X OF SWORDS Aftermath: Things Shatter and Get Joined Together in EXCALIBUR #14

By

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November 23, 2020

Part 15 of X of Swords marks the beginning of the tournament to determine the fate of Krakoa. While the first half of this series consisted, for the most part, Krakoa’s champions retrieving their swords, I assumed the second half would largely consist of one sword fight per issue between the two groups of champions. This issue shows that Saturnyne’s game is maybe a bit more complex than that.

The first fight between Captain Britain and Isca the Unbeaten begins like I imagined most of this X-event would go, with a Medieval style tournament, with both sides watching their champion fight to the death. What I imagined would be a quintessential fight ended almost as soon as it began and takes up very little space in this issue. Within a few sword parries, Issa’s blade shatters the starlight sword, and with it, Betsy Braddock.

Aside from being an extraordinarily rendered page by artist Phil Noto, this moment was foreshadowed by Gorgon back in Marauders #14.

Indeed, Isca’s sword breaks Betsy in a very literal way, making short work of this Captain Britain. While Betsy is presumed dead, don’t be surprised if this is a part of some scheme by Saturnyne to teach Betsy a lesson, especially given Betsy’s tarot card from Stasis, which spoke about how being paranoid doesn’t mean someone isn’t after you.

A majority of this issue is actually spent exploring Cypher’s challenge. While the cover indicates a hopeless fate for the inexperienced fighter, readers learn that his challenge consists of marrying one of Arakko’s champions, Bei the Blood Moon. The fact that this challenge takes up more than half the issue’s pages foreshadows the nature of the rest of the tournament, which will not be without bloody conflict but will consist of banal challenges that leave most of the contenders relatively unscathed.

This isn’t a straightforward fight, and while I do consider it to be boring and anti-climatic at times, I can’t help but wonder, with Captain Avalon, “What is Saturnyne up to?”

Excalibur #14 is available now!

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X OF SWORDS Aftermath: Fakeouts and Anti-Climaxes in MARAUDERS #15

By

Matthew Brake

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November 23, 2020

X of Swords is turning into a bit of an anti-climactic affair. While I enjoy fake-outs and character moments, this event is a talkfest that doesn’t go anywhere (I also say this as someone who has read ahead).

This issue starts interesting enough, showing the consequences of Wolverine’s assassination of Lady Saturnyne at the end of the last issue. We learn that Arakko has invaded Earth and overcome the Avengers and the Fantastic Four. Readers are treated to an image of the Sanctum Santorum before seeing Dr. Strange’s burning body get thrown out the window. As the action then turns to focus on a crucified Wolverine, we learn that this is a vision Lady Saturnyne shows Wolverine about the future consequences of his actions, had his attempt to kill her been successful (which it wasn’t).

Attention turns back to the feast at the Starlight Citadel, which is not without some funny interactions. Still, for having set up the forces of Arakko to be an overwhelming, menacing threat, they lose their sense of menace as this series goes on.

If one were to compare this event with Hickman’s first event from his Avengers run, Infinity, this first big X-event certainly falls short of action and menacing villains (even though it had the potential to start off strong).

Perhaps, Hickman and company are setting up something else as a part of their storytelling long game. There were many ideas laid out in House of X/Powers of X, ideas that have only barely been explored in the first year of the Dawn of X (Arakko was only one of those ideas). Throughout this series, there have been hints about the possible reconciliation between Krakoa and Arakko, with one of the sword bearers of Arakko, Redroot, discussing the merits of Krakoan society with Death. Maybe there is a major shift in the status quo about to be established.

Or maybe there’s an editorial mandate to stretch out Hickman’s X-run as long as possible (and who knows how the recent revelation in Fantastic Four #26 that Franklin Richards is no longer a mutant may affect his run).

In any event, this is the fourth issue in a row of this series, which seemed to be setting up an epic and violent tournament between Arakko and Krakoa, that has turned into an on-going talkfest.

I’m a fan of Hickman and the X-titles’ potential, but Hickman and the X-team need to pick up the pace a little bit and provide some payoff.

Marauders #15 is available now!

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Review: BUZZARD #2 Is Fun, Energetic, And Violent

By

Michael Fromm

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MFR described the first issue of Buzzard as “unapologetically British, with a punk rock flair and off-the-wall violence.” This second issue brings more of the same charisma and action as the first, this time with an added bonus of character development.

Buzzard is created by Andrea Wolf, with art by Ezequiel Assis, cover art by Samuele Zardinoni, and cover graphics by Rob Jonesand. You can help fund the second issue, which is currently on Kickstarter.

Story

Welcome to modern Britain: a lost land where folks look for meaning in bizarre places, with devastating results. CEOs double as vigilantes, bored millionaires role-play as neo-Nazis and jaded scientists toss ethics in the bin to chase massive leaps. All under the beady eyes of commoners too apathetic to give a damn.

Erik Lincoln aka Buzzard, obnoxious high-schooler-by-day/bladed-armed-hitman-by-night, navigates this chaos better than anyone. Is he a daredevil with peanuts for brains? I mean, yeah. But though he toys with his own life, he’ll do anything to improve his sister’s.

This balls to the wall action-comedy delves with irony and gusto into the contradictions and challenges of today’s world, fueled by British humor and running on a manga edge.

Writing

What writer Andrea Wolf did to make the first issue of Buzzard entertaining and successful is very much alive and well in this second issue. It was described as having loose and raw dialogue, which it still has. This time, however, Wolf includes some of the back story for Erik (aka Buzzard). We are also introduced to Mathilde, Erik’s younger sister. These moments in this issue really add some depth to the various characters, and the world that they inhabit.

But make no mistake, there is action to be had in this book. Now with super hi-tech arms, Buzzard takes on the upper class, low-key Nazis, as well as their thugs-for-hire, with bloody brutality. There is some high flying combat at just the right moments sprinkled throughout the book. That, coupled with the aforementioned character development, makes for a well-rounded installment in the Buzzard saga.

Art

Artist Ezequiel Assis returns with spruce linework that still manages to have a bold intensity to it. This time, the “Manga edge” that is mentioned in the above synopsis is very much apparent, more so than in the first issue. Assis makes good use of Manga elements, such as Mathilde’s big, expressive eyes, as well as the speed lines during the action sequences. All of it helps make the artwork in Buzzard #2 fun and energetic, and a laudable compliment to Wolf’s story.

Conclusion

You won’t regret picking up this fun, action-packed independent comic. It’s got the best parts of Deadpool and Kingsman.

You can support Wolf and the second issue of Buzzard which is currently being crowdfunded on Kickstarter. You can also support the creative team by following them on Facebook and Twitter.

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Review: DUNE HOUSE ATREIDES #2 Settles Into Its Style and Starts To Gather Speed

By

Darryll Robson

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There is a new Dune Graphic Novel coming out from Abrams just in time for Christmas, and the movie trailer is still doing the rounds wherever people can get to a cinema. Therefore BOOM! Studios and Dune House Atreides #2 are in a good position to benefit from all the excitement currently being generated for the franchise.

After a scene setting first issue, the prequel adaptation continues to expand the Dune universe by introducing new characters and expanding on the histories of the famous Houses. The titular planet is just a central hub around which a universe of action is beginning to unfold. With such a strong fan base, and numerous visions of the franchise starting to appear, is BOOM!’s version setting the standard for others to follow?

Into the Desert

Setting out from the brutalist city of Carthag, Imperial Planetologist Pardot Kynes is led into a sandy landscape to discover first hand some of the secrets of Dune. The Bene Gesserit outline their extensive breeding program, Duncan Idaho learns of Harkonnen cruelty, and Leto Atreides is abandoned on Ix.

The second issue of this adaptation is split into mini chapters, reading like the original novel by Brian Herbert and Kevin J Anderson. Each section contains an element of discovery, a thematic thread running through the comic. With each discovery a little more can be understood of this vast universe created by Frank Herbert. Characters, families, and religious organisations are being slowly fleshed out for the reader through multiple stories that, as yet, are unconnected.

Herbert and Anderson have adopted their story well from the novel to the comic. However, any newbies to the franchise may find the narrative disconcerting as it leaps from one character to another, like a series of unrelated chapters unfolding on the page. This style of storytelling works better in a longer format, and will enhance the reading experience when this is inevitably collected. However, each bite sized narrative at least contains a satisfying chunk of plot that relates thematically across the entire issue. By the end the reader comes away with some understanding of the world, if not the direction of the plot.

World Design

After reading the first issue last month, the design and art style has had time to sink in. Dev Pramanik sketches his way through the pages and seems to have found a flow that matches the story. His inking has a diffused appearance, creating a hazy landscape and his characters are emotive if a little difficult to read at times.

The layouts are very rigid with heavy black frames on the panels but the shape of the panels change to express the action within them. The lettering also helps to break-up the stiffness in design by occasionally crossing the frames and entering the gutter, drawing the reader back away from the page to help take in the larger picture. Ed Dukeshire has a lot of script to get onto the page but his economy of word balloons and strategic placement means that the action is never interrupted. The sound effects throughout this issue of Dune have a lightness to them and they blend perfectly with the main artwork.

Pramanik’s line work is definitely enhanced by Alex Guimaraes’ colors which clearly separate the chapters. Each world, and by default each central character, has its own atmosphere produced from the shifting color palettes. From the desolate desert of Arrakis to the cold Harkonnen home-world, Guimaraes creates unique environments for the characters to inhabit. The shift from planet to planet is easier to follow because of the shift in color but it also gives the reader a better understanding of each world.

Conclusion

All of the separate elements of this comic work well. They tell the story and build atmospheres that relate specifically to each section of the narrative in a worthwhile way. Elements that make Dune an interesting reading experience in the Novel format are transposed to the comic successfully, especially the inner monologues that sit on the page, color coded for ease.

The plot itself is fast paced enough for the monthly comic format and you get the impression that something is happening, that it is all going somewhere. Comics like this will always feel harder to engage with if you are not used to the franchise but this second issue does a much better job of making readers feel at home. The first issue was a visual cultural shock but this month everything seems to work together better, or maybe the style choice has had time to sink in over the last month. Either way, Dune House Atreides #2 is a satisfying read and it’s beginning to feel a lot more like Dune.

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Review: The Last Vermeer Offers Disposable Court Drama

By

Eric Trigg

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The Last Vermeer is impressive visually, but rather dull for most of its runtime before delivering a solid third act. The film is not atrocious by any means but just seemed to lack a reason for anyone watching to care. Period dramas have a list of classics to offer, but The Last Vermeer will not be joining that list. A post World War 2 film that is wonderfully directed, and features some impressive acting, but its narrative is just lacking.

Being set after the fall of Hitler, and being based on a true story was the film’s most interesting aspects. The Last Vermeer showcases strong cinematography, acting, direction, from start to finish. The film seems to drag on at times, but a stellar lead performance makes it bearable. Directed by Dan Friedkin, The Last Vermeer stars Guy Pierce, Claes Bang, Vicky Krieps, Roland Moller, and Olivia Grant. In the film, Han van Meegeren, a famous swindler is expected of selling Johannes Vermeer paintings to the Nazis. He is investigated by a member of the Dutch resistance (Bang) and a soldier (Moller). As the film progresses, the truth’s regarding Meegeren schemes is revealed.

Guy Pierce as Han van Meegeren in The Last Vermeer

The screenplay for The Last Vermeer was written by Mark Fergus, Hawk Ostby, and John Orloff. In a script full of uninteresting characters, it is great to know that our central character will keep the audience invested. Meegeren is considered one of the greatest forgers in history, and thanks to a brilliant performance from Pierce, the interest in the character grows with each new scene. Meegeren has a burning passion for painting, it has existed in him since his youth. Unfortunately, his father would beat him for painting, but he escaped and went on to live out his passion. A passion that has turned him into a con artist, as far as the Nazis are concerned. The script gives you enough to introduce Meegeren and the performance just makes him captivating. Every other character comes off like a distraction and it’s unfortunate because the acting isn’t bad at all.

The Last Vermeer effectively develops its central character and what begins as a mystery, transforms into a courtroom drama for its final act. A third act that was so well written it puts the earlier portions of the film to shame. Not knowing enough details about Captain Joseph Pillar, the resistance member investigating Meegren, is where the film lacks. A lot of time is spent with Meegeren and Pillar, so it’s odd to learn little to nothing about him, as he carries the story with our con artist. Also, subplots seem to go unresolved as the film progresses, which felt odd. As mentioned above, the performances are great for everyone involved. Pierce eats up the scenery as Meegeren, coming off very unorthodox, gifted, and mischievous. Bang is delightful as Pillar despite not learning much about him, he keeps you interested in learning what is going on with Meegeren.

Claes Bang as Joseph Pillar in The Last Vermeer

Friedkin’s direction is acceptable here, and the cinematography was breathtaking. The highlights come from the courtroom scenes because there’s emotion, stunning internal shots, and a growing sense of intrigue that feels like it was trying to break out during the first two acts. Otherwise, the pacing choice made The Last Vermeer come off as flat as Pillar’s character. Pierce’s performance is so great that when he is off-screen viewers may grow even more uninterested in the flat character of Pillar. That solid performance just isn’t enough because the writers failed to give viewers any reason to care about him, but he does get a little development. Visually this film is a home run, it’s just the narrative hiccups that hinder it at times.

The Last Vermeer is effective for what it has to offer, but as far as period dramas go, there are better. Being based on a true story was the film’s biggest attraction, but it’s carried by Pierce’s strong performance and its visual treats. Despite the narrative hiccups and an undeserved final act, The Last Vermeer offers disposable drama that checks off enough boxes to possibly be enough for some viewers.

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Review: ANGEL+SPIKE #16 Rushes Headlong To A Conclusion

By

Darryll Robson

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After 16 issues BOOM! Studios’ Angel + Spike reaches the series finale, but is it really the end? Only time can tell. Before it’s over however, Zac Thompson and Hayden Sherman have a number of loose ends to tie up.

With battles to be won and friends to be rescued, Angel and Spike have miles to go before they sleep. How well do Thompson and Sherman finish off the story started by Bryan Hill way back in issue #1, and do they allow the titular characters an ending they deserve?

Bringing it together

After a plot that has been growing issue after issue, there are a number of threads still hanging at the start of Angel+Spike #16. There is the obvious werewolf problem that allowed the introduction of Oz into the mix, but there are other, subtler, story-lines that need to be addressed. With this issue billed as the Series Finale it does imply that an ending is imminent but how satisfying that ending is will depend on how committed to the series you have been.

There are a number of story-lines that need to be pulled together and tied off which Thompson appears to do. Unfortunately the comic reads like he wasn’t given enough time to do justice to each narrative strand. From the ending of the werewolf smack-down on-wards there is a great sense of narrative urgency. Everything is suddenly resolved with a quick exchange between characters to explain it. This creates an uncomfortable pacing in the comic and, on occasions, the effect is so jarring it pushes the reader out of the story. Instant character exclamations seem to come out of blue leaving you wondering if you’ve missed a chapter.

This issue is packed with story, Werewolves, Wolfram and Hart, Demonic Gods, but none of it is given the full justice it requires to be truly satisfying. Up to this point Thompson has succeeded Bryan Hill brilliantly, bringing his own style of witty banter to the horror comic but there are clear pacing problems and an overload of plot. It gives off the impression that several issues have been rolled into one to get the series finished, which is similar to Thompson’s Relay from Aftershock Comics.

The End Draws Near

Despite the narrative problems, the Art work still retains the high standard of previous issues. Sherman’s line work is chaotic and expressionistic, which works perfectly for the tone of the story. The horror comes from the uncontrollable ride these characters are on. Danger comes at them from every side and often it is not clear exactly what that danger is. Sherman fills his pages and panels with shapes and shadows that overload the reader with visual information. The pacing of each page is set by Ed Dukeshire’s lettering which leads the reader from one character to the next. You are then forced to revisit the page to take in the details.

The exaggerated figures allow Sherman to give the characters intense emotional reactions to situations. This helps to heighten dangerous situations or hammer home the comedic punchlines. Thompson has a dry wit, evident in his script, and Sherman translates this to the characters, making the humour work on the page. Scenes contain horror, action, and comedy side by side like partners in crime. This combination of elements gives Angel+Spike a tone which has been brought over from the television series.

Sherman loves to draw crowd scenes, with many pages full of characters. Luckily Roman Titov isn’t afraid to use striking colors to pick out a single person or a specific group. There is an array of color on each page adding to the organised chaos of Sherman’s drawing. Combined with the lettering, there is a sense of urgency throughout, as if they are rushing towards the end. References to ‘endings’ litter the script through speech and visuals that nod their head to moments from the television series. There are references to the end of the first Angel episode, the end of the fifth series, and more in between. Endings is used as a theme in this chapter, which highlights how quickly some parts of the story are finished.

Conclusion

Angel+Spike #16 has some outstanding scenes. The interplay between all of the comics elements create atmospheric and often complex narrative moments that fit into the world of Angel beautifully. Where this issue falls down is the speed at which it has been forced to tie up all of the loose ends. There is simply too much plot crammed into this one issue.

For the most part the creative team maintains the level of excellence that this run of Angel has achieved over the last two years. Some of the moments in this comic are excellent and will have you laughing or gasping in shock. Unfortunately it is not as satisfying as you might hope for a finale to the series. The twists and turns towards the end are either rushed or under-explained which leaves you disconnected from the story by the final page. This is a real shame for such an amazing comic, and does imply that certain editorial constraints, a shortening of the series perhaps, may be to blame.

In the end, if you have been reading this series you won’t want to miss this issue. The art is wonderful and the creators have clearly enjoyed putting this comic together. As a series Angel has been magnificent and is worth catching up on if you’ve missed it. Hopefully this is not the final End and only a break with a new series to follow soon.

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Review: BATMAN #103 Sees The Dark Knight Clash With Ghost-Maker

By

Jose "Jody" Cardona

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Batman vs. Ghost-Maker

Batman isn’t the only head vigilante anymore. As the city continues to pick up the pieces after the Joker War, a new threat approaches Gotham. The vigilante known as Ghost-Maker has come to Gotham to deliver his own brand of justice. As he begins leaving a trail of dead criminals, Batman realizes who he is and why he has to work quickly to stop him. By the time Bruce finds him, Ghost-Maker descends on Clownhunter. Now the two well-armed vigilantes clash over the life of Gotham’s version of the Punisher. Who will win?

**Some Spoilers Below**

Story:

We open with a flashback as Bruce meditates in the desert. The man who would become Ghost-Maker approaches him with two katanas, challenging him to a duel. Bruce initially refuses, as he just wants to have a quiet night to remember his parents, but soon takes the blade, ready to fight. In the present, Batman and Ghost-Maker throw down on the rooftops of Gotham as Clownhunter makes a run for it. While they fight, the new vigilante reveals to Bruce that, through his Ghost Network, he was able to bring down several criminals before he even got off his plane.

This issue is about 95 percent action, and it felt really nice. After the past few issues of massive exposition dumps and setting up this new age, we get a chance to sit back and watch the fists fly. Batman and Ghost-Maker are matched in combat expertise, so each page of their fight is more impressive than the last. Even Clownhunter gets a fight with Harley, which is honestly funny. Not because of any slapstick, but because of how clearly outclassed the new vigilante is in comparison.

Just because this issue is mostly action, it doesn’t mean we don’t have character moments. The best part of the issue is Ghost-Maker revealing what he did before he got off the plane. It shows that he is a capable vigilante like Bruce, but more vindictive to get the verdict. This moment gets even better when Bruce reveals that he knew about the crimes. He only let them continue happening as a way to try and cut the evil out at the true root cause. It’s a nice piece of back and forth dialogue that really cements the differences between the two. I can’t wait to see them fight more as the story progresses.

Art:

We have a trio of artists working on illustrating the issue, which can honestly be a little jarring. While the styles are very similar, they have just enough differences to throw an unprepared reader off. All three art styles are fine, especially in how they showcase the battles, but it’s hard to get invested without that consistency.

Conclusion:

In the end, this issue was a nice break from the back to back information dumps we’ve gotten. Batman’s new adversary is shaping up to be memorable, with his style of crimefighting and intertwined origin with Bruce. He’s a perfect opponent in this post-Joker War Gotham, and I can’t wait to see more. The only downside this issue has would be the multiple artists coming at it with their own styles. Hopefully, the future issues iron that problem out. That would honestly turn this good comic into an excellent one.

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Review: Carving A New Home In YASMEEN #4

By

Justin Munday

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Writer Saif Ahmed and artist Fabiana Mascolo return with another chapter of one of the most emotionally effective comics of the year with “Yasmeen” #4. While this issue utilizes more familiar (even a bit cheesy) cliches seen in many a high school movie, the weight of this story’s core still carries through every page and allows for some more brilliant writing within Yasmeen’s family. Guided by Mascolo’s stunning visuals and direction, this issue is yet another great chapter in one of the most important comics in recent memory.

“Yasmeen is starting to lose hope after her last attempt to escape has failed. While two years later in America, Yasmeen goes on a mission with her mother in a race against time to stop a nude photo of her friend from spreading online.”

Writing & Plot

Saif Ahmed’s script for “Yasmeen” #4 is probably the least remarkable in the series thus far, and this isn’t necessarily a bad thing. The first half of this mini-series has been largely about what had happened to Yasmeen in captivity, which created the devastating but important situations that have made this comic so jarring. What truly makes this comic special however is how empathetic and human it is while covering traumas and real-world socio-political situations that few have the talent and subtlety to cover appropriately. Ahmed takes the disheartening decision Yasmeen made in the last issue and moves forward with her attempts to “fit in” as an American high schooler. This leads to what is the weakest part of this comic so far, and that’s just the cliched plot that is used to develop Yasmeen’s character more. It isn’t necessarily bad, but the characterization is something that has been done so many times it’s sort of unexciting. This being said, what happens to Yasmeen’s friend is a very real problem that rarely gets addressed in a sincere manner. What Saif does with this arc from Yasmeen and her mother’s perspective is truly special and difficult not to enjoy. The dialogue and human moments feel real as always, and watching Yasmeen’s family try to find their way in this new land is enlightening and heartbreaking.

Art Direction

The visual work of Fabiana Mascolo combines expression-filled animations, airy colors, and focused direction to give “Yasmeen” #4 its flow. Mascolo puts considerable effort in creaitng the exact postures and complexities of expression to make the whole cast look like real people. Her use of colors bounces all over the place in terms of what tone she is conveying, but every panel looks as though it is filled with a light – some bright, some sinister. There’s an almost watercolor effect throughout this series that is almost unmistakable stylistically. Mascolo’s panel and page directions have an almost unnoticeable style that guides the reader along the story with a definite focus on character. “Yasmeen” continually stays a gorgeous comic in terms of art with nuanced and intelligent direction.

“Yasmeen” #4 is the most uneventful and safest chapter of this outstanding comic series thus far, and that is in no way a bad thing. While the high school characterization is forgettable and not exactly new, it’s presented with a weight and heart that is poignant and enjoyable. Saif Ahmed’s storytelling still feels like the accounts of real people rebuilding their lives after experiencing unknowable trauma but are still bolstered by hope. Fabiana Mascolo’s artistic touch is pristine and comes with a very natural sense of visual direction. This is still undoubtedly one of the best comics coming out this year, and as such it’s worth your time to go to your local comic shop and pick it up on 11/25!

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Western Webtoons: How Indie Publishers Embrace Digital Comics

By

Jake Palermo

-

November 20, 2020

In this day and age, comics are entering a new era of distribution and presentation. After some inspiration from South Korea’s webtoon industry, some indie publishers are entering this new frontier. Comfort & Adam, AWA Studios, and Impact Theory are putting their own spin on things. But what do these three publishers do that’s so different from other digital publishing? For that matter, can other companies follow suit in this age of Western Webtoons? This is the research from the gutters.

What Are Webtoons?

Webtoons, in their modern definition, are comics built with smartphone reading in mind. With its free public wi-fi, South Korea provides the perfect opportunity for people to read while on the go. After some trial and error between web portal companies Daum and Naver, the use of the infinite canvas function allows for new breakthroughs. Since touchscreens allow for various effects, the viewing experience requires fewer panels for a more fluid experience—all without charging potential customers. After a sound success at home, these companies expand abroad to offer their services as platforms.

Webtoons In The Western World

After this advent, many webcomic creators have put their work on services like Line Webtoon and Tapas. Every day hundreds of creators put their work on display for everyone’s viewing purposes. Some of them are lucky enough to be featured content with full payments; some were through contests. Even Stan Lee made use of this with Backchannel before his untimely death. On the other side is Discovery sections, where creators display their work without any backing. Tapas has the nickname of “Youtube for Comics” because of this. Some creators like “Merryweather” have thousands of subscribers with a very decent payment in ad revenue. Not bad for people essentially on their own.

Western Webtoons Proto-Stage: Comfort & Adam

The Uniques Season 2 exclusively on Webtoon — Catch “The Uniques” Season 2 on Webtoon

Comfort & Adam are husband, and wife Harvey nominated creative publishers. Their series Rainbow In The Dark and especially The Uniques are passion projects that go through constant revision. That being the case, how does this publisher go from pages to infinite scrolls without destroying their previous efforts in the process? One technique involves remaking panels into two separate sections. When scrolling through on a touchscreen, it looks like a video camera shifts position like the reader sees the events in motion. Later chapters feature close-ups to previous wide panels to save time and space to further emphasize with this; it helps to have word balloons that break apart dialogue without looking overbearing.

AWA Advertising

Then there’s AWA, which seems a little more limited in scale. This might have to do with how, despite using the webtoon services, these adaptations are primarily for advertising the standard editions, which isn’t to say that AWA doesn’t try to implement the Western Webtoon format. In The Resistance #4, a wide panel separates into two panels in the webtoon. This feels less like a camera moving as Comfort & Adam’s style and more splitting up actions to keep one from distracting the other. This is good for changes in points-of-view for surprises. But perhaps the most effective stylization from AWA is the use of the gutters. These empty spaces can enhance actions like what are grids in standard become spaces to fill when the reader scrolls downwards.

Impact Theory Following Trends

Impact Theory, on the other hand, was always ready to transfer their material onto scrolling screens. At a C2E2 2020 panel I attended, Tom Bilyeu spoke about utilizing trends like webtoons and TikTok videos. The original content from the print and standard digital contents are carefully arranged in a way for easier editing to make the transition into “Western Webtoons.” Similar to Comfort & Adams, this can range from wide panels cut in two or closeups. Unique to Impact Theory is the dynamic usage of panels, closeups, and backups to make the experience more cinematic in presentation. Thus making big action sequences like in Hexagon deliver twice the impact.

A Future In Western Webtoons?

What makes these different from regular digital comics is in the presentation. Time in comics reads and functions differently depending on the medium. A standard page flows side to side, unlike the infinite canvas that always goes downwards. But this means constant movements instead of trying to stop and appreciate the moment, which is why dialogue and captions need to be short and sweet because people’s attention spans can only last so long. The same elements like panels and gutters get dynamic changes sometimes with newer dialog than before to emphasize that feeling. This preservation of the original illustration along with more digestible sequences allows for what is essentially Western Webtoons. These three publishers just help pave the way for comics modernization.

What do you all think? Are these Western Webtoons just a trend that will die out? Or are hopeful artists ready to repaint their work on an infinite canvas?

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Review: BUFFY THE VAMPIRE SLAYER: WILLOW #5—So This is The End

By

Elizabeth Buck

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Available this week, Buffy the Vampire Slayer: Willow #5 brings the limited series to an end. Writer Mariko Tamaki and illustrator Natacha Bustos end their run with letterer Jodi Wynne and colorist Eleonora Bruni. Sadly, after four exciting, tension-filled issues, the series ends with a whimper instead of a bang.

If you’ve been keeping up with each issue up to this point, you’ve been waiting for a dramatic conclusion to what’s been an exciting mystery. But, to put it plainly, this ain’t it. Tamaki has undone everything she so carefully set up from the beginning of the limited series.

As soon as Willow set foot in Abhainn, she was unsettled and experienced strange things such as once standoffish witches turning warm and welcoming, watchful crows, and dreams. The fun of the series was trying to unpack the symbolism and mystery behind Aelara and Abhainn. I looked forward to how these symbols would be explained, thinking that perhaps it all tied into how Aelara was manipulating Willow.

Exposition

To answer the mystery of the crows, the specter of Xander makes a deus ex machina appearance. He explains that he sent the crows to watch her and the dreams to warn her. In one of two action sequences of the issue, Xander’s crows attack Aelara, who has spent most of the issue trying verbally to convince Willow to stay. The wolves she brought with her aren’t put to work.

Willow then easily dispatches with the useless wolves by breaking open a chasm in the ground for them to fall into. Once they’re out of the way, the Tara look-alike who set this confrontation in motion makes her escape. Then, Willow and Aelara talk while magically dueling until Aelara falls back.

The two women negotiate diplomatically and flashback to their first meeting. They come up with an agreement: if Aelara lets Willow go back to her friends in Sunnydale, then Willow will return to help defend the women of Abhainn whenever they need. It’s here where the issue falls apart for me.

Denouement

Despite being built up as a potential antagonist, Aelara is forgiven, and her tendency to entrap witches in Abhainn isn’t dealt with. I see Tamaki’s intent here as perhaps remedying the long-standing trope of pitting women against each other. While I support that in principle, it just feels like a let-down in terms of storytelling. If there aren’t any consequences for this morally grey antagonist, then what was the point of the previous four issues? Aelara’s attempt to hold Willow hostage is a huge betrayal when considering how much Willow genuinely felt at home in Abhainn and friendly with the other witches.

Furthermore, it’s unclear what or whom Aelara believes would be a threat to Abhainn. We know from issue one that at least one guy from a nearby town dislikes witches, but nothing else in their environment seems to justify Aelara’s attitude. From my perspective, Aelara has made up a vague threat against witches to justify the need for Abhainn and keep them there.

Writing aside, artistically this issue is as strong as the previous four. Given the use of magic in the issue, Bustos had an opportunity to get bold and big with her expressions and backgrounds. Letterer Jodi Wynne also obviously had fun creating dynamic special effects. The art satisfies and excites where the writing lacks. Nonetheless, we can look forward to the possibility of some of the story threads in this limited series showing up in the main Buffy series.

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