LORD

“Star-Lord and Kitty Pryde” #2 pits the titular co-stars against the New Mutdroids in a fight to the finish that just so happens to take place in a pizza shop. Written by Sam Humphries, drawn by Alti Firmansyah, colored by Jessica Kholinne and lettered by Joe Sabino, this adventure occurs under a romance comic send-up cover (complete with BenDay dots) from Yasmine Putri. The pair coupled together in the adventure aren’t the Star-Lord and Kitty Pryde that came together in adventures like “The Black Vortex,” where the duo crossed over from “Guardians of the Galaxy” and “All-New X-Men.” Well, not entirely. Kitty Pryde works for the Doom Foundation, overseen by Valeria Von Doom (nee Richards, pre-Doom). Humphries dives deep into the history of this version of Pryde but, for sake of keeping it light here, she’s from another time and place. Her role in the Foundation is to find anomalies. Star-Lord just so happens to be one of those anomalies, and he’s trying to avoid Doom’s rule as he re

In the first scene of “Star-Lord and Kitty Pryde” #1, Sam Humphries and Alti Firmansyah make it clear that this “Secret Wars” title is going to be light-hearted. The first two scenes are the funniest, best parts of the issue. Star-Lord’s opening line, “If I tell you about my new job, will you promise not to laugh?” delivers amply on its promise. Humphries and Firmansyah’s version of Drax for this universe is hilarious, and so is the joke about Disney movie songs. The Disney reference is apt, too. Firmansyah’s clean style and big-eyed faces make the whole cast look like Disney characters, and Jessica Kholinne’s bright palette reinforces that impression. The plotline is like a romantic comedy: boy loses girl, but then she walks back into his life and doesn’t remember him. Of course, he must win her back. Very little actually happens in the first issue, beyond establishing the basics of who and where. Some of Firmansyah’s reaction shots don’t fit the pacing and feel unnecessary, like

“The Black Vortex” has overextended itself as a storyline, as evidenced by this week’s chapter in “The Legendary Star-Lord” #11. Writer Sam Humphries tries to stretch the single plot point across the entire issue, doing his best to create enough drama to make the purchase of this issue worth the reader’s dollar, but the story just isn’t there. The issue is comprised of many low panel-count pages that display Paco Medina’s handsome art but does little create an impact to the story as a whole. Medina puts in a great effort to make the proceedings look dynamic, adding active shot choices and making the most of the blown-out art opportunity. His splash pages are bold and colorist David Curiel adds good depth and hue to the cosmic scene. The issue’s conflict — who should submit to the Vortex to save Spartax — is answered before the end of the first page, since Peter Quill is not even the driving voice of the issue’s narrative. Readers survey the goings-on from Kitty Pryde’s point of view

Aside from a quick check-in with Mister Knife’s crew aboard a flying fortress, “Legendary Star-Lord” #9 is one drawn out scene with a lot of posturing and lines being drawn in the proverbial sand. One of the characters is converted by submitting to the Black Vortex and some punches are thrown, but this issue just inches the story forward without widening the scope or deepening the playing field. Writer Sam Humphries and artist Paco Medina play it safe, pacing the story as it nears its first turn in the course. That’s not to say this is a terrible story. Quite simply, the third chapter of “The Black Vortex” is going to be “just another chapter” of the saga. This won’t be the turning point that anyone points back to or holds up as critical to the outcome of the story. It’s just a necessary chapter that chooses to showcase philosophical differences and magnifies the fissures those differences create. That plays right into Sam Humphries’ strengths, as the writer is given ample opportu

In “John Carter: Warlord of Mars” #1 John Carter returns to Dynamite Entertainment’s publishing line, but this time it bears creator credit to Edgar Rice Burroughs, a result of Dynamite Entertainment’s agreement with Edgar Rice Burroughs, Inc. Already familiar with the Burroughs’ group through other creative endeavors, writer Ron Marz displays another sort of familiarity in his knowledge of Barsoom. Marz introduces readers to the conflicts on Barsoom (which some call “Mars” or maybe even “G’loot Praktaw”) through Dejah Thoris, the princess of Mars, and as of this comic, John Carter’s wife. Dejah is inflicted with a truth serum that incites her to reveal the truth of all she knows to an invader. The identity of that invader is revealed at the end of the book, setting this series up for a very personal conflict to come. The vehicle of the truth serum makes for a fantastically natural plot device to enable readers to quickly and efficiently get up to speed on the adventures of John Car

Sam Humphries and Paco Medina’s “Legendary Star-Lord” #2 feels like a real missed opportunity for any fans of the film that might buy it seeking something with the same snap and pop of the film. Though the story is passable and the art pretty (if inconsistent), the book has none of the spirit, charm or humor of the film — perhaps too tall an ask, but it’s disappointing nonetheless. Like the first issue, Humphries tells a essentially a done in one, but with a built in stinger for the next issue and hints to a larger arc. It’s not a bad idea, but neither story has been particularly interesting, funny or rewarding, so the idea doesn’t quite fire on all cylinders. The adventure Peter and Victoria go on together has its charm but there’s just not enough here to grab onto. The story needs to wrap up so quickly; the reader never really gets past the surface. The biggest problem with the script is that while the chemistry between Peter and Victoria has a nice pop to it by the end of the i

“American Vampire: Lord of Nightmares” #5 completely changes the complexion and crusade of the Vassals of the Morning Star. Through almost three years of stories, Scott Snyder has properly cultivated this universe so eloquently that some of those characters introduced with bit roles couldn’t help but have their stories shared elsewhere while the primary narrative continues in “American Vampire.” Among those characters capable of filling panels with compelling tales are former VMS Agent Felicia Book, her adopted son Gus and VMS leader Linden Hobbes. Hobbes is a frequent visitor to “American Vampire,” but “Lord of Nightmares” (and this issue in particular) serves to change his status significantly. As these characters are Snyder’s creations, he definitely has imbued each with a specific tone and voice. The interactions between those characters are Snyder at his best, bringing humanity to an otherworldly situation as the Vassals attempt to halt the threat of Dracula once and for all.

“American Vampire: Lord of Nightmares” #3 continues the summer tradition of adventures showcasing the Vassals of the Morning Star. In this series, set in the aftermath of World War II, Linden Hobbes and Felicia Book are on a quest to neutralize the king of all vampires with Felicia’s son, Gus, in tow. Although Scott Snyder doesn’t give him even one line of dialog, Dracula exerts influence over his followers and others and proves to be one of the most fearsome villains ever created. As the original vampire — or the Prime Carpathian as Hobbes prefers to refer to him — Dracula has taken measures to ensure his continued existence. Snyder reveals some of those secrets in this issue, all while threading in bits of the literary history and mythological legend for one of humanity’s original bogeymen. Adding to the mystery, Dustin Nguyen’s art is minimalistic, favoring economy and storytelling over detail and clutter. Additionally, Snyder gives Nguyen a couple metaphorical scenes to provide

“American Vampire: Lord of Nightmares” #2 stops the overall narrative flow to drop a 20-page lesson on the intriguing character and story aspects to Scott Snyder’s Dracula. There is an inherent danger in seeding a known quantity when the whole ethos of “American Vampire” usually creates new things. Snyder usually generates his own mythological roots, his own strain of vampire and his own characters. Thus, to suddenly insert the most famous vampire of all time might feel at odds with the title, but “American Vampire: Lord of Vampires” #2 dispels each and every fear. Snyder weaves Dracula into this landscape effortlessly as every page makes you forget what you know about Dracula. Snyder even drops a quick line to say we need to ignore Stoker but he has the chops to give us reasons why this new version is more compelling. The brief interlude to 1888 is exceptionally well played and drops so much in one page that feels like a sneaky wink at the audience — but it’s more exposition for Dra

I’m normally a little skeptical about spin-off mini-series from an ongoing comic. A title like “American Vampire” has never been afraid to set some of its main characters aside for months at a time, so in theory “American Vampire: Lord of Nightmares” #1 could have run as part of the regular series. But by the end of the first issue, I found myself sold on why this should be its own mini-series; both in terms of Scott Snyder’s story and also Dustin Nguyen’s art. Set in 1954 London, Snyder quickly sets the scene; an extremely dangerous vampire being freed, a former agent from the vampire-hunting Vassals of the Morning Star getting pulled back into active duty, a human child who was once a vampire and then transformed back into a mortal. Parts of “American Vampire: Lord of Nightmares” were set up in earlier “American Vampire” comics, but Snyder reminds old readers and fills in new ones on any pieces of information they would need to do in order to be comfortable. More importantly, Snyd