The Pull List: 15 August 2018

One day soon, when The Wicked + the Divine has concluded, I am going to go back and re-read the entire series from issue #1. It is such an exceptionally developed and presented work that it just begs for additional scrutiny, and time to really appreciate what an excellent work of narrative art it is. The story is complex and has gradually unfolded in the most effective of ways. The artwork is among the best being published today.

In the 38th issue, a lot of questions are raised. Someone dead may be alive. Someone may be giving up godhood. Someone else has gone missing from, well, pretty much everywhere. Things are clearly nearing the ultimate climax, and it's all getting rather intense.

Every time I praise this series I find myself compelled to start with Jamie McKelvie's artwork. Simply put, there's no one in the industry who captures emotions on face than he does. He accentuates the emotion of Gillen's scripts immeasurably. He makes the characters seem real. I don't know how many more issues we've got to go, but he's making every one of them an absolute treasure. (4/5)

The Wicked + the Divine #38. Image. Written by Kieron Gillen. Art by Jamie McKelvie. Colours by Matthew Wilson.

Under the cut: reviews of Aquaman, Batman, Batwoman, Beneath the Dark Crystal, Doctor Strange, Justice League, Ninja-K, Star Trek: The Next Generation, Star Wars: Poe Dameron, Usagi Yojimbo, and The Wild Storm.

The Pull List: 4 July 2018, Part 1

So after much build-up and anticipation, Batman reaches the wedding of Bruce Wayne and Selina Kyle. It is kind of impossible to discuss this issue without spoilers, so if you haven't read Batman #50 but plan to, head beneath the cut and read the reviews of the other books instead. This one's is going to be spoiler city.

When the big day arrives, and with the happy couple choosing to do it with two witnesses and a judge on a Gotham City rooftop, Selina leaves Bruce at the altar. No wedding ensues. Batman and Catwoman are not married. The titular event does not actually occur. Two immediate thoughts come to mind. The first one is that this is not a surprise. The Joker explained last issue how Bruce being happy will destroy Batman, and Selina's best friend Holly explains it again here. Both are correct: with Batman being the brooding monomaniacal creature of the night he's been portrayed as for the past three decades, being happy would absolutely ruin him. Anybody expecting a happy ending simply hasn't been reading Batman comics for a long, long time. The second thought is that whatever went through the minds of comic readers who did expect an actual wedding that led to writer Tom King being sent enough credible death threats that he spent the whole of San Diego Comic Con with an honest-to-god bodyguard is genuinely a worry. It's just a comic book, guys. In a few years DC will launch a line-wide crisis and reboot it all anyway.

You can see what's being attempted here, with full-page narrated splash pages allowing a range of guest artists to contribute work to the celebration, and it is remarkably clever that King uses unreliable narration to flash back to conflicting back stories of years past, but it also makes the book a little bit of a drag. It actually feels a little dull, and it's only the concluding cliffhanger that actually gives the book the spark that it needs. As an issue in its own right, it is a little underwhelming, but it does kick off what look like another great 50 issues of King's run. (3/5)

Batman #50. DC Comics. Written by Tom King. Art by Mikel Janin. Colours by June Chung. Guest art by Jose Luis Garcia-Lopez, Trish Mulvihill, Becky Cloonan, Jason Fabok, Brad Anderson, Frank Miller, Alex Sinclair, Lee Bermejo, Neal Adams, Hi-Fi, Tony S. Daniel, Tomeu Morey, Amanda Conner, Paul Mounts, Rafael Alberquerque, Andy Kubert, Tim Sale, Jose Villarrubia, Mitch Gerads, Clay Mann, Jordie Bellaire, Ty Templeton, Keiren Smith, Joelle Jones, David Finch, Jim Lee, Scott Williams, Greg Capullo, FCO Plascencia, and Lee Weeks.

Under the cut: reviews of The Avengers, Beneath the Dark Crystal, Delta 13, The Immortal Hulk, and Lowlifes.

The Pull List: 14 March 2018, Part 1

The world above is ending. The world below has one last chance, and even that now appears to be lost. It's the obvious place to begin this final issue of Boom Studios and Archaia's 12-part sequel to The Dark Crystal, one based on the never-filmed screenplays by Craig Pearce, Annette Duffy and David Odell. It has been marvellous stuff, and it ends on a beautiful note.

The greatest achievement of Simon Spurrier and Phillip Kennedy Johnson's comic script is that it has really felt appropriate to the world of The Dark Crystal. The emotional tone, the settings, and the dialogue all feel authentic and well-matched, while expanding the story into new environments and situations. Had this ever been produced on-screen, it would have likely been a satisfying follow-up to the beloved original.

Kelly and Nichole Matthews' artwork is particularly strong for this final issue, with some bold panel layouts and brightly vivid colouring. It has helped make it a wonderful reunion for this reader with a childhood favourite. (5/5)

The Power of the Dark Crystal #12. Archaia/Boom Studios. Written by Simon Spurrier and Phillip Kennedy Johnson. Art and colours by Kelly and Nichole Matthews.

Under the cut: reviews of Action Comics, Darth Vader, and Judas.

The Pull List: 28 February 2018, Part 1

Archaia have enjoyed huge success over the years with a string of Jim Henson-derived titles, including comics and graphic novels based on The Dark Crystal, Fraggle Rock, The Storyteller and even long-forgotten unfinished Henson works like A Tale of Sand. Last year they hit a creative goldmine in adapting the abandoned sequel The Power of the Dark Crystal, and for a follow-up they have understanding gone to Henson's beloved feature film Labyrinth for an all-new 12-issue maxi-series.

On the face of it, it all seems like a wonderful idea. They have hired excellent writer Simon Spurrier to script the new project, and decent artist Daniel Bayliss to illustrate it. Sadly once you begin reading the first issue, it all falls into a bit of a heap. It's a prequel.

Yes it's decently written, and yes the art is solid, but at the end of the day no reader needs to know the origin story of Jareth the Goblin King, memorably performed by David Bowie in the original film. Prequels do not provide drama or suspense; at their best - and I find that rare - they offer character insight, but most often they deliver trivia. The hard-core may adore the chance to see how he got to the Labyrinth. For me it's a mystery I never wanted solved. (2/5)

Labyrinth: Coronation #1. Archaia/Boom Studios. Written by Simon Spurrier. Art by Daniel Bayliss. Colours by Dan Jackson.

Under the cut: reviews of Darth Vader, Detective Comics and Doctor Strange.

The Pull List: 14 February 2018, Part 3

As Oracle, Barbara Gordon has been using the Calculator's own network to stop his criminal enterprises. Now the Calculator is striking back, going to murderous lengths to discover Oracle's true identity - and it's up to the Birds of Prey to stop him before there's a body count.

I figured it was well worth shining a spotlight on Batgirl and the Birds of Prey this time around. It's never the greatest book on the shelves, but it's also at least very good. It has a pair of great writers in Julie and Shawna Benson, and they have a strong sense for what makes their all-female super-powered cast work. There is a continuing story arc - and it seems to be heating up - but what gets me back each and every month is the interplay and warmth between Batgirl, Black Canary and Huntress.

Roge Antonio's artwork is fairly strong, and well coloured by Marcelo Maiolo. The art in this book is generally always good and always tells the story effectively. This is the sort of superhero comic that knows what it's supposed to be and fulfils its remit wonderfully. (4/5)

Batgirl and the Birds of Prey #19. DC Comics. Written by Julie Benson and Shawna Benson. Art by Roge Antonio. Colours by Marcelo Maiolo.

Under the cut: reviews of Port of Earth, The Power of the Dark Crystal, Sleepless, and Star Wars: Darth Vader.

The Pull List: 10 January 2018, Part 2

Statix Press and Titan Comics continue making European comic works available to English-speaking readers with Atlas & Axis #1, the first issue of writer/artist Pau's action fantasy starring a pair of anthropomorphic dogs. In a sort of cod early medieval Europe, Atlas and Axis find their village decimated and its women and children kidnapped. They set off to rescue their family and friends, encountering other anthropomorphic animals along the way.

Pau, a Spanish writer and artist, is clearly inspired by the French comedic books of the 1970s and 1980s - Asterix and the like - and certainly works the book in that vein. There's a nice balance of humour, although a fair amount is derived on having the humanoid animals act like their four-legged counterparts.

It's breezy and pleasant, but not a must-read. It is good, however, to see these European works get more exposure to English-speaking audience. There's a whole industry of this stuff that we rarely get to see. (3/5)

Atlas & Axis #1. Titan Comics/Statix Press. Story, art and colours by Pau.

Under the cut: reviews of Batgirl and the Birds of Prey, Deadman and The Power of the Dark Crystal.

The Pull List: 6 December 2017, Part 2

Pyppenia - known familiarly as Poppy - is a princess; the illegitimate daughter of a recently deceased king. On the day of her uncle's coronation, Poppy falls under attack - and her 'Sleepless' bodyguard is the only man standing between her and death.

Sleepless is a new fantasy series from Image: written by Sarah Vaughn and illustrated by Leila del Duca, it introduces a medieval kingdom, courtly intrigue, an appealing and upbeat protagonist, and a strange magical sort of guardian. There is not a lot of detail here; in fact, this first issue feels more like a prologue than a genuine first chapter. Despite this, its evocative setting, beautiful artwork and clever world-building make it immediately addictive. It promises an excellent series to come.

Del Duca's artwork is beautiful. It isn't simply the art style, it's the production design: the costuming of this series is eye-catching and richly detailed. It all feels like a proper place, with a consistent and believable aesthetic. Sarah Vaughn's script teases a world without really opening it. It makes issue #2 a tantalising proposition, since what has been revealed so far is so evocative and entertaining. This seems all set to be a marvellous new comic book. (5/5)

Sleepless #1. Image. Written by Sarah Vaughn. Art by Leila del Duca. Colours by Alissa Sallah.

Under the cut: reviews of Deadman, Green Arrow, The Power of the Dark Crystal, and Usagi Yojimbo.

The Pull List: 25 October 2017, Part 3

At this stage we all know the drill: another six issues have passed, bringing a story arc of Fiona Staples and Brian K. Vaughan's Saga to a close. There is going to be tugging on heartstrings, a shock conclusion, perhaps a violent character death - it's become something of a routine.

That's where Saga #48 comes as a total surprise. Readers expecting to see some terrible tragedy befall Alana, Marko and their daughter will be shocked to find themselves back with the anthropomorphic seal Ghus, the young robot prince Squire, and the journalists Upsher and Doff. They are stranded on a remote planet with no hope of rescue and a rapidly shrinking supply of food. To avoid killing Ghus' beloved walrus, he and the young prince set off into the forest to kill an invisible monster for its meat.

It is not only a refreshing change from the trials of Alana and Marko, it is also a refreshing change in tone. This issue has a beautiful fairy-tale quality that makes it stand out. The characters are sweet and pleasant to read about, and Fiona Staples' art is - as always - wonderful to look at. Saga may go up and down from arc to arc, but now and then it really knocks an issue out of the park. I thought this one was fantastic. (5/5)

Saga #48. Image. Written by Brian K. Vaughan. Art and colours by Fiona Staples.

Under the cut: reviews of Captain Kronos: Vampire Hunter, Copperhead, The Power of the Dark Crystal, Star Trek: Boldly Go, and X-O Manowar.

The Pull List: 27 September 2017, Part 1

So Mr Oz, the mysterious hooded figure who has been trapping heroes and villains of various persuasions and monitoring Superman's ever move has revealed himself to be Jor-El of Krypton - Superman's presumed-dead father now living in hiding with a face full of kryptonite fragment.

Never judge a story before it's done. That said, DC and writer Dan Jurgens are doing their level best to make me judge this particular story as soon as possible. I really hate the idea. I cringe at the re-imagining of Jor-El as some kind of selfish villain intent to removing his son from the Earth and letting the planet destroy itself. It's not noble. It's not dignified. It flies in the face of everything we know of Jor-El from decades of comic book lore. I am still half-convinced that it's all a ruse, and a shock twist in a fortnight or two will unmask the real Mr Oz. Or perhaps I'm just hoping that's going to be the case.

Ryan Sook's artwork is strong and boldly coloured. Jurgen's script is solid enough, although its reliance on narrated flashbacks makes it all feel unnecessary static and uninvolved. After such a long build-up, I'm not so much feeling disappointed as angry. Please be a ruse... please be a ruse... (2/5)

Action Comics #988. DC Comics. Written by Dan Jurgens. Art by Ryan Sook.

Under the cut: reviews of Detective Comics, Hi-Fi Fight Club, The Power of the Dark Crystal, Rebels and X-O Manowar.

The Pull List: 23 August 2017, Part 1

Boom Studios have a real knack for publishing fun and inventive miniseries, usually taking something very familiar and then giving it a distinctive twist or creative take. They're at it again with Hi-Fi Fight Club, which essentially blends mediocre 1990s cult film Empire Records with another element revealed in the first issue's final page (it's not a fight club).

The characters are all very familiar, but are presented in a generally upbeat and enjoyable way. The artwork is very appealing, enhancing the very warm and optimistic tone of the book. The big challenge facing Hi-Fi Fight Club going forward is how to keep that very likeable tone but find fresh and original material to sustain it in the longer term.

If you are after a funny, very light-hearted book with a strong cast of female characters, this is definitely worth a look. It's another solid entry for Boom's growing range of similar titles. (3/5)

Hi-Fi Fight Club #1. Boom Studios. Written by Carly Usdin. Art by Nina Vakueva and Irene Flores. Colours by Rebecca Nalty.

Under the cut: reviews of Action Comics, Daredevil, Detective Comics and The Power of the Dark Crystal.

The Pull List: 26 July, Part 2

John Abbott has designed and built the ships that won America its naval war against the British, but an act of mutiny to win a battle now sees him imprisoned for treason. An infection has cost him an arm. With peace settled, Nicholson travels to the White House to beg for John's freedom.

These Free and Independent States has been an exceptional miniseries, using the historical background of early American history to tell the story of a difficult man living in a difficult time. Brian Wood has developed a subtle and deeply affecting character in John Abbott, whose obvious autism in an age that knows nothing of the condition constantly disrupts and damages his life.

There is a gentle quality to this issue. It is there is Wood's carefully paced story, and certainly in Andrea Mutti's matter-of-fact, beautifully composed pencils and inks. It is particularly evident in Lauren Affe's colours: all muted and subtle, allowing the narrative to unfold without distraction but with beautiful enhancement.

This appears to mark the end of John Abbott's story, but Rebels continues in August with a self-contained issue focused on George Washington. I love that Wood and Mutti take the opportunity to explore these side stories. They did the same thing with the original Rebels series too. (5/5)

Rebels: These Free and Independent States #5. Written by Brian Wood. Art by Andrea Mutti. Colours by Lauren Affe.

Under the cut: reviews of Ghostbusters 101, The Power of the Dark Crystal, and Saga.

The Pull List: 28 June 2017, Part 1

Kensho and Thurma are on the run with a crystal shard. Facing a prophecy that could spell the end of the world, an ageing Jen sets off on one final quest to retrieve the shard - unless the Skeksi Chamberlain finds them first.

We are now at the one-third mark of Archaia and Boom's 12-part maxi-series The Power of the Dark Crystal, adapting the screenplay for the never-produced sequel to Jim Henson and Frank Oz's 1982 fantasy masterpiece. I was always keen to read this comic to find out what the Jim Henson Company had in mind for the sequel. Based on the first four issues we lost a remarkably faithful and respectful follow-up, set a generation later and with a whole new angle on the characters.

Kensho and Thurma have an enormous amount of appeal as protagonists: both young and uncertain, both wildly out of their depths, and having to trust that what they are doing is the right thing and not a catastrophic mistake. The older Jen is also effective: he's harder but wearier, and really does feel like an old man rather than the idealistic and naive hero he was in the film. If anything feels a little misplaced it's the Skeksis, although that might simply be that they are less entertaining as still images than they are as bickering, gleefully vile puppets on screen.

This is a sequel that gets why the original work was so creatively successful. It is definitely worth fans checking out to discover what we lost. (4/5)

The Power of the Dark Crystal #4. Archaia/Boom Studios. Written by Simon Spurrier. Art and colours by Kelly and Nichole Matthews.

Under the cut: reviews of Detective Comics, Invader Zim, Poe Dameron and Saga.

The Pull List: 19 April 2017, Part 3

Angela Spica is tracked down by Jacob Marlowe's agents and invited to meet him. That conversation turns to hell when IO launch a 'Razor' team to kill everybody in the room. The third issue of The Wild Storm presents all-out action with some pretty gory consequences.

On the plus side, this issue certainly presents some exciting action, not to mention properly revealing some of the re-imagined WildCATS characters for the first time. There are also some very cute references to other DC properties in the book's opening scenes; it's nice to see a superhero universe aware of the concept of superhero universes.

Sadly it doesn't so much end as stop. There is something very odd about the plotting of this issue, which spends maybe a page or two too long on the main combat sequence. It leaves the book with no way to conclude. The final panel is basically a guy barking an order. It remains a great series, with strong tech-future writing by Ellis and nice artwork by Davis-Hunt, but the weak structure does knock a point off its score. It's great stuff, but this month it's not quite brilliant. (4/5)

The Wild Storm #3. DC Comics. Written by Warren Ellis. Art by Jon Davis-Hunt. Colours by Steve Buccellato.

Under the cut: reviews of Poe Dameron, The Power of the Dark Crystal, Star Trek/Green Lantern, Superman and Super Sons.

The Pull List: 29 April 2015, Part II

My local comic shop suffered a highly unfortunate ship-pocalypse this week, with a large part of their comics order going AWOL somewhere between the USA and Australia. As a result I can't bring you my planned reviews of Batman, Daredevil, Silver Surfer or The Fuse. Let's keep going with what we have left starting with Image's new monthly series Pisces, from Rat Queens creator Kurtis J. Weibe.

Those trying this new book out based purely on Rat Queens are likely in for a shock. This isn't a comedic title like that one, It doesn't boast a female cast like that one either. It's also a slightly maddening experience: I enjoyed this first issue a hell of a lot, and it's definitely got me hooked into reading the second, but I couldn't actually tell you what the book is about.

We start with a man in a car, cut up and bleeding. He arrives at the hospital, and is confronted by another man. Just when we might be getting a handle on what's going on the comic shifts. Now we're in Vietnam during the war. By the time we get to grips with this aspect of the storyline, it shifts somewhere else entirely.

It's intriguing stuff, and it's well illustrated by Johnny Christmas with a style slightly reminiscent of Eduardo Risso. As a first issue of a comic, however? I'm not quite certain it works. I liked what I read a hell of a lot. I can imagine a lot of other readers getting frustrated. (4/5)

Pisces #1. Image. Written by Kurtis J. Weibe. Art by Johnny Christmas. Colours by Tamra Bonvillain.

Under the cut: reviews of He-Man, Knights, Multiversity and Plunder.

The Pull List: 8 April 2015, Part III

It's been quite a few years since Firefly departed from television screens, and despite one attempt at a revival it seems pretty likely that the space western TV drama is gone for good. Its fans continue to campaign for more space western goodness - I wonder if many of them have tried out Copperhead.

Copperhead is another space western, although in this case it wears its western influences a bit more boldly on its sleeve. It's set in a small frontier town. There are violent conflicts with the neighbouring indigenous population. It's a fairly rough, lawless community, with one bold, hard-minded sheriff named Clara Bronson trying against all odds to keep social order.

The first story arc was recently collected into a cheaply priced trade paperback, and this past week saw the book continue with its sixth monthly issue. It's the start of a new storyline, and as such a great opportunity for new readers to pick it up and run with it. I strongly recommend that they do: after a slightly shaky beginning this book has gone from strength to strength.

There's plenty to enjoy here: a sheriff balancing law-keeping with motherhood, a son who's befriended the most dangerous person in town, a slightly untrustworthy deputy who's being constantly tempted to betray his boss, a corrupt sheriff, and plenty more. The characters are really strong, and Scott Godlweski's artwork is fantastic. (4/5)

Image. Written by Jay Faerber. Art by Scott Godlewski. Colours by Ron Riley.

Under the cut: reviews of Nameless and ODY-C, plus late reviews of Plunder and Lumberjanes.

The Pull List: 1 April 2015, Part II

After a full year of plot twists, red herrings and general attempts at stalling, Batman Eternal finally reveals the villain behind the entire ongoing story. It was pretty easy to guess it was going to be Lincoln March, the villain behind Scott Snyder's earlier "Court of Owls" storyline. What I didn't guess was just how good this final issue was going to be.

This is a no-holds-barred explosive climax, given a few extra pages (and an extra dollar cover price) to drop in a bunch of excellent epilogues for good measure. It does what any comic book of this type should do: it pulls everything together into a tight, stunning finale and sets up its broad cast of characters for the future.

Visually the issue is a deliberate artist's jam, with seven separate artists contributing to the book, in addition to four colourists. Even consulting writers Tim Seeley and Ray Fawkes get in on the act, providing two pages each to the proceedings. Often when a book uses multiple artists it feels like a rushed act. Here it feels like a celebration.

This wasn't the greatest Batman comic ever written, and it regularly slipped into being downright irritating at times, but it ends on a wonderful high. I'd be interested in seeing this team collaborate on a Batman weekly again - and perhaps creating something that's as tightly developed and as entertaining to read as Eternal's final issue. (5/5)

DC Comics Written by James Tynion IV. Story by Scott Snyder and James Tynion IV. Consulting writers: Ray Fawkes, Tim Seeley and Kyle Higgins. Art by Eduardo Pansica, Julio Ferreira, Robson Rocha, Guillermo Ortega, David LaFuente, Tim Seeley and Ray Fawkes. Colours by Allen Passalaqua, Gabe Eltaeb, John Kalisz and John Rauch.

Under the cut: reviews of Batman and Robin, Batwoman, HaloGen and The Woods.

The Pull List: 4 March 2015

Over the past year or so I've been paying closer attention to Boom Studios, who have been expanded the diversity of their books considerably. That diversity has been enhanced through their purchase of independent publisher Archaia, who have a long-established reputation for smart, beautifully illustrated titles.

HaloGen is the  latest Boom/Archaia title. It's a four-part science fiction miniseries written by Josh Tierney with art by Afu Chan, although it's been co-created by the excellent Giannis Milonogiannis (Old City Blues). A dead god has reportedly been found in orbit around a giant city-spaceship, so everyone is scrambling to find out if the rumours are true and to secure the god by any means necessary. It's an imaginative science fiction blend with a lot of visible influences, one of the key ones apparently being Ghost in the Shell (not a surprise, given Milonogiannis' involvement; Old City Blues was very GitS-inspired as well).

It's not the perfect first issue - it's a little disorientating and all over the place - but it's certainly an intriguing one, and it shows enough potential to really pick up as the series goes on. I'll be keeping an eye on it. Sci-fi fans looking to try out a four-issue miniseries should definitely give it a go as well. (3/5)

Boom Studios/Archaia. Written by Josh Tierney. Art by Afu Chan. Colours by Shelly Chen.

Under the cut: reviews of Batman Eternal, Black Science, Descender, Detective Comics, Doctor Who, Justice League 3000, Revival, Saga and The Woods.

The Pull List: 19 November 2014

For decades now there's been a simmering hatred between Alan Moore and Grant Morrison. It all basically boils down to Moore firmly believing that Morrison keeps plagiarising his work and stealing his ideas, and Morrison basically wanting the angry old man of comic books to back off and leave him alone. One can only imagine the blind rage Moore will reach if he gets word of Pax Americana, the latest one-shot in Morrison's ambitious Multiversity maxi-series.

Each issue of Multiversity has focused on a different parallel DC Universe. This issue focuses on the Charlton Comics characters that DC purchased in 1983: the Question, the Blue Beetle, Captain Atom, and others. When DC originally picked up these characters, they hired Alan Moore to re-introduce them in a 12-issue comic series. As he developed it, however, DC elected to remove the Charlton identities and allow Moore to develop his own pastiche of them (Rorschach instead of the Question, Nite Owl instead of Blue Beetle, and so on). The result was Watchmen, pretty much the most widely acclaimed superhero comic of all time.

Multiversity is in itself a pastiche, and if Morrison is going to use the Charlton characters what better source text to reference and riff upon than Watchmen? It's a stunning post-modern piece of comics writing, and Frank Quitely illustrates it in his typically awesome style. At the same time I spent the whole book thinking "Moore's going to be so pissed". Like a lot of Morrison's work, each issue of Multiversity is leaving a lot of the narrative hanging. I'm assuming it's all going to tie together in the end - it usually does with Morrison. Even on its own, however, Pax Americana is a stunning and bold re-invention of past writers and characters. (5/5)

Under the cut: reviews of Annihilator, Batman and Robin, Batman Eternal, Batwoman, Daredevil, The Last Broadcast, Lumberjanes and Predator: Fire and Stone.

The Pull List: 15 October 2014

I'm in love with Wild's End, Dan Abnett and I.N.J Culbard's six-part miniseries from Boom Studios. It's basically The Wind in the Willows crossed with The War of the Worlds, as a small 1920s village of charming anthropomorphic animals are besieged by alien killing machines. As far as pitches go, that wins the year for me: I don't think I've heard anything funnier or more immediately attractive. It has me scratching my head. Why has nobody thought of this before?

What is impressing me the most, now that we're up to the 2nd issue, is that Abnett isn't just writing a superficial pastiche. These are interesting and well-rounded characters. They're based in archetype and tradition sure, but they've got agency and distinctive personalities. I already have my favourite characters, and I'm already invested enough in their lives that it's dramatic seeing any of them die. I'm only two issues into the series but I already want to read more adventures about the inhabitants of Crowchurch.

Culbard, who is also collaborating with Abnett on Dark Horse's Dark Ages, provides very attractive and clean artwork. It's elegant and simple, and matches the tone of the piece and the period setting extremely well. Culbard and Abnett make a great team. Hopefully there's more from them to come. (5/5)

Boom Studios. Written by Dan Abnett. Art by I.N.J Culbard.

Under the cut: reviews of Batman and Robin, Batman Eternal, Batwoman, Daredevil, Doctor Who, The Last Broadcast, Lumberjanes, Ms Marvel and Prometheus.

The Pull List: 17 September 2014

Some film and TV properties seem like shoe-ins for comic book adaptations. Doctor Who has been in publication as a comic book or strip since 1964. Star Wars has repeatedly proved itself rich fodder for numerous ongoing monthlies and miniseries. Comic shop shelves are littered with tie-in product of various descriptions: Adventure Time, He-Man and the Masters of the Universe, The X Files, Transformers, Aliens, Predator... it just rolls on and on. Then from time to time you get a really weird tie-in. Jim Henson's The Storyteller has to be one of the weirdest.

I adore The Storyteller, which was a late 1980s anthology series created and produced by Jim Henson. The titular Storyteller, played by John Hurt, would tell a traditional European folk story or fairy tale, with each episode dedicated to the telling of a different myth. I'm not sure I see the creative point of turning that into a comic book. There's a benefit from brand-name recognition sure, and I suppose anything that gets people buying a comic book is potentially a good thing, but beyond that it's nonsensical.

Jim Henson's The Storyteller: Witches is a four-issue miniseries, with each issue presenting a self-contained one-shot telling a folk story. This first issue, with story and art by S.M. Vidaurri, tells the story of "The Magic Swan Goose and the Lord of the Forest". It's a stunning piece of work, told in a very visual and experimental style that's reminiscent of Dave McKean without really apeing him in any way. It's literature, clever and utterly beautiful. And this is where the Storyteller connection actually chafes. Hurt's Storyteller is nowhere to be seen, save a subtle silhouette on the final page, and the bottom line is that this book can and should be able to stand on its own merits.

Like all Archaia books it's impressively packaged with a cardstock cover and high quality paper. It's an absolute must-read, quite frankly - I just despair that it needed the corporate tie-in, however high quality, in order to get produced. (5/5)

Under the cut: reviews of Batman and Robin, Batman Eternal, Batwoman, Daredevil, Eye of Newt, The Last Broadcast, Miles Morales: The Ultimate Spider-Man, Multiversity, Thor: God of Thunder, The Wicked + the Divine and Wonder Woman.