#and the answer is i have a lot of dinah panels saved and i wanted to do something with them

[tbcanary]

Dinah Lance, the Black Canary 🖤

[cinebration]

Choose Where (Victor Zsasz x Reader) [Part 11]

THE END. Thank you all so much for sticking around!

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 

Tagged: @im-just-one-of-the-avengers, @strangeaddiction1306, @vaaalexandra​, @marvelenthusiast10​, @thefandomqueen2882​, @33rie33​, @cassiopeia-barrow​

Warnings: cutting, mutilation, blood

Image Source: directedbysnyder

The club was empty when you returned the following day. No note. You didn’t ask around to find out where Zsasz had gone. You merely threw yourself into the work.

As the only person left in charge of Roman’s operation, courtesy of the CFO paperwork you had filed months before, you took over.

The first thing you did was tear down the torture wallpaper with your bare hands.

For the next few months, you ripped out every piece of art in the place but for the big black hands and eyes framing the stage. You bought new furniture, replacing the tables and stools. The booths you reupholstered in maroon. You changed the lighting, keeping it warm but no longer seductive and red. You tore down the walls and replaced them with mahogany wood.

You went so far as to get rid of every single bottle of liquor in the place, ordering replacements for later.

Once in a while, when you were alone and everything was quiet, you swore you could feel fingertips ghosting over your scars, could hear Zsasz’s laughter down the halls. It took all of your effort and daily exhaustion to avoid thinking about him. All you knew was that Harley and the Birds of Prey were still alive.

The day before the grand reopening of the club, Dinah walked through the door.

You nearly leapt out of your skin. Smiling weakly, you waved her over to where you were sitting at the bar going over the bar food menu for the sixth time. “Drink?”

Dinah shook her head. “I’m not staying. I wanted to check it out.” She looked around the room. “It looks different.”

“That was the point.”

“Better, for sure.”

“I wanted to go for a speakeasy vibe. I even hired a jazz band,” you said. Eyeing her warily, you asked, “What’s new with you?”

You had never seen her so happy, so relaxed. She sat down on a stool beside you. “You’re some sort of money whiz, right?”

You arched an eyebrow. “Sort of.”

“I was hoping you could help me out. My friend can’t access her money. It got frozen in her accounts.”

“Ah.” You tapped the menu with your pen. “Your friend wouldn’t be Helena Bertinelli, would it?”

Dinah drew back. “How did you know that?”

“I’m a money whiz. The Bertinelli fortune is impossible not to hear about.”

“Can you do anything about it?”

You stared into her imploring eyes. “My relationship with Wayne Industries prevents me from helping out a vigilante group,” you said carefully. “I need them to protect me.”

“From what?”

“You don’t think other assholes want Roman’s empire?”

Dinah frowned. “We can protect you.”

“I need the Wayne Industries investments to keep this place open. But…I can tell you that you and your friends can get the money back if you find the banker who froze them.” You looked at her sideways. “I’m sure all he’ll need is a little persuasion. Of the ass-kicking variety.”

Dinah smiled. “We’re good at that.”

“I can get you the name. But that’s it.”

“Thank you.” Dinah glanced at you. “Are you sure you don’t want to join us? Get out of this place?”

You laughed. “I kick numbers and stock markets and investors, not ass.”

“Helena’s fortune is a lot of money to manage.”

“Thanks, but no.”

Sighing, Dinah stood and glanced around the room once more. “How can you stand it here?”

You spun in the stool, surveying the wood-paneled space. “I remade it on my terms.”

“Why did you keep the name? And those,” she said, gesturing to the sculpture on the stage.

“I figured it was the perfect ‘fuck you’ to Sionis.”

Dinah laughed, her voice swelling to fill the space. She left, the laughter trailing after her.

The next night, the grand reopening went spectacularly. The speakeasy vibe drew a different crowd. The jazz band filled the air with soothing rhythms. No man threw a tantrum and made women dance against their wills atop tables.

At 2am, closing time, you sat up in the office by yourself, hyper aware of your solitude. As though moving through water, you closed up the bar and returned to your shitty apartment, feeling hollow and hating every second of it.

Scar greeted you at the door. Sweeping him up in your arms, you threw yourself onto the couch and cradled him, hoping his purring would soothe you.

Two quiet knocks sounded on your door. With a sigh, you dragged yourself off the couch.

“Mrs. Robinson,” you called, opening the door, “I don’t have—”

You couldn’t breathe.

Zsasz looked the same as he had the last time you had seen him. Nearly. The rage and hurt were gone, his dark eyes cautious. You stepped aside, expecting him to storm through the door as was his way.

He walked past you slowly, hesitant. When the door shut, he turned and said, “You changed the club.”

You felt yourself deflate. Of course. It always came back to Roman. “Look—”

“It looks better.”

You blinked. “Thanks…” Determined to hurt yourself, you added, “Sionis would’ve hated it.”

“Not if you convinced him it was his idea.”

You wanted to laugh, but the sound died in your throat.

Scar nosed at Zsasz’s shoes, trying to place his scent. Zsasz crouched down to run a hand over his fur. “Hey, little guy. He’s so big now.”

“Yeah.”

You wanted to ask him where the hell he’d been, but you kept your mouth shut. He’d leave soon enough, you told yourself.

“Why are you still living here?” Unlike the previous times he’d asked, the question wasn’t vehement or judgmental. If anything, his voice sounded…sad.

“Look,” you said, fighting the pain growing inside you, “just say or do whatever you came here for.”

Zsasz straightened slowly. Adam’s apple bobbing, he opened his mouth to speak, hesitated. He rubbed the back of his neck, patted his hair as he struggled to find the words. Your heart strained in your chest, stomach twisting as the silence stretched.

“I had to bury Roman,” he finally said. “He was…”

“You loved him,” you said quietly. “And he loved you, in his own selfish, twisted way.”

He nodded. “One day, I will get my revenge,” he said, the words coming out slowly. He met your eyes. “But not today.”

It was a start. “I can accept that.”

Relief washed over his features before another expression overshadowed it, his gaze intense. “Good.”

He seized your face in his hands and pressed his lips to yours.

It was as though a dam within you burst. All the hurt and the worry and the frustration he caused you flooded forward, pouring itself through your lips. You wanted to hurt him and hold him and save him and be the reason for his destruction.

“I know,” he murmured against your lips, breaking away for a second. “I know.”

Backing you up against the door, he kissed you with ravenous desperation, a starved man aching to consume you. You couldn’t think past the heat of him, the taste of his mouth, the strength of his tongue. He lifted you up, wrapping your legs around his hips, his body melding to yours.

You gasped for air, lips bruised from the intensity of the kiss. He dragged his mouth down your neck to your collarbone, lathed his tongue over the scar there. Your head tipped back against the door.

“You’re getting a new apartment,” he grunted. “No argument.”

“Fine,” you answered before reclaiming his lips. Growling, he pivoted away from the door, seeking the bedroom. A few strides and you both were on the bed, his body firmly seated between your legs. Your hands skated over his belt and tugged his shirt free of his pants, searching for skin. God, did he burn.

Tugging upward, you broke the kiss to let him yank the shirt off. Your hands slid to his belt.

“Wait.”

“Don’t tell me to wait,” you hissed. “I’ve been waiting.”

Staring into your eyes, he withdrew the knife from his pocket. For a moment, you felt a tinge of panic spike through you, but it passed as quickly as it had arrived.

“Choose where,” he whispered.

“What for?”

“On me,” he said. “So I don’t forget.”

Stunned, you let your gaze drop to his chest. Your hand traced the map of scars there, feeling each ridge. Just over his heart was a wide open space of unblemished skin. You tapped your finger there.

He rolled, taking you with him. Straddled on his hips, you looked down at his reverent expression. Taking the knife, you pressed the blade against the spot you had chosen, ghosting it over his flesh. He shivered, breath hitching in his throat. His hips bucked up against yours out of reflex.

“An X,” he said, breathless.

“Why?”

“One for each of yours.”

Heart stuttering, you set the knife against his skin, cutting deep. He tensed beneath you, grunting. His hands tightened on your hips as you made the second slash across the first. He sat up, blood running down his chest, and kissed your collarbone scar and your forehead one before staring into your face, a hand cradling your cheek.

“I know who you are now,” he said.

It took you a moment to realize he was referring to the first time you had met. “Oh yeah?”

He nodded, nose brushing yours.

“Well, tell me,” you said.

“My new god,” he breathed against your lips.

You shoved him back onto the mattress. “Don’t you forget it.”

He grinned.

[tessatechaitea]

Justice League of America #8

This comic book is full of delusional optimism about my memory.

She might want to get a professional fitting done because I think those things are packed in way too tight.

There's a Hooters just off of Interstate 5 on the border of Washington and Oregon that constantly has part of the sign burned out. So it usually says "HOO ERS" which I find incredibly funny. S.K.U.L.L. happen to be tech rivals of WayneCorp so Batman is using his ties to the Justice League of America to put them out of business. You would think choosing the name S.K.U.L.L. would have done that years ago. But I guess their products are just too good. I wonder what S.K.U.L.L. stands for? I hope the final two letters stand for Lex Luthor. Maybe the name is short for Serial Killers Under Lex Luthor Fighting Upstart Corporate Kompetitors? The Justice League of America (and Black Canary's tits) destroy all of S.K.U.L.L.'s resources and then notice that Makson didn't die in the battle. So they say, "Yay! We saved him!" But they didn't save the bird creatures which were his family and maybe also the place he enjoyed putting his penis. He must have been fucking something in Monster Valley. Maybe that's what makes him a monster?! Back in New York, Makson the Monster Man becomes the hit of the waste of time daytime talk and fluff news shows circuit. He also decides wearing a manbun would be the best look for him. I like the manbun. It's a good indicator that the person is somebody I might punch in the face if I have to spend more than five minutes around them. I wish more people I wanted to avoid would wear them! Makson is apparently in this thirties. What I'm saying is he has definitely fucked a lot of different monsters and possibly trees in Monster Valley. For some reason, Steve Orlando thought it would be a good idea to focus on Makson instead of Lobo. Does he simply hate selling lots of comic books? I suppose if Makson becomes super popular, he'll get creator's rights and a teeny, tiny royalty check when the Makson movie hits porn theaters across the country in 2019. But he'd probably make more money simply by focusing on Lobo. I would pay about a dollar more per issue if I was guaranteed twenty pages of Lobo and his tight ass-*coughcough*-assin's credo. Makson wound up in Monster Valley at three years old when his parents' plane crashed, killing his mother and father. He learned English from the plane's emergency manuals which explains why he's using "foraging" incorrectly in the following panel:

The word you're looking for is "fucking."

Back in Happy Harbor, Black Canary is all, "What if he's a big fakey douche? Look at his manbun! Seems suspicious!" But Ray is all, "I think he's cool because I want to eat his asshole." But Batman is all, "I agree with Black Canary because when have I ever trusted anybody? We'd better figure out what he's really up to!" And Lobo is all, "Can I kill him yet?" The members who want to trust Makson are all, "Batman is a fucking dick! He's supposed to trust people and give them second chances! How dare he not interfere with the guy's life at all while secretly investigating him to make sure his story adds up so that he doesn't wind up hurting or killing people? Asshole!" It's a good thing Batman doesn't care what his lackeys think about him. Ryan Choi disagrees with Batman but understands that phrase about being better is safer than being sorry. You know which phrase I mean! The one that describes this situation! The one that doesn't go "It's better to be killed by a person you trusted than to hurt their feelings if they somehow discover you'be been investigating them without their knowledge." That saying is only ever used in the Writer's Room at The CW.

I can't think of a dumber way to spend one's inheritance and I'm currently thinking of airdropping sno-cone makers to penguins in Antarctica.

Did your butthole clench as tight as mine did at the phrase "activist genealogists"? That's exactly the type of thing I'd expect somebody sporting a manbun to say! While Ray, Vixen, and Killer Frost talk about Batman behind his back, Batman, Lobo, and Black Canary track S.K.U.L.L. back to Infinity Island. The Atom sneaks into Mawkson's apartment to figure out if he's been busy eating people the way his bird family probably taught him to do. Or maybe he'll find all of Makson's fuck birds. Batman learns that S.K.U.L.L.'s new backers are Makson's billionaire family members so S.K.U.L.L. was looking to find Makson and kill him if he was still alive so he wouldn't take away their funding for something stupid like hiring activist genealogists. And Ryan discovers that Makson has been using activist genealogists to find all of his family members so he can kill them. Well, that's finally something I approve of! I bet Lobo does too! So Makson wants to kill his family? I guess he knew they were behind S.K.U.L.L. fucking his bird family and other monster lovers. Now they have to die for their villainy! I don't know if I want to see Lobo beat his ass or high five him.

[totesmccoats]

  Batman: The Dark Prince Charming – Book One

Italian comics artist Enrico Marini dives into the Superhero genre in a big way with his take on the most popular hero of them all, and so far, he hasn’t changed much. His Batman and Catwoman are also in a solid relationship, much like the main series. So don’t go into this expecting a wild reimagining of the character.

The story concerns Joker kidnapping a young girl after the news reports that her mother is suing Bruce Wayne for child support, claiming that she is his daughter. Joker, having seemingly already put together that Bruce Wayne is Batman, targets her to get to his real objective. Batman wants to rescue her, and after running a DNA scan on one of the girl’s dolls, this case becomes personal.

Despite being fresh to superheroes, and coming from a comics culture where they aren’t as ubiquitous as they are here, Marini absolutely nails the heart of Batman’s cast – most impressively the Joker. Marini’s Joker is obviously influenced by Heath Ledger’s performance, borring the presumably fake child-abuse backstory, and a habit of killing henchmen mid-robbery; but also distills so many other versions of the character, maintaining the best parts. Marini’s Joker threatens the kidnapped girl with a knife, only to reveal it’s to cut into a pizza he ordered for the two of them. Of course, he also killed the delivery boy. He’s a Joker who throws Harley a big birthday party, but kills all but one of his other henchpeople when she doesn’t like her present. Actually, unlike most Jokers, Marini’s seemingly isn’t abusive towards Harley, which is a pleasant break from that sorta thing. This Joker is unpredictable and cruel, but he’s also very fun about it; exactly how Joker should be.

Unfortunately, the women in this story aren’t treated as well. While Harley isn’t abused, she’s depicted as way more cheesecake than usual, and Catwoman’s every other pose may as well be on a stripper pole. It’s not like these are huge departures or anything, but it seems like some of the messier parts of the characters taken a little further than usual, is all.

Also, the book is absolutely gorgeous. I don’t want to say it’s the sort of quality of art that’s rare in American superhero books because I’d feel like I’m insulting artists like Ferreyra, Alex Ross, Sean Gordon Murphy, Jeff Lemiere, Francis Manapul, and many other fantastic artists I currently greatly enjoy and admire; but Marini’s handpainted, realistic yet heavily stylized work is far from the house styles of the big two. There are panels I legit want to blow up and hang on my wall. And Marini’s lightly tweaked character designs, plus his new Batmobile, are simply sweet as hell, and I wish they would be used in more things. And his Gotham is brimming with gothic personality, and an insane verticality that dwarfs Batman in the best way.

So far, this story isn’t really anything new or novel, but it’s a damn excellent Batman story in its own right, and one worth picking up if you enjoy comic art.

  Batman: White Knight #2

Jack Napier gives an impassioned testimony at his trial, declaring his innocence and putting the blame on Gotham’s police. He maintains that the authorities experimented on him, turning him into the Joker, so that they would have an excuse to demand bigger budgets from the taxpayers to fight a new breed of super-criminals. He says that the rich and powerful of Gotham have invested in crime to do what they’ve always done, make a profit off the suffering of the poor. And though Napier’s populist message has caught on with the poor and middle classes in Gotham, this isn’t a campaign he can lead alone, so he looks for allies.

His first stop, Harley Quinn. He goes to see her, only to find out that she has no love for Jack Napier, only loving the Joker. He then finds out that she’s not the original Harley. The first Harley – in the actual Harlequin outfit as opposed to the Suicide Squad inspired outfit of the new one – steps back in to accept Jack’s proposal, while explaining that she left after feeling neglected by the Joker in his obsession with Batman; and that in his maina, he never even realized she found a replacement. It’s actually a really smart take to explain how Harley has has such a drastic change in character recently.

Meanwhile, Bruce and Mr. Freeze test out their new cure for Nora. They first test it on some lab rats, but then Mr. Freeze tries it on himself. And while it successfully reverses his condition, it also rapidly ages him to make up for all the time he spent frozen.

Bruce later goes to some sort of rich people party/auction, where he’s horrified to learn that his friends have been profiting from Batman’s war on crime. He knocks out his friend and storms off. Now, this I really like. Murphy hasn’t just switched Batman and Joker’s roles as hero and villain; Bruce legitimately seems ignorant of the inequality that Batman’s worked in service of, and he hates it. I’m expecting we may even see Bruce approach Jack to assist address the problems that Batman and the police have caused through Gotham – but that still makes me question how Batman ended up in Arkham from the cold open of issue #1.

I really like how much effort Murphy has put into this story to make it much more than just a simple “what if?” tale. Just as last issue brought up the popular fan-thought experiment regarding whether Batman is to blame for his villains, this one weaves in the fan-discourse about how the collateral of Batman’s work really does seem to disproportionately land with the poor. Napier’s speech isn’t just a an exercise in populist rhetoric, but an actual well reasoned argument against Batman’s existence vis-a-vie his effect on inequality. And it’s one that fits as much for canon-Batman stories as this alternate-universe that Murphy has lovingly crafted for this story. If you’re not already reading this one, get on it.

  Batman #34

Batman and Catwoman have their first post-engagement spat. Batman said that he’d “seen more” after Catwoman commented on there being “a lot” of something, and Catwoman took it as an insult, and Batman’s trying to explain he was just saying…oh and by the way they’re talking about the number of swordsmen surrounding them preparing to attack. Because that’s just how they do. King’s juxtaposition of the action with sitcom-esque dialogue isn’t the most original, but it’s really effective here in establishing that, for Batman and Catwoman, this is fairly typical. It continues through the issue, with the two also discussing whether Talia could be considered Bruce’s “Ex,” and lots of Bruce calling Catwoman pretty to deflect from accidentally saying something she’d consider rude.

Meanwhile, Damian and Dick track their father to the same entrance that he and Catwomen fought their way through last issue, but are stopped from following by Superman. Damian threatens to kill Clark with magic, but Clark reminds him that then Jon probably wouldn’t want to be friends anymore. Then Supes goes flying off to handle and alien invasion in Central City; and Dick and Damian decide to sit on the stoop and wait for Bruce to come out. It’s one of those scenes that works because it reminds you that Damian’s just a kid. A kid who can make a believable threat against Superman, but one you can’t take all that seriously because he’s just saying it because he’s steamed over his parents doing something in secret. So when Damian can’t get his way, he just pouts and sits down; and Dick, being the best big brother ever, waits with him.

The lighter tone of the issue changes almost instantly when Talia finally shows up at sundown. The palette of the issue switches from a yellow-orange to a red as the sun sets, ending with an early night-blue sky as Talia challenges Selina to a duel over Batman’s wounded body. The change is dramatic, but not sudden. Even once Talia is in-frame, she approaches slowly, taking about two pages before she starts fighting Batman, giving the sun time to fully set.

Jones’ inky style is still a perfect fit for this adventure, continuing to capture the feeling of the sun beating down on the characters by putting everything in high-contrast black against Bellaire’s yellows and reds.

We also find out in this last act of the issue that this isn’t some weird newlywed hazing ritual; but that Batman and Catwoman are actually looking for Holly Robinson, who killed the 237 people that a young Selina took the blame for, and they tracked her here. So, one question answered, at least one duel to the death to go before getting more.

  Green Arrow #34

Oliver has some trouble adjusting to his mother having been alive, and being a prominent member of the Ninth Circle, the evil bank that he’s been trying to bring down for the past year. Moira tries to convince Ollie of the virtues of capitalism – that when the Queens do well, all of Seattle benefits, but Oliver won’t have it.

Instead, he helps Black Canary take down the Clock King, who has hacked into Star City’s smart infrastructure, and is causing every self-driving vehicle in the city to go crazy. Dinah stops a speeding train on it’s tracks by screaming at it hella loud, while Oliver finds and stops Clock King.

Meanwhile, Diggle helps Merlyn make a full recovery, and then tells him that his debt for Merlyn having saved his life some time ago has been paid. Merlyn feels differently.

And at the end of the issue, Oliver agrees to help Moira raid the sunken vaults of the Inferno, believing that even if everything she says is just some Ayn Rand bullshit, a little money would help him out with his murder trial, and also gather evidence more against the Ninth Circle to rescue his city.

This issue is a bit of a mess. The Clock King and Diggle stories both feel like filler to make the issue reach it’s page limit, and to distract that, during them, Oliver completely flip-flopped on helping out his mother.

Also, I’m not a fan of Stephen Byrne’s work on this book. It looks too…flash animation-y, characters look as though they were coated in confectioner’s glaze. It actually reminds me of some bad webcomics, which ain’t good. Also, Moira looks more like Felicia Hardy than a woman who should at least be in middle age. What happened to Ferreyra? Or Campbell?

�� Superman #34

As his worshippers beg him to lead their forces to take back Apokolips, Lex does the least Luthor thing ever and abdicates his godhood to the person their prophecy actually foretold – Superman. Did I miss something really big with Lex, or am I just supposed to believe that, after deciding to become a hero, he also just no longer has his character defining flaw? I don’t want to be one of those people who says comics should never change, but unless I missed something, this is a huge change of character. Even if he really is a hero now, that shouldn’t exclude him from being arrogant and striving for praise and adulation.

Meanwhile, Lois and Jon are also on Apokolips; and while Jon can just fly away from the people and hounds hunting them, Lois can’t, and finds herself taken by Granny Goodness’ Furies. But when their convoy is attacked by a giant, fire-breathing dredge worm, Lois picks up one of the fallen Furies’ guns and proves to Granny than she’s more than just another captured vermin.

While I continue to appreciate this book’s focus on Lois, it also puts her in a situation that doesn’t suit her strengths as a character. Lois is a reporter, she’s not Wonder Woman. I like that she’s able to defend herself, and that she’s not being damsel’d, but becoming a Fury feels just as out of character as Lex declining a throne.

  Peter Parker: The Spectacular Spider-Man #6

J. Jonah Jameson cooks up a nice-looking lasagna to warm up his latest interview subject – Spider-Man! Of course, Spidey is only there for information that can help out his sister, but in exchange, he agrees to a no-holds-barred exclusive interview with the man who used to slander him for profit.

The interview doesn’t start off well, and quickly becomes a heated argument between the two on why Spider-Man wears a mask, and why Jameson hates him for it. The two trade verbal attacks about the other’s role in the creation of super-villains, destruction of property, and death, before just straight up calling each-other cowards and bullies.

If last issue suffered because it was too plot heavy to give room for characters to breathe, than this issue is an incredible course correction. Anything relevant to the plot of the arc is sidelined for the raw catharsis of Spider-Man and Jameson finally just letting everything out. And the issue ends up becoming a complete disrobing of Jameson as Spidey slowly digs into why he’s hung onto this grudge through becoming mayor, the death of everyone close to him, and getting fired from the Bugle. Like Zdarsky’s best issues, there’s more than a twinge of meloncholy through the issue, as he reveals how broken this character has been. That sorta thing has become his specialty, it seems – making jokey characters kinda depressing.

Walsh is the perfect artist for this issue. His style, much like Doc Shaner or Darwyn Cooke’s, evokes an older time in comics, with thick charcoal-y hatching and shading, and uneven outlines. Plus, no spaghetti webs! This is matched by Herring’s muted and watercolor-textured colors. The aged affect of the art is epitomized by a single flashback panel made to resemble Ditko’s original Spider-Man work; and it’s amazing how solid a throughline you can make from his style to Walsh’s.

It’s also scary impressive how much emotion he can draw out of Spider-Man’s mask, like…there’s seething anger in one panel that comes across through the mask despite any and all reason.

  Black Bolt #7

Finally free from the prison, Black Bolt makes his way back to Earth, but not before a pit-stop to return Monsteroso to his home planet. He’s reckoning with the loss of his voice and the PTSD from his time in the prison. Also on board is Blinky, who has her own nightmares, only hers can manifest physically, and require Black Bolt to destroy before they could actually harm her.

Very much a breather issue after the conclusion of the last arc, Ahmed writes an issue with almost no threat or urgency that isn’t just in one of the characters heads, excepting for a short space-dogfight at the end. The tone is complimented by guest artist Frazer Irving’s soft, dreamlike art. Irving’s style is almost the complete opposite of Ward’s hyperactive neon trips, almost resembling a children’s picture book; but is equally gorgeous to the work Ward has done on the series, and fits just as nicely into Ahmed’s story. This is easily the most beautiful single I picked up this week, and proves that Black Bolt is one Marvel book you should be reading even on “off” months.

  Crosswind #5

Juniper’s guys follow Cruz to Mika’s house, where he’s just finished beating her up. Then he kills two of the three guys Case sent to kill him, and promises to kill Cason as well. Then he gets a visit from the mysterious old man who swapped Cason and Juniper, who explains the situation and why he did it. So now, Cruz is out to kill June and her family as well.

Cason overhears the old man’s voice over the phone as he threatens to kill him, and knows enough of Cruz to prepare for him to make the trip to Seattle. Juniper catches up with Mika and tells her everything that’s been going on, and they both decide to try and cut Cruz off in Seattle.

Meanwhile, thanks to Cason’s advice, Kelly’s finally making friends at school. And he comes home to his step-mom finally giving his dad what he deserves.

While I didn’t really think the body-swap needed an explanation, I’m very glad that it happened essentially out of pettiness. The man who did it did so because they both refused to sell him their plane tickets so that he could see his wife before she died. It’s like something out of a myth, a god ruining your life because you were rude to them in disguise. It really may as well have been random.

Staggs continues to do wonders just with the main characters’ postures, like how June still holds her towel up to her chest as though to cover breasts, or how Case sits with a wide stance even in a dress.

  Paper Girls #17

Charlotte finally fills the girls in on the time-travel war that they’ve found themselves caught in the middle of: The teens who’ve been helping the girls are time travellers from at least 70,000AD who go back in time to right wrongs; and are are fighting against the “old-timers”, the first generation born after the invention of time-travel, who try to prevent anyone from interfering with the timestream. She was told this by a friend of the same time travellers who rescued Erin’s life; and even though she seems legit, if not a little eccentric; Mac doesn’t trust her completely. And when Mac tries to tell this to KJ, and also calls Charlotte a lesbian, KJ comes out to Mac, who is shocked once she realizes what KJ just told her.

Meanwhile, Tiff escapes from the overturned police car amid the giant robot battle happening around her, and manages to make it to her parents house, where she finds a mysterious goth sitting in her living room, and claiming to be married to her!

It only took seventeen issues, but we finally have an idea of what’s going on in Paper Girls! Yay! Not that I minded much, obviously; I was enjoying it either way, but it is cool to have some more context. And that moment between Mac and KJ is *mwah* perfect. Their faces! So good! Besides that though, this is mainly an exposition issue; with Tiff’s scenes being almost completely wordless. I still love how the teen’s mech is just an EVA though – that’s fantastic.

  Uber: Invasion #9

The unique Battleship Churchill – Leah – and a thirteen year old battleship candidate named Tamara rendezvous with Patton’s forces as he crosses the alps. The Germans have him walled off with a small squad of Ubers, expertly positioned to prevent his further movement despite his superior forces. Luckily, Churchill’s arrival provides him with inspiration for an attack the Germans could never see coming.

I won’t say how, because it’s one of the most amazing action sequences in recent comics memory, but needless to say, the issue ends with the Allies winning big, and possibly turning the tide of the war.

Leah is the star of this issue, and oh boy does she earn it. She’s a gentle giant, possibly the strongest single character in the franchise, and someone you do not want to be on the wrong side of. Gete draws her to make her basically a Totoro on one page, and then the Hulk on another. Generally there’s a distance between Uber’s characters and the reader because of the book’s narration taking the form of an objective post-war narration, but you really end up rooting for Leah, and not just because she’s ripping Nazis to pieces.

Comic Reviews 11/1/17 Batman: The Dark Prince Charming - Book One Italian comics artist Enrico Marini dives into the Superhero genre in a big way with his take on the most popular hero of them all, and so far, he hasn’t changed much.