X-MEN #13: The Genesis Of Character For Apocalypse

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X-Men #13 continues the X of Swords event of Jonathan Hickman’s Dawn of X saga. This week has a special focus on Apocalypse, where artist Mahmud Asrar and colorist Sunny Gho gives the usually stoic mutant supremacist more emotional expression. VC’s Clayton Cowles and designer Tom Muller meanwhile fill in smaller details, so readers understand the full story.

Background And Recap

Apocalypse is a regular X-Men villain who serves as a mutant supremacist following a “survival of the fittest” mentality. Even after he joins Krakoa, Apocalypse’s ulterior motives to ensure his brand of supremacy remains. Unfortunately, this makes him a rather bland character. So diving into his backstory regarding Krakoa’s other half Arakko is a little necessary to see his motives. What better way to do that other than recovery from a beating from his grandchildren?

X-Men #13: The Tragic Apocalypse

Through Jonathan Hickman, Apocalypse gets some much-needed character development in X-Men #13. As Apocalypse takes a risk to recover from his injuries, he recalls his past. Back during the battle of Okkara (past Krakoa and Arakko), Apocalypse found his views affirmed. But not by his power; it was his wife Genesis he saw as the strongest. So when she has to leave to protect Arakko, Apocalypse has to remain behind. With this Apocalypse’s view of survival of the fittest means not just being powerful with followers to match but standing at the side of the person he loves.

Even his Khopesh Scarab is a testament to this. Muller fills the reader in on its backstory before Apocalypse goes to retrieve it. It was actually a gift from his sister-in-law to celebrate his and Genesis’ children’s birth, the original Horsemen. Apocalypse isn’t just fighting for supremacy but the memory of everybody he loved. This gives him much greater character than he ever had before as a force of nature.

How The Emotionless Emote

Mahmud Asrar goes to great lengths to show how the lack of Genesis in Apocalypse’s life affects him. Throughout X-Men #13, Asrar displays characters without pupils yet plenty of facial language. As Apocalypse remembers his old life, he begins in pain but nostalgic as he calms down when remembering Genesis. But upon recalling a personal tragedy from betrayal, Apocalypse cries for Genesis and the decision she made in reaction. His usually stoic look through the rest of X-Men #13 feels more like a defense mechanism afterward.

Sunny Gho decorates some of the less physically emotional parts of X-Men #13 with coloring to evoke moods. Purple evokes a sense of dread in all of its appearances. The beginning has Apocalypse close to death to the point of needing to be restrained. Threats in the flashback share this feeling as it looks like Apocalypse and his family are fighting a hopeless battle. Even after Apocalypse recovers, seeing these old memories remind him of what’s lost. As such, Apocalypse despite being alive, feels dead. So when he recovers Scarab, the yellow backgrounds indicate a mood of recovery, matching the energy colors of his restoration.

Designing X-Men #13

Clayton Cowles on lettering has to make sure he doesn’t overshadow the above artwork. The most notable uses come in two ways, a recycling use of dark red colored screams are trying to escape the word balloons, but doing so indicates that Apocalypse would die. Then there are the black word balloons with white fonts to indicate possession via a helmet that causes its wearer to decompose. This indicates that the vessel is in pain and the entity is a threat to those opposing it. But all of this pales in comparison to Tom Muller’s infographics that foreshadow appearances like Gorgon’s later in the issue via the swords he wields.

Witness Apocalypse In X-Men #13

X-Men #13 is a good piece about Apocalypse’s character, but one best used with full context. In most of his other appearances preceding Dawn of X, he’s not really that interesting. Here however, they see the usually stone-faced immortal mutant in a state of vulnerability. For once, readers see Apocalypse not as imposing, but something trying to live up to his own expectations. This new awakening and weapon leaves even more down the line. Only time can tell if this will lead to major developments.

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Review: JUGGERNAUT #2 Needs A Group Hug

By

Gabriel Hernandez

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JUGGERNAUT #2, available from Marvel comics on October 21st, pits the Juggernaut against the Hulk as a PR move. Juggernaut’s “agent” may not be giving him the best advice. Written by Fabian Nicieza and drawn by Ron Garney, this latest chapter demonstrates that doing the right thing is not always the best thing.

Cover Art

Geoff Shaw’s cover is raw, powerful, and dynamic. Two giants facing off in a fast-paced brawl make for an eye-catching cover.

Writing

Cain Marko is trying to make good on the past’s damage through some mildly fabricated good deeds. His PR agent, D-Cel, convinces him to go after the Hulk and bring him in to answer to a ‘Victims of the Hulk” support group. Needless to say, the plan doesn’t work out as intended.

Nicieza’s story has a great battle to kick things off, and there are interesting flashbacks to clue the reader in on how Juggernaut got his new armor. However, the highlight is Hulk’s dialog as the new Immortal Hulk that’s a blend of the mindless monster and Banner’s intellect. This Hulk is self-aware and brutal in an almost malicious way. Nicieza makes you fear the Hulk more than I recall in recent memory.

That said, D-Cel continues to be a mystery in this story. All of her suggestions turn out poorly, and Marko was never one to be led around by the nose as he is here. Up to this point, D-Cel is more annoying than additive, but hopefully, that will turn around in future issues.

Nicieza continues to build a surprising amount of sympathy for Juggernaut, and I hope the potential pays off in future issues as well.

Pencils/Inks

Garney’s art is rough, raw, and perfect for the grounded nature of this story. The highlight of this issue, unsurprisingly, is the fight between Hulk and Juggernaut in the opening scenes. When Hulk slams the ground with his fists, the panels practically shake. When a body hits the side of a mountain, there’s no doubt these are the strongest characters on Marvel’s Earth.

I was particularly impressed with the detailed work on Hulk’s anatomy. His limbs and torso are almost tree-like. Also, Garney went for a smaller chest in favor of more size through the ribs, giving the Hulk an authentic brawler physique. The characterizations are humanoid in form, but you can feel the weight of these giants in every panel.

Coloring

Matt Milla’s coloring work is solid from start to finish. The issue’s overall look is muted, but colors pop when they need to, especially in panels with some kind of power beam or blast. Milla also made an interesting choice by tinting Hulk’s eyes an orange-yellow color, so they stand out more and, frankly, make him look a bit demonic. That was a nice touch.

Lettering

VC’s Joe Sabino’s lettering is clean, sharp, and keeps the pace smoothly. Sabino also does a great job with the assortment of smashing noises. They fill the panels to projects “big” sounds without crowding out the art.

Conclusion

JUGGERNAUT #2, available from Marvel comics on October 21st, pits two behemoths against each other in a titanic battle that ends badly, in more ways than one. The art team elevates this issue beyond the story for a decent read.

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Review: THE AMAZING SPIDER-MAN #50.LR – The Challenges Of Balancing An Issue

By

David Weber

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The Amazing Spider-Man #50.LR, out now from Marvel Comics, is a detour from the main storyline of The Amazing Spider-Man to fit the sheer amount of content in the “Last Remains” arc.

About the Book:
Now that Norman Osborn has been cleansed, the Sin-Eater is out of the picture, and the “Order of the Web” has been possessed, the final battle between Spider-Man and the demon Kindred draws nearer. Everything has changed now that Norman Osborn has revealed Kindred’s true identity, and he is doing everything he can to help.

The Amazing Spider-Man #50.LR Story

As stated by the editor at the end of the issue, The Amazing Spider-Man #50.LR and the other LR books will feature less Spider-Man and instead focus on the mission Norman Osborn is embarking on in this issue. Despite this focus, this issue featured a battle between Spider-Man and “the Order of the Web.” This was a smart decision on the part of Nick Spencer and Matthew Rosenberg because it kept up the story’s pace when Norman’s wasn’t as engaging. The main story of the issue consisted of a dialogue-heavy scene of Norman Osborn discussing Kindred with Dr. Kafka. While this doesn’t feature the action expected in nearly every superhero comic book, it is still integral for the story of future issues. Spencer and Rosenberg interspersed the fight scenes to keep readers from losing interest so that the issue was still engaging for those whose favorite part of the series is the action.

Art

Federico Vicentini provides some glorious art in The Amazing Spider-Man #50.LR, and it is a wonderful complement to the writing of Spencer and Rosenberg. Vicentini’s characters all have deeply expressive faces, which pairs nicely with the emotional and tense story that constitutes much of the issue. He also often accents the action scenes of the issue with techniques such as characters overlapping panel borders, which can help emphasize the purpose of many panels.

The colors of Marcio Menyz added lots of energy to action scenes and made other scenes feel more real. His use of single-colored backgrounds contrasted with the characters in front of it added a lot to specific panels where the main focus was on a character’s action. The tints he used to indicate that certain panels were flashbacks were done nicely because the tints used were distinct enough to indicate that a panel was a flashback, but not so distinct that it overpowered the rest of the colors on the panel.

VC’s Joe Caramagna always does an amazing job at lettering and The Amazing Spider-Man #50.LR features some of his best work. The choices of fonts and sizes for sound effects always do a perfect job of fitting with the scene they are taking place in, and this issue features one particular page that is enhanced greatly by Caramagna’s choice of lettering.

Conclusion

The Amazing Spider-Man #50.LR is the beginning of what I am sure will be an interesting subplot. The issue is full of fun action that is beautifully drawn, colored, and lettered, but the story falls flat. The story introduced in this issue that will be followed in later LR issues is intriguing, but the issue itself doesn’t stand well on its own. The art more than makes up for any pitfalls, however, and the issue is worth purchasing so that you can follow along with all of the “Last Remains” arc.

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How It All Unravels In FIREFLY #21

By

Cat Wyatt

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FIREFLY #21, available Wednesday from BOOM! Studios, continues the escalating Blue Sun Rising event, where one corporation has risen up after the Alliance fell. Unfortunately, they are proving to be just as difficult to contend with.

It’s safe to say that things have changed a lot since the Firefly crew was on screen. This most recent comic run has taken a particular focus on Malcolm Reynolds, putting him in a position that many fans would never have predicted.

Now, it seems like all of those changes and risks are coming back tenfold, and looking to make the crew pay. In Firefly #21, there are more dangers than ever, while also providing an event that no Firefly fan would have ever predicted.

We could spend all day arguing about whether or not change and risk is good. But it won’t change the fact that this series of Firefly has taken a lot of risks, many of which have deviated from the original series that so many fell in love with. Again, for better or for worse.

A flashback to ‘Ariel’ for this cover of Firefly #21.

The Writing

Written by Greg Pak, Firefly #21 is not an issue afraid of taking risks. There are certainly plenty of those. Unfortunately, it also kind of feels like the series has finally started jumping the shark. The latest threat introduced feels…out of place in this world.

That isn’t to say that the core concept isn’t intriguing – it actually truly is. It brings up a lot of interesting debates, mostly revolving around ethics, the differences between right and wrong, and the cost of following all rules to the fullest extent.

All of which fit in nicely with the theme of Firefly. It’s simply the execution that feels more like another science fiction series, and less like the series so many fans love. Robots are not uncommon in the sci-fi world, and yet Firefly always felt like more of a Western, and thus felt like it would escape that concept.

Every series has its ups and downs, so while it is tempting to focus entirely on the strange events in Blue Sun Rising, let us not forget the positive moments. Walsh still being alive is a pretty big deal, as is the search that Zoe has been on. It feels pretty spot on for how her character would have reacted, after the events of Serenity.

This is an issue that has left me feeling fairly conflicted, truth be told. On the one hand, it seems like the perfect time to take a break from the series. On the other hand, part of me would really like to know what the series looks like, after Blue Sun Rising has come to a conclusion.

Malcolm Reynolds in all his glory on this variant cover of Firefly #21.

The Art

Firefly #21 is an issue full to the brim of colorful and brilliant artwork. The artists in charge also took some risks, deviating slightly from the standard style developed in the television show. On the whole, those risks are quickly proving to be worth it.

Lalit Kumar Sharma and Daniel Bayliss were the lead artists, bringing to life all of those characters that we love. Their style is unique, yet it worked nicely here, for the most part. Though all of the characters do seem to be oddly tired, intentionally or not (most likely, intentionally). Of course, there is that one oddity discussed up above, with the robot and all. The design itself isn’t bad, and in fact, they did a good job making the origin of the bot clear from just a glance.

Marcelo Costa provided those vibrant colors, which honestly make the issue stand out so much. Every backdrop seems to be bursting with colors, rendering a stark contract to the relatively muted characters. It feels hopeful somehow, while also staying true to the roots of the franchise.

Naturally, Jim Campbell’s lettering is perfectly done, as always. It’s easy to follow the narrative, and even large conversations (with an even larger crew), thanks to the careful placement of speech bubbles and the like.

Feel free to guess at what this alternate cover of Firefly #21 implies.

Conclusion

Firefly #21 took a lot of risks, and it should be acknowledged for doing so. Unfortunately, not all risks pay off, and while it may be too soon to speak about this particular risk, it’s starting to feel that way.

Mainly because it has taken a step away from the core feeling and tone of the universe in which Firefly is set in. Only time will tell if the series will get back to it’s roots at a later date.

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The Roles of Heroes and Villains in NOMEN OMEN #10

By

Cat Wyatt

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NOMEN OMEN #10, available Wednesday from Image Comics, brings the most recent arc of the series to a conclusion, and it does so on such a dramatic note. Don’t be deceived by the elegant cover, as dark things lurk within.

King Taranis lies in wait on this variant cover of Nomen Omen #10.

The most recent plot arc of Nomen Omen truly gave Becky a chance to come to terms with what happened to her, as well as finally taking control. She hasn’t gotten her heart back, or her revenge, but it’s starting to feel like only a matter of time.

Nomen Omen #10 marks the conclusion of the second arc, which means there are only five issues left in this series. The scale has been ever-increasing, with Becky’s power levels growing, and the threat becoming larger than life with every step.

This series seems to have gotten darker with every step, and shows no signs of slowing down. In a world where legends, magic, and humans interact, things rarely turn out well.

The past crops back up in Nomen Omen #10.

The Writing

Nomen Omen #10 is one of those issues that will make you stop and think. It’s also going to do a whole lot more than that, with shocking twists, turns, and revelations almost all over the place. Marco B. Bucci has really outdone himself this time.

In some ways, what is happening almost feels inevitable. It’s been ten issues of build-up, after all. But in so many other ways, it is still so shocking and raw. There are implications for what happened here, and for what had been planned. Not all of which can be digested in a quick read through.

What really makes this issue so striking has to be the number of ancient beings interacting, planning, and reacting within. Their presence makes the story more complicated, more convoluted. It’s their actions that will make readers put on their thinking caps.

All while Becky’s side of the story is still an emotional catalyst, giving fans all the reason in the world to actually care about the events unfolding on the pages. The conclusion, surprisingly, is a mixture of the two, setting up for an iconic storytelling twist.

The Art

Nomen Omen #10 features the bold and magnificent artwork that has become iconic to the series. The magic portrayed is reason enough to keep coming back for more, thanks to the unique ways in which it is showcased.

Jacopo Camagni is the lead artist, working alongside Fabio Amelia for the lettering. Together they have truly created something here. The characters feel larger than life, the magic is as brilliant as ever, and the emotions so raw.

The last several issues have worked hard to dance around some difficult scenes, and this one is no exception. Though the focus and reason are entirely different. Honestly though, this is one of those scenes that had to be portrayed, and there’s no doubt that the artwork was vital for this scene, for the description alone never would have been enough.

Nomen Omen #10 features one of the more striking covers of the collection, as well as several pages that seem even brighter than the rest. It’s an impressive feat, given the standard set by the previous nine issues.

Only one way to wake those in an enchanted sleep.

Conclusion

Nomen Omen #10 is a dark and enthralling conclusion to the second arc in the series. That leaves just five issues, all of which are sure to be more dangerous than ever, with a few twists hidden here are there.

This is an issue with heavy implications, as well as several thought-provoking moments. It feels like this is a moment that the series was designed around; almost like we’re been waiting for this inevitable moment.

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How Quickly Lives Can Change in FAMILY TREE #9

By

Cat Wyatt

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FAMILY TREE #9, available Wednesday from Image Comics, is the beginning of a new story arc. It’s amazing how much change one family can bring with it, even in a short five-year time span. Yet the world is undoubtedly changed in this series.

The family drama and horror series known as Family Tree is still on a roll, leaning more towards horror and science fiction for it’s newest plot arc. This one family has been through so much, and we’re not even at the ten-issue mark.

Created by Jeff Lemire, Phil Hester, Eric Gapstur, Ryan Cody, Family Tree #9 is yet another issue full of intriguing and shocking combinations of themes. In many ways, it has changed so much from the first issue. And yet the tone is still as strong as ever.

A familiar hand takes center stage on this cover of Family Tree #9.

The Writing

Josh’s narrative takes center stage in Family Tree #9. Once upon a time, he was just a normal teenager. In this instance, once upon a time was only eight issues ago. It’s amazing how much things change, in such a short period of time.

That almost feels to be the theme of this month’s issue, as the story unfolds through two specific points in time. One set in the present, with the struggles surrounding Meg still going strong. The other? A mere five years in the future, and yet so much has changed.

In many ways, the story has changed dramatically, with this forward leap into the future. It’s showing the diversity of writing involved, while also sticking strongly to the creative elements that make this series stand out.

Josh’s story is also proving to be as full of action as before. No, that’s not quite right. His world is full of fighting, that much has already been made clear. He’s taken up the family business, it would seem.

Despite all of the violence, that sense of hope from earlier issues is back, and it is stronger than ever. The world may still be a little too dark to fit that pure solarpunk aesthetic, and yet it’s very much hovering on the edge of it.

The Art

As with the rest of the series, Family Tree #9 is full of bold artwork that fits the unique voice of the series. Even the fighting scenes (of which there are several) feel like they stand out, thanks to the narrative, color palettes, and highly stylized feel of it all.

There are times where it really does feel like every part of this world is made up of trees. Everything from the people, to the items they interact with, they all have a rougher organic look that feels shockingly similar to bark. Something that was almost certainly done with intention.

The two time periods are so distinct as to be immediately identifiable. There’s no need to waste time telling the readers of the switch – the setting alone makes it clear, all thanks to the artwork, of course.

Conclusion

Family Tree #9 took a slight change in direction, both by allowing Josh to drive the narrative, and by jumping to the future (once again). The horror elements are still strong, yet there’s a feeling that something else is growing alongside it all.

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Love, Loss, and Moving On in SPIDER-WOMAN #5

By

Cat Wyatt

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SPIDER-WOMAN #5, available Wednesday from Marvel Comics, continues an adventure that only Jessica Drew could find herself in the middle of. Family drama meets spider drama in the conclusion to Jess’ most recent plot arc.

Fans have been delighted to see Jessica Drew getting her own series once again, even if that means she is once again diving into more danger and chaos. That’s sort of her style, after all. Even with Gary and Greg waiting for her to come home.

Spider-Woman’s latest run has been surprise, after surprise, bringing family drama into the mix, and not from the new family she had made for herself. No, this is all stemming from a family she thought long gone.

Spider-Woman #5 picks up where the previous issue left off. Given that it was a cliffhanger, that is no small relief for the fans out there. Time to let Jessica Drew’s story continue, one way or another.

She thought she had lost everything (Spider-Woman #5).

The Writing

For just the briefest of moments, it seemed like Jessica Drew was going to find a major win for herself in this plot. And then it was all torn away, courtesy of the turn of events leading to a cliffhanger ending.

Spider-Woman #5 is thus very much the issue that fans have been waiting for this past month. It’s time to see what happens next, and why events ever hit that dark point to begin with. It’s also time for some answers.

Karla Pacheco has written a carefully crafted story here, blending family drama with the drama that constantly surrounds Jessica Drew. It’s dark and intense, and more than a little bit emotional. It’s also clearly designed to leave readers asking questions (Jess as well, for that matter).

Things get pretty…twisted in this issue. The betrayal in the last issue has been taken beyond the logical extreme, which in itself has several interesting implications. It all seems to be winding back around to the same focal point.

While this issue does provide a bold and happy ‘END’, implying everything is wrapped up, there are still questions left. Thankfully, there are pages left to this story as well. Jessica’s story is told through vignettes, quick moments, showcasing what brought her to this point – and her intended actions for what is to come.

All of which confirms that Jessica Drew’s latest series is not yet over. These vignettes also provided some much needed comic relief, after what was without a doubt one of the more intense issues in her series.

Right back into the action in Spider-Woman #5.

The Art

Spider-Woman #5 is full of fierce and bright artwork. The emotions and turmoil that Jess goes through in this issue are on clear display, as is the mental state of every other character portrayed (an important note, given what is happening).

Pere Perez is the lead artist and is the mind behind the action-filled scenes, as well as the scenes that seem to be full of just about everything else. The fight scenes felt different than Jess’ usual fare, but there’s a reason for that. A reason which Perez portrays in great detail, showing how warped everything has become.

Frank D’Armata’s colors really bring the whole look together. The colors seem to lend very strongly to the sense of movement (which was already well done), as well as enhancing the emotional state of events. Not to mention that it all added vibrancy that suits the series, and character, in countless ways.

VC’s Travis Lanham provided the lettering, and that is exactly what this issue needed to finalize the story. The sound effects alone enhance the fights, as does the sense of shouting (and all the venom infused into those words).

Conclusion

Spider-Woman #5 may have wrapped up the first plot arc for the series, but she’s not done yet. Her story is far from over, as there are still several trials up ahead. If fans want an idea of what is in store next, a peek at the cover for Spider-Woman #6 should be more than enough of a hint.

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STRANGER THINGS HALLOWEEN SPECIAL ONE-SHOT Spooktacular

By

Cat Wyatt

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STRANGER THINGS HALLOWEEN SPECIAL ONE-SHOT, available this Wednesday from Dark Horse Comics, brings fans back to the world of Stranger Things for a seasonally appropriate tale. One that feels right at home with the series.

Settle down for a campfire tale in Stranger Things Halloween Special.

The Stranger Things Halloween Special One-Shot may be a bit of a mouthful for a title, but it is an accurate description. The world of Stranger Things is well suited to horror tales, for obvious reasons. So it’s really no surprise that they’re diving back in to tell a quick and spooky tale.

It’s even less of a surprise, given just how many Stranger Things series are out there at the moment. There are several complete series now, as well as Stranger Things Science Camp, which is actively updating. Not to mention at least one more series on the horizon (Stranger Things and Dungeons and Dragons).

Yeah, it’s a lot. And it’s possibly intimidating to keep up with all of those series. Here’s the good news, the Halloween Special really is just a one-shot. You need only have watched the series (and just the first season at that) to understand and appreciate this issue. Nothing else is required.

The Writing

Michael Moreci took charge of the Stranger Things Halloween Special One-Shot. It is an issue that delivers on its promise. Interestingly enough, that isn’t all that it does.

Picture the boys (Mike, Will, Lucas, and Dustin) all having a fun time telling spooky stories in their beloved spot in the woods. Now you have the setting for this issue – and it feels pretty in line with the world (and characters) so far.

It’s a quick read, letting fans dive into a single moment of four friends simply enjoying each other’s company. Yet there seems to be more to it, all the same. Set before the events of the first season, there’s a dark implication found within.

The spooky story itself feels familiar, in some ways. It’s dark and twisted and leaves many connections to the events that unfolded over the course of the series so far. Again, it feels right at home here.

The Art

The Stranger Things Halloween Special One-Shot has an art style that feels like a cross between the show and the comic book world. Fans of the other Stranger Things series will immediately recognize the given style.

Todor Hristov was the lead artist for this project, portraying beloved characters, as well as an entirely new cast as well. While at times the characters seem to be flat, and contain less life than their television versions, overall the style is well-suited to the world.

The darker elements are danced around, playing a game of hide and seek. Until suddenly, it’s not. Much like the show itself, once the horror is shown, it takes full advantage of taking the focus upon itself.

Chris O’Halloran’s colors really bring it all together. The bright pops of color against darker backgrounds is reminiscent of many a campfire tale, with a classic 80s color palette thrown into the mix as well.

Nate Piekos’ lettering is another vital piece of the art, adding tension at key moments, while overall carrying the story along flawlessly.

Conclusion

The Stranger Things Halloween Special One-Shot is a fun and quick read. It’s absolutely perfect for any and all fans of Stranger Things. Especially if you want an excuse to dive into the spookier side of their stories, during this time of year.

Overall, this issue provided an odd combination of sweet and spooky. It’s the sort of combination one can only find in the Stranger Things franchise. The essence of the world and characters was perfectly captured here, with a few added embellishments for the sake of the Halloween focus.

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Review: A Clash Between Clans Arises In TEENAGE MUTANT NINJA TURTLES #110

By

Corey Patterson

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TEENAGE MUTANT NINJA TURTLES #110 hits comic book stores on Wednesday, October 21st, diving further into the turtles’ exploits in Mutant Town. Disparate groups continue to form under New York City’s newest suburb. But what happens when these organizations come into conflict with the Splinter Clan?

Story

This issue is split into two parts: the first places emphasis on Raphael and Alopex while the second gives readers a look at Leonardo’s endeavors.

Raphael and Alopex spend most of their evening exploring the streets of Mutant Town. Watching them express gratitude over the fact that no one judges them reminds us of the struggles marginalized groups of people face every day.

Unfortunately, their peaceful stroll is soon interrupted by a biker gang called Road Hogs who see them as a threat. What ensues is a thrilling clash between the groups, complete with fighting, racing, and unexpected events.

While the aforementioned duo are handling the Road Hogs, Leonardo races across rooftops to meet with another troublesome organization. A recent attack from an octopus mutant of the Mutanimals led the ninja to seek further intel regarding their plans.

Leonardo soon infiltrates Old Hob’s Mutanimal hideout disguised as a “new recruit.” And everything seems to be going according to plan. But an issue soon arises that could cost both his and other lives if not taken care of.

Writer Sophie Campbell masterfully blends Raphael and Leonardo’s storylines together in seamless fashion. The transition from one plot point to the next is so smooth readers will be surprised to learn they essentially read two stories in one issue.

We also loved the characterization of both the Road Hogs and lackeys in Old Hob’s hideout. These antagonists are far from one-dimensional, offering readers a sobering look at how hard it is for groups to trust one another.

Artwork

Jodi Nishijima’s penciling and ink work for the turtles’ action sequences are truly stunning. Their reptilians forms glide from panel to panel with the grace and flexibility of real world ballerinas. Ronda Pattison’s coloring complements these illustrations beautifully with earthen tones for each turtle, which stand out starkly against the urbanized landscapes of Mutant Town.

Although the Shawn Lee’s lettering is placed well throughout the scenes, it would have been helpful to see more variance in dialogue fonts. This would help differentiate each mutant character’s unique manner of speaking from one another.

Conclusion

TEENAGE MUTANT NINJA TURTLES #110 provides two stories in one thrilling issue. It moves the Mutant Town plot forward via each character’s unique abilities and personality.

What plans do you think the Mutanimals have for the turtles? Let us know in the comments below!

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Review: A Test Of Inner Strength In JIM HENSON’S THE DARK CRYSTAL: AGE OF RESISTANCE #12

By

Corey Patterson

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JIM HENSON’S THE DARK CRYSTAL: AGE OF RESISTANCE #12, available in stores on Wednesday, October 21st, concludes this comic book adaptation of Netflix and The Jim Henson Company’s beloved televised series. As the Gelfling clans travel to their meeting location, Dot’leth finds herself among the first arrivals on SkekSa’s ship. But with the new All-Maudra presumed dead, coupled with the dubious meeting location, can any true peace be made?

Story

This chapter opens with Dot arriving on the ship of SkekSa, hoping to begin clan negotiations. She is greeted by Fenth in an awkward, yet telling display. One senses the shame the Gelfling pirate feels after a piece of his past faces him and his current life choices.

The reunion is cut short, however, when the Mondo Levidian crashes their meeting. Dot, having spent time mourning Mayrin’s supposed death, shouts for joy after realizing her beloved granddaughter is alive. But then an attacking swarm of Zoa appears! Can the new All-Maudra turn the tide and finally establish peace among the Gelfling clans?

What ensues is a high-adrenaline battle for the fate of Thra. We see Mayrin embrace her role as All-Maudra and attempt to save her fellow Gelflings. The pressure of filling her mother’s shoes is daunting, but the encouragement from Dot and Kam’Lu may be the motivation she needs

Matthew Erman’s narrative offers readers a heartfelt story of inner strength. Thanks to an indominable will and a slew of support from friends, his version of Mayrin embodies the sense of wonder that draws so many to the story.

Artwork

The illustrations beautifully reflect the magical elements found within the television show. Jo Migyeong’s penciling and ink work, along with Fabiana Mascolo’s coloring, beautifully translates the visual appeal of the show to the panels of this comic book. The characters’ details are extremely precise, from the unique dimples and wrinkles on their faces to the fixtures on SkekSa’s ship.

We loved the brightly colored backgrounds setting the scenes for these animated characters. And Jim Campbell’s lettering provided the finishing touch so readers could imagine the manner of speech they employed.

Conclusion

JIM HENSON’S THE DARK CRYSTAL: AGE OF RESISTANCE #12 beautifully concludes The Journey into the Mondo Levidian storyline. We loved watching our favorite characters come into their own in this thrilling finale.

Were you satisfied with the conclusion of this series? Let us know in the comments below!

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