There are many tall tales about the highwayman Dick Turpin. The actual history, as is usually the case, is somewhat more muddled. Such is the way of legends.
Unlike the more internationally famous Robin Hood, we know for certain there was a Dick Turpin. He was born in 1706 and died by hanging in 1739. What he did in between and whom he associated with is somewhat more debatable. It is agreed, however, that he spent the last few years of his life as a horse thief and highwayman, after several years as a house-robber, poacher, and smuggler.
Dick Turpin and the Crimson Plague is more concerned with romantic fiction than solid fact. Nevertheless, this updated and expanded edition of the original 2011 graphic novel concludes with a decent overview of the real history. This is noteworthy, given how the stories contained within this volume are as unlikely as the account of Turpin riding 200 miles in a single night.
The main story, The Crimson Plague, finds Dick Turpin and his fellow thief, Tom King, enjoying their ill-gotten gains in London. After watching another unfortunate’s execution, the two decide to have some fun at the local brothel. However, it becomes apparent that there is a dark secret within the bawdy house’s basement. Soon, the two thieves become monster-slayers, fighting to save London from a vampire invasion!
The new edition of Dick Turpin and the Crimson Plague colorizes what was originally a black-and-white comic. The color art by Gavin Ross is decent enough. However, there are many pages I think might have hit harder in monochrome. Indeed, there are some pages where the colors seem to obscure the original inks of Graeme Howard’s artwork.
This new edition also contains an original short comic. Subtitled “The Crawling Terror,” this tale finds Dick Turpin and Ton King making camp in a cave. Unfortunately, the depths of the cave contain monsters that seem more appropriate to a Conan comic than a Dick Turpin story. Still, the artwork for this chapter by Roland Bird and Brett Burbridge is stronger than the main event.
All in all, I found Dick Turpin and the Crimson Plague to be an amusing read. I enjoy a good story of supernatural horror and stories about reluctant heroes. This is both. I also enjoyed the history provided at the end, which adds some context to what came before.
Time Bomb Comics does not offer a rating for Dick Turpin and the Crimson Plague. I would suggest that any librarian interested in this place it in the adult collection. First, because there is considerable bloodshed and Steven Tanner’s scripts do not skimp on adult language and sexual content. The only nudity in the book is a corset that slips to reveal one sex worker’s nipples at one point.
Another note for librarians: the only place I believe this new edition hardcover is available is the Time Bomb Comics website. The edition currently listed on Amazon and GoodReads under the provided ISBN is for the 2011 original.
Dick Turpin and the Crimson Plague By Steve Tanner Art by Roland Bird Time Bomb Comics, 2025 ISBN: 9780956182241
Superheroes might seem like they’re everywhere, from movies to underwear, but imagine living in a world where men and women with superpowers actually exist and save the world on a regular basis. Comics like Kurt Busiek’s Astro City have discussed what it’s like for mostly regular people to live in a world populated by people with powers, but Athanasia written by Daniel Kraus and illustrated by Dani, takes a much darker look at this concept. It not only explores what happens to superheroes who have lost their lives but what their remains mean for those with more earthbound problems.
Kraus’s tale takes us to Venture City, a town known for its superheroes, and follows young Forrest Molson. Forrest is a recovering addict who is looking for direction after graduating high school, so she goes into the family business. Like her father and grandfather, Forrest helps maintain the grounds at Athanasia, a cemetery housing the fallen members of Venture City’s greatest superhero team, the Dynamic Guild. Frustrated with her life and prospects, Forrest soon makes an astounding discovery: a chemical oozes from Athanasia’s soil that gives Forrest different superpowers. This new drug of choice (and the power that comes with it) soon takes over Forrest’s life. As friends and family try to pull Forrest back from the brink, her brush with superpowers soon becomes her villain arch.
Kraus is an author who’s better known for horror novels like Whalefall and Angel Down, but Athanasia is a horror story that touches upon many modern anxieties. The superheroes of this world mainly appear through their memorials, meaning they are not there when the Molson family, who have a deep respect for their positions as Athanasia’s caretakers, actually need them, illustrating how some heroes fly so high that they miss seeing the people who need their help. However, the truly harrowing moments in this book are when Forrest’s addiction spirals out of control, and she commits acts that both shock and appall readers.
Enhancing this story’s dark tones is Dani’s artwork, which eschews the dynamic colors in most superhero epics in favor of black and white ink drawing. This contrast shows readers that this story takes place far below the eyes of heroes, but the black and white also lets the book’s main villain shine. When the ooze makes its appearance and begins corrupting Forrest in earnest, the ooze (and the energy Dani manipulates when on the ooze) is colored a radioactive green, signifying its toxic nature and the frightening power now at Forrest’s fingertips.
There are many superhero stories that have cemented their status in our pop culture, but there are a multitude of stories, like Alan Moore’s Watchmen, that show the shadowy underbelly of these stories. This book will draw fans of both “Watchmen” and “Astro City” because it walks a thin tightrope of hope, like the kind in superhero narratives, and despair, like when readers take too long a glimpse beneath the capes.
Athanasia By Daniel Kraus Art by Dani Vault, 2025 ISBN: 9781638492818
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
Shining a light on a lesser know story from the Civil War era, Legion M Entertainment and Stranger Comics bring together a talented creative team including creatives from Disney, Marvel, and DC, for Defiant, this first volume chronicling the life of Robert Smalls.
Born to an enslaved mother in the American South, Smalls dreamed of freedom. Beginning with his childhood, Defiant follows Smalls as he grows through education, love, and eventually into working as a sailor when war breaks out against the North. It is in this war that Smalls sees an opportunity at freedom, to steal the Confederate transport ship he worked on and escape to Union-controlled territory with some of his fellow crew and their families.
It was this escape that made Smalls famous, but his life’s work did not stop there. He continued as an influential figure throughout the war and beyond, including time serving in Congress. There are many today who do not know the details of Smalls and his life, and in the supplementary material that accompanies this graphic novel, the creators, as well as Smalls’s great great grandson, reflect on the power of legacy and the necessity of telling stories like this in order to remember the past and inform the future.
Defiant opens with a framing narrative depicting Smalls later in life as he takes his grandson fishing. It is here, as they wait for the fish to bite, that he begins to recount his story. Each section of the book captures key moments of Smalls’s youth and adulthood. It’s a significant length of time to cover, but the creators pace the story well, showcasing the experiences that formed Smalls’s character and the sense of defiance that would later drive him to risk everything in pursuit of freedom. The story is told with fondness and dramatic flair, but it doesn’t lose sight of the Smalls’s humanity or the horrors of US slavery at the time.
Balancing cinematic sensibilities with a desire to share a true segment of history, the writing effectively moves between interludes with the older Smalls and the larger narrative chunks leading up to his dramatic escape. The dialogue is straightforward and occasionally on the nose, but the book does an excellent job identifying important details to convey and moving the story along, while also bringing the reader into Small’s life along with the lives of those around him. It’s a story told with concern for historical truth, but also with acknowledgement that some liberties were taken and some factual gaps filled in to bring the story to life.
With these same cinematic sensibilities, the artistic team uses bold coloring and some dynamic layouts that quickly grab the reader’s attention. There’s a general sense of realism to the visual sequences, but the art takes some compelling creative liberties at times which help to elevate the themes and content of the story. There is one pivotal moment early in the book where Smalls, as a child, witnesses the violence and cruelty committed against the Black people around him. With use of light and shadow as well as distortions of faces that once seemed less threatening, the artists bring us into the experience of the moment and the realization of the evil inherent to the institution of slavery. Here and elsewhere, the art reckons with the realities of the time without the need to linger over pain and suffering. As the book progresses into the dramatic escape that Smalls is most known for, the visuals continue to bring the reader into the action, with effective choices in framing and dramatic moments that heighten both the tension and the heroism of what Smalls and the other achieved.
Stranger Comics lists Defiant as suitable for all ages. There are a range of areas in the content to be mindful of—violence and death in war and toward enslaved people, occasional slurs, briefly implied nudity, and some sequences of tension and threat which at times include children. However, none of these are presented for shock value or in graphic detail; even the creators state that their intention is not to linger over the violence and other horrors of the time. What detail we do see in the pages is relatively brief, maintaining focus on Smalls as a central figure and celebrating what he achieved without glossing over the reality that helped shape him.
As such, it’s a suitable read for older kids and upward, not only for the book’s sense of adventure, but also for the rich and important history it seeks to convey. In the afterword, writer Rob Edwards reflects on the importance of telling stories and why he sees such value in remembering the life of Robert Smalls. There is value, not only in the history recorded here, but in the discussions offered by Edwards and the others in this book who reflect on what it can mean for us today, to remember the bravery and steadfastness of those who have come before. In this way, Defiance is a perfect read for the current moment, and a great addition to shelves in schools, libraries, and home collections, especially with a movie also in production.
Defiant The Story of Robert Smalls By Rob Edwards Art by Sean Damien Hill Legion M and Stranger Comics, 2025 ISBN: 9781939834379
NFNT Age Recommendation: Teen (13-16) Creator Representation: Black, Character Representation: Black,
He’s a trickster, a swindler, and a master manipulator skilled in the art of subterfuge and deception. At times insidious and other times resourceful, he straddles along the crossroads between good and evil, bending his will to orchestrate deeds that serve his intentions. He is none other than Loki, notorious Jotunn turned Aesir, adopted into the kinship of the Asgardians via his blood-brother Odin. In his third installment of Norse mythology, George O’Connor (Olympians series) reimagines one of the most manipulative and adroit characters that has evolved into a colorful icon in comics, movies, television shows, and videogames.
In this Asgardian series, Loki is pitted against a multitude of tasks that challenge his indefatigable problem-solving prowess and ingenuity. The first story introduces a master builder who proposes a wager to construct a fortifying wall around Asgard by winter’s end, and in exchange, win the fair Vanir goddess Freyja as his prize. Can Loki prevent her from being gifted to a stranger? In another tale of wit and strength, he challenges the ferocious wolf Fenrir to break free from a series of binds, each one stronger than the next. Will he outsmart the monstrous canine in a cunning battle of strength and tenacity? Then on his way to pay off a debt, he sets his eyes upon the golden apples from the tree of Idunn, Aesir goddess of youth, that grant Asgardians longevity.
Each tale highlights Loki’s ingenuity and resourcefulness, offering a glimpse into his manipulative mind—whether for good or evil, self-preservation or self-aggrandizement—always in devotion to a predicated cause engineered by deliberate scheming. Interludes break up the stories, detouring into the lives of other characters within the Norse mythos, some of whom indirectly or inevitably intersect with Loki’s exploits. Origin stories revolve around side characters like Hodr, blind brother of Baldr and Hel, dark queen who rules over the realm of the dead. Well-crafted dialogue infuse each character with a unique persona as they cross paths with each other. Foreboding moments unfold through strategically paced panels, some consisting of individual shots that build mounting tension, increasing a threatening sense of dread.
The final tale concludes with ominous overtones, centered on a challenge of chance—triggered in part by Loki—between Hodr and Baldr. Haunting repercussions reverberate, suggesting that something far worst is yet to come, presumably in a future volume. Once again, O’Connor revivifies a most conniving and mercurial deity from Norse mythology, supplementing middle graphic novel collections with vibrant adaptations of world myths.
Asgardians: Loki By George O’Connor Macmillan Roaring Brook, 2025 ISBN: 9781250760814
In a world where supernatural being and humans tensely live in proximity to each other, a turf war between organized families of demi humans is the spark that will trigger a much larger conflict to come.
Gran Familia is the first serialized story from creator Louis Yamani and Titan Comics. The book introduces us to Leo, the somewhat haphazard but sincere manager of Goodfellas Bistro. Along with fellow employees Rose and Zach, Leo seems committed to keeping his head down and his spirits up as he runs a business amidst the growing threat of demi human attacks on humans across the city.
Through genetic mutation, these demi humans take a variety of forms—vampires, werewolves, mermaids, and more. It’s a bit like folklore meets superheroes. And whispers that a new family of demi humans is making a power play in the city have everyone tense. However, it’s not until this new family attacks a friend of Leo’s that readers learn the bigger picture; Leo is a part of the Gran Familia, the most powerful of the demi human families, and is a powerful vampire in his own right. But when Leo steps in to punish the upstarts who hurt someone he cared about, it sets off a series of consequences involving law enforcement and local criminals, all of whom have their own interests as well as a score to settle with a member of the Gran Familia.
Yamani balances episodic storytelling with a larger narrative in a way that serves the story well. Each section of the book finds Leo and friends caught up in the circumstances of the humans and demi humans that live around them. With each new adventure (or misadventure) readers learn more about the characters and the world as Leo can’t seem to stop himself from helping those in need around him even as he balances his demi human and human lives. At the same time, members of human law enforcement are on a quest to eradicate all demi humans, regardless of who they are.
As Leo’s interventions gain attention from unfortunate places, the narrative ups the stakes toward the inevitable confrontations. Overall, the idea of supernatural beings living alongside humans is not fresh, but this manga never makes the concept feel stale either. Leo’s clumsy affects do feel a bit like other manga characters we’ve seen before, but when the mask comes off and he leaps into action, he proves himself a hero worth following. Overall, the writing delivers an entertaining and packed first volume while putting plenty of pieces in place for these characters and the larger world.
Yamani’s art as well, is excellent. Sometimes sparse and sometimes full of fine detail, the visuals shift well from mundane sequences to highly stylized moments of supernatural action. There are a few rough moments where the visual sequence is a little hard to follow, but for the vast majority of the volume, the imagery is a treat to behold. Beyond the cityscapes themselves, some of the high points visually are when Leo and the other demi humans unleash their powers, changing form and dashing across the page—each character with their own distinct abilities and presentation. From start to finish, there’s a great deal to enjoy in the artistic storytelling, and Yamani shifts layouts and tones enough to keep that journey interesting.
Titan lists the age for the title as 15+. There’s some stylized but occasionally intense violence, scattered language, occasional mild fanservice, and some non-detailed nudity in nonsexual contexts. It’s nothing most older teens can’t handle, but definitely worth being aware of for those on the edge of that age range. As a first volume, Gran Familia isn’t necessarily doing anything groundbreaking, but it’s a whole lot of fun that manages to put its own touch on this blend of supernatural action and mafia-esque crime thriller. There’s humor to balance the more intense moments and a distinct cast of characters that propel each episode of the story along in a way that still manages to feel cohesive. There’s plenty here to delight readers of supernatural action manga, and the story is engaging but straightforward enough that this could be an excellent entry point for readers without much manga experience. Simply put, I had a fun time diving into this world and I hope to be there to see what trouble Leo gets himself into next.
Gran Familia By Louis Yamani Titan, 2025 ISBN: 9781787747135
Steven Hollis left for Los Angeles with only a dream of becoming a screenwriter and a friend who wanted to act. Years later, Steven has a gambling problem, a drinking problem, and an eviction notice for his crummy apartment.
Thankfully, he also still has his friend Diedrich Ryan, who grew into one of the hottest actors in Hollywood. And despite his success and now speaking of himself in the third person, Diedrich has not forgotten the friend from high school who pushed him to apply to Julliard.
When Diedrich gets an invite to the bachelor party of wonderkid producer Benny Blevins, he’s all too happy to bring Steven as his “plus one.” It’s a golden opportunity for Steven to try and sell his screenplays to one of the most powerful players in Hollywood. Unfortunately for Steven, it is also a golden opportunity for crime boss Lucca Burlusconi.
Blevins, in addition to being a noteworthy producer, is also a notorious sexual predator. A gentleman gangster of the old school, Lucca Burlusconi would find this distasteful even if his own daughter were not one of Blevins’ victims. And while even his influence cannot touch Benny Blevins in Los Angeles, there is an unfortunate screenwriter who owes Lucca Burlusconi a lot of money. One who just got invited to a private party at a lavish mansion in Mexico City, where Benny Blevins will be celebrating his upcoming wedding.
Thus does Lucca Burlusconi’s problem of how to avenge his daughter become a problem for Steven Hollis to solve. It is only the start of Steven’s increasingly lengthy list of problems. One that will swiftly grow to accommodate fleeing the scene of a murder, evading a Mexican drug cartel, and somehow getting back to the United States without a passport. Compared to that, selling his screenplays while finding time to kill the man who can make his dream come true will be a cake walk.
Imagine The Hangover rewritten and directed by Quentin Tarantino, and you might wind up with something like The Loose End. There is an edge to Dave Dwonch’s writing that was clearly inspired by the indie heist movie boom of the 1990s. However, Dwonch parodies this aesthetic just as much as he homages it. This is particularly true in the second half of the story, as a group largely consisting of action movie stars enact increasingly outlandish plans they think will work because they saw it in a movie once. Ironically, their plans work just about as often as they do not, with one actor turning out to be an incredibly skilled sharpshooter despite only training in firearms to learn how to stand properly.
The artwork by Travis Hymel mirrors this tone. The style is reminiscent of many indie action comics of the time, and one could almost see this comic being done in black and white. But then we couldn’t have the colors off Geraldo Filho, which punctuates certain panels by rendering them with a single color. That, coupled with a shift between hot and cold colors, creates the feeling of a late 20th century grindhouse heist movie.
The Loose End is rated 15+ by Titan Comics and I consider that a fair ranking. There is considerable violence, drug use, and references to sex and sexual assault. Yet there is no nudity and no on-panel depiction of sexual assault. Surprisingly, there’s also no on-panel disrespect of women more extreme than Benny Blevins slapping the backside of one of the maids at the mansion he rented. Despite this, I would still recommend this one for an adult graphic novel collection, purely because older audiences are more likely to spot the references and tributes hidden throughout the comic.
The Loose End By Dave Dwonch Art by Travis Hymel Titan, 2025 ISBN: 9781787746442
Company Age Rating: 15+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
Many science-fiction stories follow Mary Poppin’s advice of providing a spoonful of sugar to go with one’s medicine. While readers are usually enjoying the fantastic technologies and interdimensional shenanigans, they are also assimilating the story’s moral about universal problems that affects most everyone on earth, at least ideally. Sometimes, that’s a delicate balance. Too much sci-fi sweetness and the author’s message becomes lost, but too little and the audience becomes resistant to the author’s didactic delivery. Luckily, Acid Box, with its story provided by Sara Kenney and art provided by James Devlin, Emma Vieceli, and Ria Grix, manages that delicate balance.
This time travel adventure begins in 2026 with Jade Nyo, a Glasgow woman more interested in dancing and getting high (and taking care of her brother) instead of saving the world. During a trip to a seemingly normal restroom, however, she becomes acquainted with three women who call themselves Liminals, guardians of doorways through space and time. Jade becomes responsible for the Acid Box, a device that can potentially cause geological catastrophes. Jade and her companions, including her brother, go on a quest, traveling through space, time, and the 90’s rave culture scene to repair the Acid Box while hopefully not destroying the world.
As much as Kenney’s story is about environmental issues and humanity’s role in them, this story also serves as a love letter to rave culture and what music itself provides. Jade and the people she encounters on her journey serves as musical and historical tour guides through the ‘90s as the book explores the rave music genre along with historical events. Such a statement might sound like a synopsis from a PBS show about the power of music, but that’s not necessarily a bad thing. The main benefit of this musical genre, argued by Kenney’s story, is its power to connect people and unite them under a common cause. This trip through musical history also allows Jade to experience her own hero’s journey of self-discovery once she stops relying on recreational drugs to handle the mindbending time-travel narrative.
Complementing this mindbending journey is the visuals provided by the multiple artists that lend their talents to this book. There are many opportunities for these artists to be creative, from depicting natural disasters that seem to be sentient to trips through different time periods that take their toll on the body. Many of these panels take up whole pages, so the artists have a lot of canvas to show off their talents. Combined with Kenney’s story, the art is as vibrant and stirring as the music serving as the narrative’s heartbeat.
This book is ideal for librarians wanting graphic novels that take advantage of both the linguistic and visual aspects of the medium. Acid Box provides a visual feast for the eyes, a compelling protagonist, and a story that doesn’t dilute this message, the proper ratio of sugar and medicine.
Acid Box By Sara Kenney Art by James Devlin Not in listAvery Hill Publishing, 2025 ISBN: 9781917355056
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: British,
Baki Hanma has just upset the annual karate championship and sent shockwaves through the world of martial arts. This wide-eyed, 17 year old white belt newbie shouldn’t have been able to face off against more seasoned fighters, yet somehow he toppled them all to win first place. What’s going on with this kid?
Originally serialized for the magazine Weekly Shonen Champion in 1991, Baki the Grappler is among the best selling manga in Japan, however the still-ongoing manga has never been officially translated for English readers until now. A Netflix anime adaptation was released in 2020, but that series covers a later arc in the overall story. This is truly the first time the earliest part of Baki’s tale has been readily available to English speaking fans.
Coming fresh to the series, I expected this to be a one dimensional story about fighting and relentlessly beating opponents, and at first at first glance, that seemed true. Baki initially appears to just be an oblivious wunderkind with a lucky streak and a heart of gold. When asked directly, he can’t quite articulate his training goals, other than to say he’d like to become the strongest man on the planet. But there are hints that there’s more beneath the surface. Readers see him meticulously mark off photos of defeated opponents. His typically kind demeanor cools significantly when dealing with bullies, and betrays a cold and calculating side. There are also mysterious scars all over his body that strangely allow him to withstand even the most intense punches. He may even have ties to dangerous underground fighting rings. Clearly there’s much more going on with this seemingly happy-go-lucky kid. You don’t get all the answers in this volume, but I immediately wanted to crack open the second volume to see what makes Baki tick.
Almost every page is filled with action and the art is crisp and easy to follow. The manga style in this volume is a bit dated with rounder and softer lines than more recent iterations of the character, but it contributes to the classic feel of this manga. In terms of theme I’m reminded of other popular manga and anime series of the 1980s and 90s, such as Naruto and Dragon Ball, with their stories of (mostly) young men pushing themselves to be the strongest fighters in their community. There are no magical powers or fantastical elements for Baki, even if everyone’s muscles bulge just as unrealistically as Goku and Vegeta’s. Machismo practically drips off each page.
Other than the fighting that occurs in almost every panel, there are only a few content warnings. Some of the fighting turns more violent, with visibly broken bones and blood. There is a panel with teenage nudity and somewhat crude mentions of male anatomy. There is one awkward scene between 17 year old Baki and his attractive older landlady, where she is a little too eager to put her hands on him and he is visibly uncomfortable. The landlady and her teenage daughter are the only women in the first volume, and both are in supporting roles to the men.
The publisher rates this volume for older teens and I agree that’s probably where it fits best in a library collection. Adult readers might also enjoy it, and I could see it ticking the nostalgia box for fans of 80s and 90s manga and anime. While definitely aimed at a male audience, any reader that enjoys stories of perseverance, athleticism, and martial arts should give Baki the Grappler a try.
Baki the Grappler By Keisuke Itagaki Kodama Tales, Inc., 2024 ISBN: 9781966523000
Company Age Rating: Older Teen
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Japanese,
It is the last days of the Roman Republic. The armies expanding into Gaul face increasing resistance from the Helvetii and Germanic tribes. The future of Rome itself is in question.
All of this is meaningless to Coax. He is Gallic, yet knows nothing of his tribe, for his parents were enslaved by Romans before he was born and died in the revolt led by Spartacus. He was content to be a slave himself, until an act of sacrilege destroyed his family. He freed himself and became a pirate, bleeding Rome as much as he could. And yet, while his thirst for the blood of Roman soldiers is great, he still ransoms one young officer who convinces Coax he is worth more alive than dead. Surprisingly, he proves to be right, and soon has the ransom Coax set.
Years later, Coax is in bondage again, captured and sentenced to slavery for his crimes. He seems sure to die in the arena as a gladiator, but for the intervention of a Roman officer. To his surprise, it is the officer he ransomed years before—a man named Gaius Julius Caesar. He offers Coax a choice – serve as his spy in those places where a Gaul can pass that a Roman cannot. In exchange, Caesar offers Coax his aid in finding those responsible for killing his daughter and driving his wife to end her life.
It is a devil’s bargain, though the two fighting men get along well enough despite their different stations. However, Coax is not under any delusions that he is anything but a weapon to Caesar. And though he does not realize it, his actions in the service of his savior may yet bring about the downfall of Rome.
I went into Caesar’s Spy with enthusiasm. Not out of any love for Roman history, but because of the pedigree of the creative team. I was familiar with Max Von Fafner’s work on various Conan the Barbarian books and loved what I had seen. I was less familiar with French writer Jean-Pierre Pecau, though I did enjoy his steampunk Sherlock Holmes story Moriarty: Clockwork Empire. Both are in fine form in Caesar’s Spy.
While it is tempting to call Coax a Conan substitute based on Max Von Fafner’s designs, Coax is a radically different character. He lacks Conan’s crude chivalry, though he does have a code of honor. He gives respect to those who respect him, even if they are Roman. He also takes offense at Caesar going against Coax’s word that a group of Helvetii refugees would be given safe passage. Not enough to stand against Caesar, who he honors as his commander. But enough to free the Helvetii princess Sanian, who is presented to him as a slave.
This goes on to form one of the main conflicts of the novel, with Sanian organizing her own campaign against Rome and Caesar. The irony is that she and Coax might have been allies, had it not been for Coax’s promise to Caesar and, later, Sanian’s rebellion killing one of the few men Coax calls friend. This is but one example of the emotional complexity of Jean-Pierre Pecau’s scripting. The story is also well-researched regarding Roman history during The First Triumvirate.
In terms of art, Caesar’s Spy is equally fantastic. As I said earlier, I’m a big fan of Max Von Fafner. His artwork is beautifully detailed and visceral, yet subtly streamlined. The action scenes are intense and the period costuming generally well depicted. The sole exception to this is some of the women’s clothing seems more like specialty lingerie than the sort of thing an Egytpian noblewoman would wear in her private chambers. In fairness, Von Fafner does not shy away from showing fit young men in equally revealing outfits.
On that note, Titan Comics rated Caesar’s Spy as 15+. Generally, I would agree with that assessment, but I would still classify this one as a graphic novel for adults. There is ample sexual content, brief nudity, and copious violence, though nothing I would classify as pornographic. The sexual acts are not depicted on the page, though we do see the characters naked before and after the acts. And yet, I would classify this as a work for adults because most teenagers are unlikely to appreciate the complex relationships and emotional depth of the characters.
Caesar’s Spy By Jean-Pierre Pecau Art by Max Von Fafner Titan, 2025 ISBN: 9781787746978
Company Age Rating: 15+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: French, Serbian,
Those who remember the 80s will remember the Cola Wars, where Coke and Pepsi duked it out in the realm of public opinion through eye-catching ads and seemingly random taste tests. These companies mainly fought for our attention but Pop Kill, from writers Dave Johnson and Jimmy Palmiotti and illustrations from Juan Santacruz, shows two other rival soda companies using much more conventional and destructive weapons to settle their differences.
The companies in question are Fizz One and Popso, each one run by twin brothers who were once conjoined and now can’t stand each other, both looking to destroy the other’s corporation. Enter corporate saboteur/hitman Jon Pyle, a man of many skills and many one liners, currently working for Fizz One due to a misunderstanding among Pyle, Fizz One’s CEO, and the CEO’s mistress. His latest task is to eliminate Dina Deluxe, a scientist who has developed a formula for soda that doesn’t fall flat, a formula that could finally bury Fizz One and put Popso on top. But nobody, not even Jon, thought he would fall for Dina and her pug. Now all three are on the run from two megacorporations who can afford an army of assassins and agents.
The Cola Wars might offer a blueprint for Johnson and Palmotti’s story, but either soda, being a drink that bubbles and pops while having no nutritional value, is the overall metaphor for the narrative, which is not necessarily a bad thing. Pyle spends a lot of time shooting people, causing lots of explosions, and having sex with attractive and often topless women (one panel has him crawl from underneath a pile of them). Neither he nor the plot allows time to ruminate on a career that often involves killing people; instead the book moves briskly from quip to violence and back again, making it not a story one savors after the book is closed but a tale that will be loads of fun while reading it.
And speaking of violence, Santacruz depicts that violence with syrupy blood splatter and automatic weapon gunfire that burns bright while its accompanying “Blam!” sound effects pepper the page. Not only are the players in this action movie committed to paper all look like they stepped off of Central Casting, but the vibrant colors are ones that Coke and Pepsi have used in their own commercials. This book might not feed the brain but it is most assuredly a feast for the eyes.
Many librarians know that some reading is for education or enlightenment, the same way we might eat oatmeal for breakfast and avoid, say, a stack of waffles dripping with chocolate sauce and whipped cream. Pop Kill definitely falls in the “stack of waffles” category. Those adult graphic novel readers who love high-velocity action films like The Transporter and Bullet Train will enjoy Jon Pyle’s adventures, which might seem like a guilty pleasure to some but the copious amounts of sex, nudity, and dry wit are guaranteed not to rot your teeth.
Pop Kill By Jimmy Palmiotti, Dave Johnson Art by Juan Santacruz Mad Cave Studios, 2025 ISBN: 9781545817872
Such is the way of legends.
with superpowers actually exist and save the world on a regular basis. Comics like Kurt Busiek’s Astro City have discussed what it’s like for mostly regular people to live in a world populated by people with powers, but Athanasia written by Daniel Kraus and illustrated by Dani, takes a much darker look at this concept. It not only explores what happens to superheroes who have lost their lives but what their remains mean for those with more earthbound problems.
creative team including creatives from Disney, Marvel, and DC, for Defiant, this first volume chronicling the life of Robert Smalls.
resourceful, he straddles along the crossroads between good and evil, bending his will to orchestrate deeds that serve his intentions. He is none other than Loki, notorious Jotunn turned Aesir, adopted into the kinship of the Asgardians via his blood-brother Odin. In his third installment of Norse mythology, George O’Connor (Olympians series) reimagines one of the most manipulative and adroit characters that has evolved into a colorful icon in comics, movies, television shows, and videogames.
demi humans is the spark that will trigger a much larger conflict to come.
a gambling problem, a drinking problem, and an eviction notice for his crummy apartment.
Many science-fiction stories follow Mary Poppin’s advice of providing a spoonful of sugar to go with one’s medicine. While readers are usually enjoying the fantastic technologies and interdimensional shenanigans, they are also assimilating the story’s moral about universal problems that affects most everyone on earth, at least ideally. Sometimes, that’s a delicate balance. Too much sci-fi sweetness and the author’s message becomes lost, but too little and the audience becomes resistant to the author’s didactic delivery. Luckily, Acid Box, with its story provided by Sara Kenney and art provided by James Devlin, Emma Vieceli, and Ria Grix, manages that delicate balance.
Baki Hanma has just upset the annual karate championship and sent shockwaves through the world of martial arts. This wide-eyed, 17 year old white belt newbie shouldn’t have been able to face off against more seasoned fighters, yet somehow he toppled them all to win first place. What’s going on with this kid?
tribes. The future of Rome itself is in question.
eye-catching ads and seemingly random taste tests. These companies mainly fought for our attention but Pop Kill, from writers Dave Johnson and Jimmy Palmiotti and illustrations from Juan Santacruz, shows two other rival soda companies using much more conventional and destructive weapons to settle their differences.
