Category Archives: Reviews

Review: Ghost Rider #1

ghost_rider_1_coverIt’s hell on wheels as the Spirit of Vengeance makes his roaring return! A mysterious object from space crash-lands in southern California, drawing some of the brightest minds in the Marvel Universe to Ghost Rider’s backyard – including Amadeus Cho, the Totally Awesome Hulk! What mayhem will be unleashed as the High-octane Hothead comes face-to-face with the Jade Genius? And with Robbie still possessed by the ghost of his evil uncle Eli…who’s really in the driver’s seat?

I read a little of the previous volume of Ghost Rider, but for the most part skipped the series. So, while somewhat familiar with the Robbie Reyes version of the character, the whole possessed by the ghost of his evil uncle was something I was up on. After reading this issue, I’m not sure I know anymore than I did before.

Written by Felipe Smith with art by Danillo Beyruth the main story is… interesting. While Ghost Rider’s name is splashed across that cover it feels like a lot of the issues is devoted to, Totally Awesme Hulk!? Yes, the Hulk is peppered throughout the issue as Reyes story is broken up by a build up featuring that character. The problem is, there’s not really any payoff with the Hulk in how Ghost Rider ties in, so the scenes feel like someone produced the comic wrong and mixed up the two series. It’s confusing and an odd choice that takes the focus away from a character who is garnering some interest with a high profile spotlight in Marvel’s Agents of S.H.I.E.L.D.

Then there’s a back-up story written by Smith with Tradd Moore on art. This addition is a bit more straight forward in the comic sense with Reyes having someone attempting to steal his car. It’s nothing earth shattering, but it’s entertaining and looks great.

Beyruth’s art is ok for the series and has a generic feal about it all. In fact the Hulk scenes felt like they could be found in that series, so things feel replaceable. Not necessarily a good thing but also not horrible. It evokes a little of Moore’s style that made the previous volume so cool to look at, though it doesn’t copy it.

Moore’s contribution on the other hand is as solid as solid can be as expected. I love Moore’s art and he always adds a kinetic energy that’s just fun to look at.

The choices for this issue are… interesting to say the least. With pages that feel like they’re from an issue of Totally Awesome Hulk and then another character showing up at the end, the issue feels like something you’d find many issues down when sales have dwindled and a crossover is needed to boost sales. I can’t see folks who came to this from the live action version would stick around after this issue. I’m seriously perplexed.

Story: Felipe Smith Art: Danillo Beyruth, Tradd Moore
Story: 4 Art: 6.7 Overall: 4 Recommendation: Pass

Marvel provided Graphic Policy with a FREE copy for review

TV Review: DC’s Legends of Tomorrow S2E7 Invasion!

legends-of-tomorrow-season-2The Legends work with The Flash, Supergirl and Green Arrow to kill the invaders; while working out how to defeat the Dominators, Stein gets distracted by the aberration he created in 1987.

DC’s Legends of Tomorrow  does its part in the four night “Invasion” crossover that intertwined The Flash, Supergirl, and Arrow. And it does a decent job of wrapping up the event with some fun action and time hopping. The story is split into two parts with a team having to head to the past to deal with the Dominators and the team in the present dealing with them too.

We also finally get a solid motivation for the alien invasion and that has to do with Barry changing the time stream. We don’t really know how the Dominators know, they just do, but it puts Barry’s meddling with the time stream front and center. What’s odd though is.. do the aliens not care or know about the Time Lords? Or how about Zoom running around through time?

What this event has really done is put the concept of changing the time line front and center as the Legends must deal with what they’ve done as well, especially Stein. There’s ramifications, both good and bad for everything they’ve done. It also shifts the “Flashpoint” timeline into the other series, something we were promised before all of their seasons kicked off. This is the first real acknowledgment by the whole over what’s happened. There also will likely be ramifications going forward due to this too.

A solid ending to the event that brings some of the greater themes and issues explored in Flash over to this series and opens up a hell of a lot of opportunities (and hints) as to what’s to come.

Overall Rating: 8.05

Review: Inhumans vs X-Men #0

inhumans_vs__x_men__0Inhumans vs X-Men issue # 0 sets the stage for the next superhero smackdown. For those feeling an acute onset hero on hero violence fatigue, be patient. The next superhuman bout may deliver where Civil War II faltered. IvX #0 continues in the same vein as Death of X filling the much-needed gaps, to paint a current picture of both the Mutant and Inhuman landscape.  To be honest I definitely had my gripes about the flash-forward and off panel milestone story telling that Marvel had cozied up to. Having the complete picture now gives a coherence that in my opinion makes the story more enjoyable. I really hope Marvel sticks to more linear storytelling in the future.

Overall I found the characterization in IvX #0 quite strong. Hank McCoy the elder, has been slowly transforming with a bent towards unabashed arrogance as of late. I was just thinking the other day how much similar he has become too his Dark Beast counterpart from the age of apocalypse reality. There’s a flashback to his early lab work with the Inhuman ISO, and his flippant remarks about the current situation and his faith in science to solve it all came off as very blindsided. For all his genius Hank doesn’t seem to appreciate that through science he has created some unsolvable problems as well (i.e. the temporal displacement of the original five X-Men). This is very much the same Beast who we saw depart from the X-Men in the Uncanny #600 issue. (link to  Unapologetic, stubborn, arrogant, and kind of an asshole. I’m very proud of Charles Soule for continuing on this characterization thread.

Emma Frost also enjoys a well-deserved spotlight.  In my review of an earlier Inhuman title I wrote how Medusa’s character really got to grow and flourish in the absence of Blackbolt post-Infinity. In this respect, Emma serves as a mirror to Medusa throughout the issue. I have always marveled how desperation has fueled Emma and made her operate at her best.  With Cyclops’ untimely demise she’s returned to that same Emma Frost we saw during the Dark Reign/ Pre-Utopia era. Devious, ambitious, and conniving. We see Emma tapping into her Hellfire roots on behalf of mutantkind in a pure way this issue and I couldn’t help but think how good it was to have the White Queen back! And its very symbolic that we have three queens (ex-Wakandan, Inhuman, and Hellfire) interlocked in such an interesting drama, with their own signature approach to statecraft. I love it!

With that said IvX excels at framing the oncoming conflict in evolutionary and political terms. We learn in this issue that the pre-emptive strike lead by Cyclops’ faction of X-Men neutralized half of the Terrigen cloud encircling the globe. This is quite a big deal as it shows mutants to be a force to be reckoned with deterrent wise. I’m reminded here of the Inhumans war against the Shi’ar in the War of Kings volume when it was speculated that Terrigenesis had a somewhat prescient element giving the Inhumans exactly what they need when they need it. Both the Inhumans and the X-Men are equal in this regard and this should make for and interesting conflict. It’s becoming ever more clear that there will be multiple perspectives on this conflict depending on the vantage it is viewed from. Given the reveals we have been given in Death of X Magneto remarks that the Inhuman missions upon the RIV are a protective military measure masked as a humanitarian mission. This threw me for a loop because I would have never considered this on my own. Naturally, Magneto has the eyes and the experience to make this interpretation. Given what we  have seen overall his assessment has merit. This outlook is also significant given some of the early story arc’s of the All-New Inhumans, which dealt directly with themes of a humanitarianism, genocide, geopolitical gesture and espionage. Beast overhears Medusa ‘s planning asserting that whatever the outcome of the current détente, the Inhuman’s must be prepared to win. I believe this was Beast’s come to Jesus moment arrogance/optimism wise. To see these themes revisited and interwoven in such an organic way for this upcoming conflict organically was such a treat.

The art was vivid and had a serious tone similar to the work of Lenil-Yu, the facial expressions were also very expressive. A small touch that I always appreciate when I come across it as it always makes me more attentive and invested in the characters.

Admittedly I rolled my eyes at the prospect of another superhero conflict, but I must say I am now hooked and eagerly awaiting the next volume if the plotting and themes are as smart and organic as IvX #0 suggests then I think we’re in for a fun ride. Doubly so considering the Ressurexion event that is on the horizon.

Story: Charles Soule Art: Kenneth Rocafort
Story: 10 Art: 8 Overall: 8 Recommendation: Buy!

Marvel provided Graphic Policy with a FREE copy for review

TV Review: Arrow S5E8 Invasion!

arrowOliver wakes up to a life in which his parents are still alive and he is about to marry Laurel; Felicity faces a new threat with the help of The Flash and Supergirl.

Arrow celebrates its 100th episode as part of the 4 night crossover “Invasion” event. The result is a bit mixed overall, but it’s entertaining. For those that missed last night’s The Flash, there’s aliens who are up to… something, and at the end of the episode they abducted some of the heroes.

This episode is interesting in that it uses the bigger picture story, but doesn’t get to caught up in it. Instead it celebrates the history of the series taking us through the years in its own version of “Flashpoint.”

In this shared dream world Oliver and crew live different lives where Ollie is marrying Laurel, Diggle is the Arrow, and everything is kind of… normal. The different take on folks is kind of cool and it’s a nice “what if” riff on everything about the series. Seeing each character awaken is entertaining as well, especially what triggers them.

But, what’s really special is all of the guests that show up in the episode. Villains from the past as well as friends and family are all on board in a celebration of the last five seasons. They kept it all under wraps which is even more impressive and for folks who have watched the series, they should be happy with the touch of nostalgia.

There’s some things that don’t quite work as everyone wakes up and the story takes a hard sci-fi spin. I don’t want to ruin it, but the special fx work against the episode at this point and it just doesn’t feel like Arrow. But, the point is to bridge to the next chapter which is on the next day.

This episode works some and fails in some ways, and it’s not as strong as The Flash‘s entry, but better than Supergirl’s. With one more to go in this event, it feels like there’s a lot still to wrap up, but so far, it’s been a fun ride.

Overall rating: 7.85

Review: DC Universe: Rebirth The Deluxe Edition

May kicked off DC Comics’ latest major shift with the launch of DC Universe: Rebirth a seismic change blending the New 52 with lots of classic elements from the pre-52 world. It was the best of both worlds blending old and new.

Numerous printings later, DC has released a hardcover version of DC Universe: Rebirth. This deluxe edition includes the best selling comic as well as extras that gives you even more info on the new DC world

I show off the deluxe edition showing off what you’ll find inside.

You can buy a copy today!

DC Comics provided Graphic Policy with a FREE copy for review.

This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.

Review: Ms. Marvel #13

msmarvel13interiorMan, I wish the real presidential election (And some of the local elections in my state/district) was like this special Election Day themed issue of Ms. Marvel #13, which contains an honest-to-Lockjaw PSA on the various ways to register to vote  and features an upset victory for a progressive, Jersey City librarian over the perfectly named Chuck Worthy, one of Dr. Faustus’ HYDRA henchmen from a previous storyline. But before Stella Marchesi can win, Ms. Marvel has to put away the punching and polymorphing and become a community organizer. Writer G. Willow Wilson, artist Mirka Andolfo, and colorist  Ian Herring use the superhero and teen romantic comedy genres to spin a tale of political revolution within the democratic republican system of the United States.

Andolfo brings some fun, manga-infused art to balance the heavier political themes plus all the angst about Kamala betraying her best friend Bruno and him leaving after the Civil War II tie-in arc. Speed lines and sweat drops are her storytelling bread and butter. However, she doesn’t skimp on detail either as evidence by the textured hairstyles of various characters, especially Gabriel, a new student at Kamala’s school, who is also her brother’s wife’s little brother. Drama definitely ensues when they bump into each other, and Andolfo and Herring are there with bright colors, big expressions of anger and pining (Poor Zoe gazing at Nakia.) , and some creative stretching during this issue’s all too brief fight sequence between her and a knock-off lightsaber wielding HYDRA goon, who is trying to hinder her organization.

By minimizing the role of action in this issue, Wilson stresses the point of voting’s importance to effect change in a peaceful not involving vigilantism. And this applies to the real world because Donald Trump probably won the 2016 US presidential election because of non-voters, and Worthy’s strategy is to take advantage of the low turnout for local elections and win by redistricting Jersey City in a classic move of political corruption. Kamala’s friend, the teen polymath (and ex of Bruno) Mike, acts as the brains of the organization helping her with political terms like “gerrymandering” while Ms. Marvel acts as the face of the movement showing the power of iconic symbols to motivate people. This also allows them to continue to be friends even after Bruno’s departure, and Wilson includes scenes of her bonding with Mike and Gabriel to show that between the investigating and rallying that Kamala still has time to be a teenager.

It’s very idealistic compared to the United States’ current political reality, but Ms. Marvel #13 is a powerful rallying cry for political change via local elections. And G. Willow Wilson, Mirka Andolfo, and Ian Herring keep the narrative entertaining and not overly PSA-esque by combining political themes, superhero hijinks, and teen angst in a similar manner to the gentrification plot in the first arc of this volume.

Ms. Marvel #13 is a light bit of progressive superhero fantasy in a world that desperately needs it. It’s the 2016 equivalent of the famous 1940 Captain America Comics #1 cover, which featured Cap punching out Hitler, but its post-Election Day release date makes the comic bittersweet.

Story: G. Willow Wilson Art: Mirka Andolfo Colors: Ian Herring
Story: 9 Art: 10  Overall: 9.5 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Review: Batman Annual #1

batman-annual-1A month before Christmas, Batman Annual #1 taps into the Caped Crusader’s lighter and more whimsical side with heartwarming stories from comics greats like Tom King, Scott Snyder, Ray Fawkes, Paul Dini, David Finch, Declan Shalvey and Jordie Bellaire, and Neal Adams, who colors his own pencils in a super fun Harley Quinn/Batman team-up story that pokes funs at her overwhelming popularity. Then, the comic takes a turn for the freaky with a couple of unsettling stories from Steve Orlando, Riley Rossmo, and Ivan Plascencia and Scott Bryan Wilson, Bilquis Evely, and Mat Lopes. This is where the comic takes a downturn in quality with Wilson, Evely, and Lopes’ story relying on verbose Batman narration instead of the thrills and chills of villain, who kills with her victim’s DNA.

The current Batman creative team, Tom King and David Finch with colorist Gabe Eltaeb, lead off the annual with a funny story about Batman adopting a dog. The fact that Finch and Eltaeb draw and color it in a slick, yet traditional superhero makes it even more hilarious as Alfred tries to house train Ace (who of course becomes the Bathound) while Batman is off taking calls on the Bat-computer and ignoring this adorable pooch, who was trained by the Joker to be an attack dog. As in most Tom King comics, there is a lot more under the surface as the story illustrates the fact that while fighting the big picture of crime in Gotham, Batman sometimes forgets to connect with individual people… and animals. And Alfred reminds him of this fact in a panel that will make long time Batman readers smile as he places a little mask on Ace, and the first story of Batman Annual, like many of the DC Rebirth comics, expertly blends the traditional and forward thinking.

The visually strongest of all the Batman Annual stories is the second one where Batman enjoys a silent night in Gotham courtesy of Scott Snyder, Ray Fawkes, Declan Shalvey, and Jordie Bellaire. Like most of Snyder’s Bat-stories, the setting of Gotham plays a major role as Batman now has a special Bat-signal that cycles through all the emergency calls and helps him jump into action quicker , but Snyder and Fawkes don’t go the criticizing Batman’s problematic and illegal surveillance route.

bm_annual_1_4Instead, they rest on the lean minimalism of Shalvey’s pencils and inks and the even keel color palette of Bellaire, who doesn’t go primary color bright or full black and gray dark to show what a crime-less moment in Gotham feels like for Batman. There are repeated panels of computer code that stop lighting up as two acrobats perform for Gothamites as Champions Square, a kind of Switzerland for both criminals and ordinary citizens. Batman investigates the acrobats, but literally, nothing wrong is happening. Snyder returns to the theme of Alfred and Batman as father and son for a short moment when Alfred shares some British special forces wisdom telling him to rest for the moment because “the bombardment will surely resume.” And it does with Shalvey and Bellaire crafting a full-page splash of the hero in action with a billowing cape in tow.

In a dream-like story, Paul Dini returns to his most famous creation, Harley Quinn, with legendary Bat-artist Neal Adams in tow. Adams’ work is superior to his recent work on Coming of the Supermen as he colors his own work, and you can still see much of his original linework like when Batman accidentally starts singing Christmas carols with Harley Quinn. The story fits into Harley’s more heroic, yet still, wacky alignment as a gang of basically her cosplayers keeps Gotham safe so Batman can have an uneventful holiday of listening to Harley wail Christmas carols. These look-alikes symbolize the omnipresence of Harley Quinn in 2016’s pop culture as Dini rejoices in her stardom, and Adams’ art is definitely up to the task of showing her unbridled energy as she still wants to go Christmas caroling at 4 AM after a long drive from Gotham to Coney Island.

In Steve Orlando, Riley Rossmo, and Ivan Plascencia’s story, the tone of Batman Annual #1 switches from broad comedy to horror. This is despite the comic opening with a campy riff on Arnold Schwarzenegger’s performance as Mr. Freeze in Batman and Robin with a villain, who wants to start a new Ice Age. Plascencia’s colors for the aptly named Minister Blizzard are a rich blue, and you can feel the winter chill as you turn the page. And it brightens as Batman beats up Blizzard in front of a crowd of poor children, who get to be happy and watch their hero save the day in front of him. Rossmo also gives Gordon some humorous reaction panels as he watches Batman completely dismantle the bad guy. His features change to maybe feeling a little bit sorry for Blizzard as Batman’s punches draw blood.

But, in the final page, funny and heartwarming switches to horror as Rossmo brings out the gore and the shadows to go with Plascencia’s red and blacks. There is a twist ending as the kind Gotham philanthropist, Barry O’Neil, meets a grisly end, and Batman can’t do anything to stop a new villain called the Stag, who sports long, spindly fingers and a creepy mask. And they are supposed to return in 2017 so be prepared for more chills in various Batman or other DC comics to ring in the New Year.

Scott Bryan Wilson, Bilquis Evely, and Mat Lopes’ story in Batman Annual #1 is the most ambitious of the five and also the most disappointing. The comic has the clever setting of an Arkham Asylum Christmas party that the villain Haunter spreads a special mix of fear gas to give the inmates anxiety as she runs off to be with her friend, Scarecrow. She has the ability to kill using DNA, but Wilson talks about this ability more than cutting loose Evely and Lopes loose to show it. He also spends a lot of time having Batman narrate his plan to defeat Haunter instead of showing his cleverness the ending is pretty fantastic though with Batman leaving Haunter and Scarecrow giving them a choice to try to survive them in the cold. instead of just sending them back in Arkham even if the story seems overpacked for a six pager.

Batman Annual #1 shows a rare heartwarming side of Batman and his crusade to fight crime with the Christmas holidays as a backdrop and also acts as a showcase for comics talent, old and new.

Story: Tom King, Scott Snyder, Ray Fawkes, Paul Dini, Steve Orlando, Scott Bryan Wilson Art: David Finch, Declan Shalvey, Neal Adams, Riley Rossmo, Bilquis Evely Colors: Gabe Eltaeb, Jordie Bellaire, Ivan Plascencia, Mat Lopes
Story: 8 Art: 9 Overall: 8.5 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: Generation Zero #4

genzero_004_cover-a_mooneyIt’s a hell of a day in the neighborhood.

The darkness bubbling beneath the miraculous town of Rook, Michigan is beginning to surface. As Generation Zero closes in on the vicious force abducting and killing teenagers, they quickly discover that this self-proclaimed utopia has been hiding a deep and disturbing secret that could destroy them all! But as the truth takes shape, will this reformed strike squad bring their first case to a close peacefully…or with a bang large enough to register on the Rictor scale?

Since the last issue of Generation Zero, I’ve read through much of the Harbinger back catalogue featuring these characters (for clarity, I’ve yet to read the Armor Hunters tie-ins and the four Harbinger Wars issues). Now that I have some basis for these characters, I’m wondering whether I’ll enjoy the series anymore, or less.

Honestly, having read those Harbinger comics doesn’t make a huge difference.

The characters within those comics bear only a passing resemblance to those in this series; now whether that’s a result of Fred Van Lente taking the characters in a different direction to appeal to more readers, or of whatever the characters endured in the comics within which they have appeared that I’ve yet to read I have no idea.

With that being said, it’s about time we move on to the comic itself, eh?

Issue #4 of Generation Zero essentially deals with the eponymous team getting ready to do something, along with some minor relationship building moments between Keisha Sherman and the psiot teenagers, but there’s also a subplot centering around Keisha’s brother. It’s the subplot that actually held my interest more than the scenes featuring the title characters, and I would have preferred more time spent on that than we actually got. Instead, we get a rather generic comic with the odd brilliant moment that’ll pull your intention into an otherwise average story.

I’ll be back next issue, but largely to see where the subplot leads. Hopefully the rest of the comic picks itself back up.

Story Fred Van Lente Art: Francis Portela
Story: 6.75 Art: 8 Overall: 7.5 Recommendation: Read

Valiant provided Graphic Policy with a FREE copy for review.

Review: Star Wars Annual #2

starwarsannualcoverIn the stand-alone Star Wars Annual #2 Kelly Thompson, Emilio Laiso, and Rachelle Rosenberg tell a story that is kind the opposite of the Hero’s Journey/Chosen One arc of the original Star Wars trilogy. The comic is written from the point of view of Pash “Bash” Davane, an engineer, who was forced to become a janitor when a battle between the Rebels and Empire destroyed almost all the industry on her planet. The first half of the comic shows the real cost of the Galactic Civil War on ordinary folks before taking a little bit of a turn for the epic when it’s revealed that Bash is letting a wounded Princess Leia stay at her house.

Bash Davane is a wonderful addition to the new Star Wars Expanded Universe beginning with the fact Laiso isn’t makes her a broad-shouldered, muscular woman adding some body diversity to that universe. Bash works with heavy machinery and rocks all day so of course she’s ripped. The funniest scene in the comic is when her arms are too big for Han Solo’s shirts, and this is an example of Laiso’s ability to pull out a visual gag in what is usually a pretty dour universe. The choreography of some the setpiece scenes is muddled as Leia is struggling to swim to her rendezvous point at the end of the issue with something being shot at her, but the source is hard to see even though Laiso uses double-page spreads. The earthy palette used by Rachelle Rosenberg gives the comic that Outer Rim vibe, but it hurts the visibility of this particular sequence.

On the flipside, the scenes where Bash is, well, are both powerful and entertaining, especially when she beats the crap out of a stormtrooper with a brick. The fact that Bash is a human tank along with her cynical wit, take no guff attitude, and sees the bad side of both the Empire and Rebellion shows that she is a multi-faceted character, who could bench press Han Solo while simultaneously out snarking him. But she is a bit of softie too as she bonds with starwarsannualinteriorLeia throughout the comic and listens to the princess struggle with the death of her people on Alderaan yet still realize that her planet’s destruction was for a greater cause of defeating the Empire. Thompson writes Leia as a true pragmatist, who isn’t afraid to make hard decisions for her cause even if there ends up being collateral damage like stormtroopers tearing up and basically halting all commerce on Bash’s planet while they look for Leia. This may seem like Leia is cold or unlikable in Star Wars Annual #2, but Thompson and Laiso capture the strength of her convictions as she talks about the hope that the Rebellion has brought to the galaxy while practically dying.

Even if you’re way behind on Marvel’s Star Wars comics, Star Wars Annual #2 is worth picking up as Kelly Thompson and Emilio Laiso craft a protagonist, who doesn’t look or think like many of the other main characters in the Star Wars universe. Bash does end up being a kind of hero in the end, but Thompson uses the extra page count to give her a logical arc as heroism is thrust upon her kind of like Han Solo’s last minute save of Luke Skywalker at the Battle of Yavin. And it’s also nice to see a more realistic perspective on the true cost of war in the usually hyper-stylized Star Wars universe with its constant dogfights and lightsaber duels.

Plus Bash has an adorable droid named Bruce, who can swim underwater like a movie directed by one of George Lucas’ buddies…

Story: Kelly Thompson Art: Emilio Laiso Colors: Rachelle Rosenberg
Story: 9 Art: 8 Overall: 8.5 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Seven to Eternity #3

seven-to-eternity-3Seven to Eternity #3 continues the story of the Osidis family and their legacy. In the last issue, just as Adam was about to hear the God of Whispers offer, a group of wild characters called the Mosak entered to bring the fight to the God of Whispers and his Piper. This issue gives us some great action, with some fantastic fight scenes with swords, magic, and more. This book truly feels like a great fantasy tale, and I always feel like the world is going to open up more and more with each issue. Thankfully, this issue doesn’t disappoint in that area. Rick Remender loves to keep his readers on their toes and has shown before that he will kill main characters, as he often does. That gave me a sense of anxiety while I was reading this book, but that isn’t necessarily a bad thing. I enjoyed flipping each page and wondering what awaits me. That’s what you get in a Remender tale.

We get an important flashback to Adam’s youth and a sad look at his brother Peter, who was very ill. We learn more about Zeb as a father, and while the story told us so far that he was stubborn and wouldn’t budge on much, we do see some vulnerability here when he admits he will do anything to save his son. Things come full circle as we learn that the same group who appeared to fight the God of Whispers are the same people who turned Adam and his family away, leading to a heartbreaking scene in his past. When we flashback to the present, you see why Adam is reluctant to work with the very people who didn’t help him when his family needed it most. But times are tough, and he soon learns he will need all the help he can get.

Jerome Opeña on art is near flawless again as he draws the limb flying, dinosaur stomping, flute playing action scenes. This series is going to be awesome to have in trade, just to be able to spend more time with Opena’s art alone and see how everything comes together in a bigger volume. I love all of the crazy character designs from the dinosaur with a portal in his mouth named Drawbridge, to Healer Monkey, and the amazing looking Piper conjuring his demons. This is some of the best art Opena has ever done, and I am glad that issue three continues that trend. Matt Hollingsworth does a great job on color and gives the world and most of the characters a dirty and depressed look, which fits the tone of the story perfectly.

Seven to Eternity is only three issues in, and I feel like while some big things have happened, the best is yet to come. I truly have no idea where this story is going, and I love that. Remender once again keeps the reader guessing and on edge with this book, and like his other comics, you cannot wait to see where it goes next.

Story: Rick Remender Art: Jerome Opeña Color: Matt Hollingsworth
Story: 9 Art: 9.5 Overall: 9 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

« Older Entries