Writer: James Tynion IV
Artists: Lisandro Estherren, Patricio Delpeche
Color Artist: Patricio Delpeche
Letterer: Simon Bowland
Text Page Designer (Thessaly Special): AndWorld Design

Reviewed by Steve J. Ray

Summary

The second volume of James Tynion IV’s take on The Sandman Universe, Nightmare Country: The Glass House is finally here!

This gorgeous hardcover edition includes all six chapters of The Glass House and the one-shot Thessaly special. The dust jacket art, featuring the Corinthian, and the main cover, with the King of Pain, are both by Reiko Murakami. Also collected are all the main and variant covers.

New York artist, Madison Flynn, has been murdered by the re-animated corpse of her best friend, Kelly (AKA “Kells”). Now, the reborn Corinthian, along with Madison’s spirit, are both on the trail of the deadly duo behind Kelly’s murder, Mr. Agony and Mr. Ecstasy.

The two rogue nightmares killed Madison, and others because they could see a new nightmare, The Smiling Man, during waking hours. More troubling still, this nightmare was seemingly not a creation of Dream. To add even more fuel to the fire, it seems that Agony and Ecstasy had been commissioned to commit these murders by Desire, Dream’s younger sibling and frequent adversary.

Madison has been granted new flesh by Death of The Endless, at her brother Dream’s behest. Neither one seems to know of Desire’s involvement at this moment in time.

Positives

Nightmare Country‘s back! Thankfully Lisandro Estherren, Patricio Delpeche, and Simon Bowland have returned, alongside James Tynion. This issue cleverly picks up exactly where volume one left off, adding new characters to the tale and, by the end of the book, bringing back yet another huge presence from Neil Gaiman’s original Sandman run. We also meet another old “friend” from the classic “The Doll’s House” saga, again.

There are still people out there who have also seen The Smiling Man, and we can only wonder how long it will be before Agony and Ecstasy will be on their trail. Add a whole ton of supernatural intrigue, clubs that no one should want to be a member of, and the return of Kells, and this is one super-loaded graphic novel!

It may be hard to believe, but the art and colors by Lisandro and Patricio have actually improved since volume one. This book looks amazing, and Madison’s new form made me very happy indeed. The nods to the first arc are wonderful, and the love for the entire Sandman Universe, as created by Neil Gaiman, is palpable.

Simon Bowland also continues to impress with his letters, particularly when they clearly differentiate humans from angels, demons, and Endless.

James Tynion is sick, twisted, and terrifying. Great work, sir… keep it up. The saga of Kels and Max is as dark a love story as I could ever dream of and features a set of circumstances beyond my wildest imaginings. How does he even think this stuff up? Kelly’s just the sweetest… entity/ghost/spirit and I’m sure the undead deserve love too, right? Of course, when her beau, Max, discovers who she was and what she did; cats, pigeons, cans, and worms will be all over the place.

Kelly’s one of the residents of “The King Of Pain”, a nightclub that links our plane to Hell itself. This is the place where the richest, and those in their employ, can cater to all their most twisted needs and desires… or should that be Desires? Of course, we now know that Agony and Ecstasy, the evil duo who killed Kelly and forced her to kill Madison, were working for Desire of The Endless, one of the younger siblings of Destiny, Death, and Dream.

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.

Never in my wildest imaginings could I ever have believed that love between an undead girl and a mortal man could feel beautiful and real, but Max and Kells are so brilliantly written and drawn that I can’t help but root for them. Thessaly has always been infuriating, and now that she knows who’s been pulling the strings, even hers (from waaay back in the original Sandman series) I know that sparks are going to fly. Will she and Daniel’Dream cross paths?

Seeing Azazel, The King Of Pain, Dream, and his siblings in this book always makes me happy, so this book ticked a lot of boxes.

The creeping horror continues to unnerve and disturb, in the most delicious and entertaining ways. Is the Corinthian going to revert to type? Is he really working with Madison and Dream, or with the demon Azazel? Knowing the mind of James Tynion, I think we’ll get an answer somewhere between those two extremes that will both surprise and delight us.

All the breadcrumbs James Tynion’s been dropping since Nightmare Country volume one are starting to bear fruit, including the huge bombshell that closed the story. Dream has become embroiled in the events occurring in this series, so I can’t wait to witness the fireworks when he discovers that, once again, one of his younger siblings is neck-deep in the whole mess. In fact, it looks like they’re the one who’s behind the whole scenario.

I’ve been following Dream and his siblings since day one, so seeing them honored and homaged in great new comics makes me very happy indeed.

The secret of the Smiling Man has haunted readers for close to two years now and the story of Madison Flynn has been a source of terror and delight the entire time. Seeing her, The Corinthian, Max, and Kells get swept upon by a wave of demons, serial killers and the whims of The Endless has made this series feel closer to Gaiman’s classic than any other spin-off/follow-up that’s come before.

The power that Dream displays in this collection is nothing short of awesome. The way he handles both his creations and his various enemies is unbelievable. Tynion’s take on Daniel is perfect; he’s got the will and determination of Morpheus, but an edge and confidence that the original Dream never possessed.

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 followed 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 in Nightmare Country: The Glass House. 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 chapter starring Thessaly is gorgeous; simple, clean, atmospheric, and, dare I say it, magical. This great story 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 book are (as always) first-rate, but I think I need to name guest creators AndWorld Design (AKA Deron Bennett) as the MVP of Thessaly’s tale.

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 chapter contains entire pages dedicated to text and art that are so seamlessly intertwined, that the reader’s left wondering whether the artist, colorist, or letterer was responsible for the final result. With this story, I finally have my answer.

The tale 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

How long until the final volume? Aaaaarrrrgggghhhh!

Verdict

The Sandman Universe: Nightmare Country: The Glass House closes with style and power. James Tynion’s foray into Neil Gaiman’s world of dreams and nightmares has never disappointed, and with the final act of this incredible dark fantasy/horror coming in 2024, a clash between Dream and Desire (and possibly Despair too, if the cover for the final chapter’s anything to go by) is edging ever closer.

A war is coming, and I can’t wait. The final chapters of this tale are tantalizingly close, but still just beyond our reach. I will wait, however impatiently, as I know what’s coming will deliver a story for the ages. This book gives readers the perfect close to this arc while leaving us all begging for more. Like the winter season itself, the wait will be a long, cold one… but one I believe will ultimately be worth it.

I’ll see you all again in dreams.

Review Copy Courtesy of Penguin Random House. Images Courtesy of DC Entertainment.

The Sandman Universe: Nightmare Country: The Glass House Collected Edition is available now from all good book and comic retailers: ISBN 9781779520722

The post Book Review: Sandman Universe: Nightmare Country: The Glass House – Collected Edition appeared first on DC Comics News.

DC’s Award-Winning The Nice House on the Lake Continues with The Nice House by the Sea

James Tynion IV and Álvaro Martínez Bueno’s episodic comic book horror returns this summer with a second cycle, set at an idyllic coastal retreat

No one who was invited to the House by the Sea knew Max—but she knew each and every one of them. Masters of their fields, titans of industry and knowledge, they all represented the best and brightest of humanity. The cast of DC’s The Nice House by the Sea, a second 12-issue comic book season launching on Wednesday July 24 by acclaimed The Nice House on the Lake creators James Tynion IV, Álvaro Martínez Bueno, Jordie Bellaire and Andworld Design, includes the Doctor, the Writer, the Historian, the Actor, the Artist, the Priest, the Scientist, the Singer, the Politician, and the Mathematician. This time, they’re all strangers. And they’re at the House by the Sea by choice.

“The people in this house do not like each other,” shared Tynion. “They don’t want to spend time with each other. There have been some weak bonds that have formed over time, but none of them are particularly affectionate toward each other. This is a house of strangers and tension much more than a house of friendship, and we’re going to see the way that guilt, boredom, and loneliness has twisted each of them.”

When Max whispered to each of them the truth of what they deserved—to be saved from disaster, to carry on the flame of civilization in a paradise built just for them—they all leaped at the chance. Why not? Why shouldn’t they be the ones to live forever? Isn’t it their destiny to survive the culling of the lesser herd? Wouldn’t being named the future of humanity be…nice?

“Unlike our lake house, everyone in The Nice House By The Sea accepted the deaths of all their friends, family, and loved ones,” continued Tynion. “They accepted the eradication of the human race and their selection as the last humans that will ever exist. It’s a truth some of them think they can live with, but the way they are living with it is by never, ever looking at it.”

With the Eisner Award-winning The Nice House on the Lake, honored as Best New Series by the prestigious Angoulême International Comics Festival, James Tynion IV and Álvaro Martínez Bueno shocked the comics industry and unleashed a classic of contemporary horror by focusing on the overriding anxieties of the 21st century…and no matter what you might think is coming next, you aren’t ready for their second act!

“I’m working with one of the best creative teams in comics right now,” added Martínez Bueno. “We’re doubling the stakes we placed three years ago and we’re pushing The Nice House on the Lake in new directions while holding together the core of what makes the project so exciting. The challenge of creating the new cast, the new locations, and reimagining the entire iconography of the series for The Nice House by the Sea has been the most exciting of my career so far.”

Beginning on July 23, The Nice House by the Sea launches a new cycle of DC Black Label comic book horror that will grip you by the throat and force you to look hard at yourself. Are you bored? Are you bored with the same boring people? Are you looking for an escape? What would you change about yourself in your new, utopian life?

The Nice House on the Lake and The Nice House by the Sea carry DC’s Ages 17+ content descriptor (for mature readers). Pick up the complete first cycle, DC’s The Nice House on the Lake: The Deluxe Edition, wherever books are sold, and preorder your issues of The Nice House by the Sea with your local comic book shop before cycle two launches this summer. The Nice House by the Sea #1, in stores on Wednesday July 24, will have a main cover by Álvaro Martínez Bueno along with variant covers by Nick Robles and Hayden Sherman, plus a 1:25 variant cover by Dani.

About DC’s The Nice House on the Lake

From Eisner and GLAAD award-winning writer James Tynion IV, artist Álvaro Martínez Bueno, colorist Jordie Bellaire and lettering by Andworld Design comes a disturbing tale of psychological horror that asks the question: How do you think the world will end?

Ten individuals have been invited to spend the weekend in an opulent lake house: the Artist, the Pianist, the Reporter, the Comedian, the Writer, the Scientist, the Accountant, the Consultant, the Acupuncturist, and the Doctor. Their mutual connection? Their friend Walter, who gave them their nicknames.

Some of them have known Walter since high school, others met him in college, and one of them only recently became acquainted with him. But in the next few days they’re about to discover the “real” Walter and the reason why each of them was handpicked to join his friend circle.

###

For the latest information on DC Black Label, The Nice House on the Lake, The Nice House by the Sea, James Tynion IV, Álvaro Martínez Bueno, Jordie Bellaire, Andworld Design, Walter, Max, or escaping into a great comic book, visit the official DC website at dc.com and follow @DCOfficial and @thedcnation on social media. DC’s The Nice House on the Lake is created by James Tynion IV and Álvaro Martínez

The post Tynion’s ‘The Nice House On The Lake’ Heads To The Sea In New Series appeared first on DC Comics News.

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

Writer: Bill Willingham
Art: Mark Buckingham and Steve Leialoha
Colors: Lee Loughridge
Letters: Todd Klein

Reviewed by: Matthew B. Lloyd

Summary

In which we conclude the story of the Black Forest, knowing that stories never really end.

Positives

One of the qualities that has been with Fables since the beginning is as the summary from this issue states, “stories never really end.”  Fables #162 has that quality as it is the last of this 12-issue series and more likely than not, the last tale from Bill Willingham.  The denouement takes up most of the issue resetting things for the characters as well as giving glimpses of what’s to come for others.  For all those who enjoy character beats and relationships between the characters this is a great bit for the issue and feels perfect for a Fables finale.  It’s a combination of heartwarming and brutal honesty of life.

Mark Buckingham, Steve Leialoha and Lee Loughridge again provide visuals that are just as important to the feel of the Fables universe as Willingham’s words.  It’s hard to express the impact the art has on the overall experience of a Fables comic.  Additionally, Todd Klein’s letters are comforting and familiar and he excels at providing a look for voices when they are supposed to sound different- Bigby in wolf form, Tinkerbell, etc….

There are some surprises in the issue, Lady Greenjack’s arrow shot, the revelation about Tinkerbell and Peter Pan’s ultimate fate.  These are done well as they keep the readers’ interest despite the action ending fairly early on in the issue.  

Negatives

With all the controversy surround Fables in the last year, it’s no surprise that this is it for the series and as stated above, Willingham’s association with it.  When you get Fables #162, I recommend reading all 12 issues together.  It’s been almost two years since this series relaunched and indeed, the delays have been a drawback for the title.  There have been up to four month gaps between issues at times.  It’s not on the creative team, we know DC has delayed releasing the issues.

Cindy and Pinocchio’s storyline goes to a strange place, and it almost seems like it could’ve been the next storyline.  It’s an interesting take and it would’ve been nice to see it play out instead of just getting a “future recap.”  While the denouement provided a lot of good bits, there’s still a feeling of dissatisfaction in the end of the series.  It’s had long run overall and had many highpoints along the way.  Perhaps, Fables #150 was the perfect ending, and whether one likes “The Black Forest” or not, it doesn’t quite have the same “oomph” of the previous finale.

Verdict

Fables #162 ends not quite with a wimper, but certainly not the bang that one would hope for with the ending of such an impressive and lauded series.  That said, there’s a lot of good stuff in the issue that can be enjoyed.  A single read of all twelve issues will give the best experience for the reader and that may have to be good enough.

The post Review: Fables #162 appeared first on DC Comics News.

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

Writer: Bill Willingham
Art: Mark Buckingham and Steve Leialoha
Colors: Lee Loughridge
Letters: Todd Klein

Reviewed by: Matthew B. Lloyd

Summary

In which the storm breaks, we catch up with Greenjack, discuss politics and a reckoning occurs.

Positives

Eleven chapters into “The Black Forest” and it’s still interesting to see Peter Pan played as the villain.  Geppetto was a surprise as the Adversary so it’s not completely a surprise.  One hopes that next issue’s finale will flesh out Peter’s turn to evil.  In Fables #161 we see Peter as an icon of villainy.  What’s his motivation, though?  Why is he so determined to kill and why is Tinkerbell enslaved to him?  This issue makes some of the action smaller and really focuses on Peter’s vile actions.

The other characters get attention as well and it certainly feels like Cindy, Bigby, Snow and the Wolf Pack and Greenjack will all come together to save the Black Forest.  Willingham sets the reader up for the finale as he moves all the pieces into place for the end in Fables #162.  Buckingham and Leialoha don’t miss a beat on the art, as usual.  It’s bittersweet knowing this is the final Fables tale.

Negatives

For the entirety of “The Black Forest” the single greatest drawback has been the delays.  It doesn’t really matter the reason, but it’s taken its toll on the series.  This is one of those series that will have to be revisited all at once with all the issues in hand for binging.  ‘

Verdict

If one were reading Fables #161 in a collection, there’s no way the reader couldn’t finish it out the last chapter.  This issue has that kind of narrative intensity.  It’s hard getting that feeling right at the outset since it’s been two and a half months since the last issue.  Do yourself a favor, when the final chapter comes out, get all your issues together and have a Fables-fest and read all 12 in one sitting. 

The post Review: Fables #161 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

The Sandman Universe: Nightmare Country: The Glass House #6 closes the latest volume of the title with style, and power. James Tynion’s foray into Neil Gaiman’s world of dreams and nightmares has never disappointed, and with the final act of this incredible dark fantasy/horror coming in 2024, a clash between Dream and Desire (and possibly Despair too, if the cover for the issue’s anything to go by) is edging ever closer.

Positives

The secret of the Smiling Man has haunted readers for close to two years now and the story of Madison Flynn has been a source of terror and delight the entire time. Seeing her, The Corinthian, Max, and Kells get swept upon by a wave of demons, serial killers and the whims of The Endless has made this series feel closer to Gaiman’s classic than any other spin-off/follow-up that’s come before.

The power that Dream displays in this issue is nothing short of awesome. The way he handles both his creations and his various enemies is unbelievable. Tynion’s take on Daniel is perfect; he’s got the will and determination of Morpheus, but an edge and confidence that the original Dream never possessed.

The art, colors, and letters by Lisandro Estherren, Patricio Depeche, and Simon Bowland are a delight. Estherren’s pencils, painted over with water-color style hues make this series look and feel ethereal, and dream-like. Just like the Sandman books of the 90s, this series doesn’t conform or fit in with what fans may feel comics should look like.

Bowland’s letters are stunning. Just like the legendary Todd Klein, Bowland creates voices for his characters, making them all feel individual and unique. Believe me, comparing any letterer’s work to Klein’s is about the highest praise I can give.

Negatives

A war is coming, and I don’t want to wait. The final chapters of this tale are tantalizingly close, but still just beyond our reach. I will wait, however impatiently, as I know what’s coming will deliver a story for the ages.

Verdict

The Sandman Universe: Nightmare Country: The Glass House #6 gives readers the perfect close to this arc while leaving us all begging for more. Like the winter season itself, the wait will be a long, cold one… but one I believe will ultimately be worth it.

I’ll see you all again in dreams.

Images Courtesy of DC Entertainment

The post Review: Nightmare Country: The Glass House #6 – Final Issue appeared first on DC Comics News.

One can’t blame those writers for following the entertainment trends of the era, it only makes sense.  Except when it doesn’t; when the approach doesn’t fit the core essentials of the character.  Those writers were crafting tales that fit popular trends because it’s what they thought would sell, they were not, however, focusing on the elements that had made Batman popular to begin with.  And, this is where we are today.

It’s not hard to see how many of today’s comic book writers are  writing for the time and not for the character.  It’s not easy to always balance that.  You can’t write Batman like he’s still in 1940, unless it’s a period piece of course.  The trick is to keep the character grounded at his core while exploring relevant issues that make the story feel contemporary while losing nothing of what makes Batman who he is.  Unfortunately, it seems many writers in comics today are making these same mistakes.  DC Comics as a whole seems to not understand the difference at times.  There are some recent examples we can look at to see what’s going on as we explore what makes a character that character especially ones with a long publishing history.

Alan Scott, The Green Lantern  

There are different kinds of changes that can be wrought on a character, marriage, children, death of a loved one, loss of powers, etc…..  Sometimes, characters can be reinvented, though it seems that it’s rarely for the better as a reworking that eliminates the core elements of the character most likely will alienate fans of the character.  There’s a lot of this going on at DC Comics in a number of titles, and the most recent example is Alan Scott, The Green Lantern.  This is easily the most incendiary topic in this editorial.  It would’ve been such even had writer Tim Sheridan not gone on X (formerly known as Twitter) to essentially call anyone who did not support the book as a homophobe or bigot.  He has actually completely overlooked the larger issue, which is the topic here- Is Tim Sheridan actually interested in the character of Alan Scott and his 80 year history?

Alan Scott first appeared in All-American Comics #16, cover dated, July 1940.  That first story presents the origin of The Green Lantern.  While there was very little deep or nuanced storytelling during the Golden Age for the character, writers did eventually pair up Alan with an adversary, the Harlequin, a criminal who would not only match wits with the Green Lantern, but who was also interested in his romantic affections.  This should be familiar to readers as Batman and Catwoman have had a similar relationship since their first meeting back in Batman #1 (Spring 1940).  While Bruce and Selina never dated or got married in the Golden Age, the two flirted with Selina even trying to put aside her criminal ways at times .  Batman let her go on more than one occasion because he was so enamored with her, including that first appearance.  It wouldn’t be until the Bronze Age that Bruce and Selina got together, got married and had a daughter in continuity.  It was the continuity of Earth-Two, but it’s a very similar situation to Alan Scott and Molly (The Harlequin) Mayne.

Like the Bat and the Cat, Alan and Molly finally got married in the Bronze Age.  Both pairs of characters had a similar dynamic as hero/villain/love interest.  Bruce and Selina’s marriage resulted in daughter, Helena Wayne, the Huntress, but ended in tragedy as Selina died trying to protect her family after a false claim by a former confederate.  Devastated, Bruce was never the same and died in action a few years later.  Alan and Molly got married only after Alan learned that his first marriage had resulted in the birth of twins that his wife had hidden from him.  When Alan and Molly got married in their twilight years (Infinity, Inc Annual #1) they had a ready-made family.  Not to say it was always easy (Alan had to rescue her soul from Hell at one point), but the couple remained happily married until Flashpoint and the launch of The New 52 in 2011 when all previous DC continuity was restarted.

By the time The New 52 launched, fans of Alan Scott had more than a costume and power set to like about the character.  Heck, even more than just the fact he was a traditional hero!  During the Bronze Age, writers, chiefly Roy Thomas filled in the gaps between the Golden Age and “the present” to develop a more complex Alan Scott with compelling story elements in his long life.  Not only had Alan been duped into marrying Rose Canton (the Golden Age Thorn) but he’d fathered two children with her in their short marriage whose existence she’d hidden.  It was a surprise to Alan when he found out and it provided a whole new avenue of stories and character nuance to explore.  Alan’s relationship with his children Jennie-Lynn (Jade) Hayden and Todd (Obsidian) Rice were central to Alan’s character from the mid ’80’s until Flashpoint in 2011.  When Todd was revealed to be gay, it provided a whole other level to the friction between father and son that had been present since their first meeting.  Even if it wasn’t intended by creators Roy Thomas and Jerry Ordway, it was a natural interpretation of his character that writer Marc Andreyko seized upon when he outed Todd in Manhunter Volume 3 #18.  This insightful reading of the character by Andreyko was not only a contemporary element for inclusion, but yet another addition to Alan Scott’s story that grew the character deeper and more complex.  Scott is a man of the 1940’s and homosexuality was viewed very differently than it is today, or in the ’80’s when Rice was first created.

Even outside those aspects of Alan Scott specifically related to his sexual orientation, he was shown in the Bronze Age and beyond to have a very close friend in Jay Garrick, the original Flash.  Their bonding extended to their respective wives as well.  This was 80 years of storylines and character development when all was seemingly thrown away when James Tynion IV retconned Alan’s sexuality in the Green Lantern 80th Anniversary issue.  

With the launch of The New 52, DC Comics presented a new take on the concept of parallel Earths and the multiverse which had played a significant role since its introduction in The Flash #123.  In Earth 2 #1 (2012) we meet Alan Scott, a young man unencumbered with any history as he is a brand new version of the character who has yet to become Green Lantern.  This Alan Scott is gay.  Writer James Robinson wanted to have a gay character since Obsidian had been wiped from existence with Flashpoint.  Making Alan Scott this new gay character makes sense in a metatextual way. 

The New 52 Earth 2 characters were last seen with any sort of significance in Earth 2: Society #22 in 2017.  In a matter of five years, the New 52 Alan Scott was obsolete as DC had already launched the Rebirth initiative with the promise that the original Justice Society of America would return “soon.”

After a time travelling appearance in Justice League #32 (2019), the Justice Society of America including Alan Scott and Power Girl (more on that later) returned not only to continuity, but the present in Doomsday Clock #12.  It would’ve seemed that the original Golden Age Green Lantern was back with his history and character intact.  It was then a surprise that raised many questions about Alan and his history and family when the aforementioned Green Lantern 80th Anniversary 100-Page Super-Spectacular retconned Alan’s sexuality.  

With the publication of Alan Scott: The Green Lantern #1,  this mini-series serves to re-contextualize Alan’s history.  With that being the purpose, how much are DC Comics interested in the substance of the character of Alan Scott?  When you eliminate a character’s history and motivation, relationships etc, what’s the interest in the character then?  All that’s left is the superficial aspects, a name, a costume, a power set?  Is Alan Scott: The Green Lantern writer, Tim Sheridan actually interested in the attributes that made  Alan Scott a founding member of the JSA?  The stories that have shaped him?  The substance of his character as a founding member of the JSA and one of the first heroes of the DC Universe?  The established history with his teammates, and family?  Or, is Sheridan interested in the idea of Alan Scott?  Is he just a JSA character that can provide representation?  Is he invested in the established history and depiction of Alan Scott or simply writing the story of a gay man in the 1940’s?

If the substance of Alan Scott’s history and character attributes are changed is it really still the same character, or is it the substance of a new character wearing the superficial particulars we associate with Alan Scott?    We can’t see how much history has changed, because very little has been done with that so far.  We’ve seen Jade and Obsidian in Infinite Frontier, but there’s no guarantee they are still in play.  The same goes for Molly Mayne-Scott.  Is that marriage still something that’s part of these characters’ history?  In this recontextualization will we learn that Alan lied and misrepresented himself to both his wives?  Is this an heroic action? We’ve seen a retcon in Justice Society of America and The New Golden Age that indicates Molly had a son who has grown up into a character known as The Harlequin’s Son.  This is new, so what else has changed?  A quick examination of Alan Scott: The Green Lantern #1 depicts what we do know has changed.

In this first issue, Alan is blackmailed by FBI head J. Edgar Hoover in joining the JSA.  This is a massive change from the established origin of the JSA.  The JSA formed when British Agent Intrepid asked The Flash, Green Lantern (and Batman in pre-Crisis on Infinite Earths continuity) to help with a mission in Europe which was first told in DC Special #29 (September 1977).  It led to all the founding members coming together with a final save of Washington, DC from a special Nazi bomber and stopping the assassination of U.S. President, Franklin Delano Roosevelt.  Is this still the JSA’s origin?  If so, was Alan Scott involved?  

While some of the ideas that Sheridan introduces are compelling and fitting for the story of a gay man from the 1940’s, it doesn’t fit Alan Scott ‘s 80-plus year history.  Changing something about a character that fundamentally changes the character’s history and make up does not honor the substance of the character or engage the fanbase that’s built up around the character over the years.  For Alan Scott, that’s 80 years.  There have been so many stories with so much consistency in Alan’s portrayal, changing things doesn’t  genuinely fit.  He’s now a reluctant hero not that interested in using his power to fight evil and and is being controlled through blackmail.  It’s a change that seems to be there for other reasons and is not pertinent to the core of the character.  What if Superman was Superman only because he was being blackmailed over the fact he was an alien.  What if that was the mitigating factor in his decision to be on the JL and/ or to be a hero at all?

It’s this that raises my question about Sheridan’s interest and even DC Comics’ interest in the character.  It doesn’t make sense to move a character away from the aspects that brought the character appeal over the years.  Ignoring these established things in favor for traits that are topical would logically turn fans away as seen with Batman in the ’50’s and ’60’s.  It’s something we’ve seen recently with another well established character that has since changed back.

“Ric” Grayson

The reasons behind the “Ric” Grayson era of Nightwing may be different from the motivation for changing Alan Scott’s sexuality, but the results are the same.  When Nightwing was struck with amnesia he developed a new personality that severed all his relationships with the Bat-family- Bruce, Alfred, Barbara Gordon, his brother Robins, etc.  Not only were these relationships severed, but “Ric” forgot his history and his personality shifted somewhat.  Without Dick Grayson as part of the Bat-family, memory of his history or friendships and his past as a blank slate…he was no longer the character people liked.  He was no longer the character that appealed to readers.  “Ric” was a different character, with a different outlook on things and different relationships.  While this direction may have garnered new fans, and kept some, readers were ecstatic to have Dick return. 

Essentially, everything people liked about Dick Grayson was gone with “Ric.”  Dick is a character that has a long history and to eliminate that takes away what people like about the character.  It’s no different than what’s being done with Alan Scott.  The change to “Ric” was an in-story change, but the results were the same.  This situation is different when compared to Alan Scott because it doesn’t appear that DC or the writers didn’t care about him.  Instead, it felt like they wanted to either kill time or have a reason to change his name from “Dick.”  It’s important to remember, however, that like Batman before him in the 60’s, readers lost interest in Nightwing because he was divorced from the elements that had made him popular.  There are some other DC Comics characters that are suffering the same treatment as Alan Scott.

Power Girl … Paige Stetler ?

Alan Scott isn’t the only JSAer suffering an identity crisis that suggests the writer isn’t really invested in what made the character popular.  Power Girl has recently been relaunched in a new eponymously titled ongoing series from DC Comics.  Power Girl has been around for nearly 50 years, like Alan Scott, the New 52 resulted in a new version of the character.  Unlike Alan Scott, the New 52 version had minor changes to the character.  Especially notable is that Power Girl maintained her personality, attitude and a very similar history with one of the most significant aspects being retained, her friendship with Helena Wayne, the Huntress.  This is of course the New 52 version of the Huntress who managed to be very similar to her original incarnation with all the essential elements intact.  While there is now a third version of Helena Wayne appearing currently in Justice Society of America, it’s her bestie Power Girl who’s suffering at the hands of writer, Leah Williams.

The chief element of Power Girl’s characterization that fans point to for liking the character is her personality.  From the outset, she was portrayed as a brash, confident, outspoken young woman.  She’s always wanted to be her own and make her own way and not rely on her cousin, Superman.  More than anything this has defined her character.  Her history after the Crisis on Infinite Earths suffered, but her original origin was returned to her in 2005.  Through it all she maintained her personality that had won her fans.  It is very perplexing then that despite professing that the Power Girl in current continuity is this original version when the most glaring inconsistency is her personality in this new series by Leah Williams.  It’s diametrically opposed to what readers have come to love about the character.  It’s like seeing Batman as a snarky, wise-cracking, bombastic street acrobat.  It just isn’t who the character is.  Furthermore, the writing itself contradicts the stories that are referenced in the comics themselves as well as the official DC Comics blog that servers as a primer for readers on the character and this series.

The blog states that this version of Power Girl is the original pre-Crisis on Infinite Earths, Earth-Two version.  It references her first appearance in All-Star Comics #58, her changing back story and return to form in JSA: Classified.  What’s confounding is that while these new stories by Leah Williams reference her past, including the Karen Starr identity and supposedly her job as a Tech company entrepreneur, Williams doesn’t appear to understand the substance of them.  

In the back up stories from Action Comics #1051-1053, PG is being attacked by Johnny Sorrow.  He claims that he and Power Girl are the last two survivors from their universe.  If PG is from the original Earth-Two, this doesn’t make any sense.  It’s well established that Psycho-Pirate is the only other survivor from Earth-Two as well as the only one who remembered the Multiverse for decades after the Crisis on Infinite Earths wiped out the multiverse.  Furthermore, Johnny Sorrow was never an Earth-Two character.  He appeared in Earth 2: Society, but the blog makes it clear that the Earth 2/ New 52 Power Girl is a different character, and these new stories aren’t about her.  In fact, Johnny Sorrow made his first ever appearance anywhere in New Earth continuity (post-Crisis, post-Zero Hour) in Secret Origins of Super-Villains 80 Page Giant #1, (December 1999).  He would have no memory of any life on Earth-Two, since he never appeared in that continuity.

The blog explains that Power Girl was raised in a simulation on her symbioship, however the title scrawl from Power Girl #1 says she was sent to Earth to watch over baby Kal-L.  Both Kryptonians were sent as infants so PG could certainly not look after baby Kal-L as she was a baby herself.  Her ship took longer to arrive, and thus she was raised by it arriving on Earth as a young woman when it took longer than anticipated.

The blog states that she doesn’t wear the “S” symbol because she didn’t work long with Superman on Earth-Two.  This is patently false for a number of reasons.  Her reason for not wearing the “S” can be found in All-Star Comics #64, her 7th appearance ever as seen in the image below.

And interestingly, the blog clearly indicates that the All-Star Comics stories are part of her past, a past that did include time together plus she made the decision about the “S” BEFORE she revealed herself to the world.  Also, the title scrawl mentioned above claims she DID work along side Superman.  

One of the most curious and off-putting aspects of Power Girl’s portrayal in this series is her 180 degree personality shift.  The blog claims the biggest thing for PG is her identity:

“A Power Girl so far removed from her point of origin, so many worlds and continuities away, that anyone would have a hard time telling who she’s really supposed to be—much less herself. This is a Power Girl who needs to undergo some serious soul searching to find out what she’s really about, which is where we find her today.”

It’s not clear how PG got to this point.  We have the Karen Starr identity referenced so we know that part of her history is intact.  The blog says she has returned with the rest of the JSA during Doomsday Clock.  The quote from the blog above tries to make readers believe that she’s having some sort of identity crisis, but as it states elsewhere in blog, that was resolved in Infinite Crisis and the JSA: Classified storylines.  Leah Williams suggests these identity issues in her stories, but never explains how PG went from a confident, independent woman insecure, unsure of herself and dependent on Superman for an identity (she wears the “S” now).  When did that happen?  It’s diametrically opposed to how she’s always been portrayed.   It doesn’t make sense and it appears that Williams (and blog writer Alex Jaffe) isn’t aware of the substance of the character.  To Williams she’s just an alternate Supergirl, instead of a distinct character that has always behaved differently from the main universe Supergirl.  In fact, it appears that is the length and breadth of Williams’ understanding of Power Girl.

There’s another bizarre quality to Williams’ portrayal of Power Girl.  She writes Power Girl like she’s new to Earth, like her rocket landed, she met Kal-L and a few days later found herself lost and showed up on the main DC Earth.  She seems wholly unconnected with her past with the JSA which is currently on display in Justice Society of America which is currently publishing.  That book acknowledges Power Girl’s past and provides a depiction that is in line with her established personality.

The question remains: Is Leah Williams actually interested in Power Girl as a character?  Does she understand anything about her history or personality?  These are the elements that won Power Girl fans over the years.  Williams seems to be ignoring them outright, or she’s just ignorant of them to begin with and has made no attempt to make them make sense.  Either way, it points to a lack of interest in the character other than the most basic superficial description, simply an alternate Supergirl, like Sheridan’s Alan Scott, a version of the character that doesn’t utilize the history of the character and shows no interest in the substance of the character.

And, There’s More…

This situation isn’t confined to Power Girl and Alan Scott.  The new Wonder Woman series from Tom King’s pen indicates much the same.  King is known for his controversial takes on characters, more often that not bending characters to fit the stories he wants to tell.  The new Wonder Woman is no different, and in this case the intent from the outset seems less rooted in an interest in Wonder Woman, but a desire to tell a story that requires great leaps in status quo and characterization to make work.  When did all those Amazons emigrate to the U.S.?  Are there even enough Amazons on Themiscrya to be statistically significant even if they ALL moved to the U.S.?  Why would Diana sit by and wait if the killer was identified as an Amazon immediately?  Why wouldn’t she investigate immediately?  The real reason is that that is not the story King wants to tell.  He doesn’t even seem to want to tell the story from Diana’s POV as The Sovereign is narrating the tale.  Very little so far indicates that King is interested in Wonder Woman outside the broadest definition of her.

It’s not new though, Human Target depicted all the Justice League International characters wildly out of character except for Guy Gardner.  He was already broken so King didn’t have to break him.  Strange Adventures turned the hero, Adam Strange into the villain.  King does it in nearly all of his stuff, the most notable outlier being Superman, “Up in the Sky” which perfectly depicts the Man of Steel.  If a writer has to change the fundamentals of a character is his/her interest really in the character or the idea of the character?

Even the new Birds of Prey comic doesn’t seem to really be interested in the core concept of the Birds of Prey.  Kelly Thompson is approaching the book like the concept is just a team of women.  She isn’t including founder Barbara Gordon, or centering the series on the relationship between Barbara, Dinah (Black Canary) and Helena (Huntress) Bertinelli.  In fact, Dinah is the only one of these characters in the comic.  Combined with the fact that the series reads like Thompson was looking for an excuse to write Harley Quinn, a character who has zero business being involved with the Birds of Prey, it again appears that the writer isn’t actually interested in what the made the Birds of Prey concept popular to begin with.  Instead, it’s being rebranded as something else, which would indicate that this rebranding is what Thompson is actually interested in and not the substance of the concept as it was developed over the years.  For Thompson, Birds of Prey is just a team of women characters, and again that’s the absolute basic definition of the concept with no substance.

The Balance Between Character and Story … Both Matter

I won’t say that some of the the stories mentioned above don’t have compelling aspects.  However, the big question is whether or not they work for the characters with which they are associated.  At one point comic book writers understood they were writing characters.  Characters that had histories, personalities, ways of operating….  Readers were following these characters because of how they had been built up and developed over he years.  Readers followed the continuing stories because they were invested in the substance of the characters.  Like people in the real world, we are attracted to substance, not color, gender or any other superficial element.  It’s the person inside that matters, and if that changes, that’s when relationships break down.

Even Alan Moore when writing Watchmen created his own characters instead of using the recently acquired Charlton characters that he had originally intended to use.  That story would have destroyed them for further inclusion in the DC Universe.  And, that’s what a lot of these writers are doing.  Adam Strange can’t be used in the DC Universe if Strange Adventures is “in continuity.”  The same goes for the characters in Human Target.  Everything readers liked about Power Girl has been removed from her characterization.  Fans just want to forget this run already, especially since they are getting the Power Girl they love over in Justice Society of America.  Alan Scott is completely out of step with his history and characterization and Sheridan’s aspersions about the JSA make this series inaccessible to existing fans of the team and Alan Scott.  

Creating new characters is the best option if one is not actually interested in existing characters but just the ideas of the characters and not the substance of the characters that have been developed through the years.  There’s got to be a balance.  Create a new character if necessary to tell a story, but don’t destroy or bend existing characters unrecognizably in order to tell a story.  We can only hope that some of these takes get cancelled and return the characters who were beloved to begin with.  We can also hope that writers will have the opportunity and means to tell their stories in a manner that will allow them to be judged on their own merit.  With long standing characters it’s difficult to separate the quality of the story, the writing, the themes if they do not fit the character.  It’s a balance, and the pendulum is swinging away from the importance of the substance of characters to simply the broadest definitions of them leaving the stories that MADE these characters left out in the cold.

The post Are Today’s Comic Book Writers Actually Interested in the Characters They Are Writing? 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.

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

Writer: Bill Willingham
Art: Mark Buckingham and Steve Leialoha
Colors: Lee Loughridge
Letters: Todd Klein

Reviewed by: Matthew B. Lloyd

Summary

“In which the storm breaks, politics are played at the highest levels, and the price of retirement is paid.”

Positives

As readers have come to expect, the art team of Buckingham, Leialoha and Loughridge continue to deliver wonderful visuals.  It’s hard to imagine other artists on this series.  There’s an incredible subtlety to the facial expressions as well as impactful dynamism in the action when Bigby takes on Pan.  

A few plot threads are brought to bare as Pan takes out his anger on the old Greenjack and Cindy (Cinderella) faces the consequences of not being political enough in her government role.  As Bigby enacts his ire on Pan, Snow White and the rest of the family have to contend with Tinkerbell.  While it’s not resolved in this issue, you can feel things building and that the entire Wolf Family is about to be unleashed.  Fables has had deaths in the past so it’s not a foregone conclusion that everyone will survive.  The deeper emotional and psychological aspects of Tinkerbell and Pan’s relationship continue to be provocative as Tink explains that she can’t control what she’s doing and she HAS to do what Pan wants.  Mind control? Servitude? Slavery?

Negatives

Delays are killing Fables.  It’s unclear what the reasons are, but with Bill Willingham’s announcement that he’s making Fables public domain, it would seem that it’s not due to missed deadlines by any of the creators.  Unfortunately, this also casts a pall on the remaining issues of “The Black Forest” arc.  It could be argued that Fables ended perfectly with #150 a few years ago.  Still, “The Black Forest” has been enjoyable, even if it will read better as a trade or a binge of floppies due to the delays.  Willingham, Buckingham, Leialoha, Loughridge and Klein continue to deliver this world effectively with excitement.  It’s very troubling to think this could be the last story arc from this creative team.

Verdict

Fables #160 brings some of the plot threads together as Pan’s villainy seems to hold no bounds.  Tink’s reluctance as his ally continues to be an interesting idea while also suggesting ideas of master and servant that will hopefully be explored in the final chapters of “The Black Forest.”  Additionally, as Cinderella is proved right, she suffers consequences of not being “political” which brings up another subtle commentary.  As always, the art team brings the world of Fables alive.

–

The post Review:: Fables #160 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

In this month’s The Sandman Universe: Nightmare Country: The Glass House #5, we see several puzzle pieces finally falling into place.

Thessaly’s protecting Madison, in her Dream-given cat form, and Max. Both are on the run from the evil angel and corrupt millionaire behind the nightclub that doubles as a gateway to hell. Meanwhile, The Corinthian has infiltrated the club, in an effort to liberate Kells, Max’s undead girlfriend.

Positives

I’m wondering whether you’re reading this review without having enjoyed any issues of this remarkable series. Why? Because the last paragraph should have your head swimming and asking yourself, “OK… what?!?” I’m also asking myself, regularly, why more people aren’t reading this title, because it’s consistently fantastic.

All the breadcrumbs James Tynion’s been dropping since Nightmare Country #1 are starting to bear fruit, including the huge bombshell that closed issue #5. Dream has become embroiled in the events occurring in this series, so I can’t wait to witness the fireworks when he discovers that, once again, one of his younger siblings is neck-deep in the whole mess. In fact, it looks like they’re the one who’s behind the whole scenario.

I’ve been following Dream and his siblings since day one, and seeing them honored and homaged in great new comics makes me very happy indeed. Lisandro Estherren and Patricio Delpeche keep taking us into a world that feels like it’s come out of our darkest dreams. The art’s creepy, yet beautiful, and the colors are spooky and ethereal. All put together, these comics stand out from the crowd. This is intelligent, psychological horror at its finest.

Never in my wildest imaginings could I ever have believed that love between an undead girl and a mortal man could feel beautiful and real, but Max and Kells are so brilliantly written and drawn that I can’t help but root for them. Thessaly has always been infuriating, and now that she knows who’s been pulling the strings, even hers (from waaay back in the original Sandman series) I know that sparks are going to fly. Will she and Daniel cross paths?

Seeing Azazel, The King Of Pain, Dream, and his siblings in this book always makes me happy, so this issue ticked a lot of boxes.

Simon Bowland keeps up the class, too. His lettering is as elegant, essential, and perfect as the script and the art. I can feel the heat coming from those candles as I hear them light up.

Negatives

I WANT TO SEE DREAM AND THESSALY CONFRONT THE ENEMY! AAAARRRGGGHHH!

Of course, this is just me being selfish and impatient.

Verdict

I’m sure that it will come as no surprise that I loved Nightmare Country: The Glass House #5. Everything about this title just works for me, and I leave every issue wanting more. The only trouble is, I  don’t want to wait.

Images Courtesy of DC Entertainment

The post Review: Nightmare Country: The Glass House #5 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.