Review: TAARNA #1 and the Answer to Cosmic Chaos

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. Heavy Metal‘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.

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Review: LOCKE & KEY: IN PALE BATTALIONS GO #3 is a Perfect Ending

Zac Owens

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!

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Seeing Eye to Eye in THE MAGNIFICENT MS. MARVEL #17

Cat Wyatt

THE MAGNIFICENT MS. MARVEL #17, available Wednesday from Marvel Comics, brings fans back to a world that is being torn apart by a brand new law. Kamala’s Law. The law that allows government agencies go after underage heroes – using Kamala Khan’s name.

Odds are pretty good that the interview didn’t go as planned…(The Magnificent Ms. Marvel #17)

Everything that has been happening in Ms. Marvel’s series lately has been directly tied to that one fateful event in Outlawed. While her name may be getting used for the law, it’s pretty clear that Kamala does not agree with what is being done.

That’s not all that much of a surprise. What is a surprise are some of the events that have been happening around her, ever since she woke up. She’s lost friends and allies, and not all of them in a predictable manner. The Magnificent Ms. Marvel #17 is another surprise waiting to be unveiled.

So C.R.A.D.L.E. is still on the hunt, huh? (The Magnificent Ms. Marvel #17)

The Writing

The Magnificent Ms. Marvel #17 feels like a merging of the old and the new. As an enemy from Ms. Marvel’s past makes a move – all while she’s still dealing with current events. It’s a surprising move on Saladin Ahmed’s part, but it’s one that worked out well here.

The entirely of Outlawed is a plot that hits home for many Marvel fans, as it feels achingly familiar to previous events in Marvel. Fans aren’t the only ones hurting, as young heroes are forced to make tough decisions.

For Kamala, it was never a question of what side she would take. It’s one of the many reasons why fans have loved her from the start. That nature of hers shines through in this issue, as she deals with problems from two fronts. All while still continuing to try and do the right thing.

That’s Ms. Marvel in a nutshell, really. To think, this issue allowed for a moment of that to shine through, continuing an on-going arc, and introduced a new plot arc all in one. A plot arc that is going to raise many questions, until it is all resolved.

To balance out all of that tension, there are a few comical moments woven into the narrative. Especially earlier on, as Ms. Marvel has found an amazing (and hilarious) way to deal with those that get in her way. It’s not something you’ll want to miss out on.

That’s one way to deal with those agents! (The Magnificent Ms. Marvel #17)

The Art

Once again, there’s quite a lot going on inside the pages of The Magnificent Ms. Marvel #17. Dozens of characters, several plots, and plenty of raw emotions to go around. Yet the artistic team didn’t seem to have any trouble keeping up.

Minkyu Jung had a chance here to draw Ms. Marvel, Dum Dum Duggan, his agents, and a bunch of zombies – all in one scene. It made for a lot going on, and yet was still highly entertaining. That was only the start of it, as Ms. Marvel used her abilities to their best – as shown by the artwork.

Ian Herring’s colors make everything bright, from the bold backgrounds (sometimes going as vibrant as to be yellow), to the arching blues and purples of electricity. All of it makes for eye-catching panels, especially when Ms. Marvel’s color palette comes into play.

VC’s Joe Caramagna’s lettering is understated when needed. And yet it is so wonderfully graphic at other times. There’s this viscous sensation to the letters, which only amplifies (and horrifies) what is happening all around.

That’s…gonna be a problem. (The Magnificent Ms. Marvel #17)

Conclusion

The Magnificent Ms. Marvel #17 had so much going on, and as such it really did feel like it was over in the blink of an eye. It’s impressive to see how much was balanced in one go. All while not feeling rushed or overwhelming. The setup included at the end of this issue is more than enough to keep fans waiting for The Magnificent Ms. Marvel #18.

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How The Stories Merge in ONCE & FUTURE #14

Cat Wyatt

ONCE & FUTURE #14, available Wednesday from BOOM! Studios, is about to throw a few more complications Duncan’s way. You know, because he didn’t already have enough of those to deal with, what with being in two stories at once.

An image of some of the enemies lurking in the shadows.

If there’s one thing we can take away from Once & Future, it’s that one should never raise the beings of legend and lore. Not in today’s day. They wreak all sorts of merry mayhem all over the place, and the more you know about them, the more danger you’re in.

When this series first started, Duncan was just an ordinary guy. An ordinary guy with a strange grandmother, but otherwise he seemed…boring. Now he’s found himself in the root of two stories, either of which would happily kill him given half a chance.

That is where Once & Future #14 begins, which should give readers plenty of ideas on how much worse things are going to get, before they get better.

The Writing

We all remember just how anxiety-inducing that cliffhanger was from the last issue. So to pick up Once & Future #14 was a bit of a relief, if I’m being honest. The Green Knight making a sudden (and bloody) introduction towards the end left quite the impression.

The writing in this issue was shockingly intense. Kieron Gillen worked hard to elicit a reaction to what was happening and even succeeded in forming a bond based on pity for somebody fairly horrible. It’s impressive writing if a bit saddening.

Amidst the tension and the horror, there’s just a tiny bit of room for humor. Not much, granted. But it does help to ease things a bit. Credit for that goes to Gran, who naturally has seen and done so much more than this.

After that, it’s back to the horrifying drawing board, as it seems like countless monsters and villains are rising to the surface once again. It begs the question, how much can one family solve on their own? Are there other monster/legend hunters out there? Because now would be a good time for them to start doing their job.

Meanwhile, the Green Knight wants to play.

The Art

If there’s one thing you can count on this series for, it’s having fantastic artwork. Once & Future #14 is no exception to that rule. While the imagery in this issue leans towards the more graphic side (nothing new there), the fantastical elements are strong as well.

The scenes mentioned above would have been interesting in written form, but complemented by artwork…they carry so much weight. The gore, the horror of death, and the beyond. It’s unavoidable here, and that fits the nature of this beast.

Dan Mora’s monsters are such memorable entities. They’re surreal and larger than life, and yet you can see see the origins of their stories within their bones. It’s quite effective and has almost become a trademark of the series.

Meanwhile, Tamra Bonvillain’s colors are so bold and vibrant. They’re brighter than one would typically expects in a series so full of horror, yet it is one of the many reasons why this series stands out. The decision to use a vibrant green hue to indicate when stories have come to life was such a great move. It adds this insidious nature and removes any delay in identifying the nature of enemies. Not to mention, it looks terrible and amazing, all in one.

Ed Dukeshire’s lettering is not to be forgotten either. His work is another key piece in what distinguishes man from legend. Not to mention, there’s something so extremely satisfying about the way he portrays screams and more.

Conclusion

Once & Future #14 is an issue worth waiting for, as the ante continues to climb. The legends of old are waking up, and it’s starting to look like one family of hunters will not be even remotely enough to keep up with it all.

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How the Battle Continues in FIREFLY #24

Cat Wyatt

FIREFLY #24, available Wednesday from BOOM! Studios, continues the first crossover event for a series that has long held a special place in our hearts. Malcolm Reynolds and crew are up against a new foe, and it is their strangest one yet.

For a time, it seemed like Firefly would happily continue onward in comic book form, focusing on the past. Meaning that there would be few changes made to the plot or characters that we know so well.

Now, the series has started forging ahead, taking risks, and generally altering the series that fans know so well. For good or for ill, at least it’s a series that is still trying to take those grand risks, and do something different with what is available.

Firefly #24 is set in a nebulous point in time, where the crew is still together (and alive), yet the Alliance seems to be out of the way, or at least not as strong as they have previously been. Unfortunately, that left a void that Blue Sun Corporation stepped into. There’s a new big bad here, and they’re just as bad. If not worse.

The Blue Sun Rising Crossover event only has one issue left to its story. Blue Sun Rising #1. There’s still a bit left that needs to be explained, including how the crew survives what is about to happen next.

The next plot starts up in Firefly #25, which is set to jump ahead to a point following the events of Serenity…which probably means it’s time to say goodbye to certain characters all over again.

Inara taking center stage on this variant cover of Firefly #24.

The Writing

Firefly #24 is full of grand schemes and events. This is a plan thought up by Malcolm Reynolds, after all. So of course it’s grand. It’s also just as likely to have something (or several things) go wrong. Again, it’s just his luck.

Greg Pak did an excellent job of capturing that fact in this issue, while also bringing his own idea into the mix. It’s an interesting issue, with a surprising amount of moments that just felt…right. Granted, I’ve never been a fan of those robots, so seeing them fall was probably more satisfying than it should have been.

The subplots revolving around Kaylee and Mrs. Reynolds did a lot to carry the plot along, adding two totally different elements. The rom/com vibe, and a harsher side more focused on money (Jayne would approve).

All things said and done, this issue is well-rounded, and doesn’t shy away from the risks being taken. Or the fact that it is just so much fun to watch the world (or in this instance, an evil corporation) burn. Even if we know it probably won’t last. Or succeed nearly as much as it needs to.

A flashback to one of the more heartbreaking episodes, in Firefly #24.

The Art

Firefly #24 is full of space battles and shoot outs, in an almost classic Firefly series of events. Of course, there are several changes in the mix, mainly surrounding the newly introduced characters. Their character designs run the gambit, but overall do seem to balance out the aesthetics of the crew.

Lalit Kumar Sharma and Daniel Bayliss are the lead artists, and you can really see how much work went into those fight scenes. Likewise, attention was paid to how the characters felt at any given moment, and the best way to express it.

Marcelo Costa’s colors nail the general feeling of the original world, while throwing in a few changes. There’s this rusty/space feeling to it all, which is actually fairly on point. The backgrounds are one of the many places where Costa’s work excels.

Finally, Jim Campbell’s lettering unifies the whole issue. There’s plenty of room for expressive lettering here, thanks to what is occurring. Combine that with the sounds of battle, and one can almost feel this issue as it plays out.

Conclusion

Firefly #24 tightens up this otherwise strange plot, setting it up for a solid conclusion. All of which will free up the series to head in a new direction, as fans finally get to see what happens following the events of Serenity.

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AfterShock Comics Exclusive Preview: WE LIVE #3

Anthony Composto - EIC

December 16, 2020

we live #3 aftershock comics exclusive preview

WE LIVE #3 hits your local comic book store today, December 16th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Luck has abandoned the group. Humbo and Alice have lost track of their newfound friends, Tala and Hototo. The siblings are being held prisoner and will soon discover that the world hides dark corners, where screams of help are no more than fallen spirits.

Meanwhile, time runs out for Hototo; the shuttle train to Megalopolis Mother 9 is about to depart…

WE LIVE #3 is by brothers Roy and Inaki Miranda (with both on writing duties, and Inaki on art duties as well). Colors are by Eva de la Cruz, and letters are by Dave Sharpe.

Check out the WE LIVE #3 preview below:

Are you reading WE LIVE? Sound off in the comments!

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Review: DEADPOOL #9 Shows Us Why Wade Wilson Is Master Of Pain

Corey Patterson

DEADPOOL #9 hits stores on Wednesday, December 16th, featuring the Merc with a Mouth and Elsa Bloodstone in their final battle with the Queen of the bone beasts. Last issue saw the two (and Jeff the shark, of course) travel to the monster’s dimension. Deadpool found a number of children held hostage, and sought to save them while also searching for a cure to Elsa’s Bloodgem curse. This unfortunately required our hero to take the gem into his body, effectively cursing himself. Fortunately, curses occasionally come with gifts.

Story

Despite Elsa’s shocking betrayal last issue, Deadpool finds the motivation in himself to use the new powers of the Bloodgem infection to protect her from the Queen.

Seeing Deadpool take in the pain of Elsa’s dishonesty, plus the literal demonic forces of the bone beasts, reminds us of why we love his character. He knows pain, but his ego, and perhaps a hint of goodness, lead him to carry on the fight.

Kelly Thompson’s writing is some of the best we’ve seen yet in this Deadpool run. From the sexual innuendos and gory jokes to his inspiring stand against the Queen, readers will fall in love with his character all over again.

Artwork

Gerardo Sandoval’s penciling and Victor Nava’s ink work created an epic landscape for our heroes to duke it out with the Queen. The bone beast dimension is full of swirling spirals of dark shades, courtesy of colorist Chris Sotomayor. We also loved how VC’s Joe Sabino’s lettering was able to clearly differentiate Deadpool’s own thoughts, the Queen’s thoughts in his mind, and each character’s spoken words.

Conclusion

DEADPOOL #9 is the climactic story fans of the series have been waiting for in this arc. The thrilling dialogue and action will keep readers on the edge of their seats right into the next installment.

What other power-ups do you think Deadpool could gain in this series? Let us know in the comments below!

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Review: POST AMERICANA #1 Shows What A Post-Apocalyptic America Could Look Like

Corey Patterson

An all new series arrives on the comic book scene in POST AMERICANA #1, hitting stores on Wednesday, December 16th. This story explores what a post-apocalyptic America would look like if the elite barred themselves off from the rest of country. But their machinations don’t stop there; the group has captured dissenting voices and forced them into forced labor. Is there anyone who can stand against them?

Story

The issue opens with a speech from the new leader of the former United States. His address speaks to a reinvigorated plan to reclaim the country as their own. Readers soon learn of a catastrophe that lead the elite of the world to craft a “Bubble” to both isolate themselves from the rest of the world and craft weapons to soon conquer it.

However, we find that a pair of dissenters are planning a massive breakout with other workers. With hopes of revolution the two seek out a new locale, which turns out to be Fresno, California. But unlike its real world counterpart, this community is virtually identical to any scene from post-apocalyptic film.

We’re introduced to a woman named Carolyn who recently showed up to the camp, a man name Mike from the revolution, a literal cannibal named Rudy, and a self-proclaimed hero named F.F. Each of these has their own unique personality that lends value to the story and pushes the narrative forward.

Steve Skroce’s script sets up this series to be one of the greats. The pacing is well done, from the time it takes for the revolutionary group to make their escape to their eventual arrival in the Fresno encampment. Readers get a good understanding of the characters Carolyn, Mike, and even the F.F. We’re excited to see who else is introduced in the subsequent issues.

Artwork

The illustrations in this issue were unique in their gory yet intriguing styles. Skroce’s penciling and ink work cast scenes full of blood, death, and destruction, right down to the exploding heads. Combined with Dave Stewart’s coloring, these images burst forth with bright reds, blues, and whites, which add to the comic’s overall theme. In addition, Fonografiks’s lettering does a brilliant job of placing word balloons so it frames the characters’ action.

Conclusion

POST AMERICANA #1 is a post-societal tale for the ages. We’re excited to see how the protagonists attempt to face this version of America.

Do you there is any hope for defeating this new “America?” Let us know in the comments below!

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Review: RORSCHACH #3 is Full of What You See in It

Zac Owens

It’s fitting that writer Tom King, artist Jorge Fornes, colorist Dave Stewart, and letterer Clayton Cowles make DC Comics’ Rorschach such an ambiguous storyline. After all, that’s what a Rorschach is. An ink blot that seems different from each new set of eyes. DC Comics’ Rorschach #3 is full to the brim. Full of what? Well, that depends on the reader.

Writing

I’ve said it before, I’ll say it again: Rorschach is unlike any other work from King. It’s full to bursting with dialogue and captions. Rorschach #3 begins with a New York Times article about a coal mine explosion. It’s tangentially related to the plot, and even then, it’s not clear how. King is allowing the reader to make the connections they see instead of spoonfeeding us answers. King shows us some of Laura’s upbringing, one of our antagonists (protagonists?), in this issue. We witness her and her father bonding over death and guns and fear. But what do we see? It could be that we see a dangerous indoctrination into the beliefs of the radical right. We might see the unlikely beginnings of someone who shook off their upbringing to save the world. Or, we might see something deeper that evades words. Really, it depends on how you look at it. Somehow King does it again. He flies in the face of his own style, with huge chunks of text and plenty of dialogue, but maintains every ounce of the subtext and subtlety he’s known for.

Art

Fornes’ use of time in Rorschach #3 is inspired. It’s something he’s been playing within this series. The last issue had a brilliant back and forth between flashbacks and modern-day. But Rorschach #3 begins to blur the lines. Fornes divides one page right down the middle. Panels on the left-hand side are modern-day, and panels on the right are in the past. But these characters almost seem to be able to see each other. It’s eerie. There are also a few moments where panels have gutters running through them despite them depicting a singular moment. They’re one image, divided into several panels. And though it seems to be purely decorative initially, it reads differently upon closer inspection than a single uninterrupted image would. We see Laura, shot as she was in the first issue. But it’s four panels. It makes the moment feel like it lasts longer like it puts time on pause. Fornes is constantly pushing the boundaries of how he can communicate time on the page, and with each issue, his experiments are bringing forth more jaw-dropping results.

Coloring

Stewart is a big part of the reason that Laura’s upbringing feels so disturbing. There’s a calmness to these scenes. As Laura’s father shows her his gun collection or teaches her about mind-controlling squids, it’s as though the page refuses to clue in on what’s being said. The page stays a calm yellow, depicting a mid-afternoon, or a light blue showing the early morning glow. This is how Stewart shows us how normal these things are to Laura and her father. Yet Stewart also continues to remind us where this is all headed. With the occasional interruption of Laura’s demise thrown in, in bold red, Stewart depicts a casual saunter towards doom. It’s beautiful, it’s infuriating, and it’s a magnificent visual representation of dramatic irony. It gets right under the reader’s skin.

Lettering

Cowles shows us Laura in her natural habitat. We see how gunfire and laughter are all part of her environment. As she’s shooting targets with a machine gun, we see her surrounded by the “RATATAT” noise. The sound is in the background, almost like something she doesn’t even notice anymore. Similarly, we see her around a campfire with a bunch of guys. A twelve-year-old girl among a bunch of militiamen. But her smiling face, with her tongue out, is shown in front of the noise of their laughter. And while the “BLAM” of her gunfire is quite noticeable throughout the issue, it comes up so often it becomes commonplace. The “BLAM” of her shooting beer bottles is as innocuous as the more devastating shots that follow. It’s only the “BLAMM,” with an extra “M” added in, of her being gunned down, as she was in the first issue, that stands out. The sound looks mechanical and unfeeling compared to the playful gunshots of earlier pages. Cowles reminds us that this girl was born into violence but leaves us to wonder if she’s quite the same as the men who took her out.

DC Comics’ Rorschach #3 feels timely, but it’s hard to say just how. That’s because this creative team doesn’t offer their own interpretations. They ask the reader to look at the inkblot and tell them what they see. It’s a brilliant example of how a text-heavy script can still maintain subtlety and subtext, leaving room for the reader to do their work. Pick up Rorschach #3, out from DC Comics on December 15th, at a comic shop near you!

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How Cats Fight in CATWOMAN #28

Cat Wyatt

CATWOMAN #28, available today from DC Comics, continues this latest series of adventures for the one and only Selina Kyle. Apparently, helping Batman save the day wasn’t enough, as now she’s set to take on one of the mobs of Alleytown.

Catwoman doing what she does best on this variant cover of Catwoman #28.

One year. That’s how long she’s giving Batman to make up his mind. It’s how much time she has to clean up her share of the city and take down all of the new enemies she’s made. That isn’t a whole lot of time, but apparently, she’s set to make the best of it.

She moved back into Alleytown and quickly set about cleaning up the streets, taking in the kids, and teaching them the ways of thievery. Now? Now she’s got her eyes set on bigger game, and in Catwoman #28, some of those plans are about to come to fruition.

Alleytown, aka Catwoman’s new (and old) territory.

The Writing

Catwoman #28 is an exceptionally fast-paced read, courtesy of all the action, mayhem, and table-turning events that Ram V managed to sneak into the pages. There’s a lot to take care of in this part of town in her defense, and much of the crime seems to set up like dominoes. You can’t handle one without planning for the rest.

At least, that is the impression that this plot arc has been giving off. Perhaps this is more of Selina’s ‘go big or go home’ mentality, as she’s poking at new enemies – instead of dealing with all the ones she already has.

It’s an interesting move, but it’s also a smart one. By allowing Catwoman to create her own antagonists – antagonists that run through her self-declared turf – the series is allowing Catwoman to have a sense of independence once again. She’s no reliant on Batman, nor is her series reliant on his enemies.

This is the part where the last few issues worth of scheming and planning all finally pays off. Hence all of the action and less of the plotting. Still, there’s plenty for readers to pick up on as the war continues on multiple fronts.

Enter Catwoman’s latest quarry. Things are probably not going to go well for them.

The Art

It’s safe to say that a lot is going on in Catwoman #28. Multiple fights, locations, and perspectives had to be portrayed for it to make any sense at all. This means the artists did a lot of the heavy lifting here.

Fernando Blanco’s artwork is bold and decisive – much like the character being portrayed. The action scenes move so quickly; it’s almost hard to follow along. Almost, but not quite. Blanco’s work easily captured the many layers of this plot, showcasing all the different sides to this fight and where the lines have been drawn.

FCO Plasencia’s colors work well to make everything pop out. As even what would normally be deemed duller colors seem to pop. All thanks to the unique color combinations. It makes this grungy part of town feel like a place worth fighting for while still leaving room for the characters to pop out even further.

Tom Napolitano’s lettering is the final touch. He took full advantage of the action to increase the impact of it all. You can practically hear, even feel, the whip as it flips through the air and catches on some poor sap.

On the other side of things, here are the kids that Catwoman has taken in and trained – and they look ready for a fight (Catwoman #28).

Conclusion

Catwoman #28 is another fast-paced addition to this series. Allowing for a heavy amount of confrontation as all of her planning comes to fruition. It’s full of satisfaction on that level while also setting up for future conflicts along the way.

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