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Jeremy Robinson and artist Matt Frank continue to ramp up the action and the body count in the fourth issue of this kaiju comic as our team of heroes does their best to save what’s still left of Portland, Maine.

At this point, I’ve reviewed several of these collections of Superman’s Sunday newspaper comics. My general takeaway up to this point is that they portray the Man of Steel as a bored god. He’s powerful enough to stop any crime or solve any problem easily. Therefore, in between stopping petty thieves, he uses his limitless power to help ordinary citizens with their mundane problems in bizarre and creative ways. Or, when even that wears thin, he takes ridiculous challenges set before him by people wanting a display of his power—or sets similar ridiculous challenges for himself.

This week will bring readers the third issue of American Gothic Press’ Monster World, the 1930s noir monster comic miniseries written by Steve Niles and Philip Kim, and featuring the work of artist Piotr Kowlaski. Monster World #3 focuses on our lead character’s WWI past and the horrific, and sometimes supernatural, horrors witnessed on the battlefield.

Dead men tell no tales, but cursed girls live them.

There are thousands of stories, perhaps millions in the world, and there are countless ways to tell them.  But there are some stories that just feel right, ones we remember clearly and have a chance to become a part of the collective consciousness through the sheer power they evoke. They are often deceptively simple on the surface, but they speak to something magical and wondrous that could be just around the corner.  These are stories like Alice in Wonderland, Peter Pan, and The Chronicles of Narnia.  They become an indelible part of our psyche when we’re young, and they can transport us back to that time whenever we pick them up.  Jeremy A. Bastian has managed to create just such a magical work with his Cursed Pirate Girl, a tale of a tough young girl who knows her place in the world and isn’t afraid to keep hitting it with a sword until it realizes it, too.

The denizens of the night croak in fear.

I’m not entirely proud of that line, but it fits rather well with this cheeky and over-the-top book from across the pond.  Ever wish that someone would do a Tick porn parody?  Well, you need help.  Also, you need this book.  The Frogman Trilogy does for depraved indifference, explosive action, and sex-minded losers what Kermit did for numbers and letters.    Filled with crass humor - sorry, mates. Humour -  that maintains a high level of wit and enough nerd references to put Chris Hardwick into seizures, this is a story told by an idiot, signifying nothing.  Wait, no, this is a book that knows what it is and never apologizes for it: a fun, mature-rated romp that reminds me of the “I don’t care. I love it” attitude espoused by films like Shoot ‘em Up (Seriously, if you’ve never seen it, please go check it out. Paul Giamatti is maybe the most fun villain I’ve ever seen.) and toddlers alike.

Adult children’s books have taken over the world in recent years as enjoyable (and sometimes over-the-top) entertainment for grownups. Let’s Play: Murder is the best contribution to this genre that I’ve had the pleasure of reading.

How many times has this happened to you? You're in the Sudan for years trying to help the natives, and then you get a message saying that your estranged sister is in the hospital, in LA, clinging to life? Must happen all the time . . . right? Part Kill Bill, part Sin City, and part Dolemite meets Death Wish, Pimpkillah is the story of Sloane Stone, a woman who can hold her own, while dealing with her own personal demons regarding her past, present, and future. Getting the word about her sister unlocks some memories that would have been better off forgotten, Sloane starts her own investigation, bringing back a past that should have stayed there.

Loss creates a hole. What will you fill it with?

There’s an emphasis on action in most of our entertainment today.  Movies like Fast and the Furious and Transformers make billions worldwide, where slow-burn westerns tend to have much less appeal, so it’s very refreshing to be brought a tale told in a deliberate way.  This is the best description that I have for Christie Shinn’s Sepulchre. There’s an intention behind the pace that allows us to dive deeper into the fairly straightforward narrative.  This book has an incredible amount of depth, and the draw into the world is irresistible.  Having survived her husband’s attempt on her life, our heroine recuperates with the help of stranger who is dealing with his own loss.  Though the characters, at times, feel the push of time, we as the audience never do. We can feel free to really sit with each panel and enjoy every nuance.

The Fitzroy has a fascinating beginning. Andrew Harmer had an idea take shape in his mind in which a beached derelict submarine found new life as a hotel in a post-apocalyptic 1950s Britain. In a world engulfed by poisonous gas, the submarine – Fitzroy – became a haven for some very colorful personalities. As a director, Harmer decided to run a Kickstarter to raise funds to make the feature film and, in the closing days of 2012, through blood, sweat, and probably a few tear-soak hankies, he and Dresden Pictures founders Liam Garvo and James Heath surpassed their goal of £60,000 and hit their 120% target.

One of the nice things about comics, as a medium, is that sometimes they can get pretty adventurous in the interest of fun or experimentation.  Even in the mainstream, you’ll get things that no one would approve as a film or television project, and this is where we tend to find crossovers - a well-worn comic tradition that has, by now, extended not just to characters within a shared universe but to really anything that makes even a little bit of sense.  IDW, in particular, has used this method for a variety of miniseries over the last few years, leveraging their catalog of popular franchises into a raft of so-crazy-it-just-might-work ideas.

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