RED

In horror stories, you’re supposed to side with the victims. They might be young and dumb but they’re not evil, and they certainly don’t deserve the torture, maiming and inevitable death the story brings them. In Redlands, the new Image Comics series from writer and colorist Jordie Bellaire and artist Vanesa Del Rey, the victims are cops. They’re trapped inside the police station in Redlands, Florida, while three nooses hang from a burning tree outside. Heroic cops are also a horror trope, so it’s familiar territory, until you notice the first words these cops use: “Where did them bitches go?” And the Confederate flag hanging beside the gun rack inside the station. And the complete lack of care about the prisoners in the cells down below. And the easy violence between the sheriff and his son, also a cop. Maybe these guys aren’t heroes after all. That’s not to say that the witches (“bitches,” as the cops put it) they tried to lynch are righteous victims themselves. They might be, an

In Daredevil #20, Charles Soule and Ron Garney deliver a satisfying conclusion to the “Purple” storyline, revealing the final puzzle pieces in the mystery of how the world forgot that Matt Murdock is Daredevil. He also returns Daredevil to a characterization of Hell’s Kitchen’s avenging angel that readers will recognize and appreciate. Gone are the apprentices, the girlfriends, and the distractions from Daredevil’s mission, and in their place stands a hero focused on a better future for his city. As if to reinforce the focus of Sole’s script, Garney’s art marks quite the departure from the more abstract styles of recent creative teams, his different line work seeming to physically represent this new beginning. RELATED: Marvel’s Purple Man Brings Matt Murdock Face to Face with… Daredevil? Similar to other Marvel characters with television/film incarnations, the comic book version is undergoing a shift to bring Daredevil more in line with his on-screen counterparts. Soule is the ideal

The origin of Santa Claus is a legend that can be found from any number of sources, but it’s a story that has largely been limited to either children’s stories or comedies, albeit ones beloved by both children and adults alike. Grant Morrison and Dan Mora fully understand that there’s room in the mythology for a more thoughtful interpretation, though, and that’s exactly what they give us in BOOM! Studios’ seven-issue miniseries “Klaus,” which converts folklore into fiction with a respectful take of the legend of St. Nick. “Klaus” is a delightful and flavorful origin story that personalizes the character while avoiding may of the associated cliches. Morrison envisions the young Klaus as a reclusive but heroic Northlander-type figure, a trope that might not be the first that comes to mind when envisioning the man who will become Santa. Nevertheless, it cleverly fits and is only the first of many refreshing departures Morrison makes with his version of the character. Knowing that every

In “Red Hood and the Outlaws” #1, Scott Lobdell and Dexter Soy continue the exploration of Jason Todd’s history with Batman that they kicked off in the “Rebirth” issue, only this time with a flashback that has a more direct connection to present day events. The elements that made the “Rebirth” issue so impressive are also well-utilized in this formidable collaboration, with Lobdell crafting solid characterization for Jason and Soy composing strong layouts. Cover artist Giuseppe Camuncoli also returns with another eye-grabbing cover image, which finds Red Hood flanked by Bizarro and Artemis; the shadowy figure of Batman also looms behind Jason, which is symbolically appropriate of Jason’s attitude on his current mission. The issue still belongs almost solely to Jason, though, which works well for the story Lobdell looks to tell; rather than cobble together this so-called “Dark Trinity” by quick and easy convenience or through some contrived situation, Lobdell takes his time, emphasizi

Though Giuseppe Camuncoli’s standard-edition cover puts Bizarro and Artemis dead in Red Hood’s sights, two of these so-called Outlaws don’t appear in Scott Lobdell and Dexter Soy’s “Red Hood and the Outlaws: Rebirth” #1. Instead, Lobdell provides a fun and accessible refresher on Jason Todd’s present as well as his pre-Red Hood days, spanning from his very first meeting with Batman to his current relationship with his former mentor. This “Rebirth” issue is a wise and welcome prelude to the upcoming series and establishes the reasons behind Jason’s present actions, even as it recounts his origin, death and rebirth. Existing fans know that Jason’s resurrection is rooted in a far-reaching and cosmically convoluted key moment from a couple of continuities ago. Lobdell is smart enough to recognize that newer readers don’t need to know anything about Superboy-Prime’s reality-bending super-punch, which originally played a part in Jason’s rebirth. That might not even be the case any longer i

Daredevil and Punisher are two characters that have become closely tied together over the years, no doubt because Daredevil works with the law while the Punisher is an out-and-out vigilante. In Charles Soule, Szymon Kudranski and Mast’s “Daredevil/Punisher” #2, though, there’s very little complexity as Daredevil and Blindspot chase a criminal that the Punisher is trying to kill. The problem with “Daredevil/Punisher” #2 may be that this was originally part of one of Marvel’s “Infinite Comics,” in which an online comic mimics a bit of movement by having panels shift slightly to build a sense of action, with limbs and word balloons often being the items that move the most. The result is that there’s just not a lot of meat present, even though “Daredevil/Punisher” #2 collects two online issues’ worth of material. Soule finds Daredevil and Blindspot trying to save a criminal from the Punisher’s execution tactics, even as the criminal is evil and tries to evade them, but there’s no real co

“Daredevil” #8 drops Matt Murdock and the reader into a very expensive Texas Hold ‘Em poker tournament in Macau. Matt can’t use his senses to figure out what his cards are, meaning that he’s literally playing blind, but — as Charles Soule, Goran Sudzuka, and Matt Milla show us — sometimes you don’t need to see what you’re holding in order to win big. Soule’s story is part one of a larger plot, but it’s much to his credit that this can stand entirely on its own and be thoroughly enjoyable. It starts out simply enough, with a basic setup explaining why Matt can’t uses his senses to “feel” what’s on the playing cards, even as we learn why it doesn’t matter on some level. It’s a fun little treatise on the art of reading one’s opponents and bluffing, plus a little dash of good luck. Soule has thought this scenario through, even down to how the stacks of chips would need to be the same worth in order to make it work. It’s a sharp story, one that wouldn’t work with any other superhero. It’

Charles Soule and Matteo Buffagni’s “Daredevil” #7 picks up right where the cliffhanger left off last issue, with the bombshell of Elektra’s desperate search for her daughter. The plot elements aren’t original, but the central plot twist still packs some emotional punch due to Soule’s pacing and Buffagni’s visual flair for with facial expressions. Even before Murdock’s ruminations in the captions, the reader is ready to believe in Elektra’s anguish from the softened lines of her facial muscles and the sad stillness in her gestures and eyes when she talks about her child. Soule’s plot structure and pacing are excellent. The tension is high during the entire story, especially in the scenes between Elektra and Daredevil. Buffagni’s page compositions, transitions, perspective and use of use of overlapping panels all keep the dramatic tension high throughout the opening fight scene. He continues to use zip-a-tone textures here, which isn’t quite necessary; his technique for it doesn’t add

Last issue, writer Charles Soule wrapped up his first arc of “Daredevil” with the conclusion of the Tenfingers storyline. With this new beginning, Soule (somehow) re-established Matt Murdock’s secret identity as Daredevil and removed any trace of that knowledge from the public. Formerly a defense attorney, Murdock is now a prosecutor for the city of New York, but Daredevil can’t completely escape his past in Soule and Matteo Buffagni’s “Daredevil” #6. Soule scripts this issue as a long fight scene in the middle of the night, which is interrupted by flashbacks to events earlier in the day. It’s refreshing to see Matt in a courtroom again and Daredevil back home in Hell’s Kitchen; the dichotomy of his legal day job and his illegal nighttime activities is reestablished with issue #6, and it’s not lost on Matt as he thoughtfully reminds himself of the contrast during a flashback. Soule deftly uses the flashbacks to break up the non-stop action, and they are our only source of plot and c

“Daredevil” #5 concludes Charles Soule and Ron Garney’s first story arc on the title, as Daredevil, Blindspot and Tenfingers have a final confrontation and the Fist attacks. While most story elements are wrapped up, it manages to do so by shedding a lot of what made those earlier issues work so well. There were two key elements that made Soule’s earlier scripts work so well: Tenfingers never became a mustache-twirling villain, and Matt Murdock’s career as a lawyer was never left out. This issue seems to gleefully shed them both. Tenfingers’ behavior in “Daredevil” #5 doesn’t merely shift from cult leader to super villain; it outright ignores any previous depiction (which was the main selling point of “Daredevil” #4). Tenfingers uses his followers as bait and then demands they all be killed; there’s no subtlety present as Tenfingers barrels his way to the bottom of the proverbial sewer. When he tries to have those who saw him weak be murdered, it’s not just less interesting, it’s a ba