Review: SING 2 Unveils Lighthearted Family Affair

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Sing 2 is the highly anticipated follow-up to the animated spectacle that warmed millions of hearts. Sing 2 aims higher, provides even more lovable characters, and reminds you to believe in yourself. Its humor wasn’t my personal favorite, but children should have a good time with the jokes. Some of the charms from the original aren’t present here, making certain scenes more difficult to sit through. Despite that, Sing 2 is another animated delight that can entertain the entire family.

Having avoided most of the trailers, I can say that Sing 2 didn’t feel ruined or predictable while watching. Musical films have been doing great this year, and Sing 2 joins the list to end the year on a high note. The amount of heart mixed with talented voice work and superb animation makes Sing 2 a great sequel. If a third film happens, it’ll be interesting to see what hit songs will be used next time. Being a crowd-pleaser comes easy when you can generate a sing-along from kids and adults alike.

Garth Jennings returns to direct this sequel, which much like its predecessor, could be considered a near two-hour compilation of popular songs done by animated animals. Sing 2 is much more than that, it serves a purpose even if children are the ones that will primarily appreciate it the most. In the film, Buster (Matthew McConaughey) and his cast of performers set out to debut a new show in a major city. With a few stumbling blocks in their way, Buster and his team do everything they can to make this grand-scale performance a reality. Buster and the returning characters are all a delight to witness again, and the new additions to their team help push the conflict in pleasant directions.

Scarlett Johanson and several other notable names return in this effective continuation. Aiming higher, the narrative moves to a big city named Redshore. Buster believes his crew can put on a grand show for Jimmy Crystal (Bobby Canavale), a major individual in Redshore. Those plans take a turn for the worst, but Buster’s sneaky tactics don’t completely ruin everything. Sing 2 switches up the formula enough to stand strongly on its own.

Including fresh characters provides a lot of heartwarming moments and a lot of humor. The vocals on display were impressive. Specifically from Taron Egerton who plays Johnny, a gorilla with a dancing fear. Sing 2 accomplishes a lot with this crowded list of characters in less than two hours. Each character has their own struggles and gets developed properly before Buster’s big show.

Everyone delivers in their respective roles. Their delivery in terms of singing, or just bringing these likable animals to life, plays a huge factor in the film’s message getting across. You can feel the issues everyone is dealing with, which makes their eventual triumph more rewarding. There’s an emphasis on believing in yourself when no one else does. An important message for everyone, but Sing 2’s target audience needs to hear it the most. Visually, this animation is vibrant and energetic thanks to the soundtrack played throughout.

Sing 2 may not be the most necessary sequel to be released this year, but it delivers a satisfying family affair filled with a lot of heart. A decent enough repackage of its predecessor that can be cliched depending on who is watching. The returning voice talent is terrific at making you feel for the animals’ dilemma and their chemistry keeps you invested. If Buster and his crew return for a third outing, perhaps the stakes will get raised even higher. Sing 2 doesn’t stray too far from what made the original special and that’s what keeps it afloat the most.

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Review: NIGHTWING #87 is a Race Across the Page

By

Zac Owens

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How to talk about Nightwing #87? It’s one of those comics that is so different, there aren’t even the words to begin discussing it. From the very start, writer Tom Taylor, artist Bruno Redondo, colorist Adriano Lucas, and letterer Wes Abbott make it clear that they are breaking the mold. For one thing, Taylor and Redondo aren’t credited as writer and artist. They’re both billed as “Storytellers.” It’s a seemingly small detail that represents how much we need new vocabulary to even discuss this incredible issue from DC Comics.

Writing & Art

Nightwing #87 is one continuous image. In the past, Redondo has shown the trajectory of Nightwing’s leaps and bounds through the air in a single panel by drawing Nightwing’s figure at each point of the jump. This is how the whole of Nightwing #87 is done. We see Dick Grayson clambering across the page, almost like he’s chasing himself. And Taylor makes a point of taking a backseat in this issue. The script isn’t text heavy, the narrative beats are very simple. Because anything more than a chase across town threatens to bog down this issue with unnecessary details, slowing the reader down when the action ought to be moving at breakneck speed.

Yet, Taylor manages to find some truly emotional beats in the chaos. He straddles that line of “too much” and “too little” brilliantly. We get just enough from the script, not feeling like the art is the sole purpose of this issue. And Redondo does the same thing. It’s not just Nightwing’s trail through town that matters on each page. Redondo’s figures are dynamic and the chase is enthralling, but the context of each scene is just as charming. Redondo places nods to all kinds of things around each page. He also uses depth to allow the reader to take in the whole scene, rather than laser focusing on Nightwing. When Nightwing drives across a bridge, he’s a small figure on the page. Redondo brings our attention to the cityscape around him, giving us a second to marvel at its beauty.

Coloring

Lucas, in previous issues, has already shown his brilliant ability to make us feel time passing. To do a fade from late afternoon to early evening in a single image, though? Now, that’s impressive. The transition is seamless. Lucas allows the soft lighting of streetlights to blur the lines between one page and the next. That way, each page can get progressively darker. But Lucas also gives Bludhaven’s many streets a sense of character. The dimly lit bridge is a completely different landscape to the shining fluorescent lights found in Bludhaven’s fast food joint, Tolay Away. Ultimately, Lucas grounds us in the timing of this chase across town. But he also helps us to feel the spirit of the city Nightwing is zipping through.

Lettering

Just as Redondo marks Nightwing’s trajectory through this comic, Abbott marks ours. He guides us from building to building, placing word balloons and caption boxes close to the action. But it’s his sound effects that are truly remarkable. When Nightwing speeds off on a motorcycle across a bridge in the background, the noise of the bike’s motor disappears behind a corner, then reappears in the background of the scene. With this, Abbott gives us a sense of the depth of the scene. And later, when another character joins Nightwing in his chase, we begin following both their trajectories through a building. The sound effects of them beating up the bad guys trace two lines, but the lettering for each character remains relatively the same. Nightwing’s letters are blue and yellow, while the other character’s are white and black. Abbott brings order to what could have been a really confusing scene.

DC Comics’ Nightwing #87 is fresh and brilliant. With their “one uninterrupted image” approach, this creative team could have made this issue seem empty and gimmicky. But instead, they bring just the right amount of story and emotion to an action-filled race across the page. It’s fun and truly, truly impressive. Pick up Nightwing #87, out from DC Comics December 21st, at a comic shop near you!

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Review: BATMAN/CATWOMAN #9 – Where Have the Good Times Gone?

By

Zac Owens

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DC Comics’ Batman/Catwoman has always been full of nostalgia. You hear it in the way that the Joker and Catwoman talk with one another. You hear it in the Penguin’s lamentations. But more than anything, you can see it in Tom King’s writing. Writer Tom King, artist Liam Sharp, and letterer Clayton Cowles make something quite clear in Batman/Catwoman #9. Whenever the Golden Age was for these characters? The Joker is making damn sure that it’s not now.

Writing

There’s a twisted kind of fun that these characters all seem to have. King shows this especially in a conversation between Catwoman and the Penguin. They talk about when they used to commit their crimes in the daylight. But by this point, Selina and Oswald are old and bitter. They live in a world that has broken them. So King brings us back to the Golden Age, when Batman and Catwoman are fighting the Joker together. But these scenes are also dark and disturbing. The Joker’s playfulness only makes the scene feel even more ominous. And even further back, we see the Joker and Selina chatting like old friends. But again, things take a sudden turn for the macabre. King is showing us that these characters are fooling themselves. They’re always dreaming of a bygone era. But when it comes down to it, they’ve been dysfunctional all along.

Art & Coloring

Sharp’s styles change drastically throughout this issue. It’s a mesmerizing dance of different approaches. He bounces back and forth between making the Joker look cartoonish or demonic. It perfectly captures the dual nature of the Clown Prince of Crime. But Sharp’s choices go further than that. Each timeline has its own style. The future scenes, with old lady Selina and Oswald, are shown in gritty realism. The dark blue lighting makes everything feel somber and sober. But Catwoman and the Joker’s conversations in the distant past feel quite the opposite. They’re cast in a red and green tone of cartoony brilliance. The linework is simpler, often with very little shading in their faces. It makes it feel like a brighter time.

And then there’s the Joker holding a hostage in our middle timeline. Sharp pushes into both extremes here. Batman looks gritty and realistic, but the Joker has a smile that curls impossibly out from his face, like a wisp of red smoke in the air. The purple lighting sometimes feels playful, other times it feels cold and threatening. And as the issue progresses, the lines between these timelines start to blur artistically, as though they’re mimicking each other. The simplified art style of the Joker and Catwoman’s conversations in the past suddenly look grotesque and monstrous, like the scene of where Joker holds someone hostage. And the hostage scene looks animated and playful, before returning to its gruesome tone. It’s a gorgeous war of styles that culminates in an issue that manages to be both versatile and focused.

Lettering

There are some scenes in Batman/Catwoman #9 that end in the middle of a page, before another scene begins in the page’s next half. There isn’t a ton in the page layout to show this, though Sharp’s colors are a great visual cue. But it’s actually Cowles’ letters that make these transitions work. On one page, he disrupts the flow of his word balloons leading them off the page, effectively ending the scene. Then the next panel’s letters are much higher and it feels like we begin reading the page all over again. Through this, Cowles gives us time to reset and notice the panel differences before tackling the next scene.

DC Comics’ Batman/Catwoman #9 is a beautiful, layered lament. These characters want the simple days of the Golden Age. They want to chase each other over rooftops and laugh when they’ve been caught. But this creative team is underlining that these characters have poor memories. The times they long for were just as complicated and heartbreaking. Which is really the most heartbreaking thing of all. Pick up Batman/Catwoman #9, out from DC Comics December 21st, at a comic shop near you!

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SPIDER-MAN: NO WAY HOME – Film Vs Comic Book Movie Discussion

By

Matthew Sardo

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SPIDER-MAN: NO WAY HOME hit theaters last week and made a boatload of money because it was epically bonkers and awesomeness. Yet, you can have a conversation about its cinematic quality versus a great comic book movie. Thanks for checking out the podcast.

Have you seen SPIDER-MAN: NO WAY HOME? Chat with me on Twitter (@matthewsardo). Below is my reaction to SPIDER-MAN NO WAY HOME in the dimly lit parking of AMC Theaters, about 15 minutes after I saw the movie.

SPIDER-MAN: NO WAY HOME SYNOPSIS:
For the first time in the cinematic history of Spider-Man, our friendly neighborhood hero’s identity is revealed, bringing his Super Hero responsibilities into conflict with his normal life and putting those he cares about most at risk. When he enlists Doctor Strange’s help to restore his secret, the spell tears a hole in their world, releasing the most powerful villains who’ve’ ever fought a Spider-Man in any universe. Now, Peter will have to overcome his greatest challenge yet, which will not only forever alter his future but the future of the Multiverse.

Directed by:
Jon Watts

Written by:
Chris McKenna & Erik Sommers

Cast:
Tom Holland
Zendaya
Benedict Cumberbatch
Jacob Batalon
Jon Favreau
Marisa Tomei

Based on the MARVEL Comic Book by:
Stan Lee and Steve Ditko

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INTERVIEW: Writer/Director Cheryl Allison Discusses Documentary Film PIECES OF US

By

Ruben Diaz

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December 20, 2021

Pieces of Us is a new documentary film from longtime actor turned writer and director Cheryl Allison (Honk) about LGBTQ+ hate crime survivors who took their recovery public to inspire others to do the same.

A global story, Pieces of Us travels from New York to India to reveal the inspirational stories of several survivors. These disparate people stood against hate, becoming unlikely heroes. The stories, like those of transgender activist and Stonewall Riots survivor Victoria Cruz, sparked powerful connections worldwide with other survivors. By speaking their truth, the community strengthens and motivates change.

PopAxiom spoke with Cheryl Allison about becoming a creative professional and making Pieces of Us.

Documentarian

Cheryl’s a longtime performer. “For over 30 years, I’ve performed in primarily musical theatre in New York City and theatres across the country.”

“As many actors do,” the actress, who’s also been on TV in shows like Dallas, says, “I always enjoyed the process behind the scenes. Then, about five years ago, a story fell into my lap that I thought would make a good documentary. So, I decided to tell this story. I formed WOW Films and began making the documentary I’m still filming.”

Soon after, Cheryl “directed my first narrative, a short film called Hiding in Daylight, in 2018. After that, it just sort of snowballed from there.”

“I consider myself a documentarian,” she affirms, “but that’s how that evolved. I still perform and I love being an actress.”

About Pieces of Us

Creating Pieces of Us started even before Cheryl or the film’s primary subject Mykel Dicus were aware. “I’d met Mykel Dicus back in the early 90s. He’s a fellow musical theatre performer. Fast forward to a couple of years ago, and he’s a survivor of a hate crime.”

“So, what he’d done in his recovery and working through years of PTSD … he created a one-man cabaret show called Pieces of Me.” In the show, Mykel talked about the crime, how he survived it, and the process for his healing. “In talking to other survivors, he realized the story was bigger than him. So, he approached me with the idea for this documentary.”

“I loved the fact that the film was going to concentrate on being a survivor,” she declares, “not a victim. How do you heal from such an event, and how do you pay it forward?”

“Mykel had already secured an executive producer for the film called Mark von der Heide,” she says, which is a vital part of any burgeoning film production. “I began to film things in June of 2019, where we filmed at World Pride.”

Making A Documentary

A narrative film follows a script, though it might change through the process, “the script gives you the template of where the story’s going to go.”

“But with a documentary,” Cheryl adds, “it can go anywhere. You know the main subject of the film. We knew this film was going to deal with LGBTQ+ hate crime survivors. But how do we tell it, and how do we connect all these different stories?”

Mykel was a subject of the film and one of its producers. “The way I approached it, I told Mykel, you’re going to have to trust me and remove yourself from the producing end of it and just be the subject. So let me handle it.”

“I asked our executive producer, can you give me autonomy?” Cheryl continues, “I like to work with autonomy. In a documentary, you have to allow yourself the freedom to let the story unfold how it’s supposed to unfold. You can’t predict things.”

As if written in a script, our call fails right here.

Reconnected

Cheryl returns to discuss further how to let a documentary organically come together. “If you try to squeeze it too tight into some preconceived notion of what the documentary is supposed to be, then you’ll suffocate it. It changes depending on what you get in interviews and through the process.”

Interviews were the first step for Cheryl in making Pieces of Us. “I interviewed amazing people and followed them to World Pride. After about five months of filming, I felt very comfortable that I had everything. But the scary part is going into editing to look at everything. It’s a jigsaw puzzle.”

Pieces of Us took nine months to edit. “It’s like sewing together a film. It’s a process that you have to understand is going to come and give it that breathing room to happen.”

“I always think about editing like a sculptor,” she adds, “Instead of building the movie, we already have everything, and we just need to chip away. That’s what editing is until you see that movie develop.”

Global Story

“The website has so much information about the film on there.” Cheryl asserts that anyone worldwide can learn more about the film and the stories it documents. “The website I love because you can read about the various survivors in the film.”

Pieces of Us took Cheryl from New York to Pittsburgh to India. “The circle of people involved is international. We have the Prince of India, the only openly gay royal in the world.”

The story of Manvendra Singh Gohil is harrowing and all too common. “… when he came out, his country disowned him. They burned his effigy. His father disowned him. He talks about the process of his healing. Now, his father is accepting. His mother is not. He endured shock therapy while his country tried to ‘make him straight.'”

The story of Pieces of Us is powerful and poignant. It’s a deep dive into the darkest sides of bullying and hate. But the film hopes too that others will stand against such evil. “We have a section of the film that talks about straight allies. We need straight allies.”

Wrapping Up

Cheryl is a musical theatre performer and enthusiast, so what’s her favorite musical? “That is hard! That’s like choosing a favorite child or pet. I will say I have two that are opposites, but I had the honor of doing them. The first is Les Miserables which is one of my favorites. I saw it when I’d just graduated high school, and I knew that’s what I wanted to do with my life. My other favorite show is Mamma Mia. It’s so much fun.”

“I’m finishing up a documentary about a goose that I rescued during the pandemic. He went viral. He has eighty thousand followers on Instagram. People all over became invested in this goose. His name is Honk.”

Is Pieces of Us on your watch list?

Thanks to Cheryl Allison and Wild Works PR
for making this interview possible.

Find more interviews from Ruben R. Diaz here!

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Advanced Review: RAIN #1 Is Devastating Apocalyptic Horror

By

Justin Munday

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Originally a novella by Joe Hill (Locke & Key, Plunge) and adapted by writer David M. Booher (Canto) and artist Zoe Thorogood (The Impending Blindness of Billie Scott), Rain #1 is an emotionally devastating and human-centered first issue of this unique apocalyptic comic. With a compelling narrative, great characterization, and wildly singular art, this is an unconventional horror story worth picking up.

“On a seemingly normal August day in Boulder, Colorado, the skies are clear, and Honeysuckle Speck couldn’t be happier. She’s finally moving in with her girlfriend Yolanda. But their world is literally torn apart when dark clouds roll in and release a downpour of nails—splinters of bright crystal that shred the skin of anyone not safely under cover. RAIN makes vivid this escalating apocalyptic event, as the deluge of nails spreads across the country and around the world, threatening everything young lovers Honeysuckle and Yolanda hold dear.”

Writing & Plot

In a medium chock-full of apocalyptic scenarios, Rain #1 is a breath of fresh air. Joe Hill’s concept of icy needles raining and impaling people is outlandish and horrifying. On the surface, this idea sounds like B-movie schlock. However, the concept is delivered in a plot dedicated to the story and humanity of its protagonist. Hill’s narrative, expertly scripted by David M. Booher, is emotionally heavy and beautifully presented. From moments of genuine romantic love to gut-wrenching loss, Hill’s prose and Booher’s presentation of it crafts a story that brings humanity and severity to a ridiculous-sounding concept.

There is an art in scripting prose writing in comic form, and Booher nails the approach. Internal dialogue that serves as narration is prescient and smartly laid out. His dancing between it and the dialogue would have you believe that this was his story entirely in the first place. All of the pieces of the script mesh together to create something memorable in its beauty and devastation.

Art Direction

Rain #1 is blessed with the unique visual talents of relative comics newcomer Zoe Thorogood. With help from Chris O’Halloran on colors, this comic’s art direction is the perfect blend of stunning and disturbing. Thorogood’s gorgeous yet unusual character depictions, lanky with big eyes basically, is offset by her eye for detail in facial features and clothing. This latter piece is so effective for how real her choices seem. It’s rare I see a comic that depicts how people in their late teens/early 20’s actually dress. Aside from this, her depictions of gore are all the more disturbing because of her distinct style. Tha manner in which she depicts such lively looking character being suddenly and viciously impaled by sky-needles makes this comic all the more unsettling – and proves her mettle as a top-tier horror artist.

O’Halloran’s colors mesh with Thorogood’s pencils in a atmospheric, modern manner. His use of flat tones adds even more of an uncanniness to the visuals while maintaining a gorgeous yet disturbing experience. His variety is worth noting here too. No two people have the exact same shade of skin tone, and no two surfaces are the same color. Overall, this comic is a stunning visual experience that fits its unsettling tone.

Verdict

Rain #1 is a brilliantly human and heartbreaking start to this apocalyptic-horror comic. Joe Hill’s work is expertly adapted by David M. Booher’s scripting, with cutting narration and standout dialogue capturing the story’s humanity. Zoe Thorgood’s pencils and Chris O’Halloran’s colors make for a uniquely gorgeous yet unsettling visual experience. Be sure to get this on your pull list so you can grab it when it hits shelves on January 12th!

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ComiXology Originals Exclusive Preview: THE ALL-NIGHTER #4

By

Anthony Composto - EIC

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December 17, 2021

comixology originals exclusive preview the all-nighter #4

THE ALL-NIGHTER #4 hits the internet December 21st, but thanks to comiXology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the series:
A new villain appears on the scene, the most destructive yet. With the situation continuing to spiral out of control, is Alex finally out of his depth?

THE ALL-NIGHTER is by writer Chip Zdarsky and artist Jason Loo, with colors by Paris Alleyne, and letters by Aditya Bidikar. Allison O’Toole is the series editor.

Zdarsky, Loo, Alleyne, Bidikar, and O’Toole previously collaborated on AFTERLIFT, another comiXology Original. AFTERLIFT won Best Digital Comic at the 2020 Eisner Awards, and was just named one of the Best Canadian Comics of 2021 by the CBC.

Check out the THE ALL-NIGHTER #4 preview below:

What is your favorite comiXology Original? Sound off in the comments!

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Marvel Comics Exclusive Preview: MOON KNIGHT #6

By

Anthony Composto - EIC

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December 16, 2021

marvel comics exclusive preview moon knight

MOON KNIGHT #6 hits your local comic book store December 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you.

About the issue:
Beaten, bloody, his world burning down around him—this was how the Moon Knight was born. And now it’s happening all over again. Outmaneuvered, outgunned, out-planned, Moon Knight’s mysterious enemy has strode out of the shadows to strike—and when this villain strikes, they strike true. At the mercy of a maniac, will Moon Knight die yet again?

The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Carlos Pacheco, Rafael Fonteriz, and Rachelle Rosenberg.

Moon Knight first appeared in comics nearly 50 years ago in 1975; he will make his live-action debut next year in an eponymous Disney+ series where he will be played by Oscar Isaac.

Check out the MOON KNIGHT #6 preview below:

Are you reading Marvel’s current MOON KNIGHT run? Sound off in the comments!

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AfterShock Comics Exclusive Preview: FEARBOOK CLUB

By

Anthony Composto - EIC

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December 16, 2021

aftershock comics seismic press exclusive preview fearbook club

FEARBOOK CLUB hits your local comic book store January 5th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

AfterShock is printing the graphic novel under its YA imprint, Seismic Press.

About the book:
When shy 6th-grade shutterbug Whit Garcia starts middle school, he’s forced to join a yearbook club with three other weirdos who will never be voted “most likely to succeed.” But after the ghosts of missing students start haunting them, Whit, Hester, Hillary and Press must solve the supernatural secret behind these spirits — or their yearbook club will be voted most likely to join them.

But are these ghostly students the real bad guys? Or are they just warning Whit and his friends? Warning them about a darkness beyond their schoolyard…a darkness that threatens to swallow the school – and its occupants �� whole.

The sophomore offering from Seismic Press, FEARBOOK CLUB is a story all about fitting in, fighting ghosts and forming friendships with other misfits, especially when you’re a misfit
yourself.

The series is by writer Richard Ashley Hamilton and artist Marco Matrone, with letters by Dave Sharpe. The main cover is by Matrone.

Check out the FEARBOOK CLUB preview below:

Are you going to be picking up FEARBOOK CLUB when it drops next month? Sound off in the comments!

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Review: NEWBURN #2 Shows this Series is Complex and Human

By

Zac Owens

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There’s a lot to love about Image Comics’ Newburn. It’s a brilliant concept from the get-go: a private investigator hired out by the mafia to keep the peace. And when it comes down to it, that’s all this series really needs to be successful. Newburn can come in, month after month, solve investigations and kick ass. As readers, I think we’d be pretty happy with that. But writer Chip Zdarsky, and artist/colorist/letterer Jacob Phillips aren’t satisfied with that. They’ve taken it a step further. Newburn #2 is full of complex and human characters. They aren’t simply part of the “investigation of the month.” These characters have a story that’s bubbling beneath the surface. A story Zdarsky and Phillips want to chip away at slowly.

Writing

Zdarksy doesn’t shy away from the uncomfortable parts of his script. While Newburn is a character we’re supposed to root for – or at least want him to succeed in solving mysteries – we also see that he’s the kind of guy who can shrug off death with disturbing ease. Yet Zdarksy also shows that Newburn’s a little disturbed by his own callousness, too. And so we get to the meat of the story. Zdarsky places our characters in a tug-of-war of ideals. Do they want to be inhuman and legendary in their ability to get things done? Or do they want to cling to their conscience in a world that’s begging them to look the other way? Zdarsky presents these ideas with subtlety and subtext. He introduces this dilemma through pregnant pauses and unanswered questions. It’s wonderful and chilling at the same time.

Art

Emma still has some feeling in her. Phillips shows her smiling, frowning, grimacing, and yelling. But through all these scenes, Newburn doesn’t change. He throws a punch with the same look on his face as when he’s walking down the street. He only ever looks concentrated. Here, Phillips shows us that Emma is Newburn’s connection to normal life. He’s pretty far gone. He’s been doing this for a while. But Emma still sees it for what it is: interesting, terrifying, and thrilling work. Phillips focuses us in on the differences between these two by showing us their faces as often as possible, zooming in on their smiles or (in Newburn’s case) lack thereof. Phillips tells us so much about these characters in the simplest ways.

Coloring

Phillips’ coloring is quite subtle. Many of the scenes have no vibrant colors in them. That’s not to say these panels aren’t stunning. Phillips’ colors somehow manage to look messy, while also looking meticulously planned. He gives every page an uneven painted quality which is outright beautiful. But what we’re seeing are office buildings and quiet city blocks. There’s not a ton to get emotional about, especially not for our characters. So Phillips renders these in soft colors that blend together. The scenes feel gentle and unassuming. Yet when Newburn dodges a punch, or throws one, Phillips colors the background in bright red. He mesmerizes us with the quiet scenes, then wakes us up for the thrilling action.

Lettering

Phillips takes quite a straightforward approach in his lettering. The fonts don’t change, the word balloons remain mostly the same. There isn’t a ton of sound effects. But this is a crime procedural comic. This uncomplicated approach matches the tone of the series perfectly. And the one time Phillips changes things up, it’s incredible. When Newburn and Emma sit in the back of a car and chat, we see them as reflections in the car mirror. Phillips shows their word balloons coming from off panel, each tail directed at a side one of them is sitting on. He uses the reflection to show us where they’re sitting, then keeps the word balloons out of the way of the rest of the picture. It’s a fantastic choice which not only let’s the art breathe, but feels like it places you in the scene with the characters.

Image Comics’ Newburn #2 hits comic shops on December 15th. It shows that this series is going to be deeper than a simple crime story. Zdarsky and Phillips want to know what makes Newburn tick. Pick up a copy at your local comic shop, you don’t want to miss this one!

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