Marvel Preview: Mutants Return To The Stars In S.W.O.R.D. #1

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September 23, 2020

After much hinting and suggesting, Marvel Comics has finally revealed the new X-title this December from writer Al Ewing and artist Valerio Schiti, and it’s S.W.O.R.D. #1. Following the events of X Of Swords, Abigail Brand is relaunching S.W.O.R.D with a collection of mutants to defend the Earth against extraterrestrial threats.

Says Marvel about the new series: “The events of S.W.O.R.D. will have a tremendous impact not only on the X-Men’s world, but the Marvel Universe as a whole, as the mutants of S.W.O.R.D. warp the cosmic landscape forever.” You can check out the stunning first issue cover and read the full Marvel press release below.

Are you excited to see what a new S.W.O.R.D. series will bring the Marvel landscape? Let us know what you think in the Comments section, and please share this post on social media using the links below.

AL EWING TAKES MUTANTKIND BEYOND THE STARS IN S.W.O.R.D. #1

The new X-Men title by Al Ewing and Valerio Schiti arrives this December

New York, NY— September 23, 2020 — ONE GIANT LEAP FOR MUTANTKIND! This December, writer Al Ewing (Immortal Hulk) and artist Valerio Schiti (Empyre) bring fans the newest X-Men title, S.W.O.R.D.! In last year’s groundbreaking HOUSE OF X, the mutant nation of Krakoa was founded and quickly became a major force on the world stage. Now, Jonathan Hickman’s grand new vision for mutantkind continues as the X-Men look to do for the galaxy what Krakoa did for the planet.

In the startling aftermath of X OF SWORDS, mutantkind will take the bold next step in claiming their destiny by relaunching the Sentient World Observation & Response Directorate to deal with all things extra-terrestrial on behalf of Earth. The events of S.W.O.R.D. will have a tremendous impact not only on the X-Men’s world, but the Marvel Universe as a whole, as the mutants of S.W.O.R.D. warp the cosmic landscape forever. The stellar cast includes Magneto, Abigail Brand, Cable, Frenzy, Wiz Kid, Fabian Cortez, former Avenger Manifold, and many other fan-favorite mutants who will be stepping into the spotlight in a major way.

Known for his critically acclaimed and thought-provoking work on IMMORTAL HULK, Ewing is now ready to take the X-Men where no one in the Marvel Universe has gone before.

“It’s an absolute blast to be working with the X-team, and to bring Marvel’s merry mutants into the new Age of Space – and introduce space to the new age of Krakoa!” Ewing said. “And it’s not just X-readers and space explorers who get what they want—fans of my more cosmic Marvel work will have plenty to digest as well, as mutantkind thinks even bigger and takes it even further, into realms I’m almost surprised they let me get away with. After conquering death, what’s next – and will we survive the experience?”

S.W.O.R.D. will reunite Ewing with superstar artist Valerio Schiti. The pair previously joined forces on Marvel’s cosmic epic, Empyre.

“I really love Al’s books, so I’m very happy to have the chance to be on his side in this new adventure. We already had the chance to work together, a few years ago on Mighty Avengers and more recently on Empyre, so now we trust each other and we can use a more ‘flexible’ working method. He can switch from full script to ‘Marvel style’ when needed, and I can change panels or layouts when I think that could work better. This is definitely one the best working partnerships I’ve ever had,” Schiti said. “I can’t say much about what S.W.O.R.D. does, but I can say that every team member will have a peculiar role to play. That’s why I designed their uniforms with technical clothing, urban outfits, and even ceremonial uniforms: every role needed a different reference and a different starting point. The space outfits are inspired by trekking or hiking clothes, far from the typical space suit because these characters are explorers, not astronauts.”

Head over to Marvel.com for more information, including a look at some of Schiti’s character design sheets, and prepare for the latest evolution in the ongoing saga of mutantkind when S.W.O.R.D. launches this December.

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Erik Larsen Endorses Joe Biden and Kamala Harris With Variant Cover

By

Matthew Sardo

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September 23, 2020

Erik Larsen Endorses Joe Biden and Kamala Harris With Variant Cover

Wednesday afternoon, Image Comics announced a Biden/Harris variant cover for Erik Larsen’s Savage Dragon #253 (Diamond Code AUG208695) that will hit your local comic book store before Election Day on Wednesday, October 21.

The press release states, Image Comics partner and CFO Erik Larsen is voting for Joe Biden and Kamala Harris in this year’s election.

“This is an important election. They always say that but with America literally on fire and an ineptly handled pandemic it feels especially so,” said Larsen. “Twelve years ago SAVAGE DRAGON endorsed BARACK OBAMA and history was made. Savage Dragon #137 was the first comic book to feature the then-candidate Obama on its cover and it became a global sensation. It’s time to take a stance once more and help make the country, and the world, a better place!”

Savage Dragon #137 featuring Barack Obama sold out and went back to press four times. A CGC 9.8 graded first print edition goes for more than $750 on eBay right now.

Will you order a copy of Savage Dragon #253? Comment below with your thoughts.

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REVIEW: GIDEON FALLS #25 Gets Mythologically Scary

By

Zac Owens

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Written by Jeff Lemire, with art by Andrea Sorrentino, colors by Dave Stewart, and letters by Steve Wands, Image Comics’ Gideon Falls #25 gets ready for the end by going all the way back to the beginning. Opening with a twisted creation myth, this issue gets you freaked out about the whole concept of evil. It begins to answer some questions we didn’t know we had and leaves all the most tantalizing answers to the final two issues.

Writing

It’s pretty difficult to talk about Lemire’s writing in this issue. Hell, this whole series is something that pretty much evades description. We’ve followed an undefinable demon from world to world in a multiverse. Yet, somehow, Lemire manages to take a step even further back and get even more ethereal. Lemire talks about creation and evil’s place in the multiverse. His mythology is so enticing; it’s hard to fault. But Lemire risks losing some of the humanity in this chapter. We begin to realize that so much of the last few issues have focused on the undefinable bad guy that’s tracking down the characters, that we don’t know the main characters as well as we once did.

Lemire has crafted a beautifully mysterious story. With time travel and multiverses, we are constantly guessing at what’s really happening. The only downside to this is it sometimes makes the story feel impersonal. The stakes get a little too big to really be processed. But as this issue comes to a close, Lemire brings us back to the true stakes at play. The people. Angela meets with someone after the chaos of her getaway. The man she finds looks unsurprised by what she’s just witnessed. “If you tell me I told him this would happen, I’m going to punch you in the face,” she says. We get back to humanity here. We’re no longer talking about multiverses and time travel, but about how all this makes Angela feel. In a dimly lit room, with five characters in close quarters trying to save the world, Lemire promises to get back to the intimate story he’s been telling all along.

Art

Sorrentino’s art has been breathtaking all along. In the opening moments of the issue, Sorrentino’s splash pages depicting the multiverse prove he’s an even better artist than we thought possible. And later, as the Bishop and Angela fight their way to safety, the page mimics the chaos. As the Smiling Man’s minions surround them, Sorrentino makes it, so their panels are surrounded too. He places panels haphazardly onto the page, looking as desperate as Angela and the Bishop. And in the background of the panels, we see more smiling people, their jaws gaping wide. Then, as they seem to be lost in the danger, Sorrentino changes the page structure again. Each panel becomes a circle within another circle, getting closer to the danger. Angela feels like she is getting pulled into the chaos, torn between running and trying to help, and the page feels like a vortex.

Coloring

Stewart shows us what it means to have evil in the world. On the first few pages, we see reality as it should be, without evil getting in the way. Stewart colors the page beautifully. The multiverse looks vibrant and full of life. But when the black of evil begins to ooze its way in, the color scheme changes drastically. First, we get reds and blacks to show evil’s influence, but then Stewart changes most of the page to black and white. There are spheres of color around each multiverse, but they’re held back. So when Stewart brings us back to Gideon Falls, we notice the lack of color. We get reds, greys, browns, and blacks, but nothing else. We’re seeing the effects of evil taking over, and it’s draining existence.

Lettering

Wands makes it so that the discussion of evil leaking into reality is something we see in every aspect. First, we see text boxes talking about the light and the dark. The text boxes talking about the light, the good, are white with a clear outline. The boxes that talk about the dark, the evil, are in black boxes that have tendrils reaching out. With these text boxes, Wands shows us evil’s hunger. And when we finally hit reality, the difference between the Times New Roman style font of the creation narrative and the scratchy pencil-like lettering for character dialogue is really noticeable. It makes it feel as though these characters are scrappy and like reality is no longer as simple as it was at creation. It has become messy, and the lines are less clear.

Image Comics’ Gideon Falls #25 is not just interested in scaring you; it’s interested in the nature of fear itself. This creative team ties the spreading reign of the Smiling Man to evil’s need to consume. Adding this mythological element to the character makes him scarier than ever, which should have been impossible. If you want some great thrills and chills, pick up Gideon Falls #25, out from Image Comics Wednesday, September 22nd, at a comic shop near you!

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Review: MEGA MAN: FULLY CHARGED #2 – Bringing Dr. Wily to the world of FULLY CHARGED

By

David Weber

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Mega Man: Fully Charged #2 out this week, published by BOOM! Studios, features fantastic art and reintroduces several characters from the cartoon or games to the comic book series.

Mega Man: Fully Charged #2 was an incredibly fun read. The story seemed to serve more as a set-up to what will come later, but there is a moment of genuine action that is sure to entertain readers. Marcus Rinehart also used this issue to introduce more characters from the cartoon. Even a character who had never before made the transition from the classic series into the world of Mega Man: Fully Charged. Very early in the issue, we are reintroduced to Chaotique from the cartoon, a prankster bot who often rode the line between good and evil, and later we get to see Namagem getting involved with the plot. We saw Namagem in the previous issue, but now that he has begun to interact with elements of the story, many interesting circumstances are sure to arise. The character from the classic series that is introduced is, of course, Dr. Wily, who now has much more characterization than in the classic game series, where his only goal was to conquer the world. Seeing how they have reinterpreted the character to fit with the new world is very interesting, and his presence is sure to make fans curious about what Rinehart will do with him.

The most interesting aspect of Rinehart’s writing in Mega Man: Fully Charged #2 is how he sets up the internal conflict of Mega Man. It is straightforward: humans and robots are on the verge of war. Mega Man is a robot, but he was raised by a human and was taught to fight for the citizens of Silicon City — humans and robots alike. When he has to decide which side he falls on, which does he choose? Mega Man battles with this question throughout the comic book and Rinehart introduces new information that adds to the struggle. It is a gripping story element that leaves readers waiting in anticipation.

Stefano Simeone provides some fantastic art in Mega Man: Fully Charged #2, which brings the story to life. The characters have expressive faces, the action is always incredibly dynamic, and the backgrounds are filled with a shocking amount of detail. The minute details that Simeone puts into backgrounds shows how much care he puts into his art, and pays huge dividends by helping the settings feel incredibly real. The poses of characters in action scenes do a phenomenal job of capturing the high energy of the scenes and captivating the reader’s attention.

The coloring of Igor Monti in Mega Man: Fully Charged #2 once again knocks it out of the park. The initial settings of the issue didn’t provide many opportunities for Monti to shine, but once we are granted with an epic fight scene in front of the dazzling lights of Silicon City, it is a visual spectacle. There are so many beautiful purples and magentas, and even lens flares that provide a stunning effect. Monti also gives certain areas their own unique aesthetics, which gives each area a distinct feel and makes them easily distinguishable. Whenever a dream sequence is being shown, Monti lets you know.

Ed Dukeshire provides some great lettering in Mega Man: Fully Charged #2. The bold, colorful sound effects go along well with the actions that occur on panel, and the use of repetitive sprawling texts that is cut off by the panel borders is an excellent way to make it seem like a sound is coming from all directions.

Mega Man: Fully Charged #2 is another wonderful issue that promises a lot for the new series. The art is fantastic, the writing keeps readers engaged, and the lettering pairs nicely with both. I have very few negative things to say about the issue, and I will continue following the series with glee.

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Review: UNDISCOVERED COUNTRY #8 — Uniformity Or Unity?

By

Corey Patterson

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UNDISCOVERED COUNTRY #8, hitting comic book stores on Wednesday, September 23, follows our protagonists into a new section of the dystopian United States. Readers see the characters confronted with two important concepts: unity and uniformity. Unfortunately, it seems the new country confuses the two concepts—much like its real world version.

Story

The issue opens with our group of protagonists finding “Uncle Sam” in Zone Two, which is now named “Unity.” What’s odd is the fact that Sam was murdered just days before.

Before they can get an answer out of him, the group is attacked by menacing technological devices sprouting from the ground itself.

Side-stepping the group’s questions, the cryptic figure leads them to the formal city of Unity. Interestingly enough, the entire metropolis appears to be built with the same material as the attacking machines from earlier.

Despite the dubious nature of the city, we see many of the protagonists getting caught up in its “beauty.” But it’s clear that a world such as this, deprived of any diversity, only celebrates “sameness.”

Charles Soule and Scott Snyder’s narrative offers a near-perfect parallel to the current states of affairs in the United States. Much like Unity, our world seems to believe it necessary to ensure everyone is the same in order to unite.

Artwork

The issue’s penciling and ink work, courtesy of Giuseppe Camuncoli and Leonardo Marcello Grassi, Matt Wilson’s coloring, and Crank!’s lettering capture the existential tone of this issue. The highly detailed drawings of our protagonists showcase their fear and curiosity upon running into the futuristic version of Uncle Sam. We find them placed against a dark backdrop in a forest, signifying the unknown slowly surrounding them. This also serves to place more emphasis on the characters. In the scene where the group is attacked by strange technological grips, the onomatopoeia letters are cast in blood red with squiggled borders to seem like it’s part of the injured people themselves.

Conclusion

The overall story told in UNDISCOVERED COUNTRY #8 offers a sobering take at the state of America. We are enthralled by the creators’ ability to use science fiction to convey realistic concepts.

What secrets do you believe Unity holds? Let us know in the comments below!

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INTERVIEW: Actor Celeste M Cooper Fights For Her Life In Range Runners

By

Ruben Diaz

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September 22, 2020

Range Runners is a new film from director Philip S. Plowden (Cellar Door) and starring Celeste M. Cooper (Chicago P.D., Chi-Raq) as a woman on a personal mission through the wilderness that’s derailed by the macabre intentions of two psychopaths.

Mel (Celeste M. Cooper) is a driven woman. She’s an endurance runner who came up short when trying to reach the pinnacle of athletic achievements — the Olympics. Mel’s driven and pushes herself to accomplish more. She sets out to hike across thousands of miles of rough terrain. Isolated and drive, Mel encounters Wayland (Sean Patrick Leonard) and Jared (Michael B. Woods), two men who see Mel as an opportunity to get things they don’t have. It’s soon a game of cat and mouse within the wilderness with Mel’s life on the line.

PopAxiom talks with Celeste M. Cooper about going from athlete to actor to becoming the star of Range Runners.

The Real Celeste

Celeste grew up in Illinois, where she excelled at sports, but socially was quite introverted. “My teachers would see that when I was around a couple of friends, my personality would come out. The teachers didn’t see this in big settings. They saw something in me that I didn’t quite see.”

Celeste ran track in high school. But, she says, “I didn’t have a passion for track.” However, teachers were nudging Celeste to try acting. “After being prodded so much to do it, I ditched track practice. I think I ran a lap or something. But I left to audition for ‘You’re a Good Man, Charlie Brown’ and booked the role of Lucy Van Pelt.”

Celeste’s father, the former warden of the old Joliet Correctional Center in Illinois, wanted his daughter to be an athlete, particularly basketball. “When I started to become an actor, which I blamed on my teachers, I said, ‘I got put in this play, I can’t run track.’ It definitely took him some time to adjust that I wasn’t going back to sports.”

Becoming an actor gave rise to a new Celeste. “It’s kind of like a social butterfly emerged. I felt a freedom on stage that I didn’t always feel in my actual life. And that freedom…that open heart came with me off of the stage.”

Celeste thinks her personality settled somewhere in the middle. “I think I’m in-between like an ambivert person. Sometimes I love the crowd,” Celeste says, then laughs, “and sometimes I’m like ‘This is way too much’ so I find a way to sneak out and go somewhere else.”

Mind Over Matter

The nudge toward acting didn’t need to be too strong. “I secretly loved acting,” Celeste admits, “I did a lot of sports, and we made fun of those people. We made fun of actors because they made funny faces and were kind of weird. But I admired them.”

Why the admiration? “They’re not afraid to do something that looks silly. And this is high school. You’re intentionally doing something that’s ‘not cool. Wow that was admirable, plus they had license to transform into someone else.”

Looking back, Celeste thinks, “… what they saw in me when I was with my friends was a performer. So, it was about getting over the fear of making funny faces or not being enough.”

Celeste may have left the sports world behind, but she learned vital things about herself in the process of being an athlete. “I think sports have informed who I am as an actor. The mind over matter concept, where you have to do what you have to do to make it to that finish line. I’m also very physical in the roles that I play. I like to transform physically. I don’t want you to see Celeste’s movement; I want you to see whoever the character is. I might give a character a limp, create a repetitive hand gesture etc. to make that character different. My sports background connected me to my body at an early age.”

About Range Runners

You were an athlete turned actor who took a role as an athlete. “I did it all over again.”

Celeste’s agent reached out about the role for Range Runners. “As soon as I got the sides, I said, ‘Oh, yeah, I can play this.’ This woman was pushed very hard by her dad, and she ran track, but she didn’t make it to the Olympics.”

Celeste saw a lot of parallels with the character of Mel in Range Runners. “My father pushed me hard in sports. So, I get that tough love and running and running and trying to live your father’s dreams.”

“I auditioned,” Celeste says about the role for Range Runners, “I got a callback at another location, Cinespace. I met the director, stunt coordinator, and producers at this warehouse. I also learned that I was the only person called back.”

Celeste was the only person at this callback, and it wasn’t your standard second audition. “The call back consisted of me running back and forth in different physical and emotional states. The stunt coordinator had me do different fight combinations. It was a full on physical call back.” The call back also included, “The director started talking to me about when we were going to film.”

Making Range Runners

Celeste became Mel for the role in Range Runners, which required a lot of physicality, including fights, jumps, and running towards cliffs. “The stunt coordinator, the awesome Aaron Crippen, was extremely helpful, as well as my stunt double, Kiea Houseton, who is amazing. I was grateful to have this team of people helping me.”

Celeste has a fear of heights yet, “There were a few scenes where I had to run up to the edge of something, and I could potentially fall off. Aaron and Kiea would be there to make sure that didn’t happen.” Celeste recalls, “In one scene, I had to jump backward, which is awkward and scary, but Aaron was there to catch me every time.”

“I compared making Range Runners to the ultimate Fear Factor episode,” Celeste says, “If I could do this, I could do anything.”

Celeste lets us in on the process of becoming Mel. “Philip and I met before shooting. He was talking to me about what he and [writer] Devon Colwell envisioned for Mel. Based on what they said, I got the idea that this is an extremely strong woman, and she’s out there to complete a mission and prove something to herself.”

“Mel’s all about perseverance, says Celeste, “And if somebody ever tries to take anything from you, then you have to take back what’s yours.”

Based on the conversations with Philip, Celeste “could see that Mel wasn’t a character who takes things lightly. She’s focused and ambitious.”

Range Runners is equal parts character drama and thriller with brutal, violent action. “A lot of the fights in this film were dirty. I’m finding things near me to do whatever I need to do, and I don’t always win.

Wrapping Up

Celeste began acting on stage. What’s her focus now, stage, or screen? “I love theater. But I’ve been doing it since high school, so I’m more focused on TV and film right now. It’s all so new to me, and I crave learning.”

Who inspires Celeste? “My brain is going to so many people: Michelle Obama, Phylicia Rashad, Angela Bassett, Viola Davis, Denzel Washington, Robert DeNiro, Al Pacino, the late Robin Williams. I could do this all day.”

What’s a dream remake for Celeste? “Eve’s Bayou. That movie fascinated me growing up. I don’t know who I would play in it, but I enjoyed that film for a lot of reasons.”

Range Runners is out on DVD and On-Demand. So, what’s next for Celeste? Follow her on Instagram to find out: Celeste M. Cooper @_be_that_light_

Is Range Runners on your watch list?

Thanks to Celeste M Cooper and October Coast
for making this interview possible.

Want to read more interviews? CLICK HERE.

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Review: DARK NIGHTS DEATH METAL: SPEED METAL #1 – How Wally Got His Groove Back

By

Matthew Brake

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On September 22, DC Comics releases Dark Nights Death Metal: Speed Metal #1. The Dark Nights Death Metal tie-in is written by Flash scribe Joshua Williamson, with penciler Eddy Barrows, inker Eber Ferreira, colorist Adriano Lucas, and letterer Steve Wands.

Since returning in DC Rebirth #1, the DC universe has not been a kind place to Wally West. Initially heralded as the return of hope to an increasingly bleak universe, Wally’s journey has been one of increasing directionlessness and disappointment.

Friends and family forgot him. Disrespected and distrusted by the Justice League and tricked by Hunter Zolomon. Then, covering up the deaths of his fellow heroes in Sanctuary under the manipulation of Eobard Thawne. He was thrown into the multiverse to be reunited with his children only to lose them again, given the power to fix the DC timeline only to be foiled by the Batman Who Laughs.

Some of Wally’s problems spring from the change of editorial direction in 2018, but Wally’s troubles really began back in 2008’s Final Crisis with the return of Barry Allen. After Barry’s return, Wally receded into the background, playing second fiddle to the returned Silver Age Flash. Wally was the Flash for an entire generation of comics readers, whether we’re talking about Mark Waid’s seminal run on the character or the Bruce Timm Justice League cartoon, and this issue does a good job addressing Wally’s second fiddle status.

Perhaps the biggest “holy cow!” moment of this issue comes in its second half, courtesy of the art team, as Wally outruns the Darkest Knight, who mocks him for trying to succeed where his mentor failed.

Wally, whose status as the Flash was all but forgotten. Wally, who has been looked down upon by his colleagues and not afforded the respect of his mentor.

Begins. To. Transform!

Wally West is the Flash, and this sequence drives that point home! This is Wally West redeemed, and by the end of the issue, fully restored. Barrows and Ferreira do some of their best work in this sequence, particularly in that first image of Wally, with the design and shading. At the same time, Luca’s colors pop, particularly Wally’s distinctive eye lenses. Seeing Wally in his Mark Waid Flash suit is a joy for fans of the character, and signals that Wally’s dark night (pardon the pun) is over.

The art team is joined by Wands on the letters, which serve as a perfect complement to this image. Wally was supposed to represent hope returning to the DC universe, but as Wally points out on the previous page to the beings chasing him, “try to hold me back just like so much in my life the last few years.They want me scared, to focus on my setbacks and struggles.”

But it doesn’t end there: “But I’m done with that…”

Then to turn the page and see “…I’m thinking about what gives me hope,” caused the fanboy in me to tear up a little. This was a wonderfully constructed scene from the whole creative team!

After so many years, Williamson is able to give Wally, and the entire Flash family, the happy ending we’ve wanted to see since DC Rebirth #1, and even though there is a lot of Death Metal to go, I think fans who have felt like Wally has gotten cheated over the past years will enjoy seeing him emerge triumphant in this issue, no matter what else DC may have in store for him.

What did you think of Dark Nights Death Metal: Speed Metal #1? Are you happy with the conclusion of Wally’s long Rebirth journey? Tell us in the comments below!

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How the Mystery Unfolds In WICKED THINGS #5

By

Cat Wyatt

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WICKED THINGS #5, available Wednesday from Boom! Studios throws yet another mystery at young Lottie Grote. A mystery that she just can’t seem to get ahead of. Much like the mystery surrounding whoever framed her for attempted murder.

***SPOILER WARNING***

Once upon a time, Lottie was the best teen detective around. Now she’s serving out her time helping local police. Thanks to the whole being framed for murder thing. It happens, right? Surprisingly, we’re now five issues in and the great detective hasn’t solved the case that she is the center of. Perhaps she has something hidden up her sleeve?

Wicked Things #5 starts a new crime spree, which Lottie is going to have to solve if she ever wants to be taken seriously. Or if she wants to be picked up full time, at the conclusion of her temporary sentence.

What’s interesting is that there is only one issue left to this series, which leaves very little room to wrap everything up. Anyone feeling confident enough to take a guess or two about how Lottie is going to get out of it?

Claire is looking pretty lost on this variant cover of Wicked Things #5

The Writing

Wicked Things #5 shows off all that’s endearing and fun about this series (and all of John Allison’s characters). Lottie is her usual charming self, running around, making friends in surprising places, and trying to solve mysteries.

Despite the larger than life circumstances (teen detective turned fugitive), each and every character portrayed in the series has been wonderfully relatable. It’s a talent of Allison’s, yet it seems to shine through stronger than ever in this issue.

All while two separate mysteries are being dealt with. The first is a new crime spree, where only Lottie saw the (admittedly kind of cute) pattern on the map. The second? The murder mystery, of course. Only Lottie isn’t the one trying to solve it.

It’s honestly refreshing to see Lottie’s friend step up here, and to see a bit more of her and her motivations. It’s a complex web that the two of them have found themselves in, and it’s hard to tell if they’re aware of it or not.

Wicked Things #5 gives Lottie…a new bestie?

The Art

If the writing inside Wicked Things #5 is charming, then the artwork is doubly so. Max Sarin (art), Whitney Cogar (colors), and Jim Campbell (letters) all had a part to play in bringing this quirky character’s adventure to life.

Lottie’s overly dramatic expressions and reactions demand the center of attention in this issue. She quickly bounces between excited and frustrated, determined and curious. Not to mention every other possible emotion in between. Her face and body language are not afraid to show how she feels, courtesy of the artistic team.

Her expressions aren’t the only ones worth looking out for. Claire’s are wonderful, finding a balance between determined and sardonic, while those of the people she interacts with are comically all over the place.

Little details bring it all to life, such as the (hilarious) little hearts found within eyes, the stars accentuating shock, and much more. Combined with an understated color palette, these scenes really do grab one’s attention.

Conclusion

Wicked Things #5 was a perfect example of a quirky yet compelling issue. It’s interesting to see how the story is unfolding. With new cases popping up, new friendships made, and all of that. Even while being so very close to the actual conclusion of the series. Just how is Lottie going to handle all of it?

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The Depths and Horrors of Magic in NOMEN OMEN #9

By

Cat Wyatt

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NOMEN OMEN #9, available Wednesday from Image Comics, continues Becky’s story in the most unsurprising ways. She may have mastered her magic, but her story is not quite complete. After all, she still has to retrieve her heart.

***SPOILER WARNING***

Over the course of Nomen Omen, fans have had the opportunity to watch Becky grow up. To watch her accept this world of magic that she has been thrust into, and learn to make it her own. Yet the story isn’t quite done. There are still six episodes left to this series, and she has yet to retrieve the one thing that was stolen from her (literally), so long ago. Her heart.

The series stands out among the rest that features magic, largely due to two facts. The first, the way magic is portrayed. While most of the series is lacking color, when magic makes an appearance, it infuses that missing color. Making the world seem vibrant and alive once again.

The second fact is the way lore and legend have been woven into the tale. There are times where the story feels almost familiar. And then there are times where it feels alien. The combination is enough to stick into one’s head.

*Please be warned, Nomen Omen #9 has a couple of scenes that some would find upsetting. Much like the last two issues before this one, there are scenes that imply sexual assault and abuse. These scenes always cut away quickly, but they still very much exist.

Becky is stepping up to fight her enemies in Nomen Omen #9.

The Writing

Nomen Omen #9 starts out at a darker point. A harsh reminder of what is happening while Becky takes the time to learn her magic. From there though, it quickly balances into something that feels alarmingly like hope.

The transition is almost jarring, but it also feels intentional. Marco B. Bucci has carefully crafted a narrative that blends the hope and fear into one, courtesy of the two plots running simultaneously.

This issue has several details worth highlighting. The unique combination of magic and technology is perfect, especially when considering the main character. It feels right at home with both sides of her world, as well as providing an opportunity to do something different with magic.

Then there’s a stronger inclusion of fae elements. The otherworldly presence in this issue is strong, and it’s reminiscent of legends revolving around the fae and faerie. Yet as with the magic, there are unique twists to it all.

A dark and ominous cover variant for Nomen Omen #9.

The Art

The artwork inside Nomen Omen #9 is as bold and unique as the writing itself. As with the rest of the series, there’s this careful balance between the panels devoid of colors, and those bursting with it. It makes it fairly clear when magic is playing a more active role in the series.

Jacopo Camagni is responsible for everything minus the lettering, which was provided by Fabio Amelia (Arancia Studio). All of those brilliant (and sometimes extremely dark) scenes, the bold color choices. Everything.

The theme for this issue was especially lovely, pulling in masquerade and fae elements all in one. It’s beautifully done. The main characters also got a redesign to go with the decor change, and it’s absolutely perfect.

Conclusion

Nomen Omen #9 is a dark issue, yet there is this odd sense of hope at the same time. With Becky getting stronger, it’s only a matter of time before the story comes to a conclusion. Either she wins, and gets her heart back. Or she dies. Currently, it seems as though there is no third option.

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How Family Always Makes it More Complicated in SPIDER-WOMAN #4

By

Cat Wyatt

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SPIDER-WOMAN #4, available Wednesday from Marvel Comics, proves that when it comes to the world of superheroes, family tends to make everything all the more complicated. That’s certainly the case when it comes to the Spider heroes running around.

Getting ready to face down her latest challenge in Spider-Woman #4.

Jessica Drew’s latest series has thrown her into a desperate run, all with the hopes of saving her own health – and the health of a newly introduced character. It’s been tense from the start, with foreshadowing elements dropped left and right.

Now it’s time to see what is so concerning. It truly is never simple for characters like Spider-Woman, is it? This dark twist in Jessica’s series may not be what fans expected, yet in many ways it’s feeling right at home in the larger world.

Too bad Jess doesn’t actually get a say in the matter – that would probably have changed things for the better. One thing is certain, the complications Jess has been facing in this series are far from over. If anything, it’s about to get a whole lot worse.

The Writing

Spider-Woman #4 is arguably the darkest issue in the series so far, though perhaps not for the obvious reasons. Karla Pacheco has crafted a complex tale here, with dangers that even Spider-Woman’s senses couldn’t pick up.

As Spider-Woman #3 hinted at, this issue is rich with backstory. Jess’ past is not as far behind her as she might think, and it shows here. But even newer fans shouldn’t have any trouble following along, as Pacheco summed up all the important (and relevant) information.

There are so many twists to be found in this issue, it’s borderline exhausting. Mostly for the leading lady, that is. Her emotions seem to spill out from the pages, and all of it’s feeling pretty justified. With any luck, she’ll have a chance to help others understand how she’s feeling at a later date (she’s kind of earned it at this point).

The action is fast-paced, bringing about a thrilling sensation. Right up until the cliffhanger conclusion for this issue. It’s going to be a long month, waiting to see how everything plays out.

The Art

Spider-Woman #4 carries with it all the needed impact, thanks largely to the artwork. For example, the final image of this issue may be only one panel, yet there are countless details to pick up on. All of which raise more alarm.

Pere Perez’s work provided the necessary foundation for the artwork. The toll of the past few issues is showing clear on Jess, from the red eyes to the slightly crazy look. Yet it all feels oddly in place, given everything else that’s happening around her.

The colors, courtesy of Frank D’Armata are vibrant, especially in regards to the backgrounds. It works nicely when combined with the darker clothing worn in the foreground, and really makes the features stand out even further.

VC’s Travis Lanham provided all of the lettering, and there’s a lot to appreciate here. Especially if you enjoy feeling like explosions actually carry weight and sound with them. Combined with careful outlining, it makes for an effective and enthralling read.

Time for a well deserved freakout, don’t you think?

Conclusion

Spider-Woman #4 is a dark and twisted issue, showing fans that Jessica Drew’s tale is far from over. Though it is starting to feel like Jess really can’t get a break. While it’s tempting to guess at how the next issue is going to start, in a way it’s going to be fun to see how she finds a way to save the day. Again.

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