The Harbinger #3, from Valiant Entertainment, is a compelling story about stepping up as a hero. The Harbinger #3 came to stores on December 22nd.
Background
Peter Stanchek is back from the dead. He comes to find a Chicago district under threat of mercenary superheroes, The Warning. And the past he doesn’t remember is causing trouble in the form of the Renegade.
The Harbinger #3: A Hero Emerges
Between writers Collin Kelly and Jackson Lanzing, The Harbinger #3 begins a compelling Hero’s Journey. After getting to know and love the amnesiac Peter Stanchek, readers will enjoy Peter’s rise to the occasion against the Warning. His new identity of Harbinger comes with a powerful feeling of hope- hope for both the Psiots under oppression and Peter’s redemption. Best of all, his interactions with the Renegade are building up to a big self-confrontation. For now, readers can enjoy seeing the character win as more developments brew on the horizon.
Thrilling Art
Throughout The Harbinger #3, Robbi Rodriguez decorates the pages with panels and colors to reflect the plot’s dynamic. At first readers get an orderly 9 panel grid that showcases a steady, if uncertain, pace. Every page following that erupts into moments full of energy from splash pages to spreads showing off Harbinger’s psychic powers. The vigorous colors of Rico Renzi along with the shifting angles of perspective are a sight to behold.
Then there’s Hassan Otsmane-Elhaou’s lettering which shows off some stylistic interactions. Aside from the color coded captions with Harbinger and Renegade’s telepathic interactions, the way Harbinger uses his telepathy to spy on the Warning is eye-catching. The warping text gives readers a feeling of dealing with radio static.
Get Into The Harbinger #3
The Harbinger #3 serves as a high point of the series. With Peter Stanchek triumphantly rising as a hero, readers have more to look forward to. The art, story, and characterizations all meld together to form an unforgettable chapter.
BEN REILLY: SPIDER-MAN #1 hits your local comic book store January 19th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: BECAUSE YOU DEMANDED IT! Iconic Spider-Man scribe J.M. DeMatteis (KRAVEN’S LAST HUNT, SPIDER-MAN: THE LOST YEARS) returns to spin his webs once more within the Spidey mythos, this time joined by explosive artist David Baldeón (WEB WARRIORS, DOMINO)! Together, they’re bringing you unlocked memories in the life of BEN REILLY, A.K.A. SPIDER-MAN! Darkness looms over New York City as murders begin to pile up…but how are they all connected? Do the answers Ben is looking for reside in the haunted halls of the RAVENCROFT INSTITUTE? Find out as we return to the era when Ben Reilly was the one, true SPIDER-MAN!
The issue is by writer J.M. DeMatteis and artist David Baldeon, with colors by Israel Silva, and letters by Joe Caramagna. The main cover is by Steve Skroce and Dave Stewart.
As alluded to in the solicit text above, BEN REILLY: SPIDER-MAN will focus on “untold” stories from Reilly’s time as the one-and-only webslinger. The cover even features an old-school trade dress, which is a really nice touch.
Check out the BEN REILLY: SPIDER-MAN #1 preview below:
Are you excited for Ben Reilly’s new solo title? Who is your favorite Spider-Man? Sound off in the comments!
The fifth and final volume of the critically acclaimed YA graphic novel series 5 Worlds: The Emerald Gate is almost here! The wondrous and creative science-fantasy series comes to a close on January 18th, and we at MFR have the exclusive preview!
Written by Mark and Alexis Seigel, with art from Xanthe Bouma, Boya Sun, and Matt Rockefeller, 5 Worlds is the perfect series for fans of Avatar: The Last Airbender,She-Ra And The Princesses Of Power, and Steven Universe.
In the epic conclusion to the 5 Worlds series, the final battle looms as Oona, Jax, and An Tzu travel to the treacherous world of Grimbo (E)! There, Oona must light the last beacon to save the 5 Worlds, but first she has to find it! When Jax saves an old friend, Oona is given a clue to the green beacon’s location.
Unfortunately, the journey to lighting it on this strange, watery planet is the most dangerous yet. Meanwhile, Stan Moon has one more trick up his sleeve as his frightening powers and mysterious connection to An Tzu continue to grow. How can Oona ever hope to beat him? Can she count on her friends or will a terrible betrayal mean the 5 Worlds will be lost to evil forever?
From Mark Seigel Himself:
In our fifth and final volume of 5 WORLDS, Oona, Jax and An Tzu reach the green world called GRIMBO (E). We’ve been hearing about this world all along, including a legendary restaurant called Mintz.
Unlike the other four worlds, GRIMBO has resisted colonization and exploitation—resistance not just from its people, but from its very ecosystem: an ocean blanketed in a lethal, predatory moss!
Small pockets of settlers get by on the rocky islands that dot Grimbo, and a native plant people called the BEANU are the only ones who seem to travel everywhere else with ease. For the setting of Oona’s climactic confrontation with Stan Moon, Alexis and I envisioned a living world with a seemingly hostile exterior and many deep secrets. Boya, Xanthe, and Matt developed amazing visions of many ecologies above and below water… For the BEANU characters, they went through quite a lot of exploration before locking into these peas-in-a-pod beings—and the astonishing Willow King. There are other beings and some mind-blowing visionary dreamscapes we visit in the series finale—can’t get into that without major spoilers—in which I feel our artists broke new ground for comics. You’ll need to see for yourself!
Be sure to grab 5 Worlds: The Emerald Gate Vol. 5 when it’s released by Random House Children’s Books on 11/18!
LAND OF THE LIVING GODS #1 hits your local comic book store February 2nd, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: It is said that when the world dies, the spirits of the first people will return to witness the last days of humanity. Well, the spirits have arrived, and the end is here. But not everyone has given up hope.
Naledi, a teenage girl living in the deserted city once called Johannesburg, has always believed that there is a land, hidden away in time where the gods still live. And where there are gods, there are miracles. Perhaps even miracles that are big enough to save our dying planet. And so, after a lifetime of isolation, Naledi will head out into the unknown with little to hold onto but her faith – and her magical pet plant, Buyo.
The series is by writer Isaac Mogajane and artist Santtos, with letters by Dave Sharpe. The main cover is by Santtos, and the incentive variant is by Andy Clarke and Jose Villarrubia.
LAND OF THE LIVING GODS will introduce you to a world of wonder and cruelty, beauty and perseverance – and will leave you profoundly changed.
Check out the LAND OF THE LIVING GODS #1 preview below:
Are you excited for LAND OF THE LIVING GODS? Sound off in the comments!
From modern comics icon Jeff Lemire comes the finale of his most recent original outing in Mazebook #5. With lettering from Steve Wands, this final chapter is the devastating, bittersweet ending we all needed. With succinct yet powerful writing and his typical signature visuals at their best, this chapter marks the end of some of the best work in Jeff Lemire’s library.
“As Will continues his fight across a dangerous metropolitan maze on the hunt to find his long-gone daughter, he comes face-to-face with his own literal monsters as he tries to find her and bring her home.”
Writing & Plot
Jeff Lemire hones in on the lessons needed to overcome grief in Mazebook #5. Will has finally followed the supposed message from Wendy to its inevitable conclusion. Here, he faces down monsters of his own making, and hears what he needs to hear. To say anything else would be a spoiler and disservice to what Lemire has crafted.
This final chapter feels more succinct than prior issues. This is due largely to this comic feels like a giant epiphany. This issue is packed with powerful moments of realization, all intercut by what are probably the two most powerful scenes in the whole series. Lemire creates these beautiful, rending sequences that blend the absolutely real with a dreamlike fantasy. This issue, and this entire series really, is an example of a giant therapeutic lesson on processing loss. The issue’s penultimate scene, where Will hears what he needs to hear, is painfully potent. The feelings and themes Lemire explores in this comic are relatable to pretty much everyone on the planet. As such, it would take an exception creative hand to produce something that doesn’t feel heavy-handed or overwhelming, nor insensitive.
Lemire captures human experience and combines it with the fantastical to create one of the most beautifully brilliant comic stories in recent memory.
Art Direction
There’s not much else to be said about Lemire’s work in Mazebook #5 that I haven’t said in prior reviews for the series. His signature scribbled, rough-hewn pencils continue to surprise with just how full of life and detail they are. Lemire captures powerful, emotionally devastating or triumphant scenes with a keen eye for human expression. These sequences have so much weight because of Lemire’s framing and direction, along with his deceptively sharp characterization prowess. Like in prior issues, he splices in pages with odd, almost novelty panel layouts. He crafts some sequences in panels shaped as pieces of the maze Will is racing through, tracing his journey through this dream-realm. The story never gets difficult to follow though, and its thoughtful design contributes to the book’s atmosphere.
The lettering from Steve Wands matches Lemire’s visuals perfectly. His hand-scrawled font captures a reading experience that relays the comic’s tone to the audience in a manner that continues to add to the atmosphere. This is, as always, a brilliantly put-together comic from the visual end.
Verdict
Mazebook #5 is a bittersweet gut-punch of an ending to this mini-series. Lemire crafts a finale full of revelations and cathartic moments that bring this story to an inevitable, beautiful conclusion. His signature visual style is the perfect vehicle through this story to be experienced through, with the wiry pencils and faint watercolors crafting a wholly unique atmospheric experience. Please be sure to grab this finale when it hits shelves on 1-12!.
Daredevil Woman Without Fear #1 Credit: Marvel Comics
There’s a Cross-over event happening at Marvel Comics, and on the streets of New York, forces are amassing around Elektra Natchios as she dons the mantle of Daredevil. Old memories are awoken as the once hired assassin is forced to face her past in her current battle against the demonic cult, The Hand.
Daredevil Woman Without Fear #1 is the first of a three-issue mini-series that focuses on Elektra in her current role in the Marvel Universe and her complicated history. Despite the number 1 on the front, this is not an easy entry point for new readers; instead, it stands as background for the more significant stories happening elsewhere in Marvel Comics.
Elektra as Daredevil Credit: Marvel Comics
Scripting
Chip Zdarsky’s writing is punchy and emotional. As a reader, you get a real sense of the characters on the page, who they are, and what they are about. The majority of the comic focuses on Elektra herself and her interactions with a host of characters. Each meeting leaves you with a better understanding of who she is and where she’s come from. This allows Zdarsky to maneuver the reader through the comic and keep the reader interested in the character’s development despite the lack of a comprehensible plot.
That’s not to say that there isn’t a plot, and in some respects, it’s a fairly straightforward affair, but this reads like the middle of a story or even the background elements of a larger story happening somewhere else. It does not feel self-contained, and this will be a problem for some people picking this title up. There is nothing on the cover to indicate that this is a mini-series or that it is linked directly with a number of other comics. The selling point here is the number 1, but this does not read like a first issue, and readers who aren’t following the current Marvel comics will become lost in the mix of modern-day action and historic origin snippets.
As part of a larger story, Zdarsky handles the narrative structure very well and, as stated, the characters are cleverly crafted. Throughout the comic, there is a high emotional streak presented to the reader through Elektra’s interactions with her friends and foes; unfortunately, without knowledge of the greater story, this emotional arc isn’t tethered to anything.
Daredevil Woman Without Fear #1 Credit: Marvel Comics
Visualization
The artwork provided by Rafael De Latorre is dynamic and captures the action sequences beautifully. De Latorre uses fantastic choreography to express the fighting skills of the central characters. He also focuses on the people within the scenes, allowing the backgrounds to fade seamlessly into color washes, devoid of objects. The scene for each sequence is set early in the panel layouts and then becomes superfluous to requirements. The emotional aspect of Zdarsky’s script is pulled through into the art by De Latorre’s attention on the character and their reactions within each scene. In some respects, this comic feels like a low-budget martial arts movie where the camera follows the actors and the setting is barely glimpsed.
One of the highlights of Daredevil Woman Without Fear is the lettering work by Clayton Cowles. The subtle highlights and clever pauses created by the placement of the caption boxes and word balloons give the speech character and, along with the artwork, allow the script’s emotional aspect to jump from the page. You can almost see the desperation in Elektra’s voice when she talks to Matt Murdock and hear the disappointment in Stick’s voice as he trains the young assassin. Cowles’ lettering is a treat of visual storytelling and as crucial to character-building as every other aspect of the comic.
There is a constant shift in Daredevil Woman Without Fear between the warmth of Elektra’s friend group and the coldness of her past. This is represented throughout by the contrasting colors on the page. The contrast is best illustrated in a scene where Elektra catches up with an old friend. Federico Blee washes the scene with orange and yellow while leaving a cold white space in the background that acts like an overbearing memory that Elektra can’t escape. This contrast of colors is a motif running throughout the comic and illustrates the emotional turmoil within the central character. It is clear from a quick glance of each page what Elektra’s emotional state is just from the color scheme.
Daredevil Woman Without Fear #1 Credit: Marvel Comics
Conclusion
Daredevil Woman Without Fear is an intense examination of the emotional state of the title character. It goes a long way to illustrate her relationships with several characters from her past. However, the reliance on previous plot knowledge makes this a problematic comic to engage with if you are not well-read. Anyone picking this up, believing it to be the start of a new run or even a new story arc, will be left disappointed. This may seem like a moot point to many readers; it is almost expected these days that readers are engorged within the Superhero world they are reading, but it ultimately means that this comic fails as a First Issue. It fails to bring new readers into the world that the strong character inhabits, instead reminding them that there is so much more you need to read before you can follow the plot of this single issue.
If you’re reading the Daredevil comics, this will be a great addition to that collection of stories. If you are not caught with the Daredevil mythos, this will be a tough read and require some research with previous polt threads.
The 355 was an entertaining experience carried by strong lead performances and thrilling action sequences. The chemistry between its leads keeps the narrative compelling, but never enough to truly care about the outcome. Suffering mostly from its lackluster plot, The 355 doesn’t make the most out of its potential to be a great spy film. It would have been a worse outcome without this talented group of actresses.
Jessica Chastain leads the ensemble cast of talented actresses, who all make their characters feel unique. Sadly, The 355 doesn’t deliver a story that is worthy of all the talent it features. An international spy film that is very fun at times, but its rapid pacing can grow tiresome on many occasions. Chastain is joined by Penelope Cruz, Diane Kruger, and Lupita Nyong’o. The 355 follows Mason Browne (Chastain), a CIA officer, who teams up multiple agents to stop a terrorist organization from starting World War 3.
As compelling as it sounds, this film doesn’t always retain its intrigue when the action ceases. Mason Browne is a skilled CIA agent that possesses a lot of confidence in her role. She joins forces with Khadijah (Nyong’o), an old ally after a device designed to take over computer systems falls into the wrong hands. These ladies team up with Gracie (Cruz) and Marie (Kruger) after they identify a common enemy. While they all stand out on their own, the film’s pacing makes it difficult to grow attached.
Performance-wise, The 355 stays afloat thanks to the brilliance of its main quartet. Everyone plays off each other well, and over time, there is a familial bond growing between the characters. I just can’t understand why the film didn’t decide to give the characters more depth. There’s tremendous acting on display for flat characters, which doesn’t always leave a good impression. It had the ingredients to be something special but just came across like another action film.
The action sequences will have you on the edge, and the choreography is great as well. However, this is always when the film is at its best because the character interactions aren’t always interesting. The 355 might leave some viewers confused due to the narrative feels like it’s running a marathon. Despite its two-hour runtime, this movie could have benefitted from letting its plot breathe. It does grow hard to follow at times due to how much information is being unpacked at once with almost no time to process it.
Director Simon Kinberg collaborated with Theresa Rebeck on the screenplay for the film. Its biggest issue lies in how its conflict shines brighter than the characters involved. As a whole, The 355 doesn’t give strong reasons to care about these ladies stopping World War 3. While admirable, Mason and her partners just get overlooked in terms of character development. The 355 allows bits of their personal lives to become intertwined with the conflict, which heightens interest in the ladies silencing the doubt they face from their respective agencies.
The film’s messaging about female empowerment is made loud and clear. It doesn’t get shoved down your throat, but some dialogue could have been left out. Witnessing the quartet of women travel the globe in elegant clothing was another highlight. The multiple locations they visit amplify the high stakes. Kinberg makes all the hard-hitting action exciting, and I’d say this was better than the last project he directed.
The 355 has all the ingredients to be something great but didn’t come together as neat as it could have. This won’t launch the Bond-type franchise, and possibly is going to be ignored upon release due to the lack of marketing. A star-studded spy film that coasts on its star power the most. The 355 will not be the film everyone rushes to see, but it’s entertaining enough.
From legendary Hellboy creator Mike Mignola and writer Rob Williams, along with artist Laurence Campbell, comes a history lessen about a deadly McGuffin in The Sword Of Hyperborea #1. Featuring colors by Quinton Winter and letters from Clem Robins, this opening issue is more of a lore-note than a comic book. While held aloft by stellar artwork, this issue has little to offer anyone who isn’t an absolute diehard Hellboy fan who must know all the things.
“From the ancient warrior Gall Dennar, to Sir Edward Grey, to the B.P.R.D.’s Agent Howards, the iconic Hyperborean sword from the world of Hellboy has landed in many influential hands. And this has been no accident. Trace the sword’s path through the adventures and encounters that finally brought it to Ragna Rok, at the end of the world, and witness the sword’s journey through history.”
Writing & Plot
Mike Mignola and Rob Williams make a move to fill some of the gaps around Agent Howards’ badass weapon in The Sword Of Hyperborea #1. Admittedly since its first appearance in the pages of B.P.R.D., it has been an object shrouded in enticing mystery. Like with many recent Hellboy universe comics following B.P.R.D.: The Devil You Know, Mignola & Co. offer to answer this mystery. Unfortunately, despite this comic’s intriguing premise, this first issue comes off as scattered. We’re presented with slices we’ve seen before in prior stories, such as Gall Dennar in prehistoric times leading his tribe. This issue fills in a bit more of that, which is admittedly pretty satisfying to see for a longtime fan of this universe. However the rest of this chapter ends up feeling overly vague.
There are clearly important time-parallel hijinks going on here, and plenty of mad wizards and giant monsters to contend with. Despite having all the ingredients for a great Hellboy/B.P.R.D. story, this comic just feels like its throwing scenes at the reader without reiterating why they’re important. This is sort of the problem with making a story surrounding an item. The balance between characterization and just moving the plot forward for more story can be hard to maintain. There is certainly material here to love for diehard Hellboy fans, but that doesn’t save the script from feeling bland and scatterbrained.
Art Direction
You can almost always count on a Hellboy universe comic to have fantastic visual work, and Laurence Campbell keeps that tradition going in The Sword of Hyperborea #1. Campbell’s heavy inks pay homage to Mignola’s signature style while still keeping his unique touch intact. Every character and surface is detailed in a manner that makes the scenes appear almost three-dimensional. There’s a digital look to the art, but it’s given an atmospheric grittiness by the inks and Quinton Winter’s colors. Those colors are rich and finish off the dark, unsettling feeling of a Hellboy comic spectacularly well. The lettering from Clem Robins is classic, highly competent Hellboy comics fare. He maintains the same lettering style that has been utilized in every comic book in this universe, and it brings back that reading experience perfectly.
In all honesty, this is possibly one of the best looking Hellboy universe comics I’ve gotten to read.
Verdict
The Sword Of Hyperborea #1 is a gorgeous comic book with an unfortunately underwhelming script. Mignola and Rob Williams make some interesting moves with exploring more of the sword’s past. Unfortunately, it still feels scattered and too vague to feel like a satisfying single issue. The visuals from Laurence Campbell and Quinton Winter save the comic with detailed and atmospheric visuals. From the artistic end, this is a top-tier Hellboy universe entry. If you’re a diehard fan of this universe, be sure to grab this issue when it hits shelves on 1/12!
From veritable comics auteur Jonathan Hickman (East Of West, X-Men) and artist Mike Huddleston (Butcher Baker, TheStrain)comes a grandiose science-fiction epic in a compact package in Decorum. This 8-issue series recently concluded and will be collected in a deluxe hardcover this Spring. So the question becomes: is it worth your time and money? Why yes! After all, it’s Hickman! Albeit a bit of a slow start and a rushed finale, this comic makes up for minor shortcomings with a story that combines Hickman’s massively imaginative universe-building with his compelling and fun character writing. Featuring unbelievably dynamic art from Huddleston and outstanding design work, this mini-series is an absolute feat of comics creativity.
“There are many assassins in the known universe, this is the story of the most well-mannered one.”
Writing & Plot
Writer Jonathan Hickman is no doubt best known for his sprawling, complex method of crafting science fiction universes. Decorum is no different. Hickman builds both character and world in “story then glossary page” format. Every issue is intercut with a page offering readouts of planetary statistics and general universe information. One writer described it as “all the stuff Hickman couldn’t write into a comic,” and I’m inclined to agree. Think the glossary and indexes in Hebert’s Dune, but presented visually. This is a classic Hickman-ism that you’ll either love or hate. These slices are compelling slices of info, and several of them are creatively and humorously delivered. If this isn’t your cup of tea though don’t worry, as the story itself is tight as well. Mostly.
Hickman’s story here begins with two separate plots. The first, and the most mysterious, involves a race of zealot-like A.I. and their religious figurehead as they wage war on the universe searching for an egg. If you’ve read a Hickman book before, this is pretty bog-standard. The other, easier to follow plot, involves a streetwise courier and her induction into a guild of all-women assassins from around the galaxy. Again, pretty standard stuff. The latter is a perfectly compelling and often hilarious, as Hickman utilizes his brand of sardonic humor. Witnessing this new universe from the ground level through our protagonist’s perspective is the exact sort of comics magic most may expect.
The big cosmic plot on the other hand is, well, very Hickman. It’s fascinating, don’t get me wrong, but it takes a long time making itself feel relevant. These two seemingly separate stories take so long to come together it leaves the ending feeling rushed. Don’t get me wrong, it’s still wholly satisfying and the plots come together quite nicely given the time constraints. I just found myself wishing that I’d gotten more time with this universe once all the ingredients came together. Don’t get the wrong idea, this is a fantastically imaginative and entertaining comic. I just wish there was more breathing room in the right spots.
Art Direction
It takes a masterclass artist to craft a Hickman vision, and Mike Huddleston manages to fit the bill in Decorum. His ever-shifting style and unreal direction are the majority of what makes this series so memorable. Huddleston changes from more conventional pencil and ink art for the assassin plot. This juxtaposes to the abstract, painted Ditko-esque visuals presented in the other plot. There are even more multitudes, though. Huddleston will drift from impeccable painted views of planets and cosmic events, to intentionally unfinished-appearing line drawings at a moment’s notice. It’s consistently inconsistent and somehow, somehow, it makes sense. Not only does it make sense, it’s mind-bogglingly cool. Character details and alien designs are diverse and wildly unique, as we would expect from a comic of this scope.
Panel design in this book, which is also brought together by Sasha E. Head, comes across as part comic and part visual guide to a new galaxy. Huddleston completely eschews conventional panel direction in favor of panels overlaying one another and slicing into each other. The fact that this comic has such wild direction but still pulls the reader along with no trouble or confusion is a remarkable feat. The geometric designs that pattern the info-dump pages are classic Hickman-comic material, and they always manages to continue building a great hard sci-fi atmosphere.
The lettering from Rus Wooton is dynamic and modern. Fonts and effect lettering trade off naturally and change in perfect step with events on the page. This is an unbelievable looking comic from front to back. While its intentionally all-over-the-place style may rub some the wrong way, it is regardless a massive feat of comics talent.
Verdict
Decorum is a massive display of science-fiction imagination and raw visual talent in comics form. Jonathan Hickman’s writing on the series is tight, compelling, and wholly entertaining, even if I feel it needed more time to breathe and explore its concepts. The visual work of Mike Huddleston, with design work by Sasha E. Head, is stunning and full of surprises. Huddleston constantly changes style and approach, which when combined with this book’s off-the-wall visual design, makes for a comic experience unique unto itself. You can read all of Decorum now via any comics app you may use, or wait and grab the gorgeous oversized-hardcover edition when it releases this Spring. I know what I’ll be getting.
DEVIL’S REIGN: SUPERIOR FOUR #1 hits your local comic book shop next week, but Monkeys Fighting Robots has an exclusive preview for our readers’ thanks to Marvel Comics.
DEVIL’S REIGN: SUPERIOR FOUR #1
Writer: Zac Thompson
Artist: Davide Tinto
Colorist: Matt Milla
Letterer: Ariana Maher
Cover: Ivan Shavrin
THE FANTASTIC ARE NO MORE. LONG LIVE…THE SUPERIOR FOUR. Otto Octavius has acquired a taste for the infinite. Empowered by Wilson Fisk, Doctor Octopus faces a tantalizing, unprecedented opportunity to scour the Multiverse, amassing an army of…himself. An army to march on our reality, proving Otto’s supremacy – and it all begins with his SUPERIOR FOUR
Between writers Collin Kelly and Jackson Lanzing, The Harbinger #3 begins a compelling Hero’s Journey. After getting to know and love the amnesiac Peter Stanchek, readers will enjoy Peter’s rise to the occasion against the Warning. His new identity of Harbinger comes with a powerful feeling of hope- hope for both the Psiots under oppression and Peter’s redemption. Best of all, his interactions with the Renegade are building up to a big self-confrontation. For now, readers can enjoy seeing the character win as more developments brew on the horizon.
Throughout The Harbinger #3, Robbi Rodriguez decorates the pages with panels and colors to reflect the plot’s dynamic. At first readers get an orderly 9 panel grid that showcases a steady, if uncertain, pace. Every page following that erupts into moments full of energy from splash pages to spreads showing off Harbinger’s psychic powers. The vigorous colors of Rico Renzi along with the shifting angles of perspective are a sight to behold.
Then there’s Hassan Otsmane-Elhaou’s lettering which shows off some stylistic interactions. Aside from the color coded captions with Harbinger and Renegade’s telepathic interactions, the way Harbinger uses his telepathy to spy on the Warning is eye-catching. The warping text gives readers a feeling of dealing with radio static.
