My Pull List: Heists and History Hijinks

Way back when, I used to write about my pull list on bi-weekly/monthly basis, talking about the individual issues that I was picking up at the time. However, with time, I changed tack somewhat and instead started focusing on talking about trades and/or story arc collections of issues.

Well, this week, I thought I'd return to writing about my pull list, mainly because while I spent last week writing about a whole Daredevil mini-series, I had still picked up another comic book which I enjoyed so much that I wanted to talk about it.

So, in the last two weeks, I've picked up two comics from my pull list (apart from the previously mentioned Daredevil finale): Cheetah and Cheshire Rob the Justice League #1 and Fantastic Four #2.

Cheetah and Cheshire Rob the Justice League #1, written by Greg Rucka with art by Nicola Scott and colours by Annette Kwok, pretty much does exactly what it says on the tin as the titular supervillains plot to break into the Watchtower in order to rob it.

Now, I'll be honest, I was completely unaware of this title until the day of release right there in my LCS. However, upon seeing that cover, that title and the revelation that it was created by Black Magick creators Rucka and Scott, I was sold. Fortunately, the inside contents didn't disappoint as, while the story wasn't entirely action packed, it certainly provided a compelling setup as it introduced me to its two leads (both of whom I only 'sort off know) who both are facing very different problems and are looking for a change. Meanwhile, the art is just so gorgeous, almost matching Scott's career best of her Black Magick work (God, that art was just incredible!!).

By the end, it's fair to say I'm hooked on this comic. It was a terrific read and I cannot wait for issue 2.

Fantastic Four #2, fortunately, played in much the same way for me. Written by Ryan North (whose run is really pushing for the top 3 of FF runs I've read) and with art by Humberto Ramos and Edgar Delgado, this issue sees the the super Quartet continue their attempts to save themselves from their temporally random exile, despite some problems in locating their way home.

Prior to the newest issue 1, I won't lie by saying that I was a little concerned when I read the synopsis of this first story arc and, while the first issue read well enough, I continued to worry where it would go from here. However, I feel a little less worried now because North continued to knock it out of the park, showing that he has a tremendous grasp of these characters and an ability to think up really imaginative solutions to the corners he paints himself into. Speaking of painting, Humberto Ramos has a very distinct style but in this series so far, his work, as well as Delgado's colours, his work looks tremendous, looking a lot more streamlined but without sacrificing his flair, which just works perfectly for this book.

I don't think I've ever made a secret of my dislike of renumbering and often feel such a thing affects a comic series' quality. Fortunately, thanks to this great read, I'm not much more relaxed about the fact that this isn't a problem here.

So, anyway, that's the first half of August written about. I'll probably do the same again in two weeks (mainly because I have nothing coming out next week), although it does mean I need to find something to read next week.

I do have some ideas though.

Daredevil: A Cold Day in Hell

This week, as a result of the comics which were released, I finally got around to reading a brace of comics which had been sitting on the side for a couple of months, combining their read with that of their final issue.

Daredevil: Cold Day in Hell #1-3 is a mini-series by Charles Soule, Steve McNiven and Dean White that follows the Man Without Fear in a seemingly Dystopian future where his powers are no more. Now a regular blind man, Matt Murdock has ceased being both Lawyer and Vigilante to help the needy of Hell's Kitchen in a post-war, hero-less world. However, when a terrorist attack result in a radioactive explosion, Matt is caught in the blast and, with it, his powers are returned. Now, Daredevil is back as he hunts those responsible for the attack and the girl they took who may hold the key to the return of heroes.

This was a comic which I came across by accident, when I just happened to see the first two issues sitting on my LCS' shelf just after the release of Issue two. Having always been a fan of both Daredevil and Charles Soule (both his work generally and his Daredevil run), I decided that a three issue story was worth picking up, especially with it being two issues deep at the time.

And, to start, it certainly seemed like my faith was being rewarded. Soule presented us with a character and a world very different to what we know, both of which have been through a life of pain, suffering and loss. Soule's characterisation of Murdock is certainly something a lot calmer and less angst-ridden that his past rendition. The character is characterised as a priest in story and it certainly makes sense: the former Man without Fear, feels much kinder and introspective while also more leaning on his Catholicism when giving his outlook on the world.

However, it is the action and, in particular the mystery which Soule presents which really intrigues me. We are thrown into this story with so little context; a broken New York, a war, no more heroes, some unknown enemy, even characters having lost their powers, all of these facts are given with almost no context like they've happened and now we move on, but it is still questions which flood my mind. Then more continue to join them with the beginning of the main story as the explosion occurs are Matt returns to duty.

Meanwhile, the art from McNiven and White perfectly matches this world and story which Soule creates. The last McNiven title I remember reading was Marvel's original Civil War, which was visually clean and stylised series while Dean White's name is one I haven't seen since Black Science and his deep colour palette. So, to see the pair of them come together to produce this series' artwork, a rough, broken, cold style that makes me think of Spread (amongst other brutal looks) is really a change that I was not expecting. Of course, my surprise doesn't change the fact that their combined work exemplifies the world perfectly, with the image of the elderly Matt in his tattered Daredevil costume being a truly creepily great visual.

Unfortunately, as the series wore on, I have found my interest to wane as the the pacing seemed to slow down tremendously, while the questions about the immediate threat, as well as the larger world, are not really provided answers. Further to this, there seems to be a plot hole involving the child macguffin between issues 1 and 2, which throws me off. Also, the revelation of the villains identity didn't seem to be revealed except in the second issue's recap page, which I thought a little annoying that his identity wasn't easier to figure out.

By the end, the story concludes in a very inconclusive way. That said, this was Matt's story and with it over, I guess what happens afterwards is kind of moot. At the end of the day, this was the story of a soldier of God being called upon one last time to shepherd in a new era that he never sees. Will it succeed? Will it fail? I guess all Matt can do is hope and trust in God's plan (a reoccurring theme of the story).

All in all, this was a read somewhere between ok and good. I certainly wish more had been revealed about the world it was set in to give the objectives greater weight, but it was still an enjoyable read. I just don't know if it's one that I'll end up returning to.

The (final) Return of Lazarus!

It's been a few weeks since I posted anything and that wasn't by design. Sadly, a confluence of life and motivation ends has certainly stalled my initial plans to write once a week (even if there was no expectation on myself to do so). That said, I've finally carved out some time and so ... I'm back.

What's also back (and is now dominating my mind) is Greg Rucka and Michael Lark's Lazarus saga, which returns with it's fourth series (third ongoing) since it started nearly 12 years ago and first issues since mid-2022 with Lazarus Fallen #1 & 2.

Taking place three years after the events of Lazarus Risen, the world continues to change. Forever and her genetically identical little sister Infinity have been missing, on the run from the Carlyle family they used to serve and the machinations of their father, who has regained power from other daughter Johanna with plans to rebuild the Lazarus project. However, Forever has no plans to just run and hide as she approaches members of the Free (along with an old, familiar face) with plans to dismantle the families who control the world.

Ever since this series in it's entirety began, I've been absolutely engrossed by the world, characters and story we've been treated to. However, I have to admit, as the wait for a follow up to Lazarus, X+66 and Risen took longer to appear, I have become more and more concerned about whether we would see any resolution to this story and even if it would hold up to the quality of what came before.

Fortunately, upon realising that Fallen had been released (news of its return prior to release day had somehow skipped me by) and now having read the first two issues, I'm glad to see that Rucka and Lark have returned with all cylinders firing once again.

Rucka's story is a perfectly paced reintroduction to the world, with all of the players (who were alive, at least) returning for this final run, the status quo is revealed gradually through the first issue, with Carlyle in a sort of disarray and trying to find its footing as the free seemingly begins to push to accomplish their own plans (and look to be making a greater focus, story wise, through the series' endgame). However, it's with the reveal of an old friend that we begin to see Rucka's new plan take shape, with the rogue Lazari planning to undo all that her father built (albeit, with some resistance). Suffice to say, both the quiet exposition of the first issue and the greater action of the latter issue both perfectly compliment each other, never feeling jarring in its transition and always being captivating.

Then there is Michael Lark's artwork and, to be honest, what can I say about this work? I've loved Lark's work for a long time; from Gotham Central to Daredevil and then, ultimately to Lazarus, Michael Lark's style is a work of art that deserves praise equal to Sean Phillips on Criminal. But with these first two issues of Fallen, along with Santiago Arcas' colours, it looks like he's stepped it up a notch, with every panel looking like it imbues far more emotion than before. Now, maybe I just don't remember the prior instalments accurately or maybe the art has upped the quality but, either way, it all looks fantastic and I'm totally on board with it.

There is one gripe and it involves the French translation in issue 2 and how it is provided to us. Is there a story reason for it? A publishing reason? Either way, it's a little confusing but, I will admit, it doesn't affect how great these reads are. Also, Rucka's back page input feel a little more, dare I say, cynical. Now, this isn't a gripe, simply a concern although, to be fair, it shouldn't be an unexpected one given the world we now live in and how it's changed since the first issue back in 2013. However, it does make me wonder if what the world has become will affect this story, if (by some miracle) it hasn't already.

Suffice to say though, Lazarus is back!!! With (according to Rucka's own writings in the back) only 18 more issues left, I'm quietly hopeful that there will be no more breaks (well, not like the last one at least. There is a reference to three 'Trade breaks of 3 months apiece), although who knows. Still, Lazarus Fallen #1 and 2 have been read and I'm more than eager to get to #3 as quickly as possible.

DC All In: The Atom Project #1 - 6

It's week three of my DC All In readthrough and that means it's the third of four series. It's also the final in the ever so subtly connected trifecta after Challengers of the Unknown and the Question All Along the Watchtower (because they all lightly speak/hint of each other).

It's time for Justice League: the Atom Project (because it gets 'Justice League' at the front of it for some reason).

Written by Ryan Parrott and John Ridley with art by Mike Perkins and colours by Adriano Lucas, the Atom Project follows a trio of heroes with the word 'Atom' in their name. In the wake of past events where Amanda Waller stole all the powers in the world, some powers have not returned to their original holders but have instead inserted themselves into people who are wholly unprepared for the experience. As the Atoms, Ray Palmer and Ryan Choi, attempt to undo this mess, they find an unusual assist in Captain Atom the metal covered powerhouse who also lost his powers, but has instead gained a new ability, the ability to absorb and transfer any power. However, while the Atoms see this as a great tool, others see the heroic captain as a weapon, leading to his escape and going on the run, with many powerful people hot on his heels.

A little bit of a convoluted mess when I recap the story, I must admit, as I read the series issue by issue, month by month, I must admit that I felt the story itself was as much of a mess as my recap. However, upon re-reading it in a whole, I feel that the Atom Project is yet another example that DC really need to add a recap page to their comic issues (something I've mentioned before).

Anyway, I digress.

I feel that Parrott and Ridley have written an engaging thriller, something in the vein of the Fugitive crossed with Lucy. What I really enjoy about this series is it's focus on the nature of power, with multiple characters treating the literal power the Captain Atom holds in different ways. In fact, I really felt that this idea really helped fleshed out the character of Captain Atom, a character I've only encountered fleetingly (the most during Justice League Generation Lost ... I really need to re-read that). Here though, Captain Atom is depicted more as a real person who, despite his dedication to the Military, is an individual who puts the wellbeing of all above all else (including, possibly, his own life).

This is counter to the antagonists, all of whom have differing motivations but all desire control of Captain Atom's new power set. From the villainous Inferno, wanting to further their own ends, to the Air Force General who seeks this power to reinforce his country's status and even the usually heroic Ray Palmer, who despite wanting to help his titular counterpart, is also seeking validation for his skills.

In fact, two of these three villains are possibly a negative for the story in my eyes. While my knowledge of Ray Palmer isn't much more extensive than that of Nathaniel Adam (a.k.a Captain Atom), the image of Ray shrinking into nothingness at the conclusion of Identity Crisis (I really need to re-read that too) is seared into my brain. As such, seeing him here, as this hyper-focused scientist who attempts to contain Capt. Atom gives him bad guy vibes in the same vein as Mr Terrific in Challengers or the Unknown and feels a little jarring.

However, it's the other villain, Inferno, which I struggle with as it feels almost shoe-horned in. Whereas the inclusion of General Eiling makes sense, more so given John Ridley's attachment to the series (his prior works have always given me a sort of counter-authoritive vibe), Inferno (who, I'll be honest, I'm unsure if they are actually the real Inferno from the JLU series, given their late stage identity reveal, or just other villains using a smokescreen) feels like a shoe-horned supervillain to ensure the title maintains its Superhero connection and not negatively tar any authoritive organisation (which, sadly, would have made for a more interesting pay-off I think).

Beyond the role of the villains, the story also struggles due to the time jumps between past and present, making things a little difficult to follow.

I've spoken tonnes about the writing and story (which is my strength), but while art critique is not a huge proportion of my wheel house, I have to say that I really enjoyed the artwork here. Between them, Mike Perkins and Adriano Lucas utilise a real moody art style, which really brings out the thriller-esque notions of the story. As I looked over those panels, I got a real Mitch Gerads vibe to it, especially from his Sheriff of Babylon work, crossed with Rick Burchett's work on the Archie comics series, the Black Hood.

Overall, despite the bad points I mentioned, the Atom Project was, overall a good read. Entertaining, intriguing and, maybe above all, a little thought provoking, this series came from a place where I generally thought it wasn't for me to one that I'd certainly like to check at again in a couple of years.

And that's usually a good thing to be to remain in my collection.

So, that's 75% of DC All In done. Up next; Black Canary: Best of the Best.

DC All In: The Question All Along the Watchtower #1 - 6

So, after going through Challengers of the Unknown last week, I decided to continue going through the DC All In series I had picked up by reading the Question All Along the Watchtower #1-6.

Written by Alex Segura witth art by Cian Tormey and Romulo Fajardo Jr. (who, I just realised is on his second All In title), The Question All Along the Watchtower follows the second Question (no longer the only Question, as Charlie Sage has somehow returned to life since 52. Who knew?), Renee Montoya as she joins the Justice League Unlimited at the behest of the Trinity as the head of security. Now sporting a new Sheriff-esque outfit, a new Phantom Zone connected gun and the same old hat and face mask (although there are moments I'm sure the former more closely resembles a cowboy hat), the Question, along with a team of allies which includes her former paramour Batwoman, is tasked with investigating the mysterious enemy attempting to infiltrate, take control of, and maybe even destroy the Watchtower and the JLU with it.

Ever since her introduction as the titular Question during the events of 52, I've always had a soft spot for Renee Montoya. Final Crisis Revelations was the main bright spot to come out of that event for me and, along with Renee's damaged and redemption seeking life, her depiction has always resonated. Therefore, upon seeing this first issue on the shelf at my LCS, it felt like a foregone conclusion to pick it up, even if character (and I mean Montoya AS the Question) creator Greg Rucka was not on scribing duties.

Fortunately, I certainly felt that Alex Segura filled those shoes more than adequately when penning this story. While the plot isn't without its holes (I mean, why would a community of Superheroes need a 'Sheriff'?), Segura has written a truly engaging and interesting mystery, one perfect for the Noir-esque Question to sink her metaphorical (because her mask gives her no facial features ... Yeah, I oughta stop with the comedy) teeth into. In fact, when I say that Question is a very crime noir like character, Alex Segura seems to have noticed that too. The whole series, with the exception of the odd scene which still doesn't reveal the villain/heightens the intrigue, comes across as quintessential Marlowe and Spade level crime fiction, as every moment, every piece of dialogue, every moment of narration reads from Montoya's perspective as a gumshoe.

Like I said, though, the story isn't perfect. There are moments where the the story feels too ... crowded (for want of a better word) in both characters and what is taking place. Meanwhile, with the reveal of the main villain, it struck me how much of their dialogue has a very Victor Von Doom style of speech, something I don't think I'd have expected from this character, along with the alteration to their power set. Finally, there is then that suspension of disbelief factor where it seems crazy that saving the day would come down to a nonpowered superhero with the likes of Superman, Green Lantern and Wonder Woman all supposedly residing on this space station also.

That said, I do feel, with the writing, that the good does outweigh the bad,especially with the inclusion of Superman villain the Eradicator, who operates as the villain's main henchman with both a cool look and a nice level of sass.

Meanwhile, I really enjoyed Cian Tormey's artwork, which had this very energetic feel to it, something akin to Iban Coello and/or Ivan Fiorelli's work on the most recent run of Fantastic Four. I will admit that I would have preferred the colours and tone to be a little darker and more Noir-ish, but Fajardo Jr. still offers up a colourful yet grounded pallette to help the pencil's energy pop.

Once again, the ending of this series gave me some pause for thought. However, unlike with Challengers of the Unknown, it was more a case of tone than story conclusion (I always expect an ending much less light and hopeful for a character/s like the Question). Otherwise, the Question was entertaining and engrossing story, a good read that, while maybe not amongst the creme de la creme of my collection, certainly is deserving of a place and a re-read in a couple of years (once I've cycled back through everything else).

So, two down, two to go. Next up is the last of DC All In mini crossover titles (i.e. titles which have ever so slightly referenced each other): The Atom Project.

DC All In: Challengers of the Unknown #1 - 5

Some time back, I had said to myself that I was going to move towards wholly trades, as a way of saving myself space.

Well, it appears that I'm not as patient as I thought I was.

Since the beginning of 2025, I've found myself going (somewhat) all in on DC All In. Four titles have made their way onto my pull list either due to an enticing concept (Black Canary: Best of the Best), an awesome cover (The Atom Project) or something either historically or personally nostalgic (Challengers of the Unknown, The Question All Along the Watchtower).

Well, now they've all finished releasing issues (and I've finally reached the end of a more turbulent time in my life), I figured I'd read each series in full ...

... Starting with Challengers of the Unknown #1-5

Challengers of the Unknown, by Chrisptoher Cantwell, Sean Izaakse and Romulo Fajardo Jr., sees the eponymous team serving as the Justice League's elite investigative team aboard the Watchtower in the wake of Darkseid's (apparent) death. When the League discovers a number of anomalies that could somehow be connected to Darkseid, the core team of Prof, Ace, Red, Rocky and June are sent to investigate with a Superhero partner. However, when each member starts to experience differing, unusual situations when reaching these various anomalies, it becomes apparent that the Challengers, once having cheated death, are now becoming connected to Darkseid and his Omega energy.

Quite the unusual plot breakdown, huh? To be honest, the story itself is quite a convuluted tale, so much so that it's difficult to break it down without going too in depth and spoiling it. That said, this difficulty shouldn't be marked against the series, when it has plenty other good (and bad) points.

As mentioned, I picked this series up due to the name, as Challengers of the Unknown are something of a concept precursor to the Fantastic Four. In fact, so much was the series a character only draw, that as I write this I've realised that the great Chris Cantwell (Star Wars: Obi-Wan, but also Fantastic Four: Road Trip) and the tremendous Sean Izaakse (Fantastic Four. Other stuff too, I'm sure, but predominantly FF) created it.

And, for the most part, this wonder team certainly lives up to its reputation. I felt that Chris Cantwell has written a truly engrossing mystery, making it all the more interesting by finding a subtle connection between the Challengers and Darkseid. Cantwell has really made the Challengers feel like a major player in the DC universe with this story, especially by bringing in other, smaller teams like the Sea Devils and many other non-powered characters under their umbrella to make the Challengers a multi-layered, multi-talented operations unit.

Meanwhile, Sean Isaakze and Romulo Fajardo Jr. knock it out of the park on art duties, giving Challengers of the Unknown this colourful, adventurous vibe which doesn't feel too over the top for this mystery-esque tale. Everything about the panels here are beautifully rendered and perfectly coloured, giving the whole thing this Ed Benes look (from when he was on Birds of Prey) or even a Paco Medina or R.B. Silva vibe (which given the all worked concurrently on Fantastic Four and I'm pretty sure I've said previously that their styles look so identical, certainly makes sense).

However, this Challengers story is ruined for me by two things. First, to a lesser extent, is the depiction of Mr Terrific and (maybe the Justice League as a whole). While this is a Challengers story and they are the heroes, it makes sense for an 'ally' to be the antagonist during an event where there is no real villain. However, it really felt that Terrific was almost intentionally trying to destroy the Challengers and obstruct their mission every which way, to the extent that I kept turning pages expecting a panel of some villain ripping off a Terrific mask, Mission Impossible style.

For me though, the biggest issue I had was the ending, or rather the story's lack of same. While the rest of Cantwell's story feels like it has been fully fleshed out, the story ends like there is still an issue or two left in the tank. However, rather than giving us those issues, we are directed to elsewhere under the 'All In' banner, a tactic which reeks of corporate meddling to make an extra buck and annoys me no end.

So, as a result of the last page revelation, the sour taste left in my mouth makes this an ok read in my book (though only barely). I do feel Cantwell, Izaakse and Fajardo Jr. Have poured some tremendous work into this series, but the non-end really puts a dampener on what came before it.

Ok, rant over. Now onto something (hopefully) a little more positive; The Question All Along the Watchtower.

Superman: The Last Days of Lex Luthor #1 - 3

This past weekend I finally got to read in its entirety a series that could be the longest delayed comic I've ever picked up (possibly beating Where is Jake Ellis?, although I'm not quite as confident when it comes to Lazarus).

Superman: The Last Days of Lex Luthor sees Mark Waid and Bryan Hitch tell the story of the Man of Steel as he frantically attempts to save the life of his greatest nemesis, whose body is dying after being exposed to Kryptonite (again?) during a laboratory accident. This odyssey for a cure will take this pair of lifelong enemies from bottle cities to other-dimensional prisons, deep underwater to the far future, all the while allowing Superman to think back to the earliest days of their relationship as he attempts to prevent the loss of his greatest opponent.

I've always loved Mark Waid's work. From my first encounter with his writings on the Fantastic Four to Superman: Birthright and even his own series' Irredeemable and Incorruptible, I've always felt he is one of the industry's greatest writers. However, I've struggled to connect with his work in recent years (Invisible Woman probably being the exception). Therefore, I was greatly relieved when I read the first issue of this series way back when. Waid's famously (seemingly) unlimited knowledge of comics and Superman in particular works to this titles advantage as he writes a Superman who never gives up, never goes against his own personal code and, despite the lifetime of animosity between them, gives up on the idea that Luthor could be better.

In fact, it's Waid's characterisation of the two leads which truly makes this story. Their dynamic is so well known but Waid seems to really push deeper into the reasons for both men having acted the ways they have throughout history, using the plot of trying to save Lex Luthor's life as a magnifying glass to their real feelings and why, for over 80 years, they have been at odds. Unfortunately, the final issue's twist and finale seem like a complete about face to the more character focused story of the first two issues, entering a third player to force these two even closer together. However, I do find myself wondering how much of that is truly the story and how much is the conditioning comics has performed on me that the status quo must never be messed with.

On the art side, Bryan Hitch feels like he was a prefect choice to bring this series to life. Hitch's ultra-realistic style (which, admittedly, I've never always gotten on with), works so well with Waid's script as it brings the two main characters so incredibly to life, while also showing every emotion and interaction with such incredible detail that I felt it really helped enhance my commitment to the story.

Despite an incredibly long hiatus between the first issue and the rest of the series, Superman: The Last Days of Lex Luthor is a really great series. It is a great insight to one of the greatest rivalries in comics as well as fantastic representation of the Man of Steel.

Zatanna - Bring Down the House #1 - 5

This past week has been the end of an era of sorts. Once again, the winter months for me have officially ended and, with the end of my bus ticket to work, it means returning to the bike to get to work.

This also means that all of that travel time which I filled with comic reading has gone as well.

So, my final reading (on the bus) opportunities upon me, I decided I'd read (or more accurately, re-read) a recent mini-series of single issues I'd picked up.

Zatanna: Bring Down the House is an origin story of sorts by Mariko Tamaki and Javier Rodriguez. Daughter of the late, great magician John Zatara, whose death is mired in mystery, Zatanna Zatara is a Las Vegas hotel performer. For now charge (as long as you have a $12 water park ticket), you can see Zatanna perform tricks on stage (but NOT magic). However, when a mysterious stranger begins attending her shows, Zatanna's world is torn asunder as Demons and Magic casters appear for her, wanting to determine her role in the death of her father.

For me, Zatanna is one of those characters I can never help but check out. With a unique style (for a superhero) and an equally unusual power set (I've always wondered if her words are pronounced like they are read or sound like a recording played backwards?), Zatanna has always been a character I've kept an eye out ever since I read Paul Dini's run.

With this mini-series, Mariko Tamaki has written a fun and enthralling tale about how the hero we all know came to be. It seemed like a refreshing take to have the character so full of potential but unable (or, more accurately, unwilling) to utilise this familial talent. What comes next is essentially a battle for the soul of the character, with many unique sides of the magical community vying for her power; either in judgement, support or control.

The true making of this series is Javier Rodriguez's artwork. I loved what he did on a She-Hulk run with Charles Soule way back when, but here, with the assist of some incredible lettering work by Hassan Otsmane-Elhaou, it felt like another level. While he gives the entire story and Zatanna's immediate world a real brightness to start with, once the more magical aspects kick in, Rodriguez really ramps up his style and utilises it for some really trippy, Doctor Strange movie vibes .

If there was one downside to this story, it was my decision to collect the issues rather than wait for the trade, as the piecemeal way of it, really caused the story to falter. However, upon re-reading the series as a whole, I must admit that the pacing felt so much better.

Zatanna: Bring Down the House was a good read. Fun and quirky while equally a captivating look into the beginnings of the Mistress of Magic.

It certainly makes me want to check out the ongoing sometime soon.

Re-reading Marvel's Civil War ... 19 Years Later

After finishing Criminal last week I found myself without any new reads (well, besides single issues). So, without anything new I decided to pull off the shelf something that hadn't been rwad in a while.

However, with a spring clean blocking the vast majority of my collection, all I had left was a handful of comics, including something that has been a seminal piece of fiction ever since its release, 19 years ago.

Civil War was the third major event of the 'Bendis Era', a exceptionally long writing gig of Brian Michael Bendis on the major (although not all) Avengers titles, after Disassembled and House of M. While Bendis was not the scripter of this event, creative duties falling to Mark Millar and Steve McNiven, Civil War has always been deemed an important lynchpin event during the noughties and Bendis' long-term story telling as it seamlessly fits between what came before it and what came after (and even having a big screen adaptation named after it).

Much like the movie named after it, Civil War focuses primarily on two characters; Captain America and Iron Man. When a group of fame-seeking c-list heroes go after a bunch of villains, a tragedy occurs near a school resulting in 600 innocent lives. What follows is a battle of ideologies (and, naturally, superheroes) as the Government decide to register all heroes in the wake of this tragedy, with Cap and ol' Shellhead ending up on differing sides of this argument.

When this series was released, I remember a lot of division in the fan base (although certainly the advertising tagline 'Whose side are you on?' certainly helped with that) with both Cap and Iron Man getting equal support (or course I could be wrong though).

Nearly two decades later though, this title still seems as prevalent today (maybe even more so, given the fractured state of the world on a number of political issues). When I first read Civil War, I was strongly on Cap's side with this. However, age and (maybe) wisdom certainly helped me understand Iron Man's point of view a lot more even if not support it.

Mark Millar's story holds up tremendously well, thanks to the simple premise of security vs freedom which informs the overall plot. The script seems tight and the pacing never once flounders (certainly no more than it needs to) as the viewpoint of many major Marvel characters are revealed in a story where there are no bad guys.

Indeed, this notion of 'no bad guys' is certainly where the story excels. The adage 'everyone is the hero of their story' has always been something Marvel does really well. Magneto, Doom, even the lower tier Street villains like Sandman, all their villains have a justifiable reason for their actions. Therefore, it stands to reason that the evolution of this notion (and even the clichéd 'hero vs hero' fight) should move in the direction of Civil War.

While Millar's story holds up (and maybe even improves with retrospect), let's not downplay the input provided by Steve McNiven. McNiven's work, ably assisted by colourist Morry Hollowell and a crew of inkers, is non-stop beauty from beginning to end. Every panel, every line is clean and smooth and the colours perfectly marry the divide between keeping the story grounded and maintaining its colourful roots.

If there is one flaw in this series, looking back, it is the rationale behind Cap's actions to his argument. This is a superhero comic and, by definition, there needs to be a degree of action and fisti-cuffs and so on. However, the idea that Captain America and his forces would treat this like a war, rather than some sort of underground railroad-type scenario just seems counter to his argument. What happens if he wins? Does the Government bow to his wishes? (They rarely fulfil the publics wishes at any other point).

There is also the issue of Bendis' larger story at the time which, while having a fantastic jumping off point, never seemed to fully utilise it. What happens her lays the groundwork for Secret Invasion and, beyond that, Dark Reign. However, upon re-reading this, the idea of secret identities being outed is never fully explored (especially during Dark Reign). Also, the introduction of Miriam Sharpe, a victim of the initial disaster in this story, feels like she should have been used more as the road to Secret Invasion progressed, maybe even revealing herself to be a part of the enemy force from that story.

Still, that's simply retrospective dreams of my own for tales that weren't exactly bad reads themselves.

Regardless of its place in a grander narrative, I truly think that Civil War has remained an engrossing, thrilling and beautiful read which still feels as contemporary as the day it was first released.

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).