There were at least four new books this week, and we’re here to talk about them. And don’t worry, there’ll be a Detective Comics #1000 review up eventually. We aren’t going to pass up the opportunity to get those sweet clicks. But for now, we’ve got four in the chamber for Singles Going Steady.
Dial H For Hero #1 (DC Comics)
(w) Sam Humphries (a) Joe Quinones
DC Comics also had their own new adaptation of a classic series this week with Dial H for Hero. In this first issue Sam Humphries introduces us to new character Miguel and his search of the adrenaline high he received as a kid from being rescued by Superman. As a first issue goes the story never really draws me in and just feels like past Dial H for Hero comics. Joe Quinones art is fun and at one point changes to a 90’s style to benefit the change of tone in the story and works out great, but sadly that doesn’t make me want to carry on.
Fun read, but nothing new, and doesn’t give the urge to read more.
- Jason Jeffords Jr.
Shazam! #4 (DC Comics)
(w) Geoff Johns (a) Dale Eaglesham & Marco Santucci (c) Mike Atiyeh
Last weekend’s Shazam! early screenings and positive reception established a wave of good buzz for the Big Red Cheese. The movie seems to closely follow the character’s most recent interpretation from the New 52 through Rebirth. However, Shazam! #4 begins with a focus on the one element of the character’s lore seemingly absent from the film while continuing to flesh out a broader mythology.
When he is on his game, Geoff Johns is arguably the best world-builder in the Big Two, as he has done for The Flash, Green Lantern, and Aquaman. Now turning to Shazam! he is doing the exact same. Issue #4 itself is a solid bridge issue between the setup and resolution of the arc’s conflict. The most effective sequence is the reveal of the Funlands’ dark underbelly, providing the first meaningful stakes of this arc. Johns also revisits the Shazam Family’s foster parents, a wise decision at this stage of the story. Their grief over their children being lost provides a strong emotional anchor to the otherwise fantastical issue.
Dale Eaglesham, Marco Santucci, and Mike Atiyeh do a great job in bringing life to the various different lands seen here, from the Wildlands to the Gamelands. At times, it can feel like sensory overload for the reader. However, this is more due to the erratic script attempting to cram as much into this issue as possible, rather than a poor effort by the art team. Despite this, Shazam! continues to be one of the more consistent and enjoyable books from DC’s main line of books.
- Daniel Gehen
Sabrina The Teenage Witch #1 (Archie Comics)
(w) Kelly Thompson (a) Veronica Fish, Andy Fish
In this recent adaptation of Archie’s local teenage witch writer Kelly Thompson brings us back to school with Sabrina’s first day at Greendale High. With its snappy dialogue Thompson’s writing shines through with her strong grasp on the attitude of teenagers in high school. The art provided by Veronica and Andy Fish fits the tone of the story fantastically, with a since of fun but with a hint of darkness. Plus the colors have a beautiful and vibrant pop that brings the pages to life.
Much fun can be had with this new start, but it seems it could become stale quite fast.
- Jason Jeffords Jr.
GLOW #1 (IDW Publishing)
(w) Tini “Script Slayer” Howard (a) Hannah “Saurus Rex” Templer (c) Rebecca “The Deadline Crusher” Nalty
GLOW #1 is a comic based on a Neflix show, which is based on an obscure, cult classic wrestling show from the 1980s. Based on that, and the less-than-stellar reception of other Netflix-based comics, it’s understandable that most might pass over this title in favor of the $10 Detective Comics #1000. However, doing so would mean passing out a fun little gem.
Tini Howard’s script does a great job nailing the voices of each character, from the crass sarcasm of Marc Maron’s Sam to the eagerness of Allison Brie’s Ruth. Each character has their own personality quirks and flourishes, breathing life into the issue. Howard’s script is full of wonderful, comedic timing that keeps readers engaged from start to finish.
However, that engagement comes at a cost. For GLOW #1, there is a notable lack of edge that is essential to the show’s success. The art from Hannah Templer and Rebecca Nalty is very stylized, which works well in service to the comedy and little else. Part of the appeal of GLOW is that while the show does have comedic moments, it is not a comedy. There are moments of raw emotion, grimey settings, and commentary on sexism which are completely absent here. This comic itself is a fun time, but it is afraid to embrace those other elements that makes the show special.
- Daniel Gehen