THE AMAZING SPIDER-MAN #57 hits your local comic book shop next week, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers.
“Last Remains: Post-Mortem, Part 2” is written by Nick Spencer, while Mark Bagley handles pencils, Andrew Hennessy and John Dell with Andy Owens drop inks, Rachelle Rosenberg and Edgar Delgado are the colorists, and you will read Joe Caramagna’s letter work.
About the issue:
Spider-Man continues to pick up the pieces and try to put his life together. But many of the gathering storms are swirling more and more violently… We want to tell you more, but it WOULD SPOIL SO MUCH OF LAST REMAINS!!!
MISKATONIC #3 hits your local comic book shop on January 20, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers.
The 32-page comics is written by Mark Sable, with art by Giorgio Pontrelli, Pippa Bowland drops the color, and you will read Thomas Mauer’s letter work. The main cover is by Jeremy Haun with Nick Filardi.
About the issue: Skeptical Bureau of Investigation Agent Miranda Keller and true-believer detective Tom Malone are tasked by J. Edgar Hoover to investigate a series of bombings in 1920s New England. Traveling to the Arkham Asylum, the investigators discover their suspects aren’t just insane, but also undead. Who could be re-animating them?
A long time ago, in a galaxy far, far away, the Republic and the Jedi Order were at the peak of their prosperity. Writer Cavan Scott and artist Ario Anindito, along with inker Mark Morales, colorist Annalisa Leoni, and letterer Ariana Maher put together “Star Wars: The High Republic” #1, the first chapter of this unseen age in the Star Wars universe. Set some 200 years before the rise of the Galactic Empire, this issue presents an era full of fantastic new characters (and some old ones) and exciting action, all through the lens of some of the best visual work seen in a Star Wars comic. There’s a lot to be excited for here.
“A new era of STAR WARS storytelling begins. It is centuries before the SKYWALKER SAGA. The JEDI are at their height, protecting the galaxy as REPUBLIC pioneers push out into new territories. As the Frontier prepares for the dedication of majestic STARLIGHT BEACON, PADAWAN KEEVE TRENNIS faces the ultimate choice – will she complete her Jedi Trials or rescue the innocent from disaster? New Jedi! New ships! New evils to fight!”
Writing & Plot
In terms of style, “The High Republic” #1 feels familiar while offering completely new faces, planets, and concepts. Tonally, Cavan Scott’s script feels like a combination of Filoni’s Clone Wars animated series and some of Dark Horse’s The Old Republic offerings. These are grafted together to create a chapter that still come off as totally new while still being undoubtedly Star Wars. Protagonist Keeve Trennis is an awesome new character, focused and loyal to the Jedi way while also having a sort of underworld grit. Her mysterious master is a character that I really look forward to reading more of, as well as just getting to witness the Star Wars universe at this time. This is an era of Star Wars we’ve never gotten a look at, in the centuries just before the fall of the Jedi Order. Scott doesn’t start this series with any kind of grandiose view of the Republic however, as he instead decides to just focus on character with some hints at the larger plot. This more intimate focus and pacing allows for an experience that makes you immediately get into the new characters ad they take you along for this force-wielding ride. The action in this issue again is reminiscent of that Filoni animated style, with a kind of wacky but serious disaster unfolding that is a blast to follow while still having serious stakes. There’s so much we still don’t know abou these characters and the focuses of the Republic and the Jedi Order (as well as their potential adversaries) in this time period, and this comic makes my desire to explore this story and part of the Star Wars universe inescapable.
Art Direction
Putting together the aesthetic and style of not just the iconic Star Wars universe, but a time period in that universe that has never been seen before, is no easy feat. Fortunately, “The High Republic” #1 has the visual talents of artist Ario Anindito and inker Mark Morales to craft a comic that is unmistakably Star Wars while still offering brand new sights. The designs and animations of alien species both new and classic are crafted with an eye for humanity, making them characters on their own regardless of their unusual physiology. Almost every panel has the mysterious design language of a Ralph McQuarrie painting, with the Star Wars brand of space opera beauty shining through. This is a comic book with obviously very high production value, and that can be seen in the high-fidelity visuals on each page. The art style of Anindito and Morales, along with the colors by Annalisa Leoni, fit in with the styles seen in the past few years of Marvel’s Star Wars comics. This is not a negative, as I’ve yet to see a recent Star Wars series with less-than-great art. The panel and page direction has the feel of a storyboard, giving the comic a very film-style feel. The highly dynamic use of lighting and fog here works brilliantly, making the stunning alien world this issue mostly takes place on feel humid, while being onboard the Starlight Beacon feels like taking a step inside the Jedi Temple in the prequel trilogy, but with a bit more golden atmosphere. The colorwork on display here is exceptional; the flora and fauna of alien planets is a varied but grounded array of natural colors, while character details (from Jedi robes to alien horns and scales) have their own wide array of tones. Seeing the cool blue reflection of readouts and holo-displays on characters is still a really cool artistic feat that I’ll never not be impressed by. The letters from Ariana Maher use a slim, modern kind of font that uses a bit of variance from character to character, along with standout sound-effect letters. Every aspect of this book’s visuals fire on all cylinders, and it’s easily one of the best looking Star Wars comics ever published.
“Star Wars: The High Republic” #1 has made me excited for Star Wars is ways I haven’t been in quite some time. This comic displays a fantastic understanding of the Star Wars universe, and uses said understanding to create characters and concepts that seamlessly blend into this fiction, but still feel totally new. The script from Cavan Scott takes the perspective of a protagonist I had a blast reading about from page one, and paints intriguing mystery into this new chapter in Star Wars history. The efforts of the visual team are absolutely astounding, creating some of the most gorgeous views and vistas seen in a Star Wars comic. Whether you’re a Star Wars fan or not, this is a comic worth reading. Be sure to pick it up from your local comic shop when it releases on 1/6!
The Amazing Spider-Man #56, out now from Marvel Comics, is an explosive issue that is the first part of “Last Remains Post Mortem” and keeps the story twisting and turning.
About the book: Norman Osborn and the Kingpin have united to achieve a common goal of trapping the demonic Kindred. The alliance of two of his deadliest villains immediately spells bad news for Spider-Man, but will anyone else be caught in the crossfire?
Nick Spencer has a gift. He knows how to keep an issue entertaining, and he heavily applies that knowledge in The Amazing Spider-Man #56. It feels like every turn of a page is some twist or shocking event, making the entire issue an enthralling read. The issue also continues subplots that hadn’t been touched upon for many issues, and it was refreshing to see these characters and how their stories are playing out after everything that has been happening. The story continues to bombard us with new information, but there is always so much more that we don’t know. It is because of this that readers always want to get their hands on the next issue.
The Amazing Spider-Man #56 features Mark Bagley’s pencils and Andrew Hennessy and John Dell’s inks. Together, this team provides some breathtaking art. The characters’ facial expressions are complex but are still very easy to understand. This issue features a brilliant silent page that has so much storytelling just from the visuals alone. It’s always wonderful when the writer allows the artists to tell the story without dialogue, and there is a beautiful case of that in this issue. Bagley, Hennessy, and Dell also use the exciting technique of changing panel shapes to indicate a flashback. In this series, flashbacks were commonly portrayed through a tint applied to the panels, but the method of changing panel shape was most likely used here because the events shown were still very recent. The technique of changing panel shape is a subtle yet effective way to indicate flashbacks.
The coloring of Rachelle Rosenberg and Edgar Delgado in The Amazing Spider-Man #56 is astonishing and has a wonderfully broad color palette. This issue features many different scenes, and the wide color palette brings each of the settings to life. The shading of characters’ faces also serves a vital role in the book’s visual storytelling and causes the silent panels to pack a vicious punch. Rosenberg and Delgado use changes in the background color to indicate a shift in tone, reinforcing cues that could be understood from the characters’ facial expressions.
VC’s Joe Caramagna’s lettering in The Amazing Spider-Man #56 helps the story flow naturally and has an enjoyably diverse choice of fonts. Whether through giant bold lettering, dialogue bursting out of a speech bubble, or unique speech bubble designs for characters, Caramagna makes every instance of lettering count.
The Amazing Spider-Man #56 is another case of so much information thrown at us, yet so much is still left unexplained. The art and coloring work together to portray some beautiful and complex emotions in the characters, and the visual storytelling in this issue is remarkable. The lettering brings it all together and leaves us with an impressive issue and a story that leaves readers wanting more.
Batman Annual #5 out now from DC Comics displays new and old Batman mythos meeting at a junction. Batman writer James Tynion IV with artist James Stokoe showcase dealing with the absurdities of Gotham and Batman. Joining them is letterer Clayton Cowles to display the voices of everyone dealing with the absurd.
Batman Annual #5: Finding Common Ground
Tynion thankfully takes steps to introduce readers to Leslie Thompkins, Batman’s childhood caretaker. By juxtaposing Leslie’s presence and influence in Crime Alley, readers see her parallel with Batman. While Batman prefers to strike fear into criminals’ hearts, Leslie hopes to rehabilitate people by helping them work out their issues properly. This leads her to the main element of Batman Annual #5, the Clownhunter.
Leslie serves as an intersection for Bao Pham in his criticism of Batman. Like Bao, she thinks Batman isn’t doing what he is supposed to do while also disagreeing with Bao’s slaughter of clowns. Leslie empathizes with Bao’s struggles with the absurdities surrounding Gotham and Batman. Because needing to make sense in the absurd is a very human thing to do.
These struggles with identity and finding someone to bounce off make both Leslie and Bao good characters. It’s the interactions between different parties that can lead to greater developments. I certainly want to see where the Clownhunter goes after this.
Absurdly Grotesque
Stokoe’s art returning from Joker War Zone fits perfectly into Batman Annual #5. The inherent absurdity of Gotham City can feel like a walk through Hell, and Stokoe’s grotesque imagery displays that in full. That is certainly what Bao’s perspective has when it comes to his family’s murder.
At the same time, Stokoe’s art showcases a cooler colored glow that displays some hope in dark places. It’s something that comes to a head when Bao removes his red-accented helmet to speak with Leslie under this glow.
Cowles’ lettering showcases how characters speak under the circumstances. Most of the characters speak in an easy to follow format through the standard word balloon. Then there’s the Clownhunter who speaks in lowercase font, unlike his younger self who spoke like most people. It displays his trauma and how small he feels after encounters in the main comics.
The use of SFX from Cowles even showcases Bao’s transformation into the Clownhunter. Bao’s flashbacks have rather simple effects like knocking on a door until, eventually, Stokoe’s SFX takes over with how over-the-top they get. Every crack and crash gets as absurd as the situations they’re in.
Batman Annual #5 Is Climatic
Batman Annual #5 takes itself a step further by showcasing character development. By clashing one of the newer characters with an old but important one, a compromise is found. It’s almost like Batman’s fans, and critics find common ground by learning to live with the absurdities. Because living with that instead of against it might just be healthier. The Clownhunter is certainly a character to invest interest in his origin story.
The Elephant In The Room is a film on Amazon Prime directed by Allen Freeman (Dean LeCrone vs. the Mutants of Comic-Con) and starring Niko Vitacco (Prom Knight) as a nurse with an unusual way of treating patients based on true stories of the world of palliative care.
Based on City of Hope nurse Bonnie Freeman’s true stories, The Elephant In The Room is a dramedy following a team of doctors and nurses caring for people facing their final days. Michael (Niko Vitacco) is a nurse who adds humor and compassion to his toolkit for dealing with patients. Michael’s approach is out of the norm, and it’s put to the test when he meets Cooper, played by Craig Callo, who doesn’t see the light at the end of the tunnel.
PopAxiom spoke with Niko Vitacco, Tamir Gedalia, and William Dale about bringing Bonnie Freeman’s life to the big screen.
City Of Hope
Executive producer William Dale isn’t a movie guy. He’s the Chair in Supportive Care Medicine at the City of Hope. He worked closely with Bonnie Freeman and learned of her stories early on.
“Making the film was certainly easy for me since Bonnie Freeman did all the hard work,” William jokes. “She did a remarkable job of translating the experiences. Niko and Tamir took Bonnie’s vision and turned it into entertainment.”
Admittedly, William says, “I don’t like medical dramas and comedy very much because of the lack of realism.” He adds, “I have a soft spot for SCRUBS because they captured a couple of the real issues that go on.”
Getting the City of Hope to agree to become a film set was tricky. “We have a patient-family resource center that’s under my department. That was made available as a staging place,” William explains, “We got some approvals from the hospital to use it when essentially very few other people were around. There were caveats to that too.”
In the end, William says, “The hospital is thrilled with the way it all came out.”
Road To Hope
Niko and Tamir are both filmmakers, but their road into showbiz came via different routes.
Niko: “As a kid, I loved to tell stories. I knew at a young age that I wanted to be an actor. I’d done commercials, stage, and short films. This was my first lead in a feature. Because I was so involved during production, I was given the opportunity by Tamir, our director Allen, and writer Bonnie to take on a producer role.”
Tamir: “Back in Israel, I used to be an accountant. At some point, I started to follow my dreams of being a filmmaker. I left my job and career and moved to LA. I started volunteering on any production; short films, student films, videos, and commercials. Step-by-step, I started gaining experience and started my own production company. I started to produce commercials and videos. The Elephant In The Room is my first feature.”
How did Elephant In The Room come on everyone’s radar?
Niko: “It’s kind of a weird story. My wife knew Bonnie’s daughter (Ana) when my wife lived in Michigan. Ana reached out to my wife and asked if I’d be interested in auditioning because they just lost their lead actor. I was a little skeptical. Everyone claims to be a writer, and there’s a lot of bad material out there. Nevertheless, I said I’d be happy to read the script. Truthfully, I didn’t think I’d make it through the first ten pages. But it didn’t happen. Once I started reading the script, I couldn’t put it down. I laughed, I cried, I knew I was hooked.”
Tamir: “I got to know Allen through a friend. I knew his wife had a script, and she’s trying to make it into a film. As Niko said, we see a lot of bad material. So, that was my attitude, but I got the script, and I liked it. I thought it was different.”
Tamir admits, “We didn’t know how we were going to start, but Bonnie’s passion made me believe we would make the movie.”
William: “Bonnie worked at supportive care right next door to me. She came to me with the story early on. Niko came in and bribed me with a ball. We’re both from the southside of Chicago, and he gave me a White Sox World Series ball in the hopes that I would help more with the film. I went to my finance and risk-averse wife and said, ‘We don’t need that kitchen redesign, can we just do this film instead?'”
Becoming Michael
The Elephant In The Room is a character-driven drama that centers around Michael. How did becoming Michael happen for Niko?
Niko: “On the day of our table read, when I first met Bonnie, she told me that Michael was her alter-ego. Like Bonnie, Michael has a very unconventional approach to his patients. He values both humor and compassion. She wanted it to be clear that although Michael’s antics were over-the-top, it was only a dramatized representation of who he was. Michael is larger than life. But it was important to show the human connection with his patients and how he sees them for who they are, not where they are going to end up.”
The Elephant In The Room deals with a heavy topic with the kind of touch that has weight and levity. What’s a moment while filming that Niko will hold onto?
Niko: “I think a difficult scene that was tough for me was a scene in a stairwell. I knew how important this moment was for Bonnie. Before filming, she told me that she never got a chance to say goodbye to the real patient. So, writing this was her way of doing it, so I tried to give everything in the scene.”
“During the scene, the director let the camera roll a little bit longer,” Niko explains, “and I ad-libbed out loud ‘I love him so much.’ When the director called cut, Bonnie ran over to me with tears in her eyes and hugged me and said, ‘I never got a chance to say that out loud. Thank you.”
“Of course, the producer cut it out of the film,” Niko laughs.
Tamir: “It was the editor who did that.”
Selling The Elephant
The Elephant In The Room is a dramedy about some very weighty issues. How do they sell the film to a random person on the street?
Tamir: “It’s about a nurse in palliative care who treats terminally ill patients in unorthodox ways. He meets a tough patient and tries to get into his heart, and together they go on a journey through life and death. In the last year, I added one more sentence: ‘You will laugh, you will cry.'”
William: When I tell people it’s about palliative care, but it’s not all gloom and doom, people say, ‘You’re kidding.”
Niko: “Death doesn’t have to be dark and frightening if we talk about it. Without sounding lame, our film shows the delicate role that humor should play in this line of work.”
Wrapping Up
Who inspires Niko and Tamir as filmmakers?
Niko: “For me, two main actors stand out. Such polar opposites. Robert DeNiro, who I’ve grown up loving and watching and almost see as a father figure. He’s able to tell so much of a story with a blank face. I’ve always wanted to be more like that in my work. The other person would be Will Ferrell. He commits himself so much, regardless of how stupid the character is, he immerses himself. That commitment makes it real and brings it to life. As goofy as this sounds, my dogs inspire me a lot. They teach me to live in the present and live creatively with an open mind.”
Tamir: My favorite director who inspires me is Stanley Kubrick. I love films that every time you watch them, you find another more profound meaning. Each one of his movies you need to watch more than once. In general, I’m inspired by true stories and human stories.”
Though William isn’t a dedicated filmmaker, he admires one actor in particular. “I love Robin Williams. He’s my favorite actor. He loved doing medical characters. I loved Awakenings.”
What’s a dream project for Niko and Tamir?
Niko: “I’ve always loved The Lost Boys. It could be a great series. That would be incredible. As a teenager growing up, it gave me a sense of swagger.”
Tamir: “I would love to do our movie as a series with the same premise. Every episode would feature a different patient with different takes on life.”
The Elephant In The Room is out on Amazon Prime. So, what’s next from the filmmakers?
Niko: “A bunch of things are in the mix. The pandemic’s slowed things down, but it’s helped me re-focus on where I want my career to go. I finished a rewrite on a screenplay.”
Tamir: “I’m in the development of a series based on a true story about the Mossad’s most extraordinary operation that changed the way the world sees Israel.”
Is The Elephant In The Room on your Amazon Prime watch list?
Thanks to Niko Vitacco, Tamir Gedalia, William Dale, and Lumos PR
for making this interview possible.
Crossover #3, out today from Image Comics, is the most monumental issue in the series thus far. Featuring the biggest battles, a great cliffhanger, and the most crossovers.
Donny Cates’ writing makes Crossover #3 a gripping read from start to finish. From us finding the truth about something we had misconceptions about, to earlier foreshadowed events beginning to fall into play (albeit just starting), the issue constantly supplies you with reasons to keep on reading. The most substantial aspect of the writing that makes this issue so notable is that it crosses over with characters from other series. This is no big surprise — note the title of the series — but who shows up in Crossover #3 is sure to shock readers. We had a taste of other characters in the previous issues, but now we get to see them directly involved in the main story, rather than just indirect cameos (for example, arms sticking out of prison cells or a drawing.)
Geoff Shaw’s art is brilliant, and I want more. There is something about his faces that make the protagonists seem friendly and approachable, and the mean characters seem absolutely despicable. There is only one character in Crossover #3 that I would classify as a villain with certainty, and the way Shaw draws him makes it looks as if he’s never felt love a day in his life. This issue also features some gorgeous use of shadows that instills a dramatic tone, some spectacularly done rainfall, and some complex architecture that is certain to impress if you stop to appreciate it.
Dee Cunniffe’s coloring is quite impressive in Crossover #3, particularly in the beginning. In the first few pages, we are greeted with a bleak color palette that reflects the grim events happening on the page. When the fantasy elements are introduced to this scene, they are brightly colored and provide a stark contrast to the previous panels. I’m not certain what effect was intended by doing this. I believe it could either be that the bright colors indicate that the world for Ellie in the future will be drastically different than what it was before, or they are used to show that while the comic book characters are ordinarily fantastic and colorful, their presence in the real world results in a chaotic and horrifying scene. The rest of the issue has a pleasantly wide palette, and Cunniffe does a phenomenal job of using colors to set the tone.
Crossover #3 benefits significantly from the lettering of John J. Hill, especially during giant fight scenes. The issue features one huge battle, and Hill’s font choice makes the blows exchanged have a deeper impact. His speech bubbles’ positioning also allows for the story to flow naturally, and captions are always clear.
Crossover #3 is an incredible page-turner that lives up to its name. The art and coloring provide some breathtaking pages, and the lettering allows the story to flow smoothly. From the quality of the first three issues and what it is building up to, Crossover is looking to be a highly promising series.
MILES MORALES: SPIDER-MAN #22, available in comic book stores on Wednesday, January 6th, details our hero’s response to the recent death of one of his beloved family members. In the concluding issue of the Ultimatum arc, Miles’s uncle Aaron Davis sacrificed himself to defeat the evil villain terrorizing the city. And his absence now leaves a vacuum in the Morales family. Yet hope seems to be brewing. The people in Miles’s life are finding new ways to express who they are in an ever-changing world.
Story
The idea of one’s name and its relation to their identity is explored throughout this issue. Readers first encounter it via a discussion with Miles and his father. The former “Jefferson Davis” reveals that he changed his surname to “Morales.”
Despite the obvious negative history associated with the name, Jefferson explains how this change represents an opportunity for a fresh start—a development in the former S.H.I.E.L.D. agent’s identity. He describes choosing this path to better represent who he is as a person.
We see this same dynamic played out throughout the rest of the narrative—whether it’s Starling’s explanation of her superhero moniker or the villainous Frost Pharaoh’s new title. Writer Saladin Ahmed demonstrates a remarkable ability to portray deeply human concepts and emptions in his characters.
Artwork
Natacha Bustos’s penciling and ink work, David Curiel’s coloring, and VC’S Cory Petit’s lettering worked well together in this issue. Miles and Tiana’s forms seem to glide effortlessly across each panel, drawing readers into their movements. Their costumes’ shades of black and red pop against the grays and browns of the cityscape. In addition, the word balloons are placed strategically—at times subtlety out of the action and at others a part of the city itself.
Conclusion
MILES MORALES: SPIDER-MAN #22 is the breath of fresh air needed after the heavy toll taken on our hero during the Ultimatum arc. Perhaps Miles will look deeper into his own identity and what his name represents in the coming issues.
Do you think Tiana will share more of her secrets with Miles? Let us know in the comments below!
Writer G. Willow Wilson and guest artist Javier Rodriguez’s bring us the start of the next arc of their staggeringly good Sandman Universe series with “The Dreaming: The Waking Hours” #6. This issue takes young witch Heather After, one of the best supporting cast members of the first five issues, and thrusts them in the main protagonist position to deal with the consequences of one of her more reckless actions in a prior issue. With colors from Mat Lopes and letters from Simon Bowland, this is yet another gorgeous and sharply written chapter in the legacy of Sandman comics.
“As life gets back to something almost like normal for Lindy, sorceress Heather After finds herself plunged into a waking nightmare of her own! The cruel creature known as Puck is stalking her, and no being she could possibly summon can protect her from his wrath! Unless… no, she couldn’t possibly try to summon…really?!”
Writing & Plot
Unlike prior issues, “The Dreaming: The Waking Hours” #6 has Wilson following the plot of only one character’s actions. As much as I loved Lindy and Ruin and the rest in the first five issues, I was most intrigued by Heather After, young sorceress and descendant of Sandman villain Roderick Burgess. This issues focuses in on her life with her himbo boyfriend and dealing with the consequences of one of her more hasty actions earlier in the series – involving one of Faerie’s more unpredictable residents. She naturally plans to resolve this issue by – in true Vertigo form – making more consequences. The tightly focused and immensely entertaining script is shaped by Wilson’s ear for naturalistic dialogue and her poetic narrative voice. This single issue feels the most likeSandman or early Vertigo-era of any of her issues thus far, while still maintaining a completely unique narrative voice. Heather is a brilliantly capable and wickedly smart character, who is also just arrogant enough to land herself in a heap of trouble – while being humble enough to ask for help. She’s completely contemporary and feels like a real person, making her one of the most easily relatable protagonists I’ve read in a comic in recent memory. The reintroduction and use of longtime Sandman and DC/Vertigo staples and the careful handling of their characterization makes this issue an absolute winner in all regards from a writing perspective.
Art Direction
“The Waking Hours” #5 sees guest artist Javier Rodriguez filling in for series regular Nick Robles on pencils. This is no small task, as Robles’s work on this series has been nothing short of staggering on each issue. Fortunately, Rodriguez absolutely murders it on this chapter, with not only fantastic detail and animation but wildly dynamic and intricate panel direction. Stylistically, it’s impressive how artists working on The Dreaming in the past couple of years have managed to have a sort of all-around stylistic similarity while still retaining their own style. Rodriguez’s fine penciling is alive with character, with every individual looking just as unique as Robles had designed them. There’s a liveliness in Rodriguez’s work here that’s a bit different than prior work on this series, and that’s largely afforded by the kinds of scenes in this chapter. This issue has Heather and her boyfriend in their apartment and going to nightclubs rather than mysterious eldritch veils, so the setting feels more relatable while still offering the strange mysticism needed in a Sandman Universe comic. Now the leading component for why Rodriguez’s work here is such a seamless addition to “The Waking Hours” visuals thus far is honestly the coloring of Mat Lopes. His work on this issue, as well as every issue of The Dreaming over the past couple of years, is marked by a saturated hues of both natural colors and sudden explosions of bright neons and fantastical shades. This issue is brightly lit with the comfortable colors of Heather’s apartment that switches over to the strobing lights of a nightclub (a cathartic sight here during a pandemic) and then to the otherworldly tones given off by eldritch entities and spells. The lettering by Simon Bowland is once again a use of the classic Sandman fonts, with different characters using their own fonts. This is especially cool when a character speaks from off-panel and we we have to guess who the new speaker is. This is once again, a brilliant work of visual storytelling that this series is now known for.
“The Dreaming: The Waking Hours” #6 is a phenomenal start to a new arc for this Sandman Universe series. G. Willow Wilson takes a fascinating supporting character and creates a thrilling chapter that is a tumultuous joy to read. The artwork of Javier Rodriguez and Mat Lopes is absolutely stunning, taking real-world settings and mashing them together with otherworldly visons in true Sandman fashion. Be sure to grab this issue from your local comic shop when it releases on January 5th!
Ghost Rider Return of Vengeance #1 releases a return-to-form piece from the 90s Ghost Rider team of writer Howard Mackie and artist Javier Saltares on December 30 courtesy of Marvel Comics. Joining this duo is co-inker Marc Deering, colorist Arif Prianto, and letterer Joe Sabino.
Who Is Vengeance?
Michael Badilino/Vengeance (as his name suggests) is a Spirit of Vengeance, much like the Ghost Riders. Originally appearing as a co-star with the Danny Ketch Ghost Rider, he was killed in battle along with their mutual enemy Hellgate.
Ghost Rider Return of Vengeance #1: Bat Out of Hell
With current Ghost Rider comics in demand by creators, now seems like a great time to revisit some elements. Mackie keeps things simple in Ghost Rider Return of Vengeance #1 while getting readers up to speed. By showing Badilino in the lowest part of Hell, readers surmise his character without exposition.
From beginning to end, Vengeance shows himself off as a Punisher-esque anti-hero. The guy flat out admits he has no humanity. With his return, now’s a good time for readers to witness the manhunting days of the Spirit of Vengeance; that is if they don’t mind continuity errors. Besides the more enjoyable parts of this one-shot come from Badilino giving villains vicious payback after enduring their cruelty.
A Fearsome Presence
Saltares gives a fittingly hellish aesthetic to Ghost Rider Return of Vengeance #1. Just the new design of Vengeance displays the overall menace. The spiky armor with no chains or leather presents him as a direct product of Hell. There are no ties back to the main Ghost Riders, only a fury that goes in every possible direction.
The inking shared between Saltares and Deering attests to this even further by blurring Vengeance’s linework. This makes him look more spectral, which adds to his already threatening visage.
The colors by Prianto are best when looking at the end of Ghost Rider Return of Vengeance #1. With so many reds, oranges, and flesh colors in Hell, Vengeance’s appearance on Earth is what makes him stand out. This return signals a Hellish monster ready to wreak havoc on Earth’s sinful.
VC’s Sabino meanwhile demonstrates how each of Vengeance’s actions is a force of reckoning; between the SFX and flame-bordered word balloons, Vengeance is not a character to take lightly.
Try Out Ghost Rider Return of Vengeance #1
After two-and-a-half decades, readers are ready for a good old-fashioned Ghost Rider romp. No big internal battles for Hell, just giving the sinful a beatdown courtesy of a morally questionable. Because when a plot is manifesting, it’s good to have some alternatives. Ghost Rider Return of Vengeance #1 is certainly good enough to get attention from casual readers.
Stokoe’s art returning from 
Michael Badilino/Vengeance (as his name suggests) is a Spirit of Vengeance, much like the Ghost Riders. Originally appearing as a co-star with the Danny Ketch Ghost Rider, he was killed in battle along with their mutual enemy Hellgate.