Black Panther (1998) #32 [2001] W: Christopher Priest. A: Bob Almond. The art’s great and the writing, when Priest takes a breath, is fine, but the issue’s a rapid mess. One thread starts, then another, then another, then another. One gets resolved, another, then another starts. Instead of an erratic narrator, Priest goes with manipulative third person, getting the ducks rowed for later. It’s compelling, competent, but slight.
Elise and the New Partisans (2024) OGN W: Dominique Grange. A: Jacques Tardi. Semi-autobiographical account of sixties and seventies French political activism. The titular ELISE is based on writer Grange. As an intro to French history, it’ll need multiple reads; as a narrative, Grange and Tardi do a beautiful job juggling detail, information, and character. Grange and Tardi are married, so there’s probably a reason ELISE holds her cigarettes that way.
Kull and the Barbarians (1975) #1 W: Roy Thomas, Gerry Conway. A: Ross Andru, Wally Wood, Marie Severin, John Severin, Gil Kane, Ernie Chan. After an editor’s note explaining eventually, KULL will feature a variety of Robert E. Howard’s non-CONAN characters in an anthology. Except this issue’s just origin reprints. And only of KULL. It’s a solid enough adaptation, if a little lethargic at times. The Severin half is the best art in the book. Then, another reprint; this one middling.
Sara (2018) TPB W: Garth Ennis. A: Steve Epting. Awesome Ennis war comic™ about a lady Russian sniper in World War II. Familiar territory for Ennis, except here he concentrates entirely on his protagonist and narrator. The book’s about what makes her tick and how that ticking manifests. Gorgeous art from Epting. SARA is one of Ennis’s strongest finite protagonists, her reserved, calm demeanor a wealth of character.
The Land That Time Forgot: Fearless (2025) TPB W: Mike Wolfer, Fritz Casa. A: Mike Wolfer, Mario Zimprich. Collection of two different series, both involving an original character (a renegade cavewoman who rides dinosaurs and fights the good fight), and the source novel’s flying monsters. The longer story, a direct sequel to the original novel (but really a setup for a connected universe), has better art. Shorter story has better story. Neither are notable creatively, just anecdotally.
The Muppets Noir (2026) #1 WA: Roger Langridge. Delightful first issue from Langridge sets up Kermit as noir-era P.I. Flip Minnow, who’s trying to find a missing dame (Miss Piggy). Langridge’s art is spot on–the first few pages have a gaggle of MUPPETS cameos–but the magic’s the dialogue. You can hear the Muppet Performers telling the bad jokes. Gorgeous colors from Dearbhla Kelly.
Zoot! (1992) #4 [1993] WA: Roger Langridge. Very uneven issue spends most of its pages on an absurdist lyrical piece. The writing, art, and repetition in both make a nice rhythm even though the execution’s the thing. The rest of the issue, mostly featuring too short check ins on the ongoing strips. Except none of them have enough pages to really have anything going. Gorgeous art.
Zoot! (1992) #5 [1993] WA: Roger Langridge. Nice awkward in the extreme strip about an annoying guy ruining a couple’s date. It’s beautifully paced. Then another entry in the ongoing story–it’s got some good jokes throughout but it’s also unpleasantly mean-spirited at times. Maybe it’ll play off. Maybe. Roger’s got solo writer credit on the last feature. Some decent prose, but it’s overly quirky.