles on the action with good surprises and solid moments though the over the top death and gore is kept tamped down in some ways. There’s also satisfaction of seeing the Punisher hunt down a racist to murder them. It’s the direction I think the character should have taken on in the relaunch, so to at least see a little of it is nice. It’s satisfying in vengeance sort of way.
The art by Lan Medina is nice. There’s a bit of a throwback feel to it, which feels rather appropriate for the return of “War Journal”. The violence is there, death, dismemberment, swords through chests, heads blown apart, but it’s not quite as over the top as other recent depictions of the character and even the main series. Medina is joined by AntonioFabela on color and lettering by Cory Petit.
Punisher War Journal: Blitz is a nice return of the side-series and hopefully it continues to deliver one and done stories and not drag things out. It gives a little bit better idea of what’s going through Frank’s mind currently and shows there’s some humanity in him, there’s a lot of potential here to explore the current iteration of The Punisher further in the coming issues.
Story: Torunn Grønbekk Art: Lan Medina Color: Antonio Fabela Letterer: Cory Petit Story: 8.25 Art: 8.0 Overall: 8.2 Recommendation: Buy
Marvel provided Graphic Policy with a FREE copy for review
I enjoyed the first issue of Spider-Man 2099: Exodus. There was a nice return to the classic world and characters. For someone who read the line of comics when it first came out, it was absolute nostalgia that hooked me. Spider-Man 2099: Exodus #2 I think improves on the formula continuing to expand the world but also focused on the quest at hand.
Written by Steve Orlando, the comic begins with Spider-Man 2099 attempting to recruit another individual for his mission. From there, we get the story of Loki 2099 and what has happened to the gods of Asgard.
It’s an interesting story and one that adds a lot to the world of 2099 with a tragic story that looks at the past as well as the future of that corner of the Marvel Universe. It’s a solid story that way that answers some questions and sets up a nice future for Asgard as well.
The art by Marco Castiello is solid. With color by Antonio Fabela and lettering by Joe Caramagna, the comic has a feel that’s nice mix of western, fantasy, and the futuristic world. There’s an interesting design to everything and the characters Loki comes across. The feel of it all reminds me a lot of Marvel’s futuristic “Old Man” world of stories which also blended a western aesthetic with the world of superheroes.
Spider-Man 2099: Exodus #2 is a solid comic that builds on its world infusing different genres in an already intriguing story. It switches things up a lot taking what feels like inspiration from other genres than what have been explored in the past with the line. Overall, it feels like it celebrates the 2099 of the past while setting up the 2099 of the future.
Story: Steve Orlando Art: Marco Castiello Color: Antonio Fabela Letterer: Joe Caramagna Story: 7.85 Art: 7.85 Overall: 7.85 Recommendation: Buy
Marvel provided Graphic Policy with a FREE copy for review
I have loved DC vs. Vampires. The series has surprised with a lot of twists and turns. It has dived into the deep end bringing paranoia with it. You never know who has been turned and who’s next to be turned or outright killed. DC vs. Vampires: Hunters #1 seems to be set between the two halves of the main series acting as a nice reflection on what has happened and hinting at what’s to come.
It’s hard to review this issue without spoilers, so if you haven’t read the series up to this point, don’t go any further.
DC vs. Vampires left us with Nightwing being revealed as the Vampire King and his turned heroes and villains going on the attack and enveloping the world in darkness. Damian had been turned and Batman (among other heroes and villains) killed.
Matthew Rosenberg kicks the issue off with Damian seemingly a vampire on a mission hunting the remaining heroes and villains for the vampire nation. What’s soon revealed is despite his being turned, he’s still on the side of good secretly trying to stop Nightwing.
DC vs. Vampires: Hunters #1 is a fascinating issue giving us the resistance to the big bad empire. It’s a situation and concept we’ve seen so many times before but Rosenberg has something up his sleeve… rivalry. The issue plays off the rivalry between Damian and Dick as well as their connection to Alfred. It shows there’s more going on here than just a big bad, there’s something more to Nightwing’s big picture plan. It’s all laid out here creating a key issue for the event that many may skip thinking it’s a one-shot tie-in. No, it’s a pretty important issue!
The art by Neil Googe is good. It’s a bit different than the main series but still works pretty well. With color by Antonio Fabela and lettering by Troy Peteri, it’s strength is its action, humor, and shocking moments. Googe really nails down the framing of scenes and what to focus on to emphasize what’s going on. The rest of the team ups the quality with colors that pop and lettering that really emphasizes the action and emotion.
What stands out about DC vs. Vampires: Hunters #1 is its surprises. Much like the main series, the comic never quite goes in the direction you expect. It has shocking moments for sure, and there’s a body count, but it surprises the reader. More importantly, it points to a very intriguing second half of this series.
Story: Matthew Rosenberg Art: Neil Googe Color: Antonio Fabela Letterer: Troy Peteri Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy
DC Comics provided Graphic Policy with a FREE copy for review
Someone posing as Deathstroke has done the unimaginable and cut off “The Demon’s Head,” killing Ra’s al Ghul! His “Shadow War” has put several DC super heroes behind the 8-ball, and their stories will have implications inShadow War and beyond! On sale May 17, Shadow War Zone #1 reveals these stories and characters and what new challenges they’ll have to overcome!
Black Canary crosses swords with her protégé, in “Old Friends,” written by Shadow War: Alpha, Batman, and Deathstroke Inc. writer Joshua Williamson, with art by Otto Schmidt. Black Canary is on the hunt for Deathstroke following the death of Ra’s al Ghul, to bring him to justice before Talia al Ghul’s assassins get him first. Unfortunately, one of those assassins is her best and former student, Angel Breaker! Who is this deadly killer and what’s her history with Black Canary? This showdown has major ramifications for Black Canary in Shadow War Omega #1, on sale May 31.
Writer Nadia Shammas and artist Sweeney Boo team up for “Inner Demon,” a story that flashes back to the younger years of Talia al Ghul. Frustrated over secrets hidden from her by Ra’s al Ghul, young Talia makes a secret pilgrimage to Lazarus Island, where a meeting with her grandmother reveals that she has a stronger connection to the Lazarus Pit that she realizes, setting the stage for a major DCU event this Fall!
Written by Ed Brisson, with art by Mike Bowden, Mark Morales, and Antonio Fabela, “Panic Room” features Ghost-Maker, Black Spider and Clownhunter. Clownhunter has been developing his skills under the watchful eye of Ghost-Maker and prepares for the final exam to end all final exams as he’s faced with protecting Black Spider from an all-out assault from the League of Assassins. This story sets the table for Clownhunter’s evolution and the return of Batman Incorporated in the upcoming Batman 2022 Annual, in stores on May 31.
Harley Quinn writer Stephanie Phillips and artist Ann Maulina team up for “Ninjas! At the Arcade.” Harley fights a group of ninjas from the League of Assassins in an arcade, complete with lights, noise, and an impressive collection of movie quotes from the Mistress of Mayhem! Meanwhile, Luke Fox and an unlikely ally think Harley Quinn is the perfect addition to their “team,” but what team, and for what purpose?
Shadow War Zone #1 features a main cover by Jonboy Meyers, with open-to-buy “homage” variant and 1:25 variant covers by Howard Porter, plus a 1:50 variant cover by Leirix featuring Angel Breaker. All covers are available for pre-order now; check your local comic book shop for availability and ordering details.
Next month, fans will get to celebrate the long and storied history of the God of Thunder with the writers and artists who helped build his legacy! Arriving just in time for Thor’s 60th anniversary, Thor #24 will be a 74-page epic honoring 750 thunderous issues. The milestone issue will see some of Thor’s greatest legends return home to tell thrilling new tales set during their landmark runs.
Thor #24 will take place in the aftermath of “God of Hammers,” the latest epic in writer Donny Cates and artist Nic Klein’s hit run on the title. After a scorched-earth victory that cost the God of Thunder both his hammer and his father, Thor and all of Asgard mourn Odin, unaware that the former All-Father lives on in Thor’s newly reforged hammer!
In addition to the main story by Cates and Klein, here are the all-new tales readers can look forward to:
Writer J. Michael Straczynski and artist Oliver Coipel reunite for a story set during their redefining Thor saga
Legendary comics creator Dan Jurgens writes and draws an incredible Thor and Balder teamup
Comics icon Walter Simonson makes his grand return to Thor, writing and drawing an all-new adventure that explores the origin of his beloved creation, Beta Ray Bill
Al Ewing and Lee Garbett collaborate for the first time since Loki: Agent of Asgard to bring you an all-new chapter for the god of mischief that leads directly into Ewing’s upcoming Defenders Beyond series
And prepare for a revelatory tale about Odin that only writer Jason Aaron and artist Das Pastoras can deliver!
Check out interior pages and Nic Klein’s design sheet for Mjolnir’s new look now and pick up Thor #24 when it arrives on April 27!
There’s that iconic, and once very overdone, moment in detective stories where the suspects are all gathered and we’re walked through the crime. At the end, the criminal is revealed in a moment that’s supposed to be full of surprise and then that’s followed up with a confrontation. Death of Doctor Strange #4 is exactly that in comic form, no more and no less.
Jed MacKay has been casting this mystical tale and up to now has kept readers guessing as to who might behind Strange’s murder. The obvious suspect, Baron Mordo, is a bit too obvious leaving the remaining suspects rather scant. Like a solid detective story, MacKay has Strange befuddled by dead ends and clues that don’t help matter. And, just like so many detective stories before, we’re taken through the steps as Strange puts together who was behind his murder.
The way the issue is presented and how the narrative plays out, the comic is very much a throwback to old-school detective stories. That plays so well with the fact that at its center is a “classic” version of Strange who was around when this type of narrative was regularly released. It’s one that has waned in recent years but with its lack of overuse, it comes off as a bit of a throwback and fun when presented here.
Lee Garbett‘s art is solid as usual with some great use of angles to really play off of the narrative style and what MacKay is going for in the storytelling. There also continues to be an interesting artistic thing being done with the retro-Strange compared to the more modern characters. Antonio Fabela‘s colors pop on the page playing off the mystical elements so well. Cory Petit‘s lettering also gives a lot of personality to the characters.
Death of Doctor Strange #4 is a very unexpected issue in many ways. With one issue to go, it reveals who the murderer is. But, it’s done in a way that’s an unexpected narrative throwback. It adds to the pulp and pop sense of the comic that has been underlying since it launched. While it doesn’t have that major moment where the next Sorcerer Supreme stands up, it brings a fun sense to the page delivering a murder mystery that’s an homage to what has come before.
Story: Jed MacKay Art: Lee Garbett Color: Antonio Fabela Letterer: Cory Petit Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Buy
Marvel provided Graphic Policy with a FREE copy for review
As a lifelong comic book fan, I can honestly say, I love living in the times we are now. Growing up, the only thing we had to see onscreen were the cartoons from Marvel. Eventually, we would see the Japanese version of Spider-Man, which doesn’t quite hold up. Then there was the Incredible Hulk TV show, which actually showed a complex superhero, before the modern explorations we’re able to enjoy now.
Then came the Blade movies, and we not only got to see action in the horror genre but watch comic books start to become part of the mainstream. Fast forward to now, and we have comic book superheroes in live action and animated TV shows and movies. The recent hit MCU TV show What If..? proves you can tell complex compelling stories using animation. In the debut issue of TheDeath Of Doctor Strange, the Sorcerer Supreme has finally met his mortality, leaving the world defenseless without him at guard.
We open on Stephen as he awakes in the Sanctum Sanctorum, as he goes on a walk with Bats, he recount show his gift for surgery came back and how he has at least returned to it , part time. Of course, his job as Sorcerer Supreme takes paramount, as he stops a police shooting a man who was possessed b the Seven Sons of Cinnibus, thereby severing a connection to the evil lords, whilst saving the man’s life. Later, we find Stephen teaching a class at the Strange Academy, where Dole, Dormammu’s son , sense his father’s presence nearby, alerting Stephen to spring into action, with Illyana by his side, as he encounters the Crimson Bands Of Cyttoraki who have entered his dimension. Then everything gets titled on its head, when one night as he sits in the Sanctum Sanctorum alone, a malevolent force is at their doorstep and has Stephen at a disadvantage. By the issue’s end, all his allies feel his life-force leave the astral plane, the mystery of who killed lies at the center, Mordo is not the culprit and multiple extra dimensional invasions are happening all over Earth.
Overall, TheDeath Of Doctor Strange #1 begins a crackling murder mystery that proves anyone can be the villain. The story by Mackay is exciting. The art by the creative team is gorgeous. Altogether, a thriller worthy of Dashiell Hammett.
Story: Jed MacKay Art: Lee Garbett Color: Antonio Fabela Letterer: Cory Petit Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy
Marvel provided Graphic Policy with a FREE copy for review
Listen, we all know Doctor Strange isn’t going to stay dead. With a film coming out next year, the character will eventually be back in the way we’ve known (though maybe a bit more aligned with the film). So, the “death” aspect to The Death of Doctor Strange #1 isn’t much of a surprise or interesting. Who the murderer is, might be. The details of the comic are really what’s going to win us over.
Written by Jed MacKay, The Death of Doctor Strange #1 takes us through Stephen Strange’s life. He recounts his origin in some ways and what his role in the Marvel Universe is. We get the balance that this is a person who has a lot of responsibility as a Doctor and as the Sorcerer Supreme. MacKay generally beats us over the head that without Strange, the Marvel Universe and Earth is facing a major threat. The debut issue is a lot of setup as to WHY Strange dying matters.
The Death of Doctor Strange #1 is that moment of the story while the villain’s shadow looms over and threatens everything underneath. The issue is the ball in the air and now we have to see how well it can be hit. The defenses are down. Someone is a murderer. The question is who will stand up to protect the Earth. How will they do it. And, how killed Stephen Strange? None of this is surprising at all and none of the setup feels all that original. We’ve seen “key” heroes get killed and then a threat shows up that only they can stop. This is just a magical version of that. It’s not bad as a start but it’s also not all that exciting.
The art by Lee Garbett matches the tone of the story itself. With color by Antonio Fabela and lettering by Cory Petit, it’s good but not great. There’s nothing bad about the art at all. What’s missing is that bit of excitement. For a comic all about “magic”, the art doesn’t really have any. The scenes of its use feel rather… mundane, like a kids’ magician making some colors. There’s never that moment that really surprises or takes advantage of the fact this is magic we’re dealing with. Everything feels a bit… grounded.
Beyond the very end reveal, there’s nothing surprising or all that interesting about The Death of Doctor Strange #1. It reminds people of who Stephen Strange is and why he’s important. It’s a comic that feels like it exists to make the case as to why its main character matters. The fact it has to makes it feel like that’s been a failure leading up to all of this. Most of the comic is pretty much what we’d expect but it’s a decent setup and start. Really what matters is where it all goes from here and if the team can really make this an exciting story to come now that there’s actual danger to deal with.
Story: Jed MacKay Art: Lee Garbett Color: Antonio Fabela Letterer: Cory Petit Story: 7.25 Art: 7.25 Overall: 7.25 Recommendation: Read
Marvel provided Graphic Policy with a FREE copy for review
We all live in a shadow. Whether it’s a family member or something from our past, or our own expectations, we’re haunted. Shadecraft #1 delivers an exploration of that with Zadie Lu. Zadie is a high school student who is afraid of the shadows and for good reason. The shadows seem to be alive and attacking her for some reason.
Writer Joe Henderson takes us into a world that’s familiar but also haunting. So many of us have had that feeling that we’re being watched or chased and some might have experienced that sensation being their shadow. This takes that and turns it into both a magical and scary concept. What’s going on? We’re not quite sure but the setup is solid.
In Zadie, Henderson has found a character so many can relate to. An older brother whose shadow she falls. A rather serious parent whose shadow she also falls. Then there’s that of reputations and school popularity and Zadie’s life is one that feels familiar. Henderson also doesn’t go over the top with his concepts, instead building things slowly for the end reveal. It keeps readers guessing what’s in Zadie’s head and what’s real.
Lee Garbett‘s art helps with that by teasing the shadows giving them a look that can be both normal and not. At times it feels like the shadows are reaching for Zadie but in reality it’s what they should be doing. Antonio Fabela‘s color is key in that the shadows are dark and ominous but also not just flat black. There’s a life in them thanks to Garbett and Fabela. Simon Bowland‘s lettering is solid enhancing the moments and emotions just right.
Shadecraft #1 is a solid start. It’s a mystery as to what’s going on and dances between horror and something much more. There’s a family touch to it that grounds the story and adds a bit more than just scares and tension. The school aspects make Zadie a more believable character and one that’s a bit easier to connect to. I have a feeling that the series is going to deliver a lot more of that and turn on the waterworks.
Story: Joe Henderson Art: Lee Garbett Color: Antonio Fabela Letterer: Simon Bowland Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Buy
Image Comics provided Graphic Policy with a FREE copy for review
As seen in TheLego Batman Movie, the Arkham video games, and the Batman comics of the 1990s and early 2000s, Batman’s strength is in the world and characters that he creates access to. Whether that’s his allies, villains, nooks and crannies of Gotham, or even police officers that he either works with or against, these personalities and settings are why I continue to return to the Batman side of the DC Universe. The creators of Batman: Urban Legends #1 understand this and flesh out different Batman-adjacent characters and even sometimes explore their relationship to the Dark Knight while also telling action, romance, and crime stories.
First up in this Gotham-themed anthology is the beginning of a six part Batman and Red Hood serial where Batman and his former protege-turned-killer vigilante (He’s switched to rubber bullets for the moment.) investigate a source of a hallucinatory street drug tackily called Cheerdrops. Writer Chip Zdarsky has a firm grasp on Jason Todd’s voice, including the darkness inside his soul and his hunger for justice, especially for Gotham’s beleaguered working class. Artists Eddy Barrows and Eber Ferreira and colorist Adriano Lucas nail the grit of the city with explosive linework and jagged layouts to go with a color palette that has had all the light sucked out of it. However, Excalibur’s MarcusTo does the art in the flashbacks, which features brighter colors as well as simpler, cleaner lines with a more traditional superhero feel even though one of the scenes is set during “Under the Red Hood” when Jason Todd came back from the dead and started killing criminals.
“Batman and Red Hood” is also a study in contrasts in how two very different crime fighters deal with the same crisis. Batman is the World’s Greatest Detective and is super methodical with Barrows and Ferreria drawing him looking at the chemical makeup of Cheerdrops CSI-style, and his All-Star Superman-esque moment with a jumper is less feel-good and more evidence collection. On the other hand, Jason fights crime with his guts and heart and even admits in a wry line from Zdarsky that he’s not a great detective as he struggles to find a Cheerdrop stash house. However, he does find a boy named Tyler, and of course, Jason is great with kids and even lets him wear part of his mask while he looks for his dad in a dodgy part of Gotham. Zdarsky, Barrows, and Ferreira create something truly heartwarming between Jason Todd and Tyler.
There’s a throughline between this and the flashbacks where Batman (Portrayed as more of an action figure than man by To) struggles being a father figure to Jason, and Alfred does the job perfectly because he sees him as a human being and not an obstacle in his war on crime. Chip Zdarsky writes Alfred Pennyworth as the perfect parent to the Bat-family, who isn’t afraid to tell Batman that he’s full of shit and chooses compassion over a closed fist. And speaking of Batman, I love how Zdarsky doesn’t give him an inner monologue and depicts him more as a force of nature than a gun toting, broken man like Jason Todd, who agonizes over every decision and whose interaction with Tyler bring back memories of his mom who died of a drug overdose. Also, he’s not afraid to go a little dark, and Eddy Barrows and Eber Ferreira jagged layouts and emotional poses are along for the ride.
The second story in Batman: Urban Legends #1 is an eight page Harley Quinn and Poison Ivy one-off from writer Stephanie Phillips, artist Laura Braga, and colorist Ivan Plascencia. Plascencia is this story’s secret weapon that shows the happy, hilarious times of Harley and Ivy’s first dates and the bleak current times for Harley as she has moved back to Gotham in her solo title and as a recurring character in Batman. Braga’s art is expressive and high energy for both the good times (Harley and Ivy smooching and snapping selfies) and bad times (A sudden bolt of lightning shattering their pictures), and she is a good fit for a story that isn’t centered around a heist or fight against a superhero, but a relationship. She and Phillips tap into the depth of feelings that Harley has for Ivy, and through some handy plant symbolism, they create hope for the relationship that has become very popular for fans in the past decade. “Harley and Ivy” is a nice, nearly slice of life oasis in the midst of the three other stories, which have more moving parts.
The third story in this comic is a 10 page “Outsiders” feature by Brandon Thomas, Max Dunbar, and Luis Guerrero starring Black Lightning, Katana, and an interesting take on Metamorpho. Thomas turns in kind of a mystery plot with the story starting with Black Lightning and an unseen Metamorpho in a Japanese prison before cutting to a bonkers, two page spread of a speedboat chase. Unlike the previous two stories in Batman: Urban Legends #1, Thomas and Dunbar go for a action over character focus, and honestly, I’m here for it. Dunbar uses arrows from their pursuers to act as eye-lines to follow the high speed chase, and he and Thomas have a clever moment or two up their sleeve, especially in regards to Metamorpho’s first appearance. The story isn’t particularly deep, but it has the vibe of a James Bond cold open with superpowers as Guerrero really makes Black Lightning’s abilities sizzle. Finally, Brandon Thomas’ plotting really kept me engaged with thinking about why characters were acting a certain way, and the the mini mystery box structure has me intrigued for the upcoming issue.
Grifter is a character I didn’t really know a lot about except for some random comics like the New 52 Team 7 and JLA/WildCATs, but Matthew Rosenberg, Ryan Benjamin, and Antonio Fabela have made this anti-hero/rapscallion and his various pratfalls quite lovable and hilarious Batman: Urban Legends #1’s final story. Grifter is like that guy who bluffs at poker, but never has a good hand. And until maybe the penultimate page of the comic, he’s either screwing up or making a joke about it beginning with his mad rush towards supervillain fire during his Team 6 days with a lot of characters with familiar names from Wildstorm comics. (I’m not an expert on these characters, and you don’t have to be to enjoy the story.) Grifter uses his sense of humor to detract from his mediocre performance as Lucius Fox’s bodyguard or to avoid getting his ass kicked by Batman, but he also has a mystery side that is revealed when he has a “date” at one of Penguin’s bars. The mystery starts to really unfold towards the end of the comic, but Rosenberg hints at every time, he talks on a headset with what I assume is his older brother.
The comedy in “Grifter” isn’t just limited to Matthew Rosenberg’s delightfully smartass dialogue. It shows up a lot in Ryan Benjamin’s visuals, which range from G.I. Joe or Authority homages (When the superheroes clean up Team 6’s mess.) in the flashback to pure slapstick. For example, Grifter spills a drink at a party Lucius Fox is meeting a client at and spills a drink on a woman. In this situation, Benjamin doesn’t just show a simple facial expression, but throws in some growlixes and makes you know that she’s furious that the soaking wet guy in Converse and blue jeans is even in the same room with her. This playfulness extends to the fight between Batman and Grifter, which starts as a serious throwdown and ends up in a total cat and mouse situation with Grifter finally getting enough self-awareness to call it quits. However, their paths will cross, and you can tell that Batman understands he’s a wildcard with his connections to Lucius Fox, the criminal underworld, and probably those Wildstorm guys. All in all, Matthew Rosenberg, Ryan Benjamin, and Antonio Fabela turn in a hilarious action-comedy set in DC’s weirdest and (sometimes) dourest city and also slowly unveil what seems to be a master plan to merge the worlds of Wildstorm and Gotham.
Batman: Urban Legends #1 is an absolute win for the anthology format that DC Comics has been trying out with all of the four stories in the comic being entertaining and shedding light on a unique cast of characters. The longer stories that bookend the comic are especially noteworthy thanks to Chip Zdarsky’s pitch-perfect handle on the fascinating character of Jason Todd in “Batman and Red Hood” and Matthew Rosenberg and Ryan Benjamin’s skill with verbal and visual humor in “Grifter”.
Story: Chip Zdarsky, Stephanie Phillips, Brandon Thomas, Matthew Rosenberg Art: Eddy Barrows, Eber Ferreira, Marcus To, Laura Braga, Max Dunbar, Ryan Benjamin Colors: Adriano Lucas, Ivan Plascencia, Luis Guerrero, Antonio Fabela Letters: Becca Carey, Deron Bennett, Steve Wands, Saida Temofonte Story: 8.0 Art: 8.6 Overall: 8.3 Recommendation: Buy
DC Comics provided Graphic Policy with a FREE copy for review
