Steven W. Alloway, Fanbase Press Contributor

Steven W. Alloway, Fanbase Press Contributor

Weird Fantasy was a sci-fi anthology comic of the 1950s, aimed mainly at the teenager/young adult demographic. This collection brings us the first six issues: #13-17, and #6. There’s a logical reason why the first issue is #13, and Wikipedia says it has something to do with saving money on postage. It does not elaborate further.  This has no bearing on anything, but it amuses me to no end.

It’s been over four months since the last Danger Girl story arc ended. Now, finally, we begin a new one with “Mayday.” This first issue has a few jarring differences from the usual Danger Girl comics, though. For one thing, it barely has the Danger Girls in it at all.

The saga of mass surveillance and ultimate power continues. Ben, our hero, finds himself hot on the trail of the terrorist who caused the accident that blinded him. He also tries to patch things up with Chloe, the girl he’s been pining for and whom, last issue, he frightened off with his newfound abilities; however, some people seem to think he’s getting too close to the truth, which may prove dangerous for the both of them.

It’s difficult to like or empathize with any protagonist who utters the phrase, “Shut your mouth! Higher life forms are talking!” with himself being one of the higher life forms he’s referring to. In fact, that statement pretty much encapsulates what Brain Boy is all about. Matthew Price, also known as Brain Boy (much to his chagrin), is the most powerful psychic, telepath, and telekinetic on the planet, and he clearly sees himself as some sort of ubermensch.

What do you get when you combine time travel, comedy, and epic sword fights? You get Pike and Trident, an action/sci-fi/comedy web series from producers/actors Kim Turney and Patty Jean Robinson, which is currently holding an Indiegogo campaign to raise the necessary funds to produce their new episode.

At its core, Kill Me is a really simple story. It’s about a man who ruins his life, then has a chance to go back in time and fix things. But, surrounding that basic concept are a whole lot of other events that make the story seem much more complicated than it is.

There have been any number of versions in the past of the story of Joseph Merrick—a real person who lived in the late 19th century and whose deformities earned him the nickname “Elephant Man”—including a stage play and a 1980 film starring Anthony Hopkins and John Hurt. Merrick deliberately doesn’t follow the path of any of these previous versions, though, and makes a point of saying so. It’s an all-new take on the life of Merrick, but still at least partly based in fact. I haven’t seen any other versions of Merrick’s story, so I can’t say how similar or dissimilar it is from any of them, but, as far as I can tell, this one does seem to be wholly unique.

Andrez Bergen, writer of the comic anthology Black/White, may be one of the few people who loves noir more than I do. Noir elements are staples in a lot of his work, from the broadly comedic, supernatural, hard-boiled detective antics of his “Roy and Suzie” stories to the dark dystopia of his novel Tobacco-Stained Mountain Goat. Black/White is a collection of a number of Bergen’s specifically noir-based stories, illustrated in comic form by a number of different artists. Because of the different artists, each story has a completely different visual style, ranging from high contrast to realistic to somewhat cartoony. The only thing they have in common, other than Bergen’s words and a noir motif, is that they’re all in . . . well, black and white.

As the story in City: The Mind in the Machine continues to unfold in Issue #2, we get to explore further some of the moral conundrums hinted at in the first issue: security vs. privacy, the consequences of ultimate power, etc. Shy, unassuming Ben now has his eyes—and his mind—directly connected to every surveillance camera in the city, both private and public. With a little practice, he can control them and switch between them just by thinking about it. But, more than that, he can also control just about anything else that’s connected to the network: traffic lights, streetcars, facial recognition software, and more.

Captain Midnight Archives Volume 2, a collection of the classic superhero’s (mostly standalone) adventures from the late 1940s, has a distinctly different tone from that of the first volume. For one thing, Volume 1 took place during World War II and specifically focused on Captain Midnight thwarting the Nazis. Here in Volume 2, the war is over and the Captain has turned his incredible intellect towards loftier pursuits.

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