Author Archives: Brett

Superman #36 Breaks the 4th Wall as Superboy Prime Takes Center Stage

Superman #36

After the shocking events of DC K.O., Superman is missing. But one hero steps up to take his place…Superboy Prime?! Normally, Prime has only been part of massive DC events, but now he gets a real shot at showing the world he can be just as great a hero as Superman! Superman #36 kicks off a new direction for the series as a new Superman takes center stage.

Superman has been a series I’ve read off and on over the decades, rarely lasting for a long time. My knowledge of Superboy Prime is very limited beyond he’s done some horrible stuff. So, going into Superman #36 was pretty much a blank page as this version of Superman has taken over as the original one has disappeared at the end of the recent event DC K.O. Generally, the issue does a good job of catching up readers with what they need to know about Superboy Prime as he gets settled into his new life and attempts to shed his questionable past.

Joshua Williamson keeps the comic moving with a wink throughout the issue. There’s a lot of talk about Superboy Prime’s knowledge of the DC characters, who are just comics in his world, giving the series a fourth wall breaking vibe that we’ve seen in Deadpool and especially Gwen-pool who also have similar concepts baked within. But, there’s something a bit more going on here in the small details, for instance Lois’ outfit which is similar to a popular one from the recent Superman film. The comic is aware of the fun it can have and goes all in with swooning women, and a main character with a massive ego and not much of a clue. This is the asshat we want to see if he can redeem himself but also features a big ominous flashing warning underneath it all.

As mentioned, the art has fun with the concept of the comic. Dan Mora‘s work with color by Alejandro Sanchez and lettering by Ariana Maher pops. It’s clear that the team is having fun here with so many references and small details that show off just a love of Superman comics and history. Lois’ outfit mentioned above, certain poses, comic covers, it all comes together for a comic that has a hell of a lot of fun with itself and concept. The action looks great, the characters, just everything about this shines and shows off why Mora is such a beloved artist.

Superman #36 is fun. It takes an overused concept and unlikeable character and delivers it all at a level and in a way that you want to come back. It breaks the mold in some ways in expectations and just goes all out with its concept while not going over the top with it. It’s a joke to read that delivers pop culture excitement and entertainment.

Story: Joshua Williamson Art: Dan Mora
Color: Alejandro Sanchez Letterer: Ariana Maher
Story: 8.45 Art: 8.75 Overall: 8.5 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


Purchase: Zeus ComicsKindle

Is Ted Ok? #2 Has us Spiraling Down the Conspiracy Rabbit Hole

Is Ted Ok? #2

After the explosive conclusion to issue 1, Ted confronts Sarah and confesses that he believes his workplace, Ayn-Styne, is overrun with aliens engaged in a nefarious plot. Seeing that he needs friendly support, she commits to helping him investigate…without confessing that her job is, in fact, to spy on him. Her interest is piqued, however, as Ted unexpectedly uncovers evidence of a massive conspiracy deep within the bowels of the massive Ayn-Styne building. Meanwhile, on the other side of the world, journalist Kyle begins to interview the mysterious trillionaire–and Ayn-Styne founder–Noah™. Is Ted Ok? #2 feels like a trippy conspiracy theory spinning out of control.

You might want to drop some acid before reading Is Ted Ok? #2… actually, that might not be a good idea. Written and art by Dave Chisholm, the second issue feels like diving into a mind-trip of an experience with a large dose of Philip K. Dick. The issue focuses on on Ted and Sarah after the explosive end to the first issue that left Ted… alive!? From there, Ted finds secret panels, is convinced there’s an alien conspiracy, and we learn about the formation of the mysterious dome. It all comes together for an issue that makes the X-Files conspiracy look straightforward and clear.

The art and lettering by Chisholm adds to the madness of it all where the reader lingers on panels and pages in search of small clues to tell us what is going on and what is reality. There’s a lot thrown in here visually, and not a lot explained, leaving the art to tease the grand weirdness of it all like a fevered dream spirally out of control.

Is Ted Ok? #2 is weird, strange, and sucks you in wanting to know more. It’s a series that doesn’t lay things out with each issue, building upon the madness for whatever is to come. You get glimpses, much like Ted, of this reality, without anything being clear. Like Ted, the reader is left to guess, ponder, and build their own conspiracy as to what’s going on. So far, this is going down as a modern sci-fi classic that evokes some of the greats that have come before.

Story: Dave Chisholm Art: Dave Chisholm Letterer: Dave Chisholm
Story: 8.4 Art: 8.5 Overall: 8.5 Recommendation: Buy

Mad Cave Studios provided Graphic Policy with a FREE copy for review


Purchase: Kindle

Wolverine: Weapons of Armageddon #2 delivers a lot of history

Wolverine: Weapons of Armageddon #2

Dark, shared secrets linking Wolverine, the relentless Nuke and the mysterious Dave Colton surface, throwing Logan’s hunt for a missing Super-Soldier into total disarray! Can Logan survive when the ghosts of his past are armed and ready for war? Wolverine: Weapons of Armageddon #2 is an interesting story as it dives deep into the history of Logan, Nuke, and Dave Colton.

Written by Chip Zdarsky, Wolverine: Weapons of Armageddon #2 continues to build to the next Marvel event. It’s an interesting series so far, weaving new history for some key characters wile paving and creating new history for characters that feel like they’re going to be key. The second issue focuses in on Logan, Dave Colton, and Nuke. Zdarsky adds some new chapters to Logan and Nuke’s history as we see the two are tied together delivering a lot of motivation as to why Nuke would hate Logan. Dave Colton, a relatively new character, is given some depth of character in his interactions with Logan as we learn more of his motivations and Zdarsky gives us some solid belief in his frustration.

Wolverine: Weapons of Armageddon #2 is an interesting issue. While it feels like it’s an action issue as you walk away, it’s much more about delivering motivation to the various characters. We get a better idea as to why they’re acting the way they are and why they may have animosity towards each other. It’s an additive issue to their histories as opposed to rewriting it.

There’s some good action towards the end as well as the issue builds its tension to a confrontation you know is coming at any moment. While it ends with a somewhat cheesy cliffhanger, the build still is satisfying in an 80s action sort of way.

The art by Luca Maresca is solid jumping around in time. With color by Jesus Aburtov and lettering by Joe Sabino, Wolverine: Weapons of Armageddon #2‘s visuals are packed with emotion with debates. There’s some small quibbles on the art with some characters not feeling like they’ve aged as much as they probably should have, but overall, it’s a solid comic visually that packs a punch.

Wolverine: Weapons of Armageddon #2 is a solid second issue that adds depth to its story and packed with reveals and teases of what’s to come for the Marvel Universe. It’s a nice mini-series so far building the backstory for the conflict to come and putting the pieces of the puzzle together. If you’re interested in the upcoming “Armageddon,” it’s one to definitely check out.

Story: Chip Zdarsky Art: Luca Maresca
Color: Jesus Aburtov Letterer: Joe Sabino
Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Read

Marvel provided Graphic Policy with a FREE copy for review


Purchase: Zeus ComicsKindle

The Federation dies in Star Trek: The Last Starship #6 with a Bang and a Whimper

Star Trek: The Last Starship #6

In the shadow of the Burn, the Federation was left fractured, vulnerable, and nearly lost. Now, its fate hangs in the balance. As the Babel Conference unravels, Captain Sato must protect Starfleet’s ideals while enemies close in on every side. Meanwhile, James T. Kirk embarks on a dangerous mission that will test the limits of loyalty, courage, and sacrifice… Star Trek: The Last Starship #6 delivers a dramatic finale to the opening chapter as the Federation’s promise of peace and stability is threatened to be upended.

Star Trek as a whole has done an amazing job of examining our reality, politics, social issues, and society as a whole. It’s strongest when its stories are thinly veiled discussions about our lives. Star Trek: The Last Starship #6 delivers exactly that in an excellent finale to the opening chapter.

Written by Jackson Lanzing and Collin Kelly, the previous issue revealed the Babel Conference was about to collapse as a new order is proposed that would replace the Federation. Star Trek: The Last Starship #6 dives right into that, focusing on this new reality and potentially what it means, ending on a down note. While the series as a whole has had a theme of hope and fighting for what’s right, the issue absolutely ends with the death of the promise of the Federation.

It’s hard to not read this first six issues, especially this final issue, and not see its commentary on the reality of today as a fascist order upends the flimsy rules and reality that has guided the world for decades. Much like our world, this new order is guided by wealth and “capitalism,” instead of the more socialist ideals of the Federation and previously of Earth.

This new order also comes at the end of a threat, an attack by technology on technology, again something we’re seeing play out in our real world as the tech bro oligarchs march lock in step with their jackbooted buddies, all to gain wealth and power and attempt to install a new world order.

The art by Adrian Bonilla continues to be interesting with a style that’s hard to describe but really intriguing to look at. With color by Lee Loughridge and lettering by Clayton Cowles, the comic shines as James Kirk struggles to save the day. We get a better idea of the struggle he’s going through as we can physically see his new body impacted by the weapon deployed against the crew. There’s something visually interesting going on as the pages turn and we see Kirk torn apart as the dream of the Federation is torn apart, giving us a a perfect match of art and theme.

Star Trek: The Last Starship #6 is an issue full of action and drama that is both a low point but also doesn’t miss the hope and dream that drives the concept of Star Trek. The series has been fantastic so far and with this being the opening chapter, I’m excited to see what comes next.

Story: Jackson Lanzing, Collin Kelly Art: Adrian Bonilla
Color: Lee Loughrdige Letterer: Clayton Cowles
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

IDW Publishing provided Graphic Policy with a FREE copy for review


Purchase: Zeus ComicsKindle

Crowdfunding Corner: Midnight Western Theatre Compendium, You Must Be This Tall To Ride #1

Welcome to our revamped “Crowdfunding Corner” rounding up some of the latest crowdfunding news. We’re going beyond just announcement projects, we’ll be tracking to make sure these projects get delivered as well as what we think the “risk” of backing them are.

We’ll be updating the format as we get a better handle of the needs of this sort of coverage, so stay tuned and check out the first round of projects!


Midnight Western Theatre Compendium TPB

Midnight Western Theatre Compendium TPB

Publisher: N/A
Creative Team: (w) Louis Southard (a) David Hahn, Butch K. Mapa (c) Ryan Cody, Sean Peacock (l) Buddy Beaudoin (ca) Julianne Griepp
Launch Date: Launching soon
Risk: Low – The series is done and the team has run previous campaigns and delivered them on time.

In a deadly wild west, tall tales and nervous whispers run rampant of Ortensia Thomas AKA the Woman in Black! A mysterious gunslinger on an impossible mission against the forces of evil. With otherworldly—or all too human—threats finding themselves at odds with this antihero for the ages, this is a bloody story of a serious woman with a serious job to do. Thankfully, she doesn’t work alone…

Meet—or revisit!—the colorful cast of Alexander Wortham the Reluctant Vampire, Sarah Bishop the Wild West Witch, Governor Jamie Corson, Plague Doctor, Samual the Prophet, the Lone Spirit, Ata’halne, Red Tom, the Fireman, and the widely beloved Horse.

Originally published by Scout Comics and Entertainment from 2021-2023, Midnight Western Theatre is resurrected once more with this ambitious compendium Kickstarter. With over 300+ pages of comics content, this epic tome seeks to collect Midnight Western Theatre Vol. 1 (Issues 1-5), Midnight Western Theatre Vol. 2: Witch Trial (Issues 1-5), variant cover art, original series concept art, Ortensia cosplay photoshoot, behind-the-scenes making of, exclusive TV show adaptation material, and a whole lot more rooting-tooting cowboy shooting!

Saddle up your horse and get ready for the weird west comic of your dreams by writer Louis Southard (Flash Gordon / X-O Manowar), artist David Hahn (Batman ‘66 / Impossible Jones), artist Butch K. Mapa (Speed Racer / Archie Horror), colorist Ryan Cody (Justice League vs. Legion of Super-Heroes), colorist Sean Peacock (Love Honey / Godzilla Monsterpiece Theatre), letterer Buddy Beaudoin (Green Arrow / Flash), and cover artist Julianne Griepp (Laugh Riot / Comics Are Dying: The Comic).

This book is 100% done, we only need YOUR help to print and ship! If you like Jonah Hex, Buffy the Vampire Slayer, Supernatural, Westworld, romantasy fiction, and a lot of other cool stuff, then this is the book you’ve been waiting for!


You Must Be This Tall To Ride #1

You Must Be This Tall To Ride #1

Publisher: N/A
Creative Team: (w) John McGuire (a) Ivan Rehzi (c) Ivan Rehzi (l) Tanner Eddleman
Launch Date: Launched – ends on April 10 2026 11:09 AM
Risk: Low – previous campaigns have been run and based on updates and comments delivered close to on time.

When your family inherits an amusement park from a long-missing Uncle, it turns a potentially boring summer vacation into what could be the greatest summer of all time!

However, when a game of Hide and Seek finds their youngest cousin lost in a huge run down estate, it is suddenly up to the rest of the kids to find him before their parents get home.

But what do you do if there is more to this place than you could ever imagine?

What if the various worlds and rides are portals to something else?

What if they are doorways to other realms?

How far would you go for Family?

OpenAI shuts down SORA and with it goes Disney’s Billion Dollar Investment

Sora

OpenAI is shutting down Sora, the generative-AI video creation platform that was launched in 2024. No specifics were given as to why, the Sora team released a statement:

We’re saying goodbye to Sora. To everyone who created with Sora, shared it, and built community around it: thank you. What you made with Sora mattered, and we know this news is disappointing.

We’ll share more soon, including timelines for the app and API and details on preserving your work. – The Sora Team

With the shutdown, goes the investment Disney promised just three months ago. The two companies announced a three-year licensing agreement that allowed Sora to use some Disney intellectual property from Disney, Marvel, Pixar, and Star Wars, for the creation of videos. Those videos were going to be added to Disney+ in a new curated section. That deal included a $1 billion stake in OpenAI.

That’s now evaporated like the value of an NFT.

Disney released a statement to Variety:

As the nascent AI field advances rapidly, we respect OpenAI’s decision to exit the video generation business and to shift its priorities elsewhere. We appreciate the constructive collaboration between our teams and what we learned from it, and we will continue to engage with AI platforms to find new ways to meet fans where they are while responsibly embracing new technologies that respect IP and the rights of creators.

While Disney cut a deal with OpenAI it has been more adversarial with other platforms including sending Google a cease-and desist demand and it, along with Universal and Warner Bros., are suing Midjourney.

Kat Abughazaleh’s What If We Didn’t Suck? comic is a cool piece of comic and political history

The use of comics in politics isn’t something new and goes back decades, if not over a hundred years if you want to include political cartoons. But, in recent years, campaigns have re-embraced the printed page to help promote their candidates. The latest is Kat Abughazaleh who ran for Congress in Illinois’ Ninth District. The district covers parts of Cook, Lake, and McHenry counties and currently represented by Democrat Jan Schakowsky, who is not seeking reelection, in one of the most reliably Democratic districts in Chicago and all of Illinois.

The artwork was originally created as a direct mail comic illustrated by Chicago based artist and publisher Josh Blaylock, all five editions are being collected to help raise money for the campaign in a small, limited printed run.

Story: Josh Blaylock and Purveyor Creative
Art: Josh Blaylock and Purveyor Creative
Color: Jenn Chun
Letterer: Shawn DePasquale
Comic Formatting: Jamie Noguchi
Art direction: Mia Festo
Creative direction: Kat Abughazaleh

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CBCS is Shutting Down this April

The collectible grading market has been an interesting one this past year with an underlying rumbling where you can’t see something exploding/imploding soon. Rumors of corruption, theft, and scams are regularly debated by groups involved in that space. One issue is the consolidation of the space like the purchase of Beckett by Collectors in December 2025 which led to a call for an investigation by a member of Congress.

Now, CBCS (Comic Book Certification Service), which is owned by Collectors, has announced they are shutting down as a distinct comic book grading entity following its acquisition by Collectors, the parent company of PSA, a competing service. CBCS was acquired by Beckett in 2017.

Collectors announced that in their acquisition of Beckett that it would remain an independent brand within Collectors and operate on its own. That included customer experience, standards around grading, marketplace, marketplace, magazines and price guides. The brand remains, just part of their service is closing.

CBCS will stop accepting new comic submissions on April 17, 2026. All submissions received before that date will be processed as normal.

It’s stated the reason for the closure is for Beckett to shift its focus on its core brand and consolidating grading services.

CBCS

GlobalComix Updates its AI Content Policy Removing Fully AI Generated Works

GlobalComix

Last week, GlobalComix announced it closed a $13 million round of funding by AI friendly investors and acquired INKR, a digital manga/comics platform with AI tools focused on translation. That news put a new spotlight on GlobalComix and its policy towards AI and comics.

At the time their policy stated:

We allow AI comics to be uploaded at this time, although that may change in the future. We also reserve the right to remove AI content at our discretion.

There are a few key things to be aware of regarding AI content, and by uploading to GlobalComix, you agree to these:

You must disclose the use of AI, whether visual(Art) or written(Story), as part of the release upload process
AI content is not eligible for monetization at this time, including but not limited to GlobalComix Gold revenue and PDF sales
The donation button is disabled in releases utilizing AI Art
We take violations of this policy very seriously. Repeat infractions, particularly around disclosure, may result in actions taken against your creator profile and GlobalComix account.

As you can imagine, the renewed highlighting of GlobalComix’s acceptance of AI and the investment and acquisition within that space raised concerns by creators whose comics are available on the digital comics platform.

GlobalComix has updated their policy this week with what feels like a 180 turn from the previous one. While it doesn’t prevent the use of AI within the creation process, it does prevent “fully AI generated works” from the platform.

TLDR;

  • GlobalComix changes policy to remove fully AI generated works
  • These works have been hidden today from the platform
  • Our content team is working through finding mislabeled/undisclosed AI contents
  • We support using AI tools supporting creator workflows, but not as fully generated

GlobalComix is, first and foremost, a home for human creativity.

We recognize that emerging technologies, including Artificial Intelligence (AI), can be used as creative tools, but also that their use raises valid concerns about originality, respect for artists’ rights and quality.

In this policy, we wanted to:

  • Prioritize and protect human artistry
  • Protect our creators and their work
  • Enable creativity and expression across skills and use cases
  • Create forward-looking guidelines and create a stable environment for creators as tools and technologies continue to evolve
  • Set clear expectations for when and how AI-generated or AI-assisted materials can appear and be monetized on GlobalComix.

Our Principles

GlobalComix celebrates human storytelling, art, and originality.

We want creators to be able to thrive from their art and artistry.

AI tools may be used to assist creative work, but they should never fully remove the human from the workflow.


When AI Use Is Acceptable in Comics

  • The uploader has full rights and licenses to use the AI tools and any resulting outputs.
  • AI is used for supporting or enhancing a creator’s original work (for example, coloring assistance, idea exploration, background generation, effects, animation).
  • When AI tools are used as a part in the broader creative workflow in concert with human artistry.
  • The creator discloses AI involvement clearly when it forms a meaningful part of the artwork or writing (e.g., in the release description or credits).

GlobalComix may provide exceptions to our policy on the use of AI with regards to content creation when considering the guidelines above.

If GlobalComix requests material documenting licenses to characters, likenesses, intellectual property, or copyrights, it is the burden of the uploader to provide said material. When evidence is not provided in a timely manner, we will assume that these criteria have not been met.

Anyone considering uploading content utilizing generative AI should email content-violation@globalcomix.com and a member of our team will review the submission.


When AI Use Is Not Acceptable

Content that violates any of the following will not be allowed:

  • Generated AI graphics that imitate or copy another creator’s intellectual property, style, likeness, or characters without permission.
  • Works that misrepresent AI outputs as entirely human-made.
  • AI-generated content that violates GlobalComix’s broader obscenity or hate-speech rules, including depictions of sexualized minors or sexual violence.
  • Works where visuals are made fully via Gen AI prompts, instead of using AI as just one tool among many in a broader creative workflow.

If there is doubt about the origin of a work, GlobalComix may ask for supporting information (such as which AI tools were used, or documentation of rights).

Anyone considering uploading content utilizing generative AI should email content-violation@globalcomix.com and a member of our team will review the submission.


Protecting Creator Rights

  • GlobalComix will not use creator-uploaded content to train Generative Visual AI models without the creator’s explicit opt-in consent if such systems are ever developed.
  • Uploading content to GlobalComix does not grant third parties permission to train AI on that work unless the creator explicitly grants permission.

Monetization of AI-Generated Work

Content that is created with human artistry, but uses AI assisted tools (examples listed in section 7) can be monetized.

GlobalComix reserves the right to decide what qualifies as acceptable content and may remove monetization from any work it determines lacks sufficient original artistry from the creator.


Review and Updates

As laws, technologies, and community standards evolve, this policy may be updated.

GlobalComix will publish updates explaining how new policies affect both human and AI-assisted creators.

Questions or concerns about AI use can be sent to content-violation@globalcomix.com.


Examples of acceptable use of AI

Clip Studio Colorize & Smooth, Tone Remove features

https://help.clip-studio.com/en-us/manual_en/390_filters/AI_Tools.htm

Reasoning: These features empower creators and work as a small part of the creative process. Subjectivity, taste and creative decision-making is used extensively while creating the end product.

Adobe Illustrator AI features

https://www.adobe.com/learn/illustrator/web/illustrator-generative-ai-introduction

Reasoning: These features empower creators and work as a small part of the creative process. Subjectivity, taste and creative decision-making is used extensively while creating the end product.

Adobe Photoshop AI features (including generative fill)

https://www.adobe.com/products/photoshop/ai.html

Reasoning: These features empower creators and work as a small part of the creative process. Subjectivity, taste and creative decision-making is used extensively while creating the end product.

Custom Trained Visual Generation Models

Reasoning: It’s acceptable to use Generative AI to create visuals based on original and owned artwork. Original character design and world building is required to train the model, and the output needs to be composed to a final comic product with artistry and creative decision-making.

Retouching AI features

Reasoning: Using software and tools that edit original artwork (e.g. changing colors, up-scaling, smoothing, changing select details) is allowed as they work as a single step in a larger workflow that requires subjectivity and creative decision-making.

DSTLRY Returns, Previous Retailer Orders are Cancelled

DSTLRY

In February, DSTLRY announced it was pausing its releases due to multiple factors like Diamond’s bankruptcy, the switch to a new distributor, and more.

Today, the publisher has announced it’s resuming operations but all previous orders have been cancelled.

In their announcement they state:

DSTLRY IS BACK.

After a brief pause, we’re returning with new issues and premium hardcovers—but there’s something important to check first.

All previous retailer orders were cancelled. If you had DSTLRY titles on your pull list, they may no longer be on order.

Please:
• Check your pull list
• Contact your shop
• Re-confirm your pre-orders

THE RETURN:
City Beneath Her Feet #3
White Boat #3
White House Robot Romance #3
The Big Burn (HC)
Warm Fusion (HC)
Plus: A MISCHIEF OF MAGPIES #1 (Spurrier + Bergara)
First issue. First chance.
Don’t miss it twice.

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