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Lantern City is written like a television series. You have a show runner, Trevor Crafts, his support team, Matthew Daley and Bruce Boxleitner, and then you have your episodic writers, Paul Jenkins, Matthew Daley, and Mairghread Scott – with Matthew Daley working on each of the issues with Jenkins and Scott. Carlos Magno’s art keeps it cohesive with colors by Chris Blythe. Why this approach is taken, I’m not entirely sure. It doesn’t seem to add or detract from the telling of the story.

The Beauty is a clever and interesting series by Jeremy Haun (story and art) and Jason A. Hurley (also story) who approach a never-ending, consistently relevant social issue in a way that I’ve never seen done before.

Please note that Michael Fitzgerald Troy writes a weekly column for Fanboy Comics titled Wonder Woman Wednesday.

On the heels of the Friday, March 25th, premiere of the highly anticipated Batman V Superman: Dawn of Justice film in which audiences could get their first glimpse of Wonder Woman (Gal Gadot), moderator Jessica Tseang (Little Geek Girls/The Comic Book Girl) hosted the panel titled, “Wonder Woman: Will She Finally Be Done Right?” Tseang assembled an impressive group of panelists that spanned direct involved with the licensed property to experts on popular culture that could explore and analyze that question at the Saturday morning WonderCon panel. The panel included Steven L. Sears (executive producer, writer, Xena: Warrior Princess), Lisa Klink (Star Trek Voyager, Roswell), Barbra Dillon (Editor-in-Chief, Fanboy Comics), Michael Fitzgerald Troy (Going Gaga! Adele #1, Prism Comics), Eric Diaz (writer for Nerdist, Topless Robot), and Drew Johnson (DC Comics' Wonder Woman).

GOTO: R3v0lut10n

Kevin McCarthy and Kyle Baker have crafted an interesting and loving nod to classic anime and manga styles in their new Image series, Circuit-Breaker.  A young girl who is actually a robot fights to keep humans safe from other robots who used to do work for humans until humans didn't trust them, because they killed other humans for the "good" humans, but now the robots have no place and so are killing humans.  That sentence is somewhat how the book feels at first, with very bright, flashy pages and a pace that feels breakneck.  Hidden within that frenetic visual extravaganza is a story with its base in very human drama and a wit that is exceedingly sharp.

Space: the final frontier.
These are the voyages of the Starship Enterprise.
Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations,
to boldly go where no man has gone before.

In the second issue, the series catches up with the King Eramand's Battlecats fighting their way through the lands of Stormholt, on a mission to kill General Valadar, the king's sworn enemy and leader of the Darkat army. Battlecats is a digital comic book series from Mad Cave Studios, founded by the writers of this series, Mark London and Carl Bevan. Illustrator Andy King, colorist Alejandro Giraldo, colorist/letterer Michael Camelo, and producer Giovanna T. Orozco round out the creative team.

I’ve never been all that fascinated by serial killer as celebrity. I see those curious shops full of three-first-name memorabilia and I wonder how places like that can pay their rent. I think about the people that would buy the paintings of Charles Manson or consider marrying him while he’s serving (how many life sentences?) while in prison. Our train wreck of celebrity intoxication has turned some of the most dangerous men on the planet into clowns or, worse yet, normal. That being said, the myth of serial killers intrigues the heck out of me. As a storyteller, the evil they represent is fodder for the exploration of the darkest corners of humanity.

Matt Kindt throws a curve ball in the final issue of Past Aways, and, instead of focusing the brunt force of the story behind the action and characters, he wriggles free of what we expect as a reader and makes the comic about an idea. In the end, this reads as the kind of story that was far more personal than originally anticipated.

All the world’s a stage . . .

When I sat down to read this issue, my one thought was “What’s the twist going to be?”  The final act of this story had to be something unexpected, and with Tyler and his followers being buried in salt while the world is about to burn, I wasn’t sure how Palahniuk would bring it all together.  Well, kids, there’s definitely a twist, and it’s from as far left field as Tyler’s reveal was and will connect you to an author more intimately that I had expected.  There’s no way for me to discuss the ramifications without getting spoilery, so here’s my deal to you:  The next two paragraphs will be my typical breakdown of the story and art, and the last one will be the Spoiler Zone. (You can admit that Kenny Loggins is in your head right now. It’s okay.)  I’ll mark it clearly, though my editor thinks that I’m not really spoiling anything. I’m just being cautious for those of you that really want to go in blind.

If I said I was the slightest bit disappointed in Issue #2, then Issue #3 answers all those doubts and then some. The balance of action, emotion, fortitude, and grit is back in spades. Not that it was ever gone by any means, just that this book builds so superbly on the last one – and from the themes established in the first book in particular.

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