Oh, mama. I bought a ton of comics this week, and I have no idea how it happened. It’s after 1 a.m. right now, because it’s taken me this long to read everything, and in certain cases, read again. Don’t be afraid to read a book, read something else, and then return to the earlier book. You never know what you’ll pick up on a second, closer reading until you try it. Because of the potential length of this — I’m verbose, what of it? — some of these little reviews may be micro-reviews, especially if it’s a case of restating something I’ve said many times before.

That’s my sly way of introducing Northlanders 43. You all know I love the book and I’m gutted by its cancellation, so let me just add further that creator/writer Brian Wood is building towards a massive flaming pyre of death with this final arc. Of course, this being a book about vikings, it’s important to note that after every cleansing fire in Norse mythology, there’s an eventual rebirth (wishful thinking on my part; there’ve been rumors that Wood is going to take Northlanders to another publisher). Iceland is being settled by vikings in 880 A.D. in this issue, and the little boy of last month is now a ruthless, hard nut who slaughters a village of enemies to get his way. After killing his mother last go round, this issue’s mass-murder and banishment of his father is almost prosaic. Almost. Brian Wood still limns the essence of a character in the most efficient, slashing strokes — Ulf Haukson is a psychotic, ambitious and somehow engenders a little sympathy because its his father’s fault he’s this way — which is to say, Northlanders remains the most personally compelling book on the market, for at least seven more months.

FF 8 is less compelling than it once was as far as I’m concerned. Multiple Reeds now fight our Reed and his father on the High Evolutionary’s turf while the Inhumans choose to enter the fray. It’s kinda awesome, but we’ve been on the cusp of this fight for three months now, and we’re still not really getting anywhere. Also, everybody but the Thing shows up in this issue, and when you’re getting to the big punch-out we’ve apparently been circling for I don’t know how many months, Thing is kinda the guy you’d think would be most in his element. But no — not even present. A year ago at this time, I was fretting that Jonathan Hickman was going to kill ol’ Benjy. He didn’t, but he may as well have, because Thing’s been the odd man out in this book. Personal challenge to Jonathan Hickman: try to have Thing punch somebody, somewhere, some time in 2011. It sounds easy — heck, Dan Slott’s done it a couple times over in Amazing Spider-Man — but time is running out, and you haven’t been able to make it happen yet.

Teenage Mutant Ninja Turtles 1 — how awesome is it to type that? — is a pretty great comic book first issue. If you’re familiar with the original Mirage series, Kevin Eastman, Tom Waltz and Dan Duncan touch on some very well-loved plot points in this updated relaunch (Prof. Baxter, April O’Neil, Casey Jones and even nervous lab guy Chet are present), while also twisting things around a bit. Baxter’s a lot more nefarious from the beginning, the turtles are still actual turtles and a certain Krang makes a veiled appearance much earlier in the series. No Shredder or Foot yet, but you know that’s coming. I had a great deal of hope for this series, and after reading issue 1, my hopes are even higher. Everything is here, but it feels a little newer and a little shinier. This is a great time to start (or resume) your relationship with TMNT — I didn’t realize how much I missed the goofy humor and pure action of the series until I actually had this in hand.

Following Cerebus 12 is an oddball book in that most of it is given over to interviews and story analysis, with very little traditional comic book content. But you should always expect the unexpected with Dave Sim. For me, Sim’s interview with David Petersen (Mouse Guard genius) was worth the cover price. Primarily because it’s always interesting to eavesdrop on two experts talking about their chosen field, but also because it sparked an interesting conversation about Mouse Guard and D&D with Steenz, the ultra-cool catlady who prowls around Star Clipper just generally being awesome and enthusiastic about comics. If there’s anything you can count on a Dave Sim book doing, it’s sparking a conversation. Although, Dave himself notes on the letters page that of the three projects he’s been working on (Glamourpuss, Cerebus TV and this), nobody talks about or comments on any of it, so he’s probably dropping this book. It’s a shame; his conversation with Petersen is fantastic, and I’d like to read more of his one-on-one things such as this.

Speaking of D&D, Dungeons and Dragons 10 came out, and it’s a great read, as usual. I know I’m the only one buying it — although maybe Steenz is? — so I won’t bore you (too much) with discussing it. Let’s just say that when your wildcard team member, the avaricious and relentlessly self-centered thief, is crafting your strategy, things are going to get out of whack quickly and repeatedly. And they do. This book always reads like the best parts of a really high-caliber campaign, thanks to John Rogers.

I bought The Iron Age: Omega 1 because of the promise of classic-era Power Man and Iron Fist, and technically, they’re in this book. Briefly, and with little to do. This is more a Tony Stark and Hank Pym story, and I liked that just fine, but I had expectations of modern-era Tony Stark having to negotiate a plan with the take-no-prisoners Luke Cage and the touchy-feely-let’s-be-socially-conscious naiveté of Danny Rand. Yes, I’m disappointed. Dazzler is in this one more than Luke & Danny, and I’ve never ever cared about whatever it is Dazzler does. Still, it’s a good Tony and Hank story.

Justice League of America Retro-Active 1: the 90s, however, is an amazing piece of comic book art. If you’ve never experienced the J.M. DeMatteis/Keith Giffen (with penciller Kevin Maguire) Justice League International years, this is going to sell you on the entire concept. The new story in the first half is as splendiferous and entertaining a comic book as you’ll find. Characterizations are perfect, jokes are plentiful, action is hot, Guy Gardner is a colossal a-hole and yet somehow likeable and issues of sexism and stupidity are referenced in such a way that you agree with the principal (stereotyping women is wrong) even as you chuckle while the guy heroes do it. This is in essence a comic book cliché — a team fight breaks out over some false assumptions — and it’s so fresh and beautifully done that you go along for the ride. The back-up story is a 90s classic by the same team, and in it you see how these guys handled the serious stuff; which is to say, with just as much panache and respect as they deal out the silly stuff. If DC were using these guys’ ideas as the groundwork for the new universe, I’d feel a whole lot better about the whole thing, Instead, once again, this is just a tip of the hat to a classic of yesterday. Consider it one last look before the first spade-full of dirt hits the coffin, if you like.

Bart Simpson 62: Wage Slave is another fine read. Honestly, since I saw the way my nephews flipped out over the mere idea of Simpsons’ comics at Free Comic Book Day, I’ve been buying these to pass on to them. Now I’m kinda regretting it, because books like this I’d like to hang on to for my own benefit (selfish uncle!). Two big stories explore Bart, Homer and Grandpa Simpson attempting to rebuild a classic car for Bart, and Mr. Burns getting the child labor laws repealed so he can make more money by having the children of Springfield work at the plant — care to guess who takes Homer’s job? There are lots of sight gags and callbacks to various TV episodes, you can hear the characters’ voices while reading the dialogue and — honestly — these stories are better than anything I saw the last time I watched The Simpsons. I haven’t seen a new episode of the show in years, though, so maybe the comics are mirroring a Renaissance of the TV show. I kinda think not; this is where the true spirit of The Simpsons I know and love seems to be these days. Right here in the Bongo Comics.

Also maintaining the true spirit of comics is Dark Horse Presents 3 — at least if you define that true spirit as being “tell stories in an innovative way that takes full advantage of the medium, be entertaining, have a ‘wow’ factor and offer a variety of stories.” DHP is straight up and down killer stuff, with the notable exceptions of Concrete (I’ve never liked Concrete, though, so I’m no judge) and Howard Chaykin’s Masked Man, which has been a huge disappointment to me. There’s sci-fi here (Dave Gibbons’ interesting if slightly shallow Treatment, the much more gripping Rotten Apple by Sanford Greene and Chuck Brown), fantasy (Richard Corben’s absolutely Corben-esque Murky World) and modern confessional indie comics (Carla Speed McNeil’s Finder). I’ve touted my Corben fixation quite a bit in this space, so let me say that I was stunned by McNeil’s Finder. I drifted away from what I rightly or wrongly deem the “cutesy indie comics scene” a long time ago, because I could only watch people reshape their diaries so many times, but this installment of Finder really got to me. It’s a simple story — young man Jaeger carries an old woman on his back through the city to get her to her family in time for the birth of a new baby — but there was something deeply personal nestled inside it that made it resonate. Namely, the woman tells Jaeger, “We’re all time travelers if we live long enough” — my own grandmother ended a lot of stories with a phrase very much like that, and I dropped the comic when I saw it/heard it again after all these years. It’s been a long time since I got the chills reading a comic, and it was welcome indeed. I would have never picked up McNeil’s work before this, but thanks to DHP, I suspect I’m going to look into her body of work. We clearly have something in common on some level, and I aim to find out what that something is.

Also, Jim Steranko’s ultra-hard boiled noir story, Red Tide, has been re-colored and one chapter is included herein. I’m not really a fan of the noir stuff, but HOLY COW is this thing phenomenal. This is the Ur-noir story told in a manner that is unique to comics. It pays homage to the classic Raymond Chandler/Damon Runyon/Mickey Spillane years of the field — our private detective here is named Chandler, and the plot is either borrowed from or influenced the film D.O.A. (I’m ignorant of the facts, educate me if you know) — but Steranko’s masterful technique makes this thing fresh as a daisy. Lip service is often paid to Steranko just because of those 20-something issues of S.H.I.E.L.D. he did 40 years ago, but it’s this sort of heavy-duty, brain-melting draftsmanship that makes other artists shake their head in disbelief. Page 8 of the story (52 in the issue) exhibits a use of Venetian blinds filtering a light source that will cause your mind to reel in its complexity — for sheer beauty of a fixed image, Steranko has no peer.

Hey, it’s 3 a.m. So much for brevity. I think it’s clear I’m absolutely deranged for Dark Horse Presents. This thing is a smashing success as far as I’m concerned, and it’s the best thing I read this week. And most promising of all is the final note on the letters page, which says that DHP is going monthly effective immediately. I know $8 is pricey for a comic book, especially a monthly book, but Dark Horse Presents is worth it. Boy, is it ever worth it.

-Paul

I didn’t buy that many books this week — only four, in fact. I anticipate next week will be even fewer. These summer crossovers/end-of-all-titles deals are really taking a toll on my reading habits, not to mention the impending cancellation of several books. This frequent diminishment is part of being a comic fan in the modern age. I have runs of Batman and Detective Comics that stretch for hundreds of issues, and my X-Men hoard is even larger. And yet now if I maintain 30 consecutive issues of a title, it feels like a big deal. I’m sure the fairly commonplace turnover of creative teams is part of my problem, but lately it feels more like the problem is the re-start/re-jigger/re-number thing companies want to do every couple years. Fatigue sets in much quicker when you’re constantly jumping back to the starting point.

And that leads right in to the final issue — of this incarnation of the book, anyway — of Legion of Super-Heroes. Number 16 is the big finale to the Saturn Queen vs. LSH battle that’s been building for the last four or five issues. Paul Levitz knows what he’s doing, he knows the Legion as well as anyone, and yet this felt like a let-down. I look back at the early issues of this run — a whole year ago, if you can believe that — and the book had momentum and pacing that implied the sort of slowly-developing, interlocking plots that come when a writer is committed to a lengthy stay on a book. I don’t know this for sure, but it feels like about six months ago Levitz was told to wrap it all up by August, and so he had to drop lots of plots and bang this out to meet the deadline. The result is a book that sputtered to the finish line instead of being a modern epic. We don’t get an inventive, super-sciencey and optimistic solution to the conflict or a soaring good-bye, just a weak left cross to end the threat and a bunch of table setting for the various Green Lantern titles. And it ends with the reminder that “Coming in September: A New Beginning.” What was wrong with the last “new beginning?”

I haven’t bought an issue of Hellblazer since John Constantine looked like Sting, but the Simon Bisley cover of 282 caught my eye. He also does the interior art in a much less-exaggerated style than the classic Biz look. I liked it. Peter Milligan’s plot is kinda so-so, a standalone story about Constantine going undercover in a creepy prison to root out a demon as a favor to his father-in-law. Honestly, it was perfunctory at best. I’m not a regular reader of the series, so maybe this is a bracing examination of Constantine’s character and how marriage has changed him. All credit to Milligan, though — he introduced every character efficiently so that even I knew who everybody was and how they relate to one another. Not enough writers do that anymore.

Conan: Road of Kings 7 continues my favorite Cimmerian’s long walk to the west. Mike Hawthorne is still on pencils, and to my great surprise, his lay-outs are much more dynamic and his weapons are more proportional. He’s still way too cartoony for my liking though; that splendid cover by Aleksi Briclot is much more what I want in a Conan comic. Roy Thomas’ plot revolves around Conan being blackmailed into joining a rebellious Aquilonian lord’s personal bodyguard, and then being stuck in the middle — with a kid, no less — when the King’s men uncover their plot. I’m all right with everything up to the kid. J.M. DeMatteis created a pair of juvenile sidekicks for Conan back in the early 80s, and the whole thing was terrible. Thomas has a much better grasp of what works and what doesn’t in Hyboria, however, so this may not end up being completely ridiculous. But then I look at that adorable stuffed bunny the kid carts around and I shudder to think of all the tender scenes that could come. Conan soothing her fears around the campfire; Conan solemnly swearing to return her to her home safely; Conan cradling her while she sleeps; Conan brushing her hair, and her reciprocating by putting his in hot rollers. Ugh, Conanny is the worst idea ever. Roy Thomas, please have this kid slaughtered by the midpoint of issue 8, and then let Conan wreak his bloody vengeance on the guilty parties.

And lest you think I’m anti-child, Tiny Titans 43 was how I wrapped up my reading, and I loved it. Superboy decides he wants a cape, which sets all the other Titans off in search of their own capes. I’m no fan of Superboy, but his confrontation with General Zod, Ursa and Non made me laugh. Robin struggles with Bat-Cow over the latter’s cape, Aqualad dabbles reluctantly in cross-dressing and the group orders new outfits from Sidekick City Costumes. It’s simultaneously ridiculous and eminently satisfying. Tiny Titans, not for the first time and certainly not for the last, is the best thing I read this week.

-Paul

Hey, does anyone else remember when summertime meant annuals? I realized today whilst perusing the racks that I can’t recall seeing an annual in I don’t know when. All right, so The Chronicles of Conan 21, a huge chunk of which is given over to a Conan annual, prodded my memory, but the point stands. Up until Eclipso summer — the second worst summer since calypso summer — annuals gave a book’s creative team the chance to play with a longer, not necessarily continuity-driven story that almost always was worth the price of admission. Who else fondly remembers that Avengers annual that pitted the Avengers against the Defenders (Silver Surfer, Valkyrie, Gargoyle and I believe Dr. Strange. EDIT: Nope, it was Beast), with the extra pages taken up by an honest-to-Jarvis copy of the Avengers charter and by-laws in their entirety? That issue was worth its weight in gold to a young nerdlinger such as myself, what with the points of procedure, and the sub-sections and the clauses. Now we get multi-title crossovers and Retro-Active specials to remind us of what’s been lost.

Speaking of crossovers, after what seems like three months of build-up, Spider Island finally gets underway with Amazing Spider-Man 667. It’s a testament to my belief in Dan Slott that I bought this book, and it’s a greater testament to his abilities for me to say that I li — I li-li-lik– I l-liked it. Now a huge chunk of Manhattan has the proportionate strength and agility of a spider, including a bunch of petty thugs and Peter Parker’s girlfriend, Carlie Cooper. Slott being Slott — a.k.a., a genius — he figures out a plausible reason to get everybody into a Spider-man costume, any Spider-man costume. Seriously, the last page features every version of the Spidey-suit since the 1960s, which kinda made me tear up a little. What can I say, the guy’s had some crap outfits over the years. Anywho, it’s a fun and chaotic story, and I can only wonder what I’m going to miss by not buying any related issues whatsoever — it’s ASM or nothing for me. Also, I am compelled by a slowly-awakening maturity to request that Humberto Ramos, an otherwise fine artist, cool it when rendering Carlie’s bosoms. She’s supposed to be (and other Spider-artists render her as) a normally-proportioned, cute girl. There’s no need to give her the jutting upper deck that literally every woman in comics outside of Aunt May has to lug around. The non-stop double-D warheads are not an enticement, they’re an embarrassment.

And on the topic of the Retro-Active series (it’s mentioned somewhere up there, honest), Green Lantern Retro-Active 80s is exactly the kind of comic book I miss. Len Wein and Joe Staton — JOE STATON! — deliver a John Stewart — JOHN STEWART! — story that’s about John’s relationship with Tawny Young. Sure, Sonar — really? Yeah, why not? SONAR! — shows up to make with some havoc, but the story is really about John Stewart’s principles and what it takes to trust another person. John Stewart is easily my favorite Green Lantern (then Kilowog, Hal, G’Nort, Ch’p, Guy Gardner and every other GL in all known space except for Kyle Rayner, who is a total bottom-burp), so I’m predisposed to enjoy this, but it really is a nice piece of character-driven — and character-revealing — storytelling. And that’s the frustrating thing about all these Retro-Active books; this is DC not only saying goodbye to the continuity and characterizations of my youth, it’s DC saying goodbye to this sort of storytelling completely. Everybody’s going to be younger, hipper, cooler and more likely to be an unattached single come September. Those sorts of two-dimensional characters don’t really inspire writers to take a closer look at their internal life or beliefs. How do you go deeper into the shallow puddle of “I’m totally awesome to the exxxtreme/no wife/no kids/no parents/nothing but enemies and come at me, bro!”? So, um, thanks (?) DC, for giving us all one last visit with your old characters before they become market-driving brand identities that skew well with the 18-to-25 demographic who aren’t currently buying comics. I guess. I’d kinda prefer something more like these sorts of brand-new stories that guys like Len Wein write, but you’ve got other plans.

On the other side of the Big Two divide, Marvel’s crossover d’jour “Fear! It’s Elf!” continues apace or whatever, and I dip my toes in it once or twice a month by buying Alpha Flight (and Herc). I don’t know how far Alpha Flight 3 progresses that story superstructure, nor will I ever know, but as the third part of a now eight-issue series (wasn’t this billed as a five-parter last month? I’m cornfused.) it seems to move things along nicely. Mac “Guardian” Hudson rallies his few troops to rescue the other members of the team from the evil Canadian government — that’s such an odd sentence to write, and I love it — while his wife, Heather “Vindicator” Hudson, sides with the corrupt government because she feels that because they stole her baby they’re her best chance to get the baby back (uncertain, citation needed). Puck’s back, Walter’s having trouble transforming into Sasquatch, Shaman is being preternaturally cool while helping to bust everyone out of government superprison, Snowbird goes totally sickhouse on some Canadian army men (just like Ann Murray would do!), and Aurora/Jeanne-Marie argues with herself while flying and ends up going full-on emo cutter. I dunno, I just like the characters and their interactions sometimes. Alpha Flight has always been such a weird, off-brand team of superheroes, all Canadian and removed from Marvel mainstream that I can’t help but fall in love with them all over again. I can’t give you a better or more rational answer than that.

Batman the Brave and the Bold 10 has an unusual point of view for a Batman book. Instead of giving us the usual Batman and superhero guest star delight, Sholly Fisch and Rick Burchett show us what life’s like for a professional henchman in the DC Kids universe, which is my preferred DC Universe at this point. Hapless lunk Joe runs from city to city, signing on with various costumed supervillains, and trying to stay ahead of Batman and the tax man. Fisch’s story is an economically current one, as Joe is doing cartoonishly criminal things to feed his wife and child because he can’t find a regular job. Fisch depicts working for Toyman and the Clock King as depressing as you’d think it would be, with Joe trying and failing to escape a life of crime. I’m not going to give away the end, but it’s about as satisfying and life-affirming a Batman story as Batman can have since all the comic book tough guys have taken over writing him. Sholly Fisch understands two vital elements of the Batman myth: The guy is compassionate, and he believes in doing the right thing. This story reaffirms that somehow, even in 2011, Batman as a hero is still a viable premise for a comic book.

Which brings us to Hellboy: The Fury 3 of 3. I lost interest in Hellboy a few years ago because all of Mignola’s stories were beginning to feel formulaic, but these past two years have revitalized my interest. The Fury has been promised for quite some time as the series that will force huge changes in Hellboy’s life and the whole Mignolaverse. I’m pleased to say that issue 3 does indeed usher in those changes, and it does so in an exciting and satisfying manner. And in three issues, no less. Not 29 (Spider Island), or 52 (DC’s Crisis in Finite September) or 300 (Fear Itself, I’m assuming), but three. Hellboy fights the Dragon, Ogdru Jahad, while all of England shakes under Ragna Rok, which means all of earth will be burnt and then re-sown. Hellboy is not fighting to save humanity as we know it, but fighting to establish a strong spirit for whatever humans emerge after the destruction of this world to follow and emulate. Mike Mignola and Duncan Fegredo deliver on pretty much every promise ever made in Hellboy. Hellboy behaves heroically, he remains true to his core beliefs (and those of Trevor Bruttenholm), and he refuses to give up on all that is best in humanity.

It’s disconcerting to see London being destroyed in a comic even as the real world London is being burnt up by protestors, but Fegredo brings an otherworldly quality to his images of carnage that allows for separation of facts and fiction. Also, this issue does not end quite how I envisioned it; my belief in the formulaic qualities of Mignola’s writing are completely destroyed by the end of this book, and instead flourishes anew the belief that he’ll do whatever is necessary to tell his story to the best of his abilities.

So even though this series finally answers questions first raised in that initial Hellboy limited series all those many years ago, that’s not why it’s the best thing I read this week. No, Hellboy: The Fury is the best thing I read this week because it told its tale quickly, with emotion and drama, and with real consequences evident for its titular hero, and I legitimately cared about what happened.

-Paul

So, according to a certain “newspaper” I read the other day, our friendly neighborhood Spider-man recently saved our equally friendly neighborhood Star Clipper.

Now, normally I’m pretty oblivious to current events, but this one was hard to miss. The only part that really bothers me about the whole thing is that I was actually there working that day, yet I have no recollection of seeing Spider-man or the danger that he supposedly saved us from. Still, he must have done a pretty good job because by the time I arrived the collateral damage was non-existent. Heck, if I didn’t know better I would have sworn that nothing had happened at all.

Still, as entertaining as seeing Spider-man would have been, I briefly met Firestar (who surprisingly was a little late to the party), and even got to pose for a picture to go in the Daily Bugle, decked out in my Multiple Man t-shirt no less.

All in all, it wasn’t that bad of a day, and it seriously helped mend some fences as far as Spider-man and I are concerned. I’ll be honest, he’s never been my favorite superhero. It’s not like Superman, who I sometimes dislike because he always comes off a little two perfect. If anything, Spider-man one of the most human characters in the Marvel Universe. He is a character defined by his past and his flaws, as all good characters should be.

The reason I have never been fond of Spider-man is because despite all of his great power and responsibility, his decision making skills have never been quite up to par. If anything, his life has been a series of poor choices, which so far have cost him his uncle, his first girlfriend, nearly his aunt on several occasions, and most recently his smoking hot supermodel wife and his future child.

I may be missing a few, but I think you get my point. That being said, Spider-man saving Star Clipper has done a lot to raise my opinion of everyone’s favorite web slinger. In fact, from what I’ve been hearing, there’s a lot Spidey’s been doing to turn his life around. Ever since the start of Big Time, he’s gotten a new job, a new girl, and a brand new bag of gadgets. All of this and more have finally been collected into a trade paperback that’s supposed to be released the first week of August, and I for one I’m looking forward to picking up a copy. After all, he saved my favorite store, the least I can do is read some of his more recent exploits. Who knows, maybe Spider-man is finally maturing. Crazier things have happened in the Marvel Universe.

Until next time.

-Brent

Since in my last blog I talked about Empowered, this week I’ve decided to talk about another series that is equally sexy, but of a decidedly different tone.

Sky Doll is an exquisitely crafted science fiction epic originally printed by Soleil Productions in Europe and brought to the States by Marvel. It has everything that mature comic lovers can hope for; it’s dark, sexy, and full of surprising insights. The story is set in a world originally divided by two priestesses of opposing philosophies, one representing the spiritual side of love, called Agape, and the other representing physical love, named Lodovica. However, eventually the balance of power tipped, and all hell broke loose.

When the dust cleared, one power stood instead of two. The world became overtaken with vice and carnal desire, and anyone who worshipped the priestess Agape became reviled as a heretic. Best personifying this brand new regime are creations known as sky dolls, life-like androids without rights, resembling a young female, who exists only to serve the state’s desires. Noa, the main character of this odyssey, is one of these sky dolls, although she has qualities that make her a bit…different, including strange flashes of memories, sudden bursts of power, as well as a personality and desires of her own. With the help of two “missionaries,” Noa travels the universe in search of some greater reason for her existence.

The story progresses from there, taking some interesting twists and turns along the way, none of which you’ll hear from me (I’ve given away enough as it is). What I will say is that you would be hard pressed to find a fictional realm like this one. In the world of Sky Doll, religion, consumerism, and science function as a single entity, and differences in spiritual philosophies can determine the shape of entire worlds.

However, appearances can be deceiving, and the more you learn about the world Noa lives in, the more difficult it becomes to distinguish the white hats from the black, and the tormentors from the victims.

Personally, I like a story that keeps me guessing. If you feel the same way this is definitely a series worth checking out.

-Brent