COUNTDOWN TO ARMAGEDDON. Now aboard the cargo ship Turgenev, American special operative Trent and Russian sailor Stepan have escaped their underwater tomb. But their battle for survival is far from over. Because the Turgenev isn’t crewed by sailors, but a deadly band of Russian mercenaries hired to protect its lethal payload: a stockpile of nuclear weapons. Outmanned and outgunned, Trent and Stepan must rely on each other and every skill in their arsenal to avert a full-blown nuclear war. The fate of the world is in their hands.
Story: Robert Venditti, Matt Kindt Art: Doug Braithwaite, Lewis Larosa Color: Diego Rodriguez, Laura Martin Letterer: Dave Sharpe, Taylor Esposito
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(W) Mark Sable (A) Giorgio Pontrelli (C) Emilio Lecce (L) Dave Sharpe
Things have not gone as expected for the daring criminals who looted Ancient Rome’s Temple of Saturn. Hoping to steal enough gold to secure their freedom, they’ve stumbled upon proof that Emperor Nero is responsible for setting the Great Fire of Rome, which rages around them. Now, they must not only battle the flames but also Nero’s Praetorian Guard, who aim to silence them forever.
617 feet below sea level: captured and left for dead! American operative Trent is bound inside the foundering hulk of the Akula-class submarine turned ticking time bomb. With mere minutes before the hull implodes, Trent must convince Stepan, the vengeful Russian sailor who vowed to bury him, of a deadly truth: the Turgenev isn’t freighting oil, but a covert stockpile of nuclear weapons. Now, the two enemies must set aside their personal war and navigate a gauntlet of crushing depths and lethal predators in the world’s most hostile environment if they’re going to escape to the surface and put a stop to a plan that could trigger global armageddon.
Story: Robert Venditti Art: Doug Braithwaite Color: Diego Rodriguez Letterer: Dave Sharpe
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After a high speed chase gone wrong, the kids are left reeling, and one of them isn’t getting back up. But there’s no time for tears. The bloodthirsty vampire assassin Jagger is finally within striking distance and she’s dying to sink her claws into the survivors. Caught in a desperate fight for their lives, Gail and her friends must unlock the secrets behind their mysterious new powers if they’re going to make it out alive. And they better do it fast–because Jagger is just the scouting party. A full-on vampire army is amassing, ready to bear down on the kids fang-first!
Story: Mike Carey, Matt Kindt, Robert Venditti Art: Jonathan Wayshak, David Lapham, Trevor Hairsine Color: Dave Stewart Letterer: Tom Napolitano, Dave Sharpe DC Hopkins
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In a future where humanity has vanished, a new form of life rises from the ruins: the Serants, artificial beings born from mysterious technological chrysalises known as Superdragons. Each one carries a Pearl, a biotechnological core that holds their consciousness, their memories…their soul.
Halu is a Serant born late, emerging from a forgotten silo. He is rescued from destruction by Weedy, an eccentric scavenger obsessed with the remnants of the past and the search for meaning in their own existence. Soon after, Halu meets Fix, a practical, strong, and luminous young mechanic who awakens something deep within him. Together, in a world of ruins and dangers, they search for meaning, connection, and a reason to endure.
Arcadia is a work of existential science fiction–profoundly human, where memory and love endure as a precious mystery that refuses to fade. A story that explores what makes us human…when humanity is no longer there to tell us the answer.
Story: Inaki Miranda, Roy Miranda Art: Inaki Miranda Color: Eva De La Cruz Letterer: Dave Sharpe
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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
Rome. 64 AD. The most daring heist in history is being planned by an unlikely crew – a former slave, a Vestal Virgin, a charioteer and a disgraced architect – each with their own personal motives. While Rome is distracted by the chariot racing and gladiatorial games of the Circus Maximus, the crew plans to rob the Imperial treasury under the Temple of Saturn. But when Emperor Nero sets fire to the city, they’ll be lucky to escape his wrath with their lives, let alone the loot. Circus Maximus #1 is the familiar heist genre but in a setting that feels new and different.
Written by Mark Sable, Circus Maximus #1 is an interesting debut. It’s a comic that you can tell if you know the history, its enjoyment is at a different level. But, Sable writes the debut issue in a way that you don’t need to know that history. Taking place in ancient Rome, it helps to know Emperor Nero and a bit about that world, but, the comic dives into the heist genre so well, you can focus on the characters, their motivations, and how they plan on pulling off the heist.
Like so many of the stories in the genre, the issue spends time introducing us to the characters and giving us a motivation for their actions beyond simply getting rich. Each team member brings a bit to the plan, a specialist that if they fail in their duty the whole thing falls apart. It’s good in that it creates a debut that’s accessible instead of diving too deep into history and getting lost in it. Circus Maximus #1 uses the history and setting more as backdrop and a driver of the story but its characters and their actions are the main focus here.
They negative is the comic rushes through all of that. We don’t get a lot of time to get to know the characters. There’s a bit of a focus as to why they’re undertaking this mission but it’s not to the point we really care if they succeed. So, we know the why of it all but it feels like it’s at a distance.
Giorgio Pontrelli‘s art is good. With color by Emilio Lecce and lettering by Dave Sharpe, the characters, dress, and setting all look like ancient Rome. I’m not an expert and can’t speak to the accuracy of it all but it feels right and enough that it immerses the reader without distracting. The visuals overall help move the story along focusing in on details and panning in or out to capture what’s going on. It handles the more emotional moments and also delivers solid action as well.
Circus Maximus #1 is an interesting debut that has a lot of potential. It rushes through the introduction and the initial part of the heist, making it intriguing to see where it goes. The historical aspect makes it feel fresh and for those that know that history, I’m sure it’s a more intriguing read. The fact it can pull off the surface level and deeper enjoyment is impressive.
Story: Mark Sable Art: Giorgio Pontrelli Color: Emilio Lecce Letterer: Dave Sharpe Story: 7.75 Art: 7.75 Overall: 7.75 Recommendation: Read
Mad Cave Studios provided Graphic Policy with a FREE copy for review
(W) Mark Sable (A) Giorgio Pontrelli (C) Emilio Lecce (L) Dave Sharpe
Rome. 64 AD. The most daring heist in history is being planned by an unlikely crew – a former slave, a Vestal Virgin, a charioteer and a disgraced architect – each with their own personal motives. While Rome is distracted by the chariot racing and gladiatorial games of the Circus Maximus, the crew plans to rob the Imperial treasury under the Temple of Saturn. But when Emperor Nero sets fire to the city, they’ll be lucky to escape his wrath with their lives, let alone the loot.
From Mark Sable (Graveyard of Empires, Miskatonic) and Giorgio Pontrelli (Miskatonic) CIRCUS Maximus is GLADIATOR meets HEAT – a blood-soaked historical thriller.
(W) Roy and Inaki Miranda (A) Inaki Miranda (C) Eva De La Cruz (L) Dave Sharpe
No matter who you are or where you’re from, with enough aspiration, courage and training you could become a Blade Forger, win the tournament and be the new Emperor.
The discovery of CORUM, a never seen before energy source, led to a bloody world war for its control. After years of destruction, the Lords of the Lands agreed to negotiate a ceasefire for lasting peace. The BLADE FORGERS TREATY was born from that meeting.
This treaty established that the mining of Corum would be centralized through one government, led by a neutral Emperor. The Emperor would have to be a BLADE FORGER, a mystical swordsman, and claim the title in a tournament called The Tournament of the Five Rings. Every five years Blade Forgers from every corner of the Empire would fight for the possibility of becoming the new Emperor.
A young Blade Forger named Owada challenges the Emperor in the name of the forsaken people. This is the story of what happens next.
(W) Peter Milligan (A) Val Rodrigues (C) Cristiane Peter (L) Dave Sharpe (CA) Nick Marinkovich
The Pale Knight’s journey reaches its terrible end. But should a good man do a terrible thing even if it means the life of his son? And can Death be trusted to keep his side of a deal? Meanwhile Aaron finds that love can be as fickle as Death…and just as dangerous. All this and more in the concluding contagious issue of The Pale Knight.
