THE ORVILLE #2: LAUNCH DAY (PART 2 OF 2) hits comic book stores on Wednesday, October 7th, giving readers the conclusion to this action-packed two-party story. Last issue, the crew of the Orville discovered a mysterious moon-sized object in the planet Krill’s orbit. Upon attempts to destroy it, Captain Ed Mercer convinced his team to inspect the unknown structure. But the device appears to be a weapon. What’s more, the other crew members discovered that the Krill citizens are gearing up for a mysterious event called “Launch Day.”
Story
This issue’s story comes in three sections; Ed and Commander Kelly Grayson’s investigation, Lieutenants Gordon Malloy and John LaMarr’s infiltration of the suspicious space station, and Lieutenant Commander Bortus’s negotiations with the Krill leader Captain Kratok. The main focus lies with Ed and Kelly.
Ed and Kelly, disguised as Krill, spend much of the issue talking with the citizens. And after speaking with the mother of a deceased soldier, they learn the purpose of “Launch Day.” It refers to the civilization’s planned escape from their universe. Sparked by a fear of immigrants and visitors to their planet, the Krill plan to use the space station to teleport their people to a new dimension.
David A. Goodman’s writing takes everything fans loved from the television show and fits it perfectly within the realm of comics. It also explores real world themes of xenophobia that will make us examine our beliefs.
Artwork
The artists for this issue stitch together a fantastic tapestry of illustrations. David Cabeza’s penciling and ink work, Michael Atiyeh’s coloring, and Richard Starkings & Comicraft’s Jimmy Betancourt’s lettering, provides characters with lifelike details. Our favorite characters’ faces were almost spitting images of their real life counterparts. The extensive color varieties place us in their experience of the alien planet. In addition, the lettering does an amazing job of giving readers context through the use of pointy word balloons for electronic communication to differentiate them from in-person speech.
Conclusion
THE ORVILLE #2: LAUNCH DAY (PART 2 OF 2) wraps up the “Launch Day” storyline quite well. Questions were answered, but more were brought to our minds in anticipation of the next issue.
Were you satisfied with the conclusion to this two-part story? Let us know in the comments below!
DEADPOOL #7, available in comic book stores Wednesday, October 7th, dives into the relationship between Elsa Bloodstone and Deadpool. The monster hunter recently discovered that the stone embedded in her palm is killing her, putting all romantic feelings between her and Deadpool aside. But this task is easier said than done. In fact, the opening panels show readers a possible consequence of their love.
Story
Upon receiving news of his Honor Guard’s return from their royal duties, Deadpool and Elsa make plans to begin their journey. Readers will find the two bickering over what travel method they should use. Watching the two argue over Barf’s unsavory teleporting methods, whether or not to bring Jeff, and whether the seam’s dimension will kill them or not.
Kelly Thompson’s writing proceeds to guide readers through Elsa’s memory of the dark dimension in fourth wall breaking fashion. We loved how much this annoyed Deadpool halfway through the tale.
Readers will enjoy following the two warriors to Greenland as they confront various monsters. The narrative mix of awkward romance and dire straits makes for an engaging story.
Artwork
Gerardo Sandoval’s penciling and ink work, along with Victor Nava’s penciling, cast brilliant images of the mercenary, the hunter, and the shark. Each individual is drawn with highly detailed expressions—so much so that one can tell exactly what the masked Deadpool is feeling. Alongside Chris Sotomayor’s bright red coloring and VC’s Joe Sabino’s use of varied lettering sizes, readers enter a dimension of highly expressive scenes. The finished product captures the pure essence of Deadpool’s character.
Conclusion
DEADPOOL #7 offers readers a thrilling tale of passion, betrayal, and, most of all, humor. It’s issues like these that make us love the character of Deadpool.
What was the funniest part of this issue for you? Let us know in the comments below!
My Little Pony/Transformers #3 out this week from IDW Publishing keeps up the charming nature of this unexpected crossover. The issue has Fluttershy meet Soundwave as Rainbow Dash races Windblade. All thanks to James Asmus (writer), Sam Maggs (writer), Jack Lawrence (pencils and inks), Priscilla Tramontano (pencils and inks), Luis Antonio Delgado (colors), Jake M. Wood (lettering), and Neil Uyetake (lettering).
When Fluttershy and Discord’s tea time is interrupted by Soundwave, it’s robot logic vs. whimsical chaos! And Rainbow Dash, sure that she can fly faster than any Autobot can drive, finds herself in a race with the one and only Windblade.
Writing
“Pet Sounds” by James Asmus has Soundwave meetup with Fluttershy. The results are amusing as Fluttershy thinks to Ravage and the rest of the cassette robots are Soundwave’s pets. Seeing Rumble get annoyed at the kindness is hilarious and in keeping with the humor Asmus laid out in the first issue of the mini-series.
The second story “The Flying Fox Trot” by Sam Maggs features a race between Rainbow Dash and Windblade but not everything goes as planned. It’s a bit predictable and wraps up a little too quickly. You’d think how popular Rainbow Dash and Windblade are as characters they would get a more in-depth story.
Artwork
The pencils and inks by Jack Lawrence and Priscilla Tramontano help to enhance the stories they are trying to tell. Lawrence’s work helps with the comedy scenes especially as Discord faces off with Soundwave. Meanwhile, Tramontano captures impressive speed effects as Rainbow Dash and Windblade race and sneaks a cameo in of the two horse-based Transformers: Mach Kick and Battle Unicorn. Even though its just one panel, it’s still worth noting they took the time to make sure it was in the mini-series.
The colorwork by Luis Antonio Delgado does double duty by magnifying the most important elements of each story. With “Pet Sounds” careful attention is paid with coloring to ensure the comedy moments land. Meanwhile in “The Flying Fox Trot” Delgado ensures the speed effects emphasize just how fast Rainbow Dash and Windblade are going during their race.
The lettering work by Jake M. Wood And Neil Uyetake makes sure to help with both of the stories. Wood and Uyetake pull off the use of sound effects with a variety of fonts specific for what each panel needs. They also ensure the effects don’t distract from the panels they are in and only help with helping to tell the story.
Conclusion
My Little Pony/Transformers #3 isn’t the best of the mini-series but it’s still entertaining. With only one issue left the mini-series is poised to wrap up without overstaying its welcome. Still, given how entertaining this series has been, more adventures of Transformers meeting My Little Pony would be a welcomed sight.
Having moved to a bi-monthly schedule, N.K. Jemisin and Jamal Campbell’s Far Sector #8 has been a long time coming since the tumultuous events of the prior chapter. The wait was certainly worth it, however. This eighth chapter builds upon the newest element added in the previous issue while sprinkling in even more political intrigue, sci-fi noir, and additions to the Green Lantern mythos while never feeling overstuffed. With incredible art by Jamal Campbell and solid lettering from Deron Bennett, Far Sector continues to be one of the most consistently entertaining books on shelves right now.
“While still processing her feelings about Councilor Marth, Jo tracks down the “riders” who killed Averrup Thorn, and gets the first hint of what’s really going on beneath the surface of the City Enduring. Reporting to the Council, Jo is disgusted to realize she’s facing the same kind of callous, responsibility-avoiding bureaucracy as back home on Earth.”
Writing & Plot
It’s impossible not to notice just how much story N.K. Jemisin is able to cram into an issue of Far Sector, and she keeps it up here in the 8th issue. The action-filled opening sequence is backed up by a sleek narration cataloging the events that led to this moment. The class issues that fuelled the @At race’s story are brought to an emotional peak that Jemisin has been able to accomplish with pretty much every character and species she has introduced thus far. The deeply cyberpunk influenced prior issues fade into a somber sci-fi neo-noir in this chapter, complete with political corruption, battered romance, and a hero at her wit’s (and power’s) end. Going back and re-reading the prior issue is a must for this series, as although the recaps in the opening pages are good, they don’t quite cover enough to keep readers completely up-to-date between the two-month breaks. The fantastic pacing of the story in each issue is largely made up by Jemisin’s style of stylistic but informative dialogue. Each conversation in Far Sector feels significant and memorable, offering insight into the events of the story as well as the characters in it. This is comics dialogue at its near-best, as it performs the job of narration without ever feeling too boggy or exposition-filled.
An odd choice that dates this comic a bit has to do with how the @At, a race of virtual artificial intelligences, survives and the specific currency Jemisin devises for them. There’s a use of internet memes that has been prevalent for much of the comic and they unfortunately feel a bit dated. These are memes that haven’t been currently popular in quite some time, so it makes the comic feel older than it should. Beyond this, the integration of cultural and political themes with the mythos of one of DC’s most iconic universes feels outstanding. It’s familiar but completely new, and just in terms of writing is a treat for any fan of the medium, GL fan or otherwise.
Art Direction
Look, every review of Far Sector is just going to have me gushing about how outstanding Jamal Campbell’s art is. So here I am again with Far Sector #8 doing the exact same thing. Campbell’s slick, digitized style brings this world and its many races and characters to life with a shimmering beauty almost completely unseen in comics, sci-fi or otherwise. Outside of his dazzling designs, animations, and color usage, he Campbell covers wide swaths of story with his panel direction. There are many moments where characters break through panel borders as either the focus of action or a scene’s primary dramatic offering. Campbell has a way of making characters leap off the page even when they’re just standing still and speaking. There’s a scene with an “enthusiastic” discussion between The City Enduring’s politicians and Jo Mullein in a large council room. Campbell is constantly shifting the focus and scope among the characters as well as around this massive hall, so even when the camera is “zoomed” all the way out it still feels like you’re right in a character’s face. The fight choreography is fantastic as well, with the opening sequence being a visual feast of virtual change-ups and absolute beatdowns. Deron Bennett has provided his simple but elegant letter-smithing throughout this entire experience, and it’s difficult to imagine anyone else covering it now. The Eisner nominated letterer uses fonts that don’t get in the way of the experience with their subtlety but let fly with how spot-on they are for dialogue tone and specific characters. Once again, absolutely incredible visual work from this team.
Far Sector #8 brings another blend of genres to this stunning sci-fi-crime-space opera. N.K. Jemisin’s script is loaded with emotion, political and social complexity, and tight characterization that can be a lot to take in but never feels like it’s too much. Jamal Campbell’s art is second to none in the world of current sci-fi comics, offering a crystalline beauty like nothing else in the medium. This is easily one of the best books DC is offering right now, so be sure to grab this new issue when it hits your local comic shop on 10/6!
Batman finally fights back. As the Joker, Punchline, and their gang have taken Gotham; Batman gathers the family for an all-out attack. The Batfamily quickly heads to work, with Nightwing leading the charge, while Bruce heads to Ace Chemicals. Before he can find Joker, however, he is intercepted by Harley Quinn. She gives Batman a warning: if he doesn’t kill Joker, she will. Bruce refuses to allow the death of the Joker and heads in to find him. What the Dark Knight finds instead is a reanimated Alfred and Joker in the high-tech Batsuit. How will Batman prevail?
**Some Spoilers Below**
Story:
Batgirl heads back to the Burnside Clock Tower to take control of the situation as Oracle. She sends out a message on the GCPD and Emergency Communication system to explain that the Bat-Family is retaking the city. This kicks Commissioner Bullock into gear and orders his officers to start fighting back with the vigilantes. This leaves Batman and The Joker, who have begun their final battle in Ace Chemicals. As they fight, Joker reveals that all of this was to show Gotham how Batman and Wayne Enterprises can’t help. Gotham will always remain broken. Before Joker can deliver a final blow, however, Harley stops him and gives Batman an ultimatum.
The battle between Batman and Joker may be what the readers came for, but seeing the family come together was a huge win. Seeing a big finale like this is epic, especially if you kept up with the tie ins. If you’re a reader who only stuck to the main book, its still epic seeing the other storylines pay off. From Nightwing’s return to Catwoman bankrupting Punchline, it’s a reminder of how grand the Joker War is.
The most significant moment, however, is what Batman chooses to do with Joker. Harley straps a bomb to herself and Joker before telling Bruce he has to decide who will die. Rather than have a device that could destroy both bombs, Tynion IV has Batman choose to leave Joker. Of course, there’s a way for Joker to live, but Batman choosing to let the villain figure his own way out was a bold surprise. This reviewer can’t think of the last time something like this happened, especially with an A-List villain. I won’t be surprised if this was a one-off moment, but it was definitely a memorable moment.
Art:
When it comes to art, this might be the best work Jorge Jimenez has ever done. The battle between the Joker and Batman is just as brutal as the art from the Snyder and King runs but still contains that style Jimenez brings to the table. The Bat-Joker might be one of my favorite looks for the Clown Prince of Crime, but I think it’s only because of the art style. Tomeu Morey was a perfect choice for colors as he brings out the neon nightmares that Joker is best known for. I hope this team returns soon because they can bring a whole new light to Gotham.
Conclusion:
Overall the conclusion to The Joker War was pretty damn awesome. The way Tynion IV was able to bring all the stories of the tie-ins together is damn near perfect. The art team brings a beautiful, stylistic look to this arc and knocks it out of the park. The only complaint that can be made is that it doesn’t quite live up to that #100 title. It’s a great ending to Joker War, but with a milestone like that, you’d want something more. Despite that one small detail, this issue was still very enjoyable and leaves us wanting more Batman.
X-Force #13 is the beginning of Wolverine’s stake in the X of Swords X-Men event. Writer Benjamin Percy, artist Viktor Bogdanovic, colorist Matthew Wilson, letterer Joe Caramagna, and infographic designer Tom Muller help set up the stage for the next chapter of the Dawn of X saga.
Background
X of Swords revolves around a contest where ten of the X-Men must duel against the Swordbearers of Arakko, the formerly missing half of the living island of Krakoa. Each X-Man holds a special sword for this match.
X-Force #13: How A Sword Ties To Its Owner
X-Force #13 begins with Logan seeking out a sword from his past that can harm him. In this case, it’s a katana from the mad weaponsmith Muramasa. Benjamin Percy is well aware of Logan’s history with these swords, being one of the people to use it and being used against him. As one of the few weapons that can actually leave lasting damage onto him by lessening healing factors and its ability to cut through his Adamantium skeleton, it’s best to keep something like that close. So what happens when one of Wolverine’s regular enemies, ninja clan The Hand, gains control of the swords’ maker?
But if that wasn’t enough, what happens when Wolverine’s opponent in the contest wants the same weapon? X-Force #13 introduces readers to the Swordbearer Solem. They and Logan are caught off guard. His adamantium skin would put Wolverine in a tight bind and requires the Muramasa blade to stand a chance. Yet Solem doesn’t raise a fist because he doesn’t need to. His skills don’t seem limited to combat; it’s about staying in control of a situation. Whether it’s hiding the keys to a cell, he and Logan meet in or driving a bargain for the katana. While Wolverine does have his sword from the official artwork, the price to pay for it might just come back to bite him. All of this makes readers feel as uneasy as Logan while patiently awaiting the results.
Art
Viktor Bogdanovic makes the journey throughout X-Force #13 feel absolutely atmospheric. Most of the scenes featuring Wolverine feel claustrophobic with how much of the wild actions try to squeeze him. Yet when he’s alone, he often looks small and insignificant. If not for Logan’s healing factor, he would’ve been consumed by the Hellish atmosphere. The adamantium skeleton he’s mostly reduced to certainly would suggest that. Now compare this to Solem, whose presence is always felt even when out of view. Whether he’s standing above Logan or just casting a shadow, Solem is always the one in control of the situation.
Matthew Wilson’s colors enhance the atmosphere described above. From a cool and foreboding blue in the beginning shifts to a hellish red. This is also what makes the Muramasa Blades stand out with their red/orange coloring. These swords are products of this hellish environment, complete with Caramagna’s lettering to describe the process of making them. That and some of the wordmarks describe the nature of the actions taking place. From the classic “Snikt” sound of Wolverine’s claws to the sound they make when futilely attacking a cell door’s bars. That, in turn, preludes to the clashes the Muramasa Blades make when they clash with something. The uneven words demonstrate how even a light cut can harm the nigh-invulnerable Solem, complete with red blood highlighted against his black clothes.
Never Be Lost In X-Force #13
X of Swords is shaping up to be a game-changer in the Dawn of X saga. X-Force #13, along with a Wolverine’s issue, will show the pains Logan goes to play his part. While he’s always been one to fight a good fight, it looks like after some close encounters; Wolverine meets his match. Solem feels genuinely threatening with his cunning mind and always staying one step ahead of everyone else. Now it looks like Wolverine is just another piece to assure his victory. With all of these developments, it’s best to pay attention to everything as they go.
DECORUM #5, available from Image Comics on October 7th, follows Neha as she endures the first years of assassin training, learning to take a life and watch her back. Jonathan Hickman’s story is, in a word, amusing, and the art thankfully tones down some of the post-modern imagery to bring the story down to coherence.
Cover Art
Mike Huddleston’s cover bears no connection to the internal story in any way that’s obvious. A gorilla-jawed soldier dressed in napoleonic garb takes a gunshot(?) to the chest, but that character or the battle they’re in is not part of the story. It’s an interesting cover; very exciting and dramatic, so its a creative piece of art to joy.
Writing
Hickman’s story plays as an amusing take on Mark Millar’s WANTED wherein a young diamond in the rough is recruited into the assassin’s life by a slick and seasoned mentor. Neha loses a bit of her street urchin charm in this issue as she throws herself into the first years of assassin training as a determined and eager student.
It’s an odd flip; going from completely lost and inept to an all-in go getter. Hickman weaves in plenty of wit as Neha is taken out in training assignments with vomitous results, but the humor, while very amusing, covers a largely predictable chapter in this overall series. It’s an enjoyable read, even if it lacks any surprise.
Pencils/Inks
Huddleston greatly tones down the esoteric imagery in this issue to render a story throughline that largely makes sense. This really is a montage issue where the reader is treated to snaphsot instances of Neha going through her educational paces.
Huddleston character renderings are a bit cleaner here, and the backgrounds are less distractingly chaotic. Where Huddleston’s art chines the most is during the killing assignments. Neha’s push to become a killer when it doesn’t come naturally reads so well through simple side glances and facial reactions to the task at hand. If not for the subject matter, this character work would execute very well as an animated film.
Lettering
Rus Wooton’s lettering gets top marks for marrying a bold lettering style with an admittedly amorphous artistic aesthetic. Gun shots are loud, and garish. Body parts hit the floor with heavy, wet thuds that perfectly mimic how you would expect the impact to sound. Very creative and very well integrated lettering by Wooton.
Conclusion
DECORUM #5, available from Image Comics on October 7th, is a fast and amusing read for an issue of its size. The art is more relatable than previous issues, and the violence is cocooned in plenty of dark humor. If you’re a fan of Hickman’s writing, this book is worth your time.
Thirty years ago, the box office sizzled with actions, ten years later, it was laughing its way to the bank, and ten years after that, it was laughing again from a kick to the nuts.
October is the month of Halloween and is perhaps no month better represents movies. After all, actors, directors, and the rest of the filmmaking industry are professionals at playing pretend. You’d think, though, that a month celebrating enjoying the macabre would produce nothing but horror hits. However, our look at the box office over the past 30 years and the films that earned the most money reveals that horror is hardly the only thing people watch this month.
So, who took the box office crowns in our analysis this month? Let’s take a look back ten, twenty, and thirty years ago at the biggest movies released in October.
1990 • Marked For Death • 46 million
In a year of Ghost, Pretty Woman, and Home Alone, love stories and a kid comedy, along comes Marked For Death, an action movie from hot star Steven Seagal. Marked For Death was Seagal’s third film after stints as a stunt coordinator and martial arts instructor who reportedly broke Sean Connery’s wrist during filming. Marked For Death features the typical hard-boiled, steely-eyed protagonist that Seagal always seemed to play back then. Playing former DEA agent John Hatcher, Seagal tries to save his town from a gang of religious zealots determined to take over John’s hometown.
October of 1990 didn’t see too much excitement in films that left a longstanding pop culture impact. Memphis Belle, a fictionalized retelling of the last mission of an American Boeing B-17 Flying Fortress bomber, came in behind Marked For Death. A re-release of the acclaimed Disney animated film, Fantasia, earned the third spot. In fourth is Quigley Down Under, a film starring Tom Selleck as a sharpshooter fighting for Aborigines’ lives in Australia. In 1990, Kirstie Alley was hot stuff in Hollywood and starred in Sibling Rivalry, a star-studded comedy directed by Carl Reiner that included Sam Elliott, Jami Gertz, Bill Pullman, Carrie Fisher, and Scott Bakula.
2000 • Meet The Parents • 161.1 million
Long ago, comedy legends Jerry Stiller and wife Anne Meara gave birth to comedy legend Ben Stiller who starred in a remake of 1992’s Meet The Parents and led it to the October box office crown of 2000. Director Jay Roach (Bombshell) and a stellar cast with the likes of Blythe Danner (Gweneth Paltrow’s mom) and Robert DeNiro created a film that spawned two sequels and several loose spin-offs. The film’s left a pop culture impression that includes the line “Are you a pothead, Focker?” uttered by DeNiro.
Two hot stars came together in 2000 for the film Bedazzled, about a man who makes a deal with the devil. Hollywood hunk Brendan Fraser played the man. To play the devil was sinfully gorgeous, Elizabeth Hurley. The late Harold Ramis directed the film. Behind Bedazzled is Pay It Forward, the feel-good film starring Haley Joel Osment, Helen Hunt, and Kevin Spacey. There’s no denying it made saying ‘pay it forward’ a common phrase. Following the super-success of Blair Witch, the filmmakers tried to make a ‘standard’ sequel, even ditching the found-footage vibe. Blair Witch 2: Book Of Shadows was a mild success that ended the franchise for the next 14 years. The Contender, a political drama starring (and co-produced by) Gary Oldman, snuck into the top five and received two Oscar nominations (Joan Allen, Jeff Bridges)
2010 • Jackass 3D • 177 million
On October 1st, 2000, MTV, the channel that played music videos at one point in time, released a bunch of lunatics onto the world. The show was called Jackass, and it featured Johnny Knoxville, Bam Margera, Steve-O, Wee-Man, and a host of other crazy characters performing some ridiculous stunts and acts of random stupidity. It’s the type of video common today in our social media world, but rare back in 2000 when it sometimes took minutes to even log on to the worldwide web. Ten years after the premiere of Jackass on MTV, the third film in the series released to massive success.
Speaking of the internet then and now, in second place is the acclaimed film from writer Aaron Sorkin and director David Fincher about Facebook’s rise. The Social Network starred pre-Lex Luthor Jesse Eisenberg and a pre-Spiderman Andrew Garfield. The film received many awards, including a Best Picture at the Golden Globes and eight Oscar nominations (winning three). RED, a movie about retired assassinations, starred Bruce Willis, Helen Mirren, and more, and blasted its way the third spot. The sequel to Paranormal Activity landed in fourth, followed by Secretariat, a film about a horse that won a race.
October 2020 & Predictions
The box office is not a great place. Tenet is doing reasonably well considering the situation, but outside of that, it’s a wasteland. Several theater chains are closing shop for the foreseeable future after Disney announced delays to high-profile films like Black Widow until 2021. Who’s to know what the future holds for the silver screen. In the meantime, streaming services are cranking out content like there’s no tomorrow. So, at least we’ve all got something to watch. Maybe too much something, but that’s an article for another time.
Which of these films do you still watch today? Leave your thoughts in the comments below!
CHAMPIONS #1, available this Wednesday from Marvel Comics, is the turning point for many young heroes in the Marvel Universe. Thanks to Kamala’s Law, they are again being hunted as vigilantes, forcing every one of them to make a difficult decision.
The Champions are back and facing a battle like no other.
It all started in Outlawed*, where the Champions’ simple mission went horribly wrong, causing serious damage to heroes, students, and buildings alike. One of the most famously injured even got a law named after her.
Granted, Kamala isn’t exactly the sort to be happy about that particular law. In Ms. Marvel #14, fans get an inside look at how she reacted to all of the news she missed out on while she was temporarily out of action.
Like the Superhuman Registration Act, this is an event that will define the heroes that come through it. Underage heroes have limited options. They can retire (until they are of age), they can sign up with an approved hero (likely a shortlist), or they can fight. Enter Champions #1, where the heroes of this generation step up to make their decisions.
It’s Kamala’s turn to speak out.
The Writing
It’s safe to say that fans have been waiting a long time (almost a year) for the events in Champions #1 Ever since Outlawed dropped and changed everything. It’s so easy to draw comparisons between the Superhuman Registration Act and C.R.A.D.L.E.
Yet Eve L. Ewing has also made this event unique to the younger generation. It’s provided a voice to a younger audience. This issue is all about younger heroes, from Miles Morales to Kamala Khan, finding their voices and speaking up.
It’s something that many readers should be able to connect with, even if they will never have to go about hiding superpowers or anything on that scale. The message still hits home, proving that Marvel knows how to tie current events into their universe.
It is both intriguing and compelling to see the lines being drawn in the sand. Thanks to the time constraints (and the sheer number of young heroes involved), some opinions feel like vignettes, yet a clear picture has been painted.
This issue is very much setting up for something larger – that in itself shouldn’t be a surprise. The battle the Champions face has only just begun. With as much buildup as we’ve seen, it couldn’t be any other way.
The Outlaw Generation, it has a ring to it, doesn’t it?
The Art
The artwork inside Champions #1 is as bold and bright as the heroes it portrays. Unsurprisingly, there’s a lot of strong emotions portrayed within this issue, all of which set the tone for what is to come.
Simone Di Meto is the lead artist and did an impressive job of including so many heroes in one space. As always, it’s clear at just a glance who each character is. Even when not verbalized, their opinions feel clear as their faces, and body language practically screams what is going through their heads. It bridges the gap between show and tell and allowed for group opinions to form on very little time.
To say that a lot is going on within these pages would be an understatement. Each page, every panel, is full to the brim of details and motion. It’s a feast for the eyes, with many favorite characters making appearances (with some feeling like it has been far too long).
Federico Blee’s colors bring everything to life. The vibrancy demands attention, while also very much being in the classic style of the Champions. The highlights for coloring surely revolve around the distinction between those appearing through technological means and those who are physically there.
Last, but certainly not least, there’s the lettering. Provided by VC’s Clayton Cowles, the lettering literally brings everything together. Minor details and alterations make it immediately clear who has taken charge of the dialogue, without any need to vocalize that fact. It’s subtle yet impressively done, as was the issue as a whole.
Not everyone is so keen on Ms. Marvel’s message.
Conclusion
Champions #1 is every bit the dramatic return that the heroes deserved – though the circumstances are far from triumphant. This issue brings back heroes who have fallen to the wayside, all while setting the scene for what will surely become a major event in Marvel history. Not just for the heroes involved, but for everyone.
*Reading Outlawed, or individual Champions issues (Ms. Marvel, Miles Morales: Spider-Man) isn’t a requirement to understand this issue. However, it will add a significant amount of context to the situation. Additionally, this issue will contain some spoilers for those events, obviously.
Valiant Entertainment relaunched X-O Manowar this year with writer Dennis “Hopeless” Hallum and artist Emilio Laiso. After a lengthy delay due to the pandemic, the second issue hits your local comic book store on November 25. Monkeys Fighting Robots caught up with Hallum to talk about the new series, the importance of positive male role models, and how Aric fits in 2020.
Enjoy the Dennis “Hopeless” Hallum Interview Below:
MFR: Dennis, thank you for taking the time to talk with me. There are more than a few epic comic book creators coming out of the lower Midwest region. What is going on over there?
DENNIS:Umm… Stupid hot summers and long cold winters to hide inside with your imagination. But mostly, I think it’s the siren song of cheap real estate.
MFR: X-O Manowar first appeared in 1992; what audience are you writing this book for?
DENNIS:Ours is about a new stage in X-O’s life. All of his experiences from the previous series have shaped him and informed how he looks at the world, but this new chapter starts here… Which makes it a great story for longtime X-O fans and people brand new to the character. We’re focused on building an exciting new story and world around X-O with issue #1 as the jumping on point.
MFR: What are the core elements that form X-O Manowar, to where if you removed one, the character would no longer be X-O Manowar?
DENNIS:X-O is an action movie character through and through. Conan and Robocop are as much a part of his DNA as anything superheroic. Aric is the guy flying straight through the firestorm with his teeth-bared, ready to wreck whatever villain he finds on the other side. We try to keep that in mind with every issue. We’re doing a lot of character and world-building in this series, but X-O has to be X-O.
MFR: X-O is a title and character born from the 90s; how do you plan to reinvent the character to fit today’s norms?
DENNIS:X-O is fun in that regard because Aric is a man out of time. He was raised on swords and shields to fight for his people against the Roman Empire. Modern society was foreign to him when he got here and progresses at a pace he’ll never get used to. Our series doesn’t so much reinvent him as throw him in the deep end of the social media era and force him to swim. Fortunately, he has his sentient armor partner Shanhara to help him stay afloat… Or at least tell him when he starts to drown.
MFR: The definition of what it means to be a man is evolving. What was acceptable even five years ago is no longer acceptable in today’s society. Do you look at a character like X-O and think about your responsibility as a potential role-model to young men?
DENNIS:Absolutely. X-O has always solved a lot of problems with brute force because he has the instincts of a Visigoth warrior and wields the brutiest force of all time. That makes for fun action sequences but doesn’t translate well into the real world. I have two six-year-old sons, and we talk a lot about what happens when they try to resolve conflicts with their fists. More fists, followed by tears. The way we deal with that very real problem in the series is to really focus on the consequences of X-O’s violence. When he smashes a helicopter in the middle of the city, homes are destroyed. Buildings have to be rebuilt. When he flies over and ends a civil war… It creates a dangerous power vacuum. There’s failure baked into Aric’s success, and with Shanhara’s help, he gets to learn and grow from it.
MFR: X-O is the most powerful weapon in the universe. Without a Lois Lane type of character, how do you ground X-O, so the reader has something to relate to?
DENNIS:We’ve created a love interest for Aric named Rory Road. She’s a cable news anchor who… Just kidding.
We are quite literally grounding the character in a neighborhood that he accidentally destroys (possibly more than once). Becoming a part of the community as he physically rebuilds it. Aric is a time-traveling, space war veteran superhero, but he’s also a person. People need people, so… we’re giving him some.
MFR: How is your relationship with artist Emilio Laiso? Do you write tight scripts, or do you give Emilio a chance to flex his artistic muscles?
DENNIS:Emilio and I worked together on a Spider-Man book last year, so I know what he can do and trust him completely. My scripts are relatively tight because that’s how my brain works, but he has all the rope he wants to change and improve the story. Collaboration is the best part of this job, and Emilio makes us all look good, so we let him.
MFR: When Ruth Redmond dropped color on the first issue, did you have a conversation about which palette to use?
DENNIS:No, but I love the palette. Color theory is well outside my lane, so I keep my nose out. The book is undeniably gorgeous though. I’m thrilled with the art team, soup to nuts.
MFR: With the pandemic, your book has been delayed. How will all the events of 2020 (COVID-19, BLM, Election, Wild Fires, Murder Hornets, etc.) influence your writing moving forward?
DENNIS:It obviously wasn’t intentional because we plotted the book long before most of those things were making headlines… But I think the current social climate lines up pretty well with a lot of our themes. This is a complicated world with some insurmountable problems that don’t have obvious solutions. You can’t punch a virus in the face. Good and evil isn’t as simple as cops and robbers. And even if you’re doing what seems right and just and best for everyone, a big swath of humanity will think you’ve messed up. X-O Manowar couldn’t fly in and fix the world overnight even if he was real, so we’re obviously not going to do it with a comic book… But I do think these issues are worth discussing, and fiction has always been a powerful conversation starter.
MFR: With the events of the pandemic, the comic book industry was forced to evolve. What do you think the world of comic books will look like ten years from now (2030)?
DENNIS:More voices than ever before. More ways to get comics and more places to show off the ones you’ve made. It seems like retail and distribution systems are in flux right now, trying to deal with a world that was already changing and then took a massive leap almost overnight when the pandemic hit. That could shake out a lot of different ways, and I’m not sure anyone knows for sure where things will settle… But readers still want to read comics, and we all still want to make them, so I’m optimistic about the future.
MFR: Dennis, thank you again for your time, and best of luck with X-O Manowar!
DENNIS:Thank you!
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