Days

June’s Dark Days: The Forge #1 began the process of connecting story threads from Scott Snyder’s Batman run into the larger tapestry of the DC Universe, and possibly even further. Snyder and James Tynion IV continue integrating these elements and pose even more questions in DC Comics’ follow-up Dark Days: The Casting #1, the final prequel to the upcoming Dark Nights: Metal event. Proving that the historically earthbound and cosmically challenged Dark Knight can be the focal point of a “crisis” that spans the world, multiverse, and beyond, the writing team take Batman, and several other characters from the DCU, well outside of their comfort zone and in doing so continue to craft an absorbing storyline that’s shaping up to be a potential epic, one decidedly different from previous event stories. RELATED: DC’s Dark Days: The Casting Annotated, From Abel to St. Roch Snyder has already successfully and convincingly taken Batman out of his two most common environments (Gotham City and the

With most of their recent stories for DC Comics orbiting around Batman and the extended Bat-family, writers Scott Snyder and James Tynion IV get to break free of that familiar trajectory and explore the rest of the DC Universe in Dark Days: The Forge #1, one of two prequels to the long-anticipated Dark Nights: Metal event beginning in August. With a superstar roster of artists including Jim Lee, Andy Kubert, and John Romita Jr., the first one-shot doesn’t just feature characters that Snyder and Tynion haven’t gotten to touch yet — the issue points towards one, or more, far-reaching revelations regarding the history of the DC Universe. While the questions are only beginning to be asked, it’s clear that Snyder has been thinking about them for a long time, as elements from his “New 52” run on Batman begin to resurface with a possible relevance and connection to past DC history. RELATED: Snyder Opens Up About Dark Nights: Metal’s Biggest Mysteries Snyder has already spoken of the signi

The shape of Daisy, Esther and Susan’s quest in John Allison and Max Sarin’s “Giant Days” #14 is very simple: apartment-hunting. The pitfalls they encounter are all typical: poor timing, bad market, bad neighborhoods, overbearing landlords, negligent landlords and competing loyalties. Allison makes all of it funny through his characters’ appalled reactions and also with small, absurd details, while the artwork reaches new heights. In part, the artwork’s improved quality is due to Liz Fleming, whose inking has greater variation and thus greater expressive capabilities than Sarin’s own inks in earlier issues. The difference between “Giant Days” #7 and the two most recent issues is immediately noticeable. Sarin’s timing and linework also feel more confident, now rivaling Lissa Treiman’s run on the first six issues. The artwork feels perfectly in sync with Allison’s script. Daisy’s face as she lifts an iron is an early high point. The curls of steam are pretty and reinforce the puffine

Readers who pick up “Doctor Strange: Last Days of Magic” #1 with no prior knowledge of Doctor Strange or the “Last Days of Magic” storyline might find themselves a little lost. While the one-shot is interesting, it doesn’t explain enough to entice new readers to go back and pick up “Doctor Strange.” Though the issue fails at making readers care about the impending threat, it includes enthusiastic attempts at revitalizing and showcasing characters from the past as they defend themselves from the members of the Empirikul, a cult-like group dedicated to eradicating magic users and magic itself from all of space and time. Framed by the organizational efforts of librarian Zelma Stanton, a character from the main “Doctor Strange” series, Jason Aaron provides glimpses of the Empirikul’s effect on three vastly different magi. Our first hero’s introduction is simply fun: El Medico Mistico’s flamboyant luchadore design is simply a light-hearted caricature, but it’s enjoyable nonetheless. Each

Writer Nick Spencer, artist Ramon Rosanas, colorist Jordan Boyd and letterer Travis Lanham end the first volume of Scott Lang’s adventures in “Ant-Man: Last Days” #1. Spurred along by the “Secret Wars” event, this comic checks in on Lang in Miami as the pocket-sized super hero accepts his fate, but not before getting a stern talking-to from the sole investor in his business, Mary Morgenstern. The creative team delivers as much energy and quality in this twenty-two page finale as they did in the debut issue. That’s no small feat in today’s market but, with Ant-Man’s growing profile (pun intended), it is absolutely critical for a successful title, which makes it all the more alarming that this series is ending. The ending is story-driven, which makes it more impactful as Spencer masterfully envelops his story into the grander “Secret Wars” saga without ever losing sight of Lang or Lang’s personality. Spencer provides plenty of insight into Lang’s thoughts and actions, paralleling a l

“Giant Days” #1 by John Allison and Lissa Treiman is about a trio of friends at university, and it’s equally friendly to new readers and readers who are familiar with Allison’s previous webcomics oeuvre. “Giant Days” has the same characters as the webcomics of the same name that were already collected into three issues, but Allison creates a fresh start for this new miniseries. The first page is the weakest part of the “Giant Days” #1 and undersells Allison’s abilities. Susan’s thumbnail description of herself and her friends makes them seem like cookie-cutter types, but what follows is better than that. Throughout the rest of the issue, the text boxes are minimal and the words are snappier. The plot is naturalistic in that there’s no magic or anything supernatural so far, just students and their interpersonal drama. Allison uses two familiar tropes to get things rolling: a bet and a transfer student. The bet plays itself out within “Giant Days” #1 but the transfer student, McGraw,

“Eternal Warrior: Days of Steel” #1 presents a good introduction to Gilad Anni-Padda as writer Peter Milligan, artist Cary Nord, colorist Brian Reber and letterer Dave Sharpe drop the immortal fighter into the conflict between the Franks and the invading Magyars. In introducing readers to Gilad, the creative team is able to quite efficiently draw from timeless imagery and battles, using five widescreen panels and thirteen caption boxes to set the story in the first spread then opening the second spread to a double-page splash filled with the mayhem of battle. Reber brings atmospheric colors filled with near limitless variety, including overcast skies and bloody sunsets, adding a mystical filter to Cary Nord’s art throughout “Eternal Warrior: Days of Steel” #1. Reber adds depth and detail to the landscape, giving Nord’s rocks, caves, trees and flame definition and texture. And there is simply no mistaking the blood moon, as it becomes a sublime collaboration between Nord and Reber to

“Daredevil: End of Days” #8 brings the series to a flowery close, allowing the all-star creative team to jam out one final issue as the mystery of Mapone draws to a close. Under covers by Alex Maleev, Bill Sienkiewicz or David Mack, Brian Michael Bendis, Mack, Sienkiewicz, Klaus Janson, Matt Hollingsworth and Joe Caramagna finish their collective love letter to all things Daredevil by cracking open a story that begs to be investigated further down the road. Bendis and Mack open this issue reflecting on Tim Urich’s past and Matt Murdock’s faith, which balances nicely against the results of the tragedy from last issue and Tim’s decisions for coping with those events. Murdock is only present in this issue through flashback while Ben Urich is represented in this story through the narrative. Despite that challenge, there is no doubting that this is perhaps one of the consummate Daredevil stories, as the presence of all those crucial to ol’ Hornhead spills throughout the pages of “Daredev

After six issues of fantastic-looking and tightly-scripted story, “Daredevil: End of Days #7” by Brian Bendis, David Mack, Klaus Janson and Bill Sienkiewicz finally begins to bring the story home as the identity of the “new” Daredevil is revealed. It’s fair to say that the identity isn’t who you’d expect, and the final-scene twist suggests a finale that’s going to deliver massively on the amount of tension the series has generated thus far. The only real criticism possibly leveled at “Daredevil: End of Days” is that the series has been very slow and deliberate, touring Daredevil’s world extensively but only moving the plot forward an inch at a time. That doesn’t apply to issue #7, which delivers huge leaps of story while leaving the final question — who/what is Mapone? — for the final issue. It’s a testament to the series’ brilliant execution that readers are still guessing even now (and let’s face it, it’s probably not Murdock’s sled.) Virtually every issue of the series has turned

“Daredevil: End of Days” #6 by Brian Michael Bendis, David Mack and a slew of classic Daredevil artists take Ben Urich further along his morbid ride to discover the truth somewhere behind the death of Matt Murdock. Urich is saved from one terrible fate and delivered into scenes where the fate of others becomes the new wave of slime he must swim against. As per usual with this title, another issue goes by and readers get a few sweet cameos from the Daredevil cast of ages and get a little closer to the center of the mystery. Ben Urich carries this story well. He is very much the lead of the tale while the narrative heart is still the legacy Matt Murdock has left behind with his death. Urich’s discussion with his son lays out some great superhero tenets while delivering character understanding. There are touches of real life inserted into the hopeful nature of Urich. He is old school while his son seems more pragmatic and almost excited. The fact this stems from Urich being launched out