SCOUT’S HONOR #4: Re-Root Your Values To Grow Anew

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Scout’s Honor #4 from AfterShock Comics comes out to comic stores on April 14. Writer David Pepose brings this mini-series to its climax. With art by Luca Casalanguida, colors by Matt Milla, and lettering by Carlos M. Mangual, readers experience the protagonist’s mind going through a crisis.

Scout’s Honor #4 And Lack Thereof

Pepose has Kit feel the weight of her decisions and revelations in Scout’s Honor #4. Calling back to previous issues, Kit now faces everything she believed in turned upside down. The reader experiences Kit’s helplessness as despite knowing the risks towards herself, they learn from Kit the empowerment of being a scout. Kit’s disillusionment is all the more worse, considering how it parallels with real-life cases of abuse in scout troops.

It’s a good thing something else builds from previous issues; despite the foundations of the scouts, the inspiration still exists. Kit has always been a survivor, Scout’s Honor #4 is where she displays that in full. With one more issue to go, the reader will eagerly await Kit’s final stand.

Striking Art

Casalanguida continues to give the art a strong sense of grittiness. A large amount of shading displays how much the Ranger Scouts operate, as ruthless as the stormy post-apocalyptic wilderness. Kit’s reactions both in and out of shelter with how she curls up in a helpless position explain her situation.

Milla’s coloring adds to Kit’s sense of helplessness in Scout’s Honor #4. Her red hair is almost muted out in the dark corners she finds herself in. Also, with a sulfur storm featuring a green aesthetic coming in, the danger intensifies. In contrast, the warm orange color brings back some brightness to Kit’s appearance.

The lettering from Mangual gives these situations a more intense resonance. The thundering sound effects look engineered for these specific instances. Not only does the hand-drawn look eye-catching, but they are in juxtaposition with Kit’s mindset. In one instance where the thundering sound effect lights up, she’s reciting an oath for clarity.

Prepare For Scout’s Honor #4

Scout’s Honor #4 is where this series becomes a must-read. With a protagonist the reader comes to love reaffirming herself against her darkest hour, the readers are ready for one last stretch.

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When Adaptations Meet Science Fiction in JULES VERNE’S LIGHTHOUSE #1

By

Cat Wyatt

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Image Comics’ JULES VERNE’S LIGHTHOUSE #1, available April 14^th, is an adaptation of a classic piece of fiction history. Far out on the edges of the galaxy exist a crew. Their purpose is to maintain a supercomputer that helps navigate ships through wormholes.

Space pirates! Not the sort of people I would want to fight.

Jules Verne’s The Lighthouse at the End of the World was originally published back in 1905. Though ironically, the piece was not published until after he had passed. Much of the story itself is based on real events (piracy in the South Atlantic), though the adaptation takes this theme a few steps further.

Jules Verne’s Lighthouse is not set in the South Atlantic. It’s not even set on earth. Instead, it is set at the edge of the galaxy. Here a crew of people (not all entirely human) works to maintain a supercomputer designed to help spaceships through wormholes.

It’s safe to say that the core of the premise is the same, just taken to a new extreme. Science fiction helps to add tension and interest in Jules Verne’s Lighthouse #1. All while leaving plenty of room for the famous thriller elements.

Unicorns, pirates, and betrayal – what next?

Writing

Jules Verne’s Lighthouse #1 is the first of a five-part miniseries written by David Hine and Brian Haberlin. If you read The Marked or Sonata, those names will likely sound familiar right about now.

Space pirates have been a concept for about as long as real pirates have been around. When humans dream of space, we just can’t help but imagine all of the horrible events that could occur way out in the galaxy.

It’s what makes this adaptation feel so organic, despite the heavy science fiction inclusion. It doesn’t take long for this story to kick-off, throwing the characters into a battle for their lives as a pirate crew invades.

In fact, the story actually begins before readers really get much of a chance to get to know the characters involved. However, the relevant backstories do come out over the course of the first issue, with hints of more to come.

Ironically, one of the more humanized characters isn’t even a human. They’re not even organic – they’re a nanny bot, but their motivations are clear. Their presence has already helped to drive the story forward, and I look forward to seeing what they’ll do next.

Good to know that at least Moses has a plan.

Artwork

Jules Verne’s Lighthouse #1 is full of that trademark style that Brian Haberlin is so well known for. The backgrounds are stunning, naturally – full of images of space, stars, and other eye-catching details.

Meanwhile, the characters have a detailed yet harsher design to them. One that fits in nicely in a world of science fiction. The tech around them feels appropriately futuristic while still giving off the impression that it could all use a good tuneup. Out of all the characters, the nanny bot stands out the most, and I imagine many Hitchhiker’s Guide fans will appreciate the overall design there.

Geirrod Van Dyke’s colors are a fascinating combination of bold and muted. When light pops into a scene, it’s dazzling. Yet, there are many panels that feel like they lack light, implying a darker setting and tone. It helps to set the scene and makes those stunning backdrops all the more memorable.

Francis Takenaga’s lettering shines in this first issue. Moses’ (the nanny bot) voice is distinct from the rest – but it’s more than that as well. Moments of dissonance are made painfully clear through subtle tweaking of the letters.

Things do not look good for the rest of the crew.

Conclusion

Jules Verne’s Lighthouse #1 is a daring start to this adaptation. In some ways, it feels so very different from the source material. That’s not a bad thing. The creative team has successfully added new life to a classic tale.

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Tackling the Past in STAR TREK: THE NEXT GENERATION ‘THE GIFT’

By

Cat Wyatt

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IDW’s STAR TREK: THE NEXT GENERATION ‘THE GIFT,’ available April 13th, is a reprinting of a classic Star Trek story. One that feels more relevant than ever, with the promise of a fan-favorite returning to Star Trek: Picard.

It’s important to note that Star Trek: The Next Generation ‘The Gift’ was originally published in the 1990s. What we’re getting here is a reprinting, albeit a reprinting alongside a stunning new cover (thank you, J.K. Woodward).

The Gift was written by John de Lancie, which is ironic, given his role as Q in the show. Additional dialogue was provided by Michael Jan Friedman, with artwork from Gordon Purcell, Pablo Marcos, Julianna Ferriter, and Bob Pinaha.

The reason I mentioned the irony is fairly straightforward. The Gift is a Q heavy plotline, as he gives Picard a chance to right a wrong of his past, but as always: one should be careful what they wish for.

Writing

The Gift is a story that feels right at home with The Next Generation’s earlier seasons (between seasons three and four, if you want to get specific). As far as when it fits in the timeline, it’s shortly following Deja Q’s events – which makes sense, given everything that is about to happen.

This is a thrilling romp through Star Wars history, one that is very much on point with the adventures that Q tends to bring with him. It’s also a shockingly tense read, as it deals with one of the worst memories from Picard’s history – that alone should be saying something.

It’s always refreshing to see a character drive plot – but The Gift takes that a step or two further. After all, it’s written by one of the characters driving the story. Okay, not quite so literally, but about as close as we can get.

Honestly, it’s almost difficult to believe that they were able to fit so much into what is only sixty-four pages. It ends up feeling more like reading a novel – and I mean that in a good way, of course.

Artwork

Here’s where it is important to remember that The Gift was originally published back in 1990. The artwork is not what is typically published these days. Though the cover is new and stunning – once again, thanks to J.K. Woodward.

Naturally, the artwork inside doesn’t match the cover. The colors are extremely bold and bright, as was typical of the time period. The red and yellow shirts pop off the page in a way that feels so familiar to the show itself.

There’s little in terms of lighting or shading, but again, that was the style. Meanwhile, each and every character truly does look like their television versions. Though perhaps with a little bit of that comic flair here and there.

The lettering went above and beyond when it comes to making sounds and impacts clear. There’s no hiding from traumatic events here. Their sounds carry, hitting all the harder because it relates to a beloved character.

Conclusion

Star Trek: The Next Generation ‘The Gift’ is a fun, and thrilling read worth read. It doesn’t matter if you’re a new fan or an old one; the odds are good that you’ll find something to appreciate here. And of course, let us not forget how this helps to set the scene for what will surely happen in Star Trek: Picard.

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Review: BLACK HAMMER: VISIONS #3 and a Superhero’s Midlife Crisis

By

Zac Owens

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Dark Horse’s Black Hammer: Visions #3 follows Abraham Slam, a superhero who owes a lot of his creative DNA to Captain America, as he wrestles with his own retirement. Writer Chip Zdarsky, artist Johnnie Christmas, colorist Dave Stewart, and letterer Nate Piekos show us what it’s like to be itching to get back out into the world. This issue couldn’t have landed at a better time.

Writing

Zdarsky makes us understand what it’s like to be in Abe’s skin. Abe feels useless and old. Zdarsky gives us some perspective for this though. He shows us how Abe is haunted by his daring, younger, superhero self. It’s natural for him to feel hit harder than most by his old age. To make things worse, a new hero is cracking heads under the name “The Slam.” Abe has every reason to be angry, but so do the people around him as he lets his life implode. Zdarsky writes about what it means to finally grow up. It’s not always about doing the right thing. Sometimes it’s about being big enough to know you’re not the right person to do the right thing.

Art

Christmas brings a whole lot of humanity to Abe. We see him, furious as people mock him, right next to an image of him looking into the mirror, defeated. In just those two panels, Christmas tells us everything we need to know. Abe has a huge amount of rage in him. He sees what’s wrong and he wants to right it. But he’s depressed over the fact that he just doesn’t have it in him anymore. Yet slowly, Abe learns that being a superhero isn’t as important as he thought. Christmas shows how kicking ass is impersonal and small compared to what Abe could be doing with his life. The fighting all happens in blurs, with faces turned away. No, it’s Abe’s conversations with an old friend, him getting groceries, or making dinner that are shown in great detail by Christmas. These are the things that should be occupying Abe.

Coloring

And while Christmas shows us what things should be important to Abe, Stewart is showing us how Abe feels about them. His life is pretty colorless at first. His apartment is colored in light browns, purples and beige. But when he springs into action, the page lights up. We see deep blues and oranges. These moments make Abe feel alive again. But the resulting return to normal is bleaker than before. Abe feels even less fulfilled, having tasted a little of the glory days again. But funnily enough, when we see Abe walk out of the gym as the issue ends, his normal life is looking colorful. There are no fist fights or big world threats, just Abe walking down the road. Yet the bricks are a deep red and the windows are lit up in yellow. Abe is starting to see things differently.

Lettering

When Abe gets into a fight with The Slam, Piekos’ lettering mimics the feel of the fight. The captions are short and spread out. They have our eyes darting around the page. We get the feeling of Abe being hit from all angles, too fast to respond. And later, as Abe thinks back over it, the captions stay even. They don’t move around the page much. Abe’s thoughts are calm and “matter of fact” now. He’s telling himself he’s an old loser like that’s just the truth. But Piekos gets him out of his pity party by placing a word balloon over part of a caption. Throughout this issue, Piekos does a fantastic job of giving us a window into how Abe is feeling.

Dark Horse’s Black Hammer: Visions #3 is a simple and charming story, much like the first of this series. It tells the story of Abraham Slam trying to teach himself it’s okay to retire. It’s a pleasant addition to the Black Hammer Universe. Pick it up, out from Dark Horse April 14th, at a comic shop near you!

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Review: LOCKE & KEY/SANDMAN: HELL & GONE #1 – A Bumpy Start

By

Zac Owens

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Neil Gaiman’s Sandman has left an unforgettable mark on the comic book industry. And in recent years, we’ve seen comics that feel like descendants of the series. Joe Hill and Gabriel Rodriguez’s Locke & Key is one such series. So it’s fitting, and very exciting, to see these worlds collide. IDW Publishing and DC Comics partner to bring us Locke & Key/Sandman: Hell & Gone. But in this first issue, writer Joe Hill, artist Gabriel Rodriguez, colorist Jay Fotos, and letterer Shawn Lee seem a little daunted by the task at hand.

Writing

Hill’s Locke & Key is charming and brilliant. It seamlessly mixes horror with moving character development. The same could easily be said of Gaiman’s Sandman. So it’s a little odd that Hill’s script for this first issue is so clunky. Lots of characters deliver dialogue that feels out of place, often in the form of exposition dumps. And Hill’s versions of some of Gaiman’s characters don’t seem to be themselves. Cain speaks in a way that’s giddy and more verbose than we’ve seen him. But ultimately, these are all problems that are typical of a first issue.

Any writer starting a series would be overwhelmed by all the information they have to convey. Add onto that all of the pressure of playing in Gaiman’s proverbial sandbox (pun totally intended) and you can see why Hell & Gone #1 suffers from these issues. Hill is a capable writer, finding his footing in a world that isn’t totally his own. If Hill’s track record tells us anything, this issue is just him struggling to his feet. Once he’s comfortable, we’re in for a wild ride.

Art

Rodriguez suffers from some of the same problems. His art is beautiful, and with every issue of Locke & Key he pens, it gets more nuanced. But one of the Sandman characters we meet, at the start of the issue, looks very unlike his appearance in the parent series. While that starts us off on a confusing note, the excitement of seeing Rodriguez’s versions of some of our favorite characters quickly eclipses that feeling. His landscapes and character designs will leave you wondering why he never did work on the original Sandman series. He’s perfectly fitted for it.

Coloring

Fotos’ choices in this issue are interesting. The entire issue uses subtle coloring. We don’t get any striking pages of deep colors. At first, the only truly colorful things in Hell & Gone are things of magic. We see a deep purple energy come from the Anywhere Key and a red glow from the Dream Stone. But when we see the Dreaming, we’re seeing a world of magic. Some of that magic is nightmarish, to be sure. In those instances, the bleak color palette is fitting. But occasionally, we see landscapes that are just a little too pale to be breathtaking. Perhaps there’s a reason for Fotos’ reserved approach, but this issue has a tendency to feel a little visually bland.

Lettering

Lee’s lettering seems equally reserved, with a few exceptions. These pages aren’t littered with big sound effects or much experimenting with fonts. At one point, as Mary Locke stumbles onto something horrific, her font changes. “What’s that about your buddies Willard and…” she says in a simple, polite way. She follows up with “AHHHHH GOD OH GOD OH FUCK!” in messy, big lettering. Her panic is clear. But this is a highlight in an otherwise run-of-the-mill approach to the lettering. Hopefully, in the issues to come, we’ll see Lee attempt new things that bring life to the page.

IDW’s Locke & Key is charming and exciting, DC Comics’ Sandman is mysterious and moving. With these worlds colliding, we have reason to hope Locke & Key/Sandman: Hell & Gone will be all of the above. The first issue shows a creative team that’s nervous to enter a new world. But it’s all the shortcomings typical of a first issue. This creative team has shown themselves to do brilliant work in their prequel series In Pale Battalions Go. Hopefully, we’ll see them bring some of that magic in future issues. Pick up Locke & Key/Sandman: Hell & Gone #1, out from IDW April 14th, at a comic shop near you!

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Check Out Aaron Kuder’s Cover For THOR ANNUAL #1 – Infinite Destinies Crossover

By

Matthew Sardo

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April 14, 2021

Check Out The Cover To THOR ANNUAL #1 - Infinite Destinies Crossover

Hey MFR readers! Marvel Comics sent us the cover to THOR ANNUAL #1 coming out in July, and part of the Infinite Destinies Crossover.

THOR ANNUAL #1

AARON KUDER (W) • AARON KUDER (A/C)

THOR VS. THOR!

Thor and the other leaders of the Ten Realms (and, uh, Hawkeye?) have gathered for a World Tree celebration! But the festivities come to an abrupt halt when a mysterious guest — and his otherworldly powers — crashes the party. And his “plus-one” is a dark, twisted version of Thor who is determined to become the iron-fisted ruler of all the realms!

ALSO IN THIS ISSUE: Part 5 (of 8) of “Infinite Fury”!

About Infinite Destinies:
The Infinity Stones have played a key role in some of the Marvel Universe’s most defining moments, and now they’ve returned in the hands of Marvel’s most popular new characters. The chase for the powerful Infinity Stones will play out in INFINITE DESTINIES, launching this summer!

In a series of eight annuals, each installment will pair Marvel’s biggest heroes like Captain America and Iron Man with some of Marvel’s newest heroes and villains including Star, Amulet, and more. These exciting new additions to the Marvel mythos may or may not possess one of the sought-after stones — but the real question will be who will be holding them in the end, and what will it mean for the future of the Marvel Universe?

“We’ve had a wave of incredible new characters over the last few years, and INFINITE DESTINIES will shine a light on eight of them,” Editor Nick Lowe said. “We’ll discover new aspects of these heroes and villains in adventures with our the most archetypal Marvel heroes.”

Writer Jed MacKay (Black Cat) and artist Ibraim Roberson (Old Man Logan) kick things off in IRON MAN ANNUAL #1. When Iron Man learns about the strange people who kidnapped and tortured Miles Morales, he HAS to look into it. What he finds out about the Assessor and especially Quantum will shock him…and you!

“The Infinity Stones have found new homes — as people!” Jed MacKay said. “INFINITE DESTINIES is the next chapter in the story of the Infinity Stones and the people they’ve bonded with — and the powers in the Marvel Universe who are taking interest in these powerful new players.”

Writer Gerry Duggan (Marauders, Cable) and artist Marco Castiello (Doom 2099) will then turn the focus on the fugitive known as Overtime in CAPTAIN AMERICA ANNUAL #1. After breaking out of death row when the Time Stone chose to bond with his soul, Overtime was gifted powers he barely understood. Now, thanks to Captain America… his time is up.

Each annual will also contain a chapter of “Super-Spy vs. Super-Spy,” a story following Nick Fury as the Agent of Nothing and Phil Coulson as the Agent of Mephisto — two brothers-in-arms who will face off and reunite for the first time since Coulson’s death.

The Infinity Stones and their abilities have always been shrouded in mystery, but one thing is for certain: where these stones go, trouble follows. Expect cataclysmic battles, shocking twists, and jaw dropping revelations about some of Marvel’s most promising new characters when INFINITE DESTINIES begins this June! Stay tuned for announcements about other INFINITE DESTINES annuals coming in July and August from Marvel’s top talent including Kelly Thompson (Captain Marvel) and Saladin Ahmed (Miles Morales: Spider-Man).”

via marvel.com

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Review: SWEET TOOTH: THE RETURN #6 – So What Was That All About?

By

Justin Munday

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Contemporary comics all-star Jeff Lemire (Moon Knight, Black Hammer, Animal Man) and colorist Jose Villarrubia end their return to the world of hybrids and apocalyptic plagues in Sweet Tooth: The Return #6. The final chapter of this sequel series is full of the satisfying emotional beats and character-focused storytelling that we come to expect from Lemire, complete with great nods to the original series. It’s taken down a peg however by ultimately rendering this sequel as inconsequential. With consistently perfect visuals and ever-strong writing, this issue – and the series at large – is struck down by its own context.

“Once upon a time a young boy with antlers lived in a little house under the earth. He had a father and two nannies. They raised him to be good and to obey their every command. They said they loved the boy, and maybe some of them did, but Father? Well, he only loved himself. Father says the boy is a weapon against those who stand in opposition to humanity, while the rebellious Undersider dissidents believe the child to be the second coming of a mythological savior from the past. Haunted by dreamlike memories of a life he never lived and hunted by the man who created him, the boy must choose what and who he will be, and bring this chapter of his life to a close.”

Writing & Plot

Purely in terms of writing quality, Sweet Tooth: The Return #6 is just as solid a script as any of Lemire’s other chapters of this story. The ending does not feel rushed, the payoffs all feel earned, and the emotional weight of the end feels satisfying and is a fitting tribute to the original series. The nods to the motifs and characters from the prior series are all great nods that will no doubt land in the right spot for long time Sweet Tooth fans. So this all being said, what exactly is my issue with this final chapter – and by extension, the rest of this mini-series? If someone who were a Sweet Tooth fan were to ask me if The Return were worth the read, my answer would be yes – but you don’t have to. It isn’t going to do anything to alter your experience of Sweet Tooth, it’s just a neat and well-made diversion if you wanted to spend some more time in the universe of this tale (a tale which has one of the single best endings of any long-form comic). This isn’t dragging Jeff Lemire or his desire to return to this world; it’s reasonable to understand why he might want to revisit the story that essentially launched his career (and that is getting the Netflix treatment). It’s just I wish there were reason for this story’s existence than it just being more Sweet Tooth.

Art Direction

If there’s any single lesson that should come from Sweet Tooth: The Return #6 it’s that no one but Jeff Lermire and Jose Villarrubia should ever be the art team for a Sweet Tooth comic. Lemire’s charming lo-fi pencils convey the setting and characterization in this comic in a way that sells the story’s tone and message perfectly. Some fourteen years after this comic’s introduction, it still blows me away how Lemire is able to craft such relatable, likeable (and detestable) characters with such a rough-hewn and simplistic art style. The watercolors from Jose Villarrubia set the atmosphere for every panel with a mixture of tonal approaches. There’s a warmth and still beauty to the emotional and human scenes, which can switch on a dime to a cold or almost esoteric atmosphere when The Boy/Gus starts visualizing plot points from the world prior. Sweet Tooth has always been a comic known for its unusual but endearing visual work, and the final issue of The Return cements that legacy.

Sweet Tooth: The Return #6 is a well-written and superbly well-made final issue to this sequel-series that finishes this wholly solid mini-series, but ultimately renders the story kind of unnecessary. The plot and characterization that Lemire put on display here is up to par with the rest of this work and even the original Sweet Tooth as a whole, but it fails to make itself a necessary sequel in any way outside of it just being some more Sweet Tooth. His and Jose Villarrubia’s visuals are brilliantly charming and match up perfectly with the original series. If you’re a fan of the original comic, then this is a solid recommendation if you just want more of Lemire doing that thing he does so well but from a different perspective. Be sure to grab this final issue when it hits shelves on 4-13!

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Review: Something Like RORSCHACH #7 Has Never Been Done

By

Zac Owens

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This comic shouldn’t exist. Rorschach #7 throws out the rulebook. It’s not a comfortable, exciting, neo noir thriller. It’s an uncomfortable and experimental dissection of the comic book medium. Writer Tom King, artist Jorge Fornes, colorist Dave Stewart, and letterer Clayton Cowles aren’t here to provide a mainstream fluff piece. With DC Comics’ Rorschach #7, they’re breaking all the rules to show that they mean business.

Writing

King’s boldness rivals that of Quentin Tarantino in this issue. He seamlessly melds together his own version of history with the events of his story. Real people, though the details about them have been fictionalized, not only appear in the story but they play major roles in moving the plot forward. But the plot almost seems secondary to King’s interests. He’s more interested in discussing the medium of comics. After all, that’s what much of our investigation into the life of this new Rorschach has turned out to be.

Wil Myerson, the man behind the mask, is a comic book writer. And so, we not only learn more about his work and drive, but about how his work has touched others. In this issue, King discusses the legacy a comic book writer leaves behind and the huge shoes one comic writer must fill when a predecessor has reinvented a character. And through all this, King never loses sight of his plot. Though it’s clear King’s main goal is to discuss comics, he sprinkles in clues to where this is all headed. For every epiphany we get about the medium, we also get one about the characters and plot. It’s interesting, nuanced, and incredibly close to home.

Art

Fornes is living in an artist’s playground in this issue. We see Watchmen-esque versions of famous comic covers. We see alternate versions of The Dark Knight Returns and Amazing Fantasy #15. His ability to effortlessly move from the style of the 60’s to modern figures is incredible. We get glimpses of panels that come right out of Watchmen itself. Through all of this, Fornes manages to maintain his own unique style, while borrowing from the styles of others. Yet the scenes that are actually occurring in the comic couldn’t be more different than those other time periods. Fornes makes the whole thing feel cinematic. We focus in on the small changes, watching a door close or seeing someone press buttons on a tape recorder. Fornes takes us on a tour of the medium’s highlights, all while sticking to his subtle approach to this story.

Coloring

We’ve seen in past issues that colors mean something in Rorschach. Myerson’s memories are often shown in a red tint. He’s a very angry person and that colors everything he does. But Laura’s scenes are often shown with bright yellows. When she meets Myerson, their colors begin to coincide. They complete one another. In this issue, we see similar things happen. We see Myerson’s red memories and Laura’s yellow aura. But when they go to meet a third party, it’s clear they leave their mark. Stewart shows us, when the detective meets this third party, that Laura and Wil still occupy this man’s mind. We stare down at the scene, looking at the red table with yellow chairs. It’s as though Laura and Wil never left.

Lettering

There’s something about placing captions at the bottom of a page that makes a character’s thoughts sound defeated. Cowles knows this and uses it to his advantage. When we meet with this mysterious character who met Wil years ago, he explains what it was like to meet one of his heroes. He’s doing a pretty good job, in what he’s saying at least, to not sound disappointed. But it’s clear he was. “I didn’t speak to him again for what? Fifty years,” he finally says. Cowles places this all the way in the corner. But later, when he reconnects with Laura and Wil, Cowles shows this man succumb to their charm. As he sees them out, we see captions narrating his thoughts. Each caption is lower than the one before, like stairs going down the page. Cowles gives us a visual representation of a man giving in to insanity, slowly letting it take his will.

There isn’t anything like Rorschach #7. And there probably won’t be anything like it again. This creative team is actively pushing themselves to shake things up. And they’re breaking all kinds of rules to do it. DC Comics’ Rorschach #7 is a fantastic discussion of the comic book medium and a brilliant next step in this incredible plot. Pick up Rorschach #7, out from DC Comics April 13th, and prepare to have your mind blown.

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Review: DARKHAWK: HEART OF THE HAWK #1 Celebrates The Character

By

Anthony Wendel

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Darkhawk: Heart Of The Hawk #1 out this week from Marvel Comics marks the 30th anniversary of the character’s introduction. Darkhawk has made many cameos since his ongoing series was canceled and even had a mini-series in 2018. This issue offers three stories showcasing the character’s past, present and even leaves hints about what may come for Darkhawk in the future. This anniversary comes courtesy of Danny Fingeroth (Writer of the first story), Mike Manley (artist of the first story and co-creator of Darkhawk), Chris Sotomayor (Colorist for the first story), Dan Abnett (Writer of the second story), Andrea Di Vito (Artist for the second story), Le Beau Underwood (Inker for the second story), Sebastian Cheng (Colorist for the second story), Kyle Higgins (Writer for the third story), Juanan Ramirez (Artist for the third story), Erick Arciniega (Colorist for the third story), and VC’S Travis Lanham (Letterer for the whole issue).

Summary

Celebrate the 30th anniversary of the ’90s hottest hero in three spectacular stories! First, an untold story from Darkhawk’s early days by creators Danny Fingeroth and Mike Manley! Then explore the winged hero’s cosmic years by Dan Abnett and Andrea Di Vito. Finally, find out what the future holds for Darkhawk by Kyle Higgins and more!

Writing

Each of the three stories in the issue looks at a different time in Darkhawk’s history. The first story, “Cry of the City” by Fingeroth, feels like it was missing from the original series. It introduces a plot point that would have made Darkhawk’s struggle to become a hero much harder. It’s sad the story can’t be expanded upon or inserted back into the character’s history.

The second story by Abnet, “Long Way From Home,” takes a look at the more modern stories. Since Infinity Countdown, Darkhawk has been popping up in titles such as Guardians of The Galaxy connecting him to a more cosmic side of Marvel Comics. This story shows Darkhawk finding his way through space and coming face to face with one of Marvel’s most vicious alien races. It’s the least gripping of the three stories, but it is still an entertaining story.

The final story, “Last Flight” by Higgins, takes the time to set up a possible future for the Darkhawk. The story hints at something called the “Shadow War,” a possible event on Marvel Comics’ horizon. It’s impossible to go into detail about this story without spoilers. It definitely takes Darkhawk and his secret identity, Chris Powell, somewhere they have never gone before.

Artwork

With “Cry of the City,” Darkhawk’s co-creator Manley provides a nostalgic feel for the character. Though with Sotomayor providing the colors, the character does have a more modern look. Overall the pair deliver a story feeling like a missing piece to the original series.

The look of “Long Way From Home” by Di Vito and Underwood has a fantastic look to it, thanks to their combined work. With recognizable alien species in every panel, it feels like the cantina scene from Star Wars. Cheng’s colorwork helps elevate the action, especially as Darkhawk has to use his powers when a fight breaks out.

“Last Flight” ends the issue on a more somber note. Ramirez’s artwork features a more reflective look to Chris Powell as he contemplates how he got to this point. Arciniega’s colorwork utilizes darker colors for a bleaker outlook for Chris and brighter ones when a cosmic disaster is on the horizon.

The Lettering by VC’s Travis Lanham deserves a lot of praise in this issue. Between all three stories, Lanham captures the look of lettering from the past and present. The lettering for “Cry of the City” feels like it was pulled directly from the 90s.

Conclusion

DarkHawk: Heart Of The Hawk #1 is a definite read for fans of Darkhawk but could be an ideal starting point for new readers curious about the character. Darkhawk has become a supportive character for teams such as the New Warriors and Guardian Of The Galaxy. If Darkhawk is ready to return to greater things later this year, this issue is a perfect way to understand Chris Powell better.

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THE FALCON AND THE WINTER SOLDIER – The Whole World is Watching | TV Review

By

Kieran Freemantle

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Following the events in Madripoor, the episode “The Whole World is Watching” takes the titular characters to the Latvian capital where the show feels like it’s spinning its wheels.

Sam and Bucky continue their search for Karli Morgenthau (Erin Kellyman), believing that finding the location for a funeral would be their best chance. But they face complications due to Jack Walker encroaching on their mission and the Wakandans demanding Sam and Bucky demand they hand over Zemo after eight hours.

The Falcon and The Winter Soldier felt nowhere near as revolutionary as WandaVision. It looks and feels more like a Marvel movie being stretched out rather than a TV show. The first two episodes did a fair enough job setting up the new situation for the MCU world and the characters and ‘Power Broker’ functioned as a focused episode.

‘The Whole World is Watching’ felt meandering. The best example of this was the reintroduction of the Dora Milaje. Their appearance did make some sense because they wanted to bring Zemo to justice because of the events of Captain America: Civil War. But their appearance boiled down to them having an action scene against the new Captain America and give him the humiliation he deserved. They were a plot device and to help fill some time.

Ayo suffered from an issue that affected characters in the last episode: over expository dialogue. Yet it was even worse for her because she was recounting information that both the audiences and the characters already know. It was redundant.

Where the episode does succeed was with the character moments. One of the key scenes was when Sam met Karli and they talked about the morality of her cause. It showed some moral complexity of the new world. Karli can be summed up as her cause was understandable but her methods were questionable.

Jack Walker got some character development. In “The Star-Spangled Man” Jack had doubts whether he could live up to the Captain America mantle and in this episode, he was shown to be impulsive. The episode ends with a dark moment but there should have been more of a build-up. The program needed to show more of Jack’s violent tendencies. Comic book fans would have predicted this turn but in the context of the show, it came across as too sudden.

“The Whole World is Watching” had smaller scale action than in the previous episodes. It worked in the context of the episode. The first action sequence had a parkour feel to it as characters get chased in an old warehouse. The final action sequence had the air of Skyfall and Mission Impossible III because characters had to race across a city to stop the villains from enacting their plans. It was fun to watch the Flag Smashers using knives when they were fighting.

“The Whole World is Watching” was at best a fairly standard episode of TV that felt more like filler.

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