#IReadsYou Review: THE SANDMAN UNIVERSE #1

THE SANDMAN UNIVERSE No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Neil Gaiman
WRITERS: Simon “Si” Spurrier, Kat Howard, Nalo Hopkinson, and Dan Watters
ART: Bilquis Evely, Tom Fowler, Dominike “Domo” Stanton, Max Fiumara and Sebastian Fiumara
COLORS: Mat Lopes
LETTERS: Simon Bowland
EDITOR: Molly Mahan
COVER: Jae Lee with June Chung
VARIANT COVERS: Dave McKean; Jill Thompson; Jim Lee with Alex Sinclair; Sam Keith; P. Craig Russell with Lovern Kindzierski; David Mack
48pp, Color, $4.99 U.S. (October 2018)

“Suggested for Mature Readers”

The Sandman created by Neil Gaiman, Sam Kieth and Mike Dringenberg

The Sandman is a DC Comics comic book series created by writer Neil Gaiman and artists Sam Keith and Mike Dringenberg.  Published by DC Comics from 1989 to 1996, The Sandman ran for 75 issues, and tells the story of “Dream” of “The Endless.”  Also named Morpheus (as well as other names), Dream rules over the world of dreams.

DC Comics announced earlier this year an expansion and quasi sequel to The Sandman, “The Sandman Universe.”  This will be a line of four comic books that will launch in September and October of 2018.  The release dates are timed to celebrate the 30th anniversary of Sandman #1, which was covered dated January 1989, but released to comic book stores in October 1988.  It will also commemorate the 25th anniversary of the Vertigo imprint.

The Sandman Universe titles are a mixture of new and revived titles.  The first is The Dreaming (Sept. 5th), written by Simon “Si” Spurrier and drawn by Bilquis Evely.  The second is House of Whispers (Sept. 12), written by Nalo Hopkinson and drawn by Dominike “Domo” Stanton.  The third is Lucifer (October 17), written by Dan Watters and drawn by Max Fiumara and Sebastian Fiumara.  The fourth is Books of Magic (Oct. 24), written by Kat Howard and drawn by Tom Fowler.

These four titles are previewed in the stand-alone anthology comic book, The Sandman Universe #1.  Neil Gaiman provides the story for this single-issue comic book.  Simon Spurrier, Kat Howard, Nalo Hopkinson, and Dan Watters write the scripts for previews of the respective titles they are writing.  Bilquis Evely, Tom Fowler, Dominike “Domo” Stanton, and Max Fiumara and Sebastian Fiumara draw the art for the previews of the respective series they are drawing.  The Sandman Universe #1 is colored by Mat Lopes and lettered by Simon Bowland.

In The Sandman Universe #1, the denizens of The Dreaming discover that their master, the Lord of Dreams, is missing.  Now, Matthew the raven must traverse the realms and dreams of four characters:  Dora, Timothy Hunter, Erzulie (a voodoo deity), and Lucifer Morningstar (trapped in the body of an old man) to find Dream.  But does he want to be found?  What if he quit being Dream?

I enjoyed The Sandman Universe #1, but I would not call it an exceptional comic book.  It is a particularly well-produced preview comic book.  The best art, by far, in The Sandman Universe #1 is the work of Bilquis Evely, who is drawing The Dreaming, so I am putting this title on my reading list.

I want to try House of Whispers because I try to support Black writers of speculative and fantasy fiction, and the Jamaican-born, Canadian Hopkinson is a writer of color.  The House of Whispers preview in The Sandman Universe #1 is interesting and is the only truly unique offering in this comic book.  However, I must say that it did not quite connect with me the way I thought it would because of its various elements and ideas.

The Books of Magic preview did pique my interest; for obvious reasons, this is the closest thing to a Harry Potter comic book we likely will ever have.  I found the Lucifer preview to be a chore to read, taxing my patience for most of its six pages.

The Dreaming is both The Sandman Universe #1's framing sequence and the subject of a preview, which is good.  As I just wrote, Bilquis Evely's art is beautiful, and Evely's talent really shows on the killer last page she produces for this story.  As a preview of a line of comic books, The Sandman Universe #1 is as effective as it can be, but most of the effort is really up to the creative teams of the individual titles in the line.  I recommend this to readers interested in “The Sandman Universe” titles, but I doubt longtime fans of The Sandman comic book series will get much out of it.

7.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You'


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#IReadsYou Review: CAPTAIN AMERICA #1

CAPTAIN AMERICA No. 1 (Legacy #705)
MARVEL COMICS – @Marvel

[This review ws originally posted on Patreon.]

STORY: Ta-Nehisi Coates
PENCILS: Leinil Francis Yu
INKS: Gerry Alanguilan
COLORS: Sunny Gho
LETTERS: VC's Joe Caramagna
COVER: Alex Ross
VARIANT COVERS: Adam Hughes; Joe Jusko; David Mack; Jim Sternako; Frank Miller with Edgar Delgado; Leinil Francis Yu; Paul Renaud; Joe Simon and Jack Kirby; Marko Djurdjevic; Ron Garney with Matt Milla; Mike Zeck with Richard Isanove; John Cassaday with Laura Martin
40pp, Color, $4.99 U.S. (September 2018)

Rated “T+”

Captain America created by Joe Simon and Jack Kirby

“Winter in America” Part 1

Captain America is a Marvel Comics superhero created by Joe Simon and Jack Kirby.  Captain America was Steve Rogers, a frail young man who reached the peak of human perfection via the experimental “super soldier” serum.

He first appeared in Captain America Comics #1 (cover dated:  March 1941), which was published by Timely Comics, a predecessor of Marvel Comics.  After Captain America Comics was canceled in 1949, there was a revival of the series from 1953 to 1954.  Captain America fully returned to modern comic books in The Avengers #4 (cover dated: March 1964).

Steve Rogers/Captain America embarks on a new beginning again with a relaunch of his title series.  The new Captain America comic book series is written by Ta-Nehisi Coates; drawn by Leinil Francis Yu (pencils) and Gerry Alanguilan (inks); colored by Sunny Gho; and lettered by Joe Caramagna.  In the new series, Captain America faces an existential crises as he wrestles with how people view and perceive him in the wake of the Hydra Captain America impostor that briefly took over the world as an authoritarian dictator.

Captain America #1 opens in the Sayan Mountains of Russia months earlier.  There, something new is emerging from the ashes of Hydra.  In the present day, Captain America and the Winter Soldier battle a small army of men who resemble Cap's old adversary, Nuke.  They are killing civilians in a mass shooting event in and around the National Mall in Washington D.C.  As Captain America battles to save lives and stop these killers, he will also have to face another harsh reality.  No one really trusts him anymore... even the people who should know him best.

I would not call Captain America #1 2018 a great comic book, but it is the best written Captain America comic book that I have read in ages.  Ta-Nehisi Coates cleverly uses the battle at the National Mall's aftermath to depict not so much Captain America in crisis, but the Sentinel of Liberty as man at odds with the people, places, and nation he has sworn to protect and to defend.  It makes for great reading, because we known this is the true Captain America, but the dramatic tension brought by the distrust of Cap from the other characters makes for some good reading.

Leinil Francis Yu has been a skilled graphical storyteller for over two decades, but his drawing style has taken an ugly turn the last several years – as far as I am concerned.  He is better here, and Sunny Gho's evocative colors strengthen how the narrative conveys its ideas and heightens the drama.  Letterer Joe Caramagna creates a steady sense of rhythm that paces the narrative flow for both the action scenes and for the character scenes that confront Captain America.

I think Ta-Nehisi Coates will make me a regular Captain America reader for the first time in ages.  I think this is the beginning of a good age for Captain America.

8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: JEEPERS CREEPERS #1

JEEPERS CREEPERS, VOLUME 1 No. 1
DYNAMITE ENTERTAINMENT – @dynamitecomics

[This review was originally posted on Patreon.]

STORY: Marc Andreyko
ART: Kewber Baal
COLORS: Jorge Sutil
LETTERS: Taylor Esposito
EDITOR: Matt Idelson
COVER: Kelley Jones with Doug Hazlewood
VARIANT COVER ARTISTS: Kewber Baal with Schimerys Baal
32pp, Color, $3.99 U.S. (April 25, 2018)

Rated “Teen+”

Jeepers Creepers created by Victor Salva

Jeepers Creepers is a 2001 horror film written and directed by Victor Salva.  The film takes its name from the 1938 song "Jeepers Creepers" (which is featured in the film) and tells the story of two siblings who become the targets of a demonic creature in rural Florida.  Salva wrote and directed a sequel, Jeepers Creepers 2 (2003), and a third film, Jeepers Creepers 3 (2017), which is set in a time period between the first and second films.

The adversary in all three films is an ancient creature known as “the Creeper” that awakens every 23rd spring for 23 days.  During this awakening, the Creeper feasts on human body parts, which then form parts of the creature's own body.

Dynamite Entertainment recently obtained the license to produce comic books based on the Jeepers Creepers film, and the result is Jeepers Creepers Volume 1.  This new comic book series is written by Marc Andreyko; drawn by Kewber Baal; colored by Jorge Sutil; and lettered by Taylor Esposito.

Jeepers Creepers, Volume 1 #1 introduces Devon James, an American college graduate student just arriving in Mexico.  He is there to work on his graduate thesis (“The Cross-Cultural Appearances of the Dragon in North American Mythology from the Aztecs to Today”).  When he arrives at the archaeological site, “The Lost Aztec City of Teotihuacan,” Devon decides that he should not act like a regular tourist and follow the tour guide.  Instead, he summons his inner Indiana Jones without realizing the danger in which he is putting himself.

Twenty pages of actual story for a cover price of $3.99 is long-term, slow suicide for the American comic book market.  For instance, Jeepers Creepers #1 offers some effective teasing, and that is what 20 pages of a first issue comic book narrative is today – a cock tease.  The teasing is so good here that I am ready for the second issue, and I imagine fans of the Jeepers Creepers films will also enjoy this comic book.  But 20 pages for $3.99...  I am emphasizing price point and page count because I think that they will negatively effect this new comic book's reception.  But this is a really good comic book.

Marc Andreyko's script diverges from the mythology of the films, but in a way that would still connect it to overall narrative of the franchise.  Kewber Baal, whom I remember from Chaos Campus: Sorority Girls vs. Zombies (Approbation Comics), offers imaginative compositions, while Jorge Sutil's colors create the perfect Jeepers Creepers atmosphere and mood.  Taylor Esposito's lettering is all-around effective because he makes the dialogue and first person narration seem like one flowing conversation, although one floats in word balloons while the other sits in caption boxes.

Yes, the creative team of Jeepers Creepers #1 has delivered a first issue will make readers want to come back for more.  I know I want more.  I hope 20 pages/$3.99 does not hold some of us back.

8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: WILLIAM THE LAST #1

WILLIAM THE LAST No. 1
ANTARCTIC PRESS/GUARDIAN KNIGHT STUDIOS – @AntarcticPress

[This review was originally posted on Patreon.]

CARTOONIST: Brian Shearer – @brian_shearer
24pp, Color, $3.99 U.S. (September 2018)

William the Last in a new comic book series created by Brian Shearer.  Shearer has drawn such comic books as Ghostbusters, Star Trek, and Transformers for IDW Publishing.  William the Last chronicles the adventures of an orphan whose name is forbidden word in a strange kingdom.

William the Last #1 introduces us to a boy named “William,” who lives on an island with his grandfather.  They seem to live in and around the area of a beach and small forest that gird the island's primary feature, a bulky cliff or mountain.  After his grandfather's death, William does as the old man once suggested, climb the cliff.  What he finds is a strange city, a mystery, and danger.

Brian Shearer writes, draws, colors, and letters William the Last, and he does all of that quite well.  William the Last #1 reminds me of Mouse Guard and Farlaine the Goblin, two independently published, fantasy comic book series that have the look and feel of classic children's fantasy fiction.  This first issue mainly introduces William and also what seems to be a primary supporting character and also a dangerous adversary.  There are not many details in this first, but it is still intriguing.

That is the nice thing about this first issue – the sense of anticipation.  From the first page, I felt the urge to hurry to the next page and then, turn to the next.  This suggests to me that William the Last has potential, and I like Shearer's illustrative style.  I must say also that Shearer's pretty coloring has a bright, attractive quality.

Interested readers (and there should be a lot of you... eventually ) will want to pre-order William the Last.  I get the feeling that many comic book shops won't carry “copies for the shelf” unless there is some level of pre-ordering on individual issues.  I had to back-order the copy I got.  We should pay attention; William the Last could come out of nowhere like Mouse Guard or Bone did, and then, some of you will be feeling left behind

7.5 out of 10

http://www.williamthelast.com/
http://brian-shearer.com/
https://www.facebook.com/BrianShearerArt/
https://www.instagram.com/brian_shearer/

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: XERXES: The Fall of the House of Darius #1

XERXES: THE FALL OF THE HOUSE OF DARIUS AND THE RISE OF ALEXANDER #1 (OF 5)
DARK HORSE COMICS – @DarkHorseComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
ART: Frank Miller
COLORS: Alex Sinclair
EDITOR: Freddye Miller
MISC. ART: Paula Andrade
COVER: Frank Miller
36pp, Color, $4.99 (April 2018)

Xerxes: The Fall of the House of Darius and the Rise of Alexander is a five-issue miniseries written and drawn by Frank Miller with colors by Alex Sinclair.  Xerxes: The Fall of the House of Darius and the Rise of Alexander is a companion series to Miller's 1998, five-issue miniseries, 300.

Historically inspired, 300 is Frank Miller’s fictional retelling of the Battle of Thermopylae and the events leading up to it.  Miller tells the story from the perspective of a fictional version of the king, Leonidas of Sparta.  Xerxes: The Fall of the House of Darius and the Rise of Alexander (Xerxes, for short) focuses on Persian King Xerxes, who sets out to conquer the world to avenge his father, Darius's defeat.  Xerxes, a “god king,” wants to create an empire unlike anything the world has ever seen, but soon faces his adversaries, The Greeks' own “god king,” Alexander the Great.

Xerxes: The Fall of the House of Darius and the Rise of Alexander #1 opens in 499 B.C. with the sacking of a city which turns into a grudge on the part of emperor of the Persian Empire, Darius.  490 B.C., the Persians return with a vengeance, but this time they will face Themistokles and the forces of Athens.  Later, General Miltiades leads the Greeks in an epic battle at Marathon.  Will Greek “democracy” survive Persian “tyranny?”

I find Xerxes to be far less racist than 300, with its historically simplistic and strident “war of civilizations.”  Frank Miller has been one of the most influential creators of American comic books over the last four decades.  Publishers fawn over him and throw money at him, yet you would not know it by Miller's publicly displayed persecution complex.  Comic book stores generally stock his publications in copious amounts.  Miller writes and draws practically anything he wants, yet he complains about the censorship of his work, which has happened... when?

300 was the creative culmination of a prince of the realm so blessed with privilege that such an embarrassment of riches made him think that he was THE persecuted comic book creator of the late twentieth century.  Yet 300, with its beautiful color renderings by Miller's then-wife, Lynn Varley, was a huge success in a decade, the 1990s, that saw Frank Miller reach his high-point as a comic book artist, illustrator, and graphics artist.

Xerxes #1 recalls the graphical design and graphics tour de force of both 300 and Miller's Sin City (also published by Dark Horse).  That is on display in the costumes (especially the uniforms of the Persian archers), in the weapons and tools (Greek blades and shields), and in the staging of action sequences (when the Persians climb Hephaistos).  Xerxes #1 is a graphics, design, and illustrative, visual feast for the comic book reading eyes and imagination.

The more you can set aside and ignore the Greek democracy vs. Persian tyranny tripe, the more you can enjoy Xerxes #1.  Xerxes' soliloquies about Greek democracy ring as hollow as Obi-Wan Kenobi telling Anakin Skywalker that his (Kenobi's) allegiance is to democracy and to the Republic before their epic duel to the death or grievous bodily injury (in Star Wars: Episode III – Revenge of the Sith).

Alex Sinclair, known for coloring Jim Lee and Scott Williams' comic book art at DC Comics and for coloring Andy Kubert and Klaus Janson's art on Dark Knight III: The Master Race, is Xerxes' colorist.  Sinclair is one of the best colorist of this still young twenty-first century, but he does not hold a proverbial candle to Lynn Varley.

I would not call Xerxes publication late, not by two decades or by ten years.  Still, without Varley's colors, Xerxes does come across as something, if not late, then, too long in coming to be relevant to anything.  Maybe not having Lynn Varley could discourage comparing Xerxes to 300, which is a good thing.  300 came at the end of Frank Miller's peak period, and it is best not to think about what was anymore.  Xerxes is good enough and helps us accept what is, now.

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReads You Review: THE KAMANDI CHALLENGE #12

THE KAMANDI CHALLENGE No. 12 (OF 12)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Gail Simone
ART: Jill Thompson; Ryan Sook
COLORS: Trish Mulvihill; Laura Martin; Andrew Crossley
LETTERS: Clem Robins
MISC ART: Jose Luis Garcia-Lopez and Joe Prado with Mark Chiarello; Adam Kubert
COVER: Frank Miller with Alex Sinclair
VARIANT COVERS: Ryan Sook; Jose Luis Garcia-Lopez and Joe Prado with Trish Mulvihill
40pp, Color, $4.99 U.S. (February 2018)

Rated “T” for Teen

Kamandi created by Jack Kirby

[Afterword by Paul Levitz]

“The Boundless Realm”

Created by Jack Kirby, Kamandi, The Last Boy on Earth was a comic book series published by DC Comics in the 1970s.  Running from 1972 to 1978, the series starred Kamandi, a teenaged boy in a post-apocalyptic future.  In this time, humans have been reduced back to savagery in a world ruled by intelligent, highly evolved animals.

Kamandi, The Last Boy on Earth #1 (cover dated: October 1972) opens some time after a huge event called “The Great Disaster,” which wiped out human civilization.  In “Earth A.D.” (After Disaster), many animals have become humanoid, bipedal, and sentient, and also possess the power of speech. These newly intelligent animal species have equipped themselves with weapons and technology salvaged from the ruins of human civilization and are constantly at war in a struggle for territory.

The world of Kamandi returned in the DC Comics miniseries, The Kamandi Challenge.  Ostensibly a tribute to the 100th anniversary of Jack Kirby's birth (1917), The Kamandi Challenge brought together 14 teams of writers and artists.  Each team produced a single issue (or worked on a single issue) of The Kamandi Challenge, which ended in an cliffhanger.  The following issue's creative team would resolve that cliffhanger left behind by the previous creative team however it wanted.  That team would craft its own story, which also ended in a cliffhanger, which the next creative team would have to resolve... and so on.

The Kamandi Challenge came to an end with the recently published twelfth issue, featuring two creative teams.  The first team is writer Gail Simone; artists Jill Thompson and Ryan Sook; colorists Trish Mulvihill; Laura Martin; and Andrew Crossley; and letterer Clem Robins.  The second creative team is comprised of writer Paul Levitz; artist José Luis García-López (pencils) and Joe Prado (inks); colorist Trish Mulvihill; and letterer Clem Robins.

The Kamandi Challenge #12 opens with the story “The Boundless Realm” (by the Simone-Thompson/Sook team), which introduces “Kamanda: The Last Girl on Earth.”  Who is she and what does she have to tell Kamandi: The Last Boy on Earth as he enters his final battle with “The Misfit?”

The second story is “Epilogue the First: The Answers” by Levitz- García-López.  Kamandi meets his creator Jack Kirby and gets some answers.  But what kind of answers are they?

Let us make no mistake, Jack Kirby is a great artist, worthy of being a comic book icon (or the comic book icon) and being in the hallowed halls of museums and academia.  The problem with tributes to great artist is that those tributes are sometimes offered by people who, while they are influenced by great artists, are not themselves great artists.  In fact, sometimes the people who offer tributes are hacks, in spite of the greatness they admire.

And The Kamandi Challenge is the creation of some who are middling talents, some who are hacks, some exceptional talents that produced middling work in this series.  In this final issue, from the ugly Frank Miller front cover to the “it was all a dream” type ending, The Kamandi Challenge #12, like the earlier issues, is a tribute in name only to Jack Kirby.  Yes, there are some good moments and good issues in this twelve issue maxi-series, but The Kamandi Challenge is a cynical attempt to make money using Jack Kirby's name and legacy.

The best thing about The Kamandi Challenge #12 is Paul Levitz's afterword, which is a true and loving tribute to someone who was obviously a friend, the truly talented and late Len Wein.

5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: GEEK-GIRL Volume 2 #1

GEEK-GIRL, VOL. 2 No. 1
MARKOSIA ENTERPRISES, LTD. – @Markosia

[This review was originally posted on Patreon.]

STORY: Sam Johnson – @daSamJohnson
ART: Carlos Granda – @ComicFAN
COLORS: Chunlin Zhao
LETTERS: Paul McLaren
COVER: Carlos Granda with Chunlin Zhao
VARIANT COVER ARTIST: Manuel Bracci
24pp, Color, $3.99 U.S. (June 2018) - digital edition

Rated T+

Geek-Girl created by Sam Johnson

Crime War Part 1: “There's a New Geek in Town”

Geek-Girl is a comic book character created by Sam Johnson (The Almighties).  Ruby Kaye is a college coed who inadvertently becomes a superhero after donning high-tech “super glasses” that give her “super-powers.”  Now, Ruby is Maine's newest superhero, “Geek-Girl.”

Geek-Girl, who starred in a 2016 miniseries, returns in a second miniseries, Geek-Girl Vol. 2.  It is written by Geek-Girl creator, Sam Johnson; drawn by Carlos Granda; colored by Chunlin Zhao; and lettered by Paul McLaren.

Geek-Girl Vol. 2 #1 (“There's a New Geek in Town”) opens in Acorn Ridge, Maine, in the aftermath of Geek-Girl's battle with Lightning Storm.  Ruby is in a coma and taking her place as Geek-Girl is her best friend forever (BFF), Summer.  Being Geek-Girl ain't easy, however, and Summer is getting mentored by Maine's other big superhero, “Pit Bull.”  Still, Summer is having trouble getting the hang of things, just as a new menace slowly starts to create a power base.

I only read the first issue of the 2016 Geek-Girl miniseries.  Sam Johnson sent me a PDF review copy of Geek-Girl, Vol. 2 #1, so I wanted to read it because I did see potential in previous series.  I must say that I am pleased to see that this Geek-Girl comic book is getting stronger, even as the new Geek-Girl character struggles to get stronger.

I was impressed by Carlos Granda on the first mini, and his storytelling and composition are stronger this time around.  Granda has to depict Summer/Geek-Girl's trials and tribulations, but he draws her as a vibrant, vivacious character who is ready to pop off the page.  Chunlin Zhao's rich colors make Granda's illustrations look even prettier.

Sam Johnson's script for Vol. 2's first issue is a little more self-assured than his script for the first issue of the 2016 series.  Johnson delves into character and personality and creates drama through that as much as he does through the fight scenes.  It all comes through clearly via Paul McLaren's clean lettering and design.  Yeah, I still think Geek-Girl will get even better.

8 out of 10

www.geekgirlcomics.com
https://www.comixology.com/

Geek-Girl Vol. 2 #1's ComiXology page: https://www.comixology.com/Geek-Girl-Vol-2-1/digital-comic/673781?ref=c2VyaWVzL3ZpZXcvZGVza3RvcC9ncmlkTGlzdC9SZWNlbnRBZGRpdGlvbnM


Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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