DC/Marvel: Superman/Spider-Man #1: The World’s Finest: Review

 

DC/Marvel: Superman/Spider-Man #1: The World’s Finest: Review

Writer: Tom King

Penciller: Jim Lee

Inker: Scott Williams

Colorist: Alex Sinclair

Letterer: Pat Brosseau

Cover Artists: Jorge Jiménez, Arthur Adams, Rafael Albuquerque, J Scott Campbell, Olivier Coipel, Clayton Crain, Gabriele Dell’Otto, Mitch Gerads, Adam Hughes, Mikel Janin, Dave Johnson, Scott Koblish, Stanley “Artgerm” Lau, Jim Lee, Steve Lieber, Josh Middleton, David Nakayama, Daniele Sampere, Rafa Sandoval, Evan “Doc” Shaner, Jeff Spokes, David Talaski & Chrissie Zullo-Uminga

Publisher: DC Comics

Price: $7.99/$8.99 Card Stock

Release Date: March 25, 2026

 

As they hang on for dear life, Mary Jane Watson distracts herself by catching up with Lois Lane. Each woman holds their friend in high regard. Despite their career achievements, the men in their lives regularly place them in danger. This time, they may not be the targets of a villain’s ire. Still, they don’t want to be collateral damage. Can Mary Jane and Lois escape from the bus hanging over the river? And how can they help their guys defeat the giant robot attacking the bridge? Let’s leap into DC/Marvel: Superman/Spider-Man #1: The World’s Finest and see!

 

Story

As the women hang from the seat backs, they distract themselves by celebrating each other’s accomplishments. While they try to reach safety, they muse on the dangerous situations they’ve survived. It’s not every day that a giant killer robot attacks them. Still, as they make their escape, Lois and Mary Jane ponder how dangerous their lives are.

 

In DC/Marvel: Superman/Spider-Man #1: The World's Finest, Lois and Mary Jane's boyfriends battle a Sentinel. Yet the women wonder why they have chosen the lives they lead. The perilous situations they have endured have become a metaphor for why they have opted for an extraordinary life. Superman and Spider-Man feel a duty to protect others. Yet they also enjoy what they do. Likewise, Lois and Mary Jane realize that they’ve elevated their own careers by living on the edge.

 

In Tom King's action-packed story, Lois and Mary Jane don't have superpowers. Yet they want to help their men protect the people trapped on the fragile bridge. Superman and Spider-Man are too busy combating the giant Sentinel to step back and strategize. The women may be standing on the sidelines. Still, in DC/Marvel: Superman/Spider-Man #1: The World's Finest, Lois Lane and Mary Jane become participants in the battle by pondering how they can help their men.

 

Art

In Jim Lee and Scott Williams’ detailed art, the ladies cling to the handrails, while the rear window reveals the danger they face. Webbing extends from red gloved hands, affixing to the front windows, suggesting that forging ahead is safer than retreating. Lois and Mary Jane share the spotlight as they climb toward safety, while the webbing bunched around Spider-Man's hands contrasts with the severed suspension cables. Superman distracts the Sentinel as the ladies climb. Then Spider-Man rejoins the fray.

 

Alex Sinclair lavishes a palette of rich, nuanced colors on DC/Marvel: Superman/Spider-Man #1: The World’s Finest. The yellow in Superman’s chest shield contrasts with the Sentinel’s gold face. But while Superman protects everyone, the Sentinel protects communities from diversity. The blue in the heroes’ suits links with the blue seat backs as the ladies climb out of the bus. Yet blue also colors the sky and sea, as the ladies discuss how inured they’ve become to danger. Still, purple signals the immediate threat and how to avert it.

 

Pat Brosseau fills white balloons with black uppercase dialogue that grows bold for intonation, swells for raised voices, and shrinks for lowered voices. Mary Jane’s off-camera dialogue appears in orange narrative boxes, while Lois Lane's appears in pink boxes. As enlarged dialogue fills spiky balloons, and thwips and impacts fill the air, white letters in green boxes pay homage to the characters’ guardians. Thanks to DC Comics for sharing this story with us.

 

Final Thoughts

Life is a journey, and maturity necessitates transformation. Yet before someone can enhance their abilities, they must pass through a gauntlet. While Lois Lane and Mary Jane Watson strive to assist their men, they muse on the dangers they’ve faced while traveling from one stage of their lives to the next in DC/Marvel: Superman/Spider-Man #1: The World’s Finest.

 

Rating 9.8/10

 

To look inside see my preview of DC/Marvel: Superman/Spider-Man #1: The World’s Finest. 

The War #1 Review

 

Writer: Garth Ennis

Artist: Becky Cloonan

Colorist: Tamra Bonvillain

Letterer: Pat Brosseau

Cover Artists: Becky Cloonan, Jay Shaw, Trevor Hairsine with Rain Beredo, and Tula Lotay

Publisher: Boom! Studios

Price: $4.99

Release Date: July 30, 2025

 

Deep down, we believe that words shouldn’t hurt us. Perhaps some, like Mr Spock, can dismiss hurtful words dispassionately. But even words meant to calm and console can lead to anger or depression. Words can ruin relationships and destroy lives. How might dialogue and argument draw friends closer together or push them apart? Let’s grab a bottle of wine, leap into The War #1, and see!

 

Story

Russia and Ukraine are attending a summit. But they do so without Volodymyr Zelenskyy. David argues that the Ukrainian war cannot worsen. Luke claims that Russia will never trust NATO. Both men urge their friends to follow the news in The War #1. Informing yourself about contemporary events is healthy and empowering.

 

After the eight friends part ways, their conversation continues. Reports of increasing tensions and violence drive the dialogue between partners and friends. With President Zelenskyy dead, Russia's focus shifts to Ukraine's allies. As Luke argued, NATO awakened the slumbering beast. Whether or not the friends view Vladimir Putin as rational, the Russian president has a vast arsenal at his disposal.

 

The War #1 is a dialogue-driven story that questions our readiness for war as individuals and as a society. Unlike in The Kids #1, when the world changes overnight, Garth Ennis probes what happens when the apocalypse approaches more slowly. Some draw comfort from reason. Others ponder a quick death. People mourn loved ones they will never see again. Relationships hang on tenterhooks, swayed by storms of emotion. David, Luke, and their friends process the situation by discussing it in these first three serial installments from the Hello Darkness series. But how can words bring comfort or support when a city can vanish in the blink of an eye?

 

Art

Tamra Bonvillain contributes a loaded palette to The War #1. Yellow, green, and pink enliven the evening get-together. When starlight pierces David and Nikki’s darkened bedroom, greens, blues, and skin tones glow and highlight an iconic movie poster. Streetlamps paint the sidewalks yellow as residents pack their cars, while taillights leave a trail of red. Pink and orange fill the sky as Travis and Grace opt for the safe course.

 

Becky Cloonan’s detailed penciling shows Luke’s involvement in the discussion, while Stefan props his cheek on his knuckles and closes his eyes. Nikki glares a quiet storm but rarely focuses it on David. Maggie and Spencer stand on a lonely platform before boarding an empty subway carriage. As Grace watches the TV from the couch, Travis presses his forearm against the wall window of their apartment. Instead of studying nearby high-rises, he stares at his phone. While Tamra Bonvillain reveals light sources and directions through color, Becky Cloonan enhances shadows and backgrounds with stippling. The dots suggest the cloud of uncertainty hanging over the friends like dust hurled into the air.

 

Pat Brosseau fills white dialogue balloons with black uppercase letters that grow bold for emphasis and shrink for lowered voices. Lowercase text in blue and gray fields differentiates texts between David and Luke. While emotion and raised voices enlarge words and reshape balloons, sound effects erupt once amid an approaching storm. Thanks to Boom! Studios for providing a review copy.

 

Final Thoughts

People often hypothesize their actions in foreseeable futures. But you can’t know how you would react to a situation until you experience it. And weapons of mass destruction can make the best-intended actions irrelevant. In The War #1, eight friends—David and Nikki, Luke and Stefan, Travis and Grace, and Maggie and Spencer—react to the threat and reality of war in different ways. Whether their actions seem wise or foolish to others, they are all very Human.

 

Rating 9.3/10

 

For more cover art see my review at Comic Book Dispatch. 

Uncanny Valley #10 Review

 

Writer: Tony Fleecs

Artist: Dave Wachter

Letterer: Pat Brosseau

Cover Artists: Dave Wachter & Tony Fleecs

Publisher: Boom! Studios

Price: $4.99

Release Date: July 9, 2025

 

The First told his advisor that he wanted the cartoon world to lead the Human world. He planned to sacrifice Oliver to relieve suffering in both worlds. But as Oliver's sacrifice draws near, the First admits that there is power in suffering.

 

When Margaret and Pecos Peet return to the cartoon world, the daughter and father’s unhappy past separates them. Can they bridge the distance to each other? And can they slip past the army standing between them and the First’s castle? Let's grab our paintbrushes, leap into Uncanny Valley #10, and find out!

 

Story

The First was troubled. People kept disappearing from the cartoon world. In search of answers, he used magic to understand the link between the Human and cartoon world. Then he lured a Human girl to his domain, and she fell in love with Pecos Pete. The First understands the lifegiving power of blood. What he doesn’t understand is that everything dies. In Uncanny Valley #10, the First claims he wants to transform chaos into order. But all he wants to do is call the shots. And instead of letting fate determine when people disappear, the First wants to wield the power of death.

 

Oliver never understood where he belonged. His mother never told him about her past. As they moved every few years, Oliver never understood why he didn’t fit in with the Human kids he met. When the First insists that his purpose is to unite both worlds, part of Oliver wants to believe him. What wouldn’t be better than ending death?

 

Unlike Paul Atreides, the characters in Tony Fleecs’ series didn’t benefit from Bene Gesserit teachings. Pecos Pete didn’t know how to bridge the gap with his daughter. Oliver accepted a risky dare because he feared the boys in his new school wouldn’t accept him. Spriteleigh left her community because she worried about fitting in. Pecos Pete’s dog, Dewy, trusted the First because he believed the sorcerer's prophesies of doom and disaster.

 

Oliver remembers how Spriteleigh’s father asserted that the First’s fears about the demise of the cartoon world were unjustified. The tiny wise man assured Oliver that he embodies the wisdom and power of his ancestors. As he faces death in Uncanny Valley #10, Oliver also remembers what he told Sprightleigh in Pixiedust Forest. The people who don’t fit in are special.

 

Art

Soldiers line a stairway along a precipice to a wooden platform. The First declared that Oliver would die at Dawn's first light. But as he grasps Oliver like Darth Vader and presents him to the dark sky, his world rewards the First with rain. Dewy clamps Oliver to a wheeled wooden table. But instead of torturing Oliver like Count Rugen’s pain machine, poles rise, lifting the boy like Ann Darrow awaiting Kong.

 

While filling the pages of Uncanny Valley #10 with action-packed spectacle, Dave Wachter fills the starry night with pink and purple clouds. The bottom of the First's purple robe lifts, emulating red eyes peering into the cartoon world. Margaret and Pecos Pete mount a cherry red rescue that symbolizes freedom. Along with their hair color and skin tones, the top of Oliver's shirt shares the same green as Margaret's sweater as she storms toward her son.

 

Pat Brosseau fills white dialogue balloons and boxes with uppercase letters that embolden for inflection, swell for volume, and rarely shrink. The First speaks white uppercase letters into cloudy black balloons. Sound effects help us hear Pecos Pete firing his rifle, the First wielding destructive pink fire, and Margaret speeding along like a tornado. Robust and colorful lettering on two fan-pleasing double-page spreads provides Oliver with a crucial insight into his past in Uncanny Valley #10. Thanks to Boom Studios for providing a review copy.

 

Final Thoughts

Families come in all shapes and sizes. Oliver’s may be small. Still, he has all he needs. Uncanny Valley #10 closes out this Eisner-nominated series by urging us to embrace our heritage, accept change, and forge our paths.

 

Rating 9.8/10

 

For another cover see my review at Comic Book Dispatch. 

Uncanny Valley #9 Review

 

Writer: Tony Fleecs

Artist: Dave Wachter

Letterer: Pat Brosseau

Cover Artists: Dave Wachter & Tony Fleecs

Publisher: Boom! Studios

Price: $4.99

Release Date: May 7, 2025

 

Dewy told Oliver that he belonged on the farm. Unlike his grandfather’s dog, Oliver has never felt like he belonged anywhere. So when the crows that found him in the human world swoop in and start carrying away the farm animals, Oliver flees into Pixiedust Forest. Can Spriteleigh and her father help Oliver return to his family?

 

Oliver’s grandfather and mother cannot find more portals to the cartoon world. Nor can they create any. As they drive through the human world, wondering how to reunite with Oliver, Pecos Peet tries to close the distance to his daughter. But Peggy, who has changed her name to Margaret, pushes him away. Can Pecos Pete and Margaret reach the cartoon world before the First sacrifices Oliver? And is the First correct? Are both worlds in danger? Let's grab our pencils and paintbrushes, leap into Uncanny Valley #9, and find out!

 

Story

Margaret often changed jobs and hometowns while singlehandedly raising Oliver. Oliver accepted a dare from the boys at his new school to make friends. But after he leapt off the footbridge, Oliver pulled himself out of an imprint in the ground. The other boys went to the hospital. Margaret has survived her fall from a much higher bridge in Uncanny Valley #9. The leap of faith has allowed her to pick up a paintbrush and paint a portal to the cartoon world.

 

In Pixiedust Forest, Oliver wanted to use the sprite crystal to return to his mother. But when the Ogres attacked, he sacrificed himself to save Spriteleigh and her father. Oliver wonders at his options as he sits in a cell. Despite all his attempts to avoid capture, Oliver is the First’s prisoner in Tony Fleecs' story. The First tells Oliver that he has a role to play. Dewy counsels Oliver to trust the First. Despite the First's plan to emulate Abraham and Isaac at Moriah, Dewy believes that Oliver will survive the First's act of Human sacrifice.

 

Oliver’s grandfather followed the First’s bidding when he traveled to the Human world to retrieve Oliver. But unlike his dog, Pecos Pete has lost faith in the First. He has seen how much the First has changed from a carefree pilot in "Steamboat Willie" to crafting magic in "Fantasia." Like Saruman, the First's years of study in his tower have transformed the happy mouse into a remote figure who commands a ghoul army.

 

The First claims that sacrificing Oliver, a child born of both worlds, will help the cartoon world lead the human world to embrace a healthier approach to life. Yet the First also admits there is power in hurting others in Uncanny Valley #9. While Pecos Peet and Margaret wonder how to find a way past the First's army, the cartoon farmer looks back on his life and realizes that he has made all the wrong decisions.

 

Art

As white replaces brown, a bird's eye view shows the bridge spanning a river. But unlike the browns and grays that dominate Margaret's world, the paintbrush dripping white primer has conjured a portal of vivid blue and magenta. Amid the curves of the cartoon land and sky, a dark castle rises in Uncanny Valley #9. The sharp, straight lines outside echo the iron bars before Oliver. Little is straight in the cartoon world. A purple patch on the gray floor that defies iron shadows evokes the glowing blue crystal the sprites helped him find.

 

Like Oliver, Margaret stands out as she surveys the castle amid stone ruins. Dave Wachter's more nuanced colors link her skepticism and misery with Oliver's. By comparison, Pecos Peet's bright coloring, particularly his blue overalls, links him with his dog Dewy. Both once embraced the First's design. Pecos Peet's rapid movements and deforming shapes demonstrate how cartoon characters shake off pain and eradicate injury. In a world where the First can paint away someone with his brush, and the creator can make someone disappear with his pencil eraser, does Oliver's human-world coloring suggest his susceptibility or immunity to death?

 

Pat Brosseau fills white dialogue balloons and narrative boxes with uppercase letters that embolden for inflection and swell for volume. The first speaks white uppercase letters into cloudy black balloons and boxes. Traditional arrows turn serpentine when emotions rise. Sound effects help us hear characters travel through portals and embrace the No Pain No Gain motto, while music notes bring hope for a better tomorrow in Uncanny Valley #9.

 

Final Thoughts

Whether our actions are predestined or arise from free will, our words and actions affect others. As the First hurts and kills others for the greater good, Uncanny Valley #9 urges us to confront our fears, lest we lose our uniqueness and become captives to power or blind faith.

 

Rating 9.6/10

 

For another cover see my review at Comic Book Dispatch.

Uncanny Valley #8 Review

 

Writer: Tony Fleecs

Artist: Dave Wachter

Letterer: Pat Brosseau

Cover Artists: Dave Wachter & Tony Fleecs

Publisher: Boom! Studios

Price: $4.99

Release Date: February 26, 2025

 

The Human world is chaotic. People don’t plan their days or their lives. They do what they want without regard for others. It doesn’t surprise the First that wars kill people by the thousands or millions. Nor is he shocked by natural disasters. Humans pollute and drain their world’s resources. But when Humans die, the Cartoon world suffers.

 

Oliver never asked to be here. But the First sent crows to capture him. The First also sent his grandfather, Pecos Peet, to escort Oliver to his citadel. Is Oliver safe on his grandpa's farm? Might his mother and Pecos Peet follow him there? Let's grab our pencils and paintbrushes, leap into Uncanny Valley #8, and find out!

 

Story

Dewy introduces Oliver to the other animals on the farm. The dog treats him like a friend and insists that Oliver belongs there. Because Oliver moved around so often, he has struggled to make friends. Oliver is no more used to belonging to a place than he is caring for cartoon animals. Dewy insists that everyone in the cartoon world plays their assigned role. So, when the crows swoop in and try to capture Oliver again, Dewy and the animals don't follow Oliver into the Pixiedust Forest.

 

In Pixiedust Forest, Oliver meets Spriteleigh. Oliver empathizes with Spriteleigh’s concerns about where she belongs in Uncanny Valley #8. When her father mistakes Oliver for an ogre, Spriteleigh advocates for him, and her father agrees to help Oliver reunite with his mother and grandfather. But they must be careful, for ogres also live in Pixiedust Forest.

 

In Tony Fleecs' story, the First wants to preserve the cartoon world. He believes he knows how to accomplish this. The First told Pecos Peet to bring Oliver to his citadel for protection. He promised Dewy they would convince Oliver to protect the animals in the cartoon world from erasure. Instead, the First wants to sacrifice this boy to sever the Cartoon world from its creators.

 

Art

Dewy asks Oliver to trust him as they stand in the dry pasture near barren trees. Then crows fill the sky like in an Alfred Hitchcock movie. One bird picks up a pig as Oliver orders the animals into the forest. Yet Oliver races alone through the trees until a voice arrests his flight. He notices a tiny smashed home and a purple pixie with blue hair standing before red and beige mushrooms. The sprites fly while Oliver walks through the forest in Uncanny Valley #8. Their appearance, size, and actions evoke Smurfs befriending Humans.

 

Unlike the Lilliputian realm of Pixiedust Forest, Margaret drives her minivan past gray boulders and evergreens beneath a hazy orange sky. Pecos Peet sits beside her, his brown boots resting on the upholstered seat. His rifle lays atop empty cans and disposable coffee cups on the floor. As Pecos Peet struggles to close the distance with his daughter, the cartoon cowboy's flesh and clothes seem too bright for Margaret's world. She may share the same hair color as her father. Yet Dave Wachter paints her with nuance. Shadows and highlights enrich her flesh and clothes. Margaret inhabits a world of darker tones. But then, her world is empty without Oliver in it.

 

Pat Brosseau fills white and colored dialogue balloons with uppercase letters that embolden for inflection and swell for volume. Caws fill the air when Lulu squeals. A flat tire leaves a trail of blue letters as Margaret drives down a road to nowhere. When ogres appear, Oliver's words shrink. Giant brown letters fill an explosive background when Oliver unleashes his cartoon power. Yet the horn of a passing SUV bemoans Margaret's decision to do something she berated her son for in Uncanny Valley #8. Thanks to Boom! Studios for providing a copy for review.

 

Final Thoughts

Oliver has spent his life running and never belonged anywhere. When the First threatened his family, Oliver fled once more. In Uncanny Valley #8, Oliver must decide to continue running away from his uniqueness or discover the strength of embracing his heritage.

 

Rating 9.6/10

 

For more cover art see my review at Comic Book Dispatch.

Creepshow Vol 3 #5 Review

 

Writers: Ed Brisson & Kami Garcia

Artists: Kael Ngu & Isaac Goodhart

Colorists: Kael Ngu & Miquel Muerto

Letterer: Pat Brosseau

Cover Artists: Martín Morazzo & Chris O’Halloran; Kael Ngu; Steve Beach

Editor: Ben Abernathy

Designer: Jillian Crab

Production: Richard Mercado

Masters Of Horror: Greg Nicotero & Brian Witten

Additional Creep Art: Michael Broom

Publisher: Image Comics

Price: $3.99

Release Date: January 22, 2025

 

Online dating can deliver a dream or a disaster. A new home can usher in tranquility or tragedy. What will Kristin and Agnes discover when they open new chapters of their lives? Let’s leap into Creepshow Vol 3 #5 and find out!

 

Story: Tent Revival

Jeff likes hunting and camping. But Kristin is surprised when he takes her on a backpacking trip. So many men have lied in their online profiles that she has considered closing her account. But Jeff is the outdoorsman he professed to be. When they reach a clearing facing the lake, Kristin revels in the sunset. But as night falls, and they sit by the fire sharing their tattered dreams of finding love, a woman walks through the trees and asks if she can join them by the fire.

 

For this first story in Creepshow Vol 3 #5, Ed Brisson delivers a classic Teens In The Woods horror tale. Kristin suspects that Angie isn't on the level. But who can she call on for help? Tent Revival reminds us that there is a natural order and that violence knocks that system out of balance.

 

Art: Tent Revival

While Jeff strides ahead, Kristin holds back, leaving ample space between them on the narrow path. But once they reach the clearing, she pushes past him to stand near the rocky edge. Instead of looking away from him like on the path, Kristin watches Jeff build the fire. She wraps her arms around him as they sit on the log. Jeff and Kristine shoot to their feet when a shadowy figure creeps up. But illuminated by the fire, they resume their seat, clutching each other, as Angie makes her request.

 

Kael Ngu’s panels resemble oil paintings in Creepshow Vol 3 #5. While Kristin sports pink and yellow, Jeff embodies the bulk of Ngu's palette in his ivory, gray, black, and red. The yellow fire forms a link to Kristine's boots and the jacket tied around her waist. After the first page of daylight, red seeps into the surrounding darkness. It makes Kristine's lips and hair glow. Crimson also colors Jeff's shirt collar. Disturbingly, red lurks everywhere in Tent Revival. It lingers on the edge of Jeff’s axe, adorns wood, suffuses leaves, and speckles characters and backgrounds.

 

Story: Prize Possession

Despite warnings of a mysterious death, a couple buys a house along the cliffs. Amid the grandeur of the three-story Victorian house, trouble sets in. When Mom and Dad celebrate their daughters' birthdays, Agnes likes her present, but Katherine disdains hers. Her parents don't know how to ease Katherine's growing unhappiness. Katherine seems determined to terrorize Agnes.

 

Kami Garcia tackles sibling rivalries and bullying in this second story in Creepshow Vol 3 #5. Prize Possession is a reminder that everything has a spirit, and we should notice how places and objects affect us. The story also pits rationalism against spiritualism. Like Star Wars, Prize Possession reveals the power (and costs) of embracing the Dark Side.

 

Art: Prize Possession

Isaac Goodhart begins by taking a leaf out of Wes Anderson's book. Panels reveal interior scenes within an exterior shot of the house while a raven watches the empty porch. Mom runs the household with her opening declaration, photographing the birthday party, and intuiting Katherine's emotions from her body language. When Dad tries to reason with Katherine, Mom lays down the law, just as she dismissed a local's reservations during their viewing. Agnes only gets a few moments of guarded happiness and clings to her doll.

 

Miquel Muerto brings a bright, cheery palette to Goodhart’s traditional comic art in this second story in Creepshow Vol 3 #5. Anges wears blue overalls and a white shirt, a pink nightshirt, and a white dress, while Katherine wears a black dress in the first half of Prize Possession. Later, she relaxes in black and gray. Her red sneakers link with the words in Agnes' diary.

 

Lettering & Additional Creep Art

Pat Brosseau lavishes black, uppercase words in ivory dialogue balloons and narrative boxes. The letters grow bold for inflection, swell for volume, and rarely shrink. Sound effects help us hear a hardworking axe and a character getting her just desserts.

 

Michael Broom introduces Tent Revival with the Creep backpacking through the woods toward a skeleton. After forging this link with Jeff, the Creep ends the story by toasting marshmallows like Angie. He hovers over the Victorian house in Prize Possession, anxious to show his prized doll house. But the Creep closes this tale of domestic disharmony by revealing that appearances can be deceiving. Thanks to Image Comics and Skybound for providing a copy for review.

 

Final Thoughts

Kristin and Agnes discover that they are cherished and wanted. Kristine and Angie feel wronged. As in Friday The 13^th and Dark Shadows, vengeful spirits haunt picturesque settings in Creepshow Vol 3 #5.

 

Rating 9.6/10

 

For more cover art see my review at Comic Book Dispatch.

Creepshow Vol 3 #4 Review

 

Writers: Mike Carey & Acky Bright

Artists & Colorists: Mark Torres & Acky Bright

Letterer: Pat Brosseau

Cover Artists: Martín Morazzo & Chris O’Halloran; Mark Torres; Steve Beach

Editor: Ben Abernathy

Designer: Jillian Crab

Production: Richard Mercado

Masters Of Horror: Greg Nicotero & Brian Witten

Additional Creep Art: Michael Broom

Publisher: Image Comics

Price: $3.99

Release Date: December 25, 2024

 

Sergeant Thomas Campion is a British Redcoat. Abigail loses her boyfriend to a prettier woman. What can these two people, separated by over a century, have in common? And how do they relate to us today? Let’s leap into Creepshow Vol 3 #4 and find out!

 

Story: Flesh Wounds

As Mike Carey's story opens, Sergeant Campion has enjoyed an impressive career beneath the Union Jack. Like Emil Blonsky in Louis Leterrier's film The Incredible Hulk, Campion doesn't care about advancing in rank. Each venture into the fray is a chance to prove himself the ultimate fighter. Yet after a dozen or more years on battlefields around the world, a Bedouin nearly kills him. This assault on his invincibility rattles him more than he wants to admit.

 

While tending Campion's wounds, the medic mentions hearing of a devil in the desert. British-born Campion has fought against Catholics often enough that any remark approaching religion from a Papist infuriates him. Notions like fiendish genies who grant wishes to supplicants sound too much like the mysticism the reformers worked hard to expunge from the Church Of England. But O’Riordan insists another soldier has profited from bargaining with this evil creature. So, Sergeant Thomas Campion rides into the desert to make a deal that sounds too good to be true in Creepshow Vol 3 #4.

 

Art: Flesh Wounds

Sergeant Campion cuts a striking figure adorned in red, white, and black. Mark Torres' muted colors lessen the battlefield carnage. Yet bright and florescent colors lend a heightened reality to Campion's lust for conquest. Campion and his fellow Redcoats evoke the toy soldiers beloved by generations of British children and treasured by modern wargaming enthusiasts. Yet Torres often paints the soldiers' skin gray, suggesting the British Empire thrived by sucking the lifeblood from its subjects.

 

Campion’s deal with the devil occurs beneath a light blue and pink sky, while green coats the ground and an ancient temple. After receiving what he most desired, Thomas' skin looks hale as he charges into battle renewed. Yet orange, pink, purple, and green dominate panels when the devil pays Thomas a return visit in Creepshow Vol 3 #4. Hyper-real colors invade Flesh Wounds thereafter.

 

Story: Face

Abigail has a problem. Her boyfriend left her for another woman. The scorned lover vacillates between revulsion and admiration as she stares at a photo of her boyfriend with his new paramour. Yet his choice is irrefutable. So, in Acky Bright’s story, Abigail visits a clinic promising to give her a new face.

 

At first, this second story in Creepshow Vol 3 #4 seems innocuous compared with the first. Yet Abigail wields her new beauty like a weapon. Like the Roman god the clinic is known for, Abigail becomes two-faced. Her cosmetic surgery was supposed to unleash the person inside her. Instead, Abigail's actions suggest that her boyfriend dropped her because of her "inner beauty."

 

Art: Face

Acky Bright portrays Abigail as a schoolgirl who prefers comfort to elegance. As Abigail stares at her phone, the brightly colored ad for Janus contrasts with the gray dominating the first page. The surgeon's proposed makeover evokes Lady Cassandra from Doctor Who. Abigail smiles when agreeing to the surgery. Yet, as she waits for the anesthesia to take effect, beads of sweat form on Abigail's nose and chin.

 

Pink and lavender welcome Abigail to the Barbie Era. Acky Bright adorns flashbacks of Abigail's breakup in peach and brown. The nurse at Janus holds something that links Face with Flesh Wounds and evokes scenes in a classic Universal Monsters movie in Creepshow Vol 3 #4.

 

Lettering & Additional Creep Art

Pat Brosseau orders black, uppercase words into ivory dialogue balloons and narrative boxes. White letters haunt black cloudy balloons. The words grow bold for intonation and swell for volume. Gunfire fuels the rapid-fire conclusion of Flesh Wounds, while a banging door heralds the end of Abigail’s existence in Face.

 

Michael Broom frames the introductory scene in Flesh Wounds with our narrator's welcoming embrace. Then, the Creep invites us into his home as Sergeant Thomas Campion’s story about the price of war comes to its haunting conclusion. Our narrator climbs into the beginning of Abigail's story. But be warned: the Creep amplifies the disturbing conclusion of this story about our definitions of beauty and fears of the surgeon's knife. Thanks to Image Comics and Skybound for providing a copy for review.

 

Final Thoughts

Two people separated by time, place, sex, interests, and any other criteria you can think of embrace shortcuts to omnipotence in Creepshow Vol 3 #4, only to discover no one can remain invincible forever.

 

Rating 9.5/10

 

For more cover art see my review at Comic Book Dispatch.

Pine & Merrimac TP Review

 

Writer: Kyle Starks

Artist, Colorist & Cover Artist: Fran Galán

Letterer: Pat Brosseau

Series & Logo Designer: Nancy Mojica

Collection Designer: Armando Elizondo

Editor: Jon Moisan

Publisher: Boom! Studios

Price: $19.99

Release Date: December 11, 2024

 

Linnea was a homicide detective. But crime scenes traumatized her. She struggled to look at a corpse without vomiting. Linnea tried everything but couldn’t cope with the demands of her chosen profession. Amid the intensity and glamor of the city, she met a professional fighter. His name was Parker. Like her, he had lost someone close to him. Parker left his life in the ring behind to support her new career. Can two people who love each other forge a new life in a small town? Or will their troubled past return to haunt them? Let's leap into Pine And Merrimac TP and find out!

 

Story

Linnea grew up in Jamesport. The picturesque East Coast fishing village boasts two astronauts, three presidents, and four extremely wealthy Americans. It’s a scenic spot of picture-perfect houses, cozy diners, and a detective agency on the corner of Pine and Merrimac streets. Jamesport promises the tranquility Linnea sought after the intense demands of solving murders. Yet it's a curious choice, as Linnea fled Jamesport as soon as she could after her sister’s death.

 

As a husband, Parker is selfless, makes no demands, and always puts her needs first. Linnea decides what cases to take, and Parker helps her solve them. Parker never competes with Linnea in Pine & Merrimac TP. The fighter who rigorously trained his body and mind to win every battle trusts Linnea's decisions and backs her plays with his fighting skills.

 

Linnea’s new lease on life comes at a cost to others. In her former occupation, Linnea protected people by taking violent predators off the streets. By solving crimes, she helped grieving survivors and broken families find closure. Now, Linnea breaks up families and ruins lives by proving spousal infidelity. One such case is Abigail Byrne, who lost her affluent, carefree lifestyle and now sleeps in a homeless shelter. As Jody says about his Army Surplus Store, the worse things are, the better business gets. But when two parents approach Linnea about her daughter, she can’t say No. Perhaps things will turn out differently than with her sister.

 

Kyle Starks eases the tension of Linnea and Parker’s investigation into Tabitha’s disappearance with comic relief and quirky characters. Aside from ever-angry Abigail, there's a none-too-bright biker gang, an Army Surplus Store run by a pacifist, and a senator who believes a secret society's ceremonies can boost his bid to become the fourth President of the United States from Jamesport. Humorous wordplay also enhances the over-the-top situations. But Linnea and Parker's chemistry carries you through Pine & Merrimac TP. The couple knows nothing lasts forever and cherishes every moment together.

 

Art

Fran Galán imbues Linnea and Parker’s life in Jamesport with a dreamlike quality. The story begins with Parker waking her from a blissful sleep with a cappuccino from a local barista. The couple drives a classic muscle car from their lakeside house to the flower-framed entrance of their two-story brick corner office. Galán introduces you to thin, mustachioed Jody, heavyset Abigail, the Jackpot City Demons, and guards wielding assault rifles who know that poor job performance means death.

 

There’s a timeworn quality to Fran Galán’s art in this story set in 2023. Limited color palettes energize the daytime encounters and nighttime fights. Light also plays a significant role in Pine & Merrimac TP. Distant skyscrapers create a diffused glare. Sunlight streams through horizontal blinds in the office and a nearby diner. Moonlight illuminates a sunken cell on an isolated island. The colors suggest they radiate from Linnea as she basks in her husband's love and hopes for the best despite the lessons history has taught her.

 

Uppercase black letters inhabit off-white dialogue balloons and narrative boxes. Pat Brosseau helps us hear small gestures, such as the couple's frequent gifting and Linnea pinching herself to fend off more violent reactions to death. Colorful sound effects accompany Abigail’s felonious assault, gunfire, an inflaming situation, and Parker playing Preschool teacher with bikers. Thanks to Boom! Studios for providing a copy for review.

 

Final Thoughts

After her sister’s disappearance and death, Linnea geared her life around solving murders. But after solving crimes in the big city, life brought her back home, where Linnea investigates another missing person’s case. Fueled by tragic events, humor, and the uplifting power of love, Pine And Merrimac TP is a meditation on the circular nature of existence and the glorious absurdities of life.

 

Rating 9/10

 

For more cover art see my review at Comic Book Dispatch.

Creepshow Vol 3 #3 Review

 

Creepshow Vol 3 #3 Review

Writers: Chris Condon & John Arcudi

Artists: Martín Morazzo & Shawn McManus

Colorists: Chris O’Halloran

Letterer: Pat Brosseau

Cover Artists: Ryan Carr; Martín Morazzo & Chris O’Halloran; Steve Beach; Martín Morazzo

Editor: Ben Abernathy

Designer: Jillian Crab

Production: Richard Mercado

Masters Of Horror: Greg Nicotero & Brian Witten

Additional Creep Art: Michael Broom

Publisher: Image Comics

Price: $3.99

Release Date: November 27, 2024

 

Stories are reminders of yesterday. But when we obsess over stories, how might they color our interactions with others? Let’s leap into Creepshow Vol 3 #3 and find out!

 

Story: The Murder Variant

Donald is a comics collector. He hunts for treasure. His passion is rewarded when he finds what might be a rare issue in an abandoned storage unit. The manager of the storage complex sees the pile Donald pulled from a long box and accepts his offer. Why not? They’re just old indies. As Donald leaves, the manager locks the unit and says, "Happy reading, Bub." It's a good thing Donald didn't pull any Wolverine titles!

 

Chris Condon's story in Creepshow Vol 3 #3 portrays a collector's passion. It also highlights the difficulty of navigating relationships as we grow. Donald's wife doesn't share his interest in comics. And this evening, as he returns home in triumph, Marge is more concerned with preparing supper for them and her brother. She craved his help. Donald ignored her text to pursue his hobby. Marge wants him to invest in their relationship and show hospitality to their guest. But Donald focuses more on the discarded remnants of the past than what happens in his present.

 

Art: The Murder Variant

As Donald searches a long box, his phone buzzes atop a comic sporting Death in the title. Donald's eyes bulge, and he smiles as he lifts a bagged and boarded issue. When the manager peers over his reading glasses, Donald hurries to let the manager inspect his finds.

 

Martín Morazzo portrays Donald as an overweight man who leans forward when walking and climbing stairs. Donald drives an inexpensive family car in Creepshow Vol 3 #3. Chris O'Halloran's dark blues, browns, and yellows color Donald's fading neighborhood. Lavender walls and lights and blue, green, and brown accent colors reveal how his active wife has made their apartment's kitchen and dining room a tranquil haven. A brown ceramic cat waves while gray Human figurines on a counter raise their hands in warning. Marge works frantically to complete her meal. Donald's gray jacket and Marge's red hair hint at their deadly destiny.

 

Story: Tru-ish Crime

The authorities jailed Alex Hinton for his daughter's death. Now, they want his wife’s body. News stories about Alex’s domestic disaster prompt Lynn and Bern to gather information and search for Nicky Hinton.

 

John Arcudi’s story in Creepshow Vol 3 #3 addresses our relationship with the spiritual world. If Bern can’t see or touch something, he disregards it. But his wife feels a connection to Nicky’s spirit. So, Bern uses GPS data and tips from other interested parties to track Nicky's last known location. But Bern’s disbelief prevents him from investing in the search and hampers their investigation. When danger threatens, Lynn takes charge. John Arcudi’s story bursts with clues, connections, and implications for our lives.

 

Art: Tru-ish Crime

Bern and pink-haired Lynn are an appealing young couple. As they trek through the woods, falling yellow leaves suggest autumn. Yet two trees with green foliage frame the gray arch of a cave entrance. Wispy light green surrounds a figure in Bern's dream, complimenting the green ground and his shirt. Shawn McManus lavishes a loaded palette on his art in Tru-ish Crime. Yet green seems a backbone, linking Bern and Lynn with the person they discover at the end of their journey. Green also frames Alex as he speaks through a glass partition with a lawyer and colors the other participants seeking justice for Nicky.

 

It’s easy to see why the court found tall and muscular Alex guilty. A skull and crossbones adorn his neck. A scar and stitch marks climb his cheek and forehead. The lawyer jerks back when Alex becomes a raging monster. Yet while the true crime aficionados tap away at their phones, Alex reads books in the prison library.

 

Lettering & Additional Creep Art

Pat Brosseau lavishes black, uppercase words in white dialogue balloons and white letters in green narrative boxes. Lowercase black letters inhabit green-tinted cloudy balloons, and dark green uppercase font haunts light green clouds. A creaking door presages a metallic clunk, while a roaring in a cave precedes an ominous rumble in Creepshow Vol 3 #3.

 

Michael Broom surrounds The Murder Variant with stacks of comics and shows the Creep reading a book Daniel values. The Creep climbs into panels with Bern, Lynn, and Alex and clutches the white space bordering the final panel to encourage our curiosity. Thanks to Image Comics and Skybound for providing a copy for review.

 

Final Thoughts

Our interests can separate or unite us. But is unity with everyone something to be grasped? One person's democracy can become another's communism, even if those you interact with deal with you honestly. Creepshow Vol 3 #3 muses how our evolving interests affect our relationships and the dangers of pursuing justice.

 

Rating 9.6/10

 

For more cover art see my review at Comic Book Dispatch.