WE LIVE #2 hits your local comic book store November 18th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: The encounter with the Bengal Ripper puts the group’s survival to the test. Their lives now rest on Simon’s shoulders, but in the Broken Lands every wrong step comes with a consequence.
Tala and Hototo, now joined by their new friends, Humbo and Alice, find themselves dragged onto a new and unsafe path. Reaching the train to Mother Megalopolis Nine is becoming an uncertain milestone.
WE LIVE #2 is written by brothers Roy and Inaki Miranda, with art and cover by Inaki, colors by Eva de la Cruz, and letters by Dave Sharpe.
Check out the WE LIVE #2 preview below:
What did you think of the first issue of WE LIVE? Sound off in the comments!
On November 4th, Marvel Comics will release the latest in their Black & White series with an anthology of Marvel’s favorite Adamantium mutant, Wolverine, in WOLVERINE: BLACK, WHITE, & BLOOD #1. This special preview cover, drawn by Ron Garney, gives readers a taste of what’s to come with Wolverine in all his violent, bloody glory.
You can check out the cover and read the full Marvel press release below.
Are you a fan of the Black & White series? What character would you like to see Marvel do next? Let us know what you think in the Comments section, and please share this post on social media using the links below.
WOLVERINE SLASHES HIS WAY TOWARDS HIS NEXT ADVENTURE IN RON GARNEY’S WOLVERINE: BLACK, WHITE, & BLOOD #1 COVER
New York, NY— October 7, 2020 — This November, fans will experience all-new tales of the best there in WOLVERINE: BLACK, WHITE, & BLOOD #1! These untold adventures are set throughout the storied saga that is Wolverine’s life and will be presented in unadulterated black and white format (with a healthy splash of blood-red). Told through the lens of an all-star cast of creators including Gerry Duggan, Donny Cates, Adam Kubert, Joshua Cassara, and Chris Claremont, WOLVERINE: BLACK, WHITE, & BLOOD promises to be Wolverine’s bloodiest comic yet and today, Marvel is proud is reveal Ron Garney’s variant cover for the debut issue. Known for his recent work on books like
Savage Sword of Conan and Juggernaut as well as decades of experience on books like Amazing Spider-Man and Captain America, the industry great brings Wolverine to life in an explosive cover that perfectly captures the brutal adventures this new series has in store for him. Check it out below and don’t miss WOLVERINE: BLACK, WHITE, & BLOOD when it goes on sale November 4th!
THE MAGNIFICENT MS. MARVEL #15, available Wednesday from Marvel comics, comes right at the heels of Champions #1. Kamala Khan is awake, and boy, does she ever have opinions about Kamala’s Law.
The lineup for The Magnificent Ms. Marvel #15.
It’s safe to say that Ms. Marvel has been facing many changes and decisions, as of late. This pattern doesn’t seem to be slowing down, as Kamala and her underage allies make decisions about their rights as heroes.
The Magnificent Ms. Marvel #15 is, without a doubt setting up for something more. It is an issue that goes hand and hand with Champions #1 (something fans won’t want to miss), bringing the conflict into a whole new light.
Or, more accurately, shining a light on Kamala’s side of things. She’s been made into a scapegoat, adding insult to injury for the young heroine. It’s almost surreal, in a way, to see the same old argument rear it’s ugly head once again.
Ms. Marvel has become one of the most wanted heroes, by C.R.A.D.L.E. standards.
The Writing
The Magnificent Ms. Marvel #15 is a powerful issue, once again showing the heart that resides within Kamala’s series. She’s never been a hero afraid to tackle difficult discussions, which makes her the perfect perspective for Outlawed’s events (and fallout).
Saladin Ahmed’s writing made the complex situation that is Kamala’s life feel so incredibly relatable here. While also reminding fans of everything else that she has gone through in recent times – recently enough where she hasn’t had much if any, time to cope. It’s a relevant reminder and could very well factor into decisions made. If nothing else, it stands to remind us of her character, which never hurts.
This issue is a delicate balance. On the one hand, there’s the raw buildup, the rising tension surrounding C.R.A.D.L.E., and everything it stands for. On the other hand, there’s that reminder of hope. A hope that resonates so beautifully within the Marvel universe and shines through when times are at their worst for heroes.
While the future may be uncertain, one this is clear (and will always be clear), there will always be a hero willing to step up. Right now, that hero is Ms. Marvel, and with her we’ll likely see many Champions standing by her side.
Meanwhile, the reporters want to get their hands on Kamala Khan.
The Art
The Magnificent Ms. Marvel #15 is vibrant, and the tension practically vibrates off the pages. Minkyu Jung (art), Juan Velasco (inks), Ian Herring (colors), and VC’s Joe Caramagna (letters) all worked so hard to bring this particular plot to life, and it shows.
This issue had a lot to show and very little time to do so. As such, the artists carried much of that weight, allowing the story to be told to the fullest. The plight is made clear, as is the fact that Kamala isn’t over everything else that has happened this year.
Her emotions and the emotions of many of her friends are all over the place, reacting to events as they happen. The colors themselves seem to reflect that, bringing about a cohesive look. Ironically, even the weather of this issue seems to be an agreement on that.
There’s one especially moving series of events towards the end of this issue. It’ll raise the hearts of many a reader and bring flashbacks to other inspiring moments in Marvel history. The artwork enhanced that entire scene tenfold.
Somehow this welcome back doesn’t feel so…welcoming.
Conclusion
The Magnificent Ms. Marvel #15 is an issue we’ve been waiting for. Yet it also works nicely in regards to another release this week. Together they tell a story that rings a bell to many Marvel fans, yet it still feels different.
Once again, the heroes of a generation are getting a chance to show fans what they are made of, all while being forced to make some of the hardest decisions of their lives.
The Amazing Spider-Man #850, out now from Marvel Comics, is a super-sized anniversary issue comprised of four fantastic stories of everyone’s favorite wall-crawler.
The Amazing Spider-Man #850 Main Story
The main story that comprises most of the issue is a continuation of the current The Amazing Spider-Man run and follows Peter as he helps prevent the Green Goblin from being “cleansed” by the Sin-Eater. Many of Spider-Man’s friends, going by the new name “The Order of the Web,” want Peter to let the Sin-Eater cleanse the Green Goblin, and are out to stop him. Nick Spencer successfully, as always, makes the story riveting on nearly every page, and builds up to an exceptional cliffhanger that leaves fans desperate for the following issue. Another aspect of The Amazing Spiderman #850’s story that Spencer handles remarkably well is the writing of Norman Osborn. The Green Goblin is given several moments to highlight the infamous villain’s maniacal soul, and Spencer does an amazing job of chilling the reader through dialogue.
The art of The Amazing Spider-Man #850’s main story was penciled by Ryan Ottley, Humberto Ramos, and Mark Bagley, and was inked by Cliff Rathburn, Victor Olazaba, and John Dell. The artists each worked on one of the three chapters of the story, each having a distinct style. While each chapter featured a different penciler and inker, there were many common links between the three chapters. For one, the action scenes were immaculate throughout the entire issue. There was also always an excellent choice of framing and even some unique framing choices that stood out.
The Amazing Spider-Man #850 features the talent of the colorists Nathan Fairbairn, Edgar Delgado, and David Curiel. Each worked on separate chapters of the main story, and each did a wondrous job at helping the story be visually stunning. Chapter 1 was full of vibrant colors that worked well with the stylized line art, and similar coloring of this returned in Chapter 3. Chapter 2 featured some coloring that seemed slightly bland, but this choice reflected the story’s tone well.
“All You Need”
“All You Need” is a fantastic short tale by Kurt Busiek that encapsulates what Spider-Man is all about very well. Going back to earlier times, Busiek tells Peter’s story while he is a junior in college. The story has every component that makes an enjoyable Spider-Man story: an interesting villain, lots of snappy dialogue, and maybe even a little romance. The story is full of fun and is a wonderful short read.
The pencils of Chris Bachalo and inks of Tim Townsend provide for some stunning art in “All You Need.” I believe the most notable aspect of their fine work is the expressiveness of character’s faces, and the monsters — despite being slightly silly in concept — were portrayed to be tremendously menacing.
Bachalo was also the colorist for The Amazing Spider-Man #850‘s story “All you Need,” and utilized a light green background to compliment the massive amounts of red in the story. The tale also features a brief flashback to prior events, given no color besides certain objects to highlight their importance. This tactic does a great job of clarifying the scene shown was a flashback, but the choice of going nearly without color for a substantial portion of the entire story was odd.
“Four Shoes”
“Four Shoes is a story unlike most, and will easily leave you deeply curious and confused multiple times. The story of Tradd Moore features Spider-Man falling into a fantasy world, and even with the small number of pages, the story can twist in ways you won’t expect many times.
The art of Tradd Moore does an amazing job of complementing the story he put forth and is exceptionally unique. Moore is absolutely not afraid to break the status quo, which is blatantly clear once you see some of his framing choices later in the tale. Moore’s art is truly one-of-a-kind, and reading “Four Shoes” is a pleasant change from the styles Spider-Man is typically drawn in.
Tamra Bonvillain does a tremendous job of coloring the work of Tradd Moore. His bright colors go so well with the strange art style and help establish the fantasy world that Spider-Man enters into. Every page is so densely packed with a wide variety of colors that a first glance at each leaves you with a lingering feeling of awe.
“A Family Affair”
“A Family Affair” is a delightful short tale of Spider-Man encountering one of his oldest foes’ granddaughter. The dialogue of Spider-Man features some of my favorite quips in The Amazing Spider-Man #850, and Saladin Ahmed explores the theme of not always trusting those closest to you in a heartfelt way.
The art of Aaron Kuder is some beautiful semi-realism, and the fight sequence that comprises most of the story is a sight to behold, full of action lines to give the illusion of speed and forms that always seem they are in the midst of the action.
The colors of “A Family Affair” do an extraordinary job of immersing the audience in the story’s scene. However, there is little variety in the color palette due to the story taking place mostly in one small spot in New York City. The limits of the background hamper the story’s potential, which I believe could have been improved immensely if there was a wider spread of images for the background.
The Amazing Spider-Man Lettering
Each of the stories in The Amazing Spider-Man #850 utilized the talent of VC’s Joe Caramagna for their lettering, and his skill shown throughout the issue very clearly. It did not matter whether the tone of a scene had changed or if the art style was entirely different, Caramagna was able to adapt and bring solid lettering throughout the issue. For example, in “Four Shoes,” Caramagna provided captions similar to those from fantasy comic books set in the Middle Ages. It paired wonderfully with the fantasy world the story was set in.
Conclusion
There is so much to say when discussing The Amazing Spider-Man #850. I could fill page after page of what I thought of each of these stories, and what strategies the writers, artists, colorists, and letterers used to tell such an astonishing story. Every page is an absolute pleasure to look at, and the super-sized issue is filled with so much content, it is sure to leave you satisfied with the book you purchased.
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.
