Wednesday Comics Reviews: COLOSSAL KAYA is a jumping on point for a great series, and much more

In this week’s Wednesday Comics Reviews, the team reviews the gigantic heft of Colossal Kaya, the odd crossover of Gargoyles x Fantastic Four, the return of Peter Cannon Thunderbolt, and more! Plus, Ensign’s Log!

Colossal Kaya

Story: Wes Craig
Art: James Harren with Jason Wordie; Mike Huddleston; Declan Shalvey with Jason Wordie; Nathan Fox; Ryan Stegman with Jason Wordie
Lettering: Tom Napolitano
Publisher: Image Comics

Review by Tim Rooney

When a book is as good as consistently as writer/artist Wes Craig’s Kaya, it can become almost unremarkable. Which is a shame because it is the exact kind of imaginative and original creator owned comic storytelling we should all be shouting from the roof tops. With 30 issues and the fifth of a planned eight arcs completed last month, Kaya’s world has been thrown upside down. The status quo that has defined the series since the beginning has been broken apart in a bold and heartbreaking story. All that in mind, it is the perfect time to invite other artists into the party to help flesh out the fantasy world and set up the second half of the series. 

There have been a handful of short backups but this is the first time anyone but Craig has drawn within the main story. Colossal Kaya is a series of vignettes that catch readers up with where all the characters are following the fallout of “Slave Mine 7.” Ranging from single page moments to eight page stories, each character focused vignette is drawn by a different artist and connected by a rhythmic, growing, STOMP, paid off by a final, perfectly cast and executed, Ryan Stegman splash page. It’s a structure that reminds me of the lead up to the Death of Superman, where months of comics ended with the mysterious bangs of DOOM as Doomsday smashed his way to freedom. 

Colossal Kaya is not a recap (though it does have a helpful primer of events fully written and drawn by Craig) instead it is a moment for the book to breathe between its frantic capers and sit with the cast and their emotions. It’s a great sampler for new readers, exploring the breadth of the endlessly creative world and its endearing denizens. If you’re intimidated by jumping into a story 30 issues in or unsure about investing in four collected editions, Colossal Kaya has all the heart and imagination that makes this series so exceptional. Craig’s cartooning is so specific that it was hard to picture how a jam issue like this might fit in. 

But joining guests James Harren, Mike Huddleston, Nathan Fox, and Ryan Stegman are series colorist Jason Wordie and letterer Tom Napolitano, both of whom are defining elements of Kaya’s unique visuals. Napolitano’s lettering in particular, with his expressive word balloons, chunky tails, and scratchy, handcrafted typeface, are all so critical to how the book reads that this feels completely of a piece with the rest of the series. The new artists each bring unique dimension and perspective on  the characters they spotlight, complicating and broadening the range of our interpretations of them. 

It’s never been a bad time to jump in on Kaya, but Colossal is certainly one of the best.

Gargoyles X Fantastic Four

Writer: Greg Weisman
Artist: George Kambadias
Letterer: Jeff Eckleberry
Publisher: Dynamite Entertainment

Review by Jordan Jennings

In the shadows of Deadpool/Batman, Godzilla Destroys the Marvel Universe, and Godzilla vs King Kong vs Justice League, a lesser known intra-company crossover is occurring. That’s right it’s Disney’s Gargoyles X Fantastic Four. To say this pairing is odd would be reductive. On one hand, Disney’s Gargoyles takes place (largely) in New York City and features an in-depth and convoluted lore that intertwines mythology and modern fiction. All while protecting a world that hates and fears them! The Gargoyles fit right in with Marvel. It’s just pairing them with the Fantastic Four that’s a head scratcher. It’s true that the F4 are no stranger to the strange and bizarre, but several other Marvel heroes come to mind for a crossover before the F4. Again, that’s reductive. The connective tissue between the winged protectors and Marvel’s first family is just that, family. 

Greg Weisman does his best to hammer home the familial nature between the two teams alongside the over the top hijinks they find themselves getting into on a regular basis. Weisman’s voice of the characters is spot-on. It would be expected for the Gargoyles given they are his creation. The way he gets the Four, namely Franklin and Valeria, is great. The problems I have with Gargoyles X Fantastic Four is less character driven but plot-based. As in the plot is all over the place.

The issue starts in Media Res as The Thing, Human Torch, and the Gargoyles Angela and Hudson are dealing with Mole Man and his Kaiju. Meanwhile, Reed, Sue, Goliath, Elisa, and Brooklyn work on solving the Kaiju problem. Fine enough comic plot but then the comic jumps to Titanium Man, Annihilus, and the cybernetic Coldstone taking over the issue for some reason. The issue is convoluted by these rapid plot developments that have no real weight. It is frantically paced and throws the reader into the deepened. There is a moment where the Inhuman Lockjaw randomly shows up and serves as deus ex machina for the story. Weisman’s plot structure is frantic and all over the place and there’s no context for anything. 

Artist George Kambadias does a wonderful job with the art in the issue. There is an almost manga influence with the art. The way he renders the action of the issue is done quite well. He is able to evoke the scale and scope of the moments rather well such as the brawl between the Thing and the Kaiju. The problem comes from the peculiar layout choice for the issue. I don’t know if this was from Kambadias, Weisman, or both, but the issue intercuts between the A and B plots in the oddest of ways. Every single page, the top two-thirds to three-quarters of the page is devoted to the A plot of the kids and Dragonman. It’s laid out like a typical comic, but the bottom of the page is a single panel for the B plot of The Thing and crew fighting the Mole Man’s Kaiju. It is like they are trying to capture that feeling in television and movie with rapid cuts between scenes but in the end it just makes both plots feel less impactful and the B-plot just confusing. 

Confusing is the best way to describe Gargoyles X Fantastic Four. Technically the individual components, be it the character work or the art, is great but together? The issue becomes such a confusing read that I couldn’t follow it. It was to the point I sought out the previous part of the crossover Fantastic Four x Gargoyles thinking it would lead into this issue, but instead it doesn’t. This comic is confusing and impenetrable at times except to the most committed fans of both franchises.

Peter Cannon Thunderbolt #1

Writer: Fred Van Lente
Art: Jonathan Lau
Colors: Andrew Dalhouse
Letters: Jeff Eckleberry
Publisher: Dynamite Entertainment

Review by Clyde Hall

Pulp concepts of masked adventurers with unusual abilities and resources served as natural foundational material for comics, and those with one foot in Eastern mysticism and the other in Western culture were a cornerstone. Without the Shadow clouding men’s minds and the Green Llama fighting crime with superhuman abilities learned from Tibetan masters, we’d likely not have had  superheroes like the Shroud or Iron Fist. 

Or Peter Cannon, Thunderbolt. Originally a Charlton character from their action heroes line, Cannon was a rare creator-owned property in 1966. Rights to the character were retained by Pete Morisi, and DC licensed him for a time after they purchased the other Charlton Comics characters in the 1980s. Peter Cannon was also the basis for Ozymandias in DC’s Watchmen. 

The character appeared in various comics following his time at DC and Dynamite Entertainment eventually came out with their own 10-issue series in 2012 by Steve Darnall, Alex Ross, and Jonathan Lau. It was followed by a 2019 5-issue miniseries by Kieron Gilllen and Caspar Wijngaard. This week, Dynamite releases an all-new reimaging of Peter Cannon by writer Fred Van Lente and returning artist Jonathan Lau, and it’s a definite departure from what’s come before. 

Originally, Peter Cannon was the son of American medical workers treating plague patients in a Himalayan lamasery. When his parents succumbed to the disease, Cannon was raised by the lamas. He underwent rigorous physical and mental training, and eventually the lamas shared secret writings which bestowed powers and abilities only the greatest of practitioners could achieve. Things like psychic control, body equilibrium, and mind over matter talents which came from unlocking the unused ‘90 percent’ of the human mind. Various versions later had Peter the son of wealthy parents and studying at Ivy League schools before embarking on a personal enlightenment quest to the lamasery. Then returning home after the death of his parents and on inheriting their fortune, now a mystically enlightened and empowered man of both worlds.  

Van Lente, while retaining many core elements regarding Cannon’s abilities, has drafted an origin more anchored in the 21st Century than previous variants. One still steeped in ancient teachings but also New Age cults, scandal, and conspiracy theories. Following an incident in rural New York wherein members of a cult known as The Awakened die in an apparent mass suicide, one survivor remains. Hidden, just a youth, the boy continues occupying the former compound once law enforcement has finished their investigation. He lives off supplies stockpiled by the group and continues the rigorous mental and physical training the Master of the Awakened once shared with his pupils as they spiritually and physically ascended to their true potential. 

Coming of age, the lone survivor, now young man Peter Cannon, has become the Lightning Vessel of his Awakened training. A human Thunderbolt of force and insight. He leaves the compound using ill-gotten gains of criminal elements staging their operations nearby and makes his way to New York City. Cannon’s on the final step of his personal ascension: Finding the other survivor of the mass murder that claimed his parents, the conductor of the staged ‘group suicide’, the Hooded One. 

The concept behind Van Lente’s Peter Cannon approach is intriguing. In the age of NXIVM and 1% society strata members as followers of various suspected or accused cultist groups, Cannon as the ultimate, cloistered follower bearing ancient teachings into the outside world has a lot of potential. Especially since it’s insinuated that the Hooded One has set up a business/cult/scam with society’s elite based on a twisted, self-serving version the Awakened students were taught. Taught by a true Master of esoteric enlightenment before they were all betrayed and killed. 

The outside world’s beliefs regarding the Awakened Cult’s ‘mass suicide’ echoes the aftermath rumors and headlines regarding Jonestown and Heaven’s Gate. The approach of this Peter Cannon to the outside world, one he knows about but has little practical skill interacting with, may give you Danny Rand  déjà vu from the Netflix Iron Fist series. And while there are some suspensions of disbelief required along this setup, Van Lente keeps the pace steady enough to smooth the way. 

Still, there are questions which nibble at the mind as the story unfolds. Would a compound set up to keep 100 followers housed and supplied for 5 years remain abandoned in rural New York state long enough for a child to grow up there without discovery? Would a case of dual identity presented in the latter half of the story not make Cannon’s reappearance more problematic than it seems regarding certain individuals? Just how Jedi-like will this new version of Thunderbolt be? 

Helping smooth such bumps even more, though, is Jonathan Lau’s masterfully rendered, choreographed even, fight scenes. Unlike the Danny Rand of Netflix’s Iron Fist, Cannon’s maneuvers are balanced and crackling with energy. When Cannon says he’s the Lightning Vessel, Lau makes you believe it. You want to see a top, live-action stunt team from John Wick or Daredevil translate that art into cinematic excitement. Whoever made the decision against using onomatopoeia in those action panels? Good call. Lau doesn’t need ‘em. 

My hopes for the title going forward are as follows. First, praying the editors pay more attention to the details. Missing dialogue and mixing up word balloon attributions matter. Such oversights make even great scripts grind gears. Second, given blurbs regarding this new Peter Cannon, there may be a tendency toward overinvesting his superhuman elements. Jedi-like, that would actually work well. Expanding manipulation of time and space so that this Ozymandias-adjacent esoteric master could battle Dr. Manhattan on equal cosmic footing? That would be too much. 

Contrasts to other versions of Peter Cannon, Thunderbolt, are notable enough, I’m uncertain how fans of the 1966 original, the DC approach, or the previous Dynamite volumes will embrace Peter Cannon Thunderbolt. But if darker tales with cults and conspiracy theories intrigue you, if you’re one who appreciates the philosophical overtones and heroic approach of the Question mixed with martial arts action, chances are you’ll enjoy this new title.

Hellboy and the B.P.R.D.: The Ghost Ships of Labrador #1

Writer: Mike Mignola and Rob Williams
Artist: Laurence Campbell
Colorists: Lee Loughridge
Letterer: Clem Robins
Publisher: Dark Horse Comics

Review by Jared Bird

Things aren’t quite right in Red Bay, Labrador. Agatha Blunt, exorcist and B.P.R.D field agent, is sent to investigate the mysterious case, in which hordes of ghosts occupy a small town. When she disappears, Abe Sapien and Hellboy attempt to rescue her and uncover the secrets of Labrador. The first issue in a two-part standalone story, The Ghost Ships of Labrador weaves a haunting ghost story thanks to the brilliant talent putting it together.

Tales of ghost ships are a universal experience for any seafaring town, and this narrative tells what is in effect a classic ghost ship story, but with a monster horror twist as well. As it slowly unfurls across the first issue, the mystery is part of the charm, and there’s a certain old-school feel to it that’s very reminiscent of many things at once. It’s nice to get a story in the Hellboy universe that has no ties to some larger narrative movement, just an intimate and fun horror-adventure tale.

The story, created in tandem by Mike Mignola and Rob Williams, takes influence from ghost ship stories all over the globe, including Spanish, Portuguese, French and Finnish folklore. It makes for an eclectic and interesting blend that feels universal and unique simultaneously. The script is solid, with a witty and fun central dynamic between Abe and Hellboy that harkens back to the early days of Mignola’s expansive world. We don’t see much of Agatha, but she’s a fun character, and I am very enthusiastic about seeing disability representation in a major comic book staple series like Hellboy. Like with most modern day Hellboy stories, it’s unclear where one collaborator ends and another begins, because they work so well in sync with each other, making it feel like one united voice. 

The artwork by Laurence Campbell was by far my favorite part of the issue. Illustrated in exquisite detail, Campbell uses every tool at his disposal, alongside colorist Lee Loughridge, to create a haunting and melancholic atmosphere. There’s an ethereal and ephemeral quality to it, without sacrificing the bold, intense action the franchise is known for, and the epic intensity. It’s wonderful work from Campbell, who should truly be a staple of this universe, because every time he contributes it’s brilliant. 

Overall, Hellboy and the B.P.R.D: The Ghost Ships of Labrador #1 sets up a strong start for the latest short story in Mike Mignola’s ever-expanding Hellboy saga. By shifting gears and focusing on doing something classical, intimate and haunting, with exceptional talent involved, it delivers a wonderful issue, with stunning artwork and thrills a plenty.

Liquidator #1

Writer: Peter Milligan
Artist: Piotr Kowalski
Colorist: Brad Simpson
Letterer: Simon Bowland
Publisher: Mad Cave Studios

Review by Khalid Johnson

A time-travel narrative that bends around a number of interesting ideas, Liquidator #1 lays the ground-work for the series with a bit of exposition sprinkled throughout. Written by Peter Milligan, Aubrey changes her appearance to blend in wherever in time she is; the art of Piotr Kowalski with colors by Brad Simpson really capture the distinct periods that we see her jump through in this issue before landing in 1891 as she is tasked with preventing anachronisms, so with letters by Simon Bowland, having the narration as a constant anchor was a good tool to stay oriented across time, though I can’t say the same for the obviously struggling Aubrey.

I do wonder about this business of stopping anachronisms on a philosophical level, like in conversation with tons of media thinking about the butterfly effect, the end of Our Friend Martin basically posits that Dr. King HAD to die, that it was a “canon event” and consider me Miles Morales, because I defy a world where we justify various atrocities as a necessary part of our grand tapestry. To hell with that.

And with Aubrey’s own conflicts, the weight of trauma in her past that she can’t change in conversation with those that she has been tasked with changing, I am curious about how Liquidator will approach this and her traumas as we see how she makes it through 1891.

Ensign’s Log Stardate 11112025

As IDW’s Star Trek comics continue to expand, Ensign Avery Kaplan has enlisted here to keep a careful log!

Star Trek Lower Decks #13

Writer: Tim Sheridan
Artist: Vernon Smith
Colorist: Charlie Kirchoff
Letterer: Clayton Cowles

Star Trek: Lower Decks #13, “For I Have Seen Both Here and Heaven,” is the first issue in a six-part story — the first time the ongoing series has broken from its two-part format since launching thirteen months ago. The issue gets off to a great start, returning to the Laaperian second contact mission that was suggested at the beginning of issue #11 but delayed due to whale-related time travel shenanigans.

In classic Lower Decks fashion, this opening issue mostly ignores that for several subplots focused on four of our five favorite Lt.-JGs. In a storyline that’s sure to have certain panels shared across Trek social media for years to come, Bradward Boimler and Sam Rutherford welcome a new robotic friend (with some complications). Meanwhile, Beckett Mariner is relentlessly pursued by Shax, who has been assigned the task of ensuring she attends her dentist appointment.

With this issue, which includes plenty of laughs and Starfleet slice-of-life antics, writer Tom Sheridan delivers what is almost certainly his closest-to-a-Lower-Decks-episode issue yet. It does seem as though the multi-part story will head into higher-stakes territory from here. However, I hope we continue to see subplots that are focused on the crew’s life on the U.S.S. Cerritos rather than the latest planetary/galactic/universal threat. Sheridan has these casual exchanges down. Meanwhile, artist Vernon Smith continues to deliver great work, with this issue featuring several hilarious sight gags. I am curious who inspired some of the new background crew members we see in this issue. Likewise, colorist Charlie Kirchoff also delivers excellence, which is a certain kind of impressive for an issue like this, which is almost entirely set aboard the Cerritos. And the lettering by Clayton Cowles is straightforward and competent, as we’ve come to expect.

Overall this issue is a great introduction to a new, longer storyline while also being a fully satisfying story in and of itself. And it all culminates in a tantalizing “next time on” page that includes a few referential gags all its own. Let’s hope this series continues well into its triple digits, because in a nightmare world where not even a 2026 Lower Decks wall calendar is available, this series is a koalasend.

Column edited by The Beat’s reviews editor, Zack Quaintance.

Read past entries in the weekly Wednesday Comics reviews series or check-out our other reviews here!