Read, the writer of Gestalt’s OGN Eldritch Kid: Whisky & Hate, has concocted a dirty superhero tale that paints evildoers as the underdogs, as they have learnt that nothing replaces the thrill of supervillainy. Simon and his wife Nancy have to attempt sex with their costumes on to replicate the same excitement.  Simon is now a debt collector and bouncer while Nancy makes collectibles.  Their humdrum existence looks to change though, when Simon meets The Duchess who wants to get the old gang back together, for some evil hijinx, but the kind that won't require costumes and powers.

Newcomer Smith’s style is rounded and instantly likeable; kind of like the delicate, yet versatile approach used by Nicola Scott. Her facial expressions are from the Kevin Maguire school of accomplishment and serve to remind readers that a look is just as effective as a Bendis-like diatribe. Her backgrounds are detailed and her use of shadows and panel arrangements are interesting.

The few costumes we see are different too, and that was a pleasant surprise. We’ve seen so many superhero stories over the decades that we’ve become accustomed to seeing the same costume variations trotted out time after time, based on the touchstones we all know and love. “Oh, there’s the righteous guy with the billowing cape, there’s the tech genius in the armor, and there’s the brooding loner in dark colors.” Refreshingly, there’s none of that here and it’s obvious that Read and Smith have consciously thought about this world, and injected some new flavors when it comes to costume design.

Simon is a likeable protagonist, which is not an easy task for a sleazy ex-supervillain. There are three more issues to come however, and hopefully they come very soon, as this is a rather engrossing debut. Unmasked #1 is available now on Graphicly, as all future issues will be. The four issue series will then be collected in print form as a trade.

The Almighties may not be as well known as the latter, but it is a lot of fun. Opening with a rabbit stomping adventure as the “Almighties Amass” at an animal testing facility in Connecticut, it flashes back to the formation of the team a month previous.

It’s a swift introduction to the team, as we meet the armoured leader Maxi-Tron, tough guy Mason, the sexy Ms. F, and British werewolf Nite Fang. It appears that only those last two have any actual powers, and no origins are given, but this is only the first issue. They are brought together by the hooded White Out who acts as the team’s mission giver.

The crude acronyms and jokes about testicular cancer will please fans of Kevin Smith’s films and it does the job of making effective fun of superhero comics, which, let’s face it, are a ripe target for comedy. The entire issue is a satisfying read thanks to its done-in-one nature and fast paced script, and there’s even a few surprises. For instance, there’s no huge battle in a crowded city square or other such superhero tropes, and the villain of the story (and his motivation) is rather unexpected.

There are some minor inconsistencies with the art, due to the three artists and three colourists throughout these pages, but it’s not jarring, although the first few pages are the most refined.

Johnson, who is also the creator of other indie titles, Geek-Girl, and Cabra Cini: Voodoo Junkie Hitwoman, has fashioned an accessible and fun tale.

The comedic highlights include a flashback to Ms. F’s rather stifling marriage, and Stefanos’ recurring trips away at inopportune times, which turn out to be of much greater importance than his remarks about mistrusting his nephew at his kebab shop would indicate.

There’s not enough time to get to know all the characters well, although the bickering conversations of these new teammates serve to reveal their personalities, and hopefully any future issues will cement the appeal of this motley assortment of fractured do-gooders.

Sam Humphries’ new project, Higher Earth, has been teasing readers for months with its viral images of infinite parallel universes under the lash of a tyrannical “higher” Earth.  The first issue finally hits stands this week, so how does it stack up to previous projects like Our Love is Real and Sacrifice? 

Higher Earth #1 is careful not to overwhelm readers within its introductory pages with an expansive and complex universe.  Humphries introduces the series’ protagonist, Rex, and barely teases the concept of infinite parallel Earths; choosing instead to keep the focus small, quick, and action oriented.  Higher Earth reads incredibly fast as Rex is constantly on the move, leaping, slashing, and stabbing his adversaries across junkyards and science facilities.  Though Higher Earth #1 does little beyond introducing Rex and his new mysterious companion, Heidi, the book  left me dying to know more about their past, homeworlds, and why they are being chased by totalitarian authority.  The wait for the follow up issue may be too much to bear, which strangely, may be a good sign for Higher Earth.

Higher Earth #1 is fun, quick, and exciting.  Sam Humphries does well to not overload his new series with hard sci-fi language, and chooses to instead focus on fast character movements and exciting fight scenes.  With an infinite amount of worlds to explore, Humphries has a giant canvas in front of him waiting to color.

Vertigo’s new Mystery in Space anthology is so much more than a loose collection of stories.  Several of these unconnected tales boggle the mind, break the laws of physics, and challenge humanity’s concept of reality.  Over the course of more than 70 consistently gorgeous pages, Duane Swierczynski, Michael Allred, Andy Diggle, and many more tell their own short stories that will satisfy fans of both science fiction and quality storytelling.

Without diving too deep into each and every offering, it is safe to say that Mystery in Space is a solid achievement in anthology collections.  Tales like Verbinksy Doesn’t Appreciate It from Swierczynski and Ramon Bachs and Here Nor There from Ann Nocenti and Fred Harper are not only hilarious, but also incredibly smart and clever.  Both stories are perfect examples of how brain teasing physics can be worked into rather mundane events, while keeping the overall tone light and humorous. 

Mystery in Space is not strictly limited to fun and games, however.  Several stories, in fact, are powerful and emotionally deep.  Ming Doyle’s Asleep to See You is the perfect example, as her story of separation and love that spans an entire galaxy, which ultimately leads to a warm and satisfying conclusion, pushes Mystery to achieve so much more than thought possible.  Doyle’s piece is far from the only thought-provoking piece, moreover, as Allred’s Alpha Meets Omega wraps the collective history of the universe in the mind of one man, while Andy Diggle’s Transmissions comments on the viral, perhaps infectious, nature of human thought and democracy. 

Mystery in Space’s collection of fun and thoughtful stories makes it well worth the hefty price tag.  Vertigo’s anthology offers readers an experience unlike any other.  There truly is something for every reader in this compilation, whether one hopes to have their mind thoroughly racked, or to share something fundamental about human kind. 

Dial H stands out as the most thrilling new release in DC’s “second wave” of New 52 titles.  I cannot honestly say how faithful China Mieville’s fresh take on the original Dial H for Hero is, but the firm footing of his title in the horror realm is a fantastic start.  Mieville bombards readers with a barrage of bizarre moments, all of which are tethered to the mysterious H Dial, and combine to create a strange and satisfying new world to explore.

Dial H is unlike any other DC title on the stands today, without a doubt.  The characters, the dark and dank setting, and Mieville’s tone simply reek of horrific strangeness.   Make no mistake, Dial H is strange, but in a completely enjoyable way.  It is quite amazing, moreover, how much information Mieville conveys in the first issue of Dial H, all without force-feeding readers or sacrificing the book’s pace.  Readers are introduced to Nelson Jent, the close to 30-something protagonist who is slowly but surely killing himself with self neglect, a mysterious antagonist, and the outlandish powers of the H Dial.  Jent’s connection to the H Dial is, as of yet, unexplained, but the transformative abilities instantly sell the title.  Jent’s transformation from helpless over-weight lackey to “Boy Chimney,” for example, immediately took Dial H into a completely unexpected and fun territory, where Jent became the scourge of the underworld with his control of smoke.  As bizarre as it sounds, upon reading Dial H the greatness of Boy Chimney and Nelson Jent’s journey will become clear.

As great as Mieville’s ideas are, however, the story could have fallen flat if not for Mateus Santolouco’s evocative pencils.  The weird and wonderful world of Dial H is made perfectly clear through Santolouco’s art, which channels the eccentric ideas into the perfect look for the story’s characters and plot.  Santolouco’s edgy pencils and heavy inks capture the overall tone of Dial H so well, especially his more focused approach to facial expressions, most noticeably in the contorted looks of Boy Chimney that bring his bizarre mindset to life.

Dial H is the freshest and most interesting new release in DC’s “second wave.”  China Mieville’s outlandish world is so different than any other title, yet at the same time feels at home in the DC Universe.  With promises of DC’s strangest characters making appearances in Dial H, now is the perfect time to jump in.

Exploding out of plot-points from James Robinson’s Earth 2 comes Helena Bertinelli Wayne and Karen Starr, more commonly known at Huntress and Power Girl.  Famed scribe Paul Levitz along with George Perez start their new title off with a bang, as the pair focus on two more of Earth 2 heroes, their transport to the main DCU, and the five years they have spent developing their new identities.  Worlds’ Finest is fun, clever, and a much more mature take on these two classic female heroes, whose story continues to expand The New 52.

Paul Levitz hits the ground running at full speed with his revision of Huntress and Power Girl, who read much more confident, modern, and capable than ever.  Power Girl especially has benefited from a new origin, now an incredibly wealthy and intelligent science mogul, who uses her knowledge to search for a return to Earth 2.  Huntress, on the other hand, has tapped into the funds of a certain billionaire from Gotham City to equip herself in an effort to take down crime across her city.  The possibility of a future cameo or crossover featuring the Dark Knight is quite exciting, as the ever vigilant hero surely is aware of Huntress’ thieving moves. 

Beyond the solid character interactions between Huntress and Power Girl, however, is Levitz's story of sabotage and destruction that cripples Starr labs.  The new villain at the heart of our heroine’s misfortune appears to be the perfect threat for Worlds’ Finest’s new leading ladies, who find their struggle to return home sidelined before they could take any major step forward.  If Huntress and Power Girl are here to stay, they could not be in better hands than Levitz's.

If Paul Levitz did not excite readers enough, then George Perez’s artwork surely will.  Perez channels the legacy of the previous DC Universe and the tone of Huntresses and Power Girls long gone, all the while updating their looks for a much more respecting book.  The action and static frames all look quite good, especially considering the amount of set-pieces and detail Perez highlights.  Time will only tell if Perez can keep up the quality of Worlds’ Finest #1, but for a start, he knocked the first issue out of the park.

Worlds’ Finest lands itself as one of the better books of DC’s “second wave” of New 52 titles.  Levitz’s update of Power Girl and Huntress makes perfect sense, and reads even better.  The interaction between the two heroines is top-notch, while George Perez’s art makes each and every page a blast to read.  Worlds’ Finest #1 is a definite read for anyone interested in the quickly expanding Multiverse at DC.

James Robinson’s Earth 2 is a shock of a comic as it almost heads full speed into a completely unexpected direction.  Amidst a rather boring introduction to Earth 2’s Batman, Superman, and Wonder Woman, legacy characters like Alan Scott and Jay Garrick finally make their New 52 debut, and it’s quite obvious their presence was sorely missed.  The action scenes in Earth 2 make up for the odd characterization, however, and that action is most definitely attributed to Nicola Scott’s fantastic pencil work. 

James Robinson’s recent work at DC is polarizing to say the least.  His runs on JLA received vocal shouts of disgust from fans and critics alike, while his Superman catalogue like New Krypton, Mon-El, and War of the Supermen likewise were condemned by a vocal base of readers.  His recent Shade offerings, on the other hand, have been praised for its great characterization of the moody and ghostly lead character.  Considering Shade’s high quality character focus, Earth 2 seemed like it would represent the same standard of writing.  Sadly, this is not the case.  Robinson’s main offense in Earth 2 is his complete lack of individuality when writing the voices of Superman, Wonder Woman, and Batman.  These three characters are the crux of DC’s superhero world, be it Earth 2, 1, or 100.  When the Big Three all speak in the same disconnected, disjointed, bland fashion, something is truly amiss.  If the purposely colored text boxes did not clarify exactly which character was speaking, the majority of this issue’s dialogue could have easily been interchanged from character to character, yet read the same.

Beyond Superman, Batman, Wonder Woman, Jay Garrick and Alan Scott’s debut is exciting to say the least.  Both are far from their days as the “wise men” of the Justice Society, with both being young men who have zero connections or involvement in the superhero world.  If the Big Three’s introduction failed to thrill, the rise of the two last missing pieces of the JSA will hopefully carry Earth 2 from here out. 

The true redeeming quality of Earth 2 is, hands down, Nicola Scott’s incredible pencils.  The amount of clear detail that Scott packs into each and every battle sequence is astounding.  Watching Wonder Woman rip the head off a vicious Parademon was one of the best scenes in the entire issue, while Batman’s infiltrations of an Apokolips tower was the perfect covert complement to the explosive battle.  If Robinson’s character work dragged Earth 2 down, Scott’s pencils carried the issue.

Earth 2 has several solid moments to make it worth the read, though the characterization leaves more to be desired.  The debut of Jay Garrick and Alan Scott, on the other hand, is a welcome addition to the New 52, as their presence was sorely missed in the DC Universe.  Though not the greatest of introductory issues, Earth 2 #1 will surely delight long-time readers of the previous DCU.

Jim McCann’s Mind the Gap landed itself in this week’s “Must Have Comics” list, and after its first issue alone the label was proved to be well deserved.  Ellis “Elle” Peterssen’s out-of-body mystery packs so much mistrust and excitement into its 50+ pages that McCann leaves almost no character safe from the reader’s scrutiny.  Elle’s violent attack is only the first step taken in McCann’s thriller, which will surely explode in complexity over the course of the series.

Mind the Gap immediately throws readers into the confused world of Elle’s mind, where she stands on unstable ground without her memory to guide her.  Elle, suffering from amnesia and trapped within a strange ethereal world at the outset of Gap, is quickly befriended by another out-of-body companion who reveals that her current surroundings, called “The Garden,” is her mind’s attempt to make sense of her physical and mental coma.  This apparition, Blake Plangman, helps to coerce Elle into realizing her identity and how she ended up in her bizarre predicament; a clever way for McCann to offer some exposition to the reader without spoon-feeding it in a typical or boring fashion.

Most of McCann’s time, however, is spent introducing the wide cast of characters that surround Elle, and short of her mother and closest friend, almost every character will surely leave a suspicious and bitter taste in every reader’s mouth.  McCann does a commendable job of sowing the seeds of distrust amongst the cast, with many of Elle’s family and friends proving to be at least less than likeable, and at worst, guilty of attacking and hospitalizing Elle.  The mystery is only heightened by this fact, making McCann’s ultimate reveal of Elle’s betrayal all the more powerful once it hits. 

Along with McCann’s solid character work that made Mind the Gap such a draw was the combined art team of Rodin Esquejo and Sonia Oback.  Esquejo and Oback delivered a gorgeous book, one where the characters look as distrustful as they read.  When shadowy figures discuss the attack on Elle, for example, their faces are covered just enough to tease their identity, without truly giving it away.  Considering the fact that Mind the Gap tops out at a total of 52 gorgeously drawn pages, Esquejo and Oback are much deserved of their praise.

Mind the Gap #1 proved to be worthy of being called a “Must Have Comic” this week.  Jim McCann’s story of mistrust, betrayal, and ultimate survival is quite great, and along with the solid art from Rodin Esquejo and Sonia Oback, Elle’s thrilling mystery is off to a powerful start.