Nottingham #1 begins a grimdark depiction of Robin Hood from Mad Cave Studios. Writer David Hazan and artist Shane Connery Volk showcase a dour atmosphere throughout the issue, something that colorist Luca Romano and letterer Joamette Gil heighten with their roles. The issue will be available to pre-order on December 29th with a slated release on March 6th, 2021.
The Grimdark Of Nottingham #1
Hazan sets a mood for Nottingham #1 where the reader roots for the least despicable character. Throughout the issue, the reader sees the brutality on all sides of a political conflict. The Merry Men sing tunes of charity as they commit heinous murder, even as victims beg for their lives. The sheriff Blackthorne is hardly a step up, threatening Maid Marian and not seeming to be very popular even among his own men. That leaves Robin Hood, who can act kindly while hiding in plain sight. Even then, though, he is as ruthless as everyone else in this series, more willing to assassinate than fight. He’s just the most professional of the bunch by tying up loose ends to see his goal through.
Three Acts Atmosphere
Volk’s art has a very clever use with three-act structures within Nottingham #1 to convey small moments in sequence. The first pages demonstrate the character traits of the Merry Men and how they operate. In the first depiction, one of the Merry Men shows himself to be extremely ruthless and sadistic by mercilessly stabbing a helpless victim. That introduction gives the reader a good idea on what the mood is. The brutality of the act distracts readers to the point where they assume this Merry Man speaks for the rest. Within another segment on the next page comes a reversal: Another Merry Man employs a less brutal but still deadly kill. When the reader learns that this later Merry Man is Robin Hood, it sets up a heavy contrast between him and his followers. Just how his cloak flows in the shadows makes him more akin to a phantom which makes him twice as threatening in practice.
Romano’s coloring provides a glimpse into the plot’s activities: Bright lights evoke information sources. This leads either directly towards the Sheriff’s brutal interrogations or Robin revealing himself from a Merry Men mask. As for the lettering, Gil smartly reuses SFX to link moments in the readers’ minds and help develop characters and themes. The only confusing piece of lettering in Nottingham #1 is when a flash of lightning strikes over the sheriff and Merry Man clashing swords, and what comes is a simple “shing!” sound when you would expect an explosive “boom!” It’s just a minor distraction, though.
Give Nottingham #1 A Try
Nottingham #1 has the makings of an interesting grimdark fantasy with morally questionable characters and a mood to match. Right now things are just beginning, so only time will tell where this all leads.
What do you all think? Is this just going to be another attempt at an edgier Robin Hood like Russel Crowe’s movie? Or is there something about this depiction you just can’t let go of? Leave your thoughts in the comments.
Quarantine tensions rise in the horror film Darkness In Tenement 45, starring Nicole Tompkins as a teenage girl battling inner demons while living with her aunt during a biological scare. Cinematographer Carissa Dorson (Funny or Die) used her lens to amplify a dreadful sense of isolation.
Darkness In Tenement 45 (or DT45), writer/director Nicole Groton sets her film in New York City in 1953, as the Cold War is white-hot. Enemies of the US unleash a biological attack that forces everyone inside. Joanna, played by Tompkins (Resident Evil 3, The Grey Matter Archives), is under the rule of her tyrannical aunt Martha played by Casey Kramer (LethalWeapon). Headstrong Joanna and several other tenement-dwelling New Yorkers grapple with surviving “the infection” that permeates outside.
PopAxiom spoke with Carissa Dorson (on set during a lunch break) about becoming a cinematographer, Sketchy Times with Lilly Singh, and making Darkness In Tenement 45.
Visual Stories
Carissa’s love for filmmaking started in high school, where she took class projects to a new level. “In high school, I made some documentaries for class projects. It made me love editing. That’s where I first got the spark and became interested in filmmaking.”
“I just decided to do them,” she says about the documentaries. “We had options for other types of presentations, but I made a documentary. Even in English class, I would make videos to show the class.”
Naturally, Carissa “decided to apply to film school at Florida State (FSU) based on that experience. It was a great experience at FSU with a lot of small classes and hands-on learning.”
“I found that I loved being behind the camera even more than editing,” she explains her evolution toward cinematography. “I fell in love with telling a story through visuals.”
About Darkness In Tenement 45
“I’ve known Niki [director Nicole Groton], Simone [Lapidus], and Crystal [Collins] from film school,” Carissa explains how Tenement came into her orbit. “A lot of the people involved in Darkness In Tenement 45 were alumnus from film school. So, Niki, the director, was actually in my class. I’d always been interested in the stories she wanted to tell. For many years before the movie, I knew about this script.”
Carissa’s spent a lot of time making comedies, but DT45 offered a new genre and set of challenges to tackle. “I was interested in this story that took place in one location with these characters who are holed up in a building because of the biological threat outside.”
“Because the movie takes place in one location,” she delves into the challenge of making Darkness in Tenement 45, “that was definitely a challenge. How do you keep the visuals interesting?”
Making Darkness in Tenement 45 featured “an ensemble cast shooting in close-quarters with a fast-moving schedule. It was a challenge. We made it work by preparing A LOT. It was also an opportunity to play around and make the lighting more stylized.”
“I shoot a lot of comedy,” she says, “and I love comedy, but this was an opportunity to go a little further with the visuals.”
As an experienced comedy cinematographer, how does Carissa compare and contrast the genre? “I use a lot of wide-angle shots in comedy, but I also used a lot of wide-angles in Tenement to create this fish-eye look. I think stylized shots are used a lot in both.”
“In comedy,” she continues, “more often you let the performances play out, and you don’t want to take away from that. That’s why comedy is a little more naturalistic.”
What’s Carissa’s favorite time to shoot? “I love sunrise. You can’t beat that. Or sunset. I typically try to avoid the middle of the day because it’s the least flattering.”
Making Darkness In Tenement 45
For Darkness in Tenement 45, Carissa played around a lot in darkness or light sources not involving the sun. “A lot of it took place at night, and the windows on our set were boarded up, so we couldn’t motive light from outside the windows.”
Where did Carissa find the light? “We used a lot of candlelight and lanterns. That presented a challenge because we didn’t want a warm, fuzzy feeling for this movie. We wanted a green, sickly feeling to go with the tension and sadness that everyone is feeling in the movie.”
On-set tricks and post-production joined forces to create the moody look of Darkness in Tenement 45. “We dialed in the color temperature on the camera and did a little extra work in post to make it look green even though it’s coming from candlelight.”
Stanley Kubrick’s 1975 film Barry Lyndon is famous for using a lot of natural light creatively. “I looked at some stills from the movie for reference. We wanted to try that approach.”
“We couldn’t have every single candle lit in every shot,” Carissa says with a laugh, “because our budget wasn’t that big. We had to save our candles for the best shots.”
To achieve the look of Darkness in Tenement 45, Carissa says the team used “these great Panavision lenses. We were able to let in a lot of light and let the candles light the characters.”
Sketchy Times
Carissa’s other recent project was for the Peacock series Sketchy Times with Lily Singh. “She’s a super-star.”
It’s all about relationships in the film and TV industry. “When I moved to LA, I got involved with shooting sketch comedy for College Humor, Funny or Die, and other digital platforms. I had this background where I was connected within the comedy community. A producer I worked with recommended me to Lily.”
“The project was perfect for me,” she says, despite the struggle of shooting during a pandemic. “I’d been shooting sketch comedy for so long. We shot in her house during the quarantine. The show’s style and trying to get her house to turn her house into various locations was fun work. We had a small crew because of COVID guidelines. This scrappy, throwing things together is what I’m used to.”
From her YouTube show to her film to her late-night talk show, Lily is known for playing various characters. “Each sketch had a different style. So, we did like a Drake music video parody that felt like a rap video. We did a parody of Love Island, which had a reality TV vibe. We had a support-group scene that was kind of blue and moody.”
“Lily plays every single character,” she reveals. “We had a body double that we were working with who was great. Sometimes we used mannequins in the background as ‘extras.’
Wrapping Up
Who is part of Carissa’s creative DNA? “I admire a lot of current cinematographers like Natasha Breir, who did Honey Boy. She’s done a lot of other indie films like Gloria Bell. That’s the type of movie that I love to shoot, and she did it beautifully. I also love Eric Steelberg, who does all of Jason Reitman’s films like Young Adults and Tully. His style is naturalistic, but beautiful, and doesn’t draw too much attention, which is perfect.”
“Remakes are hard because I love the originals,” Carissa says when asked about a dream remake, reboot, or reimagining. “I’m a fan of 80s and 90s films like Penny Marshall movies. I’d love to make any of those. I want to remake one of those big-budget feel-good films that make you laugh and cry.”
DT45 is available for rent on your favorite digital platform. Asked about what’s coming next, Carissa says, “I can’t talk about any projects yet.” Clarissa’s planning a photo book too! Learn more here.
Is Darkness in Tenement 45 on your watch list?
Thanks to Carissa Dorson and Impact24 PR
for making this interview possible.
KING IN BLACK: GWENOM VS CARNAGE #3 is due to hit your local comic shop in March, but thanks to Marvel Comics, Monkeys Fighting Robots has the privilege of revealing the cover and solicit text for you today!
The comic is by writer Seanan McGuire and artist Flaviano, with a cover by Ken Lashley.
About the issue: AMP VS. AMP, SYMBIOTE VS. SYMBIOTE, FRIEND VS. FRIEND!
Unwittingly pulled into her bandmate Gwen Stacy’s interdimensional adventures and the Marvel Universe, MARY JANE WATSON of Earth-65 has bonded to a symbiote and become a new and deadly iteration of CARNAGE!
As dragons rain from the sky and New York finds itself on the precipice of the abyss, it’s up to Gwen Stacy to rid MJ of the symbiotic spiders that have infected her and get them both home — while saving any civilians MJ endangers along the way!
The issue will be the conclusion to the three-part miniseries.
Check out the KING IN BLACK: GWENOM VS CARNAGE #3 cover below:
Are you looking forward to this Gwen Stacy/Mary Jane Watson symbiote showdown?? Sound off in the comments!
BREAKLANDS Season Two #2 (of 5) hits ComiXology on December 22, but thanks to the publisher, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
The book is written by Justin Jordan, with art by Tyasseta, Sarah Stern drops the color, and you will read Rachel Deering’s letter work.
About BREAKLANDS Season Two: Breaklands is back! Kasa has rescued her brother, but that just means now she’s being pursued by Skypirates, land bound criminals, and the God King Rask.
It’s Mad Max meets Akira in a genre mashing, expectation smashing new hit series from Justin Jordan, creator of Luther Strode, Spread, and Reaver, joined in mayhem by newcomer artist Tysaseta, colorist Sarah Stern and letter Rachel Deering. Breaklands Season Two is the follow up to last year’s smash hit debut!
Enjoy the five-page preview below!
Part of the ComiXology Originals line of exclusive content, BREAKLANDS Season Two is available December 22 from ComiXology at no additional cost for members of Amazon Prime, Kindle Unlimited, and comiXology Unlimited. They will also be available for purchase on Kindle and ComiXology.
STONE STAR Season Two #2 (of 5) hits ComiXology on December 22, but thanks to the publisher, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
The book is written by Jum Zub, with art by Max Dunbar, Espen Grundetjerm drops the color, and you will read Marshall Dillon’s letter work.
About STONE STAR Season Two: The nomadic space station called Stone Star brings gladiatorial entertainment to ports across the galaxy. Inside this gargantuan vessel of tournaments and temptations, foragers and fighters struggle to survive. A young warrior named Dail has been drawn into the ring and is trying to prove himself in the Grand Arena, but there are forces on the station determined to see him destroyed as revenge for his father’s fighting legacy.
Stone Star is an action-adventure spectacle bursting with colorful characters and pulse-pounding action! Grab your weapons, gritters, and join the fray!
Enjoy the five-page preview below!
Part of the ComiXology Originals line of exclusive content, STONE STAR Season Two is available December 22 from ComiXology at no additional cost for members of Amazon Prime, Kindle Unlimited, and comiXology Unlimited. They will also be available for purchase on Kindle and ComiXology.
The world loves superheroes. People live alternative lives, the lives that they could only dream of through their favorite superheroes. When Thor swings his hammer to protect the planet from an incoming outwardly doom, we live his life vicariously. When Black Widow takes on the monstrosity of human beings with her killer moves and skills, we see ourselves in her. Superheroes have made our lives much more interesting than what it used to be prior to their arrival.
And one real-life superhero who gifted us with a hoard of others and made our lives exciting as ever is the late Stan Lee. Stan Lee’s superheroes are human beings shrouded in flaws, weakness and kindness alike. They save the planet from perils, and while they are at that, they come to terms with human follies. And here lies the genius of this man who changed the world of comics and redefined the cinemas forever.
In the article that we have here today, we shall take a look at how Stan Lee’s superheroes breathed life into the Marvel Cinematic Universe which changed the comic book industry and charted a new course for the cinemas.
The MCU Made Superheroes Look Cool:
Before the MCU, we were only accustomed to witnessing geeky and nerdy people assume the shape of a superhero and take on the villains to serve prompt justice to humanity. However, with the MCU, the narrative changed, and superheroes became cool for us. With Robert Downey Jr. donning the suit of Iron Man, the MCU entered a phase where superheroes were smart, chic, accessible and cool.
The MCU, with brilliant one-liners and trendy clothes, made our superheroes more than just cerebral characters. Initially, characters like Batman and Spider-Man would only have intense lines to churn out on screen. And to be fair, they did have a massive fan following. But since 2008, with the entry of Iron Man, the MCU came into being and marked a phase for the comic book industry and the cinemas alike, that was never before imagined. Iron Man changed the shape of the MCU and cemented the foundation of superheroes in pop culture.
The MCU Brought in the Concept of Representation in the Cinemas:
Black Panther released in 2018 and proved that the world wants to see more representation on screen. It is not just the right thing to do, but it is what is gladly accepted by the fandom. In fact, Black Panther was not only accepted well by the audience, it turned out to become the highest-grossing superhero movie of all time in the United States of America. People flocked to the theatres to witness the vigor and might of the character and enjoyed themselves with the people of Wakanda.
Marvel has always been a forerunner of change and representation when it comes to the movies. With the launch of the Marvel Cinematic Universe, the matter of representation reached new heights. The MCU cast Tessa Thompson as Valkyrie, a character who was originally white in the comics. It also cast Brie Larson as Captain Marvel and proved to the world that female superheroes do not have to dress skimpily to grab eyeballs. With Captain Marvel, romantic plots were sidelined, and the movies started focusing on the woman’s skills and character development. Over the period of time, the MCU has only emerged as an example that the rest of Hollywood must follow when it comes to representation.
The MCU Made Science Cool Again:
With the MCU, the audience’s love for science received a thrust and proved that it is okay to love science and technology. If the audiences had to make a choice between listening to Peter Parker talking about particle physics and watching Thor swing his hammers to fight villains, they would probably pick the latter with the exception of a few. However, the MCU changed the narrative and juxtaposed science and action in a way that one could never have fathomed. From Shuri’s technological inventions to Iron Man’s scientific alter ego, the MCU has seen science take the central stage and save the planet from impending doom.
The MCU has had such an impact on the world that some Canada online gambling sites use the themes of Marvel characters to draw the attention of their customers. Several events are hosted every year to celebrate these characters and their contribution to the cinemas. The MCU has made science accessible and interesting, and young kids have started showing an increased interest in the subject so that they can fight the villains like their favorite superheroes.
Summing It Up:
The Marvel Cinematic Universe is nothing short of a phenomenon. It had revolutionized not just the world of cinemas but also comic books. Young people indulging in comic books have started reading and interpreting the characters in more than one ways, and this has helped add more layers and dimensions to the characters. With the end of a phase of the MCU, fans are now waiting with bated breath for another phase to kickstart.
KING-SIZE CONAN #1 hits your local comic book shop next week, but thanks to Marvel Comic, we have an exclusive preview for our reader.
About the book: BY CROM, YOU’VE NEVER SEEN A CELEBRATION LIKE THIS – MARKING 50 YEARS OF CONAN THE BARBARIAN IN COMICS!
Revelations, surprises and savage action prevail in the all-new KING-SIZE CONAN! In 1970, Roy Thomas brought CONAN THE BARBARIAN, a creation of author Robert E. Howard, to Marvel Comics. With art by the incomparable Barry Windsor-Smith, CONAN THE BARBARIAN #1 introduced the Hyborian Age to a whole new audience, paving the way for decades of comics and Conan’s conquest of pop culture.
Now get ready to celebrate 50 years of CONAN with an oversize special spanning the breadth of Conan’s life and times by the most dazzling array of creative talent ever assembled in one book to tread the jeweled thrones of the Earth!
Experience Roy Thomas and Steve McNiven’s all-new prelude to that original story from 1970!
Thrill to a tale of revenge by Kevin Eastman (co-creator, Teenage Mutant Ninja Turtles), writing and drawing his FIRST Marvel story!
Chris Claremont and Roberto de la Torre team up to unveil a turning point in Conan’s career as a mercenary!
Kurt Busiek and Pete Woods recount an early brush with sorcerous forces that will shape Conan’s destiny!
Conan and Bêlit sail together again for the first time since the 2019 relaunch, with Jes s Saiz illustrating the Marvel Comics maiden voyage of Steven S. DeKnight (Netflix’s DAREDEVIL writer/director/showrunner)!
The perfect introduction for new fans, and an essential adventure for die-hards, this is the can’t-miss CONAN comic of the decade!
Batman’s fresh start after the Joker War has already hit a big snag. An old rival made during the Dark Knight’s training that uses the moniker of Ghost-Maker has come to Gotham. His goal is to take the position of vigilante, using his more precise, violent style. Ghost-Maker’s first target is Clownhunter, another vigilante who made a name for himself during the Joker War. Batman did his best to protect him, but Ghost-Maker is able to capture both of them, as well as Harley Quinn. After patching up Bruce, Ghost-Maker leaves the trio alone, allowing Clownhunter to get free and threaten Harley. Can Batman save Harley and stop Ghost-Maker?
**Some Spoilers Below**
Story:
We open with one last flashback of Bruce and Ghost-maker, where the former prepares to return Gotham. Ghost-maker berates Bruce for his decision, suggesting they work together to become crimefighters that span the globe. Bruce declines his rival’s offer and warns him that he will be seen as a criminal if he ever comes to Gotham. We cut back to the modern-day where Clownhunter prepares to kill Harley, despite Batman warning him that it’s what Ghost-Maker wants. He quickly breaks free and gives Harley a batarang, which she uses to free herself and disarm Clownhunter. But not before talking to the new vigilante about his issues with her.
Much like the previous issue, this one was a slog to read through, but this did have a few shining moments. The biggest moment was Harley’s talk with Clownhunter, explaining how she is trying to make up for all the crime she committed with Joker. It’s a nice bit of character development that shows that this Harley is not the same as the one we were first introduced to when she made her debut in Batman: The Animated Series. She has baggage and is trying to right the wrongs of the past.
The problem is that despite the smaller character moments like this, we get the same boring rhetoric that’s been thrown around in the first and third issues of this arc. Ghost-Maker and Batman are two sides of the same coin, and we get it! But despite Ghost-Maker stating he would cut down all criminals in his path, Batman wants to bring him on as a consultant to make Gotham a better place. This change in perspective is obviously because of the Joker War, but Batman shouldn’t be bringing on active killers. Reformed killers like Red Hood and Harley are one thing, but Ghost-Maker has strung up people just the day before. Hopefully, this pans out a little better after Future State, but right now, it feels weird in a bad way.
Art:
The art team has come together to provide a decent looking issue. Unlike the previously reviewed issue, the art flows from the flashback to the present a lot more smoothly. The highlight would definitely be the present-day fight between Batman and Ghost-maker, with the team able to perfectly capture the speed and intensity of their fight. Along with that, Ghost-maker really looks amazing in this style. When the series picks back up after Future State, we will hopefully get more great art like this.
Conclusion:
Despite the positive art and fantastic character moments, this was a very weak conclusion to this arc. We get a story with a decent chapter for Harley and Clownhunter, but it falls apart when focusing on Batman and Ghost-maker. I do not doubt that the team was told to wrap up quickly to make room for Future State, but now we’re left waiting in this confusing position. With Ghost-Maker now being a part of the Batfamily, what does this mean for Gotham? Considering what we’ve seen him done so far, it might not turn out well, both for Batman and the readers.
Few images are more iconic to both comic and cult-film enthusiasts than the image of Taara on the poster of the 1981 animated film Heavy Metal. Her appearance in that film, as well as the long legacy of creative insanity that has decorated the many volumes of Heavy Metal Magazine over the years, demands that her own comic live up to that image. Fortunately, writer Stephanie Phillips and artist Patrick Zircher, as well as colorist Jessica Kholinne and letterer Marshall Dillon, are all on hand to deliver. “Taarna” #1 is a grandiose flight through dying stars and the cosmos that starts off this new series in epic fashion. A simple but compelling narrative-focused script and truly stellar artwork make this debut issue a must own for fans of Heavy Metal or just comics in general.
“From the death of the last Taarakian and a collapsed universe, Taarna was born. HeavyMetal‘s flagship character from the animated film returns in a new series of cosmic mystery and battles throughout the multiverse in her war against Kako, the embodiment of chaos. This is the story of a millenia-old battle between godlike beings, with all sentient life caught in their path.”
Writing & Plot
Stephanie Phillips (The Butcher of Paris, Harley Quinn) starts off this 6-issue miniseries by declaring from go the scale of power being dealt with here. Her script for “Taarna” #1 sets up the character as a goddess-like being, who has been around for numerous millennia foiling cosmic entropy at every turn. Her opening act, saving a planet from a dying sun, is written from the perspective of the people being saved and immediately gives Taarna the appearance of this majestic savior. Phillips further sells this image through how she presents the story. There’s very little dialogue in this issue, as Phillips instead writes most of the comic as overhead narration describing Taarna’s place and deeds in the universe. This gives the titular character the mythic guise that also fits the story’s setting and scale. A large chunk of this comic has Taarna flying through space on her cosmic pterodactyl under the narrative, and this is super effective in making this book feel epically badass. This issue took me back to the first time I ever watched Heavy Metal, and I’m certain that’s what Phillips was aiming for. This comic’s simple written presentation makes it an easy book to jump into while still being highly effective and really fun to read.
Art Direction
A comic with the kind of epic subject matter that “Taarna” #1 offers would be a complete bomb without the proper visual representation. Fortunately, Patrick Zircher is on hand to bring his clean and highly detailed pencils to bear. The character animations and detail are outstanding, and up among some of the most polished work I’ve seen recently (slightly reminiscent of the likes of Ivan Reis or similar mainstream comics artists). His illustration of Taarna especially makes her look as goddess-like as the character deserves in this series, over-the-top beauty combined with amazonian-esque power. Zircher’s illustrations of the cosmos work in tandem with his panel direction; most of the comic is presented in large panels that display large portions of spacey and divine scenery, and it makes the comic read almost like a storyboard. The colors from Jessica Kholinne are a huge part of what makes the art work so well, as the array of colors from all three major scenes in the issue are vibrant and varied. The booming, starry colors of passing galaxies and nebulas all shimmer with an outstanding array of vivid detail and sell this comic’s grand scale. Letterer Jim Campbell uses a sort of mythic, heavy metal record-looking font for the narration and a more classic comic font for dialogue, creating a fitting and smooth reading experience. This comic provides the exact look of galactic badassery that Taarna deserves.
“Taarna” #1 is a debut issue celebrating one of cult fiction and comic’s most iconic figures, and it does so in awesome fashion. The script from Stephanie Phillips reads like the steady unraveling of a cosmic myth, and the fact that it’s only the first of 6 parts makes it all the more enticing. The visuals from Patrick Zircher’s pencils and Jessica Kholinne’s colors make this grand odyssey through the multiverse a stunning trip of mysterious planets and exploding suns. This a a kick-ass first issue, and a must-buy for any fan of Heavy Metal Magazine or cool comics in general when you visit your local comic shop on 12/16.
When I first signed up to review Locke & Key …In Pale Battalions Go… I wasn’t expecting much. Maybe another fluffy addition to the world of Locke & Key at large, but nothing to write home about. I couldn’t have been more wrong. Writer Joe Hill, artist Gabriel Rodriguez, colorist Jay Fotos, and letterer Shawn Lee provide one of the strongest yet simplest chapters in the world of Locke & Key. And Pale Battalions Go #3 is a magnificent finale to a soul-searching miniseries.
Writing
“Brutal” doesn’t seem to quite cut it for Hill’s writing in this chapter. No one gets out of this fight unscathed, including the reader. Hill makes us fall in love with these characters, shows us their humanity in beautiful ways, and crushes them in front of us. But this is a series about war, and any other ending would feel wrong somehow. Hill sets up all kinds of characters on the moral spectrum. From the outright honorable to pure evil, and every shade in between. This is Hill’s way of saying that war doesn’t help anyone. It doesn’t matter what side you’re on or how good you think you are; war takes no prisoners. But this chapter wouldn’t have half the punch it does without Hill’s sprinkling in of sweet moments. Moments that never overstep their mark, never feel unearned, but instead, illustrate our stakes. These little moments remind us that humanity and decency are what’s on the line.
Art
Rodriguez is the beating heart of this comic. His mastery of human expression is what drives the stake right into our hearts. The fear on a young German soldier’s face is not that different from the terror on the face of a little girl. Even the ones who smile at the thought of violence have little moments of humanity. Their walls come down in their final moments, and the screaming child underneath is visible for a split second. But there are also plenty of characters in this issue that just set their jaw. As the danger gets nearer, some eyes widen, others narrow. Rodriguez tells us so much about characters we barely know. Characters that run through the mayhem with a determined look on their face when it makes more sense for them to be hiding and crying. Rodriguez gets these characters. Better yet, he gets humanity, and he beautifully illustrates the spectrum of responses to conflict on these characters’ faces.
Coloring
One of the easiest things to spot in this issue is how drastically Fotos has changed his colors from previous issues. The palette is much richer, much darker. These are not the war-torn plains; this is a warm home. But the thing is, the red blood still seems to pop as much as in any other issue. And the color palette doesn’t change. It doesn’t respond to the tragedy and destruction, at first. Any other colorist would make the page look bleaker as the world seemed bleaker. But Fotos doesn’t do this, and it makes it feel as though the world doesn’t care about our or the characters’ pain or loss. Each page’s indifference to events makes every heartbreak cut deeper. And in the final pages, Fotos flips the equation. We see a character seemingly moving on from all the destruction they’ve witnessed. They look sort of alright, all things considered. But their surroundings are bleak, and the color palette is pale. It’s Fotos’ foreshadowing, getting us subliminally prepared for the final nail in the coffin.
Lettering
Lee’s lettering for this issue is quite careful and subdued. He writes subtitles to the German dialogue at the bottom of each panel. It’s interesting to see what lines don’t get translated. At times, the German leader is misquoting Alice in Wonderland or ruminating over “locks and keys.” Most of the sound effects are small and simple. Often, they’re the sound of keys turning in locks. But occasionally, Lee lets loose. The large orange “NEIIIIIN!” of a soldier shouting from another room is immediately noticed when set up against simple dialogue. And as the issue ends, Hill writes in the poem this miniseries was named after. Before we see the poem, we get three pages completely devoid of lettering, and then the poem is all written out in the space of two pages. Lee could have slowed the delivery of the poem, writing captions on the three empty pages. It would make a lot of sense to do that. But thankfully, he didn’t, and the sheer silence of those pages shines. Lee knows we need those moments to be completely uninterrupted.
IDW’s Locke & Key: …In Pale Battalions Go… #3 is a beautiful ending to a delightful series. It brings all the threads of humanity and war together for one deeply satisfying conclusion. Pick up Locke & Key: …In Pale Battalions Go… #3, out from IDW December 16th, at a comic shop near you!
