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SPY X FAMILY, VOLUME 12 (VIZ Media, LLC)

Written by Tatsuya Endō.

American Translation by Casey Loe.

Black-and-White Art by Tatsuya Endō; Rina Mapa; Satoshi Kimura; Mafuyu Konishi; Yuichi Ozaki; Kazuki Nonaka; & Masahito Sasaki.

Cover Art by Tatsuya Endō. Colors are Uncredited.

SUMMARY:

The black-and-white Spy X Family, Volume 12 was first published in 2019 in Japan by SHUEISHA Inc. out of Tokyo, which also coordinates this title’s English translation rights.  In a 208-page SHONEN JUMP (digest-size) edition, VIZ Media LLC reprinted Spy X Family, Volume 12 for the U.S. market in 2024.   

In a world where Westalis and Ostania are rival factions/countries, Westalis’ Secret Service has initiated ‘Operation Strix’ to gain intelligence on Ostania’s chief political operator: Donovan Desmond, an unstable warmonger.  Sent in for closer surveillance are master-of-disguise ‘Twilight’ posing as psychiatrist Dr. Loid Forger; naïve assassin ‘Thorn Princess’ posing as a city clerk/typist and Loid’s adoring wife, Yor Forger; and a young telepathic orphan, Anya, posing as their daughter.  This undercover ‘family unit’ is completed by lovable Bond, the Forgers’ clairvoyant guard dog that somewhat resembles a seal. 

The operation’s gameplan involves assimilating Anya inside the private Eden Academy.  That way, she can get closer to the Desmond family through her classmates, among which is Desmond’s spoiled child. Also involved are:

  • Sylvia Sherwood, Loid’s world-weary intelligence handler, whose slovenly personal life is mitigated by her loyal German Shepherd, Aaron.
  • Fiona “Nightfall” Frost, who is Loid’s colleague and is secretly in love with him.
  • Yor’s kid brother, Yuri Briar, who is a gung-ho undercover police officer, who despises Loid.
  • Damian Desmond, who is Donovan Desmond’s snotty young son; and
  • Becky Blackbell, who is Anya’s new friend.

Most recently, the Academy was rocked by a school bus hijacking, with Anya among the distraught hostages.  Her telepathy subsequently helps defuse the emergency, but this incident’s repercussions are still being felt.

While a hyperactive Anya continues to interact with her classmates, Loid’s talents posing as a psychiatrist come into play counseling one of Eden’s teachers.  At a dog park, Sylvia meets up with Loid and Anya where she adds a new assignment to his casework.  Their competing dogs, Bond and Aaron, humorously finish in a draw over which canine is the best trained.  Egged on by her co-workers and then Yuri, a meek Yor tries far too hard conveying that she and Loid have marital difficulties, too, like any other normal couple. 

Though bewildered by Yor’s drunken behavior (which she privately regrets), Loid is called upon to go undercover with Fiona to pursue an elusive intelligence mole.  Yet, their quarry’s improvisations heighten the jeopardy they are in.  Case in point: should the mole escape with classified materials, the exposure of ‘Operation Strix’ would dangerously compromise them all. 

Posing as both the fugitive and then subsequently as Yuri, Loid finds himself pursued by the police.  Injured in solo combat, Loid’s super-spy talents may not be enough when facing the enemy alone.       

Also included are a few ‘confidential’ back-up stories, including: 1. Eden Academy’s zoo trip; 2. Loid’s efforts to help teach Anya history has him crafting a spy comic book; 3. Eden Academy students discuss a trip to the moon; and 4. “Franky’s Secret Files” offer some breaking-the-fourth wall insight about Sylvia’s character design.

Notes: This title is also available digitally.  To the publisher’s credit, there is a parental advisory as a ‘T+’ (ages 16 and up) read per the book’s ‘realistic’ violence quotient.   Spy x Family, Volume 12, ironically, is really a mild ‘PG,’ as compared to some DC and Marvel titles where a parental advisory ought to have been (and wasn’t) included for vile content. 

Lastly, for those of you like me where Spy X Family, Volume 12, is one’s first experience with manga, here’s a few rules of thumb.  1. This story begins at the very back with a table-of-contents.  Hence, the book is to be read in a reverse page order (backwards to front).  It initially seems you are supposed to generally read the panels from right to left.  Sometime shortly thereafter (perhaps it’s due to the American reproduction/translation), the reading then shifts to the conventional Western left to right – at least, the dialogue still makes sense that way. 

REVIEW:

Including its quirky sense of humor, Spy X Family, Volume 12 is a fun discovery.  As both writer and primary artist, Tatsuya Endō concocts an assortment of slightly strange characters that consistently fits a classy semi-parody of spy capers.  Hence, his plotting balances the narrative’s shifting from low-key humor to character development to action scenes without missing a beat, in terms of its coherency.

While some intriguing characters (i.e. Sylvia Sherwood) receive less screen time, the compensation plays up, for instance, a seemingly good-natured Yor’s role as Loid’s ‘perfect wife’ vs. Fiona’s resentment that she didn’t get the role.  Endō, suffice to say, knows how to make good use of his cast without resorting to profanities or gratuitous violence (i.e. the extensive Loid/Yuri fight scene is kept clean).       

Though Spy X Family, Volume 12 isn’t necessarily a must-have, its intriguing content delivers a cartoony cloak-and-dagger caper.  Finding it at the library first might be the best option, as far as considering this book for purchase.   

ADDITIONAL CONTENT:

A brief dossier on the characters helpfully identifies the pertinent who’s who and provides a quick summary of the plot-to-date.  Endō’s ‘special thanks list’ credits additional collaborators on this project, along with a brief message from.  Including a personal quote, Endō has a paragraph-long biography. 

BRIAN’S OOD MOON RATING:               7½ Stars

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G.I. JOE, VOLUME 6: PLAYERS & PAWNS (DEVIL’S DUE Publishing)

Written by Brandon Jerwa.

Art by Tim Seeley; Cory Hamscher; Andrew Pepoy; Brett R. Smith; & Dreamer Design.

“Fantom”  Art by  Talent Caldwell; Jason Gorder; & Christina Strain.

Collection Cover Art by (Uncredited) – possibly Tim Seeley.

SUMMARY:

In either late 2004 or early 2005, Devil’s Due Publishing (DDP) released this 144-page collection reprinting 2004’s Issues # 28-33.  Also included from Issues # 31-33 is Wraith’s eleven-page back-up tale entitled “Fantom.”  

Destro quits COBRA to lead his own mercenary group, which includes his son, Anthony, and Mistress Armada.  The Baroness is left torn between her allegiances to her estranged husband, Destro, and Cobra Commander.  Utilizing some new recruits, the Joes execute an aquatic recon mission accessing Cobra Island’s central computer. 

In Sierra Gordo, Duke’s controversial tactics causes intense heat from Hawk & Flint, despite his capture of Destro.  Cobra Commander and the Baroness disagree on rescuing Destro.  Meanwhile, Hawk seethes over Destro leveraging his own political release in exchange for future cooperation against COBRA.

Placed on probation, Snake-Eyes & Scarlett join Falcon’s Joe unit in Badhikstan to thwart COBRA’s rival: The Coil.  While Zartan and Dr. Mindbender scheme in The Florida Everglades, Falcon’s squad is captured in the Middle East and then later released for an ominous reason.  COBRA’s assault on the Joes’ escort train pits Hawk vs. Cobra Commander.  Hawk is subsequently haunted by its tragic outcome.

“Fantom” has Mistress Armada & Anthony Destro out to recruit the world’s most notorious free agent: the mercenary ‘Wraith,’ who possesses state-of-the-art, ghost-like stealth armor.  Beach-Head and Shipwreck briefly appear, as Wraith penetrates a heavily-guarded prison demonstrating his nefarious potential.  If Wraith joins Destro’s payroll, the question becomes: who else may be facing a lethal sales pitch?  

Note: Oddly, DDP neglects to identify this collection’s issue numbers.

REVIEW:

Upon introducing six forgettable new Joes, writer Brandon Jerwa then focuses on juggling multiple storylines at once.  Though initially successful, his reliance on shifting back and forth between too many sub-plots gradually spins Players & Pawns into an unremarkable muddle.  While Jerwa’s basic plotting isn’t hard to grasp, the sheer number of characters these sub-plots necessitate frankly is, to the point of distraction (i.e. still recognizing all who’s who). 

For G.I. Joe die-hards, Players & Pawns is really more just business as usual, with COBRA’s internal strife an added bonus.  As to the tantalizing “Fantom,” it’s the best asset.  Aspen Studios’ fingerprints are obvious, as their ultra-slick visuals easily surpass DDP’s rudimentary artistic style.  Jerwa ups his game concocting the Joes’ new Iron Man-like nemesis, but this nasty serial likely isn’t enough to make the otherwise ordinary Players & Pawns a keeper.  

ADDITIONAL CONTENT:

In a full-page gallery format, ten covers are included: Issues # 28-30, # 30A-30B-Convention Exclusive, #32A-32B, and # 33A-33B (two additional covers slightly altering Wraith’s 33B cover don’t appear).  Credited cover artists include: Tim Seeley;  Cory Hamscher; Andrew Pepoy; Val Staples; Mike Norton; Talent Caldwell; Jason Gorder; Peter Steigerwald; Christina Strain; Michael Turner; & Aspen Studios. 

Based upon some unidentified signatures, DDP evidently isn’t crediting all of the covers’ contributing artists.   

BRIAN’S ODD MOON RATING:                   5½ Stars

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ALAN MOORE’S COMPLETE WILDC.A.T.S. (DC Comics/WILDSTORM Productions)

Written by Alan Moore.

Pencils by Travis Charest (1); Kevin Maguire (2); Ryan Benjamin & Jason Johnson (3-4); Travis Charest, Dave Johnson, & Kevin Nowlan (5); Travis Charest & Dave Johnson (6); Scott Clark & Dave Johnson (7); Travis Charest, Dave Johnson;, & Aron Wiesenfeld (8); Travis Charest & Ryan Benjamin (9-10); Mat Broome, Pate Lee, & Jim Lee (12); Mat Broome (13); Mat Broome & Rob Stotz (14); and Travis Charest (15).

Inks by Troy Hubbs (1); Troy Hubbs, Randy Elliott, Sal Regla, Trevor Scott, & Scott Williams (2); Art Thibert, Terry Austin, Hakjoon Kang, Andy Owens, & Harry Thuran (3); Tom McWeeney (4); Troy Hubbs, Kevin Nowlan, & John Nyberg (5); JD, Scott Williams, & Dave Johnson (6); Bob Wiacek & Dexter Vines (7); JD & Dave Johnson (8); JD; Richard Friend, Mark Irwin, & Luke Rizzo (9); Richard Friend, Sal Regla, Sandra Hope, John Tighe, Mark Irwin, & Luke Rizzo (10); Trevor Scott, Richard Bennett, & Jason Gorder (12); Troy Hubbs & Scott Taylor (13); Troy Hubbs, Scott Taylor, JD, Sandra Hope, & Trevor Scott (14); & JD (15).

Chapter 11: Jim Lee & Josh Wiesenfeld (layouts); Richard Bennett (finishes); & Travis Charest (art).

Letters by Bill O’Neil & Comicraft.

Colors by WildStorm FX; Bad@$$; & Alex Sinclair.

Collection Cover Art by Travis Charest.

SUMMARY:

Released by DC Comics in 2007, this 392-page WildStorm Productions paperback reprints WildC.AT.S. # 21-34 (1996-1997); Issue # 50 & WildC.A.T.S: Homecoming (1998); and WildC.A.T.S: Gang War (1999).  This collection is divided into fifteen chapters.

On Earth, most of the WildC.A.T.S. are believed to have died.  Despite their different objectives, Majestic & Savant recruit three replacements:  Grifter’s lecherous brother, Max; the mind-altering Tao; and killer cyborg Maxine Manchester.  The team soon initiates a counter-strike against gang warfare that becomes increasingly violent. 

In deep space, the other WildC.AT.S. actually survived, as their starship at last arrives at planet Khera.  Among them are Voodoo, the android Hadrian, EMP, Reno, & Zealot, as they’re eager to revisit their home planet.  Yet, several hundred years have already elapsed in Kherubim time.  The team, especially Voodoo, experiences harsh reality acclimating to changes pm present-day Khera (i.e. the fate of surviving Daemonites).  Amidst mixed emotions, the teammates ultimately opt to return to their true home: Earth.

Amidst the WildC.A.T.S. reunion, some members quietly leave to restart their personal lives elsewhere.  Other veterans, like Grifter, resurface to bolster the team’s short-handed roster.  More so, Hadrian’s secret origin comes to light.  A devastating explosion’s fallout reveals a traitor lurking among them.  With three teammates badly injured, a hunt commences for the mastermind manipulating the WildC.A.T.S. for a nefarious ulterior motive.

In the epilogue, the team contemplates adding a reserve squad, but an ominous letter indicates one nightmare isn’t over yet.          

REVIEW:

This project’s vast art squad contributes high-caliber visuals from start to finish.  The flip side is that Alan Moore’s quirky, adult-oriented scripting remains an acquired taste.  Keeping track of who’s who here may be enough work for casual readers, but grasping the underlying sub-plots necessitates prior knowledge of series continuity. 

Hence, established WildC.A.T.S. fans may have a potential dilemma: Moore’s creative run is intriguing and sophisticated, but it isn’t as fun as Jim Lee & Brandon Choi’s original incarnation.     

ADDITIONAL CONTENT:

A full table-of-contents specifies each chapter’s art-team.  There’s also five full-page pin-up images of various WildC.A.T.S. spread out in this book.  Pin-up artists are: Lee Bemejo & John Tighe; Carlos D’Anda & Mark Irwin (twice); Travis Charest & Troy Hubbs; and Ryan Odagawa.

In a full-page format, each cover (and its credited art team) is included.  The cover artists are:

Chapter 1: Jim Lee & Troy Hubbs;

Chapters 2-6: Travis Charest & Troy Hubbs;

Chapter 7: Scott Clark & Bob Wiacek;

Chapter 8, 10, & 15: Travis Charest;

Chapter 9: Travis Charest & John Nyberg;

Chapters 11-12: Jim Lee & Richard Bennett; and

Chapters 13-14: Mat Broome & Troy Hubbs; 

BRIAN’S ODD MOON RATING:                          7 Stars

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THE HOLLOWS: BLOOD WORK (DEL REY Books)

Written by Kim Harrison.

Art by Pedro Maia; Gemma Magno; Emam Casallos; Jan Michael T. Aldeguer; Jezreel Rojales; P.C. Siqeira; Mae Hao; & Zach Matheny.

Cover Illustration by Juliana Kolesova. Flap & Back Jacket Illustration by Pedro Maia.

SUMMARY:

Released by Del Rey Books in 2011, this 170-page hardcover graphic novel is a seven-chapter prequel to Kim Harrison’s The Hollows urban fantasy-horror series.  In an alternate-reality Cincinnati, Inderland Security (I.S.) polices the decadent  supernatural community.  As the I.S. equivalent of a plainclothes street cop, jaded vampire Ivy Tamwood is begrudgingly assigned as the senior partner of free-spirited witch Rachel Morgan. 

The twenty-something duo instantly clash over basic methodology, as they probe a werewolf’s ominous homicide.  Ivy is gradually impressed by Rachel’s investigative instincts, as their teamwork draws them closer to the deceptive truth. Yet, Rachel’s rebellious, good-natured allure triggers an underlying sexual current/blood lust from Ivy. 

Ominously, having arranged the duo’s I.S. partnership, others may share Ivy’s ulterior agenda to someday control Rachel’s destiny.   

REVIEW:

Blood Work isn’t necessarily a huge disappointment, but it still falls far short of impressive.  Though the style is reminiscent of Marvel’s Anita Blake adaptations, neither Blood Work’s rudimentary visuals nor Kim Harrison’s inconclusive plotting deliver much of anything worthwhile.  A semi-naïve Rachel Morgan is marginally likable; otherwise, Harrison’s one-dimensional cast provides minimal incentive to finish reading this storyline. 

More suggestive than flat-out gross as several of Laurell K. Hamilton’s Anita Blake stories are, Blood Work’s premise occasionally presents glimmers of potential.  The problem is that this supernatural-cop murder-mystery concocts an utterly blah read. To give Blood Work the comparative benefit of the doubt, trying one of Harrison’s Hollows novels first makes the most sense. 

ADDITIONAL CONTENT:

Harrison presents a single-page introduction.  Brief bios on Harrison & artist Pedro Maia are provided.  Maia’s eleven-page project sketchbook explores the visual look he created for Blood Work’s pivotal characters (under Harrison’s supervision).  A three-page guide delves into Blood Work’s production.  Lastly, there’s a three-page Del Rey interview with Harrison.

BRIAN’S ODD MOON RATING:                           3½ Stars

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RUSE, VOLUME 1: ENTER THE DETECTIVE (CROSSGEN Comics)

Written by Mark Waid.

Art by Butch Guice; Mike Perkins; Laura DePuy; Dave Lanphear (Issues # 1-5).

Art by Jeff Johnson; Paul Neary; Jason Lambert; & Dave Lanphear (Issue # 6).

Cover Art by Butch Guice & Laura DePuy.

SUMMARY:

Compiling Issues # 1-6, from 2001-02, CrossGeneration Comics (CrossGen Comics) released this 160-page paperback in 2002.  Set in the Victorian Age, the fictional English coastal city of Partington is London’s equivalent where pompous master sleuth Simon Archard is its resident Sherlock Holmes.  His associate is a glamorous and enigmatic young blonde, Emma Bishop, who possesses supernatural powers (i.e. freezing time) that she must keep secret from Simon.  Ruse is told through Emma’s adventurous, down-to-earth narrative. 

The first arc (Issues # 1-4) pits the British duo vs. the nefarious Baroness Miranda Cross, as her mind-controlling powers turns the city against its favorite son.  Emma ominously discovers that she isn’t Partington’s only witch.  Framed for murder, Simon doesn’t realize that Emma’s magic may be his only hope in a fiery showdown.

With Simon unavailable, Issue # 5 has the Partington police calling upon Emma to unmask a Jack the Ripper-like serial killer.  Utilizing Simon’s odd assortment of informants, Emma proves her value as a sleuth in her own right.  In Issue # 6, while attending a nightclub’s magic act, Simon & Emma discover that his homicidal ex-partner (and master-of-disguise), Malcolm Lightbourne, has returned for some unknown reason.    

Note: Ruse ran twenty-six issues.  Issues # 7-12 are compiled for Ruse, Volume 2: The Silent Partner.

REVIEW:

The series title is apt.  On its surface, Ruse imagines Sean Connery (in his James Bond prime) as an ultra-suave Sherlock Holmes … with some elements of The Avengers’ Mr. Steed and Mrs. Peel included for good measure.  Then again, perhaps a comparison to Remington Steele isn’t too far off.  Make no mistake, Emma Bishop is Ruse’s real star, as she is both likable and endearing.  An aura of mystery shrouding her true nature (not to mention, why she is compelled to protect Simon) is another welcome asset.   

In contrast, Simon Archard’s deductive brilliance is no excuse for the insufferable jerk he is, as writer Mark Waid should well know.  There lies the gamble of enjoying Ruse: why should readers (let alone Emma Bishop) even care about the condescending Simon Archard?  Compensation comes in the form of Emma’s contributions to the storyline (as she is often thinking what the audience likely is). In that sense, Waid’s scripting is often inspired.  More so, Ruse’s plot twists hurdling its occasional contrivances are worth the price of admission.

The best component, however, is the art squad’s gorgeous visuals.  Though Issue # 6’s artistic quality declines a bit, it’s still on a par with Marvel and DC.  As a worthy (and not so stuffy) alternative to reading the traditional Holmes, Ruse: Enter the Detective merits a chance at re-discovery.             

ADDITIONAL CONTENT:

The six covers are provided in a full-page format.  Guice and DePuy co-created the first five covers.  DePuy joined Jeff Johnson & Mark Pennington for Issue # 6’s cover.  Starting the first few chapters are front page excerpts from Partington’s The Penny Arcadian newspaper.   

BRIAN’S ODD MOON RATING:                    8 Stars

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BEST OF JOSIE & THE PUSSYCATS, VOLUME 1 (2001)

Written by (Credits Not Provided)

Art by (Credits Not Provided)

Compilation Cover Art by Rex W. Lindsay & Rosario “Tito” Peña

SUMMARY:

Released by Archie Comics in 2001, this 96-page compilation reprints ten tales, plus some select panels, spanning a quarter-century between 1963 and 1988.  The contents are:

“A Gym Dandy” (She’s Josie # 1 – February 1963): High school kids Josie & Pepper are invited by wealthy classmate Alex Cabot to try out his private home gym.  Josie McCoy, Melody Jones, and Alexander Cabot III are introduced, as are occasional supporting players Pepper and Albert.

One-page sample: The debut of Alexandra Cabot (She’s Josie # 8 – September 1964).

One-page sample: The debut of Alan M. (Josie # 42 – August 1969). 

One-page sample: The origin of Alexandra’s striped hair and Sebastian the Cat’s magical powers (Josie # 43 – September 1969).

“Decisions, Decisions” (Josie & The Pussycats # 45 – December 1969).  Refusing Alexandra’s demands to front their band, Josie & Melody opt to take Alexander’s unexpected suggestion for a third bandmate.  Valerie Smith makes her debut.

“Pussy Footing”  (Josie & The Pussycats # 45 – December 1969).  Playing their high school’s dance that night, the girls’ trademark outfits first appear.

“Quiet on the Set”  (Josie & The Pussycats # 50 – September 1970).  ‘Previewing’ their new animated TV series, the team visits Hanna-Barbera Studios in person.  The story includes comic book versions of TV animation legends Joseph Barbera, William Hanna, Bill Spears, and Joe Ruby.

One-page advertisement for the CBS Josie & The Pussycats animated TV series debut (Josie & The Pussycats # 50 – September 1970).

“Brawn is Beautiful” (Josie & The Pussycats # 53 – February 1971).  To eliminate him as a rival for Josie’s affections, Alex fires Alan M. from the group.  This tactic inevitably backfires.

“Ban the Blonde” (Josie & The Pussycats # 56 – August 1971).  Josie & Valerie are exasperated by a clueless Melody’s sex appeal impacting a lot of their male fans’ jealous girlfriends.  It’s time to take action after the irked girlfriends stage a public protest against the Pussycats.

“The Early Worm Gets the Bird”  (Josie & The Pussycats # 56 – August 1971).  Guest star Archie Andrews joins Alan M. and the girls for some early morning fun at the beach.

“The Ghost of Dark Valley Manor” (Josie & The Pussycats # 57 – September 1971).  Reminiscent of their TV series, this three-part tale has Alex arranges for a Pussycats rehearsal inside a haunted house.

“Up, Up, and Away!” (Josie & The Pussycats # 58 – October 1971).  The girls get literally carried away in a hot air balloon before tangling with an art thief.

One-page sample: A glimpse at the Pussycats’ 1980s MTV punk rock makeover (Archie Giant Series Present Josie & The Pussycats # 540 – August 1984).

“Limo Rock” (Archie Giant Series Present Josie & The Pussycats # 562 – August 1986).  Alex arranges for the girls to film a live music video inside his ultra-deluxe limousine.

“Cat at the Crossroads” (Archie Giant Series Present Josie & The Pussycats # 584 – September 1988).  Worried that she’s under-talented and hurting the band, Josie contemplates quitting and moving on with her life.  For their next gig, Valerie & Melody must reluctantly accept Alexandra as Josie’s replacement.

Note: Archie Comics claims that the inclusion of samples is due to space considerations.

REVIEW:

Considering the slim page count, it’s disappointing that Archie Comics occasionally skimps by resorting to samples vs. the actual stories.  However, this cheerfully undemanding assortment should still please adults in a nostalgic mood.  Young fans may invariably deem the tame humor far too old school for their tastes.  Rest assured that some timeless chuckles will hit their mark with anyone. 

With solid production values, this nice sampler is ideal for collectors interested in perusing Josie & The Pussycats in their vintage form.     

ADDITIONAL CONTENT:

Paul Castiglia provides a two-page introduction contemplating Josie and The Pussycats’ enduring impact on pop culture and girl rock groups inspired by them.  There are also interior front cover (outer space) and interior back cover (skiing) illustrations, but the artists aren’t identified — though it’s probably Lindsay & Peña. 

A table-of-contents identifies each story or sample’s historical source.  Cover reproductions aren’t included.

BRIAN’S ODD MOON RATING:             6½ Stars

Note: Archie Comics has released at least other same-named Best of Josie & The Pussycats paperback; this alternate volume is 400+ pages.

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THE MAGIC OF SABRINA THE TEENAGE WITCH

Written by Bill Golliher; Holly G!; Abby Denson; & George Gladir

Art by Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen

Cover Art by Holly G! & Rosario “Tito” Peña

SUMMARY:

Released by Archie Comics in 2011, this 128-page compilation are reprints taken from issues first published in 2003-2004 (the source issues aren’t specified).  The fifteen stories are:

“Internet Threat, Parts 1-2”  Written by: Bill Golliher, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Grounded for a week, Sabrina & Salem still get into some internet mischief.

“Spell Trouble, Parts 1-2” Written by: Holly G!, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  A slumping Sabrina is enrolled by her aunts in an after-school spelling tutorial class.  Sabrina soon meets fellow teen magician, Shinji, who may become Harvey’s romantic rival. 

“All’s Fairy” Written by Bill Golliher  with Art by Holly G! & Al Nickerson.  Aunt Hilda’s good-natured generosity causes the house to be overrun by pesky faeries.

“Purr Pals” Written by Bill Golliher, with Art by: Golightly (Holly G!?) & Al Nickerson.  Josie & The Pussycats make a cameo appearance, as Salem seeks out some new feline friends. 

“Between a Rock and a Hard Place!” Written by Holly G!, with Art by Holly G! & Al Nickerson.  Egged into claiming she has a rock band, Sabrina tries thwarting arch-rival Amy at the school talent show to impress Harvey.

“Sabrina Who?, Parts 1-2”  Written by Bill Golliher, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Enchantra spitefully casts a spell on Sabrina’s family to no longer remember her.  It’s up to Sabrina and a talking squirrel, with her own secret, to confront Enchantra at Salem’s transformation hearing.

“Model Witch” Written by Holly G!, with Art by: Holly G! & Al Nickerson.  Sabrina is interviewed by two fellow witches about life as a half-mortal teen sorceress.

“Danger from the Deep, Parts 1-3”  Written by: Bill Golliher, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Sabrina tangles with a nefarious mermaid over an oblivious Harvey.    

“A Haunting We Will Go, Parts 1-2” Written by: Bill Golliher, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Sabrina and her pals attempt a sleepover at haunted Lakewood Manor for a school newspaper story.  Then, the manor’s resident ghosts follow Sabrina home.

“Charm School, Parts 1-2”  Written by: Bill Golliher, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Required to attend Charm School, Sabrina reunites with her friend, Llandra.  They encounters a new rival: Enchantra’s daughter, Lilith.

“Bikini Babes”  Written by Abby Denson, with Art by: Holly G! & Al Nickerson.  Sabrina & Julie hit the beach where a self-esteem spell on Julie has unexpected complications.

“It’s My Party”  Written by Bill Golliher, with Art by: Holly G! & Al Nickerson.  With her aunts out of town, Sabrina’s Charm School classmates (including Shinji) descend on her house for a party, along with Harvey and his friends. 

“It’s in the Cards, Parts 1 & 2”  Written by: Abby Denson, with Art by: Holly G!; Al Nickerson; Vickie Williams; & Jason Jensen.  Going inside the Magical Monsters card game, Sabrina & Shinji have a friendly face-off.

“Frost Bite”  Written by: Holly G!, with Art by: Holly G!; & Al Nickerson.  Suffering from a cold, a literally blue Sabrina meets Jack Frost.

“Zap Flap”  Written by George Gladir, with Art by: Holly G! & Al Nickerson.  Going back to beach, Sabrina’s magical powers go awry due to a shifting planetary alignment.     

REVIEW:

It’s a nice, modern assortment for Sabrina fans of any age.  Both the stories and their accompanying artwork are consistently compatible for an easygoing read.  Even if these tales aren’t must-haves, The Magic of Sabrina the Teenage Witch is still reasonably well-played.

ADDITIONAL CONTENT:

There’s a full-page pin-up of Aunt Hilda brewing hot chocolate for Sabrina and Salem.  It’s actually a cover reprint of Issue # 52.  However, it’s only the cover reprint in the book.

BRIAN’S ODD MOON RATING:                              6½ Stars

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BATMAN ’66 MEETS MR. STEED & MRS. PEEL (DC Comics/Boom! Studios crossover)

Written by Ian Edginton

Art by Matthew Dow Smith; Wendy Broome; Jordie Bellaire; Carrie Strachan; & Wes Abbott

Cover Art by Michael Allred & Laura Allred

SUMMARY:

In 2016, DC Comics and Boom! Studios team the 1960’s two most iconic TV crime-fighting partnerships: Batman & Robin and the U.K.’s The Avengers in a six-issue mini-series.  Their 144-page collaboration was then released as a trade paperback in 2017. 

At a Gotham City museum, Bruce Wayne and British industrial heiress Michaela Gough witness a brazen attempted theft by Catwoman’s crew of the invaluable White Star Diamond on loan from England.  Intervention by British Secret Service operatives John Steed and Emma Peel thwarts the near-heist.  A greater mystery unfolds once an army of upgraded Cybernaut androids descends on the Batcave.  Linking these well-dressed robot thugs to Lord Ffogg and Mr. Freeze, the Dynamic Duo joins their new British allies for a climatic showdown in England.

Notes: Presumably, for legal purposes, the only time The Avengers TV series is referenced by name is on the title credits page.  The name of ‘Michaela Gough’ is evidently an in-joke referring to actor Michael Gough’s ‘Alfred’ in four Bat-movies (1989-1997).

REVIEW:

In theory, this crossover implies intriguing potential, as these TV franchises should have easily meshed.  Yet, writer Ian Edginton’s sub-par script falls short of even modest expectations.  His sole highlight is an obligatory fashion comment from Julie Newmar’s Catwoman re: Mrs. Peel’s own black cat-suit. 

Instead of recruiting an ideal Bat-villain (Joker, Riddler, or Penguin) to get his naughty paws on Cybernauts and/or possibly present a Batgirl/Emma Peel team-up, Edginton opts for the ultra-bland tandem of Lord Ffogg and Mr. Freeze.  Seriously?  Hence, Catwoman’s brief cameo is a mere afterthought, as far as including an A-list Bat-villain. 

To define the story’s ineptitude, try this preposterously campy plot twist.  Specifically, an undercover Batman & Robin arrive in England (dressed as Bruce Wayne & Dick Grayson, no less) under false identities sporting only phony pencil moustaches.  How no one doesn’t easily deduce the Dynamic Duo’s secret identities isn’t addressed, especially as Batman & Robin stupidly identify themselves aloud over and over again.  A

similar gaffe applies to a villain’s earlier pinpointing of the Batcave’s location without drawing any obvious inferences re: stately Wayne Manor.  There’s some minor compensation when yet another familiar somebody does plausibly deduce the Caped Crusader’s secret identity — yet, any faint hope this twist might boost Edginton’s storytelling quickly evaporates.

If one is assuming surefire visuals will compensate for mediocre plotting, then readers are out of luck.  Further squandering this project is the art squad’s shockingly poor watercolor visuals.  Case in point: far too few panels (i.e. a Batman image on page 38) remotely resemble anything big-league caliber.  Considering the artistic resources available to DC Comics and Boom! Studios, why such an amateurish creative style was deployed defies common sense.  Frankly, the vast majority of this book’s visuals shouldn’t have been released. 

Low-grade in virtually every aspect, Batman ’66 Meets Steed and Mrs. Peel is an atrocious tag-team effort from Boom! and DC.  Its sole redemption is that this book is kid-friendly, even if young Bat-fans will likely deem it an instant bore. 

ADDITIONAL CONTENT:

Broken into twelve chapters (per the mini-series’ digital form), this book has a table of contents.  Included are full-page cover reprints by Michael Allred & Laura Allred, which are a welcome improvement over the shoddy interior artwork.  An extra variant cover for Issue # 1 by artist Cat Staggs offers nice photo-realistic visuals of actors Adam West, Burt Ward, and Julie Newmar (as Batman, Robin, and Catwoman).  Yet, this same standard doesn’t apply to Patrick Macnee’s John Steed and Diana Rigg’s Emma Peel.  Instead, their scowling faces are inexplicably skewed.    

Of the full-page watercolor portraits showcasing the story’s pivotal characters, the art quality descends from good (Batman and Steed) to inexcusable (Mrs. Peel, Michaela Gough, and Catwoman).  Suffice to say, the Peel, Gough, and Catwoman portraits are early elementary school quality.  Yet, Matthew Dow Smith’s four-page character design gallery (Batman; Robin; Batgirl; Steed; Catwoman; and Mrs. Peel) preview actor likenesses better than the final product.  In this instance, Dow Smith’s take on conveying Macnee’s Steed is actually pretty good.

BRIAN’S ODD MOON RATING:                     2½ Stars

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BATMAN & THE SHADOW: THE MURDER GENIUSES (DC Comics/Dynamite Entertainment crossover)

Written by Scott Snyder & Steve Orlando

Art by Riley Rossmo; Ivan Placencia; Clem Robins; & Deron Bennett

Cover Art & All ‘A’ Covers by Riley Rossmo

SUMMARY:

Released in 2018, this 168-page DC Comics/Dynamite Entertainment crossover compiles its prelude from Batman (Rebirth) Annual # 1 and the complete Batman/The Shadow # 1-6 limited series.  In Gotham City, upon linking the vile homicides of billionaire Barry O’Neill and a Arkham Asylum employee named Lamont Cranston, Batman obsessively seeks to bring the long-dead Shadow to justice. 

The Dark Knight suspects the original Cranston somehow faked his death decades before and has now killed his own namesake descendant for some devious motive.  Batman tracks down the Shadow’s surviving allies for possible answers.  Yet, Gotham’s Caped Crusader is stunned to discover murky links to his own past and that of the Wayne Family. 

Once Batman and his quarry call a temporary truce, the diabolical killer known as ‘The Stag’ makes a preemptive strike.   To snare a final victim, the Stag recruits the Joker to help access evil’s answer to Shangri-La — the realm known as Shamba-La.  Mortally wounded, Batman’s only hope is trusting a Golden Age legend, who doesn’t mind using lethal force.  

Note: Also available is a different The Shadow/Batman team-up hardcover by Steve Orlando and artist Giovanni Timpano from 2018.

REVIEW:

Had this book been a DC Elseworlds team-up, Batman and the Shadow’s noir-ish Golden Age worlds should have easily meshed.  That isn’t the case with The Murder Geniuses.  Instead of a grim wartime caper, this story resurrects Lamont Cranston as a 21st Century anachronism ‘overshadowed’ by the present-day Batman.  Squandering its potential, the scripting from co-writers Scott Snyder & Steve Orlando prolongs itself by becoming increasingly contrived.  Case in point: the Shamba-La showdown merely exacerbates the plot’s dual lack of coherency and consistency. 

Primarily, Snyder & Orlando’s loose portrayals of Lamont Cranston’s Shadow and ex-girlfriend Margo Lane are out-of-tune from their established personas.  Short of extreme old age, it doesn’t make sense how the Shadow’s adult cronies (i.e. Margo Lane &  Harry Vincent) could conveniently still be around almost twenty years into the 21st Century. 

Then again, in order to accommodate Batman’s domineering role, it isn’t surprising that this Shadow does his original incarnation little justice (short of the tantalizing possibility of Batman facing off vs. Cranston’s vengeful ghost).    

By portraying the Dark Knight as so vehemently self-righteous and all-knowing in his pursuit of the Shadow, the writing duo fails to properly balance the Batman-Shadow pendulum.  Part of this gaffe involves far too much linking of a skeptical Batman’s past to the Shadow.  Instead of a few discreet inferences, Snyder & Orlando opt for overkill.  Their retroactive angle for the Shadow as Batman’s ‘secret’ mentor invariably proceeds to backfire.  Hence, Batman’s seemingly fatal injury becomes a mystical cop-out instead of a satisfying finish.

Further, the Joker’s presence merely exploits an obligatory Batman/Shadow vs. Stag/Joker tag match.  In that sense, The Murder Geniuses is paint-by-the-numbers.  While the Bat-villains make a collective cameo, no explanation is given re: why the abundant Bat-Family isn’t available. 

In this scenario, when a rightfully-worried Alfred makes an emergency call — where is Catwoman? Damian Wayne’s Robin? Batwoman? Nightwing?  The Justice League? etc.  Instead, readers are left to swallow Alfred’s judgment that only Commissioner Gordon’s cops can save Batman.  To the writers’ credit, some dangling plot threads (i.e. What is the Shadow’s enigmatic link to the Wayne Family? What other Bat-characters might have the Shadow impersonated?) are left for another time.

As compensation, the art team’s neat visuals are above-average.  The top-caliber covers and multiple variants provide the book’s best asset.  By favoring style over substance, this book’s artwork only disguises a litany of plot holes so much.  It’s as if far more time and effort was spent on devising cool cover images than problem-solving an undercooked storyline.

ADDITIONAL CONTENT:

All the covers and variants are included in a full-page format.  Artists Tim Sale & Brennan Wagner provide the ‘B’ covers for all six issues.  The alternate ‘C’ cover artists are: Cliff Chiang (Issue # 1), plus an extra unused cover from Riccardo Federici; Chris Burham & Nathan Fairbairn (Issue # 2); Edward Risso (Issue # 3); Steve Epting (Issue # 4); Francesco Mattina (Issue # 5); and ‘Jock’ (Issue # 6).

BRIAN’S ODD MOON RATING:                      5½ Stars

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Comic Books & Graphic Novels Independent Hardcovers & Trade Paperbacks Independent Publishers (Comic Books & Graphic Novels)

PROJECT SUPERPOWERS, CHAPTER 1 (DYNAMITE Entertainment)

Written by Alex Ross & Jim Krueger 

Art by Stephen Sadowski; Douglas Klauba; Carlos Paul; Inlight Studio; Debora Carita; & Simon Bowland

Original Cover Art & Collected Edition Cover Art by Alex Ross

SUMMARY:

Released in May 2009 by Dynamite Entertainment, this 264-page paperback compiles the inaugural # 0 and the first seven issues of Project Superpowers.  Elderly recluse (and ex-World War II super-hero) Bruce “Fighting Yank” Carter III is prodded into action by an ethereal American flag.  It’s up to Carter to undo a grave sin he committed sixty years before by stalking and imprisoning virtually all of his fellow super-heroes inside Pandora’s Box.  Compelled by his own ghostly ancestor, Carter had rationalized his friends’ eternal captivity would neutralize the world’s permeating evils.      

With help from the Green Lama, Carter finds that now destroying Pandora’s Box (it resembles an urn) has unleashed a new chaotic age on Earth.  Suffering varying degrees of bewilderment, mutated heroes resurface scattered across the globe.  By freeing his old friends, Carter senses they represent the world’s last hope against technological tyranny that has wreaked havoc for decades without opposition.  Deploying some of Carter’s treacherous ex-allies, the ominous council known as The Supremacy has its own shadowy agenda re: Earth’s future that necessitates these Golden Age heroes be destroyed once and for all.   

Notes: This title was first printed as a hardcover in December 2008.  Entitled “Chapter Two,” the thirteen-issue sequel was divided and released as two separate volumes between 2009 and 2010.  Further, there have been multiple mini-series/spin-offs and sequels. 

REVIEW:

Masterfully repackaging Golden Age characters in the public domain, co-writers Alex Ross & Jim Krueger conjure up a super-hero opus worthy of DC, Marvel, and Image Comics.  With the urn’s prisoners mutated by their half-century ordeal, characters, such as Death-Defying Devil, Mr. Face, Masquerade, Samson, and The Black Terror, convey intriguing counterparts to Marvel’s Invaders and DC’s Justice Society/All-Star Squadron.  Further, the central sub-lot re: the Yank’s  redemption is well-played in terms of propelling this epic’s narrative.

As new characters are unleashed each issue, Ross & Krueger enjoy a welcome sense of unpredictability in playing out their plot twists.  In that sense, one might think that Project Superpowers reiterates themes seen in Alan Moore’s Watchmen, Marvel’s mid-80’s Squadron Supreme, and James Robinson’s DC Elseworlds: The Golden Age.  In a brilliant stroke of realism, having both sides of the global conflict resort to the self-appointed savior card by appealing to the world’s masses through television speaks to the fickleness of public perception.  

The downside is that their scripting weakens late in the game and/or becomes unnecessarily repetitive – i.e. how could an elderly and badly wounded Yank single-handedly rout a horde of atomically-powered henchmen?  Afterwards, how many confrontations do readers really need between Yank, the American Spirit, and his cursed ancestor?  In the worst instance, the climactic battle loses credibility – logically, there should be casualties on both sides in a dramatic last stand – without them, the storytelling fails readers.  Ross & Krueger, despite all their great ideas, should have tightened their script’s bolts at this juncture more effectively, so the finish line packs more of a wallop. Hence, some poignancy would have been appreciated at this stage of the Ross-Krueger epic.    

While Ross focuses on strong co-writing and top-caliber cover visuals, the project’s interior art team should be commended for consistently strong imagery.  Exemplifying classiness, the use of gore (as in the F-Troop sequences) isn’t sensationalized in a shallow ‘ain’t it cool?’ manner – it’s handled surprisingly better than the industry norm.  Delivering a first-class epic read, Project Superpowers, Chapter 1 gradually becomes addictive in the best possible way.      

ADDITIONAL CONTENT:

Dynamite Entertainment President Nick Barrucci offers a brief foreword.  Ross acknowledges a personal friend, Don Strueber, as the likeness for the elderly Yank.  A table of contents lists the smorgasbord of bonus features:

  • Two full-page alternate covers by artists Michael Turner & Peter Steigerwaldt;
  • The Fighting Yank’s full-page War Journal entries by Alex Ross & Inlight Studio, separately consisting of:
  • Fighting Yank; The Green Lama; The American Spirit (note: look for Captain America’s silhouette cameo);  Black Terror; and The Death-Defying Devil; 
  • Dynamic Man & The Dynamic Family; The Mighty Samson; Masquerade; Pyroman; & The Flame; 
  • Police Corp; The Arrow; The Crusaders; The Scarab; The Owl; Mr. Face; Hydro; The Target; & F-Troop.
  • Golden Age characters reference guide by Ross & Inlight Studio (note: many characters wait  until Chapter 2);
  • Character sketches, designs, & concept art by Ross, Stephen Sadowski, & Dou Klauba; 
  • Brief teasers for spin-offs starring Black Terror, Death-Defying Devil, & Masquerade.

BRIAN’S ODD MOON RATING: 9 Stars