It’s another double-sized, double-priced Transformers adventure, following on the heels of the annual of Robots in Disguise’s sister series, More than Meets the Eye, which hit a few weeks back. If you are going to read both annuals, More than Meets the Eye’s technically comes first, but it is not required reading if you are on the fence or just not following that series. Likewise, readers of More than Meets the Eye will find some background in this annual relevant to recent plotlines in that series.
I don’t understand why we don’t have more anthology comics out there. Comics grew up on anthologies. Some of the most prominent characters in comics appeared first in anthologies. I do like regular ongoings, too, don’t get me wrong, but a good anthology allows creators to try small, wild stuff and allows readers to try out a bunch of creators.
Dark Horse Presents #16 is a sterling example of what an anthology comic ought to be.
The eponymous character in Ghost has been around for a bit – nearly twenty years – and this issue marks the beginning of a new monthly series featuring the character. This zero issue collects a three-part story originally serialized in Dark Horse Presents #13-15 earlier in the year.
I always have a good deal of fun with Super Dinosaur. Kirkman's all-ages series about a kid and his genetically-altered T-rex best friend and their struggles against various villainous forces is good for both its lighthearted action adventure and, for me, its nostalgia factor. As a child of the '80s and '90s, I grew up on cartoons that originated the tradition to which Super Dinosaur belongs – though the comic is a little less restrained by censors and stuff.
SPOILERS BELOW (for the first few issues)
Nick Sax is a great detective turned hitman. If popular crime fiction is any way to judge, that must happen to most detectives eventually. Despite its name, Happy! is very much the opposite: a bleak, brutal, cynical tale of mobsters and mayhem, and for all that the setup is formulaic and it doesn't thrive. I think maybe because the script is written from the "criminals curse every other word they say for no particular reason" school of dialogue.
God Bless America is the latest entry from Bobcat Goldthwait, the stand-up comedian turned movie showman whose last film, World’s Greatest Dad, was a surprisingly hilarious and often indicting tale about how death has the tendency to turn even the vilest of human beings into icons of good-nature, cheer, and righteousness.
"WANTED: Someone to go back in time with me. This is not a joke. You get paid after we get back. Must bring your own weapons. Safety Not Guaranteed. I have only done this once before."
So reads the classified ad underlying one of the more enjoyable experiences I had at the movies this summer. It's based on an actual event in 1997 wherewith free space, a writer for Backwoods Home Magazine was tasked by his editor to come up with fillers, so the classified page to the magazine wasn't riddled with white space.*
Items of such entertaining triviality rarely make interesting moving pictures. Off the top of my head, I can think of another Internet phenomenon that made for a questionable movie: Epic Beard Man became Bad A--. Danny Trejo in a fanny-pack? Pass. Mark Duplass as a neurotic grocery clerk who may or may not be a quantum physics-genius? I'm interested, but it'll have to be good.
This, my friends, is good comic book writing.
Taking place in the aftermath of Final Crisis and the ensuing Battle for the Cowl, Red Robin bursts onto the scene journeying far to seek the one thing that can give him absolution. It is appropriate that this arc is called The Grail. Like a wandering knight holding onto the hope of something he has never seen, Tim Drake is on a mission to prove that Bruce Wayne is still alive. His faith is definitely tested, and Drake’s continuous internal monologue lets you know that it does waver from time to time, but he is relentless, even when it requires compromising his morals.
For a remake like this, the only thing a person really cares about harkens back to one of the most famous sequences in all of cinema. It was a simple scene. Nothing fancy. Yet, it still fuels the fantasies of many a teenage boy.
Rest assured, the three-t----d chick is back. Briefly. But, she's there.