Criminal Deluxe Edition Vol. 3

As I write this, March is coming to an end. It's a crazy thing as this comic I'd received for Christmas (much like the previous volumes in years past) and you'd have thought that it would be the first book I'd crack open.

Of course, it hasn't been for want of trying. Every week since 2024 has seen another and then another and then another comic trade/series blush its way into my reading schedule.

But, finally, the time has arrived and the adage 'leave the vest to last' has never felt more appropriate.

Criminal Deluxe Edition Vol. 3 is, as the title would suggest, the third oversized collection of stories from the award winning crime series by Ed Brubaker and Sean Phillips. Collecting their final selection of tales, including novellas Bad Weekend and My Heroes have always been Junkies as well as four other short stories.

Whenever I read something which absolutely blows me away, I always fear that the follow up will, somehow, not live up to the expectation set. When I get to the third book of a series that has done that, my worry exponentially increases.

(Maybe that's the reason it took me three months to get to this book).

Certainly, my hopes weren't lifted when Brubaker's introduction implied a collection simply to clear out the last junk from the Criminal drawer.

However, how wrong I was and unfounded my fears were.

Much like with Volumes 1 and 2, Brubaker writes a score of stellar stories where he 'fills in the gaps' of the lives for the characters he has already introduced and we've gotten to know. This series, now more than ever, feels a little like a contemporary version of Frank Millar's Sin City, except far more grounded and where the 'heroes' do not win.

Without doubt, the best entries are the novellas. Bad Weekend really feels like this is a story that's very much based on real experience (I mean, what fiction isn't?) and is used for Brubaker to expel some comic book demons from his 20 + year career (well, I certainly think that's the length of time he's been writing). Meanwhile, My Heroes have Always been Junkies is a very different kind of story; much more introspective but still very much in the zeitgeist of the genre that he's really made his own (and, to be honest, this story perfectly explained why it got its own release. I sure hope this entry wasn't an abridged version).

Meanwhile Sean Phillips, along with Jacob Phillips and Elizabeth Breitweiser on colours, delivers just truly stunning and seminal artwork to this volume. To be fair, you'd think he couldn't raise the already high ceiling he'd set himself after the prior two entries I read, but thanks to Junkies as well the in universe pulp comic pages, this artistic team just raise the bar and finish this series with as big a bang as it started.

I want to have a negative about this series to even things out, but all I have is the negative that Criminal has now ended (for me. The series proper ended quite some time ago). Beyond that, I have nothing bad to say about Criminal as either this book in particular or the series in general. Its been an extraordinary read that I look forward to reading in its entirety in one go some day in the future.

Besides that though, I think I'll have to look into Fatale or Kill or Be Killed to get my Brubaker/Philips fix.

Penguin Vol. 2: All Bad Things

After reading Penguin Volume 1 last week, the decision for this week's read was pretty much decided for me, knowing I had to see I'm which direction this particular bird flew.

So, I read Penguin Vol. 2: All Bad Things, which saw Tom King and Rafael De LaTorre wrap up their twelve issue series about the second coming of Oswald Cobblepot. Picking up from the last trade, the Titular villain and his cohorts put their plans into action, as the Penguin attempts to wrest control of Gotham City from his children. However, with last minute betrayals, twists, alliances and even that pesky Bat along with a corrupt Federal agent lying in wait, the Penguin could find his prize is a little too high than he can flap to.

Now, whereas, the first seven issues were all about the plan and gaining the necessary resources, this second volume was all action. Starting with an explosion, this read felt all action but one with a truly excellent story interweaved into it.

Once again, I loved the Machiavellian vibe that King laces into his plot, with events that initially seeming random, coming across on a second thought as though maybe they were part of a bigger plan after all. The depiction of the Penguin is amazing, given the man a true intelligence and really raising his reputation as he goes toe to toe with Batman on a cerebral battlefield, rather than one that's more physical.

De LaTorre also helps in reinforcing this characters greatness with a design of the Penguin that while leaning into his classic look, still keeps him grounded and maintains an err of seriousness. Of course, everything that De LaTorre draws, from character to locale has such a smooth style (a la Stefano Casselli on Secret Warriors in my mind) that it's like watching Layer Cake or Ocean's 11 (or maybe a combination of the two) in terms of its storytelling class.

The Penguin is devoid of problems, although they are the bare minimum being the depiction of one member of the Force of July who is too chaotic for my tastes and the rest of the team whose personalities are bare bones. However, beyond that very little is wrong with how this story hit me. Even Batman's appearance feels stronger compared to the first volume, although he does seem a lot more villainous (although, given that he is the bad guy of this story, that does make sense).

In fact, once of the final epilogue King pens gives this story even more of a twist so that, looking back to the beginning of the story, I can't help but wonder if anything Oswald Cobblepot does before his return to being the Penguin is real? If it isn't, then it is one hell of mask he wears.

From the looks of it, issue 12 was the end of this story and there'll be no more trades, for which I'm thankful; stories like this do seem to run out of steam if stretched on too long (Clone Saga, anyone?). But Tom King and Rafael De LaTorre's Penguin series has been a thrilling, engrossing read, that (I think) has reinforced the respectability and danger the character has maybe been lacking for much of his life.

Anyway, with one Criminal series put to bed, I can finally return to another.

Re-reading ... Penguin Vol. 1 - The Prodigal Bird

This week, I had planned to (finally) read Ed Brubaker and Sean Philips' Criminal Vol. 3.

That was until I realised that Volume 2 of the Penguin was being released.

As such, I decided, in preparation for going through this new release, I'd re-read its predecessor first.

Penguin Vol. 1: The Prodigal Bird boasts and all-star creative team, written by Tom King (Issues 1-7) and Chip Zdarsky (Issue 0) and drawn by Rafael De LaTorre (Issue 1-5), Stevan Subic (Issues 6-7) and Belen Ortega (Issue 0) follows Oswald Cobblepot, the former crime boss of Gotham, who is now living a new life in Metropolis after his 'death' at the hands of Batman. However, when a sinister Government agent coerces him to regain his former empire, the 'Penguin' must rise again, acquiring allies both old and new in order to eliminate Gotham's newest Kingpins; his own children.

Despite the rather polarising opinions towards his Batman run, I've always enjoyed Tom King's work in the past (not to mention Rafael De LaTorre's art) and so, upon seeing this on the shelf in my LCS late last year (and because I wanted to lean more towards trades going forward .... Which is working out SO well), I decided to pick it up and give it a go.

I really enjoyed this volume of the series. While the story starts off quiet and slow, depicting a character so far removed from the Penguin we've seen for decades, King shows this as a mask, ever but a moment from slipping and reveal the monster. Of course, once that mask is ripped away, we are off to the races, as King produces a sinisterly Machiavellian chain of events as the Penguin prepares for his attack on his children and their grip of the underworld. The best part of this journey has got to be the Help, an (presumably) original character who seems to be Alfred, if Alfred had been trained to become Batman. Of course, that's not to discount the Penguin himself, who comes across as the truly dangerous man, we've come to expect, although his intelligence seems to be at a level not previously expected.

No more is that latter point apparent, than in the origin story contained within Issues 5 and 6. I originally didn't take to this tale but after I readthrough, I'm much more appreciative of King's story, which sees Cobblepot's rise to infamy. What I loved about this story was that, the once and future Penguin subtly played both sides, with neither even considering him a true threat, in order to become powerful while remaining (mostly) free. That said, this story also had the adverse effect of making Batman look a little stupid. Oh well, you can't be prepared for everything.

The art of this story by Stevan Subic perfectly portrays the dark and sinister workings of Oswald's plans as well as his macabre look and surroundings. In fact, all three artists' styles perfectly match the respective stories they are visualising.

Upon it's first read, I felt that this open entry into the Penguin's re-emergence was a good read. However, second time round its fair to say that its improved in my opinion to something a little closer to excellent.

But now the prep work is done, I certainly hope the execution of the Penguins plans live up to this trade.

How (I Think) One World Under Doom Should Proceed!

So, I recently read Fantastic Four #29, the beginning of the series tie-in to the 'One World Under Doom' event and, I must admit, I really enjoyed it. In an overall story of hearts and minds being convinced to follow a villain, it was fun to have a relatively one-and-done tale (which Ryan North's series seems to have embraced) focusing on heroes battling that by being just generally fantastic.

Now, I haven't picked up the main series yet (I figured I'd wait until the trade comes out), but I have myself intrigued about where this story goes.

So much so, that I do have some ideas of my own.

I'm assuming (because, you know, I haven't read it yet) that OWUD follows Doom's ever so consistent belief that his leadership of the world is for the best. However, FF 29 shows an idea that the problems Doom's leadership causes can be fixed by other, dare I say more heroic, minds.

So, here's my thought on where things should go. FF should continued its tie-ins in a similar manner to issue 29. When the FF discover a problem brought on by Doom's own attempts to fix either the same or a connected problem, they are able to fix it completely, undermining, Doom's authority.

However, with each solving of a problem, the general public become more enamoured by Doom through his propaganda.

Meanwhile, in the main series, Doom's frequent undermining by the FF would cause his pride to lose control, leading to a point where his actions then have an adverse effect to his popularity. As things progress, his authority and the goodwill he has mysteriously acquired begins to degrade, leading to Reed Richards to run against him as 'leader of the world'.

For reasons I don't quite understand, 'Mister Fantastic' is not as popular as Doom in the real world, due to his perceived flaws. I get it, he's somewhat ignorant of his family's needs and can be a little condescending, but, as someone diagnosed with Asperger's Syndrome, these actions actually sound very familiar.

On the other hand, Doom is an incredibly dramatic dictator who believes primarily in his own superiority.

Therefore, to see these two locked in a battle of wills, with Richards wanting to run on his accomplishments will Doom fighting back by focusing on his rivals flaws would be an interesting story, especially if the fictional audience mirrors real life by only seeing Reed's problems.

Also, I think it would mirror some more important real world events going on right now.

How it ends, I don't know. In truth, I would suspect the good guys win, although wouldn't it be interesting to see them lose, and Doom's rule becoming part of the status quo a la Dark Reign.

Of course, if I could write this kind of thing, then maybe I'd be on the other side of the comics curtain. However, it is an interesting theory to ponder about.

(Finally) Re-Reading ... Doctor Doom: Books of Doom

I've been reading comics for almost 23 years as I write this and in all that time (like everyone, I suppose) I've bought a lot of comics that I've regretted picking up.

However, in all that time there has only ever been one which I've bought, gotten rid of and then regretted losing from the moment it was gone from my collection.

It's been 18 years since Books of Doom was first released and, having picked it up not long after its release, I have regretted getting rid of it (although the specifics of its loss are foggy in my head. Did I sell it? Throw it away? Give it away? I just don't remember) ever since and have longed to find a new copy of either the trade or the singles in all that time.

Thankfully though, the introduction of the world's greatest supervillain into the Marvel Cinematic Universe has finally given me that second chance.

Doctor Doom: Books of Doom (as it has now been rechristened) is a six issue series by Ed Brubaker and Pablo Raimondi that tells the life story of Victor Von Doom from the perspective of the man himself. Interweaved between the character's already established life events, Books of Doom fleshes out Von Doom's life from childhood to his becoming ruler of Latveria to show us how this most iconic of men built himself (sometimes literally) into the character we all know.

I recall Books of Doom being an interesting read when I first read it, giving perspective and depth to Doctor Doom's persona. However, I also recall it not leaving all that much of an impression on me (probably hence its subsequent departure from life).

However, time, age and experience can be great tools when looking at it again all these years later, looking backing and see its previously missed quality.

And it certainly isn't a case of rose tinted glasses as I read it in 2025. Ed Brubaker, now such a mainstay in the crime comic scene with Criminal, Kill or Be Killed and many titles beyond, provides a new intro for this trade describing his love of Doctor Doom and, damn, does that love show in the story. Brubaker tells a fantastic story here, creating a brutal, harrowing and intriguing tale, giving feelings of sympathy without converting the character to a sympathetic character. From the beginning to end, Doom remains Doom, coming across as superior and condescending like readers know him, also confident in his greatness next to other 'mortal men.' However, Brubaker allows moments of vulnerability to creep through, offering us moments between those which are already established in canon to hint that this man's life may take a altogether different road.

What I can't believe is how I forgot how amazing Pablo Raimondi's artwork is on this series. Raimondo very much honours the house style of the time and does so with a great consistency. However, his pencils, coupled with the inks from Mark Farmer, Andrew Hennessy and Robin Riggs as well as Brian Reber's colours, give the entire story not just a European look (and when I say this I mean that there is just some 'feeling' that the story is based in a different place. I can't explain it in truth, but the story movement from Latveria to the States has a ... 'Vibe' to it where the art subtly changes, despite not actually changing. It is truly the weirdest thing!) but Raimondi also seems to wash the entire book with this tone that gives credence that this story is a re-telling, that it all happened so many years ago (again, I just can't explain it, except to say its how my eyes take the panels in. It truly is the strangest thing).

I think what really hit me on this read-through is that the story is told from Doom's perspective but, occasionally, has brief entries from people who were present for these events, giving the book a very 'life and times documentary' feel. As a result, it (along with those previously mentioned time, age and experience) brings me to ask the question, is this really the 'true story' or simply history twisted and re-made to to suit the man telling it and make him look the hero. Certainly, certain events in the world today more than confirm that some people aren't above embellishing events to make themselves better (and I'd say the 'person' telling this story wouldn't be considered reliable).

There was this fear prior to re-reading this that my memory had become a little distorted, that nostalgia and those 'rose-tinted glasses' may have affected my memory. I surely wouldn't have gotten rid of the original edition if it had been a good read, was it really something I should be pining over for nearly 20 years and will it really live up to that feeling?

Thankfully, picking up this new addition was a worthwhile purchase for me as Books of Doom lived up to expectations and then some. I just hope that this time I'm not silly enough to dispose of this copy, I can't rely on Marvel to put it in print a third time.

Although, I like to think I've gotten a little bit smarter than last time.

Re-Reading ... Batman: City of Madness

One of the things I want to do during 2025 is re-read a lot more of my comic collection, mainly to see what truly needs to stay in this space limited world of mine.

As I find myself with a few days between one read and the next, I figured it gave me just enough time to go back over a mini-series I've been mostly avoiding, despite its relative ease of access.

Batman: City of Madness is a Black Label title written and drawn by Christian Ward which follows the Dark Knight as he's drawn into a supernatural mystery revolving around the Court of Owls and a bizarro-esque, horror inspired copy of Gotham.

I remember, when I first saw this series, it was the name Christian Ward, whose work on the Black Bolt series I absolutely adored for both its main character depiction (although that's mostly a Saladin Ahmed contribution) as well as its art, which drew me to it. However, as I read issues one, two and three, I recall finding the tale decidedly lacking from my point of view.

Probably the reason I've been avoiding it for so long.

Therefore, it was quite a pleasant surprise when reading these three issues in shot order came across as much improved read.

Ward writes a seriously compelling detective story while also finding Batman's voice (as always, heard in my head as the late, great Kevin Conroy). Despite the more supernatural backdrop, Ward never seems to shy away from what makes Batman ... well, 'Batman', giving the story a feel that it was originally written as a crime drama before an abrupt change of direction. There is a subtle line of though surrounding fathers and sons as well as loss, which connects many of the main players, which gives this book some real heart that continues to elevate the feeling of helplessness the book gives off in its pages.

The art, however, is a truly different beast. Ward's art style is absolutely, horrifyingly stunning and gives the whole series a truly unsettling and disturbing vibe which is perfect for the plot.

If there is one downside to this series, it is the third issue. The finale feels half an issue too long with a lot of scenes coming across as filler, causing the issue to lose interest to me. Fortunately, it's saved by a heartfelt finale which also hints towards an answer to an ever unanswered question which I don't remember and totally blew my mind after reading.

If ever I need proof that you should re-read everything just to make sure of its quality, this comic collection is it. While I'm not sure if it'll ever get another read, Batman: City of Madness certainly did a better job of impressing me the second time round.

I just hope my next read doesn't do the opposite.

Teenage Mutant Ninja Turtles #1-6

The last six months has been quite the transition for me. Before that time, I don't think I'd ever read a teenage Mutant Ninja Turtles comic, despite having watched two cartoon series, three feature length films, had the toys and played (some of) the video games.

Now though, not only have I acquired and read a trade but I've also collected the first six issues of IDW's new series.

Jason Aaron's Teenage Mutant Ninja Turtles provides us with a brand new issue 1 as we see the heroes in a half shell return with a new dynamic following on (presumably) from the book's previous run.

Now, however, the four brothers have gone their separate ways in the aftermath of (slowly revealed) prior events. But now, Leonardo, Donatello, Raphael and Michelangelo must come back together and return to their city and home when an old enemy attacks each of them, an enemy with an unlikely new master.

I don't know what I fully expected with this series. Jason Aaron, an exceptional as well as veteran comic writer, being on this title, along with the cover and Joelle Jones on the art were all massive drawers.

Indeed, as the series got underway, I liked Aaron's idea to separate his protagonists, giving them (as well as the villain) an issue each to show their current place and state of mind before bringing them all back together for the finale issue of the arc.

However, while the first couple of issues really roped me into this story, the last four on the first read failed to match their intrigue. I do say 'first read', however, because upon reading them as a collection, the final four cam across as so much stronger.

Unfortunately, what a re-read couldn't help me with is dealing with the extreme changes that were not expected for a new reader. The predominant issues were Splinter's absence, which felt like a key missing component (though I am recognising it's necessity in the final issue) as well as Donnie's rather broken appearance.

While these most likely make sense to an ongoing reader, they are certainly jarring changes for me.

Fortunately, the artwork (for the most part) really helps sell to me this series. The first arc presents a selection of top talent in Joelle Jones, Cliff Chang and Rafael Albuquerque opening things in the first three issues with some excellent visuals.

Chris Burnham and Darick Robertson followed up with issues four and five and, while they are also fantastic talents, I certainly struggled to attach myself to their work on this series. Of course, like anthologies, this is the downside to multiple artists. You can't like everything.

Finally, Juan Ferrera took on art duties for the final issue on the arc and, once again, I was absolutely in love with what he gave us. Thankfully, he's now on the book for the foreseeable, so that's a point in the win column for the future.

By the end, I feel that it might have done me better to have picked up the original collected editions instead, so that I'd have a start which made more sense. However, despite the up is down nature of this series, Aaron and his gang have certainly made things enticing by issue 6 to keep on going.

I just hope the gaps in my knowledge will be filled with this next arc and (maybe more optimistically) something resembling the characters ì grew up with start to show themselves.

Superman Lost

It feels like it's been a bit of a Superman year so far (which seems fitting, given that the new movie is due out this year). After reading Steelworks recently, it was time to move back to the trades I'd received as Christmas gifts.

And next up was (coincidently) Superman Lost.

Superman Lost, by Christopher Priest, Carlo Pagulayan, Jason Paz and Jeromy Cox, tells the story of Superman facing his toughest challenge to date: reintegration. When responding to routine (well, routine for them I guess) Justice League mission, Superman returns to his home and wife Lois Lane a few hours later. Only, for the Man of Steel, it hasn't been a few hours but has been twenty years. The tale that follows shows Superman, accidentally flung to a far corner of the universe during that fateful mission, attempting to find his way home with no map, inconsistent powers and a second adopted home which seems ignorantly intent on wandering towards destruction. However, when Clark Kent's alter ego finally returns to Earth and the life he left behind, is he still the hero we all knew, or is that man still missing amongst the stars?

From the moment of its announcement, I've been eagerly awaiting getting my hands on this series. Written by the great Christopher Priest and focusing on a scenario that Superman has never yet (to my knowledge) face, I expected great things in this trade (and I say trade because, despite the additional wait, I really wanted this tale collected).

Luckily, for the most part anyway, I was not disappointed. Superman Lost is a brutally emotional tale, one which feels like it imbues both Castaway and 12 Years a Slave in equal measure (for their shared experiences of being trapped and far from home rather than any more heavy tones I should point out). Priest writes a fantastic Clark Kent in this story, one who it really feels on every page is struggling with everything he's lost (hence the dual meaning of the title), both when being away as well as having returned. With every scene, with every interaction, you can absolutely feel the pain which Clark is going through.

Then there is the supporting cast, which of course means Lois Lane. Priest's depiction of Lane is equally as great as his depiction of Clark: a person who struggles with the weight trying to help her partner while at the same time cannot begin to understand what he's been through. I think that Priest's idea of the time dilation angle is truly brilliant, separately the couple even more and giving them an even bigger road to reconcile along. Then there is Lex Luthor who is very much a footnote in this story, having no real skin in the game beyond his standard objectives. However, his limited participation in this story is so blood-curdlingly evil that you can't help but be both sickened and impressed in equal measure, as well as worry for Priest's own mental health.

Of course, the story is only half the ... Well, story in a comic book and Carlo Pagulayan, along with Jason Paz and Jeremy Cox, provide a stellar second half. With a style which looks a lot like, and remind me of, Rags Morales' pages (particularly from Identity Crisis), Pagulayan's panel really help Priest sell the anguish these characters are going through. The subtle, underpinned pain in Clark's face almost constantly during this series is so painful to look at that it just seems to heighten the feeling of 'crisis' (a fitting word for a DC series) being experienced. Then there is the fantastical locales Supes finds himself in during his exile which is equally rendered with gorgeous, vibrant colours that it is a fitting entry to that long list of exotic planets already in the Superman mythos.

But I said that this story worked for me for the 'most part' and its the locale which is one of its undoings. A part of me had expected a travelling story similar to Silver Surfer: Requiem, with Clark finding himself in many places over the decades. However, his (for the most part) imprisonment on one particular planet felt like it undercut the lost part just a little bit, especially one which ended up having a number of similarities to Earth. Of course, this is a minor quibble compared to the ending which felt like it almost 'swept the problems under the rug' in order to end on something of a fresh start. It makes me wonder if Priest had planned for a 12 issue series which got cut down and forced him to truncate his story, but I did feel that the end invalidated a lot of what happened in the lead up to it.

(Also, spoiler: The Justice League went off to save Clark's 2nd adopted home, but it ended up being a 10 year mission. I'm curious how the other, more mortal members avoided aging during that?)

Superman Lost is a really wonderful and heartfelt story of ... loss, really. Loss of the life you knew, loss of everything you loved, loss of identity and, yes, just generally being lost. Despite my feelings on how it wrapped (which is maybe a big sticking point for me, I don't know. I'm still mulling it over), Priest, Pagulayan and co have offered a story seldom seen in superhero comics, a story about growth, consequences and the philosophical idea that, sometimes, when something big and life-changing happens, you can't just pick up where you left off.

Or, more fittingly, you can't go home again.

Lt. Worf presents 'Steelworks'

Last week, I picked up my first comic of 2024, the trade collection for Steelworks.

As a part of the Super family, I've always had an interest in John Henry Irons ever since his appearance in the final days of the DC Universe before the New 52 (specifically Action Comics 1001 to 1004, if I recall).

Because of this, when this series came out last year, it got my attention, especially when it was revealed that Star Trek alumni Michael Dorn, Mr Worf himself, was writing it (having provided his voice in the animated series).

Well, I missed the singles but, now I had a chance (and thanks to the recent ending of Superman and Lois having highlighted the character), I finally got round to picking it up (just as I was finishing TMNT: Black, White and Green) and reading it.

This series sees the titular Man of 'Steel' (along with his moniker sharing niece) opening up his new company, Steelworks, with a plan and drive in place to make Metropolis a literal 'City of Tomorrow.' However, when old enemies re-emerge to take him down and steal the alien power source at the heart of his plans, Steel (along with the rest of the Super family) will wield his hammer to protect both Metropolis' present and future.

Dorn's debut(?) comic was an interesting read. While I liked the character's portrayal of an idealist and someone wanted to change the world for the better, I struggled to find his voice as I read it (I often attempted to imagine Worf himself speaking the dialogue but it just didn't fit). What i really enjoyed about this trade though was the idea of power and its corrupting effects, as Steel attempted to resist that urge while others simply wanted to horde the physical macguffin to acquire more of its figurative counterpart.

Speaking of, the villain felt a little cartoony and almost moustache twirling, making me wonder if Luthor would have been a better fit (being a mirror image of what Dorn was portraying Irons to be). Because of this, I felt the story was kind of like a throwback to comic stories of the past. That said, all of this didn't make the story any less entertaining, although, the inclusion of the Action Comics prequel to this story thread certainly caused the trade to feel very cluttered and bogged down until issue 2.

On the art side, provided by Sami Basri, it was certainly a style that i liked. Much like aspects of the story, I got the vibe that it was another 90's throwback. That said, there were certainly some nice panels, like the villains armour (which had a very New 52's Steel look to it. I wonder if that was meant to be symbolic?) as well as the shot of the whole Super family flying in to help (and, of course, any shot of Steel. His look with the Cape and the 'S' is just awesome ... in my opinion).

I do wonder to myself if I had expected too much from this series. It was written by Commander (or is it now Captain?) Worf, the voice of the man himself, no way this isn't great!

That said, despite it's flaws, Steel was still good(ish) read. Sure, it felt a little long (no thanks to those Action Comics installments) but it was still fun and, overall, I'm glad I gave myself the chance to check it out.

Teenage Mutant Ninja Turtles: Black, White and Green

I love the Teenage Mutant Ninja Turtles. I have done since I was a kid. I saw the film when it came out, the 80's cartoon and even the noughties cartoon (as a bigger kid). I even had the toys

I also love anthologies. Be it prose or comics (and to be fair, the latter has more examples, like Superman Red and Blue), I really get a kick out of getting multiple stories wrapped up in one because you are always guaranteed getting something you enjoy.

Therefore, when I saw a former which celebrated the latter in the form of Teenage Mutant Ninja Turtles: Black, White and Green on the shelf of my LCS, I knew I had to pick it up. Coupled with the long list a fantastic creators including Jock, Patrick Gleason and Pauline Ganucheau who had worked on the contents, showing us the many sides of the heroes in a half shell, it really became a no-brainer (so the opposite of Krang).

After reading it, I found Black, White and Green was very much a mixed bag for me in terms of the storytelling. Some tales, such as the Book of Splinter and Green Means Go, I really enjoyed as they provided an action packed adventure while also focusing on the notion of family or providing a level of nostalgia.

However, while there were good reads enclosed, there was also an equal number of stories which struggled to vibe with me, giving the whole book a feeling sluggishness and making it difficult to focus on.

The artwork, on the other hand, I felt much more positive about (albeit after a nights sleep and some reflection). While many of the stories maybe didn't resonate with me, the art styles which accompanied them seemed to perfectly imbue the genre and context behind the Clan Hamato's adventures.

No more is this shown than in "The Brutal Sword of Leonardo" which, while not being a great story (from my perspective), was a phenomenal visual treat, with a style which really resonated the series' samurai roots.

Of course, there were other highlights to me beyond this. These included the aforementioned Green Means Go and Book of Splinter as well as Sin Sewer, Identity Theft and lastly Shredder Gets Caught on Things, which might have been my favourite story with its cartoon style and nostalgic look back at incarnations of the past.

The TMNT have and will always hold a special place in my heart. They were my first superheroes and this book doesn't nothing to sully that viewpoint. From my subjective perspective, this isn't a perfect book, but it is a good one that is enjoyable and visually stunning (albeit appreciated after a step back).

I've always thought anthologies could offer something to everyone and I'm glad this trade continued to prove me right.

Once an addict ...

It's been 10 months since I've written on this blog (although, not 10 months since I read a comic).

This amount of time is surprise to be sure given how big a part writing used to be in my life. However, since the 'closure' of Pipedream Comics over two years ago, it's fair to say that I've felt burned out, hence the reason for the break.

In that time, I've gone back to simply reading for the enjoyment of it, without any ulterior motive and, I've got to admit, I'd forgotten how much of a relaxing experience reading and appreciating the art was.

However, in that time, I've also come to realise how limited are my means of discussing the comics I'd read was (my family aren't really big comic fans). As such, it's a little 'isolating' having my opinions stuck in my head.

Therefore, I figured it was about time to start over and try and take up writing again. Of course, whatever I say isn't going to be as 'professional' as the work I did when reviewing, I think maybe that is the point.

What I say here should be for me and if others find it and make use of my words then all the better.

So, my plan going forward will be just to write for me (as it always should be, truth be told), with my focus on simply my current collection (I hope to re-read Captain Britain and MI:13 in the near future) as well as any new trades (such as recent Christmas gifts of Criminal Vol. 3, Superman: Lost and TMNT: Black, White and Green) I pick up (or a story arc in singles, whichever I happen to pick up).

While it probably would be nice to write on a consistent, weekly basis, I'm confident that kind of routine would undo my hopes of making it fun. Therefore, simply ensuring that I write something reasonably regularly is enough of a routine for me.

With that all said, consider this my (rather wordy) new year resolution for 2025.

Because once an addict, always an addict (I guess).