The Last Ronin #1 by Kevin Eastman, Peter Laird, Tom Waltz, Esau & Isaac Escorza, Luis Antonio Delgado and Shawn Lee is a must-read for both new and old TMNT fans; moody, noirish narrative, several mysteries and gritty and striking art.
Teenage Mutant Ninja Turtles: The Last Ronin Story: Kevin Eastman, Peter Laird and Tom Waltz Script: Tom Waltz and Kevin Eastman Layouts: Kevin Eastman Pencils/Inks: Esau & Issac Escorza Colors: Antonio Delgado Letters: Shawn Lee
In a future NYC far different than the one we know today, a lone surviving Turtle goes on a seemingly hopeless mission to obtain justice for his fallen family and friends.
There is no getting around the hype this book has. It’s been on the radar for months, and with its hardcore flex of a 69 variant cover release, IDW is certainly putting a lot behind this. So is the book all hype? No, the book certainly delivers. I will avoid spoilers because the various reveals are important, but the narrative is strong and although the hook is, of course, WHO the remaining Turtle is (you do get an answer at the end of the issue), there are still several other plots unfolding and a decent amount of world-building as well. There is a bit of exposition here and there, but it’s a small fault and the narrative’s even pace keeps everything going toward a solid ending that certainly has me wanting to keep reading.
This is also a very good looking book. It’s gritty, all thick, heavy lines, very much full of ‘weight’ on the page. It’s also very detailed; think Dark Knight Returns and Frank Miller’s Ronin (both obvious influences here). The color palette is heavy on the deep blacks and muted primaries, creating pages that pop without having to be dayglow colored. There is also solid lettering throughout, with a great font and strong use of subtle “sound effects”.
So, yes, believe the hype and buy this book when it’s out on October 28th. As a lapsed TMNT fan I loved it and it piqued my interest enough to dive back into the franchise as well.
Check out our 5-Page Preview of The Last Ronin right here!
Washington, DC, is a major tourist destination, but if you’re a comic book fan, where are the city’s hidden gems when it comes to geekdom? Below are the Top Five Geeky Spots in Washington, DC, and each one offers a virtual experience for those who can not make it to DC in the current times.
Fantom Comics
The DMV (District of Columbia, Maryland, Virginia) is littered with amazing comic book shops, but Fantom has stolen my heart. The shop boasts a great collection of single issues and an amazing library of collected editions and original graphic novels. If you are planning your trip, make sure to check out their Facebook page, as they often host some amazing panels and creator forums. (These events are still going on in the virtual space. So make sure to check them out even if you are at a distance.)
If you have wet your whistle for comics at Fantom and are looking for more to do within walking distance, you should check out the Mansion on O Street. This event space, escape room, pop culture museum, and hotel is one of DC’s most unique stops. The mansion was founded by HH Leonards Spero to house an amazing collection of pop culture memorabilia and provide lodging for artists looking for a place to be inspired. Everything in the house is for sale. The house also has several secret doors and passageways that patrons can look for while on a tour of the incredible home.
This shop is located in the Eastern Market neighborhood of DC. If you are into board games, puzzles, Legos, and a great atmosphere, this store should be on your list of places to check out in DC. The shop hosts a plethora of events and even partners with other local businesses for various game night events.
Address: 645 Pennsylvania Ave. SE, Washington, DC 20003
Catacombs of Washington, DC
Did you know that Washington, DC has a replica of Rome’s catacombs, complete with fake graves and one real skeleton from the second century? The Franciscan Monastery of the Holy Land was built at the end of the 19th century to provide pilgrims who could not afford the opportunity to travel to Rome to experience a facsimile of the Holy Land. Tour groups (currently not allowed due to the covid-19 pandemic, but the website does offer virtual tours of the facility) are allowed to tour the facility, including the underground replica of Rome’s catacombs.
The Smithsonian National Air and Space Museum should be considered the holiest of holies for Nerds in the United States of America. The museum houses a tour-able Skylab replica and a vast cornucopia of air and space travel relics. However, the collection’s prized item is the actual model of the USS Enterprise from the original Star Trek series. This prized object also features a great exhibit on Nichelle Nichols’ works with NASA to recruit people of color to the space program. (The Museum is currently under renovation, so some pieces are not of view at the moment but can be seen on their website.)
Mise en Scene, Acting, and Space in Comics Book Cover.
Recently I have started to question what I understand of the term ‘Comics Studies.’ By this, I don’t mean that I am looking for a definition of what a Comic is or what makes a product, drawing, text, specifically a ‘Comic’ over something like an illustrated book. That is a separate conversation that begins with Scott McCloud and ends with warring factions fighting it out like the Cat People of Red Dwarf and their belief system based on what color hats should be worn in the Temple of Food. Instead, I refer to what is meant by the term ‘Comics Studies,’ with a capital c and capital s. What exactly are we studying, and where does the study sit within the world of Academia?
Image representing Academia (Stock photo)
The easy answer is ‘Literary Studies.’ Easy, yes, but also problematic because the term is woefully inadequate to cover all aspects of the Comic (with a capital c).
You could extend it to take in the best of Film Studies mixed with the best of literary studies, but this still leaves gaps in our understanding and examinations. Film Studies can give us terms to use, names to apply to aspects of a comic but can it explain how an image is composed within a panel and across a page, taking into account the sweeping page layouts?
Literature can give us the mechanisms for breaking down narrative structure and the meanings behind the semiotics used on the page, but can it explain the intricacies of publication, printing, and the large history of continuity that holds precedent, especially in North America where a Collectors mentality has a huge influence on the industry?
If you look at the writing across the Monkeys Fighting Robots website, you will find several different approaches to looking at Comics. Narrative and character development play a big role in the reviews of monthly floppies, which lends itself to Literary Studies. However, draughtsmanship and illustrative styles are also important, which is a craft-based skill. The composition, not only of images but the page and even the entire comic layout, lends itself to a greater tradition of Fine Art and Graphic Design. But the construction of the images and the flow of the narrative storytelling is very much associated with Film Studies, especially in how we, as critics, discuss the processes used.
I’ve yet to mention the historical and sociological aspects of Comics, taking into account the production and distribution of the format, which plays a massive part in understanding the medium.
And what of Theatre? The staging and audience manipulation of a comic have more in common with theatrical studies than it does with Film or the Novel.
Cover to Comics Studies: A Guidebook
A number of great books, such as Mise en Scene, Acting, And Space in Comics by Geraint D’Arcy and Comics Studies: A Guidebook edited by Charles Hatfield and Bart Beaty, are changing the way we think about Comics. They are also making an impact on the academic study of Comics, bringing together isolated scholars who have been working in different fields but with Comics as a feature of their studies. As the discipline grows, that is to say, that more academic voices become heard, the very notion of Comics Studies changes. Maybe it’s time to stop trying to fit Comic Studies into an established discipline’s pigeon hole and create a new area of study and discourse, merging theories from elsewhere and producing new, Comic specific terminology and ideals.
Whatever your view on Comics is, whether you read for pure entertainment, are interested in the history of the narrative, become absorbed in the Visual Art, or, like me, are fascinated by the very function of comics in Society, one thing is true for us all: it is an exciting time to be a part of the Comics World.
What do you think about ‘Comics Studies’ as an idea and a subject? Or do you think we shouldn’t study comics at all and leave it as simply pure entertainment? Let us know in the comments below.
Oktoberfest: Beer & Blood is a Netflix series about passions driving people to make drastic decisions that will change the lives of everyone around them. Director Hannu Salonen and Cinematographer Felix Cramer made a layered six-episode story that mixes period pieces, horror, and westerns.
The overarching theme of Oktoberfest: Beer And Blood is Curt Prank’s (Mišel Matičevićdesire) to build a giant tent at this year’s festival in Munich. However, the idea is unheard of and impossible because all the other vendor stalls stand in the way. Curt’s extreme idea requires extreme measures to accomplish. Caught up in Curt’s plan is his daughter, Clara (Mercedes Müller), who begins relationships that will threaten her father’s ambitions. Oktoberfest brews a mix of Murder, mayhem, and love with the slightest hint of humor into a compelling Netflix narrative.
PopAxiom hopped on Zoom for a chat with Hannu and Felix about becoming filmmakers and making Oktoberfest: Beer and Blood.
Becoming Filmmakers
What roads did Hannu and Felix take to get into the film and television industry?
Felix: “I was not really into filmmaking when I was young. I started making movies because of my father. He was a teacher and made a documentary about the guy who made charcoal. He did a one-shot movie. He placed a camera at one angle, and then he shot the whole documentary over several days like that. I told him, ‘That doesn’t work at all.’ I made my first documentary with my father, and I suddenly knew exactly what I had to do. Afterward, I went to film school …”
Hannu: “I come from Finland. I was always into magical things. I grew up near the graveyards of a group of Vikings. It was a few hundred meters away in some woods with a lake. My life as a child was a magic one. Around 12 or 13, I understood that movies could convey this feeling — the magic. That’s when I decided I needed to be a director and make movies. I went to a film academy in Germany at around 19 or 20.”
Influences
Combining their work in their respective role, Hannu and Felix have 76 credits. Who influences their work?
Felix: It’s hard to say just one. I love movies from Stanley Kubrick and Roger Deakins … so many great artists.”
Hannu: “I was born in 1972, so Kubrick, Scorcese, and the like were at the top of their game. I saw movies from Andrei Tarkovsky that influenced me when I was around 13. If this guy can create these kinds of worlds, then that’s amazing.”
Felix: “For me, it’s also music. I wanted to study music before I came into the film business. I love classical music. So hearing and feeling the music and the different rhythms help me. But there are so many influences, photographers, painters, and more.”
Hannu: “I also started with music. A lot of classical, but a lot of heavy music. Darker, northern heavy sound. But my youth was more the 80s. Michael Mann, Miami Vice, Oliver Stone’s Platoon. I was an exchange student for a year in the United States, and my host father was a Vietnam vet.”
About Oktoberfest: Beer And Blood
Hannu and Felix worked together once before. How did the director and cinematographer reunite in Oktoberfest?
Hannu: “I was editing my Nordic series, Arctic Circle in Finland. I got a call from one of the producers, and he pitched me Oktoberfest. At first, I got images of drunk people. But then he said something about favelas, these poor little huts and this guy with this big dream. I got excited. Then I read the outlines, and it was great. It has everything that I want to do, all the predicaments, conflicts, and these characters of Shakespeare and nature.”
Hannu: “That’s when I came to Felix. He’s so great. He knows how to plan things so well. But he also reacts to things and does things instead of thinking of them or trying to show off his ego.”
Felix: “Thank you for the flowers.”
Hannu: “You’re welcome.”
What was Felix’s reaction to the initial pitch for Oktoberfest?
Felix: “When Hannu asked me to do this, I was extremely surprised. I thought it was about Oktoberfest, but it’s more like a historical piece. It takes place in the early 20th century, and we tried to stay as accurate as possible, but on the other side, the feeling of the story is absolutely modern. It borrows elements from westerns and horror. When I read it, I thought it was so completely different from other period pieces. I started talking with Hannu, and we had all these creative ideas, and I fell in love with the project. I couldn’t say no.”
Making Oktoberfest: Beer And Blood
Oktoberfest is equal parts gritty series with a western vibe and period drama. But there’s a thread of humor tying it all together. Or am I crazy?
Hannu: “Funny what you’re talking about because it’s not necessarily being understood in Germany. I saw a chance at mixing different genres and tonality. A little bit of irony. German audiences, particularly journalists, don’t see that and take it totally seriously.”
Hannu and Felix share a vision of finding rhythms within stories. How did the rhythm for Oktoberfest come about?
Felix: “It starts from the script. In the case of Oktoberfest, we story-boarded a lot of the scenes. So, we knew exactly what we wanted to do in every scene with very concrete shot designs.
Hannu: “In Oktoberfest, we have these quickly edited scenes, and on the other side, we have very long takes. We tried to find the right rhythm for each scene. I think it’s great if you have a chance to achieve that.”
Felix: “From my perspective, Hannu is a great director because he dares to do these one-shots. There are not that many directors willing to do that.”
Hannu: “Editing was so important. Our editor, Ronny Mattas, brought everything together, and he’s also extremely into music. He’s great at rhythm.”
Felix: “It was great shooting. Every day we had a lot of fun. The crew was so passionate. It’s this modern story on this Oktoberfest island where everything is reflected, the social life and artists. It’s an interesting time between late-romantic art and expressionists. And a time where people used gas lamps and candles to electric lamps.”
Hannu: “We were a little over-budget, and one of the producers said, ‘C’mon, man, it’s just a soap!’ There are soap opera elements, just like there were in Shakespeare, but Felix and I wanted this look to it that we fought for to go beyond a soap.”
The slight budget issue caused another issue — a lack of time.
Hannu: “They promised us 70 or 80 shooting days, but in the end, we had 66. We survived.”
What did Oktoberfest creators Christian Limmer, Ronny Schalk, and Alexis Wittgenstein first discuss for the show’s look and feel?
Felix: “The creators had many period pieces in mind like Peaky Blinders, The Nick, and Godless. We watched all these kinds of movies to figure out if we could use them as a guideline. But we realized Oktoberfest was so different that we turned more to the art and the period; its music and colors. The creators also wanted it to look modern. They did not want to use filters to blow everything out. We wanted things like the slow camera movement you’ll see in a horror movie or the high angle, low angle of Westerns.”
Hannu: “I got to read outlines from the creators and writers which had a lot of the tonality.”
How did planning help tighten the production?
Hannu: “We were shooting in three countries, and getting this all to work, it had to be well planned. In Prague, we were bringing 300 to 400 extras on buses.”
Felix: “There’s a great toothache scene. The same character is also conducting his band. It was written pretty simple in the script. We put it on the storyboard, and it looked completely different. This idea was transferred to the script.”
Hannu: “The actors were happy that we were sticking to the script. We could improvise, but we didn’t have to because the scripts were so great.
Wrapping Up
Oktoberfest delivers dozens of attractive, vivid characters. But who are the other characters that Hannu and Felix think about?
Felix: “Hannu says it a lot, the camera is its own character.”
Hannu: “The setting is its own character. Also, the sound design and the music are commenting on certain things and conveying a different perspective. All these means of storytelling do not hide. They say, ‘I’m here and taking part in the event.’ They’re not passive, but taking part in the storytelling. Especially in the mix of genres we had.”
Felix: “I love these kinds of things, and they already have to be in the screenplay a little bit.”
What’s a dream project for Hannu and Felix?
Hannu: “For me, it’s really about strong characters in visual fictional worlds.”
Felix: “I would love to do a Zorro movie right now. I would love to do a horror movie or science fiction. I’d love to fly into the future.”
Oktoberfest: Beer And Blood is out on Netflix. So, what’s next for the director and cinematographer?
Felix: “COVID changed a lot. Hannu and I were on a project together, and it was just postponed. I’m working on a history movie in Poland.”
Hannu: “Forget 2020, the silver lining now is about taking the time to develop several projects. One of them is science fiction, by the way, Felix. We can dig a bit deeper than when we’re busy shooting all the time. So, it’s been good in that sense. But I can’t talk much about those projects. We’re in talks. So, something will be coming.”
Is Oktoberfest: Beer And Blood on your watch list?
Thanks to Hannu Salonen and Felix Cramer and Impact24 PR for making this interview possible.
AMAZING SPIDER-MAN #50.LR hits your local comic book shop on October 21, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for our readers.
The book is written by Nick Spencer & Matthew Rosenberg, with brillant artwork by Federico Vicentini, Marcio Menyz drops the colors, and you will read Joe Caramagna’s letter work. Sara Pichelli and Rachelle Rosenberg brought the cover to life.
About AMAZING SPIDER-MAN #50.LR: “LAST REMAINS” is so huge it cannot be contained within the pages of AMAZING SPIDER-MAN. Kindred’s assault is so epic, it’s going to sweep the other Spider-Heroes of the Marvel Universe up in its wake. All this and the bombshell dropped at the end of ASM #49 rolls toward one of Marvel fandom’s favorite characters.
DEAD DAY #5 hits your local comic book shop on November 18, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers.
About the book: With nowhere else to run, Jeremy and the Haskin family find themselves under siege, caught in between the Lifers and the Revivalists…and not everyone will escape Dead Day alive. Witness the emotional conclusion to the supernatural holiday in a world where death isn’t the end and secrets never stay buried.
DEAD DAY #5 is written by Ryan Parrott, with art by Evgeniy Bornyakov, Juancho! drops the colors, and you will read Charles Pritchett’s letter work. Andy Clarke, with Jose Villarrubia, worked on the cover.
DC Comics has finally revealed details about their mysterious new project – DC FUTURE STATE – that begins in January 2021. There’s been some speculation that Future State was originally conceived as Dan DiDio’s defunct 5G project, but this new announcement confirms a much more limited scope event.
Says DC about Future State’s main subject: “DC Future State spotlights the World’s Greatest Super Heroes in fresh new roles, with all-new characters taking up their iconic mantle.”
You can read the full breakdown of Future State issues and read the full DC press release below.
What are your theories about the long-term impact to DC with this limited-run event? Let us know what you think in the Comments section, and please share this post on social media using the links below.
DC FUTURE STATE GIVES FANS A LOOK AT THE FUTURE OF THE DC UNIVERSE THIS JANUARY!
BURBANK, CA (October 15, 2020) – DC is starting 2021 off with a bang, giving fans a glimpse into futures both near and far, full of current and new characters as the publisher announced plans today for DC Future State, a two-month, line-wide event beginning in January. Through February 2021, the full title lineup will feature a combination of monthly and twice-monthly oversize anthologies, as well as a monthly schedule of miniseries and one-shots.
DC Future State spotlights the World’s Greatest Super Heroes in fresh new roles, with all-new characters taking up their iconic mantles. DC Future State features an incredible array of creative talent, combining award-winning writers and artists with new voices from the worlds of TV, movies and animation. In March 2021, the regular DC title lineup resumes, continuing existing story lines from 2020 and introducing new arcs for the year.
In DC Future State, the Multiverse has been saved from the brink of destruction, but the triumph of DC’s heroes has shaken loose the very fabric of time and space! The final chapter of Dark Nights: Death Metal (on sale January 5, 2021) brings new life to DC’s Multiverse, kicking off this glimpse into the unwritten worlds of DC’s future!
“The DC Universe has always been fertile ground for new and refreshing takes on our characters, and DC Future State definitely contributes to this legacy,” said DC Executive Editor Marie Javins. “When the event begins in January, some savvy readers will not only pick up on some of the breadcrumbs that have already been tossed out in our current titles, but they will also find new hints and clues of what’s to come in 2021.”
A stellar array of writers and artists are on hand to deliver this unique look at beloved DC characters, including fan favorites such as Mariko Tamaki, Brian Michael Bendis, Gene Luen Yang, Joëlle Jones, Joshua Williamson, Nicola Scott, Cully Hamner and John Timms, along with new voices such as award-winning screenwriter John Ridley (12 Years A Slave), Brandon Vietti (Young Justice), Meghan Fitzmartin (Supernatural, DC Super Hero Girls), Brandon Easton (Thundercats, Transformers: War for Cybertron), Alitha Martinez (REPRESENT! It’s A Bird!), L.L. McKinney (Nubia: Real One), Paula Sevenbergen (Stargirl) and Siya Oum (Lola XOXO), among others.
Batman Family
In this future, Gotham City is controlled by the Magistrate. This villainous regime has taken control of the city, now under constant surveillance. All masked vigilantes have been outlawed and Batman has been killed. But led by an all-new Batman, a new assembly of Gotham’s guardians rise to give hope to all of those who lost it!
Oversized Comics:
Future State: The Next Batman #1-4
The Next Batman, by John Ridley, Nick Derington and Laura Braga
Outsiders, by Brandon Thomas and Sumit Kumar
Arkham Knights, by Paul Jenkins and Jack Herbert
Batgirls, by Vita Ayala and Aneke
Gotham City Sirens, by Paula Sevenbergen and Emanuela Lupacchino
Future State: Dark Detective #1-4
Dark Detective, by Mariko Tamaki and Dan Mora
Grifters, by Matthew Rosenberg and Carmine di Giandomenico
Red Hood, by Joshua Williamson and Giannis Milonogiannis
Monthly Miniseries:
Future State: Batman/Superman, by Gene Luen Yang and Ben Oliver
Future State: Catwoman, by Ram V and Otto Schmidt
Future State: Harley Quinn, by Stephanie Phillips and Simone Di Meo
Future State: Nightwing, by Andrew Constant and Nicola Scott
Future State: Robin Eternal, by Meghan Fitzmartin and Eddy Barrows
Superman Family
Due to his involvement in an international crisis happening in the near future, Clark Kent has been rejected by Earth, causing him to focus his lifesaving efforts outside his adopted home. He travels to Warworld to rise through the ranks of gladiatorial combat in order to defeat Mongul with the help of some unlikely heroes. Back in Metropolis, Clark’s son Jon has taken on the mantle of Superman. After seeing the horrors that befell Gotham, he bottles Metropolis in order to keep it safe, putting him at odds with Supergirl.
Connecting the two oversized Future State: Superman titles, Shilo Norman, the man known as Mister Miracle, finds himself caught between the city he grew up in and the battle-torn planet that could be his downfall.
Meanwhile in the Amazon rainforest, Yara Flor is chosen to be the new Wonder Woman. Years later, the new Superman and Wonder Woman join forces to save their cities in a new superhero team-up the likes of which the world has never seen.
Oversized Comics:
Future State: Superman of Metropolis #1-2
Superman of Metropolis, by Sean Lewis and John Timms
The Guardian, by Sean Lewis and Cully Hamner
Mister Miracle, by Brandon Easton and Valentine De Landro
Future State: Superman: Worlds of War #1-4
Superman: Worlds of War, by Phillip Kennedy Johnson and Mikel Janin
Midnighter, by Becky Cloonan, Michael W. Conrad and Gleb Melnikov
Black Racer, by Jeremy Adams and Siya Oum
Mister Miracle, by Brandon Easton and Valentine De Landro
Future State: Immortal Wonder Woman #1-2
Immortal Wonder Woman, by Becky Cloonan, Michael W. Conrad and Jen Bartel
Nubia, by L.L. McKinney, Alitha E. Martinez and Mark Morales
Monthly Miniseries and One-Shots
Future State: House of El, by Phillip Kennedy Johnson and Scott Godlewski (one-shot on sale February)
Future State: Kara Zor-El, Superwoman, by Marguerite Bennett and Marguerite Sauvage
Future State: Legion of Super-Heroes, by Brian Michael Bendis and Riley Rossmo
Future State: Superman/Wonder Woman, by Dan Watters and Leila del Duca
Future State: Superman vs. Imperious Lex, by Mark Russell and Steve Pugh (3-issue series ending March 2021)
Future State: Wonder Woman, by Joëlle Jones
Justice League Family
A thread of great change runs through the Justice League heroes: a new League is built upon secret identities (even from each other), but an old and evolved enemy will use these secrets to try and overthrow the world. For the supernatural heroes of Justice League Dark, the very fabric of reality has shifted, and heroes are being hunted.
For Flash, Shazam, and the Teen Titans, it all begins when the four Riders of the Apocalypse unleash hell in a battle at Titans Academy, Barry Allen is cut off from the Speed Force, a Famine-controlled Wally West may be beyond saving, and Billy Batson makes a deal with the devil that will change Shazam forever. Off-world, John Stewart and the remaining Green Lanterns are stranded in the shadow of a dead power battery; Jackson Hyde and Andy Curry are separated across the galaxy; and Amanda Waller executes her ultimate plan with a new but terrifyingly familiar Suicide Squad on Earth-3.
At the end of time, Swamp Thing reveals its true intention, ruling supreme until a remnant of humanity launches a rebellion, and Black Adam looks to the past as the only way to save the future of the Multiverse.
Oversized Comics:
Future State: Justice League #1-2
Justice League, by Joshua Williamson and Robson Rocha
Justice League Dark, by Ram V and Marcio Takara
Future State: Green Lantern #1-2
Last Lanterns, by Geoffrey Thorne and Tom Raney
Tales of the Green Lantern Corps, by Josie Campbell, Ryan Cady and Ernie Altbacker, with Sami Basri and Clayton Henry
Future State: Suicide Squad #1-2
Suicide Squad, by Robbie Thompson and Javi Fernandez
Black Adam, by Jeremy Adams and Fernando Pasarin
Monthly Miniseries:
Future State: Aquaman, by Brandon Thomas and Daniel Sampere
Future State: The Flash, by Brandon Vietti and Dale Eaglesham
Future State: Teen Titans, by Tim Sheridan and Rafa Sandoval
Future State: SHAZAM!, by Tim Sheridan and Eduardo Pansica
Future State: Swamp Thing, by Ram V and Mike Perkins
For the latest information on DC Future State and the World’s Greatest Super Heroes, please visit the DC Comics website at www.dccomics.com and follow on social media @DCComics and @thedcnation.
The Amazing Spider-Man #50, out today from Marvel Comics, finally resolves many parts of its ongoing story while starting new ones and even presents a shocking reveal.
After such a colossal and important issue as The Amazing Spider-Man #850, you would expect the issue following it to decline in quality, as the writer has put his most exciting moments into the previous issue to make it as outstanding as possible. This is not the case whatsoever, and the gripping story of The Amazing Spider-Man #50 may even be better than the super-sized anniversary issue that came before it. It is so full of new reveals, conclusions to plots that have been going on for so long, and some awe-inspiring art that the issue itself is one of the best Spider-Man comic books in the past several months.
The Amazing Spider-Man #50 Story
At the end of The Amazing Spider-Man #850, Spider-Man and “The Order of the Web” are fleeing the Ravencroft Institute, leaving the Green Goblin behind while the Sin-Eater is momentarily immobilized. This is not where The Amazing Spider-Man #50 picks up from. Instead, we are greeted with a silent 12-panel grid that shows our favorite web-slinger falling from the air and brutally crashing into various objects during his descent. The lack of sound effects or captions during this page gives it a haunting feeling, as it shows this beloved character beaten down nearly to the point of breaking. All of this works together to leave the reader to wonder how this came about. It is a brilliant way to open up the story and gets the reader excited to turn each page and watch as the issue unfolds.
Not only does Nick Spencer provide an astonishing issue in its own right with The Amazing Spider-Man #50, but the issue also concludes and reveals several components of Spencer’s ongoing storyline while beginning new parts of it. There are major events centered around the Sin-Eater, the “Order of the Web,” Norman Osborn, and even Kindred in this single issue. Every page feels like another punch to the face as something else shocking occurs. It is an issue you will never want to put down.
I have nothing but admiration for Patrick Gleason’s work on this issue. The Amazing Spider-Man #50 is filled with tense, emotional scenes, and they wouldn’t have nearly the same impact it does without the wonderful emotive faces that Gleason brings to life. Gleason can also portray Kindred with a unique creepiness and presents some terrifying art for the monsters he unleashes. The paneling of The Amazing Spider-Man #50 is particularly notable, with Gleason constantly pushing the boundaries of what is expected in modern super-hero comic books. Whether it be borderless panels, overlapping panels, or intentionally not using all of the space available, Gleason’s paneling choices pay off tremendously and add a substantial amount to the issue’s narrative.
The coloring of The Amazing Spider-Man #50 does a nice job of reflecting the tone of the issue. Edgar Delgado uses dark colors for most of the issue, which goes along nicely with the tense moments portrayed. Due to the mostly dark tone of the issue, when bright reds and oranges are later used for the monsters unleashed by Kindred, it is a frightening image as it contrasts with everything around it.
VC’s Joe Caramagna provides some outstanding lettering in The Amazing Spider-Man #50, which does a beautiful job of allowing the story to progress seamlessly. Caramagna uses unique speech bubbles for an inhuman character like Kindred, which is a subtle yet effective way to make him seem otherworldly. Caramagna also does some amazing work at providing captions that are easily identifiable, which is important when more than one character speaks through captions in an issue.
I was absolutely dumbfounded with how much occurred in a single issue and how it will have a giant impact on what is to come later in the series. I haven’t read a Spider-Man issue that had me this excited in a long time, and it is an experience no fan should miss. The Amazing Spider-Man #50 leaves you in awe of how great it was and leaves you desperately waiting for the next issue so that the phenomenal story can be continued.
DRACULA, MOTHERF**KER!, available now from Image Comics, is a reinvention of the Dracula story that pays homage to the strongest examples of 70’s exploitation horror. Written by Alex de Campi and illustrated by Erica Henderson, this graphic novel has a lot to like for horror fans if you can get past some glaring rough spots.
Cover Art
Henderson’s cover is a pristine encapsulation of the story with a perfect tone to match the 1974 setting. The combination of colors is sickeningly garish, but they flow in mellow strokes and curves to create a fever dream of composition for all the central characters. It’s loud and tacky but smooth and dreamy all at the same time, and that pretty much sums up the 70’s aesthetic.
Writing
I really, REALLY liked the setup of this alternate version of Dracula. In 19th Century Europe, Dracula’s brides turn on him and imprison him “forever.” In 1974, an aging Hollywood starlet freed Dracula intending to petition Dracula to make her young and beautiful “forever.” A nighttime paparazzo photographs the bodies as they begin to pile up before he notices he’s attracted the attention of the monster. The pieces seem familiar, but nothing like this setup exists, and high praise goes to de Campi for dreaming it up.
That said, this is a frustrating book. The story setup is there. The 70’s setting is there. The characters, beyond the titular Count, are period-accurate and interesting. More importantly, giving the brides some agency in the Dracula story is something I’ve never seen before. It gives the legend a completely new layer of possibilities that I quite liked. What detracts from the greatness of this book are the plot holes, very big plot holes. This type of book feels good in the first reading and overall execution, but once you start to think about things that don’t make sense, the whole thing unravels.
For example, if the brides could incapacitate and imprison Dracula, why not simply destroy him instead of burying him in some undisclosed location? How did the aging starlet know Dracula was real and where to find him? If the brides knew about the starlet and her location, why not simply stop her from freeing the Count?
And the biggest question (less plot hole and more unexplained plot point) after reading the book through twice – why was Dracula so interested in going to extreme lengths to kill the paparazzo that posed absolutely no threat? I get the impression that if de Campi had added more pages to address these holes (and a few more not mentioned) this would have been a solid entry in the Dracula library. This is a big story, and by trying to tell too much too fast, it winds up feeling incomplete.
Pencils/Inks
Henderson’s artwork for this book is, generally, very good. It’s a treat to follow cars along the California coast with neon-soaked, streaking headlights on their way to crime scenes blown out in ambulance light reds. There’s a Hitchcockian feel to the panel work that would make Robert Burks (Hitchcock’s go-to cinematographer) proud. The setting and surroundings’ entire design is spot on for a stylistic impression of 1974, rather than a realistic recreation, and that was a great design choice.
By far, the artistic highlight is Henderson’s rendering of Dracula. Here, Dracula is no dusty, European aristocrat but a demonic force. He’s something akin to Lord Aku from Samurai Jack but with oodles of predatory malevolence (and many more eyes). He’s depicted as a true monster in every sense, and it makes him much scarier than your standard Count with fangs.
Where Henderson’s art doesn’t quite work is in the featureless character designs, excluding Dracula. The aging starlet is supposed to be “aging,” but there’s not a blemish or wrinkle on her to make you believe it. There are so many women in this book, but I constantly struggled to keep track of which woman was because they lack any distinguishing features and are never, except for the starlet, named. It would have served the book more to add some distinction to the characters’ look, especially the women.
Coloring
Again, frustrating. I love the neon-noir palette and Henderson’s choices in shading different settings in different colors to guide the story’s direction. In keeping with the 70’s time frame, all the right Day-Glo splashes are present, but the panels were never washed out.
The frustration comes in with the coloring and shading of the characters, particularly with Ateera. There are some scenes where the panel filter is so strong, coupled with the lack of facial definition, that it was difficult to tell which character was in panel. At one point, I thought a fourth bride had entered the story because the lighting on Ateera’s face was so extreme that she appeared as a completely different character. The coloring palette selection is great, and its application on the settings is excellent, but some colors were simply overdone.
Lettering
This is not good lettering. This is GREAT lettering.
Henderson uses a mix of fonts and applications to create a collage of visually interesting narration. The highlight, again, is the depiction of Dracula’s voice. The first time you read (hear?) it, the voice transmits as something speaking with old, malignant authority. Even Dracula’s voice feels inhuman, consistent with his outstanding design.
Conclusion
DRACULA, MOTHERF**KER!, available now from Image Comics, hits all the right notes for fans of 70’s horror, but incomplete story structure and uneven art keep it from being great. If you can overlook the rough spots, you’ll enjoy it. This book is a guarded recommendation.
Sonic The Hedgehog #33 out this week from IDW Publishing is the start of a new journey. Rogue takes more of a leadership role as she pulls a team together to help find parts to repair Omega. The new work by Evan Stanley (writer and artist), Reggie Graham (colors), and Shawn Lee (lettering) are off to a decent start.
The Metal Virus is gone, but things aren’t quite back to normal. Omega is damaged and his allies turn to Tails and Sonic for help. The only way to rebuild him is to trade parts with a mysterious champion Chao racer… but things aren’t what they seem.
Writing
There is a lot of talk about how this issue is a great jumping-on point for new readers of Sonic The Hedgehog and there is a lot of evidence to support this claim. There isn’t a lot of overhang from the previous story a new reader needs to know coming. In fact, the main aspect of what the reader needs to know (in this case, it’s how Omega is damaged and needs to be repaired) is introduced in the first few pages of the issue. So, points for living up to this claim.
The writing by Evan Stanley seems to focus on the characters and their interactions with one another. Rogue acting like a team leader for a heist seems on point but at the same time shows off a more caring aspect to her personality. So far, Stanley is demonstrating they have a good sense of the characters and have set up a good start to a new arc.
Artwork
With Evan Stanley acting as both writer and artist a lot of scenes seem to pop. There is some great use of facial expressions to show off the emotions of the characters as scenes play out. One panel imparticular which stands out features Sonic the Hedgehog grimacing while exploring a former Badnik base. The panel encapsulates just how creepy the location is.
The new colorist, Reggie Graham helps to bring attention to the scenery and background of each panel. Graham seems to have a talent for helping to visually illuminate scenes. This helps as Amy and Rogue travel to White Park and enter a building structured like a ski lodge. The lighting feels warm and welcoming as if someone coming inside from a winter night.
The lettering by Shawn Lee helps with the auditory aspects of the issue. Special attention is paid as Cheese enters the Chao race. The words and font used convey the idea Cheese is trying is best but is not in real danger as the action unfolds. A perfect fit as such a tiny and adorable character takes the spotlight.
Conclusion
Sonic The Hedgehog #33 seems like the start of a great new chapter for the series. While it is slower and with less action than previousissues, this is to be expected with the start of a new arc. For now, it seems like the work of Stanley and Graham will have a lot to offer the series.
