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God of Comics – Maestros #1

God Of Comics, Reviews

October 16, 2017

Maestros #1 (Image Comics)

Millennials get a bad rap.

We’re the most educated and hardworking generation in the history of the planet. We’ve been trained, programmed, bullied, and finally enslaved by older generations, working for nothing or not enough to live on, forced into debt and squalor and then blamed for economic policies we had nothing to do with and the death of industries we can’t afford. Trying to explain this to older generations, though, falls on deaf ears.

It’s tough out there,” quoth they, “but I worked hard and made it and so can you.”

They don’t want to hear that the socialist policies that made that possible for them were dismantled by them when they were done with them. Not that it matters: the same people that ignore scientists while accepting the innovation science provides are treating the environment with the same care and consideration they gave the economy, the point of no return passed years ago.

We can’t fix this. Our generation keeps trying but the idiots that came before keep repeating the same mistakes and letting the worst of us make decisions that influence the world and have long-running consequences that those idiots don’t want to understand. This is the future we’re looking at – the forty or fifty years of it that remain, if we’re lucky.

The dreams of the millennial are typically not much more than pay off debt. Now, Steve Skroce is taking the browbeaten mindset of the last generation and giving it the magic everyone wants and no one believes in.

Steve, for those wondering, is very much the person you want doing this. He’s one of the storyboard artists from the Matrix and one of the writers of We Stand on Guard, someone who is very capable of conveying the grim meat-hook realities of the modern world while also looking at the fantastic possibilities that reality has to offer. He’s a master of his craft, someone whom the title of this comic would apply to in real life.

And the concept he’s come up with here?

One of ours – the downtrodden, the beaten, the demoralized and demonized – is contacted by an unexpected source. He’s an exile, the banished son of someone foreign, and the news he receives is this: his family is dead. All of his relatives have been assassinated and the kingdom they ran falls to the only member of the royal family left – him.

So, yes, he’s an exiled prince. Neat. He’s also an exiled prince from another dimension, banished to Earth and raised in Florida, where the ambient weirdness of the location would disguise whatever ambient weirdness leaks off of him. It’s a good place to hide someone from a magical kingdom, really, but now it’s time to go home and claim something called the Wizard King’s Throne and a spell that will make him a living God.

Maybe even one that can save not one but two worlds?

There are enemies everywhere, of course. The ones that have swords in their hands, sure, but also debt and fear and despair, the terrors of the modern world that are grinding humanity into dust.

Bottom line? Steve Skroce has an important story to tell and he has the grit and determination to see it told properly. This is the single issue we’re most looking forward to this week, and we cannot recommend it enough. Do not miss this.

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God of Comics – Genius Cartel #3

God Of Comics, Reviews

October 13, 2017

Genius Cartel #3 (Image Comics)

And one of the most vicious political comics being published today continues to do its thing.

Destiny is a young African American woman with a gift for strategy and tactics, a genius who taught herself how to take over a country from the poor books left to rot in underfunded American ghettos. She learned the history of her people, how they were taken from their homes by ignorant and greedy savages and forced to work building a country they’ve been slaves in ever since, and she was more than a little angry.

Years before cops being a problem entered the public consciousness, writers Marc Bernardin and Adam Freeman had Destiny fight the police who have been killing her people and ruining their lives for decades because that is what they are trained to do. Destiny has both the systematic racism and the oppressive sexism of the toxic culture around her to fight, and she’s doing it and winning using the tools that would be used to keep her in chains.

Here’s where things get even more interesting: at the end of the first series she surrendered. She did it knowing full well that her enemies should execute her but knowing that while American think tanks demonize her people and denigrate her sex, they also are used to seeing both as a commodity. She’s taken advantage of the fact that the American psyche is used to thinking of her race and sex as being of service to get what she wants.

And what does she want?

Simple access.

Destiny wanted access to the resources and information that both her gender and her skin color denied her in modern America. Because the white people around her thought they could take advantage of her skill and they could mollify her into compliance, they gave her what she wanted. They shuffled her off and away and put her through school with other hopefuls and were surprised when she didn’t perform as well as they wanted.

Now, they’ve secretly killed the one person she thought to be friends with and then sent her on her first field operation: they wanted her to take a team in and assassinate the leader of a drug cartel, but she knows that the same people thinking to command her are the ones that created the conditions that the cartels thrive in and the cartels themselves. The soldiers she was given were also not happy about taking orders from a teenage black girl, and things looked to go off the rails pretty quickly.

Right up until everyone remembered that Destiny was never working for some nebulous lie of an American ideal – she was working for herself and the betterment of her people. Her own research had shown her that the cartel was moving a host of women as part of a sex-trade operation and she’s decided she’s going to free them.

Problem is, she now has her own unit to contend with, in addition to the forces of the cartel and the American brain trust far from the frontlines that still think of her as their property. She’s fifteen thousand miles from the American border, looking to free herself and the slaves she’s rescued from the various forces that are circling her like vultures.

It’s an intriguing story with a lot going on and artist Rosi Kampe is doing an incredible job bringing it all to life. It’s impressive, given how busy and layered the story is, that she manages to capture all the nuance that this story needs to work. Destiny is hard, yes, but also young and vulnerable. The people around her are tough and fragile and working through their own desires, and Rosi manages to capture a sense of them in fine line work and careful color work.

This is one of our favorite stories going through comics right now. Pick it up and find out why.

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God of Comics – Atomahawk

God Of Comics, Reviews

October 9, 2017

Atomahawk #0 (Image Comics)

You know Heavy Metal Magazine, right?

Back before older conservatives could blame video games or smartphones for their kids not being what they wanted them to be, they blamed comics. This resulted in the creation of the Comics Code Authority and Marvel and DC Comics veering more towards a PG rating for decades. Some publications – notably Mad, Cracked, and Eerie, turned black and white and re-billed themselves as magazines, to greater or lesser success.

As the Comics Code Authority began to lose power, companies like Dark Horse Comics rose up to tackle mature stories. Marvel and DC both flirted with mature storytelling of their own, but they tended to veer away from anything too graphic. Dark Horse, likewise, kept from going too far from the fold, while Mad and Cracked turned to parody and politics. Only Eerie kept to the base statement of horror, standing alone until 1977.

That’s the year that Heavy Metal Magazine started bucking every trend.

They did high brow science fiction, absurd fantasy, vicious satire, all with an undercurrent of sexuality that was verboten pretty much everywhere else. They published serialized comic stories from wherever they could get them, aiming for weird quality and a feel steeped in metal music aesthetic. It was awesome and hard not to get hooked by this weird mix of, well, everything.

Understand, there was nothing else like this: they did psychologically driven smut and paired it with an illustrated version of Paradise Lost, mingled artists like Walt Simonson and H.R. Giger and Milo Manara.

Since then they’ve done movies, video games, and helped produce collected versions of the best serials to come out of their magazine – small runs that didn’t get near the attention that they deserved.

That is about to change.

Image Comics is collecting and releasing high-quality prints of Atomahawk, the story of a space barbarian named Cyberzerker who happens to have an atomic-powered tomahawk because the world needed that story told at that time and writer Donny Cates delivered. Cyberzerker is on a quest to free his imprisoned god from forces known and unknown and the whole thing feels like Jack Kirby ripped himself from the grave and moved through Donny’s mind like a screaming vortex of what.

Such insanity needs a high-end artist to try and capture the mania and madness, and Ian Bederman was tasked with doing the deed and he succeeded. The whole thing feels and reads like a favor dream, a prayer to some ancient and forgotten thing that cannot be reasoned with and cannot be put down – it must be devoured whole.

If you want to see what unbridled imagination looks like, this is what you need. What you crave. What you must possess. Here’s hoping Image keeps going with this because there are some collected stories from Heavy Metal that I would kill to get my hands on.

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God of Comics – Rat Queens Orc Dave #1

God Of Comics, Reviews

September 28, 2017

Rat Queens Orc Dave #1 (Image Comics)

A big part of fantasy writing these days is taking expectations and either subverting them or expanding upon them. Standard fantasy is old hat; we all know what an orc is and what a dwarf does, and we can recognize them from one world to the next. Authors take those concepts and need to do different things with them – and those things are almost always playing against type (a smart orc!) or expanding upon it (dwarves are also inventors and miners with a deeply artistic culture and history).

The very best fantasy writers do both.

Look at Terry Pratchett, for example. Pratchett took a standard fantasy world and over the span of thirty-something books turned it into one of the most expansive mythologies that spoke more to humanity and what it is to be a person than any other body of work I can think of off hand. At the same time, he subverted expectation at every turn; his elves are monstrous, his dwarves complex, his vampires bored, his orcs and goblins people capable of great things.

I mention this because Kurtis Wiebe has done much the same thing with Rat Queens. It started as a subversion of standard Dungeons & Dragons tropes, a foul-mouthed group of female adventurers that seemed hellbent on subversion that has veered into expansion as time went on, and then started weaving both qualities together.

And that brings us to today’s comic. The Rat Queens were initially only one of a number of adventuring parties working within the city of Palisade. We were introduced to the others and, of them, the Four Daves looked to be most respectable rivals the Queens had on tap: four adventurers all named Dave who looked like a mid-boss battle waiting to happen.

Instead, we got to see the Daves and the Queens become friendly with one another, and the dwarven fighter who leads the Queens fell hard for the orc druid who was the magical expert for the Daves. The two of them had a pretty complex thing going on, what with Violet definitively being the more bloodthirsty of the two, and it seemed like a cute side part to the larger whole.

A couple of things happened, then, one in the world of the comic and one in the real world. Rat Queens went on hiatus for a number of reasons and the story and characters were abandoned. When they came back, we learned about the latter: something had happened to Orc Dave and Violet was pretty upset about it. About the only thing we know is that the two of them did not break up.

Given how the past tends to haunt these characters, however, it seems likely that we’re going to peel back the layers and see something new and different. The Story of Orc Dave. The Saga, maybe? Fable? Tale? Epic?

This is what we know: Orc Dave grew up somewhere ideal that had a problem with monsters, but it was nothing that his family and the other druids could not handle. The world was lovely, idyllic, serene. And then came a force that could not be stopped or reasoned, a force that could not be fought: a collection of warriors known as the Rat Queens.

Kurtis takes is through the veil and into the murky green depths of Orc Dave’s past and the more sordid history of the Queens, accompanied by artists Max Dunbar and Tamra Bonvillain. This is the sort of thing that proves that there is still good in the world. Pick up this comic and you’ll see what I mean.

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God of Comics – Black Magick #8

God Of Comics, Reviews

September 25, 2017

Black Magick #8 (Image Comics)

It’s getting hard to imagine cops being heroes, or even good people.

Like, I get it: some people get into police work because it is a calling and they want to protect and serve. That’s cool. That’s admirable. It just seems like more and more cops get into the profession because you get to carry a gun and a badge and you get a license to be a dick. And maybe some people get into the profession to try and change that, but they have to deal with the corruption in command and the eroding trust of the people around them and there’s going to be very few people that can maintain themselves under that kind of stress.

Being a good cop is hard. Being a good cop when no one trusts you because the thin blue line protects bad cops is impossible. And that’s why we are where we are: in a place where we cannot trust cops because they have tendency to shoot innocent people for no reason, to convict innocent people because someone had a gut instinct and damn the evidence, to double down on mistakes made and destroy the lives of the people they’re supposed to be protecting and serving.

Taking all that into account makes this comic fascinating.

Greg Rucka is exploring the idea of traditional guardians – the priests and priestesses of the old and wise faiths – getting into police work because, for them, it is a calling and not just a career. Yes, they have to deal with the shades of gray and terrible bullshit that comes from working for a corrupted part of a corrupted system, but it is the best they can do and they manage as best they can.

And this is Greg Rucka – a writer who adds depth and meaning to every line of dialogue with the same skill that some fish swim. Words and story come naturally to him and he lives in this ocean of faith and dogma, the ebb and flow and pull of magic and purity and corruption, and it’s hard to think of a story that he’s written that embraces all those qualities the way this one does.

There was a murder and the old wise guardians moved to do what they can, but find themselves confronted by zealots from a dogmatic church and zealots from a perversion of their own practices. There’s a lot going on here, the strain and stick of human consciousness and relationships brushing with the divine. This comic is a touchstone for where the thinking ape meets the wandering angel. It’s beautiful.

A good chunk of that beauty must be laid at the feet of Nicola Scott, whose incredible artwork makes this impossible to look away from. Soft lines and graying sepia give way to color only when magic touches the world, hard shades used to express nuance and emotion. Every frame in this comic is gorgeous.

If you like your noir tinged with a touch of something distinctly other, this is your story. Do not miss it.

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God of Comics – Glitterbomb: The Fame Game #1

God Of Comics, Reviews

September 19, 2017

Glitterbomb: The Fame Game #1 (Image Comics)

The Industry is vicious.

Let’s get that out of the way now. It’s vicious and arrogant enough to call itself the Industry, and anyone that works in it knows exactly what it looks like. You get offered good money for work but it devours you, eats you up and leaves you with nothing but the Industry. For those of you both lucky and unlucky enough not to know, we’re talking about film here – television, movies, web series, all of that.

You will get paid and you will create but it will cost you. Life, dignity, maybe your soul. It might leave you a broken hollowed excuse for a life, but it will laugh and whisper and dare you even as you heed the warning and the call: if you never try, it whispers, how will you ever know?

The process is corrupt. We know this and we see it and that corruption had hollowed out even the industry itself: in the wake of this year’s blockbusted failures, a few luminaries stand out and Hollywood will learn all the wrong lessons from what little worked and the tired tripe that did not. We don’t want white-washing, we don’t want sausage fests, we don’t want caricatures or tired rehashes or blatant fascist misogyny masquerading as legends worth our time.

And here’s the thing: that’s what we know. That’s the end product we see. The stuff that goes on behind the silver screen? The terrible ways people are treated and keep silent because the Industry whispers you keep your mouth shut or you’ll never work in this town again. The town is the Industry. It sounds like an empty threat, it sounds silly, but then someone opens their mouth and the Industry recoils from them and that’s the end of it. Keep silent. Keep your head down.

Let Britney be a joke, Kesha be an afterthought. You think that only happens in music, where starlets are drugged and contracted? Those are starlets. Smiling for the camera, out in public. What about the camera people, the makeup people, the ones struggling to find a break in any part of the Industry? What are their lives like?

Jim Zub wanted to know, and he asked a woman named Holly Raychelle Hughes about it. The two of them talked and put out one of the most brutally honest stories about what Hollywood does to the people it feeds on you’ll ever read, a little title called Glitterbomb. Holly used to work on a number of productions but has since been erased from the Industry.

It’s okay, though. Holly will tell you what happened. In detail. And then she and Jim will spin a tragic horror for you that deals with all that anger and toxicity that the silvery sheen of flickering fiction tries to hide.

This is the second of the Glitterbomb stories. The first followed a single-mother and former sci-fi actress struggling to find her dignity in the aftermath of the Industry. She made contact with some thing and it nestled itself in the hollowed space where her heart had been. It found other people the Industry had hurt and then took a terrible revenge on all of them before dying.

Now, there were survivors of what happened there. One of them is a girl named Kaydon Klay and she wants to be famous more than anything in the world, and the horrific tragedy that just happened might give her the in she’s looking for. All she has to do is explore the twisted gutters that lead some to fame and others to failure and sometimes both. The Industry laughs in the dark and urges her onwards, playing to insecurity and desire and fear – not knowing that there is some thing lurking and waiting for its turn.

Djibril Morissette-Phan and K. Michael Russell both return, the former with a clean sketch style of inks that speak more to silhouettes, and the latter with washed out colors that bleed into shadows. Both of them are the perfect choices for a story this heavy and rife with monsters pretending at humanity.

Some of us are fighting to tell stories outside the horror the Industry has become. Some of us even manage that within it. It’s a fight, though, and if you’re looking to see what that fight is all about this is the comic you should be reading.

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God of Comics – The Realm #1

God Of Comics, Reviews

September 13, 2017

The Realm #1 (Image Comics)

I love that urban fantasy has become a thing, this weird hybrid of taking high fantasy concepts and applying them to the modern world. Shadowrun was the first time I’d seen a heady mix of modernish sci-fi and fantasy, but there’s been plenty of attempts and builds since, from Dark Sword to Dresden to Birthright to that Netflix thing with Will Smith.

The trick of it lies in balance – the reader/audience doesn’t need to know the details of the mythology for the story to work, but the writer does. Where does the magic come from? How does the world work? What is the depth of science and magic, and, when they fight, who wins? Every writer is going to bring their own answers to these questions, and the success of the narrative is decided by how detailed those answers are.

Seth Peck is the writer in question for this tale, and given his work on Sorrow, Deadline, and Bad Karma, I’m willing to bet that he has volumes detailing those questions, whole tomes that his characters have never seen and may only learn snippets of. They have to live in a world they can either discover or die, and death seems much more likely.

Here’s the set-up: the modern world went as the modern world does until about fifteen years ago, when a mythic army appeared and threw the world into chaos. It’s hard for a modern military to fight, say, a dragon, or an army of orcs, or any of the other sorcerous abominations that crawled from fantasy to reality. Nations fell, civilizations shattered, warlords both human and not rising from the ashes to carve the world into ownable chunks.

And that’s where this starts, in the ruins of shattered echoes, the fading dream of an old world conquered by an even older one. The champions of this new world are those that can remember the old and struggle to adapt, those that have the grit to stand against a tide of eldritch darkness and keep their memories safe.

Thing is, these horrors are not the kind of monstrosities to sit and wait for humankind to find their strength. A sorcerer is taking action and who knows what his end goal is? It’s probably isn’t good. A band of warriors learn of that madness and set out on their own journey, hoping to save the world from the darkness that swallowed it whole.

Will they succeed? Can they?

Depends on how much they understand and what they are capable of.

Their actions while be chiseled into history by the pen of Jeremy Haun, whose work you should know from the Beauty, and the heady colors of Nick Filardi. This comic sounds like all of the good times combined into an unrelenting battle between worlds lost and worlds gained, a place where one cannot know without understanding the post-apocalyptic fantasy our realm has become.

My summoning circle is ready. Let’s do this.

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God of Comics – Genius Cartel #2

God Of Comics, Reviews

September 11, 2017

Genius Cartel #2 (Image Comics)

Funny story, depending upon who you talk to. Goes like this:

Conservatism and isolationism combined to cripple the world economy leading up to World War I and then straight through World War II, and it was the New Deal that started things moving again – new jobs and chances for life advancement, the American government investing in its people and creating the biggest economic boom and economy in the history of the world thereafter until conservatism and isolationism and xenophobia started dismantling those programs to fulfill a warped objectivist manifesto.

Thing is, the New Deal specifically did not allow African Americans to partake in it. Affirmative Action was literally allowing African-Americans to get into the deal that other Americans had enjoyed for decades at that point. Before that, of course, American had kept African slaves and the American South was so adamant about slavery that they based their whole economy on it and then betrayed America to keep slaves.

I bring this up because it’s important that people understand where African-American poverty comes from, an institutional process that strips away chances and dignity with unrelenting malice. Hell, a Nixon aid once noted that they produced an effective propaganda campaign to associate African-Americans with heroin, because they couldn’t make the former illegal but they did the latter, and they could arrest anyone associated with having the stuff.

Even those times that African-Americans managed to build themselves up in spite the systems around them, they saw their worlds destroyed. Look at what happened in Greenwood, OK. Look at what’s happening to black people as they’re murdered by cops for no reason and dubbed thugs by news media, despite video evidence showing the murdered to be innocent of any wrong-doing.

So, African-Americans are damned if they play by the rules and damned if they don’t. And that’s just one section of the people being mistreated by conservatism every single day. Some people have realized that if they’re going to get blamed for doing bad shit, they may as well do the bad shit and reap the rewards for doing so. After all, white corporate America does terrible things and they make fortunes doing it. Why shouldn’t everyone else get in on the act?

And that brings us to today’s comic, Genius Cartel. The conceit of the comic is that once every few generations, a military genius is born/ In the case of this comic, that genius is a young African-American woman by the name of Destiny. She united a ghetto and nearly took over a city, knowing that those she surrendered to would help her refine her studies and give her access to things she didn’t have and couldn’t get because of poverty and racism.

She was right. The idiots started refining her skill and think that they can manipulate her, which only goes to show that they have no idea what they’re dealing with.

It’s not that they’re dumb. The villains in this book are scary and as competent as they can be. The trouble is that they do not understand what Destiny is, and how her very presence changes the game all of them are playing. They killed her friend to try and keep her in line, and then offered her a carrot to offset the stick: she gets to lead a mission down south, into Mexico, to take out a drug cartel.

The cartels are only in power because the War on Drugs did for them what Prohibition did for the Mob. Anyone who studies this knows it, can trace it, understand it. Destiny certainly knows it, as do the people that think they control her – but it stands to reason that Destiny is considering her options and has more in common with the cartels than the people that seek to enslave her to their cause.

Should be interesting to see how this plays out.

Writers Marc Bernardin and Adam Freeman are pulling no punches and have promised a fatal strike is coming, and we have every reason to believe them. There’s an intelligent viciousness to this narrative that is at once terrifying and true, a simmering fury touched upon that informs every page and word. Throw in the Rosi Kampe artwork and you’re looking at one of the best comics currently on the shelves. Do not miss this. It’s incredible.

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God of Comics – Kingsman: The Red Diamond #1

God Of Comics, Reviews

September 6, 2017

Kingsman: The Red Diamond #1 (Image Comics)

Another movie tie-in, only this one is tied to a movie that was a comic first.

Yeah, the original Kingsman was a pretty good comic with an awesome concept that made a great movie. For those of you that missed it – either the comic or the movie – the Kingsman are a private group of oldish white men that decided that colonialism was bad and so they were going to launch a counter-conspiracy built of themselves as they tried to save the world from the evils the British inflicted on the world and the retaliation that resulted from those evils.

Or, here, I’ll let them explain it:

It’s kind of a family thing, where they sponsor potential agents as they get on in age and put them through the ringer and teach them the ins-and-outs of assassination, combat both close-quarters and far-off, poisons, wine tasting, fine dressage, and manners. Especially manners. Because manners maketh man.

Yes, they’re the good guys, but they are still very, very British.

The movie was a lot of fun and, as noted, much better than the comic – a common thing with writer Mark Millar (with the glaring exception of Wanted, which was a terrible movie that missed the point of the comic). This one isn’t being written by Millar, though, but is rather the dream of scribe Rob Williams. Willaims is mostly known for expanding upon the world of Mega-City One and Judge Dredd, though he’s written some incredible Robocop, Indiana Jones, and Star Wars based comics, though none of the latter include Marvel’s recent works.

As the movie sequel is prepared for release, this comic sees former good-for-nothing-layabout turned super spy Eggsy still being a little less stiff-upper-lip than the other Kingsman, which is true to his heritage of being, well, a good-for-nothing-layabout that had to grow up with a horror of conservative policies that have stripped the nobility from Britain and left only a noted cruelty aimed at both itself and the rest of the world.

Sounds like the very thing that the Kingsman are very much against. What?

Anyway, Eggsy wraps up saving Prince Phillip while being rejected by his high-school crush before being handed another mission to go out and save the world from terrorists, fundamentalists, and the forces of evil. You know, Tories.

Simon Fraser adds art to the whole of the six-issue mini-series. You might know him from his work on Nikolai Dante, and if you don’t you need to go and read Nikolai Dante right now. He’s also done some Judge Dredd work, but that seems like something that all the best comics-related people in the UK do at one point or another. It’s like a rite-of-passage.

The movie sequel, as noted, is due out soon. This is going to be good reading until the sequel hits, and if you liked the movie you’ll love this.

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God of Comics – Elsewhere #2

God Of Comics, Reviews

September 4, 2017

Elsewhere #2 (Image Comics)

This comic is the best kind of weird.

Exhibit A for this would be last month’s issue, where two furry prisoners escaped from a floating island and came across Amelia Earhart, who was stuck in a tree by her parachute. They rescued her, she came to terms with being on an alien world with flying islands and nabbed herself a flying beast before being captured as part of a plan by the former prisoners. From there, she was taken to the prison by soldiers in service to the Great Dark Lord and was given a cell to share with someone who looks like Dale Cooper from Twin Peaks.

He’s not Dale, though. Or even Dougie. His name is Dan and he prefers to go by DB. His last name is Cooper, though, and if that name sounds familiar, good on you for knowing your history: DB Cooper was the name given to a man who hijacked a plan back in 1971 and then vanished from the face of the Earth.

Literally, or so this comic would have you believe.

Writer Jay Faerber isn’t one to keep that sort of thing hidden. He’ll tell you immediately that every human in this fantasy world he’s put together is from our world, a refugee brought over by forces unknown and forced to survive in some very out there circumstances. This is a series that he’s been planning for a while and he’s got some secrets and some tales to tell in a series of four-issue arcs, depending on how this one goes.

And it should go well. That last issue was amazing.

A good chunk of that amazing can be placed at the pencils and inks of Sumeyye Kesgin, a Turkish artist with a knack for wild imaginings. All her strengths are highlighted with the script that Jay has given her, and then both of their works combined are given a shining sheen of colors moody and heroic by Ron Riley.

So – talented people behind the book, interesting premise that has been brilliant realized, and a solid schedule that involves four issue arcs, a month off, the release of a trade, a month off, and then the start of the next arc. A self-contained high-fantasy story involving historical figures that could come from any point in time, given that Amelia vanished in 1937 and DB vanished in 1971 and they both look to be about the same age as when they vanished – and DB looks like he got to this world before Amelia.

We’re in. We love this. Adore it. And we urge you to pick it up and give it a shot, as one of the world’s best pilots teams up with a notorious hijacker to escape from a tyrannical warlord’s flying island fortress… which is, conveniently, where the wreckage of Amelia’s plane was taken.

Stuff like this is why we love comics and why we write this articles. Do not miss it.

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