ELSEWHERE VOLUME 2: A Multiverse Full Of Storytelling Passions

By

-

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 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.

Other 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.

Monkeys Fighting Robots Youtube

Review: SUPERMAN #29 Questions the Mortality of Clark Kent

By

Jose "Jody" Cardona

-

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?

**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.

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.

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.

Monkeys Fighting Robots Youtube

Review: BLACK HAMMER: VISIONS #2 – Doesn’t Deliver

By

Zac Owens

-

The Black Hammer Universe is home to some of the best comics. The main Black Hammer series, Colonel Weird: Cosmagog, and even Black Hammer: Visions #1 are all examples of subtle, nuanced storytelling. So, reading a comic like Black Hammer: Visions #2 hurts. It’s a bump on an otherwise smooth road. Writer Geoff Johns, artist Scott Kollins, colorist Bill Crabtree and letterer Nate Piekos deliver an issue full of empty promises and soulless scares.

Writing

From page one, Johns is off his game. Typically a strong writer, seeing clumsy exposition from him is kind of heartbreaking. We open on Madame Dragonfly. In 1960’s-horror-comics fashion, she addresses the reader. It’s your typical “turn back now, horrors lay ahead” schpeel. By the end of Madame Dragonfly’s lines, we’ve gotten the point and then some. And as she warns that there’s a price to reading the comic: “It is their tale for yours!” it’s hard to feel any chills. It’s a speech that’s laced with self-importance but ultimately lands on an empty promise. No reader will sit there and think that they’ll have to tell their life story to Madame Dragonfly, and the comic itself doesn’t get meta enough in its themes to create any kind of fear of that. It’s simply a modern story, bookended by an anachronistic addressing of the reader.

This could work if the modern story were up to snuff. But it’s full of strange exposition-heavy moments. A cop stops a man driving down the road. “For the next ten miles, you don’t stop. Not for anything,” the cop says. And, of course, the man promptly runs out of cigarettes and sees a gas station. It’s your typical horror tale setup. But even though we see the cop’s warning only one page before, Johns feels the need to repeat the panel. He shows us the cop saying that line again, in the man’s mind’s eye, just so we’re clear he’s ignoring the cop’s advice. It’s a little belittling to the reader. It connects obvious dots and does all the work for us. Due to many more moments like this, a cast of characters that feel inorganic and unsympathetic, Johns’ script falls flat.

Art

Something about Kollins’ art doesn’t match the tone of the story either. Moments supposed to show a character’s anger, fear or sadness often come off as just a little funny. Kollins’ style is an odd mix of minimalistic and detailed. All the wrong details get the focus, with a few exceptions. It’s often the surroundings of a character that are detailed. We see the splinters on the door of the cabin, but the look on a young boy’s face is out of focus. It has a cartoony effect. In pulling us away from the characters’ faces, we get pulled away from what they’re feeling. And when we see their eyes only as dots, or their mouths as an angry triangle, it seems more funny than terrifying. Ultimately, Kollins doesn’t help fulfill Johns’ promises either. He shows us a world that just isn’t very scary.

Coloring

Crabtree also creates a strange tone. When we first meet our characters, they’re driving down a street through the rainy night. But the panels that they’re in are brightly colored. The driver is shown in fleshy tones. Crabtree doesn’t set the stage as a spooky late night. These panels could be happening in the middle of the day. And as the story continues, these problems persist. Nearly every scene feels strangely colorful. And Kollins’ art isn’t scary enough for it to feel like Crabtree is playing against each moment. No, the two simply work together to create a scare-free horror comic.

Lettering

Piekos’ lettering is the one thing that occasionally rises above the rest of the story. Moments like a kid falling through a door and his “AAAHHHH!” flying out of his word balloon help create a sense of movement. When the same kid shows up in another room, there’s a word balloon that says, “Who is that?” The lettering is small and sheepish. The follow-up “Who are you?” is bigger and more confident. You can hear the difference just by looking at the page. But Piekos’ sound effects don’t mesh with the story well. The bright yellow, thick block lettered “BAM” of a knock on the door takes the reader out of that moment. We’re all too aware we’re reading a sound effect and not hearing a noise.

Dark Horse’s Black Hammer: Visions #2 is flat and emotionless. We’re presented with characters that feel empty. They don’t have a past, they barely have a present, and we’re left not caring about their future. Every moment of horror is like a jump scare. It’s cheap, brief, and ultimately not scary in its own right. Johns, Kollins, Crabtree, and Piekos don’t go deep into this issue. As a longtime fan of both Johns and Black Hammer, I’m disappointed. Black Hammer: Visions #2, from Dark Horse Comics, is out March 10th.

Monkeys Fighting Robots Youtube

A Ghoulish Introduction in KARMEN #1

By

Cat Wyatt

-

KARMEN #1, available Wednesday from Image Comics, dives into a dark and disturbing world, one that will raise twice as many questions as it seeks to answer. This is already proving to be a read not designed for the faint of heart.

Karmen #1 is the beginning of a five-issue miniseries written and illustrated by Guillem March (known for Catwoman, Batman, and Harley Quinn, among other series). This series is about an angel who at times may appear to be anything but.

They say that death is only the beginning. That may just be the case for Karmen, a skeletal looking angel with a strong and unique personality. She may not be what you picture, when you think of a shepherd, but that’s half the point, is it not?

This series is already proving to be dark and disturbing, one that isn’t afraid to show the more disturbing sides of humanity and pain. On that note, this is perhaps not an issue for everyone. (Spoiler/trigger warning) Karmen #1 depicts imagery of self-harm and suicide, and it is present often enough to make it impossible to skip over.

Just a casual stroll up an apartment building stairway.

The Writing

Karmen #1 is every bit as dark and disturbing as the description promises. Yet it is so much more than that as well. Much like the dreams described within these pages, there is an ethereal feeling to the introduction.

There’s a hidden depth to what has already been introduced. It’s so easy and tempting to theorize what Guillem March is trying to say here. But at the end of the day, it almost feels better to wait and see what the next issue holds. What the next issue will reveal, and how it will change this path we’re seeing for Karmen.

Not to mention her human ward. Her story is a complex and heartbreaking tale. One that feels so human in the way pain is portrayed. In how her whole life is shown through a series of moments, only to transition into something so very different.

Those are admittedly the more difficult scenes to take in, as is the overall implication of what has happened. On the bright side (I promise you there is one), Karmen’s bright personality really does help to balance out the weighted reality that Cata brings with her.

The Art

The artwork in Karmen #1 stands out about as much as her personality. That is to say – it will stand out among the crowd. Now and always. Guillem March’s style is so strong here, portraying a variety of scenes, happily bouncing back and forth between tones and implications. It’s almost too much to take in.

For every evocative and ethereal moment described in this issue, the artwork takes it several steps further. Karmen really does look like a warped angel, and is a stark contrast to that of Cata – her pain, her appearance, everything.

Guillem did have a color assistant, Tony Lopez, and together they created something so surreal. The colors themselves seem to be trying to tell a story – to hint about the truth well before it’s confirmed directly.

One that note, I would once again like to remind readers that this series really isn’t going to be for everyone. The artwork doesn’t shy away from the reality of the situation, even if it does dance around it from time to time. There are certainly a few scenes that some might find extremely upsetting.

The roommate doesn’t appear to be willing to pay any attention to the world.

Conclusion

Karmen #1 is going to be one of those issues that sticks with me for years to come, I just know it. The story and the artwork have wormed their way into my head, leaving me curious about Karmen and her intentions. I know I will not be the only reader so captivated by this tale.

Monkeys Fighting Robots Youtube

The Battle Rages On In THE LAST WITCH #3

By

Cat Wyatt

-

THE LAST WITCH #3, available Wednesday from BOOM! Box continues the tale of one budding witch – and the many battles that lay in her path. Right before our eyes, Saoirse is turning into something new.

It’s hard to believe how quickly everything has changed for little Saoirse. Just two issues ago she was a young girl – one who found herself in the middle of a horror story. Now, we’re in the process of watching her turn into something so much more.

The Last Witch #3 brings us back to Saoirse, her brother, and her grandmother. Her world may have narrowed in some ways, but it looks like there is much for her to gain. Assuming she can survive the battles ahead.

After all, she is now on a path where she must battle the surviving witches. Her great-aunts, as the case may be. Given how Black Annis treated her upon arrival, it’s safe to assume that the rest of her family won’t react kindly to her appearance.

A memory, and a showing of what is to come.

The Writing

While there are many things that have changed, there are likewise many elements that feel the same in The Last Witch #3. You can still see much of the subtlety in Conor McCreery’s writing, even if the scale is steadily increasing.

Saoirse’s bond with her family is still very much a necessary and grounding element of this story. Without it, there’s this impression that she could have ended up just like all the other witches that are so dreadfully whispered about.

It’s difficult to infuse something so carefully such as that, without it becoming overpowering. But that balance has been struck here. It is a nice counter to the brutal battle that Saoirse willingly walks into.

On that note, the battle itself is really quite clever, showcasing all of the reasons why it had to be fought – as well as all of the reasons why it had to be Saoirse. Every move and decision seems to reinforce that she’s the woman that can – and will – set things right.

What makes this whole situation all the more intriguing is, despite that feeling, there really is no guarantee for how this will fall out. Already we’ve been reminded of the corrupting nature of magic itself, and thus the risks that Saoirse takes on a daily basis.

The Art

The artwork inside The Last Witch #3 is truly a sight to behold. It’s not just the major moments that stand out (though there certainly is that), but the smaller moments as well. The moments where Saoirse has never felt so human. It ties in strongly with the theme of the series.

V.V. Glass is one of the best visual storytellers I’ve seen in recent times. There are many small details that bring the story to life, from the way Saoirse interacts with her family (they really do look and feel related – and their care for one another shows), to the grim determination on her face during battle.

Natalia Nesterenko’s colors further bring that world to light. While the colors have been stunning up to this point, there is always something so iconic about the juxtaposition between water and fire. Thus, this issue, with a battle between a fire and water witch, was always meant to be spectacular.

Jim Campbell really nailed the humanizing elements of this series. You can practically feel Saoirse’s hesitation – her fear about leaving her little brother behind. Yet the lettering also grasps the grander scale, portraying the strength of the wind and water that is at play.

To be fair, she does have an excellent point.

Conclusion

The Last Witch #3 has somehow found a way to continue to up the ante – and our expectations. This series may feel larger than life at times, but in many ways, it is still very much the story of a young village girl trying to do right by her family.

Monkeys Fighting Robots Youtube

Review: A Dangerous Family Reunion In TEENAGE MUTANT NINJA TURTLES: JENNIKA II #5

By

Corey Patterson

-

TEENAGE MUTANT NINJA TURTLES: JENNIKA II #5, available in comic book stores on Wednesday, March 10th, offers readers the reunion they were waiting for. Lucia Rosetti, widow of the deceased mob boss Antoni Rosetti, has enlisted the help of Jennika to connect her with her non-mutant son. Originally, the ninja was only able to deliver messages, but there might be an opportunity for a family meeting in this issue. What could go wrong?

Story

The issue opens with a tense discussion between Jennika and Raphael in the Turtle’s home base. The latter is opposed to former’s involvement with a mob connection, but she jumps into an argument immediately.

The reader knows Jennika chose to help Lucia due to her felt responsibility for her child’s well-being. We remember the recent reveal that the ninja herself murdered Antoni while working for the Shredder. She later opens up to Alopex in a heartfelt conversion, showing readers what a vulnerable friendship looks like.

Jennika spends most of the issue tackling the challenges we saw in the previous story—delivering messages from Lucia to her son Junior. What changes in this issue, however, is an unexpected party waiting at the house. And, ironically, they might spur on the reunion between the mother and son.

However, readers will remember that Lucia revealed much of her nefarious last issue. Will Jennika uncover the truth before it’s too late? Writer Ronda Pattison does a brilliant job of guiding us through the narrative with just the right pacing, revealing some of the answers we were waiting for.

Artwork

Jodi Nishijima’s penciling and ink work, alongside Pattison’s coloring, brought the characters within this issue to life. Jennika’s bright yellow headband stands out against the bland backgrounds throughout Mutant Town and the Rosetti’s home. This distinction helps readers sense that Jennika is facing off against the forces of both locales. We also like how Shawn Lee’s lettering used a similar color to Turtles’ dojo for the ninja’s internal dialogue boxes, giving us a sense of where her true heart resides.

Conclusion

TEENAGE MUTANT NINJA TURTLES: JENNIKA II #5 takes this story to the next level. The stakes are high for Jennika and the young Junior, so we’re anticipating a huge event next issue.

Do you think Jennika will discover Lucia’s true motivation? Let us know in the comments below!

Monkeys Fighting Robots Youtube

Review: GOD OF WAR: FALLEN GOD #1 – Can We Run From Our Destiny?

By

Corey Patterson

-

GOD OF WAR: FALLEN GOD #1 hits stores on Wednesday, March 10th, giving fans a look at Kratos’s life between the events of God of War III and God of War (2018). The demigod is more than tired of dealing with the divine powers sitting atop Olympus, opting for a much quieter locale. But readers will find that Kratos must learn an important lesson—Destiny does not meet us on our own terms. And the past we try to escape has a way of catching up with us.

Story

Fresh out of the battles in (detailed in God of War lll), Kratos decides it’s time to bury his past as the “Ghost of Sparta.” His Blades of Chaos serve as the perfect representation of that from which he is fleeing, so he throws them into the ocean.

Unfortunately for Kratos, the past isn’t that easy to get rid of. Somehow, the Blades find him. Readers will see that no matter where Kratos runs, his past is there to greet him.

Chris Roberson’s narrative uses the Blades as the perfect metaphor for both the protagonist’s past and destiny. Their chains represent the past that anchors us to the world, while their reach shows how our purpose guides us forward. But the writer adds in one more step to help Kratos along the way; a mysterious guide who leaves the warrior cryptic messages about his future. Where will this all lead?

Artwork

The illustrations in this issue look as if they’re taken straight out of a God of War video games; the transition of Kratos into this comic book former is seamless. Tony Parker’s penciling and ink work provides highly detailed illustrations of Kratos, showcasing his raging emotions. This is complemented beautifully by Dan Jackson’s coloring, which provides harsh reds and yellows to represent the demigod’s constant rage. And Jimmy Betancourt of Comiccraft’s lettering meshes well with these colors using beautiful red word boxes for Kratos’s inner thoughts.

Conclusion

GOD OF WAR: FALLEN GOD #1 sets up an intriguing new chapter in Kratos’s life. We’re excited to see where this series takes us next.

Who do you think the mysterious figure is? Let us know in the comments below!

Monkeys Fighting Robots Youtube

10-Page Preview: THE DOWN RIVER PEOPLE By Adam Smith and Matthew Fox

By

Matthew Sardo

-

March 10, 2021

THE DOWN RIVER PEOPLE hits your local comic book shop on May 26, but thanks to BOOM! Studios!, Monkeys Fighting Robots has an exclusive 10-page page preview for our readers.

The original graphic novel is by writer Adam Smith and artist Matthew Fox, the creative team of the Eisner and Harvey Award-nominated Long Walk to Valhalla.

About THE DOWN RIVER PEOPLE:
Myers Carpenter is a bootlegger who just inherited his family’s bar, The Flatbed. Unsure of whether or not he wants to keep the famous speakeasy, Myers is forced to find a new booze supplier when he burns his bridges at his longtime source in Mississippi. The only option he can turn to is his estranged mother, now running a fishing lodge for the wealthy, and a half-sister he knew nothing about.

As Myers becomes more entangled in the lives of his newfound family, he begins to learn the secrets of the fishing lodge and the sinister cult thriving just under the surface of wealth and opulence.

Enjoy the 10-page preview below.

Monkeys Fighting Robots Youtube

Review: PROCTOR VALLEY ROAD #1 – Demons In The Desert

By

Justin Munday

-

From comics auteur and legend Grant Morrison and Alex Child, along with artists Naomi Franquiz and Tamra Bonvillain, comes a time capsule of a horror story in Proctor Valley Road #1. This story uses familiar tropes and devices to weave a unique and entertaining opening chapter, full of cultural conflict and fun, scary sequences. With a clever script and stellar story-fitting visuals, this is a promising start to what could go on to be a wonderfully entertaining and witty horror romp through 1970 California.

“August, Rylee, Cora & Jennie have organized a “Spook Tour” with their classmates on the most haunted, demon-infested stretch of road in America to fund attending the concert of their dreams. When their visit turns deadly, these four friends race to rescue the missing students… before the town tears them limb from limb.”

Writing & Plot

In all the years that Morrison has been gracing the comics medium with his vision, it’s rare that we’ve ever gotten a pure horror experience out of him. Sure some of his work on Animal Man, The Invisibles, and Swamp Thing reached into the realms of horror, typically of the existential or cosmic variety. His Image series The Nameless is probably the most outright horror experience we’ve gotten from the Scottish legend, but even then, it’s more conceptual. Proctor Valley Road #1 is a first for the comics icon, as this is a classic all-American traditional scary campfire tale brand of horror story. With the help of writer Child, the pair construct a setting and group of characters that feel real in a time and space that we all know about in both history and pop culture. The turbulence of Vietnam-era late 60’s/early 70’s America is the backdrop for this comic, and the experiences of the characters ground this story in something tangible. I’ve said before in my other horror comic reviews that the best examples of the genre know how to plant their stories firmly in a realistic situation with believable characters, therefore upping the stakes of the terror the cast experiences. The other big element that grounds both the characters and the audience in the story is the fact that the main cast are all teenagers and young adults, and they are written as such. They all have different personalities, none of which feels like a cliché, and they have difficulty grappling with the reality of their world – as teenagers often do. There’s an air of arrogance and self-imposed invulnerability to a few of the leads. It’s what makes this comic very reminiscent of stories like The Monster Squad or The Goonies, which obviously inspired this book. The other societal elements made by this time period, such as notions of patriotism, racism, and draft-dodging, make their presences known but don’t weigh heavily on the minds of the cast. The horror and slice of life bits trade focus with enough frequency that the comic is able to build its world and characters to a point where everything feels real, while the looming supernatural threat leers in the background. This is a superbly well-written comic, and I can’t wait to see where the story goes next.

Art Direction

Proctor Valley Road #1 is graced by the talents of Franquiz on pencils, which I have previously praised for her work on Tales From Harrow County. In this comic, much like that other outstanding horror series, Franquiz’s soft lines, thoughtful details, and varied designs bring this world to life in fitting fashion for the story being told here. Franquiz designs this middle-of-nowhere Californian desert town in the late ’60s with an eye that makes the setting feel tangible and reminds the reader that this was indeed a real-time and place. Her character designs are highly varied in terms of facial animations and even body types, the latter of which is not often seen in comics even now. If this comic were to have all of its dialogue stripped away, we would still have a good idea of each character’s personality just based on how they are animated. The small bits of horror and monster design we get here are also inventive and spooky and teased to the point that makes me want more and more in the next issue. The colors from Tamra Bonvillain are very deep and moody, and they sell this visual aesthetic that is reminiscent of classic 60’s and 70’s horror films. Every panel has a sort of sunset and dust-cast overtone to all of its many shades, and it genuinely looks like that period of film cinematography. The letters from Jim Campbell are a neat, contemporary font that is fitting and easy to read, with really solid effect lettering as well. This is a comic with a visual style perfectly in tune with the story that is being presented.

Proctor Valley Road #1 is a grounded first chapter in this horror comic that feels awfully familiar but still presents enough intrigue and depth to itself to be interesting and fun. Morrison and Child’s script is insightful and intelligent, taking advantage of the place and time the story is set in while very slowly tackling the supernatural terror lurking in the background. Franquiz and Bonvillain’s visuals are pitch-perfect, offering stellar character art and rich, dark tones that are perfect for this desert-set horror story. Be sure to grab this opening issue when it hits stands on March 10!

Monkeys Fighting Robots Youtube

Review: SWEET TOOTH: THE RETURN #5 – The Countdown to the End

By

Justin Munday

-

Creator Jeff Lemire and colorist Jose Villarrubia return with the second-to-last chapter of their sequel mini-series in Sweet Tooth: The Return: #5. This issue uncovers the endgame plan of our scum of a villain while also setting the path and emotional stakes for the main cast, making us root and fear for them in equal distressing amounts. With poignant writing and once again charmingly perfect visuals, this issue may be the best in this excellent mini-series thus far.

“The clock is tick-tick-ticking down. Soon all the nasty hybrid beasts that roam the Earth will get sick and die. And it’s all thanks to our beloved Father and his incredible science virus! He’s doing it for all of you because Father loves you very much, and soon you and all his other very good, special friends will get to walk upon the desiccated corpses of the villainous creatures that took our home from us! What a joyous time that will be! What’s that? Oh my! It’s almost time! Let’s pack our bags, brush our teeth, and remember to never lie to Father! Because lying is what a hybrid would do, and you’re much better than one of them, right?”

Writing & Plot

Lemire’s writing here in Sweet Tooth: the Return #5 offers more of his trademark “less is more” dialogue style combined with his ability to deliver exposition in a way that is still entertaining. This issue focuses on sharpening each character’s motivations and raising the stakes for everyone involved, both hero and villain, before setting off on the series finale. As usual, the best parts of this book are the moments of quiet introspection and one-on-one character conversation between “The Boy” and other characters. This time around, it’s him and our favorite elephant hybrid Earl. There’s something so endlessly charming about how Lemire presents The Boy/Gus’s dialogue, and therefore much of his personality, that every time he’s speaking on the panel I can’t help but love the character. His ever-present optimism and caring for others never comes across as corny or naïve, but rather the exact thing both the other characters and we as readers need to hear. Lemire has always had a perfect ear for naturalistic dialogue and matching dialogue styles differently among a wide range of characters. Even the villainous Father’s monologue about his evil master plan doesn’t bog down the story. There are no wasted words or narration, as every exchange in this comic has weight and is a pleasure to read.

Art Direction

Lemire’s signature art style once again graces the pages of Sweet Tooth: The Return #5, and once again, I wouldn’t have it any other way. The emotion that he can draw into every character despite his simplistic and rough-hewn visual style will never cease to amaze me. His panel direction is often contemplative and thoughtfully paced, in a manner that can only be achieved by someone matching their art to their own words. Hell, if I didn’t love Dean Ormston so much I’d say that Lemire should be the one drawing Black Hammer as well as writing it (he could do it too). The charming detail of Lemire’s pencils is filled with color by Jose Villarrubia, who has brilliantly offered his work in this world ever since the original comic. His watercolor-esque tones give every surface a variety of shades, and his work gets really interesting when reality and the world of dreams and visions get blurred. This is a visually perfect comic for the story, with an eclectic style that probably isn’t for everyone but has an endless amount of charm for those who can appreciate it.

Sweet Tooth: The Return #5 is a climactic chapter that sets up this story’s end by endearing us to the main cast even more than we thought possible just before this story reaches its final issue. Lemire’s signature style of storytelling gives us a comic laden with information that manages to be entertaining to read and is dotted by truly heartfelt character moments and a brutal cliffhanger. His ever-charming visuals, with the help of colorist Jose Villarrubia, set the perfect storytelling tone and style for this book and are absolutely perfect for what is being told here. Be sure to grab this second-to-last issue of this excellent mini-series on March 9!

Monkeys Fighting Robots Youtube