IRON FIST: HEART OF THE DRAGON #6, available in comic book stores on Wednesday, June 2nd, concludes the action-packed six-part story from Larry Hama, Dave Wachter, Neeraj Menon and VC’s Travis Lanham. Danny Rand, Luke Cage, Okoye, Pei and the rest of the team prepare for a final stand against the evil Hierophant. In the process, readers will find that although sacrifices must be made, there’s always the possibility that something greater will be gained.
Story
In order to assemble enough power to face the Hierophant, the group unleashes their attack upon the Ghost Dragon of the Hidden City.
In a single moment, Pei’s life crumbles. The pressing eyes of Danny and Okoye tell her what she already knows—Gork must sacrifice his own heart in order to defeat the monstrous Ghost Dragon.
Larry Hama’s writing is top-notch in these moments. Danny’s attempts to speak to Pei’s worries don’t seem to get through. It’s not until Okoye steps in, speaking with compassion and authority, that the young warrior starts to see hope for her dragon friend.
The culmination of Gork’s impending sacrifice and the unparalleled bravery of our protagonists makes this issue one for the ages.
Artwork
Wachter’s penciling and ink work brilliantly details impressive action scenes; each of our heroes showcases their unique fighting styles from panel to panel. The backdrops of these figures are brought to life via Menon’s coloring, which offers bright yellow chi and dark red fires. We also loved how Lanham’s lettering adds flavor to each character via varied font styles and shapes of the word balloons. Gork’s “SKREEEEE!” is priceless.
Conclusion
IRON FIST: HEART OF THE DRAGON #6 is full of heart and unexpected outcomes. This rollercoaster of an issue wraps up this miniseries beautifully while leaving plenty of room for brand new adventures.
Did you enjoy Danny’s team-up with Okoye throughout this saga? Let us know in the comments below!
NUCLEAR FAMILY #5 hits your local comic book store June 23rd, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: Thrust into an alternate reality where the Cold War turned hot and nuclear fire rained down on America, the McClean family is faced with a future replete with nuclear experimentation and deadly political machinations. Even if the McCleans can make it back to their own timeline, is there any way to avoid the post-apocalyptic future awaiting them?
NUCLEAR FAMILY #5 is by writer Stephanie Phillips and artist Tony Shasteen, with colors by JD Mettler, and letters by Troy Peteri. The cover is by Shasteen with Mettler.
Check out the NUCLEAR FAMILY #5 preview below:
Are you reading NUCLEAR FAMILY? Sound off in the comments!
WEB OF SPIDER-MAN #1 hits your local comic book store June 9th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive 4-page preview for you.
About the issue: Peter Parker. Spider-Man. Scientist. Troublemaker? Thanks to none other than Tony Stark, a new scientific research station for the teenage heroes of the Marvel Universe has just been completed – and Spider-Man just got an invitation to join! Working alongside some of your favorite faces from the MU and a whole bunch of awesome new gadgets, and with Iron Man keeping an eye on the them, surely everything’s going to go great for the heroes, right? … Right? Face front, True Believers, and treat yourself to this first issue in an adventure of the WORLDWIDE ENGINEERING BRIGADE!
The issue is by writer Kevin Shinick and artist Alberto Alburquerque, with colors by Rachelle Rosenberg, and letters by Travis Lanham. The cover is by illustration team Gurihiru.
Check out the WEB OF SPIDER-MAN #1 preview below:
Are you excited for the new WEB OF SPIDER-MAN? What’s your favorite Spider-Man title of all-time? Sound off in the comments!
The Conjuring: The Devil Made Me Do It proves Ed and Lorraine Warren can make up for an uneven new chapter in this universe. The eighth entry in The Conjuring Universe decently abandons the haunted house formula but forgets to build on any characters that aren’t our paranormal investigators. Lacking the earned scares the previous two had, The Conjuring: The Devil Made Me Do It opts for cheap scares and suffers from pacing issues. This third entry may not deliver the chills from the previous two but still showcases why The Conjuring films are the strongest in this universe.
James Wan’s absence was the biggest concern for this third outing, luckily his departure as the director isn’t a massive issue. Based on the true story that shocked America, The Conjuring: The Devil Made Me Do It combines true elements with its own satanic story. It creates ties to the original film as well as the Annabelle trilogy. Directed by Michael Chaves, and written by David Leslie and Johnson-McGoldrick. The Conjuring: The Devil Made Me Do It stars Patrick Wilson, Vera Farmiga, Sarah Catherine Hook, Julian Hilliard, Ruairi O’Connor, and Eugenie Bondurant. The film centers on Arne Johnson (O’Connor), a man put on trial after being accused of murder. Claiming demonic possession as his defense, The Warrens (Wilson and Farmiga) go on a supernatural investigation to prove his innocence, but they soon learn the only thing scarier than demons are the humans that conjure them.
(L-r) VERA FARMIGA as Lorraine Warren and PATRICK WILSON as Ed Warren in New Line Cinema’s horror film “THE CONJURING: THE DEVIL MADE ME DO IT,” a Warner Bros. Pictures release.
Our pair of paranormal investigators are the heart and soul driving this third outing. Having watched Ed and Lorraine save two families, express endless love for each other, and face unspeakable evil, The Conjuring: The Devil Made Me Do It understands that bond and puts it into focus from start to finish. However, in the previous films, The Warrens didn’t take up so much screen time to the point that those they are helping become irrelevant. The script is compelling in many ways, but the lack of attention on Arne Johnson makes this story uneven compared to its predecessors. Arne and his family are introduced in what many will consider the best opening sequence in the trilogy but after a semi-successful exorcism, they take a backseat. This is very much Ed and Lorraine Warren’s story, which works because you get to spend more time with the two heroes who are likable characters.
Still, Arne Johnson, his girlfriend Debbie Glatzel (Hook), and David Glatzel (Hilliard) deserved more focus. Since The Warrens are characters fans of this franchise are already interested in, this search to prove Arne’s innocence isn’t a dull watch, but you’re mostly hoping they are successful in their hunt. The lack of focus on Arne leaves little room to care what happens to him or his loved ones, which isn’t how the last two films were handled. The verdict that comes isn’t going to evoke an emotional response at all because the character is left in the shadows too often. Also the scares this time are not built up, they are spaced-out jump scares that feel hollow. Thankfully the co-writers take pleasure in showcasing The Warren’s love, paying homage to classic horror films like The Exorcist, The Shining, and even Nightmare on Elm Street 4.
PATRICK WILSON as Ed Warren in New Line Cinema’s horror film “THE CONJURING: THE DEVIL MADE ME DO IT,” a Warner Bros. Pictures release.
Wilson and Farmiga once again shine in their roles as Ed and Lorraine Warren. There is undeniable chemistry between the two that gets better in each film. Farmiga seems determined to outshine Wilson, which she had done in the previous two films as well. Wilson’s portrayal as Ed will have viewers on the edge. The Conjuring: The Devil Made Me Do It places him in a health predicament that will cause concern in every unsettling situation he finds himself in. O’Connor’s performance as Arne is fine for what it is, despite his character feeling irrelevant at times he will make audiences understand the confusion and fear racing through Arne’s mind. Chaves makes up for his shortcoming with The Curse of La Llorona, filling in Wan’s position as the director didn’t turn out to be a complete mess. While there are some pacing issues, Chaves keeps the film engaging, and delivers some great shots.
The Conjuring: The Devil Made Me Do It is the weakest entry in The Conjuring trilogy, but it’s still a fun watch that fans of this universe will appreciate. It offers the scares, heart, and intriguing satanic activity that you’ve come to expect. While The Warren’s focus may have been a bit too much, this latest entry shows that Wilson and Farmiga’s on-screen chemistry will always make up for the narrative shortcomings.
Writer Charles Soule and artist Luke Ross, with colorist Neeraj Menon, and letterer Travis Lanham, bring us a new tale from the Galaxy Far, Far Away with badass action and surprising character twists in “Star Wars: War of the Bounty Hunters” #1. Soule and the art team craft an opening issue that fuses the audience’s love for nostalgia with genuinely excellent storytelling and visual work that plants us firmly in the copilot seat for this deadly adventure – and brings back some almost forgotten characters in brilliant and surprising fashion.
“The notorious bounty hunter BOBA FETT has finally landed his greatest prize – HAN SOLO, frozen in carbonite for easy transport. Fett will bring the smuggler to TATOOINE to collect the massive bounty placed on Solo’s head by the fearsome crime lord JABBA THE HUTT. Sounds easy. What could go wrong?”
Writing & Plot
In all of his work on Star Wars, Charles Soule has demonstrated a practiced handle on being able to take known concepts and characters in this universe and being able to expand upon them with new yet familiar material that always feels like it belongs. The same goes for “War of the Bounty Hunters” #1. Taking place right where we last left the legendary Boba Fett after the “War of the Bounty Hunters Alpha” prelude, this issue continues fleshing out the tumultuous story of our favorite Beskar-clad bounty hunter trying to bring the newly-frozen Han Solo back to Jabba the Hutt. Where on the one hand I do get a bit tired of seeing creators constantly just filling in gaps in the already hugely popular timeline of the main film saga (which is why The High Republic is such a blessing), when Soule writes these tales, it still feels as fresh and adventurous as the first time I sat down and watched those first films. Soule neatly lines up new and classic characters in ways that please fans, but manages to keep the stories fresh by way of the machinations in the plot itself. Soule treats Star Wars like an infinite box of Legos, taking the same pieces and rebuilding them into forms we haven’t seen before. I obviously can’t get into spoilers, but the big reveal at the end of the issue for who was responsible for hijacking Solo’s frozen body left me stunned and intrigued. Soule once again nails the gig, with an opening chapter that is engaging, mysterious, and wonderfully badass.
Art Direction
Marvel’s Star Wars comics have had a reputation these past few years for detailed and gorgeous visual work. As one might guess, “War of the Bounty Hunters” #1 is no different. Luke Ross provides pencils that offer great fluid animation and character detail to keep the reader planted in the story. The visual pacing he provides sweeps us along for the duration of the story with a straightforward but exciting direction that channels the suspense and action in this comic superbly. The thin pencils allot for considerable complexities in facial features and architectural detail, even if this same style can occasionally cause some images to be a bit faint. This is backed up however by the colors of Neeraj Menon, whose light but massive palette brings this comic to interstellar life. The more understated, lighter tones aren’t quite as vivid as those seen in many other Star Wars comics, but they work perfectly well for this underworld-focused tale. Travis Lanham’s letters are solid and focused, using a slightly stylized font and great special effect work to craft this comic’s reading experience. This is a sharp looking star wars book, with a style that fits the characters and story it follows.
“Star Wars: War of the Bounty Hunters” #1 is an exciting blast of an opening chapter, chock full of double-crosses and genuine surprises that will be sure to please any fan of the franchise. Charles Soule’s script takes the ingredients we are all familiar with and mixes them into a configuration that is undoubtedly Star Wars but still gives us something new and fresh to chew on. The visual work of Luke Ross and Neeraj Menon is a bit understated, but works damn well for this comic. Be sure to grab this issue when it hits shelves on 6/2!
Friends was one of the most popular sitcoms ever made. It was a touchstone of ‘90s and early noughties culture. To celebrate the show being available on HBO Max the streaming service has made a special which brought back the important players from Friends.
The special was divided into five parts: the main cast doing a table read of classic scenes, the main cast having a quiz, a talk show format hosted by James Corden, the producers/showrunners talking about the production of the show, and celebrities and fans being interviewed about why the show was so special. Friends: The Reunion was a self-indolent love-fest. This was to be expected since the special was made to promote Friends being on HBO Max and please long-time fans of the show. The risk was the special it could have been like The Inbetweeners special “Fwends Reunited.” The signs weren’t good because both specials used a talk show format with a divisive comedian hosting. Fortunately, Friends: The Reunion avoided most of the pitfalls that affected The Inbetweeners special.
The best part of the special was the pre-recorded section where the cast got to re-enact the quiz from the episode “The One with the Embryos.” This was based on one of Friends’ funniest segments, so it was a high risk with a high reward. The quiz retold some classic jokes, and the actors were able to recreate the humor with ease. The quiz section was more than just a redo of a classic scene, it also had questions about the show and brought had some special guest appearances. It was a delight to see minor characters come back and play a role in the special.
The table read did show that even after 17 years away the actors were able to return to their characters. David Schwimmer and Lisa Kudrow especially were delights as they became Ross and Phoebe again.
The interviews with Kevin S. Bright, David Crane, and Marta Kauffman did have a generic quality to them. They talk about the creation of the show and the casting. They end up going over information that fans would already know like Courtney Cox being approached to play Rachel but she wanted to play Monica. It was still fun to see footage that fans may not have seen like failed pilots, bloopers, and the moment when Matt Le Blanc dislocated his shoulder when filming an episode.
The section with James Corden allowed for more trips down memory lane because previous cast members appeared, as well as and a few celebrity guests. The memorable moment was the fashion show and the actors clearly still had chemistry together. A fun little moment was when the actors talk about where the characters would be now. It will be the closest we will ever get to a follow-up series. Friends: The Reunion was able to get some big guests for the special for pre-recorded segments. This included David Beckham, the Korean boy band BTS, Mindy Kaling, and Malala Yousafzai. It was an eclectic mix and some seemed a better fit than others. They all had a personal connection to the series and they shared their favorite moments and episodes. The fans that were a part of the special were there to show how popular Friends was internationally. Some of these fans were gay and it was clearly an attempt by the producers to show that Friends had a gay audience.
On a final note, it was fun to see Lady Gaga performing “Smelly Cat” with Kudrow. However, this segment felt like a sketch from Saturday Night Live.
Friends: The Reunion was made for the fans, a final nostalgic trip with a cast and characters they love. But only the fans will be interested in the special and they find it the most rewarding.
Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.
Ryan Tavarez is the artist on the upcoming A Game of Doubles, the new comic written by Jonathan Thompson (Jonathan has been writing some of the best indie comics in the past year or so; Tales Of The Dead Astronaut was a surreal sci-fi anthology; Burn Residue is one of the grittiest crime comics I have ever read. Check them out). A Game of Doubles is the story of twin brothers, one of whom is a former tennis prodigy, who run into some serious trouble on their 50th birthday. Ryan took some time to field and volley some questions with me. So check it out and make sure to support and check out A Game of Doubles.
MFR: Ryan, what was your initial reaction to A Game of Doubles. What attracted you to the project? Ryan Tavarez: This all starts with Jonathan’s short series: Burn Residue. I remember backing it thinking of it as being a cool slasher comic with the melted gas stations attendant. Thinking: “Cool! I love horror, I love slashers. I’m in!” And once I got the book and started to read it, I realized it was much more than that. And the twist hit me unexpectedly. And it was refreshing. When Jonathan reached out to see if I wanted to collaborate, I was in! And the script he delivered got me again! As I was reading his synopsis and the script I was like “…hmm a tennis comic? I’m not so sure.” But again, he pulled a swerve and it turned out to be a much darker story. Using Hitchcock as a foundation, and using the pace of a past tennis match to frame the story. Brilliant.
MFR: I love your style. There is a lot of weight and movement in the images I have seen. Did you approach this project with these elements for a reason? RT: Thank you!I like to think I come from the school of Kirby. Dynamism and movement is a major focus for me, even in still moments. I also like to think about how a character carries themselves in a conversation. I love to think about how people, in real life, change their posture depending on how they feel about whoever they are talking to; eye contact, where someone holds their hands, tone of voice. And then trying to capture that in comics. I think both a conversation and a tennis match can be just as intense if framed properly, and that was the goal. Line up the intensity of the past tennis match, with the conflict in the present.
MFR: What was your process like? What tools and processes did you use to create the pages? RT: I work with a hybrid system of digital and traditional! There are multiple parts to this. And it might get a little long, please feel free to condense this anyway you see fit. 1. Research – The first part was research. To begin, Jonathan gave me the script and two references: Stray Bullets and a documentary called John McEnroe: In The Realm Of Perfection. I read and watched the influences to get a good idea of where Jonathan was coming from. Then read his script. I read the script multiple times imagining the panels. I then took some time to think of the angle I wanted to approach with the art. I decided on Alex Toth and the series Ping Pong. 2 very different things that I love. 2. Character – Then I had to cast the comic. And I spent a few days sketching what the brothers might look like. Once I had something that I was happy with I got it over to Jonathan for approval. 3. Thumbnailing – Then I went back to script and took it panel by panel. Jonathan specifically wrote with the 2×4 grid in mind a la Stray Bullets. So it was already all broken up. I do this part digitally. 4. Pencils – I enlarge my thumbs to 11×17 and print them in a really light red color. Then clean them up with a red pencil. Some people use a non-photo blue. But I find it’s easier to target and drop the reds out digitally when I scan the inks in. 5. Inking – I rule out my panels with a 1pt size Micron. Then hit any sound effects with the same pen. From there I ink it panel by panel. I’ll ink the faces first using a really fine brush pen. Currently using a Tombo Fudenosuke. Then I hit the lines with a Raphael number 4. Using the same brush to fill my solids. And using the Tombo to do my hatching. 6. Scan and Cleanup – 11×17 flatbed Epson scanner – 300dpi. Then in photoshop I drop the reds, darken the blacks, and clean up any smidges and smudges. 7. Screentone – I lay in screentones that I scanned from Deleter originals. 8. Lettering – Done digitally, word balloons are made with the pen tool.
MFR: Would you cite any specific artist or work as having an influence on A Game of Doubles? RT: I spent time researching and taking cues from Alex Toth. While my style of drawing is not anywhere near the beauty of Toth, I really took to heart how he composed panels. Using blocks of black to help add to the weight and movement in some of the more stationary panels. Something as simple as a diagonal line goes a long way in spicing up a composition. And for the tennis match, Ping Pong by Taiyo Matsumoto was the main study. I knew the intensity of those matches would fit perfectly for the flashbacks, and really Ping Pong was my best point of reference for a sports manga to date.
MFR: How about you, was tennis something you knew anything about beforehand? RT: I’m not a big sports fan. And the sport I do like is baseball. So tennis was definitely alien to me. But it was a great opportunity to learn about the sport and also went into why I was interested in working on the book. Jonathan also provided a really great documentary that did a good job of covering the basics.
MFR: Did you have to reference tennis games? Other than sports manga, comics don’t get too many sports scenes. Was this a challenge in any way? RT: A lot of google searching was done. But really just focusing on why I loved Ping Pong so much. That really was the first time a sports manga ever got my attention. Challenging, absolutely. I am nowhere near the talent of Matsumoto. But I did my best to learn from him.
MFR: Did you have a favorite sequence to work on? RT: Specifically, pages 3 and 6 are my favorite. The original reveal of intent with Jackson. And that all-out splash page to really tell you what kind of person he is.
MFR: Anything final you would like to add? RT: I’d like to thank the folks out there who give this short a shot, don’t let the tennis deter you from checking this out if it’s not your thing. There’s a suspensefully twisted tale under the hood here that should tickle fans of horror comics and Hitchcock. Give A Game Of Doubles a shot! Lastly, check out my series Nomads if you’re into barbarian post-apocalyptic action. Volume One is 120 pages collecting the first 4 issues, with Volume 2 due sometime this winter. You can find that and more here: www.tavarezart.com.
MFR Thanks again for taking the time! RT: Thank YOU for the opportunity! Salude!
THE ORVILLE #2: DIGRESSIONS is available in comic book stores on Wednesday, June 2nd, wrapping up the two-part Digressions storyline. Readers will remember the startling changes to the status quo last issue when the crew (and the world itself) was thrust into an alternate timeline.
In this universe, Kelly Grayson never ended up marrying Ed Mercer, which in turn prevented the events that led to the Orville’s team formation. What’s more, Kelly learns getting the team together is the only way to prevent the coming attack from the Kaylon.
Story
Kelly finds herself in a desperate situation. Being the only person who knows what will happen in the future leaves her with a huge responsibility. We can practically feel the urgency emanating from the page.
This story diverges from many of the previous plotlines in its focus on Kelly and Dr. Claire Finn rather than Ed. This issue shows the former leader not in any position to prevent an alien invasion. In fact, he’s not even aware of a coming crisis.
David A. Goodman’s script, while providing readers with an intriguing take on theories of time travel, does a brilliant job of highlighting the supporting members of The Orville’s former team. If it wasn’t clear before, we see how these “secondary” characters are actually more integral to the fate of the world than Ed himself.
Artwork
David Cabeza’s penciling and ink work offers readers realistic depictions of their favorite characters from the hit TV show. The characters’ expressions mirror those of their real life counterparts, drawing readers into their experiences. Michael Atiyeh’s coloring used a wide array of hues ranging from bright cool colors to darker shades to reflect the mixture of hope and despair in the story. And Richard Starkings & Comicraft’s Jimmy Betancourt’s lettering is differentiated well so as not to confuse readers.
Conclusion
THE ORVILLE #2: DIGRESSIONS culminates in perfect fashion after such a wild ride in previous issues. It also gives the incredible character of Kelly an opportunity to shine.
What other stories do you want to see played out in this series? Let us know in the comments below!
The Visitor #5 comes to comic stores from Valiant Entertainment on June 2. After a long hiatus, writer Paul Levitz provides the context for this series’ conflict. Artist Soo Lee and colorist Ulises Arreola provide dynamic action alongside rising tensions. Thanks to the lettering by Simon Bowland, the reader can genuinely experience this thrilling climax.
Background
To catch readers up pre-hiatus, The Visitor focuses on the titular cyborg time traveler and his mission to prevent an A.I. project from activating. Considering the murderous people behind it, he has every right.
The Visitor #5: Finally Some Context
The Visitor #5 is where Levitz can give readers some answers after so long. The satisfaction will vary by how much they will like the connection to Rai’s setting. Some readers may find it clever after so much buildup from previous issues. Otherwise, it might come off as annoying that this series is an extension of another franchise. Because the way Levitz handles the pacing in this issue is some of the best so far. From how the Visitor’s thoughts weigh on his mind to how the characters interact, there’s a genuine thrill to it all.
Connective Energy
Lee’s illustrations possess a great degree of actions in flux with The Visitor #5. With pages and panels reflecting specific moments of time for the Visitor to appear, they all have a certain weight. A splash page, for example, is a good way for both the reader and Visitor to assess the situation.
Later pages give the actions a degree of movement and greater intensity. Sometimes a single action across multiple panels can describe the situation. The Visitor #5 goes to lengths to show how one misstep can lead to a downfall. There’s no greater metaphor than a tree branch not being strong enough to hold the Visitor’s weight. With some parts of the plot happening simultaneously, the struggles feel very apparent to the reader.
It helps that coloring by Arreola adds to the anticipation. The Visitor’s bright blue electric powers are not just eye-catching. They also steal power from a secret group of villains. It brings a real sense of power balance to the narrative, as does the lettering of Bowland that louden actions like the Visitor communicating with supporting character, Daubner even if some SFX can seem dull in comparison like using plain white words for gunshots that look quieter than they should be.
Want To Try The Visitor #5?
The Visitor #5 is an interesting and thrilling return for a series back from hiatus. Now that the characters are open about their motivations, the stakes can connect to readers easier. While readers might or might not like how the narrative is going, they’re sure to be entertained.
Man-Bat #5 ends this DC Comics miniseries on a high note on June 1. Writer Dave Wielgosz completes the titular character’s journey into self-actualization. It’s something artist Sumit Kumar displays through the life cycle of Kirk Langstorm with colors by Romulo Fajardo Jr., all while letterer Tom Napolitano showcases the weight of every action.
Man-Bat #5: Shedding For Honesty
Wielgosz commits the series towards a resolution focusing on Kirk’s recruitment into Justice League Dark. Man-Bat #5 is where everything comes together satisfyingly. Firstly there’s Kirk’s affliction symbolizing his conflict with his inner self. Then there’s how his attempts at fixing everything causing rifts between everyone he cares about. Ultimately, this issue confronts how Kirk’s desire to fix everything is what’s holding him back. So the issue ends on a positive if the uncertain note on Kirk’s future after finally letting go of his delusions.
Stages of Change
Kumar shows Kirk’s arcs in a physical sense through his illustrations. Man-Bat #5 begins with a swole King Man-Bat; it shows Kirk in a state of power but unstable mind, which is why some of the bigger plot points happen within Man-Bat’s mind where he and Kirk merge. With the end result being a Man-Bat with more human-esque facial features. This allows him to communicate with others without any more limitations.
The background colors by Fajardo display probably the high points of the characters’ inner conflicts. The cool night colors become more intense when Scarecrow uses his fear-inducing sonic weapon. Or how Man-Bat’s battle with Batman often has red backgrounds to display the heightened hostility between them.
Napolitano’s lettering brings more nuance to the conflicts of Man-Bat #5. Batman’s word balloons being slightly distorted shows how he’s under the influence of Scarecrow. Man-Bat, in the meantime, has a black word balloon with green outlines and fonts to show off his Venom augmentations. They are very similar to his captions, almost as if Man-Bat is powering his way through Langstrom’s influence. At least until the end, where their saturated captions show a compromise between them.
Complete Man-Bat #5
Man-Bat #5 ends this mini-series on a compelling note. After viewing Kirk Langstrom’s journey, readers can’t help but want to see more of him. Because while this stage of his life is complete, Man-Bat’s story isn’t quite over yet.
You can support the A Game of Doubles 
To catch readers up pre-hiatus, The Visitor focuses on the titular 
Lee’s illustrations possess a great degree of actions in flux with The Visitor #5. With pages and panels reflecting specific moments of time for the Visitor to appear, they all have a certain weight. A splash page, for example, is a good way for both the reader and Visitor to assess the situation.
Kumar shows Kirk’s arcs in a physical sense through his illustrations. Man-Bat #5 begins with a swole King Man-Bat; it shows Kirk in a state of power but unstable mind, which is why some of the bigger plot points happen within Man-Bat’s mind where he and Kirk merge. With the end result being a Man-Bat with more human-esque facial features. This allows him to communicate with others without any more limitations.