THE UNTHINKABLES #1: We’re Higher Than The Suicide Squad

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The Unthinkables #1 is the beginning of Unlikely Heroes Studios‘ newest series. After its digital release on January 6, 2021, the series’ physical edition is also available on Unlikely Heroes Studios’ website. Writer Paul Hanley crafted this black comedy, supervillain draft ensemble in a tribute to UH Studios’ late co-founder Zack Dolan. Penciler and co-inker Ian Richardson, co-inker Julien Hugonnard-Bert, colorist Simon Gough, and letterer Thomas Mauer bring Hanley’s vision to life. Kate Colors and Matt Krotzer respectively contribute additional colors and letters to the book.

Whichever format one chooses, buyers will not be disappointed. The book will make readers laugh with its odd comedy and gasp at its perilous plot. From start to finish, this book is a lot of fun.

The Unthinkables #1: Meta Dramedy

In this new series, Hanley shares his tribute to Dolan by hitting similar beats to the late co-founder’s series Super!. Over-the-top characters decorate The Unthinkables #1 from the first page to the last. Seeing a Superman pastiche get to say clichés with his super breath in space is a bizarre, fitting parallel to Super!.

The Superman pastiche’s surprising death adds some unexpected gravity to the story and meta-commentary. The silence on the page after this development is deafening, as it signals the hero’s death better than any narration ever could. It wouldn’t be an exaggeration to compare this scene to UH Studios’ reaction to Dolan’s death in 2019.

The Unthinkables #1 driving character — In ‘The Unthinkables #1, The Suicide Squad meets The Boys in a wild mash-up.

With all of the good guys down and defeated, the Earth’s government takes a page out of the Suicide Squad’s playbook and recruits supervillains instead. This mission is filled with desperation, as each recruitment is more visibly dangerous than the last. If this stress is what UH felt after Dolan’s death, it shows. The company’s experience facing this tragedy echoes the story, where the UN tries to get a giant fish kaiju under control.

Most recruits, like the drunken poster child Riotgirl, are nothing the UN can’t handle; then there’s the team’s lead tactician, Bloody Mary. As an experienced ex-KGB spy that evaded counterintelligence for decades, she’s always a step ahead. She takes out a UN sniper as if she was fully anticipating his actions. With all the action coming off-screen, Bloody Mary is the most uneasy supervillain to be around, as she makes the reader feel like something bad is about to happen. With the blatant similarity to the Suicide Squad, you can’t help but think that this situation will get worse before it gets better.

The Art Is A Riot!

The pages of The Unthinkables #1 feature art by a team that’s giving it their all. Richardson, as the penciler and co-inker, gives each character a design to match their distinct personalities. The White Devil’s costume change from his cowboy-like attire to his origami style costume is a huge display of showmanship. In juxtaposition with his earlier cuff trick, this shift shows off his sneaky mind and his wacky capabilities.

Look at Riotgirl; at first glance, she looks like a rebellious schoolgirl. But this appearance is deceiving, as her psionic abilities make her a powerhouse on a team that’s full of people with remarkable powers.

The Unthinkables #1 cover girl — Riotgirl’s red hair makes her stand out every time she’s on the page.

Hugonnard-Bert’s influence as a co-inker is clear, as the fact the talking characters have bolder outlines demonstrates their importance to the narrative in each scene.

The colors by Gough give each of these characteristics enough room to stand out, too. Riotgirl’s red hair naturally draws the reader’s eye, and the accessories on her uniform, like the four-leaf clover and Scottish flag buttons, serve as ways for readers to identify her.

Finally, the lettering by Mauer and Krotzer gives every voice a reverberating feel. The screeching sound effects of White Devil’s origami pterodactyl stunt feels sudden and unexpected. Meanwhile, every conversation has a pulpy touch in how it is presented. A UN officer getting kicked in the crotch by Riotgirl before he finishes making fun of her name makes the reader chuckle. These are just a few ways that the lettering adds to the story.

The Unthinkables #1 Earns Its Name

The Unthinkables #1 is a hilarious action-comedy that’s flying under the radar. The book’s worst downside is that readers will have to wait awhile for the next issue. For now, readers can find the first volume on digital platforms like the company’s store, Comixology, DriveThru Comics, and Global Comix, and the physical copy is also available.

What do you all think? Is this the start of something that will keep your interests?

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Review: RORSCHACH #6 Shows the Raw and Beautiful Mess of Life

By

Zac Owens

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There’s a comfort to be found in a well told story. When you know you’re in the hands of a creator who knows their craft, you can relax. You know they’ll hit all the right beats, you know their conclusion will be satisfying. But there’s a safety in those stories too. We don’t read those stories on the edge of our seats. It’s only when stories go off the reservation that our hearts rise to our throats. We nervously worry, because with big risks can come big disappointments. Or big payoffs. Writer Tom King, artist Jorge Fornes, colorist Dave Stewart, and letterer Clayton Cowles’ Rorschach #6 is a risky story, and it’s damn beautiful.

Writing

King’s script isn’t full of splashy comic book mayhem. It’s just a simple letter correspondence between The Kid and Rorschach. Laura, The Kid, is a 19 year old girl. She writes to Wil Myerson, an aging comic book writer who has been revealed to be this title’s Rorschach, to talk to him about his work. It’s easy to forget that King wrote Laura’s letters. They’re awkward, clunky, and full of angst. When Myerson responds, he does so in the polished tone of a professional writer.

But as the correspondence goes on, each writer begins to influence the other. Laura stumbles through heartfelt summaries of her life and Myerson philosophizes about his time on earth. But soon, Laura is philosophizing and Myerson is confessing his many disappointments in himself. It’s a stunning script, full of relatable lines that feel so organic to the characters. After this issue, we can finally understand this mysterious duo. And it’s hard not to see ourselves in them, despite their many misdeeds.

Art

Fornes teaches us why these two have such a strong connection. His depictions of Laura mirror his depictions of Myerson, and vice versa. These are truly kindred spirits. When Laura talks about a time she was sitting in a church and she had a vision, Fornes leaves us with one final panel of her looking up at the vision with a smile on her face. So, when Myerson recounts a similar story, Fornes repeats this. We see Myerson as a little boy, looking up at the monster he’s imagining, with a gentle smile. But the two face each other. Laura is looking off of her page into the next and Myerson faces the page that came before. It’s as though Laura and Myerson are looking at each other, through the panels that are between them. These aren’t two separate moments, but one that they’re sharing, across space and time.

Coloring

There’s a kind of color coding Stewart uses in this issue. He presents scenes featuring different characters in particular hues. Laura’s memories are yellow. Myerson’s memories are red. The modern day scenes are often shown in a blue or purple hue. When Laura and Myerson finally meet, the scene settles into a bright orange. We see how these two are affecting each other’s whole world. Myerson’s outlook is being brightened by Laura, and she’s beginning to understand the bloody undertones of life. And in the final page, the blank card stock between the last scene and the back cover, Stewart does something subtle but brilliant. The page looks like it’s stained by blood. But it’s old blood that landed unevenly. So, the page is covered in the deep reds and pale yellows of dried blood. It’s one final reminder of where Laura and Myerson’s story is headed.

Lettering

It’s through Cowles’ alignment of captions on the page that so much of each letter’s tone is conveyed. When Laura first writes a letter to Myerson, the captions are scattered about. She seems sheepish and maybe a little panicked. And when Myerson responds, it’s just a little bit tidier. He seems to be laid back in his response, just as are eyes can almost lazily scan the page and take it all in.

When Laura responds, the captions all line up on one side of the page. It’s professional, careful, and it’s suddenly aware of the fact that Myerson is actually going to read it. This goes on throughout the issue. There are moments where captions overlap each other, like Laura or Myerson are itching to communicate that next line, and there are captions that have huge gaps between them, like they feel pained by the fact that they have to say goodbye. Cowles sets the roadmap for Laura and Myerson’s relationship and seamlessly shows us how the two grow together.

There’s so much to say about DC Comics’ Rorschach #6. It’s a script that feels real and true to life. This creative team isn’t playing by the rules anymore. They’re going to tell a story that might scare us. It’s not a story that’s full of heroes and villains. It’s a story that’s dominated by human beings, in all their dangerous glory. We come to see and even understand where even the most extreme characters are coming from. Pick up Rorschach #6, out from DC Comics, at a comic shop near you! It’s a must read!

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Back To Basics: How Iron Man Comics Bring Out Nostalgia’s Problems

By

Jake Palermo

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March 8, 2021

Going back to basics has always been an entertainment franchise’s go to method of reigniting interest. Unfortunately, this method of soft reboots is starting to show its flaws in recent Iron Man comics. By highlighting Tony Stark’s roots from the 60s, readers see how repeating past successes can be very limiting. Because characters like Iron Man only become popular after a number of developments.

The Man in the Iron

This run spurs a lot of going back to basics moments — This run is going back to basics without context.

Let’s look at Iron Man. It should be no secret that everyone finds this character familiar. This is, in no small part, thanks to the MCU movies with Robert Downey Jr. The problem is, starting in 2012, the comic franchise becomes full of hits and misses. So far, the only exception is the Christopher Cantwell series which bills itself as back to basics. After a rough start, the fourth issue and onwards got great review scores. It seems to have something to do with Cantwell’s commentary on the back to basics trope.

The Problem With Iron Man

Going back to basics has always been about driving up interest with nostalgia. The problem with applying this to the comic book Iron Man is that despite his popularity, he wasn’t designed to be a very likable character.

In an interview with Stan Lee for the Iron Man movie release on DVD, he admits he created Tony Stark as someone people would love to hate. Iron Man is a playboy billionaire who profits by selling weapons. Unlike Bruce Wayne, who serves as a masquerade for Batman to help people, Iron Man is just Tony’s way of securing his assets from government powers like SHIELD. No one’s going to use Stark technology without his consent or royalties.

Time To Stop Playing Karaoke

Did Stark sculpt the muscles? — Some of the suits look terrible.

Going back to basics might be a good idea for entertainment after so much absurdity, but it doesn’t work on characters like Iron Man. Because at his most basic, Tony Stark is a caricature of corporate profiteers. The guy builds more million dollar flying suits than he knows what to do with. In all honesty, with real billionaires regularly making the news, Tony the eccentric rich guy is irrelevant.

Billed as Back to Basics — Can’t get anymore basic than sales gimmicks.

Which is why Cantwell’s series goes out of its way to change course by the fourth issue. After acknowledging his self-pity and ego amid a mid-life crisis, Tony regains his confidence after seeing his friends, like Rhodey, in danger. When dealing with somebody as powerful and intelligent as Avengers enemy Korvac, it brings out a favorable Iron Man trait. Tony Stark has always been a futurist, which is something that drives him both as a scientist and as a tactician. It’s what allows him to stay ahead of opponents, even the ones he acknowledges are smarter than him… like one of his own suits.

Don’t Look Back Shellhead!

Going back to basics might work for characters and franchises that get too absurd for their own good. For characters like Iron Man… not so much. The Iron Man comics hit their highs by dealing with Cold War themes that eventually fade away. Besides, does anyone really want to see a recovering alcoholic going through addiction all over again? I certainly don’t.

What do you all think? Did Cantwell plan for this tackling of soft reboots, or was this just a quick realization?

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Review: NOCTERRA #1 – A Dystopia Introduction Done Right

By

David Weber

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Nocterra #1 out now from Image Comics is an exciting introduction to the insane new dystopia that the series is set that still leaves much to uncover.

Scott Snyder does a brilliant job of introducing the reader to a new world in Nocterra #1. The issue begins with a flashback to when the entire world was bathed in everlasting darkness. We then get to see the present day, ten years later, where we are introduced to our main character, Val Riggs, who transports people between outposts in this nightmarish dystopia. Through the use of captions, Val introduces us to the monsters that live in this new world and explains many of the significant changes that have occurred since the darkness began. Snyder’s choice to reveal all of this information so early in the issue prevents the reader from being so confused that they can’t enjoy the story, but it also doesn’t reveal so much that the world is devoid of mystery. For example, we have yet to find out what caused the world to become dark and have yet to see every type of monster that inhabits this new world. There’s plenty of this dystopia left to explore, and this first issue does an incredible job of exciting the readers for what lies ahead.

Tony S. Daniel’s art style fits perfectly with a comic book such as Nocterra #1. His forms are so dynamic that they bring action scenes to an entirely new level. Other techniques such as dramatic angles and overlapping panel borders also help to immerse the reader into the issue and make for some captivating action sequences. Daniel also fills the issue with stunning character designs. The monsters are genuinely creepy and make you look forward to the other versions of them you will get to see down the line. The series’s main character clearly has a striking costume, but it is also worth noting the other fashion of background characters. Each is wearing something cool and unique, such as one character wearing a squid over his head, and this attention to the styles of background characters helps cement the cool dystopian aesthetic of the series.

Nocterra #1‘s coloring is unique because the world is entirely devoid of natural light except for in a few flashbacks. Tomeu Morey does a spectacular job of portraying this, whether through harsh lighting in poorly lit rooms or a golden hue given off by a well-lit outpost. We also get to experience some gorgeous lighting during scenes outside of civilization, where the only light comes from flares or lights strung on a truck. The red of the flare’s light and the truck’s blue result in an exciting color combination that you don’t often get to see, and I look forward to scenes like this in future issues.

AndWorld Design utilizes some classic lettering techniques in Nocterra #1 that fit phenomenally with the story and art. Whether that be by a caption overlapping a panel’s border to make it stand out or dialogue stretching past the edges of a speech bubble to show a character is in anguish, AndWorld Design knows how to tailor lettering to fit the story. There is also a character whose speech bubbles have an inverted color scheme, which beautifully compliments his design.

Nocterra #1 is a splendid introduction to an exciting new dystopia with so much left to be uncovered. The issue provided some thrilling action and set up an epic journey to follow.

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Review: CROSSOVER #4 – An Ending You Won’t Want to Miss

By

David Weber

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Crossover #4, out now from Image Comics, is a bombastic issue with such a gripping ending that will leave you with a need to continue following the series.

Donny Cates does a lot of things to keep this series’ story exciting, and Crossover #4 is where everything really starts to pick up. The issue continues to feature an incredibly nonchalant narrator, who will do things such as interrupt a scene, misremember the sequence of events, or have a character’s dialogue alter what they were in the middle of saying. This peculiar narration style is quite comedic and makes reading exposition a more entertaining experience. Another aspect of what makes this issue so notable is its ending — or should I say endings? I wouldn’t dare spoil such an exciting reveal, but rest assured, Crossover #4 is worth purchasing to see the insane new path the story will be taking.

Geoff Shaw’s contrasts between comic book characters and the characters from the real world are astounding. The comic book characters have an idealistic physique and a naturally heroic attitude that distinctly sets them apart from the real-world characters, who have various statures and physiques. For almost all characters in Crossover #4, it would be easy to tell which characters belonged to which world even without the dotted design placed on the comic book characters. The issue also features a brilliant double splash page of Madman in combat. It shows multiple actions at once and is a fun moment with a classic comic book feel.

Crossover #4 wouldn’t be nearly as enjoyable without Dee Cunniffe’s colors. He does such a phenomenal job at giving the comic book characters a classic feel and the real world a grim one. The contrast of the colorful comic book characters against the bleak background creates a unique style that helps the book stand out.

John J. Hill makes the dialogue of Crossover #4 pop. Whether that be through applying emphasis to specific words or giving a unique font to essential characters and items when they first appear, Hill makes sure that the reader clearly comprehends critical moments in the dialogue. Hills also gives some sound effects a color that heavily contrasts with a scene’s background, which adds energy to the moment.

Crossover #4 may be the best issue in the series yet, and it paves the way for many exciting things to follow. The art and colors work together to make a fun and unique style for the comic book characters interacting in the real world, and the lettering assists the story so that it can flow uninterrupted. This is one issue you do not want to miss.

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INFINITE FRONTIER #0 is the Comic the World Needs Right Now

By

Colin Tessier

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March 8, 2021

There’s something magical about comic books.

Though DC Comics has launched several line-wide reboots, the premiere of its latest initiative in Infinite Frontier #0 has successfully excited even the most jaded comic fans. It’s a book filled with the promise of a brighter tomorrow. Possibilities jump off of every page, and many readers, from long-time followers to casual fans and everyone in between, can’t wait to see what happens next. This debut issue is the perfect comic for the world right now, both the one within the pages of the book and the real one we’re all living in.

The buzz generated by Infinite Frontier #0 is genuinely remarkable. The main story, written by acclaimed scribes Joshua Williamson, James Tynion IV, and Scott Snyder, turns DC on its head by revealing that the universe is limitless. Even on page one, the reader learns that the destiny our beloved heroes face is unwritten. Truly, anything is possible in this new world order. This monumental change is a stark departure from the DC Universe fans had become accustomed to.

Whereas the multiverse was once contained within somewhat loose boundaries, even after the Source Wall broke, the stories that DC can tell are now infinite. Throughout this highly anticipated issue, Wonder Woman acts as a tour guide, and she shows the reader just a small sample size of what’s to come. From Black Adam’s return to the devastating attack on Arkham Asylum, the core trio of writers present a new status quo that’s exhilarating.

DC Infinite Frontier #0 — Every step of the way, Infinite Frontier #0 is full of hope and possibility.

The artwork also reflects the optimism that’s evident throughout the entire story. Dire events like Dark Nights: Death Metal were appropriately dreary, but this tone quickly pervaded the majority of the DCU. Thankfully, Infinite Frontier #0 is filled with bright, joyful colors that make it impossible not to smile. This effect is especially apparent during the second Superman snippet, written by Phillip Kennedy Johnson, illustrated by Jamal Igle, and colored by Hi-Fi.

Other excerpts are also good examples, but it’s fitting that Superman, in this case, Jon Kent, is an embodiment of this renewed hope. Sure, the scene might require striking colors to capture the galactic nature of extraterrestrial threats. But even when Kent is flying by the iconic Daily Planet globe, there’s something powerful about the dazzling, electric blue sky in the background. It’s a new dawn, it’s a new day, and DC fans should definitely feel good by the time they’re done reading Infinite Frontier #0.

Superman in DC Infinite Frontier #0 — Superman embodies the optimism seen in Infinite Frontier #0.

At one point, it’s a story about romance and finding your way back to the ones you love. Williams Green Arrow & Black Canary portion of the book reunites one of DC’s most recognizable couples. This section, illustrated by Alex Maleev and colored by Jordie Bellaire, shows that Oliver Queen and Dinah Lance are back together. The reader gets to see an intimate moment for the couple, and the scene does just enough to warm the fans’ hearts and lure them in for the next chapter.

Infinite Frontier#0 makes several statements, and one profound scene stands above the rest. In the Green Lantern: Alan Scott teaser, the legendary hero bravely comes out to his children, Ophidian and Jade, and they warmly embrace their father. Scott explained how he felt compelled to reveal his true self ahead of his new mission as the sentinel of the world.

Tynion IV punctuates the emotional moment with a poetic description of Scott’s actions, stated by both the Green Lantern and his son. “No fear,” they both say, a moment that beautifully captures Scott’s bravery and pairs it with his duty as a Green Lantern, a line of heroes who are known for their courage and their ability to overcome fear.

This excerpt about Scott takes Infinite Frontier #0 to another level, as it tells the reader that this book is very much a reflection of, and maybe even a proclamation about, the modern world. Scott’s valor and the touching response he receives from his children speaks to the acceptance and understanding that this world needs right now.

Destiny in DC Infinite Frontier #0 — Infinite Frontier #0, shows how heroes can write their own destinies

From there, it’s easy to reflect on this book’s numerous connections to the real world. First, it’s refreshing to see an extensive gathering of DC’s heroes. In some ways, the book reads like a family reunion, an experience that makes the reader think of the distance that’s caused by life during a pandemic.

Countless people have been separated from their loved ones due to travel restrictions. Watching these characters come together, even indirectly, is a welcome change of pace because it adds a timely example of comics’ ability to be an escape. Reading this reunion unfold on the page makes the reader hope for a world where everyone can reconnect with their loved ones.

As nice as that is, perhaps the leading reason why this book is so profound can be seen in its metaphorical meaning. For roughly a year now, the world has been trapped in COVID-19 mode. The pandemic has dominated nearly every facet of life, from responsibilities like school and work to freedoms like dinner dates and concerts. Life before COVID-19 has become a distant memory, and life has felt like a perpetual cycle of fear, restriction, and despair.

For months, the pandemic has rewritten the story of day-to-day existence. Across the globe, people are locked into this new way of living. It can be hard to find hope for the future when, more often than not, COVID-19 has cursed the world to suffer that aforementioned vicious cycle.

But that’s where Infinite Frontier #0 comes in. Enough doom and gloom. Yes, this book is actually about how incredible heroes can now experience an immeasurable variety of new possibilities and destinies. But the issue serves as an eye-opening reminder about the nature of real life. While the pandemic will continue to hinder life as we know it, people have the chance to write their own stories every day.

Life is whatever you make of it. One can choose to get bogged down in the anguish that’s often associated with the pandemic. On the other hand, one has the opportunity to rise above, make the most of it and follow their dreams, whatever they are.

That’s the heart of the story in Infinite Frontier #0, as it shows the reader how everyone can be their own hero.

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THOR AND LOKI: DOUBLE TROUBLE #1 – Teenage Angst On Asgard

By

Jake Palermo

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Thor and Loki: Double Trouble #1 is out on March 10 from Marvel Comics. Writer Mariko Tamaki depicts the titular Asgardian brothers’ intense rivalry with teenage levity. To bring that feeling of levity in cartoonish full is artist duo Gurihiru. Finally, VC’s Ariana Mahler as letterer makes every word on display have a sense of ironic weight to them.

Thor and Loki: Double Trouble #1 Summary

Tamaki gives a quirky take on Thor and Loki’s relationship. These two foster brothers have always been bitter rivals, so going into their teenage years is a nice change of pace. Rather than rehash the usual cat and mouse game, Thor and Loki: Double Trouble #1 plays everything for laughs. Being teenagers allow the brothers’ attitudes to be a little more bearable and funny. Because who really wants to watch two adults get into one another’s business… again? Teens can allow suspension of disbelief a little easier, especially when depictions like these show humanizing flaws.

There’s a balance of being self-aware and self-conscious about the setting and characters. Introductions to Asgard make it out to be this practical paradise that prides itself on the classical font Asgardians in several series make use of. Thor likes to show off in his belief of being the strongest Asgardian. At the same time, Loki is always ready to play Thor’s ego against him so Loki can feed his own ego. Despite all of the legends and myths surrounding Asgard, the people living in it, including these brothers, are still people.

Hijinks Of Legend

Gurihiru never strays away from depicting characters in humorous ways. Thor’s large frame and straightened facial features often make him look like the most notable person in view. Using Mjolnir and lifting a statue over his head is certainly a way to get the reader’s attention. To counteract his brother’s showboating, the lankier and round facial featured Loki often appears in Thor’s background. That is until the use of his magic and trickery has Loki steal the spotlight only to give it back to Thor to make him look bad. Annoy him enough by stealing an apple as a horse, Thor’s ready to attack.

The lettering by Mahler never misses a beat in its presentation. Steady guidance through captions introduces the setting until a big introduction to Thor in bold letters. That’s a sequence that lines up perfectly with Thor’s character. So with Loki lacking any announcers, he has to do it himself. So what better way to steal Thor’s thunder than with a few slow-clap SFX as his introduction? His word balloons directly cutting off Thor only adds to this character dynamic.

Relax With Thor and Loki: Double Trouble #1

Thor and Loki: Double Trouble #1 begins a series that will be a good pass time between all the bigger releases. Instead of big world-ending events, it’s nice to see Thor and Loki’s sibling rivalry with cartoonish flair. Heck being teenagers means they can get away with it without making themselves look too stupid.

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NON-STOP SPIDER-MAN #1: A Blink And You’ll Miss Thrill Ride

By

Jake Palermo

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Non-Stop Spider-Man #1 rockets out on March 10 from Marvel Comics. Veteran writer Joe Kelly takes the reader on an intense joyride thanks to a simple plot. Penciler Chris Bachalo provides a highly dynamic look for the plot’s pace. The layouts and pacing are so fast, inker Tim Townsend and colorist Marcio Menyz have to keep the reader on point. Lettering by VC’s Travis Lanham deserves a special mention for placement’s sake.

Ready For Non-Stop Spider-Man #1?

Non-Stop Spider-Man #1 is when Joe Kelly showcases superhero action with a simple plot. Taking place in Peter Parker’s college days, this issue has all of the energy from Spider-Man’s early days with Stan Lee and Steve Ditko. By keeping the plot simple, the pace moves linearly to complement the art. Even if it looks like Spider-Man will have to juggle multiple tasks at once, a gang with resources and a new street drug that’s affecting people in Peter’s circle will do that. So it’s great that flashback sequences feel slower to let the weight of those situations sink in.

…Then Go!

The real highlights of Non-Stop Spider-Man #1 come from the dynamic art style. Bachalo’s art keeps the present time on an angle to demonstrate the speed at which events play out. Everything looks like it’s moving so fast, there are many “blink and you’ll miss it” moments. Did jumping out of a window right off the bat distract you long enough for Peter to change costumes? Because the inking by Townsend does bolden on moments of impact and plot relevancy. Directly below Peter in one long panel is a van he’s chasing. This, along with the red costume against darker backgrounds by Menyz, keeps the reader on point.

Now compare all of this to flashback sequences where the panels straighten out. Because these events happen in the past, everything slows down as if building up momentum for the present. Not only that but with the colors of a funeral scene making everything look part of the environment, Parker genuinely feels stuck in the moment. When Peter is applying himself with a bright blue jacket to stand out from the background, momentum picks up.

Watch For Signs!

Lanham’s lettering doesn’t just extend out of actions; they juxtapose the situation. Like most SFX, they serve to highlight certain objects or moments of impact. A ringtone in juxtaposition with a caption immediately following it practically screams the pace. So many things are happening, Peter’s mind can barely keep up. There are even times when the Spidey Sense practically speaks out in words like in Into The Spider-Verse. Only this isn’t merely a callback; it’s Spider-Man’s power instructing him to act quickly of oncoming dangers.

Without captions or word balloons, the reader more than likely sees Spider-Man springing into action for no apparent reason. It would still be exciting to look at, but a little more story goes a long way. A big two-page spread, in the beginning, features so many things happening at once; the many captions slow the reader down. This puts readers into the head of Spider-Man as he pursues a mafia while using his webbing to minimize collateral damage after jumping out a window. There’s a real feel of being “in the zone” within Non-Stop Spider-Man #1.

Non-Stop Spider-Man #1 Will Take You For A Ride

Non-Stop Spider-Man #1 will fill a reader with excitement with its sense of time and energy from start to finish. If anybody has ever wanted to feel what Spider-Man goes through in the comics, this is the place to find out.

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INTERVIEW: Composer Christopher Thomas On Creating Musical Punches For HAYMAKER

By

Ruben Diaz

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March 8, 2021

Haymaker‘s a 2021 film from writer, director, and star Nick Sasso (Boardwalk Empire) about a former MMA star trying to reinvent himself after his life in the ring comes to an end. Composer Christopher Thomas fills the film with sonic jabs and uppercuts that push the narrative to greater heights.

Nick Sasso is Nick Malloy, an MMA fighter who suffered a humbling defeat in the ring. Now, he’s working as a bouncer, but that gig soon ends when Nick stops an attempted rape. The potential victim, Nomi, a transgender singer played by Nomi Ruiz (Mayans M.C.), is grateful and offers Nick a job as her bodyguard. Nick agrees, and while the pair form a close relationship, Nick’s also busy trying to get back in the ring and return to glory.

PopAxiom spoke with Chris about when he knew he wanted to be a composer, making the music for Jeffrey Reddick’s Don’t Look Back and getting in the ring for Haymaker.

Music Forever

When Chris says, “Music’s always been a part of my life,” he means it. “My parents are musicians. My father told me that the day I was born, they put on a conductor’s baton and a bow tie and took a picture. It ended up on the cover of the hospital’s pamphlet that year.”

“When they brought me home,” he continues, “they told me they played some St. Olaf Choir music. From day one, I was being prepared for music.”

Chris’ connection to music grew by leaps and bounds quickly. “I knew I wanted to make music forever when I was in the second grade. I heard Beethoven one day, and I decided that I needed to learn piano and learn the songs of this person.”

“After that,” he says, “I was introduced to the cello in the fourth grade. The cello is what I studied professionally into college.”

By the age of eleven or so, Chris knew “music was it. I knew I was going to be a composer.”

“I didn’t even know what a composer was at that time,” he admits. “I just knew I needed to keep creating music and write it down.”

Chris’ journey to film composition took a turn after a random store find. “One day, I found some tape cassette albums for movies like A Nightmare Before Christmas, Jurassic Park, and more John Williams. It sort of hit me: ‘wait a minute, these guys work for film. I wonder if that’s how you make a living and write music?’ I got into Bernard Herman and Nina Rota. I heard my personality in these offbeat composers.”

About Haymaker

Chris worked on two projects with a producer connection. Andrew van den Houten worked as a producer on both Haymaker and Don’t Look Back, the horror film from Jeffrey Reddick, the Final Destination creator. “I finished the score for Haymaker first, but it had a much bigger delay on the release.”

As Haymaker wrapped up, “Andrew told me he was about to start a new film with Jeffrey Reddick. Andrew passed on my score for Haymaker to Jeffrey, who then wanted to meet about the new project. Andrew called Jeffrey right then and there.”

Haymaker lives firmly in the drama category, while Don’t Look Back mixes in a healthy helping of horror. “I tried not to go all horror music all the time [with Don’t Look Back]. We saw the world through Kaitlyn’s eyes, and we needed more drama. It was a lot of juggling the drama and thriller aspects.”

“In Haymaker,” he explains, “when Nick and I started working together, we knew there were a lot of obvious things that we could play in this film.”

However, Chris affirms, “we did the opposite.” Haymaker‘s sound isn’t what you might expect. “We said, let’s not hit every moment. Let’s write a concert piece and only hit moments in a scene when we have to. Let’s make it feel like a violin concerto in a movie.”

“The approach was completely the opposite from Don’t Look Back,” he says.

The composer gets near-final cuts of films, sometimes with a temp score, sometimes without. What’s part of Chris’ process? “I watch the films as much as possible until I start to feel the rhythms in the movie and the edits.”

“I try to look for that almost like the cuts are a metronome,” he explains. “I look at the colors and get a sense of the tone radiating from what’s happening on screen. I turn that into sounds and send it to the directors.”

Chris is a big fan of theme. “Theme is a connection. It’s how you relate and grow with a character.”

Wrapping Up

“Bruno Coulais makes some of my favorite film scores,” he says when asked about modern composers. “Danny Elfman is a big one for me. It’s like Bernard Herrmann was reincarnated for another generation.”

The spirit of Bernard Herrmann and the composers of that ilk is important to Chris. “I like to feel like I’m going to keep carrying that spirit.”

Chris could rattle off a massive list of composers he admires. “I love Alan Silvestri, John Powell, and James Newton Howard. My other obsession growing up was movies.”

Chris loved movies. “I had a lot of support and talent for the music. But I watched tons of classic films from Hitchcock, Fellini, and Kurosawa. I heard so much of my imagination in those scores that I felt like those composers were guiding me where I wanted to go.”

What’s a film he’d love to score if they were making a version for modern audiences? “I don’t know if I want to see a remake of one of these, but I’d be honored to carry the torch for Rebecca or Vertigo. I’d love to do something like Vertigo, but Rebecca speaks to my aesthetic.”

“The Haymaker album is available on iTunes, YouTube Music, and other streaming platforms. The film is currently available for rent on VOD and digital platforms. So, what’s next for Chris? “Over the summer, I was part of a shoot for a masterclass on film scoring. That “will be coming out soon.”

Is Haymaker on your watch list?

Thanks to Christopher Thomas and Projection PR
for making this interview possible.

Read more interviews from Ruben R. Diaz!

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WANDAVISION – The Series Finale | TV Review

By

Kieran Freemantle

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WandaVision has reached its conclusion with an action-packed episode which had reveals that will be important for future Marvel projects.

Agatha holds Wanda’s son hostage, forcing Wanda to use her powers against the more experienced witch: something Agatha wants to happen. S.W.O.R.D. has sent in the resurrected body into Westview to take down Wanda, leading to a giant battle between two vibranium androids.

“The Series Finale” was pretty much the third act of an MCU movie, the point in the film where the heroes and villain have their showdown. As a CGI fest and action spectacle, it’s up there with many of the cinematic entries. Wanda and Agatha throw spells and hexes at each other whilst the two versions of Vision fight in the sky and crash down into the ground. There were crowd-pleasing moments during these battles, like when Wanda and her family stand together like The Incredibles. The finale can be seen like an anime series since many have an action-ordinated climax.

Whilst “The Series Finale” was an action-filled episode it also presented moral dilemmas and provided information for the future of the MCU. Wanda has to face the ethical issues of her illusion when Agatha breaks Wanda’s control of the townspeople. Wanda realizes that she’s the villain to Westview’s residents because they beg her to free them or let them die. But if she lets the people go, she will lose her family. It all plays into the themes of the series where Wanda needs to move on from her grief.

In the finale Agatha reveals that Wanda is really the Scarlett Witch, a powerful witch who doesn’t need a coven and be more powerful than the Sorcerer Supreme. She also states that the Scarlett Witch is destined to bring destruction. This was the series setting up Doctor Strange in the Multiverse of Madness where Wanda is going to be the villain.

In the comics Agatha has been a tutor to Wanda. The finale did play on this because Wanda did learn from Agatha during the battle.

The two Visions did have a superpowered battle but they were evenly matched. They had the same set of abilities. Because of this, they had to resolve their fight through a philosophical debate instead of laser blasts and punching. It’s in character for Vision due to his intelligence and it makes a change to the usual superpowered fisticuffs.

The other way the finale ties into the wider MCU was with its post-credit scenes. The post-credit scenes have been a tradition in the MCU since the beginning. One scene was setting up Captain Marvel 2, whilst Wanda’s scene was similar to the ending of The Incredible Hulk where the main characters were living in solitude.

“The Series Finale” was as deep or character-driven as the other WandaVision episodes, but it does work as a popcorn experience and still manages to have strong emotional moments.

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