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Review: STAR WARS: DARTH VADER #9 Shows Why Vader Is So Special

By
Corey Patterson
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STAR WARS: DARTH VADER #9, available in comic book stores on Wednesday, January 13th, continues the tale of Darth Vader’s journey from exile on Mustafar. The Sith assassin Ochi of Bestoon is hot on his tail after their fight last issue. Fortunately, Vader narrowly escapes the mercenary’s grasp. But when a group of droids join in the hunt, can the Sith Lord fight back and learn more about Emperor Palpatine’s plans?

Story

After surviving his encounter with the Eye of Webbish Bogg, Vader is ready for some answers. He was able to retrieve a strange piece of arcana from the odd creature—a Wayfinder that promises to reveal Palpatine’s secrets. With this artifact, Vader believes he will be able to uncover what lies in store for the galaxy.

However, readers soon find that Ochi and the droids he hired are hot on the Sith Lord’s tail. These hunters were promised the chance to harvest valuable pieces of Vader’s artificial body parts. And it’s here readers see a flashback to Palpatine’s rescue all those years ago.

Greg Pak’s writing brings readers into the thrilling world of Vader. Readers experience the complex attitudes he feels toward the man who both saved and left him for dead. On top of this, we are inspired by the man’s sheer resiliency when facing a slew of assailants. We see a fighter whose value lies not in special body upgrades (many of which have been lost), but in his willpower.

Artwork

The illustrations throughout STAR WARS: DARTH VADER #9 are full of action. Raffaele Ienco’s penciling and ink work casts Vader, Ochi, and the droids seem to move from panel to panel fluidly. These are further fleshed out with colorist Neeraj Menon’s solid blacks, browns, and silver hues of the characteres set against the blazing red and orange landscapes of Mustafar. In addition, VC’s Joe Caramagna’s lettering styles does a great job of distinguishing between the robot and human voices.

Conclusion

STAR WARS: DARTH VADER #9 highlights some of the best qualities of the Sith Lord. It’ll be interesting to see how he moves forward with so many forces set against him.

Do you think Vader will ever discover what Palpatine has in store? Let us know in the comments below!

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Review: HAHA #1 – Is It Rational To Be Happy In A Sad World?

By
Corey Patterson
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From the brilliant mind of writer W. Maxwell Prince comes a new series in HAHA #1, available in comic book stores on Wednesday, January 13th. In this classic style of one-shot storytelling, readers take a look at the inner life of a true-blue clown. But it’s not all jokes and red noses. Life can be difficult, especially for a clown. But sometimes staying positive can bring unexpected surprises.

Story

This inaugural issue introduces us to a clown named Bart in the first few panels. His family, a wife named Brenda and two children, watch him prepare for work from their breakfast table. While the children greet him cheerfully, Brenda bemoans his chosen profession (something that appears to be a daily occurrence).

He soon learns he’s losing his job; his place of work, Funville, isn’t fairing well in today’s modern world. What’s more, a former employee and a group of nefarious individuals seem to be eying his severance check.

But Bart refuses to give into the negativity. In him  readers find a person defying the harsh aspects of reality—someone they may even admire. But whether this defiance turns out to be a bold stand or a rejection of reality remains to be seen.

Prince’s brilliant writing combines elements of drama and horror in this engaging one-shot story. It’s an issue detailing the life of an individual who dares to be happy in a world that seems completely against him. It’s up to the reader to decide whether he’s a model for us, or in denial.

Artwork

Vanesa Del Ray’s penciling and ink work, Chris O’Halloran’s coloring, and Good Old Neon’s lettering came together beautifully in this first issue. The characters and settings seamlessly shift from quasi-realistic styling to surreal, warped versions of that reality. These are brought to life through an effective use of bright colors against duller backgrounds, which helps emphasize Bart’s positivity in a world of indifference. And the lettering complements these illustrations wonderfully—their squiggly styles add just the right amount of eerie vibes.

Conclusion

HAHA #1 is the intriguing and thrilling story fans have come to expect from this creative team. We’re anxiously waiting for the next installment in this engaging new series.

Do you think there’s something supernatural going on with this particular clown? Let us know in the comments below!

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Review: SWEET TOOTH: THE RETURN #3 Keeps Amping Up Its Mystery

By
Justin Munday
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Writer and artist Jeff Lemire’s sequel to his career-making hit hits its third chapter with “Sweet Tooth: The Return” #3. This issue ups the tension of the story by increasing the cast of important characters, each with their own personal stakes in this mysterious game being played. The mystery surrounding the hybrids, the world they now live in, and this new “Gus’s” relationship to the events of the prior story starts to clear – while still staying just out of reach. With tight pacing, brutal action, and Lemire’s trademark charming art style, this is yet another stellar comic issue for both Sweet Tooth fans and newcomers.

“Oh no, oh no! Things are even worse now! Father told the boy and Penny to go to the jail cell for a time out, but now it looks like they have escaped! And what’s this? One of Father’s nannies has gone missing too? And the Downsiders are angry with Father? Oh dear, this simply will not do. Not one bit. The people must be put back in their places. Order must be maintained. Otherwise humanity cannot survive. Will Penny and the boy ruin Father’s perfect plans, or will he have to put an end to the meddlesome children?”

Writing & Plot

“Sweet Tooth: The Return” #3 feels like the part of a roller coaster just after the initial climb, just as gravity begins to let go and your stomach is jumping through your lungs. The tension and mystery of the first two issues is reaching a fever pitch, and it culminates from two perspectives: the perspective of the “downsiders” living under the rule of the conspiring Father, and “Gus” and his new friends. This is a shockingly bloody issue thanks to the introduction of Gus’s newest ally (a freakin’ elephant hybrid) wreaking tremendous havoc, and the final page reveal is a doozy of a cliffhanger. This issue’s pacing makes the absolute most of the 22-page comic book length, condensing an immense amount of story into this comic. It’s all done with almost no narration, and most of the exposition coming in the form of personal dialogue from the characters. The plight of the “downsiders” living under authoritarian zealots and having friends and family members go missing without explanation is not a new tale, but Lemire’s storytelling is so compelling that it makes this group of character immediately interesting. The way Lemire is tying this series back into the original is a steadily unraveling mystery that has officially launched into overdrive, with mystery colliding with character driven desperation and hope. It’s a Lemire story, after all.

Art Direction

I’ve talked at length about the charm and beauty of Jeff Lemire’s art and how it works within Sweet Tooth in may previous reviews of the series. “The Return” #3 does more of that, with the same intimate detail that makes Lemire’s visuals so special. It’s his animation of facial expressions that really stick out here (and in all of his art really), and it effortlessly pulls you in to the characters. The newest introduction to “Gus’s” party includes an elephant hybrid who on the outset doesn’t appear to show much emotion. You know, because he’s basically an elephant. However, Lemire ingrains the tiniest subtleties into his expressions to create expressions of anguish, rage, and trust when confronted by his torturers and his new friends. His panels and visual direction are directly character focused, with what must be half of the panels in the book showing the speaking character’s face directly facing the reader. Lemire’s deceptively complex work hides under the fact that it is aesthetically so rough-looking. His work is aided by colorist Jose Villarrubia, whose work adds stunning watercolor dimensions to  the characters and their world. The sterile whites and dim grays of their underground society are met with jarring yet beautiful psychedelic color arrays during flashbacks. The visuals are exactly on par with those in the original comic, just with a backdrop of caves and laboratories rather than forests and post-apocalyptic towns.

“Sweet Tooth: The Return” #3 is a gripping third chapter that ramps up the story’s pace and puts more character’s cards on the table. Lemire has begun to divulge larger chunks of this story’s connection to its predecessor, but is still focused on a more present and character-centric delivery for this tale. His artwork with the help of Jose Villarrubia’s colors are still every bit as detailed and charming as they were in the original series. Be sure to grab this newest issue from your local comic shop on 1-12!

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Review: Cowards, Bloodshed and Greed in SPACE BASTARDS #1

By
Zac Owens
-

Humanoids’ Space Bastards #1 is a lot to stomach. It’s the dark comedy sci-fi we all wish we’d thought of. Writers Eric Peterson and Joe Aubrey, with artist Darick Robertson, colorist Diego Rodriguez, and letterer Simon Bowland show us a world that makes just a little too much sense. In Space Bastards, members of the Intergalactic Postal Service must do anything to get their package delivered. That includes maiming, killing, and otherwise fucking up anything or anyone that gets in their way. In fact, the more bloodshed there is, the bigger the paycheck.

Writing

Peterson and Aubrey’s script might seem wild, but it’s also incredibly simple. Violent postage people in space. That’s all it is. But it’s a simple idea that goes a long way. Part of what makes this script work is the bridge Peterson and Aubrey make between the new and the familiar. Sure, the whole Intergalactic Postal Service is new to us, but a violent, deadly, mean veteran of the service, like Manny “The Manicorn” Corns, is something we’ve seen before. He’s the unlikely mentor of our wide-eyed protagonist, David S. Proton. Proton, down on his luck and out of a job, is desperate for things to go right for once. It’s the basic set-up for any good script. But Peterson and Aubrey don’t stop there. They lull us into believing it’s a typical story and then pulls out all the stops. It’s a raucous first issue that promises to be as unpredictable as it is bloody.

Art

Robertson brings all of his famous grit and gore to Space Bastards. Whether it’s someone splattering on a sidewalk or getting knifed in the back, readers know Robertson’s the right man for the job. But Robertson does more than create a great death scene… or death scenes. He shows just how different David S. Proton and Manny are from one another. On every page, Manny looks like a damn giant. He is huge, and the terrified faces of every other character seeing him confirms that. But Proton is just one of the many characters who are running scared. He not only looks sweaty and pale, but he looks small. Robertson shows him peeking out from behind Manny’s head or getting up off the ground. He’s smaller on the page than Manny, and he’s almost always pictured beneath Manny too. Robertson shows us clearly who wears the pants in this partnership and has fun doing it.

Coloring

This entire issue is colored in just three colors. Rodriguez uses hues of orange, blue, and occasionally green to show us the world of Space Bastards. And it’s pretty clear what each of these colors stands for. Manny walks around, orange-skinned and raining destruction down on whoever gets in his way. Proton, in his blue suit, squeamishly gets through whatever comes his way. But the both of them are slaves to the green lights of the Intergalactic Postal Service’s armbands. The green lights of their screens are the futuristic version of a green dollar bill. And so Space Bastards becomes a fantastic combination of blue cowardice, orange chaos, driven by the green of greed.

Robertson Humanoids Space Bastards
An awesome Black Light Variant Cover by Dan Panosian

Lettering

Bowland makes a point of keeping much of the dialogue together. Instead of large paragraphs being told in multiple word balloons, they get delivered in one big chunk. At first, this seems a little weird, but it makes sense as you read what’s actually being said. The world of Space Bastards is crazy. The kind of crazy that you just have to push through. So when David S. Proton is being told the details of the job he’s just signed up for, the people walking him through it don’t give the instructions much room to breathe. That’s because every moment Bowland gives us a pause is an opportunity for Proton to turn tail and run. Bowland really showcases how wild this world is by showing how quickly characters have to convey information, so no one has time to think about it too much.

Space Bastards is about as crazy as it sounds. It’s a blood-splattered charge across the galaxy, with lots of parcels to deliver. Check it out if you like dark comedies and have always wished they’d be in space. Pick up Space Bastards #1, out from Humanoids on January 13th, at a comic shop near you!

 

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Review: Bruce and Grifter in FUTURE STATE: DARK DETECTIVE #1

By
Zac Owens
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Future State DC Comics Bruce Wayne Tamaki

DARK DETECTIVE #1: “Bruce Wayne is a Dead Man”

  • Writing: 5/5
  • Art: 5/5
  • Coloring: 5/5
  • Lettering: 5/5

Dead looks good on Bruce Wayne. That’s because Batman’s character is always at his most entertaining when he’s backed against a wall. Plenty of creators have found new ways of doing this. Take his fortune, take his loved ones, take his sanity. But writer Mariko Tamaki, artist Dan Mora, colorist Jordie Bellaire, and letterer Aditya Bidikar have crossed even more lines in DC Comics’ Future State: Dark Detective #1. They’ve taken his life.

Writing

Tamaki immediately sets the tone, seamlessly and brilliantly. “Gotham,” she begins with a caption. “Gotham is a funeral no one’s attending.” Her false start says everything. It’s a sentence the speaker doesn’t have the energy to finish. And that’s the entire theme of this story. A Gotham City that’s even more rundown than we thought possible. People who somehow care less than they did before. And Tamaki leaves us wondering if Bruce Wayne cares anymore either. Is he fighting to save Gotham, or is he merely fighting to survive? Tamaki doesn’t answer these questions. She pulls back the dialogue and the captions, leaving the large pauses in between ripe with subtext. Tamaki shows, she doesn’t tell, and Dark Detective #1 is beautifully mysterious for it.

Art

Mora has always been a fantastic artist. But he pushes himself to new heights in this issue. His gritty images of Bruce running through the shadows are juxtaposed against his cleaner panels on billboards and in restaurants. Mora also gives this issue a sense of flow. Like ending one paragraph with a transition to the next, but instead with images hinting at the next scene. A girl getting ketchup on her hands in a fast food joint is followed by Bruce’s bloody fist as he bangs against a door. A neon image of Batman in his prime gives way to a picture of Bruce Wayne on a billboard. Mora isn’t just drawing a comic. He’s creating a visual essay, linking themes together and transitioning from point to point with subtlety and precision.

Future State DC Comics Bruce Wayne Tamaki

Coloring

Bellaire has been the colorist behind some of comics’ greatest hits. So it means something when I say that Dark Detective #1 is some of her best work. Everything in this version of Gotham is washed in neon lights. It’s both beautiful and claustrophobic. We don’t get to see characters as they are; we see them under Gotham’s bright “shadow.” Bellaire associates these neon colors with the new tyrannical villain, the Magistrate. So when Bruce is in danger, Bellaire underlines it with another neon yellow panel. It’s a visual warning sign, telling Bruce to run. And the few times we do see characters without a neon hue, it’s equally depressing. Bruce, on his own in an alley, looks left out in the cold. He may be free, momentarily, from Gotham’s neon eyes, but his lack of color makes him look pale with fear. We’re not left confident, exactly, that Bruce will get out of this one unscathed.

Lettering

Bidikar makes this issue fun and terrifying all at once. They punctuate moments like Bruce falling from a building. The “KRASH” exploding from the bottom of the panel gives us a sense of Bruce’s pain. But Bidikar also creates a sense of urgency. When Bruce is suddenly being followed by the Magistrate’s drones, Bidikar gives us a sense of how close they are from their dialogue. “STOP ALL MOVEMENT!” shows up in large letters at the bottom of a page out of nowhere. The drones are on top of him. But as Bruce begins to get away, their dialogue shrinks. And then, of course, as they begin to catch up with him again, their dialogue gets bigger. It’s Bidikar’s way of showing how close the danger is and getting us on the edge of our seat for what could have otherwise been a forgettable chase sequence.

Future State DC Comics Bruce Wayne Tamaki

Grifter in “No Future Past, Pt. 1”

  • Writing: 3.5/5
  • Art: 3.5/5
  • Coloring: 4/5
  • Lettering: 2/5

Writer Matthew Rosenberg, artist Carmine Di Giandomenico, colorist Antonio Fabela, and Andworld Design lettering brings us a chaotic look into Cole Cash’s life, AKA Grifter. As if Grifter’s life wasn’t chaotic enough, he now lives in a dystopian Gotham, so on the brink, he’s starting to look more and more like a good guy by comparison.

Writing

Rosenberg certainly understands a character like Grifter. We see Grifter living from one moment to the next, never really thinking of the future. “Friends of yours?” Luke Fox whispers to him as they come to face-to-face with a new character. “Not sure,” Grifter whispers back. He constantly improvises and has a short term memory when it comes to his mistakes. If Rosenberg had been a little more restrained with his script, trusting the reader to connect some dots instead of connecting them himself, this storyline would have hit home brilliantly. Rosenberg has these characters’ voices down pat; he needs to trust that his premise is already clearly set up between the lines.

Art

Di Giandomenico creates little moments of order in the chaos. At one point, as Grifter stabs a thug in the chest, Di Giandomenico draws an action line from the knife in one panel to it hitting its mark in the next. And in a bustling prison car, it’s not the kicking and screaming we notice, but the casual smile on the prisoner’s face. Unfortunately, we don’t get many opportunities for these little moments. Many of these pages are chock full of gunfights and chase scenes. While they are exciting, there isn’t always much to focus us in on. Di Giandomenico creates action and chaos often in these pages, but it’s the brief seconds of order that shine.

Coloring

Fabela’s color palette is quite reserved in this storyline. Despite big explosions and crazy gunfights, much of the story is red or blue. It flies in the face of the subject matter of the story. But it makes sense. This is a world that is controlled. Fabela shows us what Grifter and Luke Fox are fighting for, or at least what they’re fighting against. The oppressive simplicity of each page speaks of the micromanagement of the Magistrate and his allies. So, with a few flashes of yellow and a splash of purple, Grifter and Fox hope to get back to the colorful world they’ve lost.

Lettering

It’s hard to find much to praise in Andworld Design’s lettering. With massive blocks of text being delivered in singular word balloons, there’s no sense of rhythm or tempo. And the robotic looking “BLAM” sounds of guns going off get repetitive and boring quickly. Occasionally, though, Andworld Design makes an interesting choice, a choice you can hear. “Yo, you’re Cole Cash?” a thug says. “You’re dead,” follows it up, in a connected balloon. That’s a pause you can hear, and it has a terrifying effect. But frankly, much of the rest of the story feels impersonal and robotic. Mostly, it’s a story you’re reading with your eyes, not hearing in your head.

DC Comics’ Future State: Dark Detective #1 is definitely worth the read. Tamaki, Mora, Bellaire, and Bidikar’s story is a perfect introduction to this dystopian world. While Rosenberg, Di Giandomenico, Fabela, and Andworld Design’s story stumbles a little, it’s still an action-packed blaze of glory through DC’s new Future State. Pick up DC Comics’ Future State: Dark Detective #1, out January 12th, at a comic shop near you!

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Chido Comics Partners With Bridge Works Entertainment To Create Latinx Superhero Stories

By
Matthew Sardo
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Chido Comics Partners With Bridge Works Entertainment To Create Latinx Superhero Stories

Announced last week, George Salinas of Bridge Works Entertainment has partnered with Ivan Plaza, owner and founder of the Latinx comic book publisher, Chido Comics, to produce their next TV and film titles. No timetable was announced but the partnership will bring new premium television series and films to the U.S. audience, according to the press release.

“Latinx culture has a lot to offer with many great artists coming up not being able to be seen,” Salinas explains. “We don’t have much representation to speak from in these areas, but I see the hunger of the industry to give us a platform. We need to create these platforms to develop and nurture the talent on every side.”
"Latinx culture has a lot to offer with many great artists coming up not being able to be seen," Salinas explains. "We don't have much representation to speak from in these areas, but I see the hunger of the industry to give us a platform. We need to create these platforms to develop and nurture the talent on every side."
Chido Comics is a boutique publisher that has produced The Masked Republic Luchaverse and the Lucha Underground Comics. Next up for the publisher is the original mini-series, COQUÍ written by Plaza, with art by Matteo Illuminati, and letter work by Carlos M. Mangual.

Chido Comics titles


Masked Republic Luchaverse: Lucha Brothers #1
They are arguably the greatest tag team in modern-day Lucha libre. Brothers Penta Zero M and Rey Fenix, were orphaned at birth and raised by missionaries who traveled the world teaching them about a multitude of cultures… and each one’s fighting style. Now, as adults, simply being one of the greatest luchadores isn’t enough for Penta! With the help of his brother, he has found the location of an ancient power that he believes can make them the greatest warriors the world has ever known!


Masked Republic Luchaverse: Rey Mysterio #1
The current in a family of Mysterios that dates back centuries, each one trained to be a champion of the people and to take on a great evil that has been prophesied to return and plunge the world into darkness. Rey Mysterio is on a quest, aided by the military clandestine group known as “The Ambassadors.” The mission is clear: retrieve the one thing Rey will need to take on this returning evil… THE MASK OF THE FIRST MYSTERIO!


Masked Republic Luchaverse Solar & Super Astro #1
At the triumph of a centuries-old galactic war, all that was left of the warriors were Solar and Super Astro. They headed off into space to never to be heard from again…or so they thought. After a millennia of intergalactic travels, their ship crashed on Earth. Their powers had vanished, and they settled into their new mortal lives. Now, years later, a message from the deepest corner of the universe has interrupted their ordinary lives. A recent accident has released an immense destructive power back into the world, a power that they thought was lost forever. What epic adventure awaits them? Who’s attempting to contact them, and how can they save not just our planet, but the universe itself?


Masked Republic Luchaverse: Tinieblas Jr #1
Tinieblas Jr is the proud inheritor of a legacy that dates to the early 1970s when his father Tinieblas started his Lucha libre career. However, unknown to anyone but a small select few, Tinieblas Jr is also the protector of both human and monster realms. A monster hunter, taking on the legions of the damned and all manner of creatures that go bump in the night! Today, out of his secret lair with his assistant Ramona, they decide to help a close friend solve an age-old mystery. A mystery so old, it will change both the human and monster worlds forever!

Chido Comics

Masked Republic Luchaverse: Konnan and The Ambassadors #1
As the Ambassadors’ leader, Konnan has faced off against doomsday cults, alien invaders, rogue temporal thieves, and civilizations at the center of the earth. Now, the organization faces its greatest mission: getting to the bottom of a seemingly unstoppable series of worldwide catastrophes of unknown origin while Ambassadors’ bases are being destroyed one by one by a new global criminal faction calling themselves the Knights of Draconis! Will this ruthless and cunning organization on the rise put an end to the Ambassadors and all that they protect?

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A Satisfying Conclusion in THE RED MOTHER #12

By
Cat Wyatt
-

THE RED MOTHER #12, available Wednesday from BOOM! Studios, concludes a series full of horror, gore, and trepidation. Daisy’s story has been far from an easy one, yet that makes it all the more compelling.

A haunting beginning to The Red Mother #12.

It’s hard to believe that we’re already twelve issues into The Red Mother, and that this issue brings about the finale. Yet it also feels right, in a weird way. This whole time has been about readying Daisy for a final confrontation. Perhaps, somewhere along the way, the fans were readied as well.

The Red Mother #12 has a lot riding on it. There are so many questions left unanswered. Plots that need to be tied up. All while maintaining that horrifying tone that the series has perfected so early on.

That thought raises a couple of important questions. Will this be a conclusion in true horror fashion? Or will it bring about a more satisfying ending? One that feels right for all characters involved – not just the monsters that crawl out from the shadows.

That is not a world most people would want to be lost in.

The Writing

Close your eyes. Imagine all of the ways in which The Red Mother might conclude. Or don’t, because Jeremy Haun’s writing will exceed any hopes or assumptions about the series. This is a series that has chilled and thrilled from the start, so there shouldn’t be any doubt about how it’ll end.

The Red Mother #12 is a haunting issue. Not just for what it puts Daisy through (though there certainly is that), but for the implications made throughout. There’s always been this sense of something larger at work, and now fans have gotten a glimpse at the true scale of things.

So, while this issue certainly does answer many of the lingering questions from this series, those answers are far from being a comfort. Then again, we wouldn’t be reading this series if we were seeking comfort now, would we?

All conclusions are bittersweet, but this one had a few unique twists worth mentioning and remembering. First, it gave a feeling like the whole ordeal was worth it. Second, while the series is undoubtedly wrapped up (with a neat little bow), it did leave room for a sequel. Gotta love it when that happens.

Just need a quick moment before dealing with this nightmare.

The Art

The artwork* found inside The Red Mother #12 may just contain some of the best art from the entire series. It still has all of those bold designs, but they’re more dominant than ever here. Of course they are – the Red Mother’s appearance is no longer a thing being hinted at.

Danny Luckert’s work really does bring the whole tale to a new level. Daisy’s world can be beautiful. Or it can be terrifying. It all depends on the lens that Luckert chose to portray, as this issue made painfully clear. The stark contrast between the beginning of this issue, and the conclusion is hard to avoid, and it complements the points being made perfectly.

The colors were vital for this entire series. Really, that’s true for any series (or character) where a dominant color is such an important element. But it goes beyond that as well. While the lettering, provided by Ed Dukeshire allowed for a sense of sophisticated subtlety, both in design and storytelling.

*The Red Mother #12, as with the rest of this series, delves into graphic detail revolving around certain body parts. It’s a repeating theme, so readers likely already have an idea of what is to come in this issue. Still, it seemed worthwhile to mention here, as it is more aggressively illustrated here.

And there she is. The Red Mother.

Conclusion

The Red Mother #12 was a highly disturbing read for a lot of reasons, but it also brought with it some light. Together, these twining emotions allowed for a series finale that will stick in my mind for quite some time.

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5-Page Preview: ORCS! #1 From BOOM! Studios

By
Matthew Sardo
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5-Page Preview: ORCS! #1 From BOOM! Studios

ORCs! #1 hits your local comic book shop on February 10, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for our readers.

About ORCS #1:
The Adventure Starts Here! Join Bog and his crew, who were banished from their Orc village by King Hrograhgah (it was a simple misunderstanding, involving an acorn-related prank!) and must now venture out into the world to seek their fortune and hopefully, one day, find their way back home again. Bog, Zep, Pez, Utzu and Gurh’s many adventures will find them entering the dreaded Eerieasallhel Forest, facing off against Trolls, Gnomes, squirrels and more, and even following in the footsteps of the legendary Orc hero, Dod One-Eye!

The six-issue series is by cartoonist Christine Larsen (Adventure Time, By Night) featuring main cover art by Larsen, as well as variant cover art by Sweeney Boo and Miguel Mercado. You can get a digital copy of ORCS! #1 from ComiXology, iBooks, Google Play, and Madefire.

Enjoy The Five-Page Preview Below:

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Review: Going Further Into the Underground in BLADE RUNNER 2029 #2

By
Justin Munday
-

Writer Mike Johnson and artist Andres Guinaldo return with to the grimy streets of Neo-L.A. with “Blade Runner 2029” #2. Along with colorist Marco Lesko and lettering by Jim Campbell, this 2nd chapter of this Blade Runner sequel-series does exactly as a proper sci-fi installment should, offering fantastic noir storytelling while expanding on the fiction of the original story in unexpected ways.

“Blade Runner Ash hunts the streets of Los Angeles for renegade Replicants. She finds her loyalties and humanity challenged by two Replicants… one offering her salvation, the other deadly damnation.”

Writing & Plot

Mike Johnson’s focus in “Blade Runner 2029” #2 is a combination of building the case for replicant identity in this ruined future, as well as keep this story that perfect brand of cyberpunk noir this universe is known for. This comic has the plot progression of a properly planned detective thriller, with each issue so far having Ash follow a continually more engaging trail of breadcrumbs. This issue leads to a replicant underworld I hardly believe most Blade Runner fans could possibly see coming, but that also makes perfect sense and adds even more character to this oppressed group of people. The undertones of class commentary and capitalist critique are still heavy on every page, ensuring that Johnson is well aware of what this series, and cyberpunk as a whole, truly represent. The use of the comics medium to craft a complex mystery is on full display here, as Johnson uses a mix of noir-style overhead narration mixed with silent panels to portray the big moments both subtle and action-heavy. The dialogue is reminiscent of that in both Blade Runner films, a mixture of that noir-jazz, naturalistic phrasing, and in-universe references. This is a finely tuned and well-paced script that makes jumping back into this world both effortless and irresistible.

Art Direction

The pencils and direction of artist Andres Guinaldo peg him as the perfect creator to craft the visual story of “Blade Runner 2029” #2. His eye for detail in every aspect of drawing, from character animations, to clothing, and scenery straight from Ridley Scott’s original film, makes the atmosphere of the book effortless to be pulled in by. His style offers a sort of stylized grittiness to the book, with a design aesthetic that directly pulls from the films but also has its own artistic look. Guinaldo’s thin lines and detailed facial expressions feel similar to a combination of Moebius and Frank Quietly. He also has a fantastic eye for pacing and panel direction, as every scene is set with big panels that track motion and action, as well as more intimate shots that capture the small details in Ash’s investigation. The colors from Marco Lesko swing all over the place depending on environment, and they set the tone of each page perfectly. You can feel the humidity and pollution in the fog and neon filled streets of Neo-L.A. all because of Lesko’s tonally rich colors. At the same time, scenes that take place in speakeasys and the flashy homes of aristocrats sing with bright fluorescent lighting and vivid dress. The lettering from Jim Campbell is clean and modern, with a sort of standard sharpie-esque font that is easy to read while also conveying tone in narration and dialogue. The work of the visual team on this comic shows that the legacy of Blade Runner is in great hands.

“Blade Runner 2029” #2 is a foggy and tense second chapter to this next story in the iconic cyberpunk saga. The script from Mike Johnson is a demonstration of fantastic sci-fi neo-noir genre handling, with each page being a piece of an increasingly fascinating puzzle. The visuals from Andres Guinaldo and Marco Lesko bleeds with the damp and polluted cityscape of Neo-L.A., to the point where I could almost taste the cheap bourbon and dirty night air. Be sure to grab this latest issue from Titan Comics when it hits shelves on 1-13!

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Review: MARVEL VOICES INDIGENOUS VOICES #1: Being Heard And Seen

By
Jake Palermo
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Marvel Voices Indigenous Voices #1 Cover

Marvel Voices Indigenous Voices #1 continues Marvel’s Voices project where diverse creatives put together an anthology about Marvel characters. Heading this project is veteran artist Jeffrey Veregge who writes and illustrates the “Watcher” introduction to Marvel’s indigenous characters.

Following this is “Echo: Hitting Back” with Rebecca Roanhorse as writer, Weshoyot Alvitre as artist, and Lee Loughridge as colorist. Then comes “Mirage: Multifaceted” by writer Darcie Little Badger, artist Kyle Charles, and colorist Felipe Sobreiro. Finally, my favorite of the bunch, “Silver Fox: Blue Moon” features writer Stephen Graham Jones, penciler David Cutler, inker Roberto Poggi, and colorist Cris Peter.

As a bonus, there is an afterword and a look at SkyView Way owners Taboo and B. Earl’s project featuring Sorcerer Supreme/Ghost Rider Kushala. The anthology is now available after November 18.

Marvel Voices Indigenous Voices #1 On Representation

Marvel Indigenous Voices openingMarvel Voices Indigenous Voices #1 features Veregge using his art and the Watcher to showcase Marvel’s numerous Native American characters. It makes the Watcher’s omnipresence feel like he touches every part of the Marvel Universe. After the intro, it’s a little disappointing that only three of these characters get segments, especially since half of the characters on the cover don’t appear at all. The ones that do appear feature each writer bringing out some of their authentic experiences through these characters.

Roanhorse talks about multiculturalism through Maya Lopez, and how that makes you open to experiences. Maya has faced a lot of loss. Loss that can’t just be fixed by a few familiar faces. So when Maya meets with people who have rituals for confronting tough pasts, it reminds her of the friends she once had in a unique way.

Little Badger uses Dani Moonstar to talk about community. She helps those like her hopefully find extended homes. Despite how the X-Men have been keeping their distance from the rest of humanity, Dani’s never been about assimilation. She is still Cheyenne and is willing to help out a fellow American Indian mutant without coercing him into Krakoa.

Jones, through Silver Fox, shows the struggle of these various communities to be more than victims of history. Silver Fox and her husband are fighting for their future, even as it becomes apparent to the husband that it’s a losing battle. Being able to see into the future can do that to a person.

That’s why Taboo and B. Earl take the time to tell the story on how they met and came to work with Veregge, at the end of Marvel Voices Indigenous Voices #1. Now they create and expand Native American characters like in Werewolf By Night and Doctor Strange’s Kushala. There are things to look forward to after Marvel Voices Indigenous Voices #1.

Art

These artists all get a chance to show how they present themselves in Marvel Voices Indigenous Voices #1. Veregge naturally opens big with his distinct S’Kallum art style for covers. The abstract nature of it presents a surreal and unique introduction to the matters at hand. While it makes the subjects seem mythical, the art following shows how human these characters are.

Marvel Indigenous Voices #1 Echo ShowcaseWeshoyot Alvitre showcases Echo: her acrobatic movements and how small she feels among the stars. And Lee Loughridge makes space look like a gigantic ocean.

Mirage's voiceKyle Charges shows the scales of what Mirage faces through angles and closeups. These make explanations and questions feel important when it comes to Dani’s character. Coloring from Felipe Sobreiro makes these points more authentic as, during a talk, Dani looks likes she’s part of the background until she speaks up.

David Cutler puts a big emphasis on displaying emotions in the Silver Fox comics, through facial expressions. The inking by Poggi enhances the struggles. Dark patches forewarn of death. The cool to cold coloring of Cris Peter is neither friend nor foe to Silver Fox.

United Under Lettering

Arguably the best part of Marvel Indigenous Voices #1Ariana Maher of VC is both professional and creative in the lettering of Marvel Voices Indigenous Voices #1. The dialogue takes up just the right amount of space. Other elements like captions and text messages have a more creative touch to them. The Silver Fox story, in particular, has stylized captions that look like old timey paper, which adds to the atmosphere. It tells of Silver Fox’s age while the crinkling appearance suggests some brooding. It gives more atmosphere to the story.

Consider Marvel Voices Indigenous Voices #1

Within Marvel Voices Indigenous Voices #1 is a hopeful beginning for creatives of less represented cultures to appear in the mainstream. With representation being something to strive for, it’s going to take a number of people from different backgrounds to make it authentic. Whether it’s the story potential of future releases, evocative art, and creative supplementary elements, there’s bound to be something for readers to enjoy. Enough for readers to look forward to future releases of more comics by these creators and other voices in the industry.

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