03 March 2026

Reading Roundup Wrapup: February 2026

Pick of the month: Alan Scott: The Green Lantern by Tim Sheridan, Cian Tormey, et al. I have not yet gotten around to writing this up, but this was a really good queer superhero comic. Hits all the notes you want it to hit.

All books read:

  1. Fire & Ice: Welcome to Smallville by Joanne Starer and Natacha Bustos
  2. Star Wars: The Clone Wars: The Smuggler’s Code by Justin Aclin and Eduardo Ferrara
  3. The Doctor Who Chronicles, 1963–64 edited by Marcus Hearn
  4. Alan Scott: The Green Lantern by Tim Sheridan, Cian Tormey, et al.
  5. DC Finest: Science Fiction: The Gorilla World by John Broome, Sid Gerson, Murphy Anderson, et al.
  6. Star Trek: Boldly Go, Volume 1 by Mike Johnson, Tony Shasteen, Ryan Parrott, and Chris Mooneyham
  7. Star Trek: Boldly Go, Volume 2 by Mike Johnson, Ryan Parrott, Megan Levens, and Tony Shasteen
  8. Star Trek: Boldly Go, Volume 3 by Mike Johnson, Josh Hood, Megan Levens, Tana Ford, Marcus To, Angel Hernandez, et al.
  9. Nathaniel Hawthorne’s Tales: Authoritative Texts, Backgrounds, Criticism edited by James McIntosh
  10. Love and Monsters: The Doctor Who Experience, 1979 to the Present by Miles Booy
  11. Oz-story Magazine, Number Two edited by David Maxine
  12. The All New! Batman: The Brave and the Bold: Help Wanted by Sholly Fisch, Rick Burchett, Dan Davis et al.
  13. Fire & Ice: When Hell Freezes Over by Joanne Starer and Stephen Byrne
  14. Supergirl, Vol. 1: Reign of the Cyborg Supermen by Steve Orlando, Brian Ching, Emanuela Lupacchino, et al.
  15. The End of This Day’s Business by Eleta Preloc
  16. Supergirl, Vol. 2: Escape from the Phantom Zone by Steve Orlando, Brian Ching, Matias Bergara, et al.
  17. Supergirl, Vol. 3: Girl of No Tomorrow by Steve Orlando, Robson Rocha, Daniel Henriques, Steve Pugh, et al.
  18. Dreamweaver’s Dilemma: Short Stories and Essays by Lois McMaster Bujold
  19. Supergirl, Vol. 4: Plain Sight by Steve Orlando, Jody Houser, Vita Ayala, Robson Rocha, Daniel Henriques, et al.

Reading lots of comics continues to be the secret to my success! But this month I finished of all three comics project I've been working on since late last year: Justice League InternationalStar Wars: The Clone Wars, and Star Trek: The New Adventures. Will my numbers go down now that I have to read longer books?

My five-month moving average is 22, which is the second highest only to January 2013, the month I took my Ph.D. exams.

All books acquired:

  1. Star Trek: Boldly Go, Volume 1 by Mike Johnson, Tony Shasteen, Ryan Parrott, and Chris Mooneyham
  2. Oz-story Magazine, Number Two edited by David Maxine
  3. Fire & Ice: When Hell Freezes Over by Joanne Starer and Stephen Byrne
  4. The Flash by Mark Waid Omnibus, Vol. 3 by Mark Waid et al.
  5. Dreamweaver’s Dilemma: Short Stories and Essays by Lois McMaster Bujold
  6. The Twinkle Tales by L. Frank Baum 
  7. Agnes Grey by Anne Brontë 

A positively tiny list! 

Currently reading:

  • Getting There by Manjula Padmanabhan

Up next in my rotations:

  1. Carpatho-Ukraine in the Twentieth Century: A Political and Legal History by Vincent Shandor 
  2. Timelink: An Unofficial and Unauthorised Exploration of Doctor Who Continuity, Volume One by Jon Preddle
  3. Interfaces edited by Ursula K. Le Guin and Virginia Kidd
  4. Best of American Splendor by Harvey Pekar et al. 

Books remaining on "To be read" list: 663 (down 2)

Creeping downward bit by bit!

02 March 2026

Legion of Super-Heroes Archives, Volume 5 by Curt Swan, George Klein, et al.

Legion of Super-Heroes Archives, Volume 5

Collection published: 1994
Contents originally published: 1966
Acquired: July 2025
Read: January 2026
Writers: Jerry Siegel, Edmond Hamilton, Jim Shooter
Pencillers/Layouts: Curt Swan, Jim Shooter
Inkers/Finished Art: George Klein, 
Sheldon Moldoff, George Papp
Letterers: Milton Snapinn, Vivian Berg
 

In my experience, you never know what you're going to get with a volume of Legion of Super-Heroes Archives. Sometimes it's stupid as all get out... but sometimes it's an enjoyable and clever 200+ pages of Silver Age comics. Thankfully, volume 5 is one of the latter. In the foreword, Mark Waid trumpets the arrival of Jim Shooter as Legion writer, but this is a solid collection even before Shooter turns up for its last four issues.

The first story is a two-parter where Brainiac 5 builds Computo; he's hoping to make a superintelligent robot to help the Legion, but it backfires and Computo decides to take over the world. I think this is the first-ever "Brainiac is too smart for his own good" story, which will eventually become an overused Legion trope, but nicely sets himself apart from the other Legionnaires in these early days. Unfortunately, I don't think the second issue quite stands up to the first; while the first is written by Jerry Siegel, the second is credited to "Edmond Hamilton or Jerry Siegel" in the archive edition. Neither would surprise me, as it does very much have the feel of someone with no idea how to end the story and making it up as he goes along. While that could be a different writer coming in, plenty of Jerry Siegel stories have that vibe when he writes them in their entirety!

Famously, Computo kills one of Triplicate Girl's three selves. This establishes him as a strong threat... but the moment is pretty much forgotten right away; she's just like, "lol i guess i'm Duo Damsel now" and that's it. 

Maybe in the future, therapy is so good you can just get over your trauma in a moment.
from Adventure Comics vol. 1 #340 (script by Jerry Siegel, art by Curt Swan & George Klein)

I was pleasantly surprised by the next story, "The Legionnaire Who Killed!" In this one, Dream Girl comes back (she previously appeared in Adventure #317, collected in volume 2, over two years prior), and Star Boy is forced to kill someone to protect her, in violation of the Legion's code against killed. Brainiac 5 puts him on trial, with Superboy as the defense; I had totally forgotten that there's a later set of stories where Star Boy and Dream Girl are in the Substitute Legion, and thus I was quite surprised when the stor ended with Star Boy being kicked out of the Legion! (I totally loved that all the female Legionnaires voted to acquit Star Boy... except for Saturn Girl, of course. That's my girl.) My expectation for stuff like this in the Silver Age is that there's always a cop-out, like maybe the dead guy turns out to be a robot, or it's a frame-up, or whatever. One of the thing that really sets the Legion apart from contemporary DC stories is the feeling it's a genuine ongoing saga, and we see that really effectively in this issue.

How do they get back in the Legion, anyway? I bet I've read that story already and don't remember it.
from Adventure Comics vol. 1 #342 (script by Edmond Hamilton, art by Curt Swan & George Klein)

Again, we see some serialized storytelling in the next issue, where the Legionnaires become convinced they're under a bad luck curse, what with Computo and Duo Damsel and Star Boy and so on, not to mention all the bad things that have happened to Lightning Lad. And of course, it's Saturn Girl who refuses to buy into this nonsense. I thought the Luck Lords, aliens who use hypnosis to convince you you're experiencing bad luck, were great villains; I don't remember then ever appearing future Legion stories, which is disappointing. I'd totally bring them back if I was writing a Legion story.

Saturn Girl always cuts through the bullshit.
from Adventure Comics vol. 1 #343 (script by Edmond Hamilton, art by Curt Swan & George Klein)

The story after this is another great one. The initial setup is a bit contrived—a guy who hates law enforcement so much he goes around putting superheroes in a space prison??? sure why not—but the story told with it is excellent. Along with a bunch of other teen superheroes from across the galaxy, the Legion is locked up and must use their wits and their powers in subtle ways to escape. It's a strong premise, and it's very well done. Of course, Saturn Girl once again saves the day. And there's a key role for Matter-Eater Lad! What else does one need? (My only objection is I think the fact that the Superboy who gets killed was really a Durlan ought to have been hidden from the readers for at least a bit.)

ME READING THIS PAGE: Wow, I bet that power comes in handy all the time.
ME A FEW PAGES LATER: **sobbing as I finally understand how useful his power is**
from Adventure Comics vol. 1 #344 (script by Edmond Hamilton, art by Curt Swan & George Klein)

After this come the stories of Jim Shooter. Legendarily, Shooter was just a kid who sent in some unsolicited scripts and got them published; because he knew nothing about comics scripting, he included drawings of the whole story, and the editor just got an inker to go over Shooter's stuff. Even once Shooter knew what to do, he continued to supply images for penciller Curt Swan. Swan is a solid artist, of course, one of the greats, but I found that giving him Shooter's layouts to work from made Swan's work a lot more dynamic and interesting. Shooter must have had a good eye for angles and composition.

Haven't we all accidentally taken a nap next to a leaking nuclear reactor?
from Adventure Comics vol. 1 #348 (script/layouts by Jim Shooter, finished art by George Papp)

I found the actual Shooter stories a mixed bag. The one that introduces four new Legionnaires has some good moments, though, especially the initiation battle between Superboy and Karate Kid. (I love Karate Kid.) The other two are a bit wacky and contrived. Why does Sun Boy just happen to get amnesia when a villain from his past turn up? Why does he take a nap in a nuclear reactor?? Why is Universo's plan so bizarrely complicated??? That last panel of his son is excellent, though.

Has Karate Kid ever beat Superboy? I bet he could.
from Adventure Comics vol. 1 #346 (script/layouts by Jim Shooter, finished art by Sheldon Moldoff)
I've already read the next volume, but looking back at my review, I was surprised to see how scathing I was about Shooter's work. I'll be rereading some of it soon, so maybe I'll like it more this time around.

I read a Legion of Super-Heroes collection every six months. Next up in sequence: DC Comics Classics Library: The Life and Death of Ferro Lad

27 February 2026

Reading Ages of Oz: A Fiery Friendship Aloud to My Kids

This book is the first of a two-book series (though clearly intended to be longer) that's a prequel to the original Oz books. I forget how I first heard of it, but I was intrigued enough by what I read about it to add it to my list of apocryphal Oz books I was going to read to my kids.

Gabriel Gale's Ages of Oz: A Fiery Friendship
by Lisa Fiedler
illustrated by Sebastian Giacobino

Published: 2017
Acquired: October 2025
Read aloud: October
–December 2025

A Fiery Friendship takes place during the eighteenth century, during the time where Oz was divided into four quadrants, each ruled by one of the wicked witches, who had deposed the rightful king of Oz (here called "King Oz," not Pastoria, as he was in Marvelous Land and Lost King, though this is consistent with what we were told in Dorothy and the Wizard). Glinda is a young girl, living with her mother, about to come of age; what she doesn't know is that her mother is a sorceress and a member of the resistance against the wicked witches, nor does she know that she herself is in possession of magical powers.

The book is apparently the brainchild of "Gabriel Gale" (this is a pseudonym for George Makrinos), but actually written by children's author Lisa Fiedler; unlike most canon-consistent Oz continuations, it was published by a major publisher (Simon & Schuster). Its target age seemingly skews a bit older than the original books; it's more at the level of the early Harry Potters. It was plainly intended as a longer series than it ended up being (I'll discuss that more in my next post), and I wonder if it would have fared better if it had been published now, not 2017, when it could ride Wicked fever. (Seems to me someone should have republished it last year.) 

Prequels are, of course, always a tricky business. If the prequel shows you everything you expected to see in the way you expected to see it, what's the point? But if the prequel doesn't fit what you learned, then why bother? There's a tightrope you need to walk. (I've been showing the Star Wars films to my kids, and it's been interesting to note how the references to Anakin and the Clone Wars don't always exactly work out in retrospect.) In particular, a prequel by other hands can be even more fraught, because it can feel less like an organic extension of what you read before and more like a later author "imposing" their vision on the canon of the earlier one. (I think this happens a lot in, say, Asimov fiction, where people who write prequels like to pin down things Asimov left vague and probably were better left vague.)

Sometimes I think what this book does works, sometimes it does not. I liked the concept, for example, that the Silver Shoes were one of four magical instruments, each originally owned by King Oz but later taken by the wicked witches: Silver Mask, Silver Gauntlets, and Silver Chainmail. I like that Gale/Fiedler delve into what Oz was actually like under the wicked witches, something we've never seen in any other Oz books, and that they give each one a distinct approach and personality. I liked the addition of a "Road of Red Cobbles" as a counterpoint to the "Road of Yellow Bricks"; there's a cute prophecy about a "gale" being the key to restoring normalcy to Oz.

On the other hand, instead of being the Wicked Witch of the North, Mombi is the "krumbic one" (a krumbic witch appeared in Glinda, but what this meant was not really explained), a powerful disembodied spirit that controls the other witches—how we might get from here to Marvelous Land is not really obvious, though I suppose the books might have gotten there eventually had there been more of them. I think what bothered me most was Gale's attempt to impose his own cosmology on the Oz universe, such as calling the land "Lurlia." A young Nick Chopper, half-tin, turns up here, and this felt like somewhat overegging the prequel pudding.

In terms of the actual happenings, the book is okay. Glinda finds out she has a magical destiny, her mother is kidnapped, so she must go on a quest with some other kids to save her: Locasta, a sparky Gillikin; Ben, an American colonist transported to Oz; and Shade, a mysterious sneak. As the title suggests, a focus of the book is supposed to be the friendship between Glinda and Locasta (Locasta is the name Baum used for the Good Witch of the North in the first Oz stageplay but not the actual books), but I didn't find this very effectively handled. Basically they argue a lot but then at the end they are best friends. I don't think either Locasta's sarcastic streak or the eventual "friendship" (by book two, they are supposedly best friends) came across strongly.

I liked the idea of Ben, but to be honest, it's not very clear why he gets so invested in the fate of Oz; I think including a visitor from the "real" world is a classic Oz trope that I wouldn't expect to see in a prequel book, and paralleling the American colonists' fight for independence to that of the Ozites is an eat idea, but we never get scenes from his perspective. Shade is incredibly underdeveloped, and in a weird way; the characters walk back and forth across Oz with her but never just ask her what her deal is!

There are some arresting sequences, especially the "trapestry," which is pretty creepy. I really like the idea of "Illumina," the sword of smarts that Glinda wields. On the other hand, the book is a bit overly reliant on riddles as a plot device; too many times the characters come up with seemingly arbitrary answers to weird problems. I would have liked to have seen a greater emphasis on genuine bravery and courage when it comes to the difficulty of doing what's right. (It seems to me that Glinda throws off an entire childhood of propaganda far too easily.)

There's also too much "lore." In addition to the four silver artifacts, there's four spirits, four gifts, a slew of heroes from Oz past and present, some mild time travel, and lots of visions of the past. It's too much to keep track of, it bogs the story down too often, and most of it is not really relevant to the story we're reading about. I felt like this lost my kids when reading it aloud, even my seven-year-old, who is good about tracking this kind of thing and typically very into it. Overall, they both seemed to enjoy it well enough (they love anything with gems, and there are some magical ones here), though my five-year-old did moan about halfway through it, "Dad, when are we going to read a book where Glinda is a grown up!?"

25 February 2026

Franco Aureliani and Agnes Garbowska, Peach and the Isle of Monsters (2021)

Peach and the Isle of Monsters

Published: 2021
Acquired: October 2025
Read: November 2025
Written by: Franco
Illustrated by: Agnes Garbowska
Colored by: Zac Atkinson
Lettered by: Marshall Dillon

Way back in 2013, I helped fund Franco Aureliani and Art Baltazar's Aw Yeah Comics on Kickstarter, a series of kid-friendly superhero comics. It recently occurred to me that my seven-year-old would enjoy these, and I dug them out of my shortboxes. Doing so triggered a dim memory, that I was pretty sure the series was supposed to have twelve regular issues and two annuals... but I had only received one (Cora De Flora from Bora-Bora). I went digging in my e-mail and found a note from 2017 that the second one, Peach and the Isle of Monsters, was then-forthcoming. (Like many Kickstarters, it certainly took its time coming out.) Well, I never received it, so I decided to see if it had ever come out. It did indeed... though not until 2021! Chasing down a 2021 release from a 2013 Kickstarter in 2025 seemed a bit asinine, so I bought a copy on the secondary market instead so that me and my kid could finally read it.

Like all of Aw Yeah Comics, it's cute and aimed at kids. Peach is a girl (I think teenage, though this is hard to tell with the art) thrown out of her home by her adoptive father; she goes with other kids to Monster Isle, whose inhabitants have been attacking her homeland. With these other kids, she discovers there's more to both herself and the monsters than she thought. The book contains two forty-page stories; I'm guessing it was originally intended as two separate issues because the first one ends with the credits. The second story has Peach meeting up with pirates, (unfortunately stereotypical) natives, and a glowing monkey. Franco Aureliani's writing is quick and lively, sometimes too much so—the beat of Peach being tossed out by her father goes by way too quickly and is much too dark for the tone of the rest of the comic. Agnes Garbowska's artwork is very cute, and a clear match for what Franco is doing in the writing.

I think probably there are deeper kids comics out there, but I don't know if this is aiming for deep; my kid seemed to enjoy it a lot, which is probably enough, though it's not as funny as Franco's work on the regular Aw Yeah Comics line.

23 February 2026

Ultimate Black Panther: Peace and War by Bryan Hill, Stefano Caselli, and Carlos Nieto

Ultimate Black Panther: Peace and War

Collection published: 2024
Contents originally published: 2024
Read: December 2025
Writer: Bryan Hill
Artists: Stefano Caselli & Carlos Nieto
Color Artist: David Curiel
Letterer: Cory Petit

Since the end of Eve L. Ewing's Black Panther run, there has been no ongoing Black Panther series... sort of. Though the "616 universe" Black Panther lies fallow, there is an ongoing set in Marvel's alternate continuity, the "Ultimate universe." I don't know much about the broader continuity of the Ultimate universe, so I can only judge the comic on its own merits, as a reboot of the Black Panther concept. We're back to the beginning here, with Wakanda in splendid isolation from the rest of the world, a Black utopia cut off from the rest of Africa. At the start of the series, T'Challa is already king of Wakanda, though his father T'Chaka is still alive, having stepped down. But pressures are conspiring to bring T'Challa and Wakanda into the outside world; two mysterious godlike figures are taking over Africa, and they are not going to leave Wakanda alone.

I thought this started strongly, with well-defined characters in interesting configurations. T'Challa is actually married to Okoye, former head of the Dora Milaje; I felt like there was sexual tension between Shuri and Okoye; Killmonger is romantically involved with Storm and T'Challa is sympathetic to his arguments. Wakanda is being rocked by terrorism, and the new king does not know who to trust.

Unfortunately, what is the status quo at the end of the second issue is pretty much still the status quo at the end of the sixth, the last one collected here. It seems to me that T'Challa mostly sits around and thinks a lot about what he should do; more than once I turned a page on my Fire tablet and was surprised to discover I had finished an issue, thinking there was no way that twenty pages could have gone by. I don't mind comics without nonstop action; in fact, I wish more superhero comics writers would spend time on character and dialogue and mystery. But the attempts at such here by writer Bryan Hill (Killmonger: By Any Means) go in circles without interest. 

T'Chaka always gotta die, I guess.
from Ultimate Black Panther #1
(art by Stefano Caselli)
Partially I think the issue here is that (if I am correct) the series is being told in real time, with a month passing between each issue. But that means not much of significance can happen between issues, so T'Challa can't do much between them... but then he doesn't seem to do much in issues, either, and thus he ultimately spends six months dithering. Potentially interesting conceit but poorly implemented. Such an approach requires a lot of done-in-one issues, I think, more plots shaped around individual issues. This is very much a "written-for-the-trade" plot. Well, except that even by the end of the trade little has happened. Written for the omnibus?

I enjoyed the art of Stefano Caselli, who draws the first four issues. It was much better than his work on Civil War: Young Avengers & Runaways... but then that was twenty years ago! I found the work of new-to-me Carlos Nieto on the last two inferior; an artist for a series with this much dialogue needs to have a better command of facial expressions, and some of the compositions were confusing. (When Storm and Killmonger make out in issue #6, I at first thought it was Storm and Shuri!)

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

20 February 2026

Talking about Generations

I recently listened to an episode of Radiolab, "Time Is Honey." The exact topic of the episode (bees and the Internet) is not really relevant to the point I am going to make here, what is relevant is that co-host Latif Nasser is trying to find an example of an overloaded website to use in a story he's telling the other co-host, Lulu Miller, like when too many people all get on the same site at one time and that overloads it and no one can access it, or at least, it loads at an agonizing crawl.

The example Latif ends up giving is the Hamster Dance becoming really popular.

And Lulu Miller doesn't know what the Hamster Dance is!

Now, I don't expect everyone to know what the Hamster Dance is. I'm sure my parents don't; I'm sure some younger Gen Xers don't know what it is either. On the other end of the spectrum, I certainly wouldn't expect my Gen Z students to know it, or even younger Millennials. The Interner has gone on to feature much more interesting things. 

But surely if you are a Millennial of a certain age, you must know what the Hamster Dance is. I don't know exactly when Lulu Miller was born, but from Wikipedia, I can tell she was in college in 2005, as was I, so she can't be too far off my own age. Are there really people born c. 1985 who don't know what the Hamster Dance is, who never saw it?

I asked my wife this, and she said that when she has dementia, and can't remember her own name, she'll probably still be able to sing the song. I just don't believe that people my age wouldn't know the Hamster Dance! What strange planet did Lulu Miller grow up on?

This isn't a serious criticism, by the way. I'm sure there are lots of people who didn't know the Hamster Dance. But it kind of boggles my mind to imagine them. I'm sure things like this happen all the time, I'm sure there are things other people perceive as ubiquitous in their own era that some people never actually experienced. I wouldn't say the Hamster Dance is a generation-defining experience (I'm sure Lulu Miller does remember exactly where she was on 9/11)... but it is emblematic of the old weird Internet that used to exist and has largely passed, and that I do feel like was a generation-defining experience.

I hope at least Lulu Miller knows Trogdor.

18 February 2026

Star Wars: Tales from the Clone Wars Seasons 2–3 by Pablo Hidalgo, Thomas Hodges, et al.

The official Clone Wars webcomic continued to run through the end of the show's third season. While the installments for the first season were one-off prequels to episodes, the installments for the later seasons told a multi-part story in fifteen installments, set in parallel to the events of the show. Frustratingly, the webcomics from these seasons have never been collected even though they read much better on their own! Thankfully, though, they're still out there if you know where to look, and after finishing the season one webcomic collection, I went on to the later seasons.

The story for season two is Act on Instinct. Its main character is Tyzen Xebec, a Jedi padawan whose master is killed; Tyzen is assigned to a new Jedi master, Keelvine Reus. The other key characters are Ganch, the clone who commands the squad assigned to Tyzen, and Sanya, a member of the Jedi Agricultural Corps. (Various tv characters pop up here and there; Ahsoka tries to console a grieving Tyzen, for example.) Keelyvine and Tyzen are sent to defend the planet Ukio from the Separatists. Shenanigans of course ensue.

The story is fine. It's mostly action-focused; a character arc suggested at the beginning, about Tyzen and Keelyvine learning to adjust to one another, largely doesn't play out, since the two characters are separated for most of the Battle of Ukio. There's a lot of Star Wars goofiness, but it's decently well done. The story is definitely harmed, though, by the very variable art. It's jarring to have the art style change every five pages or so, but even worse is that some of the four artists are very much better than others. I think Thomas Hodges is most consistent. Some of the others' work frankly comes across as amateur hour.

The third season story is The Valsedian Operation. Thankfully, the art is all by Tom Hodges this time; thankfully also, the story keeps Keelyvine and Tyzen together. The master and padawan work together with Obi-Wan, Anakin, and Ahsoka to investigate a Separatist intrusion in Hutt space; meanwhile, Sanya is on Coruscant with Ganch, looking into sabotage. Unfortunately, the Hutt plotline isn't very interesting and I wish there was more stuff between Keelyvine and Tyzen again. The stuff with Sanya is more interesting, letting us see a different side to the clone army, though I wish it had been fleshed out more; the "Republic Service Organization" comes across as just "the USO... but in space!", not a thought-through organization in its own right.

That said, Keelyvine Reus is a great character in the Boba Fett mold: less about anything she actually says or does, and more just great visual design. Dig that coordinated green tunic, green lipstick, and green eyeshadow! It's too bad these two stories are her only appearances, I would have liked to have seen more of her.

Star Wars: The Clone Wars: Act on Instinct originally appeared on StarWars.com in fifteen chapters (30 Sept. 2009–7 May 2010). The story was written by Pablo Hidalgo; illustrated by Thomas Hodges, Grant Gould, Jeff Carlisle, and Daniel Falconer; and lettered by Grant Gould.

Star Wars: The Clone Wars: The Valsedian Operation originally appeared on StarWars.com in fifteen chapters (14 Sept. 2010–29 Apr. 2011). The story and art were by Thomas Hodges, with scripts by Pablo Hidalgo and colors and letters by Grant Gould.

16 February 2026

Black Panther: Reign at Dusk by Eve L. Ewing, Chris Allen, Mack Chater, Craig Yeung, et al.

Black Panther: Reign at Dusk, Vol. 1

Collection published: 2024
Contents originally published: 2023
Read: December 2025
Writer: Eve L. Ewing
Pencilers: Chris Allen, Mack Chater & Matt Horak
Inkers: Chris Allen, Craig Yeung, Mack Chater, Matt Horak & Oren Junior
Color Artists: Jesus Aburtov & Andrew Dalhouse
Letterer: Joe Sabino

After the conclusion of John Ridley's run, there was a ten-issue Black Panther series written by Eve L. Ewing—to date, the last series titled just "Black Panther." It ran only ten issues and is collected as two trade paperbacks subtitled "Reign at Dusk," but I'm guessing it was originally intended as an ongoing and was curtailed by poor sales. The premise of the series is that following his exile from Wakanda, T'Challa still wants to serve as the nation's protector, and so he sets himself up in Birnin T'Chaka ("Biti"), a city where he has spent little time, far from the capital of Wakanda. In Wakanda, everyone's basic needs are met, but that doesn't stop some people from wanting more, so there is still crime and corruption for the Black Panther to root out. By day, T'Challa dons a holographic disguise to work as a manual laborer at a catering business; by night, he tries to root out the corrupt crime families in the city and tussles with an attractive female thief. (There is very definitely a bit of Batman influence here.)

I thought this had some potential but never totally succeeded. I think at least part of the problem is that Ewing doesn't use her limited canvas very efficiently, as though she thought this series was going to last longer than it did—but because she didn't use it very effectively, it didn't last long enough for her to do much of interest. There's largely one big storyline here, about the crime families fighting each other but also there are disappearances happening, which ultimately turn out to be the doing of a spirit from the early days of Wakanda. Ewing introduces a lot of characters to be an expanded cast for T'Challa's new status quo, but I felt like most of them ended up contributing little of interest, either to the plot or to the characterization of T'Challa, even when I liked them. (In particular, I liked N'Yobi, the well-meaning lawyer.) I feel like what the series would have benefited from is more stories; instead of telling one big one, I wish it had been a series of done-in-ones, putting T'Challa up against situations with clear beginnings, middles, and ends. More and more varied stories would have done both T'Challa and his cast some good. At the end, we're told T'Challa found himself by living amongst his people, but we haven't had enough interactions to make that work... nor do we really get what T'Challa has "lost" about himself that he got back! (I've seen some complaints online that we've gotten subplots like this before, and thus this is repetitive... but the last time was David Liss's run, which almost fifteen years ago. If it doesn't work here, that's on its own merits, not because some other writer hit similar beats a long time ago.)

Black Panther: Reign at Dusk, Vol. 2

Collection published: 2024
Contents originally published: 2024
Read: December 2025

In particular, I didn't find the ongoing plot very interesting. The stakes of the crime family dispute are kind of murky, and then the whole thing gets subsumed in an attack by an evil cloud, which is just not and never can be interesting. There are some awkward contrivances, too, such as when T'Challa is trying to figure out a way to get into one of the crime families' weddings, and totally coincidentally, the catering business he works for is offered a job at the wedding that exact day!

This is a shame, because there's a lot of interesting stuff here. Like I said, I like a lot of the characters: I liked N'Yobi in particular, but a lot of the others have potential, like the female thief (a clear Catwoman analogue) or T'Challa's boss at the catering business. I like the setting of Birnin T'Chaka; I think this is the first time in the long history of Black Panther stories that we've actually spent a protracted period of time among the regular people of Wakanda. I appreciated that we got outside of the capital without going into one of the atypical "mute zones" we've seen in other titles. I liked the aesthetic of Biti, which is technologically advanced but different from what we've seen in other Wakanda stories.

On the other hand, I felt like the art let the story down. The aesthetic of Biti is cluttered, which requires good coloring to keep the art clear; some details need to draw the eye, some need to clearly be background detail. But a lot of the time, the imagery here is just one big muddle. Occasionally the storytelling is confusing, hard to track on a panel-to-panel basis. There were even some real amateur hour mistakes, such as a panel in the wedding issue where figures in the foreground are drawn smaller than figures that are obviously further away!

I do feel Ewing was dealt a bad hand, coming off the back of Ridley's run... but I also feel like the basic premise here was a solid one. I wish she and her artistic collaborators had been able to make it work better, because it had real potential.

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13 February 2026

Science, Clarity, and Infidelity in Arrowsmith

I teach Sinclair Lewis's Arrowsmith in medical humanities course. This is a bildungsroman about a young medical scientist who tries to fight a plague, along with various other public health undertakings, and partially my teaching emphasizes those public health angles.

But that's not all that's going on in Arrowsmith. One things my students struggle with is an infidelity subplot: during his time as a public health officer, Martin Arrowsmith has a bit of a thing with Orchid, the daughter of his boss, even though he is married. They only share a single kiss, but definitely have an inappropriate emotional intimacy. (And I'm not denying that even a single kiss is very much inappropriate!) Students don't like reading about this, I find, and react strongly against it.

Fair enough, you probably should react strongly against infidelity in your daily life. But in fiction, I think you need to think about why it's there. Why include this infidelity subplot in a novel largely about public health and what it means to have a scientific mindset? 

Though it's a late example, I would classify Arrowsmith as a realist novel. The realist novel is, I would argue, about testing and exploring systems of knowing the world. (As is the bildungsroman, in a somewhat different way.) In claiming this, I draw on both George Eliot, one of the original practitioners of the genre, and George Levine, my academic grandfather. Specifically, Eliot lays out her manifesto for realism in Adam Bede, saying we need to remember regular people that that we do not "leave them quite out of our religion and philosophy and frame lofty theories which only fit a world of extremes." Similarly, Levine says that realist novels "turn on the power of protagonists to develop the proper temper and state of mind to allow realistic confrontation with the 'object'—what one might see as acquisition the proper 'method.'" What makes this difficult, Levine goes on to say, is "the problems caused by the body and the passions in gaining access to the truth... as novels, they can never dismiss the body as trivial or irrelevant." The realist novel is about testing theories and methods of accessing knowledge by putting them into the context of people's actual lived experiences. (This sounds very dry, I think, but of course Adam Bede and Arrowsmith are anything but dry.)

The theory being put to the test in Arrowsmith is the vision of the scientist. This is laid out very well by Martin's mentor, Gottlieb, who has a very long speech about what a scientist thinks and how. Here's some of it:

To be a scientist—it is not just a different job, so that a man should choose between being a scientist and being an explorer or a bond-salesman or a physician or a king or a farmer.... [I]t makes its victim different from the good normal man. The normal man, he does not care much what he does except he should eat and sleep and make love. But the scientist is intensely religious—he is so religious that he will not accept quarter-truths, be cause they are an insult to faith.... He lives in a cold, clear light.

So, if we believe the two Georges, the point of the novel is to put that philosophy to the test. Is thinking scientifically something that will work in the real world, among real people who have real bodies? The novel's climax, which is about Martin trying to see if he can implement a controlled scientific experiment in the middle of a plague, is all about this.

But this semester, I realized that it was also true of the infidelity subplot. I have a friend who's a marriage therapist, and he once told me there's two things you have to work on to recover from infidelity: there's the person who did it, and the relationship.

So I asked my students this semester: why was Martin unfaithful? what was up with him? They gave some pretty good answers: he has this need for approval, probably stemming from being an orphan, he likes to be seen as right and Orchid never disagrees with him. I also asked them what was wrong with the marriage: Martin's wife, Leora, isn't always a good communicator herself even though she is devoted to Martin.

Something we've talked about in class is that Martin is bad at people. The thing about public health is that it unites scientific knowledge with political acumen. Martin's boss has no scientific knowledge but lots of political acumen; Martin, on the other hand, has lots of political knowledge but no political acumen. Each man is a disaster of a public health official in his own way. Martin is good at accessing scientific truth, but bad at accessing emotional truth.

What infidelity is rooted in, I would claim, is a lack of understanding of the self. There's something in yourself in that you're afraid of, or unable to acknowledge, or simply unwilling. Martin's inability to access emotional truth isn't just about other people, it's also about himself. He doesn't understand himself. If he did, this wouldn't happen.

Thus, to cycle back around to realism, what we see is that when it comes to himself, Martin is willing to accept quarter-truths, he does not live in a cold, clear light. So is he religiously devoted to truth, is he different to other men? No, he's not. Martin's scientific perceptions do a lot of good, he saves a lot of lives. But he very much falls victim to "the problems caused by the body and the passions in gaining access to the truth." I have a lot of sympathy for Martin, but his system of knowledge fails the test that Levine articulates. The reason for the infidelity subplot in the novel is to show how Martin doesn't live up to his own aspirations when it comes to the self.

11 February 2026

Star Wars: Tales from the Clone Wars Season 1 by Pablo Hidalgo et al.

Star Wars: Tales from the Clone Wars: Webcomic Collection, Season 1

Collection published: 2010
Contents originally published: 2008-09
Acquired: November 2012
Read: November 2025
Script: Pablo Hidalgo
Art: Tom Hodges, Grant Gould, Katie Cook, Jeff Carlisle
Colors: Jeff Carlisle, Pablo Hidalgo
Letters: Grant Gould

During the first few seasons of The Clone Wars tv show, StarWars.com ran an official tie-in webcomic. The accompanying strips were collected in a limited edition trade paperback by Dark Horse, which I picked up not long after it came out. Back in the 2010s, I was still a devoted collector of Star Wars tie-in media. I didn't quite buy everything, but one of my areas of interest was the Clone Wars. Not because I was a fan of the show (in fact, I barely watched it), but because of the original 2002-05 Clone Wars multimedia project, where between Episodes II and III the war had been chronicled across comics and novels. Some of that enthusiasm still lingered. Me being me, though, it's taken a decade to get around to reading the actual book!

The book is very much not aimed at someone who didn't watch the show, to be honest. It's mostly made up of short strips, each 5-6 pages, operating as preludes to episodes of the show. Like, you'll get five pages of Anakin and Ahsoka getting ready for a fleet action—I imagine as a prelude to an episode about said fleet action. Or you'll get five pages of Ventress defeating the king of a planet and getting him to lowers its shields—I imagine as a prelude to an episode about our heroes taking back said planet. Or you'll get five pages about Anakin and Obi-Wan getting captured—I imagine as a prelude to an episode beginning with them captive.

So if you haven't watched the show... well there's not much of a point. Strong art might make the experience enjoyable, but I found the art pretty variable; it's very mid-2000s DeviantArt. Though Dark Horse did good work with this era in its digest comics, these artists struggle to render the show's style in 2D. Tom Hodges's work is the strongest; I was sorry that I found Katie Cook's work here so poor because I liked her My Little Pony comics a lot, but she really does poorly with people's faces.

The definition, I suppose, of a book that's for "completists only." Or maybe not even them; though Marvel has released some pretty comprehensive "Epic Collections" of the Dark Horse EU material, these strips were not included in them.