Comics Creators

The Ongoing New Comics Thread


Brilliant reminder of the good days with the Titan chat there Gar.

They are doing some pretty good stuff these days as part of their line.

Lovely looking books and I can’t recommend Milligan’s recent Dan Dare series highly enough.


This week’s digital reads - big week, a lot of new stuff…

American Carnage 1 (Bryan Hill & Leandro Fernandez, Vertigo)

Aquaman 42 (Abnett & Medina)

Archie 700 (Nick Spencer & Marguerite Sauvage)

Batman 59 (King & Janín)

Cover 3 (Bendis & Mack)

High Heaven 2 (Peyer & Scott)

Immortal Hulk 9 (Ewing & Bennett)

Justice League 12 (Tynion IV & Irving)

Justice League Dark 5 (Tynion IV & Sampere)

Lucifer 2 (Watters & Fiamura)

Marvel Knights 2 (Cates & Henrichon)

Middlewest 1 (Scottie Young & Jorge Corona)


Picked this up last week, just got to it now

Despite the book being written by Orlando, I really wanted to give it a try.
I love Foreman’s art, it’s a good, unique looking book.
It’s a pity that it’s unreadable. I could not for the life of me penetrate it, or rather, get into any sort of flow that would allow me to penetrate it.

No idea what it was about and gave up Before the halfway point.

I paid £2.50 for this bastard comic so I’m going to try and come back to it.

Orlando has good ideas but so many occasions now I’ve found the way he writes is just…shit.


Honestly - it’s pretty much just a YA novel with DC trappings.
Never really taking advantage of its premise, characters, or locations.

But…as a YA novel, I never thought it was as bad as the worst of those.


Batman #59. Loved this issue, we see more of King’s long game story with his 100 issue run. Janin’s artwork great as usual.

Speaking of artwork the house ad in the back has Steve Epting drawing Action Comics, Marvel continue to bleed talent.


Ohhhh, that sounds intriguing.


I gave Electric Warriors another try, taking my time with it and reading it carefully.

I’ve always maintained there’s different ways to read comics, depending on the style of writing and the art.

I decided to approach this in the same way I approach comics written by the likes of Kek-W and Ales Kot.
Kek-W does not write in style which flows well, yet I have learned to really enjoy some of his books, there’s a lot to appreciate in terms of atmosphere and world building in his books.
Ales Kot also struggles to tell a coherent story, and I’m not sure it’s deliberate on his part, he’s just not a very good craftsman when it comes to to telling a story or building characters, but sometimes he can be worth persevering with because of his ideas.

Orlando is an odd duck of a writer. There was parts of his JLA I really loved, but it wasn’t a pleasurable read. His monster things he did on the Batbooks is one of the worst comics I’ve ever read, and that’s not me trying to exaggerate for effect. I felt his Midnighter book was overrated and a lot of what worked was down to the art.
However, the Batman/Shadow series he did with Snyder and Rossmo was brilliant.

The problem with Orlando is he is getting books I want to read. He must be great at pitching. This series really caught my eye for some reason and not just for Foreman’s art. He’s also writing the next Martian Manhunter book. I want to read a Martian Manhunter book so I need to make peace with Orlando and find a way to make his style work for me.

Having spent easily 30 mins reading this I may have cracked it on this book, it just took a bit of patience and thought on my behalf. Tom found it straight forward, but I didn’t at all. But Tom also found the new series of Twin Peaks and King’s Mister Miracle straight forward, so either Tom is a lot more intelligent than I am or he’s got a knack for deciphering obtuse work.

Tom made a really good observation on this book that I don’t think I would have drawn a parallel with until he pointed it out; there is very much a YA slant here, I thought that was a very clever spot. Although thinking about it now, the Hunger Games style main plot is kinda blatent.

To try and boil this down into a few lines, I think this takes place in a future post Kamandi in the DC universe, where each planet chooses a champion (or an electric warrior) to battle for them, using power given to them via the ‘electric seed’.

This does not do the comic justice at all. I have to say there is a WHOLE LOT more to it than this, some in the way of links to people or parts of the DC universe, Orlando must have plotted this out using a wall chart or something because it is quite complex.

The whole thing absolutely rattles along, it’s probably paced too quickly, but once you realise and adjust to this pace it’s actually possible that it is a strength of the book.

As I’ve mentioned already, the art is fantastic. I really like Foreman, ever since the work he did on Animal Man with Lemire.

I would recommend this if you fancy reading something from one of the big two that is completely unique, a bit odd and also a bit of low level risk.
Upon reading it again, I actually kinda loved it. Just for the sheer balls out ambition and weirdness of it.

If you take the time to read it quite slowly, you might not like it but I’m certain most people would find some elements to enjoy, be impressed by or at very least just appreciate how unusual a book it is - although Kirby came up with a lot of batshit crazy stuff like this in the 70s.


No one can say you didn’t put the effort in, Chris. That review’s amazing too.


I’m currently reading the Age of Apocalypse event on Marvel Unlimited and the Steve Epting of Factor-X is a far cry from the Steve Epting of today. Back in the day I wasn’t a fan of his art (he was the Avengers Penciller during the X/Avengers Bloodlines crossover). I’m warmer on it now, but it’s still such a departure from the cartoony/Manga style of Joe Mad, Chris Bachalo, and Steve Skroce, and the classic/Image look of the Kuberts.


Epting and Skroce these days are unrecognisable to their 90s styles.


90’s Epting on Avengers is easily my favourite Epting. Way better than his current stuff.


Back in the day Epting and Garney both had a pretty similar style. I assume that was a conscious thing, maybe editorially mandated. I too liked both more than their current styles, which I find stiffer and less engaging.


I recall enjoying Epting’s work at that time, whereas I was not a fan of Garney’s work.

I thought his work on the recent VELVET series with Brubaker was superior to his superhero work.


Not even on Waid’s Captain America run (pre- Heroes Reborn)?


I have no love for 90% of Captain America comics but I do have part of the Waid Garney run ranked surprisingly high at 19 on my ‘Every Story Ever’ list which contains approximately 1000 entries.


What’s your top 6?


I agree. I thought it looked fantastic.


Bear in mind I’m only adding stories that I’ve read since starting the list earlier this year so there are some big omissions due to the fact I haven’t read them in ages and didn’t want to rank from memory.

Full list is here.


Black Hammer: Age Of Doom #7 was a fun read, but I feel ambivalent about it.

On the one hand it’s based around a fun Grant Morrison-esque meta-concept involving a team-up of comics characters who were only half-imagined and never made it to the page. It’s done well, with some fun pastiche elements and character concepts, even if the fourth-wall-breaking stuff becomes a bit on-the-nose by the end.

But at the same time, it represents a pretty substantial diversion from the core story of Black Hammer, and it feels like it’s been a while since we’ve really spent time with the main group of characters. I get the impression this is because of art delays (this is the second issue in a row with guest art by Rich Tommaso, which is sparse but suits the story), which makes this issue feel slightly like filler - even if it’s good filler.


American Carnage #1 was, I think, my book of the week. I have been looking forward to this for a while, and it didn’t disappoint. Bryan Hill’s story grabs you from the very first page, dragging you into a very grounded, contemporary thriller. Leandro Fernandez’ artwork has always displayed a very similar style to Eduardo Risso’s, and that perfectly suits the tone of this book. My only negative is that Dean White’s colour work is a little more psychedelic than I’m used to seeing from him, and that is a bit jarring; a more muted, natural colour scheme may have better suited. There’s a lot of story in this first issue. When I finished reading it I had to go back and count the number of pages it contained because it felt double sized or extra long, when in fact it’s just a regular 22 page book. This is a book very much in the vein of 100 Bullets and Scalped. If you liked either or both of those I suggest giving this a shot.

Lucifer #2, by Dan Watters and the Fiumara brothers, continues to impress. The titular character appears to be trapped in a Hell not of his own making, as we are introduced to a selection of potential friends & enemies back on Earth. It’s not immediately clear what is going on, but you desperately want to read more and unravel the mystery. Great book.

The Dreaming #3 - I have a bit of a cold; it’s making me a little drowsy and I’m finding it hard to concentrate. Maybe that made this book harder to read than it should otherwise be, but I found this issue a bit of a chore. There’s a lengthy info dump in the early pages of the book that you have to get through before the issue’s main events begin. Spurrier continues to demonstrate an aptitude for pretentious lyrical bullshit, but Evely’s artwork remains impressive, and I still want to know more about what’s happening in Daniel’s absence. For the time being. Edging closer to the drop pile.

Wild Storm #18 failed to provide much in the way of a satisfying conclusion to the third arc, but clearly pieces have been moved into place for what should be a pretty spectacular finale in the next few issues.