Strange

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

The Empirikul have invaded the Marvel Universe in an attempt to destroy magic once and for all as “Doctor Strange” #6 continues “The Last Days of Magic.” However, Jason Aaron, Chris Bachalo and an army of inkers turn in a story that doesn’t go much of anywhere. Its backup feature from Aaron, Mike Deodato, Jorge Fornes, Kev Walker and Kevin Nowlan is ultimately the selling point for this comic. The eight-page backup gives us several vignettes as a wide variety of people — escape artists, warriors, monarchs and even children — are all affected both by magic as well as its absence. In each of them, we get brief snippets of stories that feel intriguing and inviting. Some use magic to entertain, some to rule over others, and others still just to make their lives a little better, but they all feel different and use their length perfectly. I’m not necessarily sure I’d want an entire book about the girl who’s been animating her stuffed animals to be her friends (although the appeal of even

There’s a long metaphor in Jason Aaron and Chris Bachalo’s “Doctor Strange” #4, one that involves punching, puking and using magic. It’s the center of the issue, one that everything else ultimately revolves around — and, as it turns out, that was exactly what the Marvel Universe needed. One of the greatest problems with magical characters in a superhero world is that their powers inevitably become a deus ex machina, able to solve problems with strange incantations and no real consequences. Aaron tries to tackle that here, with the usage of magic inflicting damage to a magician the same way that punching something will eventually hurt your hands. It’s a simple and to-the-point line of thinking; you can hold it off for a while, but hit hard and often enough and you’re eventually going to puke. It’s an idea that hangs over the comic, showing us what dire straits Doctor Strange is zooming towards and the limitation that keeps him from just fixing everything in the blink of an eye. It’s

Chris Bachalo and Tim Townsend’s beautiful, eye-catching cover for “Doctor Strange” #3 may not perfectly represent the events inside, but they’re close enough, even if the Master of the Mystic Arts isn’t seen running down the street in his stylish boxers with monsters from another dimension in pursuit. The cover is worth the price alone, and its detail, color balance and overall atmosphere does justice to the story contained within. Jason Aaron’s plot is no less spectacular, even if Strange isn’t wearing boxer shorts throughout. Aaron clearly writes his story to Bachalo’s strengths, and his script gets into Strange’s mind and shows the world as he sees it: cloaked in magical energy, extra-dimensional slugs and plenty more. Through Strange, Aaron convinces readers that magic is akin to the Force in the Marvel Universe, surrounding everything and everyone, and few outside of Strange are aware of it. Bachalo and the inking team capture this brilliantly, with the real world shown in star

“Doctor Strange” #1 offers a glimpse into the past of Doctor Strange before writer Jason Aaron and artist Chris Bachalo unfurl a new mystical world filled with unexpected (and borderline indescribable) imagery. Strange himself describes his mission in a manner that more-or-less summarizes the issue: “They’ve just been given their first glimpse of the unseen things that live in the shadows, of a whole spectrum of unimaginable existence.” With this one line, Aaron blankets everything contained in this issue and offers a promise of things to come, like Stephen Strange’s incorrigibleness or use of conventional weaponry to change the tide of battle. Aaron provides background for these choices but never really lets readers into the thoughts, dreams and fears of Stephen Strange. The characterization is just enough to tantalize, even as it safely remains removed but not aloof. Some liberal degree of forgetfulness is applied to Strange’s pre-“Secret Wars” arrangements (at least for now), alth

An intense period piece sent in the tumultuous American south during the early 20th century, “Strange Fruit” #1 is a superman tale set against racism, poverty and cataclysm. Note perfect and patient, Mark Waid and J.G. Jones’ script once again proves their status as two of the most versatile comics writers working today. The sorely missed Jones also provides art, delivering the most gorgeous painted work of his career. The medium suits him well; the pages are incredibly detailed and the thinner lines and open space afforded by the style really pulls his skill at guiding a reader’s eye across a page into focus, and using the layouts of a page’s worth of panels to create mise en scene also helps control and push a reader’s emotions. Some readers may be offended by the story, but only because the sensibilities of the times were themselves offensive. Waid makes no apologies nor pulls any punches throughout. There are several uses of the N-word, the KKK makes an appearance and the climac

The Vertigo 4-issue anthology miniseries has long been a staple at the imprint. It’s one of the few places at DC Comics where shorter stories can still appear, and its presence has always been a little reassuring; no matter what the quality of an individual issue, it’s always serving as a place for established and new creators to rub elbows. “Strange Sports Stories” #1 is the latest effort from Vertigo and, while the theme seems a bit odd at first, the end result is a solid if somewhat safe comic. “Strange Sports Stories” #1 opens with “Martian Trade” from Gilbert Hernandez. Over the years, Hernandez has carved out several niches within comics for himself, and the one that I appreciate the most is when he’s dealing with adolescents. Here, what begins as a simple story about kids playing ball turns into an oddity involving aliens, slave camps and kidnappings. Hernandez wisely keeps the bulk of the otherworldly action off-panel, instead filling us in through exposition and absences. I

“Trinity of Sin: Phantom Stranger” #11 has a wonderful set-up to the ultimate DC Comics fan nerd joke: Phantom Stranger, Katana, Deadman and Batman go to Heaven to try and bring Doctor Light back to the land of the living. Except it’s not a joke and writer J.M. DeMatteis is able to actually steer clear of goofiness as the quartet of characters searches for the disembodied Arthur Light, hoping to learn more about the circumstances surrounding Light’s apparent murder. As the issue takes place in Heaven, DeMatteis investigates the interpretations of Heaven that await Katana and Batman. Surprisingly, the writer is able to add some levity to the Dark Knight despite the extreme metaphysical nature of this adventure, making the Dark Knight just a bit more sympathetic and a lot more entertaining. As he has done in the distant past, Phantom Stranger serves more as an observer and guide and less like an active participant in this adventure. Deadman doesn’t have as much to do as one might expe

“The Mysterious Strangers” #2 by Chris Roberson and Scott Kowalchuk is a snappy conclusion to the introductory story arc, revealing how the team solves the mystery of the ancient temple and stops the evil plans of Marie Furie and the evil O.C.C.U.L.T. organization. The origin of the three main characters and their leader, Absalom Quince is yet to come, but more about their powers is revealed. Like Charlie’s Angels and other teams of international agens, the characters are static types. Dashing Verity is the capable leader, Michael Kono is a ladykiller and Sandoval is the grumpy strong man. The intra-team interaction is friendly and upbeat, but nothing out of the ordinary. The dialogue, story structure and Kowalchuk’s art all have a retro 1960s vibe, complete with “jungle natives” and dastardly villains who announce their megalomaniacal plans while the heroes are trussed up. Of course, this leaves an opening for one of the heroes to conveniently escape their bonds and save the day.

“Trinity of Sin: Phantom Stranger” #10 continues the Stranger’s crusade to reclaim his lost family through the words of J.M. DeMatteis and the images of Fernando Blanco. While readers have seen interpretations of Heaven before in comics, this creative team throws their own spin on the concept as the Phantom Stranger is brought through Heaven’s gate by an avatar of God. As has been the case throughout this series, the Scottish terrier stand-in with the voice of God guides the Stranger, acting as both Sherpa and conscience. Once through Heaven’s doors, the scene he faces puzzles the Stranger, as he wonders how he will ever find his family to bring them back to the land of the living. DeMatteis continues to weave tales of morality and spirituality around the Phantom Stranger, but grafts those tales to the love-fueled quest the Stranger is set upon. It’s difficult not to feel empathy for the Stranger, whose heart is already shattered, as the Heaven-set developments continue to complicat