Kiss Me, Satan 5 (January 2014)


I’ve never found Ferreyra’s art to be one of Kiss Me, Satan’s selling points. Gischler’s lunacy was always its brass ring. This issue, however, the art is what makes it work. There’s some good lunacy–Gischler seems to get how to use magic in a violent action story. With actual wonderment no less. But his final reveal is a little predictable.

Only it looses Ferreyra. After four issues of action scenes, Ferreyra finally gets to do the big werewolf battle and he does a great job with it. There are two or three fantastic double page spreads this issue, with Ferreyra moving the action across them. Just wonderful energy.

As for the story? Sadly Gischler doesn’t really have an ending, so he combines a few traditional noir ones. There’s no painful series setup, though they could easily do a sequel.

It’s a good, solid comic, which is just fine.



Writer, Victor Gischler; artist, Juan Ferreyra; colorists, Eduardo Ferreyra and Juan Ferreyra; letterer, Nate Piekos; editors, Shantel LaRocque and Daniel Chabon; publisher, Dark Horse Comics.

The Legend of Luther Strode 1 (December 2012)

262672 20121206184729 large

I’m underwhelmed. Maybe because Luther Strode doesn’t really get much to do in the first issue of The Legend of Luther Strode except do an impression of the Dolph Lundgren Punisher movie. He sits alone in his sewer lair in his birthday suit. No dialogue, no nothing.

There’s a lot of action. Lot of violence. Tradd Moore does just fine with the art. It’s energetic, it’s visceral. There’s one panel where things aren’t clear–maybe close ups of boot straps are enough of an establishing shot for other people… Overall though, the art’s good.

Justin Jordan doesn’t seem to know how to start his sequel though. He goes five years later, he brings in a colorful crime boss and his associates, he has a surprise ending (for anyone who can remember the first series and its characters). He just doesn’t have a story yet. Crime empire versus Luther isn’t enough.



Writer, Justin Jordan; artist, Tradd Moore; colorist, Felipe Sobreiro; letterer, Fonografiks; publisher, Image Comics.

Detective Comics 559 (February 1986)


The art continues to slide. Someone took the time to give Green Arrow detailed eyeballs, but the composition is weak. It doesn’t even look like Colan.

The writing isn’t much better. Moench’s got Green Arrow and Black Canary guest-starring (instead of appearing in a backup) and he writes them something awful. I wonder how much time he spent thinking of the Bat-Fascist combinations for Green Arrow to hurl at Batman. Bat-Ronnie has to be my favorite.

Black Canary acts as mediator, then Catwoman shows up and she and Dinah hit it off. Why? Because they’re women and they like to talk about their men? There’s no actual reason.

Even worse–and their adventure’s lame too so to be worse is an achievement–is Jason. He doesn’t appear, being mad at Bruce for teaming up with Catwoman (or so says Alfred).

It’s a lousy team-up, lousy comic.



It Takes Two Wings to Fly; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, John Workman; editor, Len Wein; publisher, DC Comics.

Fatale 19 (January 2014)

292987 20140108141041 large

I’m not sure where I’m at with this issue. It finishes up the grunge band arc, but Brubaker uses it to kick off (presumably) the next arc set in the modern day.

He should really have some reminder of the modern day protagonist’s name. We’ve just gone through five or six new male characters; I’ll call him Streak from now on.

The plotting is a little too contrived, too convenient. Jo comes back at just the right time, the record company is owned by the Cthulhu worshippers. The issue’s a fine enough read, it’s just on reflection it’s such an easy out. Maybe it’s how Brubaker structured the story–Jo’s the protagonist, but the reader is supposed to care about the band and their problems. The two parts don’t move in conjunction.

There’s some gore and violence, but nothing visually distinctive. There’s nothing inventive or surprising, it’s all painfully predictable.



Writer, Ed Brubaker; artist, Sean Phillips; colorist, Elizabeth Breitweiser; publisher, Image Comics.

Website Powered by

Up ↑

%d bloggers like this: