This version known to fans as the “Retro-boot” Legion can be seen on the cover of the forthcoming Justice Society of America #11.  Due out on July 24, 2024, this Legion can be seen fighting the JSA.  Cover artist Mikel Janin shared the cover on Twitter/ X after the solicit for issue #12 was released.

Foremost, demonstrating that this is the “Retro-boot” Legion are the depictions of Lightning Lad and Saturn Girl.  They appear as they did when the “Retro-boot” Legion was “reintroduced” back in “The Lightning Saga.”  Amongst others are Dawnstar, Ultra Boy and Cosmic Boy in their “Retro-boot” character designs.

The Legion of Super-Heroes has been plagued with reboots both total and soft ever since the Crisis on Infinite Earths back in 1985.  The Crisis reorganized the DC Universe, part of which eliminated Superman’s time as Superboy and thus his time with the Legion of Super-Heroes.  After a “pocket universe” story that fixed this paradox the Legion continued for about five years.  It then relaunched with a “5 years later” storyline that took the once bright and hopeful future in a darker direction.  This led to a couple soft reboots of Legion history along the way.  With the Zero Hour event in 1994 the Legion completely rebooted.  The Legion would again reboot in 2004.  Finally, the classic Legion returned in the aforementioned “Lightning Saga” in 2007.  This time, the Legion history picked up from the pre-Crisis Legion continuity and restoring Superman’s time with the Legion as Superboy.  This Legion would continue up through Flashpoint and into The New 52.  Just before Flashpoint they were appearing in their own title as well as the relaunched Adventure Comics.  It seemed like a new golden age for the team.  However, sales were not enough to sustain the title far into the New 52.

The Legion was set to return during “Rebirth” within the pages of Doomsday Clock.  A young and classic Saturn Girl was a large part of it until the team finally returned at the end of the 12-issue series.  Instead of a classic Legion returning it was Bendis’ new Legion.  It’s still my opinion that the delays on Doomsday Clock were mostly due to Gary Frank having to redraw the classic Legion as Bendis’ Legion.

It’s possible that the Legion on the cover of Justice Society of America #11 is just a ruse, but there has been another reference to classic Legion lore in “House of Brainiac.”  Supergirl (Kara Zor-El) mentions that once upon a future she was very close to a Brainiac.  Pre-Crisis, Kara and Brainiac 5 were a romantic pairing.  Brainiac 5 was devastated when she died in Crisis on Infinite Earths.  taken together, this reference and the cover to Justice Society of America #11 indicate that this is not just a one-of situation.  With the impending fall of the United Planets in Green Lantern we only need Jon to go back to being 13 and DC can finally be rid of the plague that was Brian Michael Bendis.

The post Are the Classic Legion of Super-Heroes About to Make a Comeback? appeared first on DC Comics News.

Writer: Dan Slott
Artists: Christopher Jones & Matthew Dow Smith, Mike Collins
Color Artists: Charlie Kirchoff & Mariane Gusmão
Letterer: Richard Starkings / Comicraft

Reviewed by: Steve J. Ray

Summary

Doctor Who: Once Upon A Timelord was originally announced as a fall release for 2022. While the year-long wait has been agonizing, after reading it I’m glad that Titan Comics waited until the Doctor’s 60th Anniversary month and year to release it. Why? The answers are many and varied.

Positives

The decision to release this comic at a time when David Tennant’s returning to our TV screens, as the new 14th Doctor, is a stroke of genius. Not only is he one of the most beloved actors to play the character, there can be no denying that his adventures, and the entire Doctor Who era under the stewardship of Russell T. Davies, re-invigorated the franchise and, as such, is now seen as one of the greatest DW runs of all time.

Now I have to talk about about Dan Slott. While fandom remains divided about his 10-plus-year run on Spider-Man (and he’s back, folks) I’ve been a huge fan of his work since Batman Adventures Vol. 2  (2003-2004), and Batman: Arkham Asylum: Living Hell (2003). Slott is the writer whose work brought me back to the web-slinger (after the pointless and completely unnecessary horrors Marvel inflicted upon Peter and Mary Jane). Yes, I actually stopped reading the adventures of my second favorite comic book character (after Batman/the Bat Family) until Dan took over as writer.

Reading interviews with Mr. Slott, leading up to this fantastic comic, it turns out that he fell in love with Doctor Who at the same time (and with the same Doctor and companions) as I did; Tom Baker, Lis Sladen, and Ian Marter (the fourth Doctor, Sarah-Jane Smith, and Harry Sullivan). His love for the Doctor Who universe (Whoniverse?) shines from every line in this story.

Like the wonderful Jody Houser, Slott has an ear for dialogue and the beats of how a character speaks, which really resonates. His Martha Jones, Rose Tyler, Ninth and Tenth Doctors, to me, “sound” exactly like Freema Agyeman, Billie Piper, Christopher Eccleston, and David Tennant. That’s not an easy thing to do, and many other writers haven’t been able manage it.

I’m a lifelong Doctor Who super-fan, I own DVDs of all the existing episodes (right back to 1963) all the ones that have been recreated in animation, and all of “NuWho”, too. This show’s in my DNA and I love it completely and unapologetically. Doctor Who: Once Upon A Timelord reads like the Tenth Doctor’s greatest hits, and feels like a 60th-anniversary special all of its own.

The truth is, this comic features a ton of characters from the RTD/10th Doctor era, including a few surprise ones used in clever and unexpected ways. The second story, “Rhyme Or Reason”, even brings back some Fifth Doctor villains! This comic is thrilling, funny, scary, clever, and super entertaining… just like the TV show it’s inspired by. Dan Slott loves Doctor Who, and this wonderful comic proves it.

Christopher Jones is one of those artists whose work I’ll buy whenever I see his name on the cover. He’s working with Matthew Dow on the first story in the book, “Firelight”. The tale begins and ends in the “Real World”, in the vintage, clean, sharp, gorgeous Jones style, while the central story, Martha’s tale, is edgy, scratchy, and mysterious. The overall effect really works. As always, Jones is also a master at capturing actors’ likenesses, smiles, and quirks. The different visuals used to tell Martha’s story to the new (and absolutely awesome) villains, the Pyromeths, really sets the two sides of the tale apart. This book looks fabulous.

Color artists, Charlie Kirchoff and Mariane Gusmão, also deliver the goods. The effects surrounding the ever-burning villains are very effective, and the space and story time colors are cosmic and ethereal, while the real world parts of the tale are grounded and feel very natural. Great work, team!

The second offering in the issue, “Rhyme Or Reason”, gives us a previously untold story featuring the Ninth Doctor and Rose. It’s drawn by Doctor Who (and comics in general, if we’re being honest) veteran, Mike Collins. I love Mike’s art, and own a veritable ton of it; going all the way back to his work in Marvel UK’s Captain Britain and his earliest strips for Doctor Who Magazine. When it comes to the Doctor (whatever he/she/they look like this year) and all his companions, Mike can do no wrong (in my humble opinion).

Finally, we come to the reigning King of Letterers, (as well as an amazing writer and editor in his own right) and his unparalleled studio, Comicraft. Richard Starkings is the maestro, a legend, and in a league of his own. Plus, he’s one of the nicest people on this planet or any other. If you buy any comic or graphic novel that has his name on it or is lettered by him, or any of the fine talents at Comicraft, you can be 100% certain that you’re picking up an item of true quality.

Negatives

I’ve been waiting a year for this… but it was SO worth it.

Verdict

Doctor Who: Once Upon A Timelord deserves its place on every Whovians bookshelf. It’s a fast-paced powerhouse of a tale that’s beautifully illustrated and incredibly well written. The twists and turns, Slott’s love of the English language (and his ability to poke fun at it), his brilliant takes on the TARDIS’ translation circuits, the clever twist at the end of “Firelight” and the way he even clearly tells readers where this comic fits in the Doctor Who timeline, are all impeccably handled.

Not only will I be buying a physical copy when this book comes out, but I may have to get all three covers. Yes indeed, this comic’s a winner.

Images Courtesy of Titan Comics

The post Indie Comics Review: Doctor Who: Once Upon A Timelord appeared first on DC Comics News.

Writer: Dennis Culver
Artist: Chris Burnham
Color Artist: Brian Reber
Letterer: Pat Brosseau

Reviewed by Davydh Tidey

Unstoppable Doom Patrol #7 is a book I’ve been excited about yet simultaneously dreading for some time now. Keep reading; it’s a positive review, I promise. 

The final issue of this series has everything you could possibly want and have come to expect from this bombastic, exciting, heartbreaking series. This is one for the fans. 

Positives

This is it, the final execution. The DP, Flex Force, the ‘Brotherhood of Evil or whatever’ and our new (but instantly recognizable) players on the field are all where they need to be for the final grand plan. Everything’s coming together, just as our villains planned. 

Except, well, they’re the Doom Patrol… and you can never account for the Doom Patrol. 

This series has never been shy about referencing old-school DP, bringing back characters from classic runs like there’s no tomorrow. From Grant Morrison and Rachel Pollack all the way through to Gerard Way, there’s a deep mythology to draw from, and that’s being done to full effect. Even Lotion is here, I love Lotion!

Not to say that there aren’t some new and surprising characters along the way, giving us an ending and a setup for Vol 2 that just can’t be ignored.

Speaking of that ending, all I’ll say is, never play cards with Dennis Culver, his poker face is pretty incredible. 

Culver has achieved something really special with this series. From sources old and new, he’s created a story that not only moves the DP forward as both people and as a team but he also reconciles their pasts and helps them face the future with a newfound strength.

Wherever they end up next, these characters are forever changed, and Unstoppable Doom Patrol will always be influential for them. I’d love for this series to continue forever, and I have no doubt we’ll be getting that Vol 2, but its legacy will last far longer than that. Not many creators can say that for the characters they’ve worked on, and all praise for this run is well deserved. 

This series would not have been the same without Chris Burnham and Brian Reber’s amazing artwork. As I’ve said before, the thick, dramatic linework and bold colors really make this book special and give it one of the most unique aesthetics on the shelves. Maximum effort has been put into every panel and every page of Unstoppable Doom Patrol, and it shows. Similarly, Pat Brosseau’s lettering has always been unique and distinct adding so much to the style of the book, I couldn’t not mention it for the final issue. 

Negatives

Zero. Zip. Nada. 

This was the ending we needed and deserved. I just don’t know if I can deal with waiting for Vol 2!

Conclusion

Here it is, the end of the ride. Unstoppable Doom Patrol #7 wraps up an unforgettable series for the team and closes the book on one of the best DC series of the year. 

With the renewed popularity of these characters, it’s inevitable that we’ll see them all again, in some way, shape, or form. I sincerely it’s in the form of an Unstoppable Doom Patrol Vol 2, because Culver, Burnham, Reber, and Brosseau’s interpretation of these characters has become one of my favorites. 

The Doom Patrol will return.

Images Courtesy of DC Entertainment

The post Review: Unstoppable Doom Patrol #7 appeared first on DC Comics News.

Writer: Dennis Culver
Artist: Chris Burnham
Color Artist: Brian Reber
Letterer: Pat Brosseau

Reviewed by Davydh Tidey

Unstoppable Doom Patrol #6 marks the beginning of the end, and the team’s going out with a bang! We get the debut of the Flex Force, shocking discoveries, and the surprise return of a major power, this issue has it all!

Just watch out for the crow… it’s more than it seems.

Positives

The team seems to have finally found some peace in this issue; everyone’s working together well, the leadership struggle’s been resolved, and with the new inclusion of Flex Force the Doom Patrol seems to be stronger than ever.

We also start to see a return of the characters that the DP has helped previously in the series, like Psylo-Simon from the Lazarus Planet: Dark Fate story, or Starbro from the epic Fast and Furious-esque Unstoppable Doom Patrol #3.

The Flex Force team’s entirely built from these rescued metahumans, or the ones that wanted in anyway. It’s a clear show of just how far the Doom Patrol team has progressed in these issues. They want to help, and, for once, it’s actually working. They’re making a difference for their people.

Of course, in true Doom Patrol fashion, when the $#!+ hits the fan, it hits HARD.

Hopefully, you’ll remember your DP history for this one, because oh BOY there are some really deep cuts here. The deadlier villains of the Doom Patrol’s rogues gallery are out in full force here, with a team-up that seems to put the “stoppable” back in Unstoppable Doom Patrol.

Dennis Culver deserves so much praise for his work with this team. Taking the Doom Patrol to a place they’ve never been before, one of actual relevance and effectiveness, was never going to be easy, but Culver has risen to the challenge wonderfully.

The character work and character focus in this series is second to none in modern comics, in my opinion, and really drives home that these reluctant superheroes are characters that need to be used, not left on the shelf for years. The DP may not be well-liked among other superheroes, but their motivations are pure, and they’re not ones to be messed with.

Also… THAT ENDING. AH!

Chris Burnham and Brian Reber deliver some of the best art of the series in this issue. The whole training scene with Flex Force, the eventual descent into a brawl, and again THAT ENDING are all wonderful pieces of work on their own, but as a whole they make some of the most interesting-looking comics on sale today. I need more comics from these two, please!

Negatives

Unstoppable Doom Patrol #6 is the second to last issue, and I’m upset by this at a base level.  It’s almost over. Boo-Hoo, I say.

There is still a light at the end of the tunnel for that, though. Check out our interview with Dennis for more info on that… 

Conclusion

Unstoppable Doom Patrol has been, without a doubt, my favorite current DC comic release since issue #1 came out. I know that I’m inherently biased when it comes to these characters I’ve known and loved for many years, but to me, this book is so much more than the sum of its parts. With the care and attention that has been put into these stories, it’s hard to deny that the creative team is doing their best work here.

I will miss you sorely when you’re gone, DP. At least I have one more issue to keep me sane. Relatively.

Images Courtesy of DC Entertainment

The post Review: Unstoppable Doom Patrol #6 appeared first on DC Comics News.

Writer: Pornsak Pichetshote
Artists: Jeff Stokely, Craig Taillefer, Javier Rodríguez
Color Artist: Miquel Muerto
Letterer: Hassan Otsmane-Elhaou

Reviewed By Steve J. Ray

Summary

The Sandman Universe: Dead Boy Detectives -Collected Edition is finally here, and Charles and Edwin are back! Who? You may ask. Worry not, dear reader, I’ll have you caught up before you can say, Thessaly.

Charles Rowland and Edwin Paine first appeared in the now-classic The Sandman #25 (April 1991). They were created by Neil Gaiman, Matt Wagner, and Malcolm Jones III during the brilliant “Season of Mists” story arc (Volume 4 of the Sandman graphic novels series, which is reprinted in Book Two of the lovely new set of collected editions).

This vintage tale saw Lucifer give up his throne and relinquish the key to the gates of hell. The underworld was then emptied and the dead once again roamed the Earth. Death of the Endless had a tough time rounding up the denizens of hell and both Charles and Edwin, rather than move on, decided to stay on Earth and solve supernatural crimes.

A lot more has happened in one-shots, crossovers, a mini-series, as well as in an ongoing Dead Boy Detectives series, over the years, but that’s all everyone needs to know, in a nutshell. Oh, and the characters have appeared in the HBO Max TV series Doom Patrol too.

Positives

If you’ve read The Sandman Universe: Nightmare Country, you’ll know that it ended in a cliffhanger. This issue follows on directly, making the two stories almost feel like one. Another Sandman character, the witch Thessaly, made an appearance at the end of Nightmare Country, and she plays a part in this book, too.

Eisner Award-winning writer, Pornsak Pichetshote (The Good Asian, Infidel), has woven a tale of horror and dark magic that gripped me from page one. His use of Thai folklore and legend is fascinating and engaging. His resumé speaks for itself, as he’s written Swamp Thing stories for DC, TV’s Cloak & Dagger for Marvel, and many other horror comics and books. As a writer of Thai-American heritage, his insight into Asian supernatural lore is refreshing and intriguing.

In the story we meet three Thai ghosts; Melvin, a Snake Ghost, Jai, a Hollow-Backed Ghost, and Tanya, a Mother Ghost. Having died between the 1970s and the present the three were taken care of by the Thai “Ghost Doctor”, Dom. The main antagonist in the book is a fourth ghost, the deadly Krasue. This monster is a normal human woman by day, but at night her head and spine detach and fly around the city, hunting down helpless victims. I know… right?!?

Our heroes are also attacked by a horde of mutilated ghost babies (known as the Kumanthong), who are both stomach-churning and heartbreaking. Pornsak Pichetshote’s scripts are textured and his imagination is wonderful. Dead baby ghosts are terrifying, but the fact that they may also have feelings makes them all the more tragic.

Edwin and Charles have an unorthodox relationship, and we’ve seen that. The fact that these are ghosts with feelings and emotions elevates the intensity of events and makes the characters so much more relatable.

I’m totally into this mythology. Thai culture and spiritual beliefs are brand new to me and I find them fascinating. The way the new ghosts only appear at night makes Charles and Edwin’s work harder, and the book that much more fun to read. This adds a whole extra layer of tension and drama to the proceedings.

Pichetshote’s tale is part whodunnit, part thriller, and 100% horror. The best bit is, that while every cast member is dead, they’ve all got more spark, humanity, and personality than some folks that are still alive. The script is great fun to read and every character has their own strengths and characteristics, making them fascinating to follow.

The art by Jeff Stokely and Miquel Muerto (what a great name for a color artist working on a horror book) is lovely. The characters and colors are quite bright and punchy, and even though the visuals are quite simple-looking (in a good way), this makes the grotesquery of the gore and horror that much more powerful. This story’s brand new, yet it looks and feels like it would fit in my 1990s Sandman library effortlessly. Muertos’s lovely colors make the art shine and don’t overshadow or smother the subtle line work.

From chapter two onward, the creative team is joined by inker Craig Taillefer, who does what any great inker should do; finish the penciller’s art in a way that highlights both artists’ skills, but doesn’t wash away the penciller’s style. Yes, the visuals in this book are fairly cartoony in style, but the skill is in the storytelling, the characters’ faces, and the deep, rich backgrounds.

Hassan Otsmane-Elhaou had already impressed me with his excellent work on Sword Of Azrael, so I knew the lettering on this book would be great too. Yay, me… I was right! His ghost text, sound effects, and chapter headings are simply gorgeous. From little notepads showing us what the characters are thinking (nope I really don’t miss thought bubbles at all), to ghostly dream speak, and big loud, almost manga-style arguments between the characters. All of his work is stellar.

We have a guest artist drawing all but the final page of chapter four, the brilliant Javier Rodríguez. I’ve been following this artist’s work since the late 90s when he worked for the publisher Ediciones La Cúpula. He was one of many artists working on the wild and whacky title El Víbora, published in my native country of Spain between 1979 and 2005. American comics fans may primarily know him as a color artist, from titles such as Batgirl: Year One for DC, but this guy can draw! His work on this chapter is lovely, and I would dearly love to see even more of his art across DC in months and years to come.

This book raises so many fascinating questions. If ghosts are already dead, how can they be “killed”? Pornsak Pichetshote’s written one hell of a tale, not just because of the haunted goings on, but also because of all the wonderful semi-autobiographical touches he adds, due to being a Thai-American. Honestly, this book is great.

The Sandman Universe: Dead Boy Detectives isn’t just a horror story either, as we also get some amazing social commentary. Shootings in schools, bullying, racism; all these topics are handled in this book. The best thing is that Pichetshote’s not smacking us around the head with politics, he’s doing what all the best writers do and uses fiction to hold a cautionary mirror over fact. Why is it only children who seem to be capable of learning and wanting change? Have all adults truly just given up?

The fascinating glimpse into ghosts from across the globe, the re-introduction of three favorite characters from Neil Gaiman’s legendary Sandman series, and the horror and humor they all bring have been an absolute delight. I know that’s a weird thing to say about a horror comic, but it’s true.

Negatives

None. Whether you only know Charles and Edwin from this book, or if you’ve followed their adventures for decades, writer Pornsak Pichetshote has you covered. With every chapter, we learn more about our heroes.

Verdict

I’ve learned about new mythologies, felt scared, laughed, and had my heart broken. As a lifelong comics fan, this is the kind of series that proves the validity and power of the medium. It still upsets me when people put comics down, particularly when there are great stories like Dead Boy Detectives on the shelves.

The entire Sandman Universe has always been built on diversity and representation; both in its cast of characters and in the depth of stories it’s always told. The creative team behind Dead Boy Detectives is honoring that legacy and building on it beautifully.

Sandman Universe: Dead Boy Detectives delivers everything I love about comics. Great characters, next-level threats, humor, scares, and thrills. The fact that it also educates while it entertains is a huge bonus. While this is a brilliant horror story, it also sheds light on life, love, and the problems faced by the children of immigrants.

This terrific book collects all six issues. It also presents the main and standard variant covers before each chapter, and has a nine-page gallery with all the other variant covers at the back of the book. For anyone wanting to know or read more about The Sandman Universe, there’s also a four-page reading guide.

The post Book Review: The Sandman Universe: Dead Boy Detectives – Collected Edition appeared first on DC Comics News.

Writer/Artist: Sina Grace
Color Artist: Chris Peter
Letterer: AndWorld’s DC Hopkins

Reviewed by Steve J. Ray

Summary

Sina Grace (Iceman, Ghosted in L.A.) has always been a writer/artist whose work I’ve enjoyed and admired, and Superman: The Harvests Of Youth isn’t just one of the best things he’s ever produced, it’s become one of my favorite YA books and Superman stories… ever.

DC’s range of Young Adult Graphic Novels are some of the finest books out there. I haven’t been a teenager for over thirty years, but these volumes make me feel, think, and are always super entertaining.

This story is, at its heart, one about ordinary people. Yes, everyone knows that Superman is far from ordinary, but that’s part of the magic and power of the character. As Clark Kent, although he’s handsome, smart, and talented, all he wants to be is an ordinary guy. Superman is all about protecting the “ordinary”, the innocent, and those who need his help.

Positives

Let’s be honest, if we had powers like Superman’s, would we use them in the same way he does? Or would we be more like the pitiful super-powered deviants that populate the pages of stories like The Boys? Superman’s greatest power isn’t his superhuman strength, his ability to fly, or the ability to shoot heat beams from his eyes. No. What makes Superman great and inspirational is the way he uses his special abilities to protect and aid those who have none.

Sina Grace gets this. Superman: The Harvests Of Youth gives us a young Clark Kent, a teenager still trying to find his place in the world and learning to use his gifts. When tragedy hits Smallville he learns that, even with his amazing abilities, he can’t save everyone. We may have read tales like this before, but seeing real teenagers with real problems and all the pressure they face – with the future Man of Steel as one of them – makes this Superman story feel all the more grounded and real.

Of course, having a story based in Smallville means that we get to see all the classic residents of this wonderful mid-western town; Lana Lang, Pete Ross, Chloe Sullivan, and Ma & Pa Kent. All of them are pitch-perfect in this book, but the addition of brand new characters Gil Stockwell and Amy Buenaventura (great surname, get your Spanish phrasebook out) adds to the uniqueness and power of this book.

Sina says in his afterword:

There’s no denying that Clark Kent and the people of Smallville are amongst the most iconic in pop culture, so the importance of getting to write and draw a story about Superman’s formative years was not lost on me.”

He goes on to say:

Who are these people in real life? How much will they resemble previous interpretations of the past? What makes my perspective unique?”

Having read the book, all I can say is, “Sina… you nailed it.”

The dialogue is fresh, realistic, and modern, the character designs are perfect and timeless, and the surprises and twists are next level. As soon as we see the teenage Lex Luthor certain expectations are raised. Of course, young Lex clearly showcases some of the characteristics of the man and villain he will eventually become, but the real antagonist of the book is a massive surprise. In fact, the term antagonist may not be the best one to use in this case. The real enemy here is humanity and the way people treat each other, the “villain” of the piece just uses all of that in the worst ways possible.

Sina’s writing and art are terrific throughout, and the storytelling is absolutely sublime. Just check out the facial expressions and love displayed by Ma and Pa Kent in the pages above. What’s amazing is that his work is elevated even further by the gorgeous warm, subtle color palette employed by the brilliant Chris Peter. The earthy, natural tones in this book enhance and add to the atmosphere. Somehow, even in the powerful action scenes near the end of the story, everything feels grounded, and real. Just the fact that we get bronze/copper-toned robots, instead of the usual chrome/steel deal is a huge plus. Nice work, Mr. Peter.

AndWorld Design is one of the finest lettering/design studios in the comics industry, and the work by DC Hopkins in this book is exemplary. There are very few sound effects in this story, in fact, most of the lettering is made up of character dialogue. However, the design choices made by Hopkins and Sina Grace are completely on the money. Where we do get sound effects, they look like part of the art, rather than big, hyper-flashy special effects. In fact, in places they look like Sina may have just drawn them in himself. Also, the choice to have lower-case font dialogue throughout the book really works and adds to making everything feel like conversation, rather than melodramatic exposition.

In short, every member of this creative team has knocked it out of the park.

Negatives

This is just nit-picking. Some of what happens in these pages (and I hate the fact that I’m typing this) goes against what we know to be Superman canon. However (and I love the fact that I’m typing this) I DON’T CARE! These people feel real, the emotions hit home, and we’re being shown the ugly side of society in a way that doesn’t feel preachy or heavy-handed. This is the kind of book I want every teenager and young adult to read; not just because they need to know that they’re not alone, but because this book is fun and one of the best Young Superman tales I’ve ever read.

Verdict

Superman: The Harvests Of Youth is a wonderful story. For me, it ranks with John Byrne’s original Man Of Steel, and Jeph Loeb and Tim Sale’s Superman For All Seasons as one of the finest tales of Clark Kent’s formative years. Please, do not sleep on this book, buy a copy and share it.

Review Copy and Cover Art Courtesy of Penguin Random House. Images Courtesy of DC Entertainment

Paperback
$16.99
Out NOW
ISBN: 9781779511058

The post Book Review: Superman: The Harvests Of Youth appeared first on DC Comics News.

Writer: James Tynion IV
Artist: Lisandro Estherren
Color Artist: Patricio Delpeche
Letterer: Simon Bowland

Reviewed by Steve J. Ray

Summary

After a brief (but brilliant) interlude last month with Thessaly, we return to The Sandman Universe: Nightmare Country: The Glass House #4, exactly where we left the previous issue.

While the Corinthian enters the King of Pain nightclub (the demon Azazel’s portal from Earth to Hell) Madison and Max are confronted by the witch Thessaly. We witness murder, and mayhem, and get a visit from a tall librarian plus a final page cameo that left me jumping for joy!

Positives

This issue has it all. There’s enough intrigue, subterfuge, and plotting that we’re making wild guesses at to what’s going on, while James Tynion slowly drops breadcrumbs, red herrings, and guest appearances to leave readers clamoring for more.

No, we still don’t know how or why Desire is involved, whether the Corinthian’s turning back to the dark side, nor what the Angel and the Hollywood producer are planning, but boy are we along for the ride!

The addition of Thessaly as a main character opens up a world of storytelling possibilities that this exceptional creative team is grasping with both hands and running with. The art by Lisandro Estherren and Patricio Delpeche continues to inspire and delight, particularly when we get to see the true power of the forces of darkness at play on page five of the book, as one of Max’s work colleagues is on the receiving end of a particularly sharp spell… The use of color on this page is truly phenomenal, contrasting the prelude and aftermath of the event beautifully.

As always, Simon Bowland’s use of design and innovative text fonts and balloons, for the supernatural characters of the book, are wonderful.

Negatives

I’m only calling this a negative because I’m selfish. Guys! You cannot close the issue with a cameo of that significance! I mean, seriously… this is (exquisite) torture!

Verdict

The Sandman Universe: Nightmare Country: The Glass House #4 had me gripped from start to finish, and this entire series has consistently been great to read, and amazing to look at.

I honestly believe that issue #5 will be a Dream come true for some… myself included.

Images Courtesy of DC Entertainment

The post Review: Nightmare Country: The Glass House #4 appeared first on DC Comics News.

Writer: Dennis Culver
Artist: Chris Burnham
Colour Artist: Brian Reber
Letterer: Pat Brosseau

Reviewed by Davydh Tidey

After the therapy session we saw last issue, Unstoppable Doom Patrol #5 puts us right back into the action, going up against the evil corporation using the newly-discovered metahumans for profit. The Lazarus Rain has changed so much about the world, but even it can’t stop the slow trudge of capitalism. 

Also, someone let Niles Caulder out into the field. This can only go well, I’m sure.

Positives

This series really only goes from strength to strength and the latest issue’s no exception. This chapter turns the classic evil corporation trope on it’s head and delivers a fairly thought-provoking message about the dark side of superpowers; someone will always try to use them for profit, in sometimes horrifying ways. 

The issue also addresses the rather large elephant in the room; Niles Caulder. While he’s no longer the Chief, the former Doom patrol leader’s still around in an advisory capacity. This, obviously, presents its own dangers, particularly with him being the direct reason for the accidents that created the Doom Patrol in the first place. The new Chief seems to have a handle on him, but who knows what he could do next and how he could influence things, and who he could put in danger to prove another theory? The situation’s tenuous, to say the least. 

This issue also does something rather unique for Niles Caulder, as it has him admit that he was wrong about something. We’re shown a side to this immoral, arrogant character that we haven’t seen before; genuine remorse and owning his mistakes. 

I know I asked for more Niles Caulder, Dennis, but DAMN, I didn’t expect this! 

Along with humanizing the inhumane, Dennis Culver delivers another amazing issue here. Caulder’s characterization is nailed, giving us all the flaws of the man while still progressing him forward and showing genuine development.

Elasti-Girl and Robotman still continue to struggle with being professional in the field, but deliver the results in spectacular fashion anyway. The relationships between characters in Unstoppable Doom Patrol have always been a highlight, each one is unique and well thought out. Cliff doesn’t talk to Rita like he does with Larry, and Larry doesn’t talk to Beast Girl the same way he talks to the Chief. All of this makes the dialogue so natural and easy to buy into, I love it. 

It’s lovely to have Chris Burnham back with Brian Reber on the art, as I’ve sorely missed his dynamic feeling action and unique facial expressions. The pages with the “new superhero” are equal parts thrilling and horrifying, and I’ve come to expect nothing less from this art team and this amazing book in general.

Negatives

This is a very small gripe in the grand scheme of things, but I’d really like to see Beast Girl’s character developed a little further. We’ve seen her touching origin story, and as the lead character in Unstoppable Doom Patrol #2, but I’d love to see more from her and get more of a real sense of her character. 

Apart from that, this series only has two more issues left?! Boo! I’ll miss it sorely when it’s gone. 

Conclusion

Unstoppable Doom Patrol #5 is a really great distillation of what this whole series has been about; overcoming your past and pushing forward. This issue made Niles Caulder face his demons, but the whole series feels like it’s been about addressing trauma and past mistakes, while also helping as many metahumans as possible. It’s a positive, and relatable, message for people of this generation. Your past doesn’t define you. 

I have nothing but love for this series, and this issue is no exception. 

Images Courtesy of DC Entertainment

The post Review: Unstoppable Doom Patrol #5 appeared first on DC Comics News.

Writer: James Tynion IV
Artist: Maria Lovet
Letterer: Simon Bowland
Text Page Designer: AndWorld Design

Reviewed by Steve J. Ray

Summary

Following and fitting in seamlessly from, through, and between Nightmare Country #6, Dead Boy Detectives, and Nightmare Country: The Glass House #3, The Sandman Universe: Thessaly Special #1 gives us a look at DC Comics’ mistress of witchcraft’s history and dark power. It also finally shines a light on her involvement – involuntary as it might be – in the ongoing investigation into the horrific death of Madison Flynn.

Positives

First, let me say straight off the bat, that Thessaly is a horrible person. However, she’s a fascinating, deep, and extremely complex character. I’ve been following her story since her first appearance in issue #32 of Neil Gaiman’s Sandman (1991). She’s gone from being a terrifying, bigoted, and ultra-powerful witch in “A Game Of You“, to Dream’s lover, magical avenger, and force of nature in her more recent appearances.

James Tynion has a real grasp on the character and is finally showing us her past. By doing so, he lets us see some of the moments that made and forged her. The brilliant part is that all of this fits in with what we’ve already seen of her over the decades, honoring what her creator has already told us about her while adding more flesh to the bones of her history. I must also laud the way James creates new side characters that I immediately fall in love with. They’re all so flawed, human, and real!

Maria Lovet is a wonderful artist who gives readers a Thessaly as great as the one drawn by her co-creator, the inimitable Colleen Doran. The art in The Sandman Universe: Thessaly Special #1 is gorgeous; simple, clean, atmospheric, and, dare I say it, magical. This great issue works both as a follow-up to The Sandman Universe: Nightmare Country #6 and as a chapter in the ongoing saga of Madison Flynn.

Yes, the writing, art, and Simon Bowland’s lettering in this special are (as always) first-rate, but I think I need to name guest creators AndWorld Design (AKA Deron Bennett) as the MVP of the issue.

I love experimental comics, and DC has been spoiling us recently with issues that tell a story as one continuous 20-page image, an entire story seen from one character’s POV, and the incomparable DC Black Label horror series, The Nice House On The Lake (also written by James Tynion). This saga contained entire pages dedicated to text and art that were so seamlessly intertwined, that the reader was left wondering whether the artist, colorist, or letterer was responsible for the final result. With this issue, I finally have my answer.

The Sandman Universe: Thessaly Special #1 also features several text pages, but they’re so lovely to look at that you’d be completely justified in calling them works of art. Some look like ancient scrolls, others like pages from a storybook, and yet others like a movie script (the scroll pages are featured below).

AndWorld didn’t just letter these pages. No. Just like the way they did in TNHOTL they imagined and executed the designs, created the textures, and provided the color. As usual, I’ve been left in awe. I cannot understand people who don’t see comics as true literature or art, because, for me, they’re the perfect marriage of both.

Negatives

I have nothing to say.

Verdict

The Sandman Universe: Thessaly Special #1 is virtually flawless. James Tyion has crafted a story that scares us by asking what it is that people really want, and the design, art, and lettering of the book are of outstanding quality.

Seeing Thessaly’s past, getting glimpses of Dream (and his other famous lover), plus a dark and ominous hint at one of his younger siblings’ deeper and continuous meddling in his affairs, all made this aging Sandman fan very happy indeed.

I cannot wait for The Sandman Universe: Nightmare Country: The Glass House #4!

Images Courtesy of DC Entertainment

The post Review: The Sandman Universe: Thessaly Special #1 appeared first on DC Comics News.

[Editor’s Note: This review may contain spoilers]

Writer/Artist: Jeremy Haun

Color Artist: Nick Filardi

Letterer: Troy Peteri

Reviewed by: Bryant Lucas

Summary

Black Adam faces his greatest fears, as he traverses a living nightmare in this month’s Knight Terrors: Black Adam #1.

Adam (like the rest of DC’s heroes and villains) has been forced into an eternal slumber by a new player named Insomnia: a Gotham-based villain searching for the mythical Nightmare Stone, which was hidden by Doctor Destiny in the nightmares of an unknown hero.

The issue opens in Kahndaq, with Black Adam fighting some unnamed skeleton goons who seem to be associates of Insomnia. Things take a turn for the worse as he then falls asleep, plunging into a nightmare world where once again he has to fight off more villains. However, Black Adam’s powers seem to be on the fritz, and the Rock of Eternity’s sprouting Cthulu-looking tentacles. After his powers disappear for a moment, he meets a talking cat named Bast who convinces him to transform back into Black Adam and journey into the tower at the center of the nightmare world.

After ascending a very tall set of stairs (apparently, he’s no longer able to fly), Adam witnesses a giant Crocodile eat his long-dead family: Isis and Black Adam Jr. The monster swats Adam out of the tower, sending him flying across the nightmare city. Bast tells Adam he must continue into the next Tower, but he has questions for this bizarre kitty. However, before she can answer, Batman appears offering help.

Positives

After 12 months of Christopher Priest’s convoluted Black Adam book, it’s nice to have a story that’s a little more straightforward. The issue’s easy to follow plot-wise but also does a decent job of dishing out details that kept me interested. I’m particularly intrigued as to what Jeremy Haun has planned for the Rock of Eternity. It appears to be corrupted by Insomnia; however, this could simply be a product of Black Adam’s nightmares.

Also, I really like the throwback to 52. For those of you who may not be familiar with a 17-year-old series (dang, I’m old), during DC”s weekly series, 52, Black Adam married Isis and saved her brother, Osiris, by sharing his powers, making him Black Adam Jr. At this point, Adam had reformed, due to the moderating influence of his new family.

However, the story ended in tragedy, as Adam was betrayed by Sobek, a bioengineered talking crocodile who eats Black Adam Jr.  Upon the death of Osiris, Adam goes on a murderous rampage, leading to his downfall. As far as I can gather, this is the first time that Isis and Osiris have been mentioned after the New 52 reboot of 2011. It’s a neat nod to a pivotal story in the character’s history.

Negatives

For starters, this book completely ignores the recently set status quo. At the end of the Christopher Priest series, Black Adam and Teth Adam were split into two different beings. However, at the beginning of Knight Terrors: Black Adam #1, they are clearly the same person. My guess is that Haun wrote this well before Priest had finished his run, and DC’s editorial didn’t bother to check with Priest. This means that the book loses a couple of points for continuity issues.

Also, I’m not overly thrilled by Haun’s art. Don’t get me wrong, it’s impressive that he’s able to both write and draw. However, the main character in his hands doesn’t look like Black Adam, as his hair and face do not match previous iterations of the character. I’m not sure what Haun was going for, but his version more resembles The Rock, circa 1998, than it does any contemporary rendering of the anti-hero.

Conclusion

Knight Terrors: Black Adam #1 feels like a generic tie-in to the larger event. It’s not doing anything particularly special beyond confirming that Isis and Osiris are canonical characters post-Flashpoint. Haun’s script and art are both serviceable but nothing to write home about.

While Batman’s appearance at the end of the issue does pique my interest, I’m guessing that this tie-in won’t matter in the larger scheme of the Knight Terrors story.

Images Courtesy of DC Entertainment

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