Comics Creators

The Ongoing New Comics Thread


Detective Comics #992 is the penultimate chapter in James Robinson’s story arc “Deface The Face”; ostensibly a sequel to his earlier Two Face story arc that came out a few years ago, just before Morrison’s run. It’s a perfectly adequate story, but nothing special. Very much a filler. Carmine Di Giandomenico and Ivan Plascencia’s artwork is a joy; so much more dynamic than Stephen Segovia’s earlier chapters. It is quite clever how DC used two artists on this Two Face arc, each drawing three chapters. That was a nice touch.

Justice League Dark #5 was my favourite issue of the book so far. To be honest, I was pretty close to dropping it, as I wasn’t particularly enamoured with the whole crossover that just finished. However, this issue, with its narrower focus on characterisation has won me over. I really like how it refers back to DC (and Vertigo) continuity. The guest art this issue is by Daniel Sampere and Juan Albarran, and is very much in line with the regular art team’s style.

Gideon Falls #7 & #8 are the first two chapters in the second arc of this book, providing a little bit more background information on one of the central characters in the book, as the supernatural elements become a bit more overt than previously. Fantastic book. Well worth a read.


Yep, reading it I couldn’t stop thinking about Animal Man all the time.

Some catching up:

  • Batman 58-59: I am really concerned about Penguin having married an actual penguin… , and the second issue felt silly, in that Batman walked into one of the most obvious set ups ever. I get that he is out of balance due to Catwoman/Nightwing, but he is acting completely stupid here.

  • Mr. Miracle 12: I want to reread the entire series, because while I enjoyed the style, I am really not sure about that I like what the ending is about what (or what I think it is saying). Sometimes I feel like King is tackling some heavy issues without having the necessary tools to work them in the the story properly.

  • Read the entire Black Hammer universe (main series and spin-offs), I should have read this sooner. Enjoyable, taking archetypes and cliches and telling a nice story. A little worried about how meta is it going to get with these past two issues (and the Sandman one some time ago)

  • Archie 700: intro issue to the re-reboot, taking some bits from the Riverdale series and introducing at least six or seven plots for all of the characters.

  • The Wrong Earth 01-03: A fun read contrasting two really different versions of Batma… cough, I mean, a totally new superhero. I don’t remember reading much written by Tom Peyer after Hourman.


Trust your instincts.


Justice League #12 - This was the third issue in the Drowned Earth storyline. It used two artists, Bruno Redondo (I wonder if he’s related to Nestor) and Frazer Irving, using the dissimilar art styles to frame different parts of the story. This issue also humanized the villains of the book a bit and added some depth to the story. I’m usually not a fan of this kind of crossover taking over books that I’m reading but this is at least done in workable manner that also feeds into the main story running through the book.

Also, I generally pass on holiday themed books but the DC Nuclear Winter Special #1 has a story about Kal Kent, the Superman of the future from DC One Million, who I have a soft spot for. So I might have to pick that up.


Yeah I have a lot of issues with Spurrier’s style for reasons like this


Have you boys tried his series Coda from Boom? My favourite Spurrier book since Simping Detective.


I do have a lot of love for Simping Detective; that was a great series.


24 Panels

It’s always difficult to talk critically about these kinds of collaborative anthology books produced to support a charitable effort. They’re inherently positive things because of the opportunity they represent to contribute to a good cause - and as a result, you can end up looking like you’re missing the point a bit if you just evaluate them on the same basis as every other comic you read that week.

All of this is a roundabout way of saying that even leaving aside the fact that this book exists primarily to raise money for (and draw attention to) sufferers of trauma as a result of the Grenfell disaster - and can easily justify its existence purely on that basis - it’s a pleasure to discover that it’s also full of genuinely good strips in their own right, which explore ideas around community and trauma and hope and unity, in a variety of very different ways. But all in 24 panels or under.

There are too many strips to talk about them all, but some in particular really struck me.

There’s a powerful silent double-page spread by Al Ewing and Doug Braithwaite that uses panel borders themselves to represent mental and social barriers being broken down as part of a search for hope and (comm)unity.

There’s also a great story by Alex de Campi, Ro Stein and Ted Brandt that contrasts the outward appearance of a block of flats and its inhabitants with a peek inside to reveal what’s really going on, gently encouraging us to be mindful of looking past our prejudices and preconceptions and showing how easy it is for the poor to be casually marginalised in society.

Paul Cornell and Rachel Smith serve up a lovely tale of how cricket can cross boundaries and bring people together. And Alan Moore and Melinda Gebbie serve up an illustrated poem that’s simultaneously life-affirming and hopeful while also being coldly damning of the politicians that allowed the Grenfell disaster to happen in the first place.

But these are not the only strong strips here, and it’s well worth picking up the full book to check out the rest. This is a great effort that not only deserves financial support, but also deserves to be widely read too.


I generally only read Spurrier’s stuff now when it’s something Im really interested in

I have a low tolerance for his dialogue and narrative tics, which is why I really don’t like Simping Detective, despite the art



I love the holiday themed books when Ute done right. Seems that far too often they’re dumping grounds for half baked stories and/ or storytelling.


Ya. It usually feels like they only do them out of obligation. Superman #165 is one of my favorites. The story is about Superman delivering Christmas presents from he and Lois to the League. It was written by Jeph Loeb with each segment done by a different (amazing) artist.


I wasn’t aware of that issue but I’ll track it down.


The Immortal Hulk 8 is one of the most brilliantly insane issues I’ve ever read from Marvel.

I’m wondering if Ewing is taking the challenge of writing himself into a trap and then gleefully writing his way out of it again.

What a joy to read.


Do you mean 9?


Lovecraft (Hans Rodionoff - Keith Giffen - Enrike Breccia)

A stunning, sometimes poignant semi-biographical, semi-fictional portrait HPL portrait. The comic book follows closely the title author’s life (though I was surprised that HPL in his young age was dressed like a girl by his mother); his father commitment to asylum, moving with his mother and Aunt to his Grandpa’s house, moving to New York, marriage and return to Rhode Island. But with few altercations. Being also a work of fiction, I was stunned how creators managed to fuse HPL work with his life. Shoggoth, witch, fishmen, brown Jenkin all made appearance. But, there is a problem with this. Namely, this monsters are real so Lovecraft resumes to paper and pen to fight them, almost like a superhero? Also, near the end, comic goes into mind-tripping WTF? and the story finishes on abrupt and unsatisfying note. I love how Breccia visually follows the story. Horror oriented moments are done in lavish, colorful and painted style; while those more mundane are drawn in more minimalistic manner, sepia nuanced with sombre tones.

Breccia’s art is truly art. Sepia, sombre tones are reserved for Lovecraft’s regular life, while those fantastic, horror oriented moments are done in more lavish, painted design.

Old Man Logan (Mark Millar - Steve MacNiven)

I wish I could say “Chief did it again” (as I always do), but the overall feel ends on three-letter word “meh”. I take the premise is already familar. In post-apocalyptic wasteland what remained from US, baddies won over superheroes and Logan lives his peaceful, pacifist, but miserable life with his family; until the Hawkeye visits him with attractive offer. From then on, road trip thru devastated America begins. Ah… Neither I hate it, neither I loved this. Story wise, it feels like straightforward, tight Hollywood blockbuster. I hated the characters. Logan is done okay, but others from Marvel universe are reduced to simply meaningless or unsatisfying role. Like Spiderwoman, who after being saved from the Kingpin, by Hawkeye and Wolverine, turns on the duo. Or Red Skull, who is revealed to be the mastermind behind the duo’s trip, and who should have more presence other than brief appearance. Next, reason for Wolverine pacifism. After so many comics, I thought that no one could fall for cheap Mysterio’s mind trick. More over is implausible Wolverine slaughtering forty X-Men. Yet, the comic doesn’t explain how other superheroes are defeated. MacNiven’s visuals are gorgeous and pretty detailed. In one segment Chief doesn’t disappoint, and that is gore territory. I never seen someone beheaded with a shotgun. And I am surprised with how much violence Millar and MacNiven got away with. Even if this belongs to non-canon continuity.


Nah, I read 9 today as well and enjoyed it, but 8 was special




I read 8 a couple of weeks ago and have already forgotten what happened in it. That’s how much of an impression it made on me!


I’ve found everything from I think 5-7 a step down
8 and 9 I feel are more of a “return to form” duet.

1-3 were spectacular though, and I hope the series returns to those levels.