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LOKI – The Nexus Event | TV Review

‘The Nexus Event’ returns Loki back to its grand roots are a smaller, character-driven episode ‘Lamentis.’

 

Loki and Sylvie’s fate seems sealed after The Ark on Lamentis gets destroyed. However, they are able to cause a major Nexus Event and get arrested by the TVA. When in TVA custody Loki tries to prove to Mobius that everything he knows about the TVA is a lie.

Out of all the Marvel Disney+ Loki has been the most interesting. WandaVision was a personal story about someone processing their grief and The Falcon and the Winter Soldier was an average Marvel movie that happened to run for six hours. Loki’s selling feature has been its mystery and had lots of reveals and twists. Because of the mystery fans of the series have developed their own theories.

An example of a Loki fan theory was regarding the identity of Sylvie. Some fans have speculated that Sylvie might not have been a female version of Loki but actually have been Enchantress. The evidence for this theory was Enchantress used Sylvie as an alias and Sylvie’s powers were different to Loki’s. This episode has disproven this theory. ‘The Nexus Event’ showed Sylvie as a child dressed in the same costume as the MCU’s Loki. The other way this episode disproved the Enchantress theory was the titular Nexus Event.

‘The Nexus Event’ does present another mystery: what is Ravonna Renslayer’s role? Ravonna has already been shown to be a powerful figure within the TVA. She is a gatekeeper to the Time Keepers because she acts as their representative to the agents. This episode showed Ravonna being the TVA agent who had arrested Sylvie as a child and she clearly knows more than she lets on. Sylvie even questions Ravonna, what was her crime that made her a Variant. This backstory shows why Sylvie hates TVA and how much she has suffered at their hands. She has been on the run since she was a child and had to learn how to survive.

Despite Ravonna’s best efforts to launch a cover-up, the appearance of Loki and Sylvie does sow seeds of doubt within the TVA. Loki has already had a friendship with Mobius which leads to Mobius investigating what happened to Hunter C-20. Hunter B-15 had been shown to be hostile to Loki, so she had an unexpected change of heart when she interacted with Sylvie. The appearance of Loki and Sylvie at the TVA could lead to the downfall of the organization.

Whilst Loki had grand art design and sets, it does feel more like it suffers from the limitations to a TV show, more so than the previous MCU Disney+ shows. A prime example of this was during the action sequence in the episode. It took place in a small room and it was staged without any real flair. It was a little disappointing for a TV show linked to one of the biggest film franchises.

On a final note, it was fun to see Jaimie Alexander reprise her role as Sif, even if it was just a cameo. It led to a bit of humor that forced Loki to have some introspection.

‘The Nexus Event’ was at its best showing the inner workings of the TVA and how it seems that the organization is facing the beginning of the end. It was also an effective episode at showing character development and big reveals.

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NOTTINGHAM: Medieval Noir Meets Grimdark Fantasy

Nottingham Trade Cover

Nottingham of Mad Cave Studios releases for trade on September 22. Writer David Hazan’s grimdark depiction of Robin Hood follows the character Sheriff Everett. Artist Shane Connery Volk may make the sheriff look frightening, but nowhere near as frightening as the Merry Men. Colorist Luca Romano paints these guerrilla fighters with red masks and blood, it’s enough to question who’s really heroic. The lettering by Joamette Gil shows that each character has a unique perspective.

Nottingham And Changing Perspectives

Nottingham first impressionCalling back to the first issueNottingham shakes away any pretense of good or evil. The ballads about Robin Hood are messy, especially when it comes to his loyalty to King Richard. So it’s always good to be open to new interpretations. This one in particular challenges readers to look beyond the typical charitable depiction of the Merry Men. Because despite whatever chants they make, Hazan paints them as a militant cult, not unlike the crusaders.

Which ties back to the sheriff, Everett, a grizzled veteran of the crusades who leaves a bad first impression. He’s willing to get into the face of Maid Marian for her involvement with Hood, so it’s easy to see him as the traditional villain. That is until we learn more about how Everett and his men came into their positions in the first place. They’re not bad people as much as they are people with a lot of bad luck. At least in how they have to deal with their corrupt and overbearing superior. Sheriff Everett, in particular, is easily the most transparent character out of everyone. He’s crude and doesn’t hold much sway in politics, but he always tries do best by the common man.

Predation In Art

Can you tell who's the villain?Volk’s art in Nottingham is very complex. Even his design of the sheriff is completely memorable. Sheriff Everett’s hunched figure with adornments make him look like a vulture, a truly haunting presence. Later as the story develops, the reader finds that the large regal cape he wears looks symbolic of the burdens of war and the responsibility of his position. Even that vulture comparison can be positive. Vultures are known to slow the spread of disease. Just as the sheriff tries to contain the collateral damage of the Merry Men.

That’s probably what makes the Merry Men’s coloring by Romano so striking. Their usual green clothes make them blend in with the forest and common folk. But their red masks, with exaggerated grins, are like a disease hiding in plain sight. The black cloaked Hood looks especially terrifying with how they can move in the shadows.

Letters Of Confession

Gil’s lettering in Nottingham has a powerful form of presentation. It’s probably at its most effective is in a confession letter a traitorous captain leaves for the Sheriff. By presenting the letter in caption form to the reader, regret and sorrow permeates throughout the Sheriff clashing with clergy in the forest. Amid the violence the Sheriff commits with basic word balloons and sound effects, the reader feels fear for the captain. So by the time the Sheriff finds the letter after his rage dies down, the dour feelings finally sink in.

Look Into Nottingham

Nottingham is an enthralling dive into the legend of Robin Hood. Characters have more complex motivators than what their first impressions imply. How it all presents itself is what makes each interaction so memorable.

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Kickstarter: HOT BRASS: PHARAOH’S GOLD – The Campy West

Hot Brass: Pharaoh's Gold Cover

Hot Brass: Pharaoh’s Gold is the newest one-shot from Unlikely Heroes Studios. With a Kickstarter ongoing until July 15, writers John and Will Pence craft a Weird Western to enjoy. And artist Joe Koziarski has a good time with some campy elements, like mummy cats!

Hot Brass: Pharaoh’s Gold: Camp Out!

Hot Brass hero
Hot Brass has the creative chaos that defines UH Studios. It helps that John Pence is a writer on another UHS title, The Surgeon. So, with Will at his side, here comes a one-shot for a child-friendly audience. Despite the presence of alcohol, smoking, and mummies around a child character, there’s no hand holding. Characters act as anyone should in this situation: the museum curators are greedy opportunists, the train robbers are fumbling about, and the deputy is ready to start a fight. There’s no bigger context behind their actions, they just do what they want; they’re almost like Larpers playing a game. Because how else do mummies and cowboys go together?

Color To Impress

Just for fun

Hot Brass: Pharaoh’s Gold features some simple yet effective art from Koziarsky. Some of the designs that come out of this are in the name of making this scenario more memorable. Take for example the mummy cat, John and Koziarsky like it so much that the cat shows up in some random places. Of course the cat’s bright orange coloring makes it so eye-catching, it’s a bit distracting. Unlike the heroine Sally, whose bright blue dress makes her stand out to match with her outgoing personality.

John, as the letterer, injects personality into every word and action. Like giving a roadrunner the iconic “Meep-meep” sound from Looney Tunes. The inclusion of a coyote in the next panel makes this quick instance twice as memorable for its own sake. Otherwise it would just be in the background of a train making loud repetitive noises.

Hot Brass: Pharaoh's Gold fun reference
Try not to chuckle with this.

Get A Shot At Hot Brass: Pharaoh’s Gold

Hot Brass: Pharaoh’s Gold is pure campiness that readers can tell the creators had a good time with. It’s a weird western with all of the nonsense for a memorable pass time. Get involved in the Kickstarter so you can check out this fun, wild ride!

 

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Review: THE FOREVER PURGE Depicts America’s Boiling Point

The Forever Purge ends the franchise on a decent enough note and is the closest reflection of what America could look like if the citizens finally had enough. The one night a year where all crime is legal for 12 hours has become a 24-hour deathmatch. While the themes presented in The Forever Purge may strike a core now more than ever, its overuse of jumpscares grows insulting and annoying. Bidding farewell to the Purge franchise will be the easiest task for horror fans this 4th of July. 

A concept where all crime is legal over a short period of time for one night a year could have explored several angles, but the Purge series has continued to squander this concept. Home invasion film turned street action-horror is the most sincere way to describe the franchise. In the fifth and supposed final entry, talks of immigration and crossing borders play a major role. Directed by Everardo Gout and written by James DeMonaco, the film stars Tenoch Huerta, Josh Lucas, Ana de la Reguera, Cassidy Freeman, and Will Patton. Set after the third entry, The Forever Purge follows Adela (Reguera) and Juan (Huerta), a married couple that has escaped a drug cartel and made their way to the states. Months later, they are working for the Tucker family on their Texas ranch. The Purge comes and goes, but the population decides 12 hours isn’t enough, so Adela, Juan, and the Tuckers must survive the day.

Ana de la Reguera as Adela in Universal Pictures The Forever Purge

Providing characters to root for was something the franchise got right with its second and third entry and it continues here. However, Adela and Juan don’t get proper development that should warrant audiences caring about them. DeMonaco’s screenplay is like a culmination of political issues addressed throughout the series. Racial tension, political divide, wealthy versus poor, but now immigration is thrown into the mix. Frustrations amongst the masses have reached a limit and a nationwide crisis unfolds. Undoing what the event was intended for to begin with, as crime is probably at an all-time high during the events of this film. Jumpscares are used more than a couple of times and it’s in a formulaic manner. For instance, characters will be doing the simplest task, but the sound suddenly leaves the scene in preparation for an obnoxious sound as an object appears on the screen.

Adela and Juan’s relationship could have been used to provide some emotional weight to the narrative, and there are glimpses of this, but The Forever Purge keeps both protagonists one-dimensional at best. Not taking a subtle approach with its themes, which the series has never done in the past, makes this film hit even harder at times. During a scene, Juan questions Dylan Tucker (Lucas) about him not liking Mexicans. It isn’t an overly emotional scene, but the climate this film is being released in makes the time spent waiting for Dylan’s answer stressful.

Josh Lucas as Dylan Tucker in Universal Pictures The Forever Purge

While the script is lacking, Gout takes you on a fun, lawless ride from the second the Tucker’s are attacked. There isn’t a single dull moment, unlike the original film where it didn’t deliver the goods until its final moments. You’ll find yourself glued due to the striking similarities between this world and the direction many feel America is headed. All of the performances are fine for they had to work with, as mentioned, Juan and Adela are likable as protagonists and so are the Tuckers at times. The Forever Purge just forgets to give you enough reason to become invested in the characters making it out alive or not.

Ana de la Reguera as Adela in Universal Pictures The Forever Purge

The Purge franchise is closing its doors for now, but a good performance at the box office could change that. Considering there have already been talks of a sixth installment, it’s safe to assume this goodbye won’t be lasting very long. This film offers a fun time that feels like the appropriate direction given the issues it touched on in the past. The Forever Purge takes the event, blows it up into chaos, and takes America with it, leaving an uncertain future. 

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Marvel Exclusive Preview: AMAZING SPIDER-MAN ANNUAL #2

amazing spider-man annual #2 marvel comics exclusive preview

AMAZING SPIDER-MAN ANNUAL #2 hits your local comic book store July 7th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive 4-page preview for you.

About the issue:
SPIDER-MAN VS. STAR! The next can’t-miss installment of the “Infinite Destinies” saga is here! Spider-Man thinks he knows reality warpers — but he’s never met Ripley Ryan. Mass murderer and occasional Thunderbolt, Star is still searching for her own path…and the power to shape her future however she wants. But can the wielder of the Reality Stone really go up against a hero who’s fought gods?! Find out here — and get the next piece of the Infinity Stone puzzle! ALSO IN THIS ISSUE: Part 4 (of 8) of “Infinite Fury”!

The issue is by writer Karla Pacheco and artist Eleonora Carlini, with colors by Erick Arciniega, and letters by Joe Caramagna. The main cover is by Sergio Davila, Sean Parsons, & Alejandro Sanchez Rodriguez.

Check out the AMAZING SPIDER-MAN ANNUAL #2 preview below:

amazing spider-man annual #2 marvel comics exclusive preview

amazing spider-man annual #2 marvel comics exclusive preview

amazing spider-man annual #2 marvel comics exclusive preview

amazing spider-man annual #2 marvel comics exclusive preview

amazing spider-man annual #2 marvel comics exclusive preview

amazing spider-man annual #2 marvel comics exclusive preview


What is your favorite Annual issue of all time? Sound off in the comments!

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AfterShock Comics Exclusive Preview: PROJECT PATRON #4

project patron aftershock comics exclusive preview

PROJECT PATRON #4 hits your local comic book store July 21st, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
The team will have to do what the real Patron couldn’t: Live through a fight with extinction-bringer Woe. Unstoppable force. Immovable object. Round two!

PROJECT PATRON #4 is by writer Steve Orlando and artist Patrick Piazzalunga, with colors by Carlos Lopez, and letters by Hassan Otsmane-Elhaou. The cover is by David Talaski.

Check out the PROJECT PATRON #4 preview below:

project patron aftershock comics exclusive preview

project patron aftershock comics exclusive preview

project patron aftershock comics exclusive preview

project patron aftershock comics exclusive preview

project patron aftershock comics exclusive preview


Are you reading PROJECT PATRON? Sound off in the comments!

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Exclusive First Look: SOMETHING IS KILLING THE CHILDREN #18

something is killing the children boom! studios exclusive preview

SOMETHING IS KILLING THE CHILDREN #18 hits your local comic book store July 28th, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
What secrets lie at the heart of the House of Slaughter? Erica, and her rival Aaron, will
soon learn as they are pulled deeper and deeper into the Order of St. George… but the
truth may destroy them.

BOOM! says that this issue will center on “Erica’s early experiences with the House of Slaughter and the start of her monster-hunting career… before the horrifying events that brought her to Archer’s Peak.”

SOMETHING IS KILLING THE CHILDREN #18 is by writer James Tynion IV and artist Werther Dell’Edera, with colors by Miquel Muerto, and letters by AndWorld Design. The main cover is by Dell’Edera, and the variant is by Wes Craig.

The series is nominated for three Eisner Awards this year: Best Writer for Tynion, Best Lettering for Deron Bennett, and Best Cover Artist for Peach Momoko (issue #12).

Check out the SOMETHING IS KILLING THE CHILDREN #18 preview below:

something is killing the children boom! studios exclusive preview

something is killing the children boom! studios exclusive preview

something is killing the children boom! studios exclusive preview

something is killing the children boom! studios exclusive preview

something is killing the children boom! studios exclusive preview


Are you reading SOMETHING IS KILLING THE CHILDREN? Sound off in the comments!

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Review: FEAR STREET PART 1: 1994 Is Stranger Things Meets Goosebumps

Fear Street Part One: 1994 establishes a promising road ahead for Netflix’s trilogy event. Based on R.L. Stines’s popular teen horror book series, it delivers a fun first venture into the town of Shadyside and its dark history. The film is anchored by its heart for ’90s horror and manages to bring its freshness to the table. Unlike the live-action Goosebumps films, Fear Street Part One: 1994 balances a good mix of heart with gory goodness for horror fans. 

Stine’s teen horror series is loved by many and Netflix’s trilogy of films based on his work might be the next hit for the streaming platform. Teen horror is alive and well with series like Stranger Things, another Netflix original, which is credited for the wave of retro horror content that has come since its release back in 2016. Fear Street Part One: 1994 joins the fray and captures the magic of films like Scream, The Cabin in the Woods, and IT. Directed by Leigh Janiak and co-written by Janiak and Phil Graziadei, the film stars Kiana Madeira, Olivia Welch, Benjamin Flores, Julia Rehwald, Fred Hechinger, Maya Hawke, and David W. Thompson. Fear Street Part One: 1994 follows Deena (Madeira) and her friends, as they discover that the horrific events in their town of Shadyside, Ohio, may be connected as theorized, and they could be joining the body count.

Kiana Madeira as Deena in Netflix’s Fear Street Part One: 1994

Horror tropes are in abundance here when it comes to character types, we have Josh (Flores), the geek who can’t get the girl he’s crushing on. His sister, Deena, who’s trying to cope with a recent event in her life. Kate (Rehwald), the cheerleader Josh is too shy to talk to. The typical horror characters you’d meet in the ’90s, a jock no one likes, the cop that won’t listen, and many more. Shadyside’s history is rooted in the death of a witch, Sarah Fier, whose curse will be explored as the trilogy plays out. Deena is the character leading this story and her recent breakup is a subplot used to provide heart to this story.

The LGBTQ representation here is amazing, but a certain sex montage seems ill-timed given the circumstances. Fear Street Part One: 1994 includes an opening kill that Scream fans will have fun with. Not because it outdoes Drew Barrymore’s iconic death sequence, but because of the way it plays out. Madeira’s performance as Deena is impressive and makes Deena very likable as a result. She is scared she’ll end up like her father, drunk and alone, but also struggles to get over her ex-girlfriend, Sam (Welch). Those two events allow viewers to feel sympathy for the character and the way her heartbreak is used to make her stronger is handled wonderfully. Nothing like a Skull masked person going on a killing spree allowing two hearts back together.

Maya Hawke as Heather in Netflix’s Fear Street Part One: 1994

Fear Street Part One: 1994 does include some over-the-top performances at times, but the relatability of the characters saves it. Janiak’s energetic direction accompanied by Marco Beltrami’s hyper score makes Fear Street Part One: 1994 an exhilarating experience. Its runtime seems to pass in the blink of an eye due to its solid pacing throughout. The neon lighting in this film only enhances the throwback vibes it oozes from scene to scene. Some of the best cinematography this year will be found in this surprisingly well-handled slasher film. It does seem like it’s holding back at times with its narrative, but that’s only because two more films are waiting to be released.

Slasher films of the ’90s are shown respect in the best way here, so hopefully, this strong enough start to this trilogy doesn’t fizzle out with the next two entries. Fear Street Part One: 1994 is the love child to ’90s horror no one saw coming, but it’s also a competent enough adaptation of Stine’s classic series of novels, which are featured in the film. May the curse of Sara Fier continue to maintain its grasp as we await the followups to Fear Street Part One: 1994.

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Review: BLACK WIDOW Forgets To Give Natasha Romanoff A Farewell

Black Widow impresses with its larger-than-life action and terrific stuntwork. However, it forgets to give a proper close to its titular character. Avengers: End Game brings Natasha Romanoff to a literal close, so it’s a shame her first solo film leaves you wanting more in an unimpressed fashion. An action-packed, fun, emotional, and sometimes hilarious film that delivers the Marvel spectacle. It just forgets to make Natasha a big deal along the way somehow. Black Widow serves as a sendoff but plays out like another fun spy adventure that holds back and never reaches its full potential.

Natasha Romanoff’s solo film had been in the works for a while and after countless delays, Black Widow has finally arrived. While it isn’t the film it shows the potential to be, there’s a lot for fans of the MCU to fall in love with. Set in between Captain America: Civil War and Infinity War, this 24th entry in the Marvel cinematic universe follows Natasha’s actions during this period. Directed by Cate Shortland and written by Eric Pearson, the film stars David Harbour, Florence Pugh, Ray Winstone, Rachel Weisz, O-T Fagbenle, and Scarlett Johansson. Natasha Romanoff AKA Black Widow is on the run and forced to confront her past. The rogue Avenger must juggle her history as a spy and the broken relationships that existed before her Avenger days.

(L-R): Yelena (Florence Pugh), Alexei (David Harbour) and Black Widow/Natasha Romanoff (Scarlett Johansson) in Marvel Studios’ BLACK WIDOW, in theaters and on Disney+ with Premier Access. Photo by Jay Maidment. ©Marvel Studios 2021. All Rights Reserved.

Pearson’s screenplay includes a strong family dynamic, humor, and edge of your seat action. While poised as a goodbye to Natasha (Johansson), her counterparts are made to be more important in this story. It’s as if there was a collective decision to not include much development for her character. Building towards the future is fine, but the lack of attention to giving Natasha a full backstory can be frustrating to watch unfold. She reconnects with her former family, which includes Yelena Belova (Pugh), Alexei Shostakov (Harbour), and Melina (Weisz). Together they join forces to take down Dreykov (Winstone), the overseer of the red room and leader to Taskmaster. Dreykov’s an elite member of the soviet armed forces, and his brainwashing program is about to come to an end. He is also one of the weakest MCU villains to date sadly.

Yelena feels more like the star of the film than Natasha, which is partly due to Pugh’s tremendous acting ability. Black Widow struggles to achieve the emotional weight it aims for, but it can be found through Yelena’s character alone. There are some unfortunate realizations for Yelena throughout the film and it provides audiences an opportunity to feel for her. For instance, this “family” dynamic was not genuine, so Yelena struggles with this because it’s the only family she knew. It’s one of the more heartbreaking moments featured in the film. Natasha’s backstory is half-baked at best in this screenplay, so her already established connection with marvel fans is what the film opts to coast on. A solo film about a character that has been present since Iron Man 2 deserved better in terms of expanding on their personal story as a highly-skilled spy.

Scarlett Johansson as Black Widow/Natasha Romanoff and Florence Pugh as Yelena in Marvel Studios’ BLACK WIDOW. Photo by Jay Maidment. ©Marvel Studios 2020. All Rights Reserved.

Despite being held back, Johansson delivers another solid performance as Natasha Romanoff. She’s just as charismatic, strong-willed, and oozes with confidence in every scene. Pugh manages to outshine her and it isn’t forced by any means, the performance Pugh delivers as Yelena packs more energy compared to Natasha. If the demand for her as an actress wasn’t high already, her performance in Black Widow should certainly spark the attention she deserves. Shortland takes you on a rather oddly paced adventure that consistently grows hot and cold. The chemistry between our leads is undeniable, but Black Widow can feel like it’s dragging when the hard-hitting action isn’t occurring. There are breathtaking moments that will have audiences begging for more and then it’s interrupted by sluggish storytelling.

Black Widow/Natasha Romanoff (Scarlett Johansson) in Marvel Studios’ BLACK WIDOW, in theaters and on Disney+ with Premier Access. Photo by Jay Maidment. ©Marvel Studios 2021. All Rights Reserved.

Black Widow doesn’t hit as hard as other MCU films due to its narrative shortcomings and bizarre pacing. Natasha Romanoff’s first and probably only solo film delivers the goods in terms of visual spectacle, great performances, and well-shot choreography. The lack of attention on Natasha’s backstory in favor of setting up the future might not sit well with fans who have waited patiently for this moment. Black Widow is an uneven experience for sure, but it’s held together where it counts to deliver another exhilarating Marvel experience.

 

 

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Review: A Struggle In Two Realms In PARASOMNIA #1

Writer Cullen Bunn (Harrow County, Bone Parrish) and artist Andrea Mutti come together for a supernatural mystery-thriller. Parasomnia #1 is a gorgeous and compelling comic, rife with mystery and questions abound. Bunn’s sparse yet intriguing script and Mutti’s atmospheric visuals make this a striking start to this mysterious mini-series.

“After his son disappears, a broken-down man braves a nightmarish dreamscape in order to find him–and battle the ruthless cult that seeks to rule the land of dreams as the barrier between realities starts to collapse.”

Writing & Plot

Cullen Bunn is no stranger to horror comics. The Harrow County writer is most famous for his expert handling of the genre across a ton of excellent titles. Parasomnia #1 is a noticeably different beast, however. In terms of its pacing and script, this opening issue is more of a supernatural thriller than a horror story. Bunn is building a mystery with the lack of explanation for who the characters in this comic are. A present day homeless man and an 18th century lone soldier are both searching for a young boy, and there’s our whole connective plot. Bunn manages to make this two-pronged story extremely engaging with its unspoken questions. Who are these people? Why are these two timelines separated by almost 300 years so similar and connected? Who is this boy? We don’t know, and that’s totally fine.

Bunn’s actual script is a minimalist mixture of short dialogues and mystery-building narration. The differences in vernacular between the two timelines builds authenticity and the world itself. The story’s fantastical and supernatural elements aren’t explained, they just exist and we deal with them. This comic is an intriguing mystery that I can’t wait to unravel.

Art Direction

The cold, foggy atmosphere of Andrea Mutti’s art greets the reader on every page of Parasomnia #1. His thin pencils and watercolor shades perfectly capture the shifting reality in this comic. Mutti’s penciling is arguably simplistic, but his thin lines capture immense amounts of character detail. His animations are subtle but vary greatly from character to character.

The colors in this issue bring out the desolate sadness that permeates the tone of the story. Every panel is a shade of cloudy, wintry gray that absorbs all the light and energy this world might otherwise have. Bits of color on character’s clothing pop against the contrasting background. This subtle effect helps recognize characters even more easily, helping us keep a mental marker about certain people. The lettering from Simon Bowland is similarly minimalist, using a classic comic font with subtle changes in italics and size to capture the narrative tone. This is a visually stunning comic that captures the essence of its story brilliantly.

Parasomnia #1 is a wonderfully intriguing supernatural mystery thriller from a top-tier creative team. Cullen Bunn crafts a script that flows naturally with no exposition and a tight narrative that keeps the reader strung along, begging for more. Andrea Mutti’s visuals are atmospheric and thoughtfully detailed, pulling the reader into this world with ease. Be sure to grab this stellar debut issue when it hits shelves on 6/30!

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