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SUPERMAN: RED AND BLUE #1 – Painting The Colors Of Humanity

Superman: Red and Blue #1 Cover

Superman: Red and Blue #1 is DC celebrating the boy scout in blue and his humanity. Each story has a down-to-earth vibe to emphasize the man over the super, even in boyhood.

Untitled: A Silver Age Reaction

The first story of Superman: Red and Blue #1 does not have a title as writer John Ridley makes a point about Superman’s conflicting emotions. This story is a reaction to a World’s Finest Silver Age comic, where Superman was at the mercy of a Soviet internment camp. It’s an event that makes him sweat as much as moving a planet with all of his might. Now in his civilian identity, he’s interviewing the man who tortured Superman for months and the reader shares Clark Kent’s trepidation.

Artist Clayton Henry makes clever use of his illustrating and inking techniques where objects and characters in bolder lines hold weight. The red and blue coloring by Jordie Bellaire is what brings out the emotional stakes. Finally, Dave Sharpe gives allows lettering moments that need to sink in to take up space on the page. It’s what allows the reader to experience Clark’s nervousness.

The Measure of Hope: The Man For Tomorrow

Brandon Easton writes this section of Superman: Red and Blue #1 about how Superman inspires people but has human flaws. A fan asks Superman to appear at his mother’s funeral after a lifetime of following Superman’s example. But even Superman can’t be everywhere at once and he arrives late. If anybody’s ever felt like they never have enough time to do important things, this story might resonate with them.

Steve Lieber makes every important character stand out with bolder lines against the background, even sheets with the Superman logo. The colors by Ron Chan showcase emotional states. Characters colored in both red and blue showcase people in personal conflicts. Even the lettering captions demonstrate this conflict, the red captions of the fan’s mother echo in juxtaposition with the fan’s blue captions.

The Boy Who Saved Superman: Premiere Superman Red and Blue #1

Superman Red and Blue #1 premiere story

Wes Craig depicts arguably the best story of Superman: Red and Blue #1 by showcasing someone Superman admires. The titular “boy” isn’t some famous writer or war hero. He’s just a regular person who, despite the risks, tries to help Superman when he’s hurt in battle. Through this readers find that Superman admires people like them as much as they admire him.

Craig’s art is extremely expressive in both character and setting. The look of surprise on Clark’s face is what gets readers undivided attention, along with his internal dialogue from Deron Bennett. Within the conflict are a large amount of panels that shift in size to express how chaotic the situation is. Combining with all of the colors, this makes the calmer situations in the Daily Planet feel like a moment of relief.

Human Colors In Superman: Red and Blue #1

This section of Superman: Red and Blue #1 serves as a juxtaposition against DC’s Batman anthology. Dan Watters gives this plot a silly start, a fifth-dimensional imp steals the world’s colors as well as people’s concept and feelings about color; like red representing the passions of love and war. So when Superman has the opportunity to put everything back, he’s conflicted as he could restart many of the world’s problems. Batman thinks that color should be locked away until Lois reminds Superman that black-and-white is Batman’s domain.

Dani gives this story a very simple aesthetic to demonstrate the story’s conflict. Every page features very simple lines to illustrate the shapes and characteristics of the setting. Batman’s cape and cowl makes him stand out when he and Superman are in the same room. This brighter Sin City aesthetic gives way to warmer and cooler colors when Superman gives the color back. It makes the world feel more lively despite the potential trouble.

On a smaller note, Sharpe comes back to give the words spoken some character. The imp speaks with a unique font in outlined word balloons, to further emphasize his otherworldliness. Lois’ captions meanwhile have a style with a fancy starting letter to promote her ability as a writer. It’s like she’s writing an article for the Daily Planet to make sure the events of the story are recorded.

The School of Hard Knock-Knock Jokes

The final section of Superman: Red and Blue #1 has Marguerite Bennett depict how the lessons of Superman’s parents shaped him. At only five years old, Clark has a lot of concern about his kindergarten days. The reader feels sympathy for Clark in how he expresses his concerns in showing off his powers. Trying to fit in is a struggle and trying to be friends with lonely and unpopular kids, for fear of losing new friends, is outright terrifying. The lessons from Ma and Pa Kent about inclusion feel so powerful.

Jill Thompson’s art, with its extremely detailed illustrating, shading, and coloring, is all very enticing with Clark’s bright colors guiding readers throughout the section. When Clark looks at the world from a frightening upwards angle, some brightness changes everything. The red sound effects like a child’s laugh and parents’ smooching from Troy Peteri enhances that feeling of brightness greatly.

Look Out For Superman: Red and Blue #1

Superman: Red and Blue #1 serves as a great way to introduce new and old readers to the Man of Steel. By putting reader’s behind the eyes of Clark Kent, his humanity really shines through. The Boy Who Saved Superman displaying Superman’s admiration for the common man hits similar notes as recent hit Soul. It all reminds fans that behind the sensationalism is a man to relate with.

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Review: SAVAGE #2: Why We Can’t Be More Like Real People

Savage #2 Cover

Savage #2, out from Valiant Entertainment on March 17, has writer Max Bemis examine the title character’s mental limitations. The artwork by Nathan Stockman shows how Kevin Sauvage feels restrained by the modern world. Despite all of the flashy colors from Triona Farrell, the lettering by Hassan Otsmane-Elhaou shows how awkward Kevin feels. It’s a great story about trying to connect with others and all of the awkwardness that gets in the way.

Savage #2: Bigger Implications

Bemis displays how Kevin’s main conflict in Savage #2 isn’t just fitting in with modern life, but dealing with his self-consciousness. It becomes apparent that amid all of the celebrity life and mad scientist encounters from the last issue, Kevin never really adjusted to normal life. When speaking with a girl who doesn’t know his celebrity status, he is awkward in his presentation. Without an influencer script or proper social skills, Kevin fumbles his words. The reader empathizes that despite Kevin’s celebrity status, he’s still a teenager.

Says so much about character.
When Kevin realized his brother is a bigger jerk-weed than anticipated.

It doesn’t help that his brother, Henry, is proving to be a bad influence. Constantly, Henry shows more concern with monetizing his brother than actually caring for him. One of the reasons Kevin has trouble talking to a girl is because Henry is a greedy chauvinist uninterested in teaching his brother social skills. Worst of all, instead of any concern for Kevin’s well-being during and after dinosaur attacks, Henry wants to publicize them. With Henry serving as a gateway to modern life, the reader can’t help but empathize with Kevin and his frustrations with this lifestyle.

Ferocity Loses Its Edge

Stockman gives the images of Savage #2 a confining sense of scale. Throughout the issue, Kevin looks small and restrained even when he’s not wearing restraints. He only moves wildly when he’s in danger. Not that it does him any good when going through a double page spread labyrinth full of death traps. Sure Kevin escapes, but he looks completely exhausted at the end.

All that blood curdling rage in orange by Farrell can’t even buy Kevin a moment of peace. Some of the panels in the above labyrinth have a sense of annoyance with their green and blue backgrounds. The reader can’t help but empathize with these color coded moments. They’d be pretty annoyed and exhausted too after such a gauntlet.

Lettering Of The Wild!

Finally, the lettering by Otsmane gives the words spoken more meaning. Kevin, in all of his appearances, goes between being loud to soft spoken. A number of times Kevin begins and ends his sentences with stylistic fonts to show how much energy he’s trying to put into his words. A huge sound effect looking word to get people’s attention can quickly get the momentum running, until Kevin says something he regrets. Which then leads to a softer speaking font in lowercase words that express how much that misspoken word affects the moment.

Savage #2 tension
You try not getting nervous from this shot.

When speaking with Savage #2 antagonist Professor Hanley Nealon, who flaunts his dramatic speech, it’s hard not to feel awkward. Nealon likes to feel in control of the situation which is where his use of speech balloons comes in. The balloons guide the reader around the page and his lab, while Nealon himself says many words without really saying anything. This all sounds intelligent, but it’s really just his way to disorient Kevin and the reader. Nealon’s flair for the dramatic shines through in a splash page where Nealon explains his motivations for Kevin in one big stylistic word balloon. It’s deranged and unsettling to the reader.

Tune In For Savage #2

Savage #2 is really getting readers more invested in the journey of Kevin Savage. With how much the modern world only wants to exploit Kevin, the reader empathizes with his frustrations. A brother who shows no real care, a mad scientist ready to experiment with him, and Kevin’s own disillusionment with his “savagery.” It will leave the reader begging to see Kevin’s next stage of development sooner.

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Review: THE AUTUMNAL #5 Is Intricate Slow Burn Horror At Its Finest

From writer Daniel Kraus, artist Chris Shehan, colorist Jason Wordie , and letterer Jim Campbell, comes the fifth chapter of one of the most well-crafted horror comics of the year. “The Autumnal” #5 is a thoughtfully paced comic book with intimate focuses on its cast of characters, while adding more pieces to the creeping puzzle that is the unseen terror of Comfort Notch. With an equally meditative and unnerving script and eerie perfect artwork, this comic is yet another incredible installment in a brilliant story.

“The sudden vanishing of a Comfort Notch citizen compels Kat to follow a hidden-in-plain-sight clue… before the worst omen of all manifests from the leaves.”

Writing & Plot

The writing on Daniel Kraus for the duration of this entire series thus far has been nothing short of astounding, and the same goes for “The Autumnal” #5. The script for this issue is rife with character moments that feel real and grounded, and make every person feel like someone you could actually speak to. Kat is now one of my favorite comic protagonists in recent years, and its because I feel like I understand and empathize with every aspect of both her past and her current struggle. She is a single mother with a checkerboard past that is only trying to do best by her child, and her instincts tell her over and over that there is something overwhelmingly wrong with this new town. The fact that she is also a good person is a bonus. There are almost no horror clichés here; Kat doesn’t stick around just to further the plot, as she is rooted to Comfort Notch and its people by her own nature. The supporting cast is fantastic as well, with Kat’s daughter being a delightful character, the scarred drug addict Carol being a sympathetic grouch, and tattoo removal specialist-turned boyfriend Rob keeps on being a beacon of reason and light. The dialogue itself feels real and genuine, with each character having their own voice. The creepy moments land with the perfect amount of shock, and the tender moments feel affirming. This series continues to be one of the most well written comics on stands right now, with Kraus being a tour de force of talent.

Art Direction

The paradoxical soothing yet unnerving aesthetic of “The Autumnal” #5 is built once again by artist Chris Shehan, whose pencils provide stunning detail and tone for environments, characters, and the general creepiness of Comfort Notch. The small town covered in leaves and woods comes across like a mix of a Stephen King novel and John Carpenter’s Halloween. The little details of the houses and resident small town diner carry a sense of familiarity to them that draws the reader into the comic with ease. The character animations are once again outstanding, with each person having their personalities portrayed through their expressions. Kat’s worry and suspicion shows through her eyes, Rob’s concern for his new lover is plastered on his face, while the lies of the deceitful are bared through grinning teeth. The colors of Jason Wordie are what really sell the “Autumn” part of “The Autumnal,” with the whole town and setting being draped in that orange and red hue that can suddenly turn into foggy shadow and other dark, vivid hues during the more horrific scenes. Subtlety is still the name of this comic’s game, so the visual direction of this comic is crafted to keep the reader strung along with often silent panels to accomplish storytelling beats that can only be done in this medium. Minor details are brought to your attention that can sometimes be difficult to make out, but that is all in the design. The letters from Jim Campbell are a perfectly contemporary font that blends in with the story and still sells the tone of the dialogue and narration perfectly. This is an expertly crafted comic book, and one of the most intricately put together horror books of the year.

“The Autumnal” #5 is a brilliant, insightful chapter in a horror comic series that is brimming with brilliance, character insight, and creeping horror. Daniel Kraus pens a script that gives priority to the evolving emotions and relationships of the main cast, while demonstrating a keen sense of tension and dread building when it comes to telling a horror story. The visuals from Chris Shehan and Jordie Bellaire are a beautiful and haunting display of character and environmental artistry, with out-of-nowhere haunting imagery and top-notch panel direction. This truly is one of the finest horror comics in recent memory, and you owe it to yourself to pick up this latest issue when it hits shelves on 3-10.

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Marvel Comics Exclusive Preview: SPIDER-WOMAN #10

marvel comics exclusive preview spider-woman #10

SPIDER-WOMAN #10 hits your local comic book store March 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
The fuse lit back in #1 finds its destination.

Spider-Woman has crossed so many lines, leading to this moment and an offer to embrace the destiny forged by her Hydra years. Will she take it? You may think you know what a super hero would choose, but Jessica has a habit of defying expectations.

The issue is by writer Karla Pacheco and artist Pere Pérez, with colors by Frank D’Armata, and letters by Travis Lanham. The cover is by Jung-Geun Yoon.

MFR reviewer Cat Wyatt calls the current SPIDER-WOMAN run “tense and compelling,” and says it “uses brilliant layouts, creative storytelling, and vibrant artwork to continue Jess’ story.”

Check out the SPIDER-WOMAN #10 preview below:

marvel comics exclusive preview spider-woman #10

marvel comics exclusive preview spider-woman #10

marvel comics exclusive preview spider-woman #10

marvel comics exclusive preview spider-woman #10

marvel comics exclusive preview spider-woman #10

marvel comics exclusive preview spider-woman #10


Are you reading SPIDER-WOMAN? Who is your favorite Spider-person? Sound off in the comments!

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AfterShock Comics Exclusive Preview: MISKATONIC #5

aftershock comics exclusive preview miskatonic #5

MISKATONIC #5 hits your local comic book store March 24th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Miranda Keller is one of J. Edgar Hoover’s first female investigators. After all she’s seen in the Miskatonic Valley – a white supremacist cult, bulletproof amphibious humanoids and the reanimated dead – she might also be the last. Now, her career and her life depend on stopping the resurrection of an Elder God.

MISKATONIC #5 is by writer Mark Sable and artist Giorgio Pontrelli, with colors by Pippa Bowland, and letters by Dave Sharpe. The main cover is by Jeremy Haun with Nick Filardi.

What MFR reviewer Darryll Robson had to say about the series in his review of the first issue:

MISKATONIC is addictive storytelling from the get go. Historical and modern sensibilities clash in a narrative full of intrigue and realism. It has instantly set itself up as an unmissable series.

Check out the MISKATONIC #5 preview below:

aftershock comics exclusive preview miskatonic #5

aftershock comics exclusive preview miskatonic #5

aftershock comics exclusive preview miskatonic #5

aftershock comics exclusive preview miskatonic #5

aftershock comics exclusive preview miskatonic #5

aftershock comics exclusive preview miskatonic #5


Are you reading MISKATONIC? Sound off in the comments!

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Review: PARENTHESIS—On Recovery

IDW Cover

Some non-fiction graphic novels leave an indelible mark on the reader, and Parenthesis is one of them. Written and illustrated by Élodie Durand, Parenthesis offers an unglamorous and tender account of living with and recovering from tumor-related epilepsy. Originally published in French under the title La Parenthèse by Editions Delcourt in 2010, Parenthesis is now available from IDW’s imprint Top Shelf Productions.

Durand establishes her non-linear, epistolary story of Judith with her cutting her hair short. These hair clippings fall in the shape of parentheses. Then the narrative jumps to a past meeting with a friend which serves as the inciting incident for Judith’s reconciliation with her past, of her self-image, and her relationships, chiefly with her mother. In fact, it is to her mother that the novel is addressed.

From the opening scene, the plot moves forward and back as the protagonist pieces together the memories she nearly lost. And with her parents’ help, Judith reconfigures events she thought she knew. Once her timeline encroaches on the present, Judith finally contends with the shame she expressed in the beginning. While this structure might seem confusing as described, it is not so on the page. Durand takes things slow, steeping the reader in the minutiae of her daily life.

A Scattered Mind

Artistically, the book is not messy as such, but it isn’t polished. This choice seems intentional, to reflect the protagonist’s scattered mind and Durand’s stream of consciousness approach to the narrative. This style also reflects Judith’s view of herself while experiencing epilepsy and during her recovery; she saw herself as monstrous, if not without an identity entirely.

JUDITH VIEWS HERSELF AS MONSTROUS.

Durand’s use of intercut “self-portraits” illustrate her sense of self as they devolve in form sequentially from diagnosis to post-recovery. These self-portraits are genuinely disturbing, but I couldn’t look away. When you’re presented with something so authentic and unapologetic, you’re forced to interrogate your own self-image.

Moreover, it’s these self-portraits putting us in the mind of the author that help create sympathy when Judith does out-of-character things. At the start, Judith has symptoms she can’t explain. Therefore, she lashes out angrily at friends. Without proper context, you might be quick to call Judith rude and inconsiderate. But because of the schema from the art, you sympathize.

Later we learn that the increasing severity of her illness forces Judith to rely heavily on her parents—especially her mother—to perform basic daily tasks. This is undeniably devastating and relatable. As someone who is around the same age as Durand was at the time of her diagnosis, I understand the frustration stemming from loss of control, loss of a mature identity when you’ve only recently achieved independence.

Throughout Judith’s story, Durand maintains a strict black-and-white color palette, which gives the sense that the reader is looking into her secret sketchbook. Black-and-white also represents the past, and the haziness of memory. Here, as in the self-portraits, Durand seeks not to gloss up her past, but to simply piece it all together into a cohesive narrative. The effect, while tragic, is a mundane quality to the book as opposed to an over-the-top dramatic one. The reader comes to realize that life goes on despite and because of illness.

ALL EYES ARE ON SICK JUDITH.

Universal And Particular

Reinforcing the private sketchbook (or diary) aesthetic is the lettering and layout. Durand’s cursive captions and minimal use of panel borders contribute to the stream of consciousness quality. However, while these choices make the whole reading experience specific and intimate, the crafting is clear. Durand has spent hard time making this graphic novel. According to her own caption narration, Parenthesis covers roughly ten years of Judith’s life.

And it’s a combination of the time, raw style and narration which make Parenthesis such an effecting, timeless and timely graphic memoir. The novel’s poignancy lies in its specificity. Ten years after its initial publication, Durand’s memoir has resonance for those who have struggled and those who have not.

For these reasons, I believe this is a must-read for fans of non-fiction graphic novels. You may find a bit of catharsis in the story, even if you weren’t looking for it. Who knows, you might discover a close for the parentheses of your own recovery.

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Review: BUFFY THE VAMPIRE SLAYER #23—Impractical Magic

Buffy

As the plans of villains Anya and Xander clash, a greater magic force threatens to upend everything. From Boom! Studios, Buffy the Vampire Slayer #23 is written by Jeremy Lambert and illustrated by Ramon Bachs. Two other frequent Boom! contributors, Raul Angulo and Ed Dukeshire, provide colors and lettering respectively.

By this point, so much has happened to the Scooby Gang, one wonders how things could get worse. But if you remember the TV series as well as the comic series team does, then you know there’s one more trick to pull.

Warning: Spoilers ahead!

spoilers ahead

The Ring of Fire arc has turned multiple friends into foes. Anya, the former Watcher, continues her secret plot against the Watcher Council. Meanwhile, Xander’s a vampire hell-bent on trapping Willow with him. Now, through the magic of a mysterious gift from issue #20, Willow has been taken over by an eerie sort of doppelganger.

Previously On…

So, yes, we now have our very own comic book ret-con of Dark Willow. Lambert’s choice of ret-con feels earned instead of arbitrary, perhaps making it more agreeable for long-term fans of both the show and comic book series. Willow’s struggle to understand her powers has been able to develop over twenty-two issues and a spin-off full of introspection and growing self-awareness.

Dark Willow
SOMETHING SINISTER TAKES OVER WILLOW.

Giving Willow an evil doppelganger means real Willow doesn’t shoulder all the blame. Besides, it’s Anya pulling the strings. Overall, Lambert’s choices have successfully condensed and simplified the Dark Willow story arc while maintaining Willow’s likeability. As a fan of both the show and comics, I must admit I didn’t like the show’s take on Dark Willow.

Dark Willow

While I understood the how and why of her magic addiction, it was heartbreaking to see Willow become the bully. Once it happened, I felt I could no longer relate to my favorite character. So far, the approach to a Dark Willow arc in the comics has been more relatable, due in part to the fact that vampire Xander is the one who lured Willow into the underworld. But, again, it’s not exactly his fault that she’s gone dark.

On the art side of things, Bachs has adapted Dark Willow’s look from the show as well. Bachs’ style seems to pay homage to pop art and early comics by using dot shading and severe action lines. There’s even a striking extreme close-up panel that could have been drawn by Roy Lichtenstein himself. All this to say that Bachs’ Pop Art-inspired inking and character design a la Bob Montana (Archie Comics) betrays a deep love for comics while supporting the playful campiness inherent in the Buffyverse. His choices here lend a sense of familiarity to the art.

Moreover, Angulo’s tendency to wash (or fill) colors lends a neo-noir, cinematic mood to this issue. Each color also corresponds to a place or character. For example, Dark Willow’s parts of the issue are awash in a deep shade of purple, a color of mystery and royalty. This color helps emphasize Dark Willow’s power and momentary control over the Scoobies in the latter half of the issue. On a baser level, she just looks so imposing and badass.

Changed Utterly

On a final note, Dukeshire’s lettering is pretty consistent except for a minor problem on the second to last page. On a previous page, Dukeshire outlined Willow’s telepathic dialogue with her Dark Self in blue. Then on page 23, he outlined what appear to be Dark Willow’s response to Willow in the same shade of blue. But that dialogue could also be Willow’s own inner monologue. It’s only a little confusing given that Dark Willow’s other speech bubbles have been colored black and outlined in purple. Adding to the confusion is the fact that what Willow “says” in the thought bubbles sounds more like Dark Willow.

Regardless, such a small flaw is forgivable with an issue so satisfying. With each new tantalizing twist and obstacle, the Ring of Fire arc challenges the Scooby Gang in ways we’ve never seen before. Now the question is how will Buffy take on two changed versions of her best friends? Not to mention Anya. It is on that delicate thread that our hope for the future of the Scooby Gang hangs.

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SCOUT’S HONOR #3: Separating The Inspiration From Toxicity

Scout's Honor #3 Cover

In AfterShock Comics’ Scout’s Honor #3, writer David Pepose puts the protagonist, Kit through a test of character. The art by Luca Casalanguida details this gritty situation while the colors by Matt Milla bring some brightness to these difficult moments. Through captions and sound effects, Carlos M. Mangual’s lettering brings a dramatic echo to every dire situation Kit faces.

Scout’s Honor #3 The Badge Of Courage

Pepose solidifies the reader’s support of the protagonist Kit after much build up from previous issues. With everything she does and her inspiration of the Ranger Scouts in question after some startling revelations, where does Kit have left to go? As it turns out, the answer is simple nowhere but up.Scout's Honor #3 page arc

Throughout Scout’s Honor #3, Kit’s greatest challenge is the difference between strength and honor. Kit believes in the Ranger Scouts’ ideals that prioritize surviving in a post-apocalyptic world, but she’s against the “Boy’s Club” mentality. Her journey echoes that of her friend-turned bitter rival Dez.

In his attempt to live up to his father’s expectations as well as his own, Dez only finds disappointment and rejection. The reader can’t help but sympathize with him when his father, the Scoutmaster slaps him. That reaction particularly rings true when one considers that the Scoutmaster is anything but the honorable man he pretends to be.

Kit’s relationship with her father is quite different. He’s Kit’s inspiration for living. Even after his death in the series’ second issue, Kit holds him close. While she still keeps her guard up around the scouts, Kit maintains the values her father taught her without conforming to the scouts’ dominant ideals.

Smoothing Out The Grittiness

Casalanguida gives Scout’s Honor #3 a generally gritty style, aside from some important moments. The issue features an impressive amount of shading and detail to characters and terrains. Visually, it looks like the characters are trying to be as tough as the post-apocalyptic world they are living in. That toughness doesn’t seem to end very well when Dez almost gets killed when he tries to defeat an enemy.

By comparison, the smooth panels and the bright colors Milla uses for Kit’s scenes offers the reader a chance to catch a breath and relax in the middle of the aforementioned despair.Kit's personal situation

Otherwise, Mangual makes every action and word impactful in Scout’s Honor #3. The words of Kit’s drone companion, captured in green caption-like word balloons, is some of the only comfort she has. Its simplicity in its support of Kit is both comforting and sad, considering their bond stems from Kit’s role as the drone’s leader. Every other human connection she has ranges from plain to passive aggressive. Unfortunately, there’s nobody she can trust, other than a programmed drone.

Even cheers for her in repetitive sound effects don’t resonate with Kit, as they echo a lie she tells to be among them. Kit might have passed the scouts’ trials, but she had to pretend to be a boy to even qualify. This tension is exemplified by the scouts calling her “Brother Kit”. The reader feels Kit’s emptiness by sharing her awareness of her real gender.

Pick Up Scout’s Honor #3

Scout’s Honor #3 reaffirms the reader’s faith in Kit after losing this trust had been lost in previous issues. Now, it’s so easy to root for her because now the only thing she has left to lose is her honor. The other scouts clearly lack this desirable trait, so Kit stands out among the rest. Now, all she and the reader have left to do is see the series to the end.

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ELSEWHERE VOLUME 2: A Multiverse Full Of Storytelling Passions

Elsewhere Volume 2 Cover

Elsewhere Volume 2 has a Kickstarter campaign ending on March 17. Continuing this anthology in dedication to Unlikely Heroes Studios co-founder Zack Dolan are a mass of creative talents. Passionate creators craft an collection of short stories that span a diverse range of genres, moods and objectives. Some are short and sweet while others are pitches for something more extensive. Regardless, the art and imagination on display are wildly enjoyable.

Background

Unlikely Heroes ForeverUnlikely Heroes Studios is an indie comics company run by a team that’s spread throughout the United States. Founded in 2012, co-founder Zack Dolan used modern technology to connect his team to produce work like Super! and The Surgeon. Dolan unfortunately passed away on 2019, with the last of his artwork featured in the first Elsewhere book. Now, UHS continues to honor Dolan’s memory through series like Up In The Sky and The Unthinkables.

Elsewhere Volume 2: Stories To Showcase

With Crushed, writer J. Michael Donohue delivers a surprising story where each twist and turn keeps readers on their toes. These brief plots are genuinely straightforward yet unpredictable, making them easy to digest and compelling to read.

The art by Jeremy Simser certainly adds to this feeling by bringing a large sense of scale. Plus, the bright colors by Roman Stevens, set against a cold night, produce a stark contrast, and Micah Myers provides impactful sound effects for every major action.

Elsewhere Volume 2 contentOther titles, like Stayin’ Alive, look like pitches for future series. The black-and-white coloring, along with the semi-realistic art, by Amelia Woo evoke the hard-boiled atmosphere of a detective story. The protagonist’s with a difficult past provides the story with a lead that the audience can invest in.

Of course, some of these Elsewhere Volume 2 “pitches” won’t be in UHS. Like when the entire Short Fuse Media network shows off a prelude to a Crisis Crossover, some of these stories will simply go down as one-offs that could have been more.

Personal Standout

Probably the chapter/pitch that made the most notable impression in Elsewhere Volume 2 comes from Miss Medusa’s Monstrous Menagerie. The synergy of writer Paul Hanley and artist Matt Frank jumps off the page throughout the story.

Through the issue, the common experience of a stressful job interview can be felt adds extra realism to the narrative. Protagonist Laurin Stillevok’s confidence is rewarding, as far too many stories that feature this trope center around insecurity and failure. Stillevok’s ruthless boss, Gina Medusa makes the former even more sympathetic.

If Medusa’s red eyes and sharp tongue don’t scare you off, her animated snake hair sure will. It also helps that her office has a distinct window, as it features a prominent eye that makes her employees feel like Medusa is always watching them. Frank also utilizes plenty geometric and facial language to further establish Gina’s powerful grasp on the setting.

Back Elsewhere Volume 2 Now!

Unlikely Heroes Studios continues to impress comic fans with the amount of talent they attract. Elsewhere Volume 2 is full of imaginative, wildly unpredictable characters that make each story feel memorable. Some of them feel good enough to be standalone series, but if nothing else this book offers the reader an assembly of fun stories that are worthwhile.


What do you all think? Is this an anthology you want to invest in? The link to the campaign is up top and here.

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Review: SUPERMAN #29 Questions the Mortality of Clark Kent

Superman 29 cover

The Burden of Superman

Future State has finally passed, and we see a very different future for Superman. Clark is gone, and in his place is Jon, who has become obsessive about protecting Metropolis. It’s a different yet interesting take on Superman’s successor. Now that we’re in the present, we now pick up where Bendis’ run left off: The now teenaged Jon Kent teaming up with his father to save the world. We have seen the beginning of Superboy’s journey, then the formative years with the Legion of Superheroes. All that remains is the question of how he takes the title of Superman? What happens to Clark?

Superman 29 cover

**Some Spoilers Below**

Story:

We open with the Man and Boy of Steel, protecting a STAR Labs satellite from aliens. These aliens have been coming from a breach the scientists have been studying under the orders of Amanda Waller, who is hoping to see the limits of the Kryptonians. During one of the battles, Superman gets cut by the aliens, revealing they have the potential to kill him. This upsets Superboy as he knows his father’s death is soon. Before he can assure Jon that this can be avoided, another attack begins on the satellite, with the largest alien yet.

Superman 29 p1

The idea of a Superman successor has been done before, but with his biological son, this feels more emotional. Since we first met Jon, he has been looking up to his father, using him as the basis of the hero he is meant to be. Just like life, a son would grow more sad and desperate to keep his father alive. For Superboy, he knows how and when it will happen, so he begs Superman to stay out of the fight. It’s honestly heartbreaking.

Unfortunately, this is executed rather poorly. We really don’t get a lot in terms of Superman, with the only real lines from Clark talking about a childhood game. We get a cool fight sequence with the Supermen, but to a newcomer, they would know nothing about them. If this is the end for Clark Kent, give us something to latch onto.

superman 29 p2

Art:

While the story has its interesting points, the art doesn’t do this comic any favors. Phil Hester is the illustrator here, and his style just doesn’t fit in a Superman story. There is a blocky design that honestly makes the world feel flat, especially when given the brilliantly bright colors of Hi-Fi. I could see this art fitting in a darker comic like Batman or Justice League Dark, but not here. 

There is actually some good art in this issue despite this. Sami Basri does the Tales of Metropolis story in the backup, and honestly, I would have preferred the artists had switched roles. Basri’s style fits the staple action for Superman, while Hester’s would have fit Bibbo’s story. It’s good art, just with the wrong story.

Conclusion:

Overall there was stuff to get interested in for this coming Superman tale. The Man of Steel’s days are numbered, and Jon’s emotions are real enough to begin getting attached. The problem is that while this idea is great, it was poorly executed. Hopefully, the subsequent issues will help smooth it out. In terms of art, Hester’s work just doesn’t fit this tale and honestly distracts from the story. The backup story’s art would honestly fit better, but at least Hi-Fi’s color fits the world of Superman. There’s enough here to give this run a chance, but the creative team really needs to deliver.

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