Wednesday, December 24, 2025

Circle K Comics, Part 2!!!

I went back to Circle K a few weeks back, just to see if there were any new comics, and while probably...not?  I bought some more, of course, anyway:

  • Batman: Battle for the Cowl #1 (originally published as Batman: Battle for the Cowl #1 in 2009) Somehow I never did end up reading Battle for the Cowl, even though I thoroughly respect Tony Daniel's work at DC.
  • All-Star Batman: Ends of the Earth #1 (originally published as All-Star Batman #6 in 2017) Scott Snyder's reunion with his "Black Mirror" collaborator Jock, somewhat lost in the shuffle during this title's run.
  • Green Arrow #1 (originally published as Green Arrow #1 in 2016) The Rebirth era series.
  • Green Arrow #1 (originally published as Green Arrow #1 in 2023) The Dawn of DC era series, otherwise known as the current run.
  • Green Lantern Corps #1 (originally published as Green Lantern Corps #1 in 2011) The New 52 era series.
  • Hal Jordan and the Green Lantern Corps: Rebirth #1 (originally published as Hal Jordan and the Green Lantern Corps: Rebirth #1 in 2016) Well, the Rebirth era.
  • Justice League International #1 (originally published as Justice League International #1 in 2011) The New 52 era.
  • Justice League #1 (originally published as Justice League #1 in 2018) Snyder's League.  I missed this whole run, mostly because I have little enough interest in Scott Snyder these days.
  • Superman #1 (originally published as Superman #1 in 2023) Joshua Williamson's current run.  These Superman titles have the latest printing date of the Circle K books: 5/23/25.
  • Superman Action Comics: Speeding Bullets #1 (originally published as Action Comics #1051 in 2023) Beginning Phillip Kennedy Johnson's tenure.
  • Superman: Man of Tomorrow #1 (originally published as Superman: Man of Tomorrow #1 in 2020) I assume this was some kind of anthology series, so otherwise not the skip week series from the '90s.
Same grumpy lady at the register, if you were wondering.

Sunday, August 24, 2025

Circle K Comics!!!

The closing of the South Tampa Coliseum of Comics after the hurricane(s) last fall left me without an immediately local shop (though I have other shops around town I visit several times a year), as well as access to Midtown Comics online, when I feel like placing an order (most recently post-FCBD this year, which was also when I made the rounds of the other shops), so when DC announces it has comics available at, say, Dollar Tree (never turned out to be widespread) or Circle K, I tend to get a little excited.  I went heavily in on the 100 Page Giants at Walmart when they were available, plus the packs from DC and Marvel, but those disappeared years ago and all remaining stock pulled.  After the Dollar Tree experiment, I assume DC opted for Circle K, which I only recently learned about, presumably an initiative tied into this summer's Superman film.  This morning I made the trek to the participating location, and happily dug through the display, and here's what I got:

Specifically:

  • Batgirl: Year One #1 (previously published as Batgirl: Year One #1 in 2002) from Scott Beatty, Chuck Dixon, and Marcos Martin
  • Batman: Sword of Azrael #1 (previously published as Batman: Sword of Azrael #1 in 1992) from Dennis O'Neil and Joe Quesada
  • Batman: Europa #1 (previously published as Batman: Europa #1 in 2015) from Matteo Casali, Brian Azzarello, Giuseppe Camuncoli, and Jim Lee
  • Batman and Robin: Year One #1 (previously published as Batman and Robin: Year One #1 in 2024) from Mark Waid and Chris Samnee
  • Batman/Superman: World's Finest: Elementary #1 (previously published as Batman/Superman: World's Finest #13 in 2023) from Mark Waid and Dan Mora
  • Batman/Superman: World's Finest: Heir to the Kingdom #1 (previously published as Batman/Superman: World's Finest #20 in 2023) from Mark Waid and Dan Mora
  • Catwoman #1 (previously published as Catwoman #1 in 2018) from Joelle Jones
  • Justice League Unlimited #1 (previously published as Justice League Unlimited #1 in 2024) from Mark Waid and Dan Mora
  • Superman #1 (previously published as Superman #1 in 1986) by John Byrne
  • Superman: Emperor Joker #1 (previously published as Superman #160 in 2000) by Jeph Loeb and Ed McGuinness
  • Superman '78 #1 (previously published as Superman '78 #1 in 2021) by Robert Venditti and Wilfredo Torres
  • Adventures of Superman #1 (previously published as Adventures of Superman #1 in 2013) by various, including Jeff Lemire
  • Teen Titans: Year One #1 (previously published as Teen Titans: Year One #1 in 2008) by Marv Wolfman and Karl Kerschl
There were plenty of other comics available, and near as I can tell, two of each provided (the clerk said there was more, so I have no idea what I didn't see), some of which I've read (and bought at Walmart in packs) from throughout the same span, including a host of child-friendly material, plus the Brian Michael Bendis and Tom King Batman (Bendis) and Superman (King) titles from the Giants, which I thought was a nice touch.  

Inside, there are also two pages in each issue of DC Essential Graphic Novel listings, and ads for Heroicdeals.com and DC Universe Infinite, and apparently these are from at least two separate printing dates, December last year and May 2025.

Surprisingly for me, I selected four titles from Waid, including two of relatively recent comics I hadn't gotten around to, and two from World's Finest, including the follow-up to the initial "Strange Visitor" arc (also represented in the selections, by the way) that dropped without prior announcement, sequels to his classic Kingdom Come.  I liked the sometimes deep cuts DC opted to include, so had to snatch up some of those (the Byrne Superman, for instance).  I haven't necessarily been such a fan of Waid since his Flash/Impulse days (including Kingdom Come), thinking he got a little carried away with the reputation he garnered along the way, though I always like to check in again, and Batman and Robin: Year One admittedly is something I wanted to check out, so that was certainly a very welcome surprise.  

Obviously this isn't geared toward the regular reader.  Though most of these are in fact first issues, some aren't, though they've been repackaged as such.  How does DC plan to keep it going?  Time will tell...!

Saturday, July 6, 2024

Reading Comics 244 “Tom King, Geoff Johns, and other familiar faces…”


This year the local shop, South Tampa Comics, went out of business but the location was quickly snapped up by a chain called Coliseum of Comics, and until a few weeks ago continuity was maintained by Randall Armstrong (known on the internet as Randall Begins for reasons I will probably never know) as head clerk. But Coliseum sent him packing. I made weekly trips to the store when it opened, but then scaled back, and my visits have become sporadic, just enough to keep in touch with what interests me. Over the course of three recent trips I scooped up a bunch of interesting comics, in the process of which learning Randall’s fate. I figured I could share the results on this old blog.

Animal Pound #3 (Boom!) One of the things Randall never quite caught onto was that if he just set aside Tom King releases for me I would buy them. It’s not the business of sales clerk to set these kinds of things up (hold files set up by customers being the preferred method), but it happened frequently enough that we talked about Tom King and how one other customer was buying Tom King releases out from under me (stores with low sales have little incentive to invest in more than single copies of some things), and leaving me often with nothing. I don’t like to special order from a store. There’s this thing called the internet. I go to a store for the convenience, and it was also fun to talk with Randall. Anyway, so Animal Pound is Tom King’s update of Animal Farm, only instead of communism he’s commenting on democracy. It’s another great comic from Tom King. This post will have several more.

Batman #s 148-150 (DC) Chip Zdarsky has been one of the best writers in comics for a number of years at this point, and his Batman is up there, for me, in modern runs with Grant Morrison, Tom King. And the longer he writes it, the better he gets. But you don’t have the guy who did a fantastic run on Daredevil because you expect anything less. #148 concludes Batman’s war with Failsafe, #149 is like the Star Trek: Enterprise episode “Similitude” (for me high praise in every connotation), and #150 is at last a pause for a more human-level story. I can’t wait to see where he goes next.

Batman and Robin #10 (DC) Notable not just for the return of Bane but, for me personally, Damian’s old pal Goliath, from the pages of the highly underrated Robin: Son of Batman.

Gotham by Gaslight/Gotham by Gaslight: The Kryptonian Age #1 (DC) DC reprinted the original Elseworlds graphic novel alongside the return of the imprint with the first issue of the follow-up.

Blood Squad Seven #1 (Image) Joe Casey in an essay at the back of the issue is not legally allowed to call this Youngbloods: Thirty Years Later! But of course, that’s exactly what it is. He’s also hopeful it’ll spark a renewed interest at the company for a shared superhero landscape that isn’t just Spawn or Savage Dragon or Radiant Black. Good luck with that, pal.

Blue Beetle #10 (DC) A title soon to be cancelled (but it’s still Jaime Reyes’s third ongoing series, which is impressive, for DC, in this era). Bought mostly to support Josh Trujillo, who put together such a great tribute to Keith Giffen a few issues ago.

The Boy Wonder #2 (DC) Another great little standalone spotlight for the legacy of Robin(s).

Geiger #3 (Image) Geoff Johns finally split (mostly) from DC and set up his own landscape with Ghost Machine, and I hope he gets to play in this sandbox for a while. This lead creation is surprisingly durable, clearly inspired by the Atomic Knights post-Infinite Crisis but also its own thing. 

Green Lantern #12 (DC) Jeremy Adams made his mark with The Flash and then got to segue here. He’s settled in nicely. This issue sees Carol Ferris possibly finally, finally commit to a relationship with Hal. And a backup featuring Guy Gardner, Kevin Maguire, and Bottle City Czarnians. Adams would be absolutely perfect for a JLI revisit.

Helen of Wyndhorn #2 (Dark Horse) In yon olden days, DC would’ve had the Vertigo imprint for Love Everlasting, for Animal Pound, for Helen. Now they’re all at different publishers. Tom King never settles. He remains just as ambitious as ever. Helen is yet another contender, as it turns out, for a true career highlight. I didn’t really know what it was, before reading this issue (my first of the series), other than a reunion between King and Supergirl: Woman of Tomorrow artist Bilquis Evely. Turns out it’s kind of a Victorian novel crossed with Conan, kind of The Unwritten (for those interested in a Vertigo deep cut).

Justice Society of America #10 (DC)  Currently looking like Johns’ last hurrah at DC, the much-delayed JSA epic just went deeper by adding in the Legion of Super-Heroes. There’s still no one at DC who can do what Johns has done. He doesn’t just love what’s been done before him, he’s consistently tried to build on it, keep it evolving.  Like his Ghost Machine he truly sees it as a mythology.

The Penguin #11 (DC) Here’s Tom King again, penultimate issue of this story trying to help Oswald Cobblepot navigate the extremely complex legacy he’s left for himself. Can he truly leave his empire behind without dying in the process?

Redcoat #3 (Image) I’m not all in on Ghost Machine, but I love what Johns has come up with in Redcoat, a welcome modern popular entertainment take on the Revolutionary generation.  It may be batshit crazy, but it’s the good kind of batshit crazy! And that’s the whole point!

Wesley Dodds: The Sandman #6 (DC) The oldest comic in this pile, it’s the final issue. Robert Venditti earned a huge amount of respect from me in the pages of Hawkman, which I thought might be reflected here. I’m happy to report I was right. The surprise was seeing Riley Rossmo somehow evolve his work into Tim Sale proportions. Someone take note at DC!

Spider-Man: Reign 2 #1 (Marvel) I adored Kaare Andrews’ original story, which for me was absolutely the webslinging take on Dark Knight Returns, and I am keenly aware I am in a tiny minority. So I’m very pleased that somehow a follow-up has somehow happened anyway.

Star Wars #47 (Marvel) Charles Soule has proven surprisingly hit or miss with me, but one of the things I absolutely loved back in the day was his Lando Calrissian miniseries. This issue is Lando getting out of a spot of trouble in the days leading up to Return of the Jedi.

Wonder Woman #10 (DC) I am keenly aware that not everyone shares my enthusiasm for Tom King in recent years. I follow a blog that said this issue was yet another abomination. Wow. It is not. It is the opposite of that. Plus more Lizzie! I’m just eager to see how long King can stick around. I want the adult Trinity we were promised, too!

Uncanny X-Men #700 (Marvel) It’s the coda to the Krakoan age. It fits the bill. I love how Apocalypse is used to illustrate it.

William of Newbury #1 (Dark Horse) For fans it’s really hard not to see this as Michael Avon Oeming on a spiritual sequel to Mice Templar.

Zatanna: Bring Down the House #1 (DC) For the life of me I’ll never understand why DC has never pursued her in more solo tales. But we have this! Finally! Worth the wait!

Saturday, May 4, 2024

Free Comic Book Day 2024


Free Comic Book Day!

Technically this makes twenty years for me, having discovered it in 2005.

Having to cheat last year because I’d just gotten into town with family for a visit and so couldn’t reasonably expect them to go visit a comic book store, I was ready to dive in this year.

I opted to make my target Nerd Out, the shop farthest away I’m willing to make the effort to visit, which I haven’t done in a few years, so that was another motivating factor.

Got there some thirty minutes after open, but in my experience they just don’t line up in Tampa the way I really like to experience these things.

Nerd Out always has two selections, one from this year’s event and a second cobbled from older free comic events. They had some old stuff in that one! From the new stuff they only let you take one (unless you actually bought stuff), and didn’t even have a comprehensive set. They didn’t have any DC and I’m not sure they even had Marvel. 

When I hit the repurposed South Tampa Comics later, now part of the Coliseum of Comics collective, I scooped up DC and Marvel. Between them there was no chance for Valiant, a reliable presence since the revival in 2012, and particularly disappointing because they’re making a new push for relevance again.

At Nerd Out I hit the dollar bins and found a bunch of cool stuff, as well as Supreme: Blue Rose in collected form (very excited to read it again). 

Since I hit Coliseum late in a very long day I just scooped up my allotted five picks there and headed back out again.

So anyway here’s the six I got:

Absolute Power (DC) Mark Waid setting up his next big event.

Barda (DC) A preview for one of those young reader graphic novels the company keeps pumping out. Barda, as in Big Barda. I look forward to this one.

Blood Hunt (Marvel) One of the things that continually astounds me is how little Marvel comics and movies have to do with each other. It’s really only the Guardians of the Galaxy that managed to avoid such a fate, but in typical comics fashion the company flooded the market ahead of seeing how much interest the market actually had. Anyway, this one revolves around Blade, that guy the company technically had as its first cinematic success who’s been MIA basically the entire time.

Flash Gordon (Mad Cave) Jeremy Adams, who keeps trying to convince DC to keep him around, hedged his bets by looking around for another property to explore. Really surprising that comics have slept on ol’ Flash Gordon all these years.

Spider-Man/Ultimate Universe (Marvel) Marvel is currently desperately trying to make their Ultimate comics a thing again. It could happen!

Star Wars (Marvel) This one was really because it’s also Star Wars Day today.



Sunday, October 1, 2023

Alan Moore is Disingenuous

Alan Moore is disingenuous.

In interview after interview he complains about the injustices perpetrated against him in the comics industry, how his stories were stolen from him, how he had no choice but to ultimately walk away from the medium.

But Alan Moore is disingenuous. His heyday was in the ‘80s. That’s when he produced his best-known work (Saga of Swamp Thing, V for Vendetta, Watchmen). Immediately following the ‘80s was of course the ‘90s. In the ‘90s comic book creators very famously forged new ground for creator control. Moore himself wrote for Image. His work there wasn’t notable until he settled in with his Silver Age Superman pastiche version of Supreme, which when he left Rob Liefeld’s studio was converted into Tom Strong and the rest of the ABC line, which was handled by WildStorm, right before it sold to DC.

So Moore quit again. He continued working in comics. He continued his public domain bonanza League of Extraordinary Gentlemen. He did a few other things. He kept complaining about what DC did with all his famous stories done under its umbrella.

Then he quit and quit again, proclaiming how unfair the medium is to creators, right to the present day.

Tell me what, beyond V, that he’s created wholesale that his fans unabashedly adore. Tell me what he did once leaving DC that was wholesale, that he had every ability, like every other modern creator, to own completely, that his fans trumpet in the same way as his classics.

(Never mind that fans as a rule, of anything, very rarely step out of the shadows of classic material.)

Tell me that Moore didn’t thrive, best, using or reinterpreting, the creations of others throughout his whole career.

And then argue that Alan Moore is not disingenuous. The argument always turns on his fans proclaiming all over again how great his best works are, that whatever his stance is their stance. 

The man has had many years and many opportunities to create and own outright whatever his heart’s desire. He has either been incapable of doing so, or uninterested.

That’s the real story, here.

Everything else is Alan Moore being disingenuous. And I’m tired of hearing the man complaining by explaining he isn’t complaining, that if DC had only been fair to him, everything would be different. 

DC or otherwise, that’s the history of literature, and Alan Moore has always been a part of it, building on the legacy of the work of others. Eventually every creator’s name is forgotten, and the story, if it’s important enough, endures.

Get comfortable with history, Alan Moore. Eventually, if your work is important enough, it will endure. And no one will remember the name Alan Moore, or care how hurt you felt about controlling the rights, or destiny, of those stories. If it’s that important to you, do something magnificent, undeniable, now, while you still can. And then see if it’s really as successful as your classics, you’ll lose control anyway. Fans have a funny way about expressing their appreciation. They will do the same thing DC did to Watchmen. I guarantee there are reams of Watchmen fan fiction out there you never saw or knew existed. No one made a career out of it, a name for themselves, a fortune. But it’s the same thing. It’s life beyond the original story, the Trojan Horse after The Iliad. If you had owned the rights to all those comics, blocked their constant republication, they wouldn’t even be remembered today, except by diehard fans. And a generation after their death, a footnote. Then nothing.

Just think about it. Decades ago it was the fight of your life. Decades later you’re still fighting it. It’s like George R.R. Martin at this point, making a career out of talking about writing that next book instead of getting the darn thing published. People like to say you wouldn’t complain about this anymore except everyone who interviews you forces you to all over again, every single time. Except you have a choice. You’ve always had a choice. And more importantly, as a creator you have always had the chance to express yourself, as you always did, through your work. At some point your narrative shifted from your work to your complaints. You still write, and have shifted, increasingly, to prose. But you’ve discovered that the prose world, so eager previously to use you as a shining example of the literary merits of comic books, doesn’t care as much about you when you’re operating under its own rules. So maybe you keep plugging away at it and change minds, or you reconsider what all your decisions have resulted in, and take one last great stab. While you still can.

Either way in a hundred years it won’t matter. Unless you do, and the choices you make now impact whatever legacy you have. It’s about your peace of mind. Because as much as you might claim otherwise, you’re kind of an angry old man. Anything you say to the contrary is disingenuous.

Wednesday, September 13, 2023

Club Comics #1


A couple weeks ago I snatched up most of Superboy and the Ravers from a back issue bin. This was a series that ran from 1996 to 1998, Superboy’s second ongoing series from that era. It was a teen team book in a decade where teen teams were nearly as hot as they were the previous decade, thanks to Generation X at Marvel (a team that’s been completely forgotten since) and Gen 13 at Image (a team that can still be visible today whenever WildStorm nostalgia hits DC). DC launched a new Teen Titans with Dan Jurgens, and Ravers, neither of which were nearly as popular.

But I loved Ravers. Still do. Obviously the idea hinged on a somewhat desperate grab for hip readers, teenagers literally attending an intergalactic rave, a party scene, but the characters who ended up coming together were far beyond that concept from the beginning. It’s really as if someone in editorial pitched the gimmick, and writers Karl Kesel and Steve Mattsson actively thumbed their noses at it.

Because the Ravers turned out to be a bunch of misfits. Take Half-Life. (Please!) There’s no way this kid would’ve been accepted as one of the cool kids. The whole point of the character was that he knew beyond a shadow of a doubt that he was an outcast. That’s him on that cover to #3. Need I explain? He’s the reason I was never convinced Marvel had the market on misfits, which its fans have claimed for half a century. Marvel’s monsters are for the most part headcases. Unless your name is Ben Grimm, the writers continuously stretch credulity to pull any of it off. Half-Life is Ben Grimm if Ben Grimm didn’t have the Fantastic Four constantly around him to give him a context he of course constantly ignores, because Marvel. Half-Life has the Ravers around him, sure, but the thing is, the Ravers aren’t a family. They’re not really a team, either.

They’re more like a club. No one’s impressed Superboy is there. This isn’t really a Superboy book at all! That’s what’s so great about it. It turns out all these characters are just trying to find themselves, to where they might actually fit in. You’ve got an actually organic gay superhero named Hero. Yeah! His superpower is actually the H-Dial, which in his context is a vest. You’ve got the most lovable Khund warrior ever, Kaliber, whom DC tried its best to turn into a breakout character in Genesis. You’ve got Sparx, still my favorite Bloodlines creation because of her appearances in Ravers, who grew up in a family of superheroes but never felt at home until she found an actual group of peers. Probably the closest its members came to generic was Aura, the alien princess trope.

For nineteen issues, this group of friends struggled to keep things together, and fittingly, at the end, they go their separate ways, and basically none of them is ever heard from again, except of course Superboy. They were a club of heroes. Their adventures were far more about telling their stories than the adventures of the Ravers themselves. This became my favorite kind of superhero storytelling, in large part thanks to Ravers. I cared about Half-Life. I was happy when Hero found Leander (I was just getting into Greek myth at the time, so synergy like that was welcome!). This wasn’t teen drama. All these characters were thrust into the world and forced to find their own way. Just imagine where they went next…

I like comics that feel like the characters are telling you about themselves. I like great storytelling, but I need to care about the characters themselves. Ravers was an unexpected way to discover this. When it’s one character in their own book, Mark Waid’s Wally West, for instance, struggling to understand his own legacy, that’s easy. Do with it with a whole cast? Maybe that’s asking too much. I can completely understand this not be a popular, bestselling comic. But it’s still one of the best, and no comic has come along remotely like it since.

Saturday, May 27, 2023

Free Comic Book Day 2023


 Clearly I haven’t blogged about comics in some time. Well.

A few weeks back it was once again Free Comic Book Day! I happened to be traveling this year, so I didn’t visit a comic book store that day, but the following Thursday I did, after I got back home. I headed to South Tampa Comics, which opened just down the street from me last year (I’ve bought many graphic novels from them, and you can find many reviews at Goodreads from the results). Since I was already planning to Midtown the bulk of my catch-up, and couldn’t expect to find any of the FCBD comics at the store (typically they’re only available that Saturday, and Sunday after it), I didn’t expect to pick up any of this year’s releases there, but it turns out I could, and some from last year’s Trick or Read (another free comics promotion geared toward kids). In years past at another local shop, they’d have selections from prior years and other such events, so that was nice. And of course I took advantage of Midtown, too, and that box arrived on Tuesday.

So here’s what I got!

  • Best of the Mighty Marvel Backlist (Marvel) 
  • Animal Castle Volume Two (Ablaze)
  • Uncanny Avengers (Marvel)
  • The Best Comic Ever!! (2000 AD)
  • Choujin X (Viz)
  • Clark & Lex/Fann Club: Batman Club (DC)
  • Conan the Barbarian (Titan)
  • Crimebuster  (Comic House)
  • Dawn of DC Primer (DC)
  • Dawn of DC: Knight Terrors Special Edition (DC) This is DC’s latest publishing event, like Future State, Convergence, and Flashpoint before it taking over the publishing slate for a few months.
  • Dog Man and the League of Misfits (Scholastic)
  • The Fabulous Furry Freak Brothers (Fantagraphics)
  • Fishflies (Image) New from Jeff Lemire.
  • Girl Taking Over (DC)
  • I Am Stan Lee (Ten Speed Press)
  • Marvel Voices (Marvel)
  • Mexikid: A Graphic Memoir (Dial Books)
  • Moon Girl and Devil Dinosaur (Marvel) Trick or Read
  • Ranger Academy (Boom!) As in Power Rangers.
  • The Sacrificers (Image) New from Rick Remender.
  • Shadowman: Darque Legacy (Valiant) Valiant has undergone tons of publishing turmoil in recent years, and releases very few comics these days, so it’s just nice to see them still in the game.
  • Smurfs 65th Anniversary (Papercutz) They’re not just from the ‘80s cartoon!
  • The Amazing Spider-Man (Marvel) Trick or Read reprint featuring Queen Goblin.
  • Spider-Man/Venom (Marvel)
  • Star Trek (IDW) Featuring a crossover event called “Day of Blood.”
  • Star Wars: Doctor Aphra (Marvel) Trick or Read
  • Star Wars: The High Republic Adventures (Dark Horse) IDW and Dark Horse have gotten to publish young readers comics in the current Marvel age.
  • Strange Academy (Marvel) Trick or Read
  • The Umbrella Academy (Dark Horse)
  • We Are Legends Special Edition (DC)
At Midtown I also ordered a few backlog FCBD offerings (which were no longer free):

Carriers (Red 5) From last year. Red 5 used to be the publisher of Atomic Robo, and dependably released a new Robo comic every FCBD, but Robo went to IDW and then online. I wanted to pick this up last year since it included a preview of Bëorn from Ben Bender, who’s in my Twitter feed. Bender’s art is very reminiscent of Bill Watterson.

We Are Humanoids Featuring The Incal (Humanoids) This is from 2020, the FCBD that played out in stages throughout the summer of that year. I didn’t participate that year, making it the first FCBD I missed completely since discovering the event at Newbury Comics in Burlington, MA in 2005 (the event itself began several years earlier).

Now of course typically a comic book store will limit the number of free comics you can pick up, so if you have your eyes on multiple releases you have to hit multiple stores (which I’ve done), unless you’re Zimmies that one year and passed out huge bags with all the comics. Or order from Midtown. I like to support the local shops (besides South Tampa Comics there are two other stores close by that I visited on past FCBDs). I bought comics from Midtown and at South Tampa while scooping up the freebies. Spent too much. Not just saying that! What I really missed this year was experiencing the line! Typically FCBD will draw people who don’t normally go to a comic book store (which is the whole point), and you get to listen to whatever it is they talk about while you wait. I always like this experience. Of course, Marvel tends to release a movie that weekend, too (this year was the third Guardians of the Galaxy, in which animals were digitally harmed). It’s a whole thing! My brother-in-law had no idea about it! So maybe next year…

Saturday, November 12, 2022

On the Death of Kevin Conroy

I haven’t posted in this blog in more than a year. It’s the longest by far in twenty years, outside of reviewing collections at Goodreads, I’ve gone without talking comics. This post won’t do that, either. Instead it acknowledges the death of the voice of Batman.

Kevin Conroy, folks.

Kevin voiced Batman starting in Batman: The Animated Series, which celebrated its thirtieth anniversary this year. When it began, Tim Burton’s cinematic revival had already cleansed the camp reputation of Batman from the popular consciousness, after the 1960s live action TV show had set the standard. Comic book fans had already had Batman redefined in the pages of The Dark Knight Returns in the 80s, but perceptions still feared the combination of Burton and Michael Keaton would revert the character back to Adam West.

The cartoon followed Burton’s moody take, even adapted its theme music from Danny Elfman, to the point where there were probably kids watching who just assumed it originated there. It tackled and redefined the Gotham landscape, even introducing new elements like Renee Montoya and Harley Quinn that would become permanent along the way. Its Joker was voiced by Mark Hamill, a realization that didn’t sink in right away, but would eventually totally redefine him, too.

Watching as a kid, I was always impressed at how Kevin gave separate voices to Batman and Bruce Wayne. It was the first time I was really aware that there might be a difference between them, and in the three decades since it’s still the clearest example that there probably ought to be, in any medium.

Kevin kept voicing Batman over the years, whether in material directly associated with the cartoon or in various other projects. He finally got to play a live action Batman in the Arrowverse’s “Crisis on Infinite Earths” crossover in 2019.

Over the years, I lost interest in the cartoon. The more it ended up codified as a defining version of Batman (in many eyes, the defining one, the same way fans assumed John Stewart is the only acceptable Green Lantern, because he was the version in this shared universe), the more I struggled to remember why I had been a fan, too. Watching it now, it’s very clearly a kid’s show. The villains all have voices that would not be out of place in the 60s show. Forget that how they were used, such as Mr. Freeze, gave them new depth: how they sounded is harsh on an adult’s ears without the filter of nostalgia.

That being said, Kevin gave a star performance. He was impeccable, and you could listen to his Batman now as then without doubting for a moment that this guy should be Batman. Out of all the actors who have played Batman over the years, and this is not to say any of them were bad, it’s still a great argument that Kevin sounded like the most perfect fit. 

So: rest in peace, Kevin. Your legacy in the role is assured. You made it your own, and in doing so you defined the character for generations. 

Saturday, June 26, 2021

Future State - Top Ten: #1. Wonder Woman

 


Writer/Artist: Jöelle Jones

This result was basically self-evident from the first issue. I say “basically” since I had it ranked second when covering just the first two weeks of Future State. Swamp Thing topped it initially, with a truly outstanding first issue that was probably never going to be easy to follow with only one additional issue (though, again, Ram V’s follow-up series has more than adequately rectified that). But Jöelle Jones had created something that was truly effervescent:

A perfect confluence of writer, artist, and character. Two out of three of those were fairly easy to accomplish, as Jones wrote and drew the comic. Her new Wonder Woman, Brazilian (as in Amazon Rainforest) Yara Flor, didn’t bother with any kind of introduction or justification, but rather plunged into Jones’s version of Wonder Woman adventures.

Now, Wonder Woman is one of DC’s Big Three, but she has never had the rich history of Batman or Superman. She’s had continuous publication and significance, but really, none of the classic storytelling. There has been a considerable uptick in great storytelling in the past twenty years or so, with Greg Rucka (at least his classic embassy run) and Brian Azzarello being the obvious highlights, but nothing that feels quite as effortless as what Jones accomplishes here.

Simply put: This is a truly fun read. It’s beautiful to look at (I’m ashamed to admit this is the first time I’ve really appreciated Jones’s artwork), but it’s playful and assured in ways I’ve never really seen in a superhero comic. Usually playful means cartoonish. That’s not what Jones does. Her Wonder Woman enjoys being Wonder Woman, and is prepared for what she encounters. Simple as that.

And it’s a complete revelation. It’s easy to see that DC envisioned Future State to be a platform for new voices. I truly hope Jones has the chance to be elevated as far as she can go. I’ve read the first issue of the follow-up, and it’s just as awesome, but now I want more! I want to see Jones unleashed! The first female lead creator in comics! 

Saturday, June 19, 2021

Future State - Top Ten: #2. Mister Miracle

 


Writer: Brandon Easton

Artist: Valentine De Landro

Out of all the backup features in Future State, Easton & De Landro’s Mister Miracle was not only the longest (running four segments serialized between Superman of Metropolis and Superman: Worlds of War) but the most consistently entertaining, which I assume is why it was longest, and also why it was picked up as an Infinite Frontier miniseries, which recently launched (and I have also enjoyed).

Unlike Tom King’s comic, which featured the more traditional Mister Miracle, Scott Free, this is a spotlight for Shilo Norman, last featured in Grant Morrison’s Seven Soldiers of Victory.

The absolute beauty of it, other than De Landro’s wonderfully simplistic, fantastic art (which, sadly, wasn’t carried over into the sequel project), is Easton’s depiction of Shilo’s relationship with his Mother Box.

Now, as a longtime comics reader who has experienced plenty of Booster Gold conversations with Skeets, just to name one example, I’ve seen this kind of interplay before. But I have never seen it better. The “man in the chair” trope the MCU Spider-Man identified and usually illustrated by Batman and Alfred tends to be defined by an exchange of information. 

Shilo & his Mother Box have a full-blown camaraderie going on.

Again, not like Booster & Skeets. Skeets tends, because Booster is often a comic character, to be the long-suffering counterpoint. The “man in the chair” itself is a gimmick of unequal weight.

Shilo & his Mother Box are pals.

And I loved that! In New Gods lore Mother Boxes are basically smartphones with AI interaction, capable of transporting the protagonist wherever they need to go via Boom Tube. Very infrequently you’ll have a Green Lantern comic where a ring is depicted like Easton does his Mother Box.

(Ooh! Ooh! Get Easton to write Green Lantern!)

The interplay between Shilo & his Mother Box is ubiquitous in the story. For me it was the whole draw. Technically Shilo is involved, the link between, the adventures playing out in the main stories of the Superman Future State titles (which themselves, again, play out in a far more satisfyingly subtle manner than the Batman family’s).

It gives the result a true personality. I hope when the sequel is collected, this is included along with it. The sequel takes a completely different tack, by the way, focusing more on Shilo specifically, but Easton is sufficiently talented, it seems, to not even miss a beat in the transition. A hugely promising new voice at DC.

Saturday, June 12, 2021

Future State - Top Ten: #3. Superman: Worlds of War/House of El

 


Writer : Phillip Kennedy Johnson

Artists: Mikel Janín, Scott Godlewski

My only previous experience with Johnson was The Last God, which I had only sampled with one issue, which I found impenetrable, so I had no idea what to expect from this.

So you might say this was the biggest surprise (other than my pick for second best of Future State!), because I thought it was brilliant!

Johnson takes a truly mythic approach to Superman, both in the woman who hero worships him at a human level and the task Superman himself has on Warworld.

What made it so amazing for me was that it turned out to be the very unlikely spiritual sequel to Tom King’s Superman: Up in the Sky, the story originally serialized in the pages of the Walmart Superman giants, which immediately became one of my favorite King comics, and Superman comics in general.

Most writers get caught up in Superman going about his everyday heroics, or try to scale him back, and yet Johnson, like King, is somehow capable of doing both.

It doesn’t hurt this comic’s standing, and legacy, to have subsequently enjoyed the early issues of Johnson’s Infinite Frontier Superman ongoing adventures.

Sunday, June 6, 2021

Future State - Top Ten: #4. Superman vs. Imperious Lex

 


Writer: Mark Russell

Artist: Steve Pugh

Future State played out in January and February 2021 for every other title, but this one’s final issue was published in March. In fact, I would’ve started in on this final ranking earlier if it hadn’t. By its first issue I knew it was a highlight, so of course I was eager to read the final one.

Yeah, I’m a Mark Russell guy. Not the most dedicated reader, but I’ve been keeping track since Prez, which was his mainstream breakthrough, and have been following loosely along ever since. Most of all I’ve been eager to see how far mainstream he can actually go.

Russell readers know his strong suit is social commentary, which tends to run contrary to expected mainstream norms, by which I mean anything remotely resembling traditional superhero storytelling. This wouldn’t be a problem if he didn’t pursue superhero comics, but Russell has. This is the first time he’s tackled Superman, though the focus here is more on Lex Luthor, who seems right up his wheelhouse (and not the first brush between the two; Russell previously tackled Luthor with a Porky Pig team-up).

The premise is Lex retiring to Lexor, a planet from Silver Age comics where he discovered he might pull off being considered the good guy.

The results are more classic Russell social commentary, including the media’s complicity in government messaging, and the public’s willingness to play along, no matter how horrible things really are.

Along the way, Superman, as well as Lois! must outsmart Lex (he’s powerless, literally, on Lexor), whose one ally is a robotic lackey willing to believe anything Lex tells him (the truest of true Lexor devotion), all while Lex flirts with going straight, or as straight as he ever gets, until he determines it simply isn’t in his best interests.

(This is significant because the citizens of Lexor really do believe he’s the good guy, which in Lex Luthor mythology is a big deal, since at times he’s depicted as being bad mostly because he knows he exists in Superman’s shadow.)

I don’t know where Russell goes from here (he’s so far absent from Infinite Frontier), but that’s pretty much always the story with one of the most interesting careers in comics.

Monday, May 31, 2021

Future State - Top Ten: #5. Swamp Thing

 


Writer: Ram V

Artist: Mike Perkins

After the first two weeks of Future State I had declared this one the achievement to beat. When all was said and done four other stories beat it, but that hardly diminishes the first issue of Ram V and Mike Perkins’ Swamp Thing, a master class of tone and setting.

I’m not the biggest Swamp Thing fan. Part of that is because I’m also not the biggest Alan Moore fan. His Swamp Thing was Moore’s calling card before he had any other credentials, and remains one of his most celebrated runs. He famously made existentialism cool in comics when he postulated that Swamp Thing wasn’t even Alec Holland but a plant creature who thought he was, a deconstruction of superhero secret origins that still stands as unique in the modern era. 

But I never got around to reading much of it, and what I have suggests much of it is Moore being Moore, which for me isn’t really my thing.

The closest I came to being a fan of Swamp Thing was Charles Soule’s run in the New 52, which rounded out Scott Snyder’s (which has been completely forgotten by the same rabid Snyder fans who proclaimed his Batman to be the only good thing about the New 52). Soule focused heavily on Swamp Thing mythology, which for me is a reliable source of superhero comic entertainment. 

Anyway, so I didn’t come into Future State expecting to love the Swamp Thing entry.

I hadn’t even been overly involved in the career of Ram V. Ram is an emerging talent who was operating below the radar, looking for a breakout work amid consistently excellent material. For me that breakout was this comic. It’s Ram at his most focused, which means a writer who can usually already have an excellent grasp of the potential in arcane characters had found the one character who unlocked his considerable potential.

The first issue is brilliant setup. The second issue is a letdown insofar as the first is so great it’s disappointing that it had to be wrapped up so quickly.

Fortunately DC understood what it had and immediately commissioned a follow-up mini-series from the same team. I have since been reading it, and several issues in Ram and Perkins once again put their magic on full display, which also had the benefit of helping me stick with Ram’s new Boom! series, The Many Deaths of Laila Starr, the second issue of which was even better than the first, which I wouldn’t have found out if I had stopped reading either series when it looked like Ram and Perkins were once again coasting on their laurels. 

Won’t make that mistake again.

Saturday, May 22, 2021

Future State - Top Ten: #6. Superman/Wonder Woman

 


Writer: Dan Watters

Artist: Leila Del Duca

My favorite thing about these issues is the Lee Weeks art on the covers. Weeks is one of the treasures of modern comics, doesn’t get enough appreciation for that. 

The issues themselves are a welcome reprise of the New 52 team up between Superman and Wonder Woman, with the obvious distinction that there it was a budding romance and here it’s the next generation of Jon Kent and Yara Flor. It’s Jon’s best Future State showing, and another highlight for Yara.

It’s also, very sneaky, evocative of All Star Superman, which for some is kind of the career highlight for Grant Morrison.



That’s how the credit pages appear in both issues, which is the style used in Morrison’s comic. Solaris, the tyrant sun, is also featured. It’s pretty deliberate.

Otherwise, writer Dan Watters and artist Leila Del Duca follow their own fancy. It’s just great to see a comic everyone sees as a classic finally show up as a source of inspiration. Obviously Watchmen shows up like that all the time. This is a welcome way to see Morrison finally reaching that status.

Saturday, May 15, 2021

Future State - Top Ten: #7. Aquaman

 


Writer: Brandon Thomas

Artist: Daniel Sampere

To be clear, the casting, and subsequent performance, of Jason Momoa, was the best thing to ever happen to Aquaman.

Aquaman is one of the oldest DC superheroes, and yet his modern reputation in pop culture is as a joke, the dude who “talks to fish.” Peter David’s feverish efforts in the ‘90s to transform him into a more gritty character (sans hand, added hook, beard, long hair) did little outside comic book circles to change this.

Geoff Johns elevated Aquaman as much as he could in the early New 52, writing him simultaneously in the pages of his own comic and Justice League, including the crossover saga “Throne of Atlantis.” Dan Abnett had a much-lauded run in the Rebirth era.

But in the effort to make him look more authentic, DC also pigeonholed him in underwater politics that only further isolated Aquaman.

Momoa’s Aquaman is the most approachable and fun presence of the DCEU. Brandon Thomas’s Future State version (starring a next-generation Aquaman) is the first time a comic book version of the character feels like that.

Simply put, it’s a fun read! Thomas is a new recruit best known for various Image projects, and he has a spectacular debut in these pages. Even if Aquaman still doesn’t command attention, the material is getting there. DC could do a lot worse than give Thomas a permanent assignment, or at least one of those follow-ups, with this version of Aquaman.

Saturday, May 8, 2021

Future State - Top Ten: #8. Batman/Superman

 


Writer: Gene Luen Yang

Artist: Ben Oliver

As far as I’m concerned, it seems overly difficult to find a good Batman/Superman comic. The modern gold standard is still the original, Jeph Loeb’s, which achieved its magic by relying heavily on dueling caption narrative. Of course, DC has kept a team-up title going (switching the order of the names, as Batman has once again supplanted Superman in popularity, beginning with with a Loeb comic; I still have no idea how idiot fans managed to convince themselves he’s a bad writer, which of course happened over at Marvel) ever since. No one has seriously challenged Loeb’s work.

Until Gene Luen Yang.

Yang is one of the greats working in superhero comics at the moment. He spent a bunch of time hiding in New Super-Man (the Chinese Superman), and then took over Jeff Lemire’s Terrifics, before getting this Future State assignment.

Yang always knows how to keep things lively. A lot of writers get caught up in tropes, unable to personalize them, so that a superhero comic is just a superhero comic, or try desperately to make it stand out (some succeed, some are just desperate, and only “succeed” because of equally desperate fans). Yang might be able to break off from that because he’s the rare superhero comics writer whose knowledge base isn’t totally superhero comics themselves. Yang made his name writing graphic novels translating his Chinese-American and Chinese heritage. As such he’s aware of the need to adapt rather than simply write. The result, as I’ve encountered it is a style that’s both familiar and distinctive.

His Batman/Superman is a friendship (a friendship) presented in dialogue. They aren’t rivals. It’s not secretly Batman humoring or condescending to Superman, as writers can sometimes slip into. It’s bona fide mutual respect. (Too often in superhero comics, writers will allow the popular status of a character define how they’re presented rather than depict a dynamic, engaging personality.)

With that as a base, Yang also unfolds an actual story involving a father and son caught up in Professor Pyg’s latest scheme, which also ties in with the early days of the Magistrate era that plays out in the Batman titles elsewhere in Future State. Being tangential to that arc, Yang’s story is free to do as it pleases, and also serves as an object lesson in what the other creators might have achieved had they considered their options.

The result is perhaps the Future State comic with the lowest profile but perhaps highest return on investment. Yang has since graduated to the main title, with his innovative approach wowing unsuspecting readers in his first issue, which I skipped (but corrected by the second).

Friday, April 30, 2021

Future State - Top Ten: #9. The Next Batman

 


Writer: John Ridley 

Artist/ Nick Derington, Laura Braga

Here’s the Future State project that received so much attention it guaranteed the seemingly scrapped 5G was going to have to happen somehow (and also ended up giving us, finally, John Ridley’s even better The Other History of the DC Universe).

It was worth it.

It was worth it to get Future State itself as well as Next Batman. Ridley’s Batman, by any other name, whoever under the cowl, reads like a refreshing back-to-basics after years of taking the character at epic size. Finally, Batman is just Batman again!

And the twist concerning his secret identity was great! Fans took it for granted that “Batwing” Luke Fox was getting an upgrade, but instead it’s his brother Tim “Jace” Fox, who comes packaged as a Bruce Wayne with his whole family quite unexpectedly unfortunately still in tow! Ridley’s most radical statement is actually that Bruce was perhaps better off an orphan! So that the real thrust of the story is how his family views Jace, especially Luke, who seems to have no idea his brother is the new Batman, and far more suited for the role!

Some fans were disappointed, at least as far as not getting to have Nick Derington on art in all four issues. Me, if there was any disappointment it’s that the Magistrate arc had to play out in all the other Batman comics from Future State. I think it diluted the full impact of Next Batman. In the Superman comics, there were clear divisions, and every story got to depend on its own merits. Saddled with the same story, the Batman comics felt like none of them got to actually accomplish anything. 

But Ridley at least had his emphasis in the right place. And now I’m enjoying the follow-up!

Saturday, April 24, 2021

Future State - Top Ten: #10. Dark Detective

 

Writer: Mariko Tamaki

Artist: Dan Mora

I’ll admit upfront, my interest going into Dark Detective was artist Dan Mora, who readers will probably most recognize from the pages of Once & Future, but for me Grant Morrison’s Klaus. I think he’s a great talent just waiting for full recognition.

The comic being told with his art this time is as worthy of his talent as ever (he also knows how to pick projects, so that’s good).

In the greater scope of Future State, it was probably going to be tough being a Batman book and not being Next Batman, the one that got all the hype and arguably the reason Future State ended up happening at all, but Dark Detective has Bruce Wayne, unexpectedly still very much active.

According to recent canon (“Joker War”) Batman’s just lost his billions, and so he will, at the moment, have to accustom himself to fighting crime on a budget. In Dark Detective he’s had a similar setback, having been assassinated by the Magistrate (in both identities!) and now being forced to exist underground.

One of the neat aspects is Bruce and his roommates, surely a novelty of Batman comics if there ever was one. Mariko Tamaki and Mora have subsequently transitioned to the pages of Detective Comics. I would personally love it if they ended up pursuing a pre-Year One arc involving Bruce’s world travels before returning to mount his crusade. They seem ideally positioned for it.

Thursday, April 8, 2021

Future State Countdown: Prelude

Now that the final issue of Future State has been released (last week), I can finish ranking the event (all 52 issues worth, for those keeping score at home). I enjoyed the whole thing. Some of it more, certainly. So this countdown is not, as is so common, suggesting the stuff at the bottom is terrible and deserves scorn. There’s enough of that on the internet.

Without further ado:

24. Immortal Wonder Woman

The one I was least interested in comes closest to calling for outright dismissal. I just didn’t see much real inspiration in these pages. I saw things that just kind of happened. So I’m not really going to write about this one.

23. Harley Quinn

Now, I liked this one! If you go back to look at my thoughts for the first issue, I liked it a lot! I liked the unusual art for a Harley Quinn comic (lately comic cheesecake, if there was ever such a thing...!), so the real issue here is that the second issue wasn’t as impressive as the first, which happens, in two-issue stories like these, and one of my favorite Future State titles had the same problem, but its first issue just happened to be better (and I’ve since read the first issue of the resulting miniseries, of that doesn’t give it away).

22. Shazam!

I saw complaints about this one, but I enjoyed it, the lowest ranking where the ideas were at the very least great. Billy Batson and Shazam have been forced to make a terrible bargain, and one of the consequences is that once again it’s impossible to really explain the predicament to anyone. The idea of splitting them in two is a good one, and at the very least has not been used nearly enough. The complaints were mostly surface (Shazam is bad???), the kind you expect.

21. Suicide Squad

The hook, for me, is Superboy, Kon-El, in the spotlight. That’s the whole thing for me. The story riffs on the clone controversies of the New 52 but otherwise features the classic version of the character, as the white hat reluctantly leading the team via Amanda Walker’s typical manipulations. Also featured is the next attempt to pivot Black Adam as a good guy ahead of next year’s movie. I love the character (thanks to 52), so this is not a tough sell for me.

20. Kara Zor-El, Superwoman 

In a less crowded field at the top I could’ve enjoyed this one a lot more, a fine character study of a familiar character. I guess it just felt like a junior version of the bigger successes.

19. Green Lantern

I might have decided to be annoyed with the new writer of the monthly comic, debuting in these pages, so was kind of prejudiced against the lead material. I might grow up eventually. The supporting material is good.

18. Nightwing

Of all the Batman material, there seemed the least effort put into Nightwing’s specific role, so it’s fairly generic but at least he’s represented, which is always a plus (DC fans love to obsess over a previous regime’s “obsession with getting rid of him,” despite continuous publication of monthly solo adventures).

17. Robin Eternal

Tim Drake’s spotlight shines in his response to a Lazarus Pit resurrection, which ironically might better explain than we’ve gotten otherwise what happened to a different Robin, Jason Todd.

16. Teen Titans

The big mystery of Red X remains a tease in these issues, and will instead play out in the pages of Teen Titans Academy, the first issue of which I have subsequently read and enjoyed.

15. Justice League 

I loved Williamson’s reprise of the Hyperclan, and his depiction of the full assembly of the new generation. And Ram V’s JLDark.

14. Catwoman

V is also at the helm of this heist flick that weaves around the further fate of the late Bruce Wayne.

13.  The Flash

The further redemption (or corruption!) of Wally West was a great tease in this one, as well as a reflection on the legacy of Barry Allen. As a longtime fan of the Speedsters, this was win-win for me.

12. Legion of Super-Heroes

He wasn’t even gone from Marvel when fans decided that he had deviated from a previous existence of doing everything right to suddenly being incapable of it, but I liked the later Bendis there and I have enjoyed his DC work, including this madcap version of his Legion. I mean, if ever there was a team perfectly suited to his machine gun dialogue, it’s the Legion! I just ordered copies of the trade collections for the regular series, including the brilliant Millennium prelude, so yeah, I’m that guy, the one who really enjoy this stuff.

11. Superman of Metropolis 

The adventures of the next Superman had a better spotlight. Still enjoyed the duel with Brainiac and the ironic way it’s resolved.

The top ten (have you figured out there’s a twist somewhere?) will come one at a time! With pictures!

Sunday, January 24, 2021

Future State Timeline

The interesting thing about Future State is that it doesn’t all happen at the same time. In fact, there’s apparently a considerable scale to the whole thing. Here’s a timeline from DC Nation Presents Future State:

2025

Arkham Knights, Batgirls, Batman/Superman, Next Batman, Catwoman, Gotham City Sirens, Harley Quinn, Grifters, Nightwing, Outsiders, Red Hood, Robin Eternal

2027

Dark Detective, The Flash, Teen Titans

2029

Shazam

2030

Aquaman, Black Racer, Justice League Dark, Metropolis Midnighter, Mister Miracle, Suicide Squad, Superman of Metropolis, Superman: Worlds of War, Nubia

2035

The Last Lantern

2040

Justice League

2050

Superwoman, Wonder Woman, Imperious Lex

2070

Superman/Wonder Woman

3000

House of El, Legion of Superheroes 

4500

Swamp Thing

82020

Black Adam

End of Time

Immortal Wonder Woman