Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
The Power Fantasy #14 (Image) – Kieron Gillen and Caspar Wijingaard deal with the fallout of Etienne’s death in The Power Fantasy #14. The fragile detente of the Superpowers is barely holding on by a string, and each character has limited knowledge of the full situation, especially Eliza Hellbound, who though she speaks, but was actually Etienne. Wijingaard switches up his art style for her empty visions with swatches of red and black that are like a ticking time bomb. Another wild card is Masumi, who at least has her to fall back on, and Caspar Wijingaard does beautiful work on her frightening, abstract painting while using a more traditional style and grid format for her interactions with the real world. Bad shit has gone down in this series, and it seems like it’s only going to get worse as the characters choose between ethics and survival. Overall: 8.1 Verdict: Buy
Wrestle Heist #1 (Image) – Kyle Starks brings his comedic timing and over-the-top art style to the world of pro wrestling in Wrestle Heist #1, which is actually a story about the working class vs “the man”. I’m not a big wrestling person, but it’s easy to find parallels between the events of Wrestle Heist and what actually happened to WWF/WWE wrestlers in the 1980s and 1990s. I love the camaraderie between former heel Sterling Steele who got beyond Montreal screwjobbed when he decides to leave for a new promotion and old head Grave Digger. They’re really easy to root for. This first issue is all set up and backstory, but Kyle Starks peppers in some interesting details about our lead characters and their potential nemeses that are sure to pay off down the road. Overall: 9.1 Verdict: Buy
Starship Godzilla #3 (IDW Publishing) – Ayan goes rogue in the newest issue of Starship Godzilla from Chris Gooch and Oliver Ono. She takes up with some activists who are trying to liberate a kaiju from a life of slavery and death under a mining city. This is a good storytelling strategy because we get to see Ayan in a non-ship setting and also learn more about her moral focus. (Plus some sapphic flirting!) However, this comic isn’t all fighting the power with Gooch and Ono ramping up the crew of the Starship Godzilla to battle an even more massive threat. Starship Godzilla #3 sometimes gets lost in the noise, but there are always some sweet, memorable moments to get drawn back in like when Ayan gets her grandma’s favorite candy. Overall: 7.6 Verdict: Buy
High school/college/new job orientation is all very awkward, but very important to setting up your new personal status quo. (Also, you could also meet someone cool!) In the same vein, Die Loaded #2 is all about orienting Sophie and Molly to this strange, new game world. Kieron Gillen’s narration for Sophie serves a triple purpose of her trying to figure out the lay of the land, acting like a surrogate mother to Molly, and also digging into her relationship to the absent Dominic/Ash. She’s a great POV character for new readers, but brings depth and connective tissue to the events of Die. On the art side, Stephanie Hans continues to shine from the panel wobbling, whip cracking action of newly minted Rage Knight, Molly, to singular fantasy illustrations that dangle a tantalizing fantasy world inside, but don’t deliver. However, one iconic image can create a lifetime of imagination. (Honestly, me when I was eight with this Lord of the Rings poster.)
The dynamic of the characters in Die Loaded #2 is uneasy to say the least, and Gillen and Hans draw the conflict from their interactions with the ever-deepening horror fantasy world being just icing on the cake. Sophie is freaking out about Ash and their son Stuart on the other side while Molly feeds her anger with uncertainty and loads of angst from her Manchester art school where they are struggling to fit in as a working class person. Stephanie Hans’ intense art drives these feelings home with specters of art students grasping at Molly in a tornado of pink, blue, and watercolor. Molly is in their Foundations year so Hans strips down visual depiction to its basics before returning to her usual vivid, expressive fantasy style. Along the way, Sophie starts to grow into her heroic mama bear role adapting to a world that is foreign to her unlike the RPG aficionados of the previous volume. As someone who hasn’t played a lot of tabletop roleplaying games, I actually find Sophie’s narration refreshing and relatable.
One thing I’ve neglected to mention in this review is the mysterious (and face it, nefarious) presence of Isabelle from the previous series as someone giving helpful hints to Sophie and Molly like some kind of Navi from Legend of Zelda meets Mufasa figure. Clayton Cowles’ lettering for her is like light icing on a cake, but make it ethereal. She’s pure exposition, but gives you just enough to make it to the next checkpoint instead of exploring the real context of the situation that you’re in. There’s almost a verbal war in the way that Kieron Gillen writes Isabelle and Sophie as beauty brawls with a no-bullshit, we need to get the hell out of here attitude with a side of empathy. She’s the right kind of push the narrative needs in the early going while hinting at darkness to come.
Two issues in, and Gillen and Stephanie Hans have crafted two messy, yet endearing protagonists for this ominous journey in the world of RPGs. They also use the beautiful, yet dangerous world of art to explore how visual art can make life worth living, but also lead to sadness and despair, especially if you’re a young, struggling art student. Die Loaded #2 taps into the primal emotions of rage and motherly love to keep the story grounded while expanding this world that seems easy to escape, but we know from experience that’s not going to be the case.
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimate Wolverine #12 (Marvel) – Ultimate Wolverine #12 is pure revenge. Chris Condon, Alessandro Cappuccio, and Bryan Valenza make it burn like a slug of whiskey to the back of your throat. With the whole supporting cast of the book killed off, Wolverine stands alone against Directorate X, its scientists, goons, and mutants and makes his presence known slash and swearing through this book’s runtime. After all the trauma and false hope he’s undergone, Ultimate Wolverine #12 hits with a powerful wave of catharsis with the Phoenix specimen playing a key role in the comic. (And probably in the future of the Ultimate Universe because talk about a big gun.) It feels good to watch Wolverine decapitate Sentinels and stab Colossus in the face while Moscow burns around him, and this comics ends up being one of the best in the series because of its focus on simple, effective brutality. Overall: 8.2 Verdict: Buy
Ultimate Spider-Man #23 (Marvel) – All the plot threads that Jonathan Hickman has been building in two years of this title collide in Ultimate Spider-Man #23, but Spidey’s tenacious heart still beats beneath the noise. Facial expressions have been Marco Chechetto and David Messina‘s calling card throughout the comic, and they do a lot of the heavy lifting as Peter Parker goes into action to save his son from the Kingpin’s tower while he’s trying to take down the Kingpin per Otto Octavius’ instructions. I live for the side eye that Peter’s daughter May gives Doc Ock. There are about 4-5 plotlines going in this series, but Hickman uses the classic throughline of the hero’s choice contrasting Harry Osborn and Peter Parker. This mirroring of Spider and Goblin is a great callback to the Brian Michael Bendis and Mark Bagley Ultimate Spider-Man as well as the Sam Raimi Spider-Man films, but Ultimate Spider-Man #23 makes an original recipe out of some tasty ingredients. Overall: 9.2 Verdict: Buy
Street Sharks #3 (IDW Publishing) – Stephanie Williams, Ariel Medel, and Valenatina Pinto show that the Street Sharks are more brain than brawn (But they have good hearts!) in the third episode of this series. Fitting for this time of the year, the plot is college football related as the Street Sharks blending in with the shark costume-sporting fans of Fission University. It’s so wholesome to watch the Sharks interact and be complimented by their fellow students, and Jab even gets to help a young girl be reunited with her mother in a sequence that establishes him a truly selfless hero. Of course, there’s the over the top fight scenes, and Williams escalates the series’ overarching plot big time. Street Sharks continues to be an updated Saturday morning cartoon delight. Overall: 8.4 Verdict: Buy
Circus Maximus #2 (Mad Cave) – Mark Sable, Giorgio Pontrelli, and Emilio Lecce‘s Circus Maximus #2 has a really cool concept, but far too many fragmented sub plots to be a hit as an ancient Roman crime thriller. The main premise of a class warfare-driven heist right under the nose of Emperor Nero and his Praetorian Guard because everyone is watching a chariot race (Featuring the getaway driver as a participant.) at Hippodrome is very compelling, especially as Sable connects the caper to the Great Fire of Rome in 64 CE. However, there are a lot of moving parts, and some storytelling issues in transitions between scenes like when the aforementioned getaway driver becomes a gladiator. Also, a lot of the time, it feels like Mark Sable and Pontrelli glommed on a few concepts from Roman every day life and zeroed in on those at the expense of the big picture. Hopefully, the story improves, but the foundation of the thriller is definitely wobbly. Overall: 6.0 Verdict: Pass
Absolute Batman #15 (DC) – Scott Snyder, Jock, and Frank Martin do the nigh-impossible and put a fresh, frightening spin on the Clown Prince of Crime in Absolute Batman #15. The story is framed by Alfred telling a fish story about a family called the Grimms, but each version gets darker and more nefarious until the big double page reveal of a baddie that could easily be the Absolute Batman’s arch-nemesis. I love how Snyder and Jock root the Absolute Joker in history, capitalism, and even the history of the entertainment industry as a primal, immortal source of pure evil. Also, in the deepest knife twist of all, he’s very similar to the main DC Universe’s Bruce Wayne. Because billionaires are the real supervillains. Overall: 10 Verdict: Buy
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimate Universe: Two Years In (Marvel) – Ultimate Universe: Two Years In is a complex story about the Ultimate Guardians of the Galaxy trying to fix the universe using the power of timey wimey things. Deniz Camp and Alex Paknadel turn in a script oozing with ideas about the nature of humanity, hope, and if a better world can happen complete with talking dogs, nihilistic robots, cosmic surgery, and a truly unique take on Daredevil. This book is worth reading for the Ultimate Daredevil sequence alone which is fourth wall shattering comics storytelling at its finest from Camp, Paknadel, and Javier Pulido. Pulido’s vivid, flat colors are the cherry on top. It wavers under the weight of its own complexity sometimes, but Deniz Camp and Alex Paknadel find the emotions at the core of this space and time-spanning story with Patrick Boutin and Phil Noto‘s facial expressions especially keeping me immersed in the story. Earth-6160 is full of ideas and interesting characters, and it’s sad it will conclude soon. Overall: 8.2 Verdict: Buy
Ultimate X-Men #22 (Marvel) – This issue of Ultimate X-Men has massive Buffy season finale energy filtered through the unique stylings of Peach Momoko as the X-Men face off against the Shadow King aka Kageyama. I love Momoko’s re-characterization of the classic villain as a spurned teenage boy who wants to control the lead character, Hisako, and for her to be just as empty as him. She shows this through visuals with all kinds of logic-defying and fear-inducing shapes as Hisako’s armor and Kageyama’s shadows face off. But he is a lone terror, and she has the fierce backing of the X-Men to help her in this death-defying battle. The emotional core of this issue is totally mainly through the rise and fall of Peach Momoko’s art, and there’s a real sense of payoff in this book. I was down on this book’s plotting early on, but have really come to love it and am also craving fried chicken. Overall: 8.7 Verdict: Buy
Hulk Smash Everything #1 (Marvel) – Hulk Smash Everything is another all killer, no filler action-packed comic book from Ryan North, Vincent Carratu, and Federico Blee. Calming and/or redirecting the Green Goliath’s anger is the driving force behind this comic, which is pure mayhem beginning with the initial assault on Dr. Strange. Carratu’s visuals capture the battle between finesse and brute strength using surrealist layouts for the scenes with Strange working his mojo and big ass splash pages for Hulk’s rampages. Pair it with a truly epic cliffhanger, and this is series that looks like it’ll be entertaining me into 2026! Overall: 8.6 Verdict: Buy
Giant Size Criminal #1 (Image) – Sticking up a talented poker player in a hotel room seems like an easy enough crime, but this is Ed Brubaker, Sean Phillips, and Jacob Phillips‘ Criminal so things are not so easy. They spin a yarn of a stick-up gone wrong complete with drugs (Phillips’ palette comes in handy here.), sex workers, cartoons, and of course, daddy issues. Even if you haven’t read a single Criminal story (Guilty as charged, I think), this is a great entry to the world and filled with humor and violence too. In addition to the 36 page lead story, Giant-Size Criminals features some background information about the creation of Criminal, some funny strips about Brubaker and Phillips’ experiences with the upcoming TV adaptation, and the holy grail of all, a Criminal TTRPG created by Kieron Gillen himself that’s worth the price of the comic. Overall: 9.5 Verdict: Buy
Batman #4 (DC) – A villain who runs an “algorithm of crime” is the perfect Big Bad for 2025/2026, and Matt Fraction, Jorge Jimenez, and Tomeu Morey use Batman #4 to give us a tantalizing introduction to the Minotaur. The grid layouts paired with a precise monologue raise the stakes even higher in the first and final frames of the book while the bits in between show the utter chaos and hopelessness of Gotham. However, Fraction’s trademark witty humor shines in a sequence where Bruce Wayne flirts his way into some information. (His target wearing Krocs is an adorable detail.) Batman #4 is more a building block than a full meal or even a course on a tasting menu, but Jimenez’s slick visuals and a frightening, yet relatable villain make it worth a read. Overall: 7.7 Verdict: Buy
After a sci-fi interlude as the consort of Emperor Hulkling, Billy Kaplan aka Wiccan aka the Demiurge is back in supernatural fantasy mode for his first solo series Wiccan: Witches’ Road #1. Wyatt Kennedy, Andy Pereira, and Bryan Valenza put one of the Marvel Universe’s alpha couples through some strange, difficult situations to restore balance to the Marvel Universe. This is definitely the “in sickness and in health” part of the traditional marriage vows, but with an extra helping of monsters from Slavic folklore, and it’s nice to see Hulkling and Wiccan work through their problems in a mature way instead of having relationship drama for the sake of drama.
Especially in its introduction and conclusion, Wiccan: Witches’ Road #1 has major fairy tales starting with the fonts and caption style that Ariana Maher uses for a one page recap of Billy Kaplan’s life and lore up to this point. Even though there’s plenty of light couple’s trip banter and adorable peasant girls that have crushes on the 100% unavailable protagonist, Kennedy and Pereira are taking a big swing at making Kaplan a supernatural player in the Marvel Universe up there with Dr. Strange, Dr. Doom (RIP, I think. I only read the Runaways tie-ins of One World Under Doom.), and of course, his mother, Scarlet Witch.
The issue’s kind of/sort of antagonist and the elevated language of some of the captions sets up Wiccan as a kind of epic hero, and the aforementioned little girl echoes that by asking him if he’s a knight. (Of course, he’s not, he’s a good witch!) Andy Pereira and Valenza match this energy in some of the visuals like a panel drawn from the POV of a creepy house with gabled windows.
Speaking of the art, Pereira has solid storytelling instincts from screenshot-worthy reaction shots of Hulkling and Wiccan reacting to their unfamiliar surroundings to fast and furious, knife-life panel layouts showing Wiccan in action against his first monster. There is a little bit of manga in Andy Pereira’s line work with big sound effects and rapid speed lines showing the frantic surprise of the combat as well as Wiccan’s development from just a kid who mouths spells to a skilled melee fighter. Bryan Valenza’s bright, flat colors are the finishing touch on these fight scenes, and he goes moodier and more atmospheric for the slower scenes like when Wiccan and Hulkling explore a suspicious house. Sometimes Wiccan is Goth, sometimes it’s a superhero, and this shift in tones keeps it from getting boring.
Wiccan: Witches’ Road #1 is a fun, surprisingly flirty launch issue that goes deep into the fantasy rabbit hole that is all just a big metaphor for Billy Kaplan and Teddy Altman picking up the pieces of their life together after a cosmic crisis. This kind of a setting is a no-brainer for Wiccan, and I respect Wyatt Kennedy and Andy Pereira’s use of figures from Slavic folklore and mythology instead of supervillains to create conflict and mystery. This book has some of the same DNA as Kieron Gillen’s Journey into Mystery and Steve Orlando’s Scarlet Witch while putting its own unique spin on the fantasy-meets-superhero genre thanks to having a cute, loving couple at the heart of it. I hope the subsequent issues in this series have the same real talk and flashy magic.
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Batman/Green Arrow/The Question: Arcadia #1 (DC Black Label) – Batman/Green Arrow/The Question: Arcadia #1 (BGQA from here on out) is like Neapolitan ice cream for folks who like street level heroes and socially conscious storylines. Cartoonist Gabriel Hardman cooks up an old school conspiracy thriller featuring three heroes from all over the ideological spectrum. However, BGQA #1 isn’t just talks and lectures, and there is serious power and action to the visuals as Oliver Queen punches frat bros at gentrified dive bars or Batman does his stealth thing at a corporate retreat. Hardman’s characterization of Batman is actually similar to Superman in The Dark Knight Returns, and I’m curious to see how that unfolds as this series progresses. Overall: 8.4 Verdict: Buy
Absolute Wonder Woman #14 (DC) – The two-parter about Diana fighting her dark double comes to a literally earth-shattering conclusion courtesy of Kelly Thompson, Matias Bergara, and Jordie Bellaire. Bergara is no mere fill-in artist, and he throws some beautiful, primal shapes with his layouts matching a conflicted color palette from Bellaire and painful narration from Thompson. And, on the bigger picture side of things, Absolute Wonder Woman #14 shows there is something askew and dark about the Absolute Universe, which makes heroes like Diana all the more needed. Kelly Thompson have built the foundation for a heroic, yet hellish take on the iconic superhero, and a crossover is additive to the narrative not a chore. And to wrap up, Absolute Zatanna and Jordie Bellaire’s glittering colors for her almost run away with the whole issue in a gnizilatnat esaet. Overall: 8.7 Verdict: Buy
Absolute Batman #14 (DC) – The conclusion to the big Bane/Venom arc in Absolute Batman from Scott Snyder, Nick Dragotta, and Frank Martin is everything I expected and more. Snyder structures the comic as a parallel story of the battle royale between Batman and Bane with an MMA match between Waylon Jones and Bibbo Bibbowski years earlier. Jones was supposed to go down early and take the money, but he wouldn’t take no for an answer and the same with Batman. Dragotta puts his heavy metal heart on the page as Batman outmaneuvers a constantly growing and bloating Bane. (He could give Demi Moore’s character in The Substance a run for her money.) Alfred Pennyworth’s narrative keeps the fight linked to Batman’s arc, and the story ends up being about fighting in community against a soulless evil. On almost the 40th anniversary of The Dark Knight Returns, Batman, once again, has an epic fight against a larger than life opponent, and Nick Dragotta puts his own unique brand on the Caped Crusader just like Miller did in the 1980s. And Bane was just an amuse bouche for an even more formidable foe. Overall: 9.9 Verdict: Buy
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Starship Godzilla #2 (IDW Publishing) – 2 issues in, and Chris Gooch and Oliver Ono have already thrown the crew of the S.S. Mechagodzilla into utter chaos. Their ship is busted, and they have a delivery to make to get paid so let’s go gambling, I guess. Gooch’s fast paced plotting and Ono’s graphomania capture the frenetic pace of a space port city. They also find some heart under the hustle in the interactions between first mate Ayan and her grandmother, who teaches her how to repair the ship while disaster rages. Plus Ono’s take on one of my favorite kaiju kicks things up a notch. Overall: 8.1 Verdict: Buy
Final Boss #1 (Image) – Tyler Kirkham‘s Final Boss has that old school 90s image feel with brutal fight scenes and a focus on style over substance. Seriously, this book at its peak when it shuts the hells up and has protagonist Brazen Bull work over his gimp mask wearing opponent in the ring that starts like an MMA fight and turns into something out of Mortal Kombat. Kirkham, inker David Miller, and colorist Ifansyah Noor really put on a no holds barred show, and I love how Troy Peteri‘s word bubble/box placement shifts with the punches and other deadly moves. Overall: 7.6 Verdict: Buy
Godzilla Destroys the Marvel Universe #5 (Marvel) – Gerry Duggan, Javier Garron, Scientronc, and Jesus Aburtov don’t cop out and have the Marvel superheroes actually beat Godzilla in the conclusion to their five issue miniseries, but cement his place as an unstoppable force of nature. Fans of tokusatsu will revel in glee as Voltron, but make it Earth-616 duels with Magik’s Soulsword, Captain America’s shield, and all kinds of accoutrements. Most of the issue is dedicated to the battle royale, but Duggan, Garron, and Scietronc lay some track for an even more impactful sequel riffing on Marvel’s Illuminati without getting too heavy handed. Let’s just say that it doesn’t get any more epic than the last couple pages of this look. Overall: 9.0 Verdict: Buy
The second big Marvel/DC crossover this year features a fifth dimension/fourth wall shattering lead Batman/Deadpool story from Grant Morrison, Dan Mora, and Alejandro Sanchez as well as four individual team-up tales ranging from great (Tom Taylor, Bruno Redondo, and Adriano Lucas are the perfect team for a Nightwing/Laura Kinney Wolverine crossover comic.) to good (It’s great to have new Amanda Conner interior art, but her, Mariko Tamaki, and Tamra Bonvillain‘s Hulk/Harley Quinn story has big “lol so random energy). The crossover explores the differences and similarities between the Marvel and DC Universes, connections between heroes, and in Morrison’s case, they mine their past as a writer and previous intercompany crossover. Let’s just say that Animal Man and bidders on the Gerry Conway/Ross Andru/uncredited house art fixer uppers’ Superman vs The Amazing Spider-Man are in for a good time.
I have a love/hate relationship with the lead Batman/Deadpool story, “The Cosmic Kiss Caper”. This would be a story that I would have died laughing over back in the day with my freshman roommate and our twin comic book collections of Grant Morrison JLA and Action Comics issues, Daniel Way Deadpool trade paperbacks, and various Marvel/DC intercompany crossovers. (Ron Marz and Darryl Banks’ Green Lantern/Silver Surfer slapped!) Morrison uses Deadpool’s fourth wall obliterating, over-caffeinated joke-a-minute personality to flex their incredibly deep reference pool, which Mora enhances through the visuals like a room dedicated to the Amalgam Universe. Like the Deadpool & Wolverine film, it can get grating after a while, but Grant Morrison is a much more clever writer than any of the five on that film and ends up using the comic’s barely there semblance of a plot to poke fun at themself.
“The Cosmic Kiss Caper” also made me realize how much I’ve missed Morrison’s sanity-in-a-sea of a chaos with a dry wit and bit of a James Bond flair take on Batman. Batman has been through these kind of situations before, and a Dark Claw reunion tour has nothing on Batman of Zur-En-Arrh or whatever the heck happened in Final Crisis. He reacts to the PG-13 Looney Tunes antics of Deadpool with style, grace, and dialogue that sounds like it could have been delivered by the late Kevin Conroy. On the art side, Dan Mora and Sanchez pour on flashy colors and poses that satisfied my inner action junkie while going for a more muted approach when this story’s special guest star appears. Batman/Deadpool can be cringy at times, but it’s a love letter to the enduring absurdity as well as emotional honesty of superhero comics. It’s solid pop comics, but Grant Morrison has more of knack writing Batman than the Merc with a Mouth.
Following up the chaos is a Dr. Strange/John Constantine story written by James Tynion, Joshua Williamson, and Scott Snyder, a triumvirate of writers, who have found success penning horror comics as well as Big Two superhero books. The art is handled by Hayden Sherman, who is one of the strongest visual storytellers in mainstream comics with their knack for inventive layouts, with colors by Mike Spicer. This story is about a showdown/conversation between Constantine and Strange (With a Ghost Rider vs Swamp Thing battle royale in the background.) that also ends up being about the nature of fear, darkness, and reality itself in the Marvel and DC universes. DC has the prestige of Vertigo, Alan Moore, Garth Ennis, Peter Milligan and more while Marvel has the more dubious “Midnight Sons” and the Nicolas Cage Ghost Rider duology. (Guillermo Del Toro has directed a Marvel horror film and not a DC one though.) However, Stephen Strange was doing his visually stunning occult thing way before the chain smoking lad from Liverpool, and Tynion, Williamson, and Snyder draw on the moral compromises that the Sorcerer Supreme has made in some of his more recent runs. This gives Sherman the opportunity to do some horrific chimera panels of Strange and Constantine merging with various mystical elements, and I love how they structure the story like a kind of wizard duel. As a fan of gritty fantasy, the occult, and superheroes, this story is a wicked delight, and team-ups between the supernatural denizens of the Big Two would be more than welcome.
The third story in Batman/Deadpool #1 is a team-up between Wolverine and Nightwing aka “nepo heroes” to rescue Gabby and Jonathan the Wolverine from Killer Croc. Tom Taylor uses a dual narration style that is a contemporary version of what Jeph Loeb did in Superman/Batman, and Bruno Redondo’s fluid choreography and grid brings a directness and ease of reading complemented by Adriano Lucas’ flat gold and blues. Taylor is a humorous writer with a side of pure heart like in moments where Dick Grayson, Laura Kinney, Gabby, and Barbara Gordon all bond over their different pets. Although different in outward demeanor, Dick and Laura have a lot of similarities, and Tom Taylor’s succinct narration adds context to the body language showcased in Redondo’s art. They have instant chemistry and could easily appear in each others’ books on regular basis without batting an eye. “Sticks and Snikts” is a no-brainer crossover that pays homage to Tom Taylor’s excellent work with both heroes as well as legacy heroes and their growth and development in general.
Batman/Deadpool #1 wraps up with a Hulk/Harley Quinn story and a Static/Ms. Marvel story that have polar opposite tones. “Harley and Hulk’s Amazin’ Saturday” is a bright adrenaline rush with boundless energy as the more colorful alter egos of Harleen Quinzel and Bruce Banner smash, eat, and even flirt their way through a five page story. There isn’t really a point for these characters to interact, but it’s a rare opportunity for Amanda Conner to show why she still has one of the smoothest lines in comics and shows that the anarchic nature of her Harley Quinn run with Jimmy Palmiotti could fit in with Hulk too. Also, it’s just nice to see the Hulk have fun and not being sent down to Hell or being sad and lonely for once.
On the flip side, “New Friends in Old Places” brings together the iconic teenage hero of the 1990s and the iconic teen hero of the 2010s. The old-ish, new school vibes matches the dynamic of the creative team of G. Willow Wilson, artists Denys Cowan and Klaus Janson, and colorist Francesco Segala. There’s not a lot of time to develop the story so Cowan ably transitions from domestic life to superhero ass kicking with plenty of teenage awkwardness as Static and Ms. Marvel team up to fight a generic kaiju. “New Friends in Old Places” felt like a few bits of an appetizer and not even a full small plate so hopefully there will be future interactions between these two heroes that have inspired young people of all genders, races, and religions. (And are also total nerds!)
Batman/Deadpool #1 is a satisfying intercompany crossover that features dynamic work from some of the best artists in comics and a range of tones and types of stories. It’s fun to see Grant Morrison turn back the clock to 1990 in some ways while dropping hit and miss one-liners about Gen Z Internet culture and Absolute Batman, and Dan Mora was born for this kind of big, bad action spectacular. However, my favorite stories were the Dr. Strange/John Constantine and Nightwing/Laura Kinney Wolverine crossovers because they were both intellectually simulating and visually enticing while digging to the core of their protagonists and roles in their respective universes. Also, it’s kind of epic to see Hayden Sherman draw Ghost Rider and Swamp Thing beating each other up. (One day your Alan Moore, Stephen Bissette, and John Totleben will come, Mr. Blaze/Ketch/Reyes!)
Story: Grant Morrison, James Tynion IV, Joshua Williamson, Scott Snyder Story: Tom Taylor, Mariko Tamaki, G. Willow Wilson Art:Dan Mora, Hayden Sherman, Bruno Redondo, Amanda Conner, Denys Cowan, Klaus Janson Colors: Alejandro Sanchez, Mike Spicer, Adriano Lucas, Tamra Bonvillain, Francesco Segala Letters: Todd Klein, Frank Cvetkovic, Wes Abbott, Dave Sharpe, Steve Wands Story: 8.2 Art: 8.9 Overall: 8.6 Recommendation: Buy
DC Comics provided Graphic Policy with a FREE copy for review
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Street Sharks #2 (IDW Publishing) – Street Sharks #2 is another bowl of Saturday morning cartoon tastiness from Stephanie Williams, Ariel Medel, and Valentina Pinto. This issue is centered around a circus of animal hybrids who have been, let’s say, questionably enhanced by the mysterious Director. In the space of 20 pages, the Street Sharks save the day and wrap up the story in a stylish, action-packed bow. Williams’ script loves a good pun, and Medel continues to draw from professional wrestling to soup up the action sequences. There’s also an emotional connection between the Sharks and the circus and a continuing theme of how the media perceives the Sharks’ activities. This comic is a nostalgic, bonkers good time, and I wish it was an ongoing and not just a miniseries. Overall: 9.2 Verdict: Buy
Teenage Mutant Ninja Turtles x Godzilla #1 (IDW Publishing) – In the first issue of Tim Seeley, Fero Pe, and Luis Delgado‘s cross-property crossover, the Teenage Mutant Ninja Turtles fit together seamlessly with Godzilla and other Toho kaiju. They weld the backstory of the pre-corruption/schism Foot Clan to the threat of Godzilla to Japan and combine it with all kinds of funky mutagen science. This comic really does feel like using all the toys in the box moving at a rapid pace with plenty of action and fun banter. I love how Pe depicts the vast size and scale of the King of the Monsters compared to your usual human/turtle ninja and beneath the jokes and butt kicking, there’s a relevant theme of using tragedies to profit. So excited/scared for the Heroes in the Half-Shell to face King Ghidorah next issue. Overall: 8.7 Verdict: Buy
American Caper #1 (Dark Horse) – Co-written by Rockstar Games co-founder Dan Houser, American Caper #1 launches a pitch black crime comedy set in the heart of the American nightmare of land deals, lawyers, and families with something to hide. Houser is joined by co-writer Lazlow and a great art team of David Lapham, Chris Anderson, and Lee Loughridge that burnish its crime credentials. Lapham and Anderson don’t flatter anyone in their character designs, and Loughridge’s palette is Old West meets suburban sprawl fitting for a gentrified Wyoming town. The co-author of this comic has a nine figure net worth so the satire is definitely soft targets, but American Caper has a lurid charm to it like the Grand Theft Auto games. Overall: 7.8 Verdict: Buy
Adventures of Lumen N #3 (Dark Horse) – I hate to use this term, but Adventures of Lumen N #3 is a total filler issue. Writer James Robinson makes Aeon Nemo just a total mustache twirler of a Big Bad with no psychological depth although his writing fares better with the protagonist Lumen Nemo, who is reveling in her adventurous origins. The plot barely progresses, which is fine, but Robinson doesn’t flesh out any of the book’s relationships and characters except for reiterating things about Lumen. At least, Phil Hester and Marc Deeing make the Nautilus look cool with their angular art style. I guess a battle is going to happen in the next issue, but the series has taken quite a dip in quality. Drop this one and re-read Alan Moore and Kevin O’Neill’s League of Extraordinary Gentlemen/Nemo books instead. Overall: 4.8 Verdict: Pass
Kieron Gillen and Stephanie Hans return to the hellish TTRPG world of Die in their new series Die Loaded #1. It’s definitely helpful to be familiar with the previous series, but in gaming parlance, this first issue is “new player friendly” and slowly unravels the lore and relationships from Die. Die Loaded is a dark fantasy/horror series, but it’s also grounded in authentic, real world relationships. The main focus for this launch issue is Ash, who is a female Dictator in the game world, but is a nonbinary person in the real world and dealing with becoming a father and good partner to their wife Sophie, who had a child while they were trapped in the game. Gillen writes the majority of the issue from their POV as they adapt to a “normal life” after a great crisis although that normal life happened during the COVID-19 pandemic. He and Hans use parenting as the initial throughline for the series, but things definitely get fantastical later on.
From page 1, Die Loaded felt like being reunited with an old friend who I thought I’d never see again: Dominic Ash. In previousarticles, I’ve mentioned my connection to the character and their complex relationship with their gender identity and nostalgia in the fantasy genre. So, it’s cool to see them take on the unexpected role of “Daddy” and navigate an even more complicated relationship with their partner Sophie because they definitely don’t reveal 100% of what happened in Die to them. Kieron Gillen’s narrative captions for Ash are downright confessional and add an extra dimension to a seemingly mundane of a couple getting ready for a night out, which is Chuck’s (The Fool from Die and a wealthy fantasy author.) wake. I felt so seen when Ash mentioned putting their “gender bullshit” on hold to deal with other things in their life.
The social maze that Ash and Sophie must traverse is just as frightening as any fantasy quest, and Stephanie Hans’ use of shadow and color gives the function a sinister vibe as she and Gillen check in with various characters and their families/partners from the previous series. She makes the real world feel like a dissociative episode using more straightforward shots and layouts for friendly encounters and more askew one for conflicted ones. Hans’ palette in Die Loaded is muted compared to the majestic fantasy or Gothic horror of some sequences in Die. Her choice of color and lighting almost screams for normalcy. She and Kieron Gillen pace the wake scene like any massive social gathering where you have close relationships with some folks, dislike others, and are intrigued/overwhelmed by others.
Kicking off Die Loaded with a wake is an ingenious piece of storytelling from Gillen and Hans as the various old/new characters reacquainting themselves with each other mirrors readers coming back to a series that made an impact on them, but it’s been a few years. The focus on Ash and Sophie’s dynamic as partners and parents is a wonderfully mature hook for the series before it goes into Goth Jumanji chaos, and it gives a freshness to the sequel instead of going the Die Harder route. I feel both blessed and cursed (In an in-universe kind of way.) to return to this world.
