Water Woman #1 is a Kickstarter comic from Gail Simone’s Comic School alumni Steffie de Vaan and Crissie Brown.
What Is Water Woman #1?
The Comic School by comic legend Gail Simone is an online set of classes teaching hopeful writers how to make a comic book. Brown has a background in theatre arts, so it’s not hard to see her wanting to write a comic book. Award-winning writer Tom Taylor has a background in theatre; even Stan Lee wanted playwright Václav Havel for adult-themed comics before Havel became a Czech president. As for Brown, her background involves the use of technology in traditional theatre. Brown uses CGI for various effects like backgrounds and fluid objects. But having all creative duties can be exhausting, so it’s good to have a friend like classmate Steffie de Vaan, especially if she has a background in Tabletop RPGs. This leads to the campy Water Woman #1.
A James Cameron Stylization
What makes Brown’s CGI art style stand out the most in Water Woman #1 is how she portrays the title character. Steffie de Vaan writes a proof-of-concept origin story about a superhero recovering from an abusive relationship. When Niqui Salinas-Aguado is knocked into the Bermuda Triangle by her money-laundering ex-girlfriend, Salinas-Aguado’s entire body becomes like liquid water. This is a great idea in terms of potential in story and utilizing still CGI’s full effect. It brings up similar ideas to James Cameron for Terminator 2 but in a new direction.
After a betrayal, Niqui can’t quite reform herself. Much like anyone recovering from a bad breakup with an abusive partner, it takes unconditional love to build Niqui back up. It’s quite literal in this case with the suit Niqui’s scientist mother designs. But even that won’t keep Niqui in one piece as the reminder of being in a relationship almost makes her turn back into liquid. It’s a pretty clever use of displaying character; despite trying to keep herself together, there are still complications Niqui has to face. Not least of which is dealing with that abusive ex’s crimes. Unfortunately, de Vaan and Brown have only scratched the surface with Water Woman #1.
A new adventure begins in Stranger Things Dungeons & Dragons #1.
STRANGER THINGS AND DUNGEONS & DRAGONS #1, available November 4th from Dark Horse Comics, is the beginning of another adventure from the franchise that brought us the Upside Down.
A new adventure begins in Stranger Things Dungeons & Dragons #1.
Set before the events of the first season of Stranger Things, this is a tale about four boys, and the tabletop RPG that changed their lives. It’s a series that relishes the discoveries made in childhood, fun passions to friendship, and everything in between.
Stranger Things and Dungeons & Dragons #1 begins the series, and for at least one member of the group, their friendship. Not only is this series set before season one. But it all begins before they even ever heard of Dungeons and Dragons.
If you’re fond of the endearing nature of these four boys, even without all of the science fiction and horror elements that made the series so well known, then the odds are good that you might just enjoy this origin series.
The Writing
Stranger Things and Dungeons & Dragons #1 was written by Jody Houser and Jim Zub. Together they’ve woven a narrative about the Hawkins boys, and the adventures that they are about to embark on.
It’s tempting to say that this is a light and fun issue. An issue all about D&D and the fun they had. While that is certainly the case, there’s also a darker side to this story. This is a series that portrays just how bad the bullying was, even before El ever came onto the scene.
Think about your favorite fandom, and how quickly you fell in love with it. That is the feeling that has been bottled up and tucked into the pages of Stranger things and Dungeons and Dragons. Every moment speaks of their fondness for it, and how it changed their lives.
It was almost refreshing seeing an adventure like this. It was an origin story, in a way. Explaining how at least one new member found his way into the group because of the beloved game, and so much more.
The Art
Stranger Things and Dungeons & Dragons #1 is a vibrant issue, portraying a version of Hawkins that is bright with fall foliage – not to mention all of the fantasy elements that come with imagining D&D adventures.
Diego Galindo was the lead artist for this project. They blended the real and the fiction to an exceptional degree, making the world come alive with the imagination. It was wonderfully, fully infused with the creativity known to the series. Plus that classic aesthetic that only the ’80s can pull off.
The coloring was done by Msassyk, and there are lots of bold colors to be found, even in something as dull as the school hallway. In that way, the colors compliment their growing daydreams and the overall tone of the story.
Nate Piekos’ lettering was the final touch. It was perfection, giving voice to the four kids, as well as clearly implying when a DM voice had taken charge. That was merely one of the details provided thanks solely to the lettering.
Conclusion
Stranger Things and Dungeons & Dragons #1 is a fun and charming beginning to this miniseries. It’s an endearing adventure, allowing for a sneak peek into the world they lived in before everything turned so…strange.
Stranger Things and Dungeons and Dragons is one of two series actively updating at the moment. The other one is titled Stranger Things: Science Camp, and as the title indicates, it’s all about that mysterious time Dustin spent away at camp. Both showcase different sides of the same characters, and their adventures.
Dustin's solo adventure continues in Stranger Things Science Camp #2.
STRANGER THINGS: SCIENCE CAMP #2, available October 28th from Dark Horse Comics, continues the solo adventure of Dustin, and the time he spent at science camp. As it turns out, there is more to the story than Dustin had ever let on.
It’s easy to think of Dustin’s adventure at Science Camp as nothing more than a fun (and educational) summer. One that did result in Dustin getting isolated from the rest of his friends, but an otherwise calm and quiet series of events.
It’s probably also tempting to assume that Dustin’s story will be the calmest of the comic series so far. After all, there are completed series focused on past subjects from the lab (Stranger Things: SIX, Stranger Things: Into the Fire), and everything they had to go through.
As it turns out, one would be wrong to assume that. Besides the girlfriend bit, there is more to his time spent at camp than the young man let on. Now that the scene has been set. Stranger Things: Science Camp #2 is ready to dive back into that adventure.
Dustin’s solo adventure continues in Stranger Things Science Camp #2.
The Writing
Stranger Things: Science Camp #2 is a surprising read, but perhaps not for the reasons one might expect. Starting with the fact that Dustin did not play up his time there (fun fact: he was the cool kid at science camp!), to the horror lurking in the shadows.
The series is written by Jody Houser, who has been involved in many of the Stranger Things adaptations. Her experience in the world is showing through in this series, as she weaves Dustin’s story into something bigger than expected.
It’s a story full of subtleties as well. The horror elements are the slow-building side, with the series getting pretty far along before anything of depth happens. That’s not all there is to this tale, of course.
It is one of the few times that Dustin’s character has been given the main perspective. More than that, he’s been isolated from his group, and put into an entirely new surrounding. All of which is clear in this series, though admittedly not going as expected. It almost makes one wonder if this entire story really exists in Dustin’s mind or not…
The Art
Stranger Things: Science Camp #2 looks exactly like a comic set in the late 80s should. Throw in the camping elements, and there is a seriously strong vibe found here. Even the science elements aren’t strong enough to disrupt the memories sure to flood the reader’s mind.
Edgar Salazar (pencils), Keith Champagne (inks), Marissa Louise (colors), and Nate Piekos (letters) all worked together to bring Dustin’s story to the pages, and it shows. Dustin’s character is immediately identifiable, even in his new camp wardrobe.
His new friends, enemies, and counselors all seem fairly distinct as well, even if they’re less memorable than the leading cast. Though the fantastical elements pulled from Dustin’s mind do enhance several of the scenes, and understandably so.
The colors are a colorful blend of pure nostalgia. They practically sing campfire songs on their own. Then there’s the lettering, which is understated, yet exactly what the story itself called for. Altogether, it’s making Dustin’s story quite memorable.
Conclusion
Stranger Things: Science Camp #2 marks the halfway point for this series, and yet it already feels like so little time has passed. Dustin’s tale is charming, in an endearing way that only his character could manage.
The encroaching horror elements are certainly going to be ramping up in the next two issues, if the conclusion of this one is anything to go by. Here’s looking forward to seeing how it all unfolds.
The Joker War is over, and all that’s left is the ashes. While Batman faced Joker, armed with a high tech bat suit, each member of the Bat-Family took apart the clown’s gang. Catwoman defunded Punchline, Nightwing lead the charge on the streets, and Batgirl became Oracle once more to run operations for both the GCPD and the family. Bruce ends up leaving Joker to fend for himself after Harley straps a bomb to him. Afterward, it’s revealed that Joker did survive while Joker’s gang members went into hiding in the two week time jump. Batman explains to Harley that besides the destruction, the status quo itself has changed. What else is different for the caped crusader?
**Some Spoilers Below**
Story:
We open with Batman stating that Gotham has changed. Not physically, but the status quo has shifted and not in Bruce’s favor. It turns out Catwoman transferred Bruce’s funds to Lucius Fox for safekeeping. We learn this through flashback after Batman confronts Lucius after a fight with Grifter. While he is willing to return the money, Lucius points out that, after the implications of Wayne’s company being involved with Joker, the government is watching the money closely. Along with that, the board is removing Bruce from his position, only giving him a set annual amount. Essentially, Batman will now be defunded.
I was actually surprised in the direction Tynion IV has gone for this. In the past, whenever Batman had to change after a traumatic event, usually it involved an upgrade or a passing of the mantle. Here, we take a step back, leaning towards his intellect and strength than anything else. If that is the case, we might be getting something closer to Daredevil; a grittier vigilante that relies more on fists and detective work than technology.
While that does sound exciting, the way it’s presented here is rather dull. Most of the information presented is done through a conversation between Batman and Lucius. If we saw the Wayne Enterprises Executive Board approaching Bruce or the shutting down of the floor that creates Batman’s gear, that would have delivered the same message, if not better, enforce it. The only real excitement we get is the battle with Grifter, which doesn’t last for long. This style of the story is fine for an epilogue, but this reviewer expected more.
Art:
Guillem March returns as the main artist, and while I enjoyed Jimenez’s art, he does a fantastic job here. The way he designs his characters can show how much they’ve been through. His linework on Batman makes it appear Bruce is older and more grizzled. The same goes for Lucius, who now bears the scars of the War. Even if one were to jump in now and look at these characters, they would instantly be able to tell they’ve been through something traumatic. While this issue is incredibly exciting, we can’t say that it isn’t good to look at.
Conclusion:
Despite the praises of the art, it’s not enough to save this dull issue. This is an epilogue that shows the current status quo for Batman. The way it was presented could have been so much more interesting. This isn’t to say what the epilogue is implying is going to be bad. On the contrary, it makes me excited for the next issue. The problem is we have to look at the current one, and as it stands, it’s a rather dull issue to usher in a new era of Batman.
STILLWATER #2, available from Image Comics on October 21st, wastes no time dispelling the mystery surrounding the town’s secret power while Daniel faces judgment. Written by Chip Zdarsky and drawn by Rámon K. Perez, this latest chapter is an excellent character study about the extremes a community will go to protect its secrets.
Cover Art
Perez’s cover art gets high marks for successfully achieving literal and figurative visuals in one shot. The Judge and his bloody gavel embody the Judge’s frequently lethal decisions every time an outsider crosses Stillwater’s border. This issue is all about the Judge, and so, the cover does its job perfectly.
Writing
This second issue in the series is a mixed bag from Zdarsky.
Where the story works is in the speed with which the questions about the town get answered. The Judge quickly rattles off an explanation of the town’s power and metes out his appointed brand of “justice” against outsiders that violate the town’s borders. There are also a few tense scenes between individual pairs of characters that foreshadow a growing sense of dissatisfaction among Stillwater residents with the status quo.
Where the story doesn’t quite work is in its continuation of the primary flaw from the first issue (read the issue #1 review here)—namely, the story’s predictability. If a town suddenly discovered all its inhabitants were immortal and immune from all harm, Zdarsky has the opportunity to create a fresh take on an old idea but instead opted for established Twilight Zone-esque tropes. The Stillwater residents view their situation as a divine blessing that must be protected with cult-like zeal. There’s no plan. No ingenuity. No desire to discover the true source of the town’s power. Simply a consensus to exist and be thankful. You get the impression the townspeople are bored with life, and unfortunately, that boredom translates to the reading experience as well.
Pencils/Inks
Perez’s art style has a little more room to shine with this issue in the jarring and shockingly sudden acts of violence. A young boy leaps across the chasm separating builds on Main Street. The deputy takes a bullet to the face as a “warning.” A woman’s body gets tossed into a makeshift grave penalty box. These sporadic bits of action are well-executed and add some energy into an otherwise conversation-heavy issue.
Perez also adds some emotional energy to the issue with powerfully expressive faces. Characters grimace, frown, gasp, and scowl with tons of authentic emotion.
Coloring
Mike Spicer’s effectively uses color to punctuate the plot with specific transitions that pop. An early flashback scene is filtered with a light tone to add a veneer of age to the memory. The aforementioned gunshot scene practically explodes with yellow and red to amplify the sudden violence’s shock value. Spicer’s colors are a great example of filtering to augment the age or impact of a scene.
Lettering
Rus Wooton makes great use of selective bolding to emphasize the specific vocal cues in the dialog. This is a dialog-heavy issue, so Wooton’s choice to bold specific words give the conversations some rhythm and emphasis the reader can easily imagine, making the dialog more realistic. Great work by Wooton.
Conclusion
STILLWATER #2, available from Image Comics on October 21st, efficiently answers the first issue’s questions and establishes several points of conflict for future issues. Despite a largely predictable plot, the art is strong from the entire team.
As the current Batgirl series heads for its conclusion, DC has announced that a new character will be making her debut in issue #50: Batwoman. While multiple characters over the years have used that name, this will mark the first comics appearance of Ryan Wilder — the same version about to be headlining the CW’s Batwoman series.
Here’s the official word:
One thing ends, another begins. It’s hard to think of a better example of that old maxim than next week’s Batgirl #50, the extra-sized final chapter of Barbara Gordon’s ongoing series. Kicking off in 2016 as a part of DC’s line-wide “Rebirth,” Batgirl has seen its hero leapfrog from the high-tech, click-savvy world of Burnside (home of Barbara’s now-iconic purple and gold costume) back to the mean streets of Gotham proper, where she’s tangled with the likes of the Terrible Trio, KGBeast and her own former identity, Oracle. However, it’s been Batgirl’s two most recent confrontations that have been her most shocking. Having narrowly survived a second brutal attack by the Joker in the midst of his war on Gotham, Babs found herself once again at odds with her not-quite-rehabilitated brother—a confrontation that led to James Gordon, Jr’s death, seemingly at Batgirl’s hands.
We won’t know whether Barbara’s story ends happily until next week, but while hers nears its finish, another young hero’s story is just beginning. Ryan Wilder, an all-new DC character played by Javicia Leslie, will soon make her live action debut on The CW’s Batwoman as she takes on the title role after original Batwoman Kate Kane goes missing. However, if you’re curious when you might be seeing Wilder in the comics, the answer is…pretty much right now. You can catch the scrappy hero-to-be’s first comic book appearance in Batgirl #50—and in our exclusive first look at the issue. Drawn by the amazing Emanuela Lupacchino, Wilder comes out kicking—figuratively—as she let’s Barbara know exactly what she thinks of her boss, Congresswoman Alejo. It’s a powerful moment reminding us that even though Batgirl may be stepping out of the spotlight for a while, there are plenty of would-be heroes more than ready to meet this moment standing in the wings.
The extra-sized Batgirl #50 by Cecil Castellucci, Emanuela Lupacchino, Marguerite Sauvage and Aneke is in stores and available digitally on Tuesday, October 27.
Spider-Man Noir #5 (of 5) hits your local comic book store next week, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers.
About the issue: ONCE NOIR INTO THE BREACH! Peter Parker has been killed, resurrected, and battled his way across the multiverse – but this globetrotting treasure hunt may be what finally does him in! Featuring familiar friendly faces and foes alike, this face-melting fifth issue is one you won’t want to miss!
Spider-Man Noir #5 is written by Margaret Stohl, with art by Juan Ferreyra, Travis Lanham’s letter work, and cover by Dave Rapoza.
Enjoy The Preview Below:
Are you reading Spider-Man Noir? Comment below with your thoughts.
LONELY RECEIVER #3 hits your local comic book shop on November, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers. The bright pink narration boxes do so much for this comic as it gives the book depth, both visually and mentally.
The book is written by Zac Thompson, with art and color by Jen Hickman, and you will read Simon Bowland’s letter work. Leila Leiz worked on the incentive cover.
About LONELY RECEIVER: ACatrin Vander, a lonely video producer, buys an Artificial Intelligence partner that’s meant to bond for life. After ten years together, her holographic wife suddenly disconnects without warning. The breakup drives Catrin to the point of near insanity. She’s alone for the first time in years and reeling from a loss she can’t comprehend.
Set in the near future, drenched in pastels and sunshine, LONELY RECEIVER is a horror/breakup story in five parts.
About issue: Finally putting the shards of her life back together, Catrin finds a new reason to live. A new set of eyes occupy her attention, and obsession grows, love blooms. It’s not a rebound if you found the one you were truly made to love.
A month // of long days/
// Finding the one you lost
In her / you chase away
/ tell truth // pay a cost.
Enjoy The Preview Below:
Are you reading LONELY RECEIVER? Comment below with your thoughts.
Romantic comedy Broken Hearts Gallery starring Geraldine Viswanathan (Bad Education) and produced by Selena Gomez is warming the hearts of viewers worldwide, and plucking those sonic heartstrings is composer Genevieve Vincent.
Broken Hearts Gallery tells Lucy’s (Geraldine Viswanathan) story, a young woman living in New York. Lucy’s dumped, and the art gallery assistant decides to turn pain into art. She creates an exhibit of souvenirs made from those who broke her heart. Director and writer Natalie Krinsky’s film has charm, wit, and great ratings from viewers and critics.
PopAxiom spoke with Genevieve about becoming a musician, making music for the band darkDARK, and creating the Broken Hearts Gallery‘s score.
Starting Out
“I started violin when I was three,” Genevieve says, meaning that music and life are practically the same. “I always loved music and making music.”
Genevieve grew up in Vancouver and “took music lessons for singing and opera. I didn’t last too long on the violin because it wasn’t for me. I wrote songs and was in a couple of bands before going to Berklee College of Music.”
“I never thought what I was doing before Berklee was composing,” Genevieve admits, “even though I was writing songs all the time. I had this idea in my head that composing was Beethoven or Mozart and what I was doing was messing around.”
“At Berklee, I had a teacher named Alla Elana Cohen, who was a fantastic pianist. I would write these pieces that I would want to hear her play. I’d give them to her after class. She was the one who said ‘You have to major in composition.'”
“Film scoring seemed like the perfect fit. My mom worked in animation, so I was always around that. Music to picture just made so much sense. I scored my first short film in college.”
The short, animated film called Yellow Sticky Notes went to the Tribeca Film Festival. “Doing that and going to see it in the theater solidified my choice.”
“I’m so excited every time.” Genevieve says when asked about her life creating music, her sunshine-like energy crosses the cellphone network, “It’s crazy to me. I can’t believe I’m doing this as a job.”
About Broken Hearts Gallery
Genevieve’s gig on the Broken Hearts Gallery came about via a pitch. “I put some music together … that would be in this diverse multi-genre realm.”
“I sent some stuff over, even before I had any representation, and just forgot about it,” Genevieve says. “Later on, a producer contacted me, and she said they liked my music and if I’d be interested in reading a script.”
Genevieve read the script and “loved it and the way that the characters were written. Natalie’s writing style is so relatable.”
Following reading the script, Genevieve “got on the phone with Natalie and pitched her the idea of a score that’s somewhere between a pop song and a film score.”
“So, the score I pitched Natalie,” Genevieve affirms, “was this combination of drum machines and synths and strings. So it’s very much a hybrid score.”
“Living in the world of Lucy,” Genevieve says, “I put myself in her shoes and the way her world sounds. She’s in the world of indie music, and we need to give the music some gravitas from the New York landscape and use some strings and orchestral sounds. But we also need to pay homage to who Lucy is, and she’s someone who I think would like an 808 or an analog synth.”
Genevieve dives deeper into Lucy. “A character like Lucy is so well-rounded and, in my mind, when I’m exploring her world, I’m trying to bring out the subtleties in her personality. I’m going to put these handmade percussion sounds because she has all these handmade things around her. I’m trying to comment on the different aspects of her personality and what she is into.”
More About Broken Hearts Gallery
Genevieve says she “went to Technicolor to screen the film. It was so cool.” And she began work on a demo. “I wrote a three-and-a-half-minute montage.”
To get the music made, Genevieve made an investment. “I needed a couple of synths that I don’t have. I went and picked up what I needed. They were expensive, and I wasn’t sure if I could keep them,” she laughs.
“I spent the night learning these synths,” Genevieve says, “and I wrote some demos with them.”
Selena Gomez and the other creative minds behind Broken Hearts Gallery were pleased with Genevieve’s work. “The demos were a hit, and I got the gig. The day they told me that I got the gig, I was on cloud nine.”
And the best part? “I got to keep the synths!” Genevieve cheers.
“Anytime that I can, I try to go the extra mile,” Genevieve says in regards to the synths. “Once a movie or demo or anything is out there, it’s permanent. You want to make sure that you’re proud of it. So, if you can, spend a little extra on that piece of gear.”
Solving Problems
One of the first questions Genevieve asks of any project is: “What’s the closest and easiest solution? Once you have that as a backup plan, what’re the other things we can do that could be more interesting?”
“I love problem-solving on big and small scales,” Genevieve says. “So, I have this much time to get the score done. I have this much writing to do. The planning is part of the fun. It’s this Rubik’s Cube. When I’m on a project and dialed in on the tone with the creators, I lock in on everything that I can do within my control. Then I get to be zen and not worry too much because everything is planned out.”
Often, planning brings about learning entirely new things. “I was working on a film called Because We Are Girls. They asked me to use a Dilruba, which is an Indian instrument.”
“It was a little bit like a cello,” Genevieve says about the Dilruba, “in terms of like the tambor of it. It plays a lot of microtones that have a lot of personality. I put out on Facebook, ‘Do I know any Dilruba players?’ I found one guy, and we got on the phone. A lot of traditional players don’t read music, though he did, but it’s difficult to annotate music for a Dilruba.”
Reading music is unnecessary when both people can speak music. “I worked with a violinist. He didn’t read music either, and being a singer has been super-helpful. I can sing what I want to hear, and we sort of talk in music.”
Wrapping Up
Genevieve is a creative force who’s driven to create music early and often. “I do a lot of concert music, I’m in a band, and I generally do a lot of writing outside of scoring.”
“Sometimes you create something that you think is amazing, and someone hears it and doesn’t get it,” Genevieve says, but creating art is a peculiar thing. “Sometimes, you spend five minutes on something, and people love it.”
The question of artists who inspire comes up, and Genevieve has a lot to say. “Phillip Glass. I love Danny Elfman, Hildur Guðnadóttir, Jóhann Jóhannsson, Nina Simone, Billy Holliday, Ella Fitzgerald, and Nat King Cole. Bill Evans, and the way he combines jazz and classical. Growing up, I listened to a lot of jazz. I’d memorize the songs and the solos. I was a singer, so I memorized everything Ella Fitzgerald did.”
It’s not just the old-school stuff that gets Genevieve excited. “I also love Kendrick Lamar. Pusha-T and The Weekend.”
“Bjork and the Cocteau Twins. Enya,” three new answers pop out and more, “as a composer and musician, there are so many artists … Frank Ocean, Lana DelRey, she’s so unique. I love pop music. I’ll listen to the entire Top 40.”
Genevieve exclaims, “Megan, the Stallion, her voice, it reminds me of thick syrup. I love it!”
You expect a composer to spout off a lot of classical musicians. But there’s no end to the kind of music that inspires Genevieve to create. “I think what I love about pop music and hip hop, there’s a lot of humor in it, and people are having fun. They’re putting across good energy. I respond to people who want to make music to make other people happy.”
“I’ll dive into an old Smashing Pumpkins record,” Genevieve continues, “or Nirvana. I love grunge too.”
“I listen to pretty much everything all the time.”
What’s a dream remake that Genevieve would love to score? “Alien. The whole series. I would do them all,” we expand on the fantasy, “Christopher Nolan directs it.”
Genevieve adds, “Apocalypse Now is one of my all-time favorite films. Vertigo.”
Broken Hearts Gallery is making its rounds at drive-ins and will be available digitally soon. So, what’s next for Genevieve? “I am working on a thriller. I cannot say who it’s for. The music is all synth. It’s very much a wild, aggressive, dark, psychedelic score. It’s super-fun. I’ve written about 48 minutes so far, and there’s going to be about 70 minutes of score.”
Is Broken Hearts Gallery on your watch list?
Thanks to Genevieve Vincent and Rhapsody PR
for making this interview possible.
Once & Future #13, which is the beginning of a new story arc, hits your local comic book shop on November 18, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
Crows and blood create an ominous vibe in the preview below; Edgar Allan Poe would be proud.
About the issue: The arrival of Beowulf and Grendel from the legendary Old English poem was an unexpected one, leaving Team Gran to wonder—if Beowulf can be brought to life, what other heroic figures or deadly creatures might get dredged up from the annals of history to wreak havoc and destruction across the country?!
Meanwhile, in the Otherworld, Merlin is up to his old tricks, and crossing over with another story was just the beginning of his plan . . .
Once & Future #13 is written by Kieron Gillen, with art by Dan Mora, Tamra Bonvillain drops the color, and you will read Ed Dukeshire’s letter work.
Are you reading Once & Future? Comment below with your thoughts.
What makes Brown’s CGI art style stand out the most in Water Woman #1 is how she portrays the title character. Steffie de Vaan writes a proof-of-concept origin story about a superhero recovering from an abusive relationship. When Niqui Salinas-Aguado is knocked into the Bermuda Triangle by her money-laundering ex-girlfriend, Salinas-Aguado’s entire body becomes like liquid water. This is a great idea in terms of potential in story and utilizing still CGI’s full effect. It brings up similar ideas to James Cameron for Terminator 2 but in a new direction.
