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Review: X-Force: Killshot

X-Force: Killshot

Take the last issue of a miniseries and release that as a one-shot. That’s what X-Force: Killshot feels like reading. An issue released to celebrate 30 years of X-Force which officially launched in New Mutants #100 in 1991. Much like the recent Major X, X-Force: Killshot feels like a lot of good concepts but not executed in a way that’s interesting or to their full potential.

With a story by Rob Liefeld and a script by Chad Bowers, X-Force: Killshot is full of action and that’s about it. It quickly gets the plot out of the way to get to the meat of the story. Stryfe has a giant cannon that will cause chaos and it’s Cable’s job to stop him. To do so, a team from throughout history is put together to ensure success. Now, why there needs to be an assault and not just shoot the space cannon down isn’t discussed but as Deadpool says “maximum effort.” The story is that effort with an almost check list of moments featuring some of Liefeld’s creations that have been absent for some time. That’s maybe the most enjoyable aspect of the comic, the spotlight of these “classic” characters that are just not used today.

The writing and story itself is best to not dwell too much upon. Much of the dialogue feels like it’s spent in attempts of witty quips or reminding us who these characters are. There’s times it feels like the dialogue itself is out of order and doesn’t belong at all.

Liefeld handles the art with color by Bryan Valenza, Federico Blee, and Mirza Wirawan, and lettering by Joe Sabino. It’s exactly what you’d expect with the over the top exaggeration that has made him a favorite of so many. There’s even moments with logic defying weapons that feel like they appear out of the ether for just the right moments. There’s something fun to see Liefeld return to the characters he created bringing his flair and style with a bit of modern update in colors. But, comics aren’t all visual and there needs to be a story to work off of. That’s where the comic falls apart. It just feels like there’s a lot that’s missed and we’re brought in at the end of a story whose issues don’t exist.

X-Force: Killshot is a nostalgia fest for Liefeld fans and there’s nothing wrong with that. It’s about the characters and the art and that’s about it. It’s best to not think about the plot too much. Just roll with it, sit back, and pretend it’s 30 years ago and comics haven’t evolved at all from the 90s.

Story: Rob Liefeld Script: Chad Bowers Art: Rob Liefeld
Ink: Rob Liefeld Color: Bryan Valenza, Federico Blee, Mirza Wirawan Letterer: Joe Sabino
Story: 5.0 Art: 8.0 Overall: 5.0 Recommendation: Pass

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Review: Black Panther #1

Black Panther #1

I love a good political thriller. There’s a tense paranoia that often accompanies them that keeps readers on their toes. In Black Panther #1 we get a debut that takes those aspects and infuses superhero action. After a galaxy spanning previous run helmed by Ta-Nehisi Coates, Black Panther is back on Earth dealing with a changed Wakanda. Now a fledgling Democracy, T’Challa must abdicate some of his power to Parliament while also being threatened by decisions he made as King.

John Ridley steps in as the new writer for the character bringing his mix of action, politics, and thought-provoking moments. T’Challa is now split in his duties across multiple fronts. He’s still the Chairperson for the Avengers. He’s still the King of Wakanda. He’s also the leader of the galactic society we met in the previous volume. And, he’s still Black Panther. Ridley makes sure to emphasize this is an individual being pulled in numerous directions and neglecting some duties because of that. He’s not completely focused on everything he needs to be and it’s impacting him.

As a leader in multiple fronts, he’s attempting to balance his role. That includes a new Wakanda that is attempting to become a Democracy, putting T’Challa in the awkward position of figuring how to balance his previous role and allow Wakanda to find its next steps.

And that’s an interesting theme in Ridley’s opening. Wakandan sleeper agents are being hunted and murdered. These are individuals placed throughout the world because T’Challa does not trust Democracy. As he puts it, while an ally can be elected today, an enemy could be elected tomorrow. It’s an interesting first issue on multiple fronts. It paints a man who is weary of the political direction in his own country, hinting we might see an adversarial government elected in the future. It also acts as a reflection of our real world challenges not just in the United States but beyond. That you can elect leaders who are not just bad for our own nation but those we once considered friends. Ridley as expected leaves us a lot to chew on.

Juann Cabal‘s art is solid. There’s some fantastic moments full of action and heartbreak and those are balanced well with the moments that are more focused on reflection. Cabal is joined by Federico Blee on color and Joe Sabino on lettering. While the comic looks great there’s also a lack of flashiness to it too. The enemies in the opening battle are kind of generic and the fight overall is good but lacks an epic feel about it. Where the art stands out is those quieter moments that lead to a surprise. There’s a solid capture of body language of the characters that really emphasizes what’s going on. Hands on top of each other or just sitting and talking, it nails down the little more emotional moments. And those moments get a punch as the action kicks up interrupting them.

Black Panther #1 is exactly what I was hoping for in a series written by Ridley. It delivers just enough to chew on and think about while setting up an action mystery that feels more thriller than spandex superhero action. After a galaxy spanning epic, the comic comes home in a more grounded, down-to-earth, focus of a man who may be split in too many directions and whose past decisions are coming back to haunt him.

Story: John Ridley Art: Juann Cabal
Color: Federico Blee Letterer: Joe Sabino
Story: 9.0 Art: 8.5 Overall: 8.95 Recommendation: Buy

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Review: Dark Ages #3

Dark Ages #3

Tom Taylor has become a master at the “alternate world” storyline. He’s shown time and time again he’s able to take familiar characters, and even somewhat familiar stories and concepts, and mix it all up for something new and entertaining. While these stories could easily just be surface level changes, Taylor constantly surprises with a depth of emotion and moments that are memorable long after being read. His twists are new classic alternate takes and Dark Ages #3 is a perfect example of what he’s able to do.

Dark Ages is a world where technology has failed due to a powerful being that is preventing its use. Electricity is gone and the remaining heroes and villains have banded together in an attempt to rebuild society. While things are generally working, we discovered in the last issue Apocalypse has plans of his own and with the help of Purple Man, enslaved some of the world’s greatest minds to help achieve whatever that is. With help from Mystique Apocalypse has captured Tony Stark to continue whatever he’s up to.

Dark Ages #3 is the fallout from that as our heroes discover Tony has been taken. Debate begins as to what to do and if confrontation with Apocalypse needs to happen. Taylor takes us on a rollercoaster as heroes are corrupted, someone dies, and someone discovers people she thought were dead are not. It’s all these moments together, including a smartass Doctor Doom, that creates an issue that’s a fun read. Dark Ages is popcorn fun and this third issue is a prime example of that.

The art by Iban Coello continues to impress. With color by Brian Reber and lettering by Joe Sabino, the comic looks fantastic. The character designs are great and the details tell so much of the story. This is a world that feels lived in and thought is put into how it all works. We can figure some of that out visually, which just tells more of the story.

Dark Ages #3 is another fantastic issue that has us already wanting more from Taylor twisting the Marvel world. It’s an issue full of moments, exciting, shocking, sad, and funny. It’s a hell of a read that’s enjoyment from cover to cover.

Story: Tom Taylor Art: Iban Coello
Color: Brian Reber Letterer: Joe Sabino
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

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Review: The Thing #1

The Thing #1

The Thing #1 kicks off a new series that’s described as “sweeping.” And after reading the debut issue, it might be a bit too “sweeping.” The story has Ben Grimm embarking on a journey that has potential but doesn’t quite click for a first issue. It seems he’s having a bit of bad luck, he in fact might be cursed. That lands Grimm in trouble and a rift between himself and his love. We get the start of Ben’s journey, whatever that might be.

Written by Walter Mosley, The Thing # has a lot of potential but doesn’t quite get across exactly what it’s going for. There’s some interesting aspects, like what would Ben attempting to date be like and what a jail to hold him would be, but overall, the story has a choppiness about it. There isn’t a smooth narrative, instead it has its moments setting up what’s to come with the end result coming off more like a puzzle of which we’re missing some pieces.

A dark ominous figure overshadows the story. Who that is, isn’t really teased much. Why they’re doing what they’re doing isn’t as well. Instead, we just know there’s this enemy that’s manipulating events and making Ben have a really bad few days. It’s a setup but one that leaves a bit too much unanswered.

Tom Reilly‘s art is interesting. With color by Jordie Bellaire and lettering by Joe Sabino, it captures a sadness and frustration as far as what’s happening to Ben. There’s some scary moments that come off well and create enough of a visual tease to play off of the dialogue that only dangles further mysteries. The Thing looks great with a style about the comic that feels a bit like a riff on Jack Kirby.

The Thing #1 is an interesting start but not one that really excites. It has its moments and potential but there’s just too much that feels rather random or unexplained to really get the reader excited for what’s to come. There’s a clear threat but beyond being an annoyance, it doesn’t feel much like one. The Thing #1 might take the whole “thing” to heart a bit too much and feels like it leaves a lot of things hanging.

Story: Walter Mosley Art: Tom Reilly
Color: Jordie Bellaire Letterer: Joe Sabino
Story: 7.0 Art: 7.65 Overall: 7.0 Recommendation: Read

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Review: Inferno #2

Inferno #2

The first issue of Inferno was a lot of setup and maneuvering by its characters. It was a comic full of politics and not a whole lot of action. But, it set up the conflict to come with a few twists and turns in the start of Jonathan Hickman‘s endgame for his X-Men run. Inferno #2 is much of the same but delivering events from the view of Mystique. How did she return Destiny to the living? How is she manipulating everyone? We get our answers in a fairly satisfying issue.

Much of the issue is from Mystique’s point of view. We get a lot of answers around how she manipulated those around her to not just resurrect Destiny but also to get them to vote the way she wants. While it all makes sense in a way, there’s absolutely some holes in the plot of how she wasn’t detected in her maneuvering but some individuals. They’re minor headscratchers that are best to just roll with.

The issue is an interesting flipside of the coin as we get events from a different perspective. The issue could easily feel like a retread of events but Hickman manages to go beyond repeating the first issue in multiple ways. It moves the plot forward, especially towards the latter part of the issue as we see the pushback from Professor X, Magneto, and Moira as they attempt to figure out how they were outmaneuvered and what to do.

The art by Stefano Caselli is fantastic. With color by David Curiel and lettering by Joe Sabino there’s a beautiful stiffness to it all. The issue has some emotion but it’s mostly political maneuvers. There’s a lack of action but still a sense of gravitas and maturity about it all. The art perfectly captures it all in a “All the King’s Men” sort of way.

Inferno #2 is interesting as it feels like it has more in common with The West Wing than it does traditional X-Men comics. This is one of thinking and continued setup as the pieces of the puzzle come together for the final action that’s to come. After such a setup, what’s two more issues. Inferno #2 might seem like a bit of a bore but the interaction of the characters is impressive showing the X-Men as a political drama without the action might be more interesting than a showing of its flashy powers.

Story: Jonathan Hickman Art: Stefano Caselli
Color: David Curiel Letterer: Joe Sabino
Story: 8.1 Art: 8.25 Overall: 8.15 Recommendation: Buy

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Review: Dark Ages #2

Dark Ages #2

Tom Taylor is a master of the dystopian comic story. With stories like Injustice and DCeased for DC, he’s shown the heroes we know other fallen from good or struggling to survive. He takes the characters we know and puts them up against impossible odds with no issue having them fail. Marvel‘s Dark Ages is about what happens after that failure. After stopping an immense being called the Unmaker, Earth is enveloped in an E.M.P. that has shut down all of the technology. The first issue left us with a world that had gone dark, Dark Ages #2 shows us what comes after.

Impressively, Taylor subverts some of the expectations going into Dark Ages #2. This isn’t a world that is crumbling with roving gangs battling it out. The heroes and villains that remained eventually found a better way for everyone and worked together. That’s what the issue takes us through, the history and the more hopeful, smaller world that now exists. It’s an interesting twist compared to Taylor’s previous work. There’s absolutely some carnage but all of that is mentioned giving us the history to the now. It’s in the past as the people that remain have moved forward to work towards something greater and better. It’s weirdly… hopeful. But, can you do an entire comic of that? Where’s the fun!? Taylor delivers twists and turns in Dark Ages #2 and by the end the danger and conflict to come is clear.

What’s great is Taylor has really thought about this world. The comic is full of small details that makes it all feel “lived in” and more real in so many ways. Alarm systems and how the heroes and villains use their powers to keep things going are interesting and there’s clearly ideas mapped out in how all of this works. Those small details help add depth to the comic and adds to the enjoyment as we see how the world has adatped.

Some of that detail is due to Iban Coello‘s art. There’s so many visual queues as to what has happened to the world and how it, and the survivors, have changed. Along with color by Brian Reber and lettering by Joe Sabino, the combination of the trio gives us a comic that feels a little bit grimy but in a way you’d expect for a world without technology. There’s a bit of dirtiness about it all that adds to the realism and sucks the reader in. The designs for everyone really stands out though. The changes are fantastic blending classic superhero looks with an almost steampunk flair about it. It never quite crosses over into any one genre instead it feels cobbled together like would really happen.

Dark Ages #2 is a fantastic second issue. The first setup the world to come and this issue gives us the conflict to come while also going over the history that was. Such a solid story that it’s one to not be missed and feels like a classic Marvel alternate future in the making.

Story: Tom Taylor Art: Iban Coello
Color: Brian Reber Letterer: Joe Sabino
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

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Review: Inferno #1

A lot of Inferno #1 is a table-setting tease, but boy, it’s nice to see Moira X back in action and in direct confrontation with the one mutant that can negate her abilities and quash her plans, Destiny. Jonathan Hickman, Valerio Schiti, and David Curiel bring a small semblance of the epic thunder of House of X and Powers of X back in the high stakes arguments between Moira, Professor X, and Magneto as well as a brutal opening battle sequence between X-Force and Orchis. Plus there’s all the underlying elements about Krakoa being on thin ice culminating in a not exactly a shocker of a final sequence, but a statement piece that definitely has me invested in Inferno #2.

For all its flaws, Inferno is a book that is both time-spanning and cloak and dagger, and Schiti is good artist pick to juggle all this. He can use wide open layouts for fight and group scenes and then trim down and go tighter with nine panel grids as Mystique and Destiny confront Moira X and the use of her abilities to try to “cure” mutants once and for all. This storyline is something that has definitely popped up in X-Men stories quite a bit, but Hickman adds a SF wrinkle with the use of multiple timelines and reincarnation abilities. There’s also the failed utopia angle, and the last third of Inferno features plenty of hot people with superpowers acting like academics on a subcommittee with Madripoor substituting for the local watering hole. However, this awkwardness sells the last couple pages even more with Valerio Schiti nailing every Quiet Council member’s reaction to their new member.

Inferno #1’s extended length leads to plenty of Jonathan Hickman self-indulgence, including double data page spreads, a Warlock and Cypher interlude that might be Krakoa’s last happy moment before everything burns, and very long conversations. All the Orchis/Quiet Council maneuvering aside, Inferno is really the story of two couples: Xavier and Magneto, Destiny and Mystique. They are joined together via Moira X and set at cross purposes by her with Destiny seeing Moira’s real threat in her tenth life (The aforementioned cure). On the other hand, Moira sets Xavier and Magneto against Destiny and says she’s a threat to Krakoan stability, which leads them to do some very morally questionable things. This is par for the course in the “Dawn of X”/”Reign of X” era, their characters in general, and definitely backfires as evidenced by the issue’s first image of them crawling out of resurrection pods before a Cerebro-rocking Emma Frost. This page is a shining example of how Inferno #1 is more appetizer than full meal.

The Xavier/Magneto scenes definitely feel like they could be plucked from the better parts of Hickman’s X-Men run and also showcase Schiti’s skill with character acting. David Curiel also ups the intensity of the colors depending on the flow of conversation. Moira X is Krakoa’s ringer, and why they keep attacking Orchis over and over even as this starts to expose the resurrection protocols to their enemies. As anyone who has interacted with X-Men media knows, Sentinels are bad, and mutants are good. But after the double digit failures in taking out Nimrod, Magneto and Xavier start to wonder if a partnership with these machines might be a good idea. Unfortunately, Moira X has seen the future and knows this isn’t a viable path and directs their energies to a pre-cognitive mutant instead. Schiti draws panels of them sabotaging the resurrection process with close-up shots of Mr. Sinister (Or a clone) and Krakoan language vials that scream death of a utopia.

However, Jonathan Hickman and Valerio Schiti keep things ambiguous and basically smash cut to the election of a new Captain Commander and the ending Quiet Council meeting saving the consequences for a future issue. Sneaky, morally ambiguous Xavier and Magneto is a great time though even as they speak about humility and posture about resigning their positions of leadership and letting a new generation take over. It’s unclear how Inferno fits with Trial of Magneto, but these are two mutants that definitely don’t seem to be relinquishing power any time soon, hence, the shady shit with Moira X.

Inferno #1 returns to one of the most interesting plot threads from House of X/Powers of X: Moira MacTaggert being one of the most powerful mutants, who also acts as a kind of meta-commentary on the ideological evolution of the X-Men. (I can take or leave the Orchis stuff.) She has plenty of panel time in this issue, but it’s all set up for future conflicts that will hopefully shake Krakoa at its core and end Hickman’s run on the mutant books in a suitably dramatic fashion. For now, there’s a lot of speeches, posturing, and everyone’s favorite, data pages.

Story: Jonathan Hickman Art: Valerio Schiti
Colors: David Curiel Letters: Joe Sabino
Story: 7.0 Art: 8.0 Overall: 7.5 Recommendation: Read

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Review: Dark Ages #1

Dark Ages #1

Going into the comic, I honestly wasn’t sure what to expect in Dark Ages #1. Is it some “mini event” that entertains but has little impact? Is it some major event? All I was sure of was it has something to do with technology failing and society starting over, at least that’s the sense I got. With Tom Taylor writing and Iban Coello on art, no matter what was inside, I was pretty sure I’d be entertained.

Taylor has become a master at delivering alternate takes on superheroes throwing them into dystopian worlds like DC’s Injustice and DCeased line of stories. Even in those rather dark and bleak stories Taylor delivers stories that feature hope. He knows how to nail the emotional ride of such stories. By every indication of Dark Ages #1, we’re getting more of that.

Dark Ages #1 is an interesting comic as it’s not quite clear if this is during normal continuity at first or not. After a while, we get a better sense of how it “fits” into Marvel’s universe and as those questions are answered it’s easier to get into the story, especially knowing what those answers mean. And it means Taylor can have some fun. Like his alternate world work with DC, this series hits you in unexpected ways. Heroes die. The heroes fail. And that’s the basis of the story, what if the heroes didn’t save the day? What happens after? But, even in that bleak idea, Taylor delivers a glimmer of hope.

Iban Coello‘s art delivers as expected. Joined by Brian Reber on color and Joe Sabino on lettering, there’s just enough spectacle to nail home how tragic these events are but never overwhelms. We see cities destroyed, buildings collapse, and heroes die, but there’s never a moment so shocking it hits you and takes you out of the story. Instead, there’s just a sadness about it. You get a sense of the scale of the disaster but there’s a focus on key moments and characters to set up the “humanity” of what’s happening. As the issue closes, the art kicks it up a notch delivering hints as to what’s to come and what we can expect.

Dark Ages #1 is a solid start. Taylor is delivering yet another spin on classic characters in a new world and setting. The debut sets the bar as what we can expect and the answer is everything. No one is safe and we’re being delivered a solid spin and direction it seems like. If you like Taylor past similar work, this is a start that’s well worth checking out.

Story: Tom Taylor Art: Iban Coello
Color: Brian Reber Letterer: Joe Sabino
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

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Review: Beta Ray Bill #5

Beta Ray Bill #5

Beta Ray Bill #5 is a fittingly primal conclusion to this heavy metal thunder cloud of a miniseries from writer/artist Daniel Warren Johnson, colorist Mike Spicer, and letterer Joe Sabino. This issue is all about the final showdown between Surtur and Bill for the fire demon’s sword Twilight, but each member of the small ensemble cast get a moment to shine before taking their final bow from Skurge getting a very big fun to Pip being heroic and resilient and Skuttlebutt doing her tech thing while also growing closer to Bill. This is kind of a romance, but there’s lots of punching.

And speaking of punching, Beta Ray Bill #5 reaches new heights with its action sequences as Johnson’s fight choreography and use of sound effects immersed me into the epic struggle between Bill and Surtur. Spicer lays down a kind of covering fire with his palette and helps the battle flow with a hellish palette and burst of flat colors any time a character has a big moment in the action. With a full-page splash of Surtur punching Bill into the stratosphere, the stakes are sky-high for our protagonist, and Daniel Warren Johnson doesn’t shy away from showing him struggle in the smaller panels of kicks and holds throughout the comic. He also wisely lays off the narration and lets the actions during the fight dictate the story’s momentum while occasionally cutting away to Bill’s friends ready to help him out with a last-minute save.

Beta Ray Bill #5 is definitely a comic about revenge and ultimately self-actualization (The final panel is a humanoid Bill looking in the mirror and seeing his horse form.), but found family is an ongoing thematic thread that gives the miniseries its heart. Bill picks up Pip and Skurge throughout his quest and has been with Skuttlebutt all along, and they are integral in his fight against Surtur. Pip risks his life firing away at Surtur while Bill lays wounded, and Johnson pours on the gritty facial expressions, shell casings, and later gore to show this is truly a moment of self-sacrifice. On the other hand, Skuttlebutt is the brains of the operation using the shockwaves of Bill and Surtur’s clash to power up the ship again and giving Skurge the chance to do what he does best: be a one man firing squad. Skurge gets a truly redemptive moment during the climax of Beta Ray Bill #5 that also allows Daniel Warren Johnson to draw a really gnarly and detailed gun. (Think banned Transformers toy!) He and Bill had a fun, bro-ish vibe in this comic, and nothing is better than beating the shit out of a 100 foot fire demon with your bro.

To some, the most controversial element of Beta Ray Bill is the very close to romantic relationship between Bill and his ship turned female robot, Skuttlebutt. With characters like Cortana and Brian Michael Bendis and Frank Cho’s sexy female Ultron, female A.I. have been a part of recent pop culture for better or cringe. Skuttlebutt falls more on the better side because she has an actual rapport with Bill during the action and flying scenes and loves him in both his humanoid and horse form. (Bill went on this quest to get a magic weapon that could help him return to his human form so he could be with Sif, initially.) This is a loud, explosive comic, but Daniel Warren Johnson chooses to end it on a quiet note of Bill and Skuttlebutt holding hands and watching his favorite movie, Hook. Skuttlebutt has seen Bill at his best and worst so maybe she really is the woman or A.I. for him. It’s a little weird, but Bill is an alien with cyborg parts doing his best to be human and Skuttlebutt is a ship/artificial intelligence doing her best to be human so it works.

Beta Ray Bill #5 is a glorious finale filled with wrestling holds, airbrush on the side of your van-worthy splashes, and some heart and friendship too as Bill’s quest comes to a satisfying close. Daniel Warren Johnson and Mike Spicer helped me fall in love with a character that I wasn’t super familiar with and also demonstrate how sound effects and the use of color can help turn a fight scene into a story. I look forward to their next project, Marvel or otherwise.

Story/Art: Daniel Warren Johnson
Colors: Mike Spicer Letters: Joe Sabino
Story: 9.0 Art: 10.0 Overall: 9.5 Recommendation: Buy

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Review: Amazing Fantasy #1

Amazing Fantasy #1

There’s a fine tradition of fantasy in comics going back decades. Amazing Fantasy is one of those series originally published by Marvel in the early 1960s. That run is mostly known for the launch of Spider-Man who would go on to become a billion-dollar franchise. The original series featured a who’s who of creators delivering quirky fantasy tales that featured twist endings. There have been attempts to revive the series in different ways but now we get a release in Amazing Fantasy #1 that feels like it blends those odd tales with modern superheroes.

Kaare Andrews handles both the writing and art duties for the issue and delivers a hell of a start. Three heroes from different eras are brought together to a strange world. Captain America from World War II, a young Black Widow from the Red Room, and an early Spider-Man are all transported to this fantasy world filled with tribes and monsters. It’s a simple concept, so far, and solid premise that mixes classic monster stories with modern superheroes.

Andrews delivers. Joined by Joe Sabino on lettering the comic feels like a mix of old and new with Andrews nailing down the speech patterns for each character and yet they still feel like they belong in this classic fantasy world. Andrews brings a mix of styles in the art that’s beyond impressive.

Each character originates from a different era and with each introduction Andrews delivers a different style creating a comic that features four very distinct looks from the same creator. It’s impressive, really impressive and something that’ll hook readers. Add in the art is just beautiful, combined with entertaining writing this is a debut that’s beyond a winner.

Amazing Fantasy #1 is absolutely fantastic. The art is great. The story is entertaining and fun. It sets up a story that honors the pulp roots it comes from. This is a comic to pick up, relax, and just enjoy these summer months.

Story: Kaare Andrews Art: Kaare Andrews Letterer: Joe Sabino
Story: 9.0 Art: 10 Overall: 9.25 Recommendation: Buy

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