REAVER #11, available from Image Comics on September 9th, pits Rekala and Breaker against Stagger for the lives of his prisoners. Justin Jordan’s story connects all the dots to bring this arc to a satisfying and violent conclusion.
Cover Art
Becky Cloonan’s cover stands out for the copious and layered use of red. Red denotes anger. Red represents blood and violence. Red indicates death and rebirth. This issue contains all those aspects of red and more.
Writing [No Spoilers]
Jordan’s story cuts right to the flashback that explains the surprise reveal at the end of the last issue: Stagger’s identity. Once Stagger’s motives are made clear, Rekala’s role as skin eater is fully activated, and the climactic battle begins. Throughout this series, you could make the case that Breaker and Rekala are unrealistically unbreakable, but here, they’re pushed to their limit, and that makes them more relatable. Their heroism is not fully realized until they have to overcome enemies truly stronger than them, and Jordan wisely makes sure they take a fair bit of damage.
Since I’ve started reviewing this series, Rekala has quickly become my favorite breakout character, and Jordan keeps up her appeal with witty jibes and vicious attacks. The end of this arc is not the end of the duo’s story, but I’m looking forward to seeing more of the sharp-toothed imp’s exploits.
Pencils/Inks
Niko Henrichon’s art stands out for his grounded take on hand-to-hand combat. Bones snap at gut-cringing angles. Blades slice flesh at searing angles. There’s nothing “clean” about Henrichon’s fights, as it should be, to match the story. You feel grimy after this issue, and that’s precisely the effect Henrichon was going for.
One small observation, Henrichon excels at making characters with crazy eyes. The making potion is a sort of hyper steroid that gives the consumer berzerker strength for a short time. It adds to the element of danger when Stagger’s men take the potion, and they come at Rekala, and Breaker amped up to 11. When you see the men coming, you can’t help but think: “It’s about to get nasty.”
Coloring
Henrichon’s colors shine best when the scenes move from outside to inside. The warm yellows and oranges glow from torchlight inside, giving the fight scenes the effect of watching Vikings battling in a longhouse. Just from color alone, Henrichon makes you believe you’re watching the scenes unfold through the lens of looking into the past.
Lettering
Clayton Cowles’ lettering adds to the ancient setting with a font choice that barely hints at Nordic lettering, again alluding to a Viking motif. Also, there’s more than a little exposition going on to tie up the story, and the Cowle’s lettering breaks up the sometimes lengthy dialog into just the right chunks to make the reading easy and keep the pace up.
Conclusion
REAVER #11, available from Image Comics on September 9th, wraps up the latest arc, answers all the questions, and leaves you wanting more. The main characters have taken a big step toward embracing their place in the world, and the art is gritty bloody fun. I highly recommend REAVER #11.
From executive producer Selena Gomez, the film The Broken Hearts Gallery follows the story film of a young woman navigating the art world in New York City. Emmy-nominated editor Shawn Paper, ACE (VEEP, What We Do in The Shadows) ensured that the magic in the script and on set successfully made it to the screen.
The Broken Hearts Gallery comes from writer/director Natalie Krinsky, best known for her work as a writer and story editor on Gossip Girl. The film stars Geraldine Viswanathan (Bad Education)as Lucy Gulliver, a New York art gallery assistant who turns heartbreak into art by creating an exhibit of souvenirs from past relationships.
In The Broken Hearts Gallery, Lucy is all about speaking her truth, letting it all hang out, regardless of the consequences. But she’s also an emotional hoarder, holding things neurotically close. While her friends and lovers find this paradox both endearing and maddening, it’s one that Lucy must reconcile to find happiness — and one that Shawn had to convey on screen in a way that was both crystal clear and nuanced.
PopAxiom spent time talking with Shawn about this and other editing challenges, as well as the critical role editing plays in the final product. With over two decades in the film and television industry, Shawn’s credits include Girls, Parks and Recreation, Flight of The Conchords, Ugly Betty, and films such as That Awkward Moment.
Salute
How did he get his start? “What landed me in Hollywood was the US Navy, back in 1991” Shawn says. A Navy reservist while studying theater and literature at Bennington College in Vermont, Shawn got activated for Operation Desert Storm soon after he graduated, with pre-deployment exercises taking place in the scorching California desert. There, he and his fellow reservists, in full military gear, simulated chemical warfare conditions in preparation for Saddam Hussein’s Iraq.
Because the ground war to liberate Kuwait lasted just four days, Shawn’s deployment was canceled as he and his battalion stood on the military airport tarmac, preparing to ship out. Friends in Los Angeles urged Shawn to hang out for a while before going back East to pursue an acting career in New York City.
One thing led to another, and he ended up sticking around. Shawn’s first gig landed him right back in the California desert, as a PA on a Carole King video. “I worked in every department, did every job, including being Carole’s driver,” he says. “It was surreal to be back in the desert, this time on a set, where a totally different simulation was happening, compared with my Navy Ops. The PA job was a lot of work, but also a lot of fun.”
It was also Shawn’s first exposure to editing. During post-production, he was allowed into the editing room where, he recalls, “I saw how the editor was assembling the footage and thought, ‘This is where the magic happens!’”
Button By Button
But magic takes work. It’s the kind of work Shawn took to immediately. “Editing is putting a puzzle together. You make creative decisions to pull together tight stories from hours of footage and solve problems like an off performance or a narrative blindspot.”
Still, how was he to land a job in that profession when he had no prior editing experience? Thanks to his time in the Navy’s Seabees, where his detachment built airstrips and other Naval infrastructure in mere days, Shawn knew how to learn on the fly. He landed himself an interview at Warner Brothers, talking his way into a job. “I told them, ‘Well, I’m good with computers,’ and next thing I knew I was working as an assistant editor for Fred W. Berger,” the first president of American Cinema Editors (ACE), known for his work on hit shows such as Gunsmoke and MASH.
Shawn says that Fred hired him “to be his hands” for several Dallas reunion movies-of-the-week. “A legend in the business, Fred was 82 years old when I met him,” recalls Shawn. “Digital editing software was brand new at that time. Until then, everybody was still literally cutting and splicing film.” Rather than fuss with learning to use a keyboard and mouse, Fred guided Shawn through his editing decisions, button by button.
“It was a priceless apprenticeship,” Shawn says. “No editor wants to be just a button pusher, but for me, as a beginner, the opportunity was second to none.”
Fred not only told Shawn where and how to cut, but also why he was making those cuts. “He was a true mentor to me,” says Shawn. “Being Fred’s hands, while also gleaning 60 years of history of film and television from him, was my film school.”
The importance of that mentorship experience has informed Shawn’s own approach to working with assistants. He says that “I bring my assistants into the room and have conversations with them about the cut, as well as give them a first pass at cutting scenes.” Shawn adds that this kind of mentorship approach is consistent with the original aims of the Motion Picture Editors Guild, which he wants to uphold.
About The Broken Hearts Gallery
How did he become part of the Broken Hearts team? “I loved the script and the casting.” Broken Hearts’ character diversity is consistent with Shawn’s long history of working on productions featuring female protagonists, people of color, and LGBTQ characters. “The show Flight of the Conchords being an exception, stories with straight white guys at their center generally don’t interest me,” Shawn says. “The Broken Hearts Gallery is about a woman who curates her life as much as she curates art. She self-creates, rather than conforms to society’s expectations about how a woman should look and behave.”
This nonconformist ethos is practically a litmus test for the projects Shawn chooses to work on, ranging from Ugly Betty, a dramedy featuring an awkward NYC fashion editorial assistant who succeeds despite ridicule, to What We Do in the Shadows, a mockumentary about pansexual Old World vampires living in high gothic style on today’s Staten Island.
Wrapping Up
Shawn’s influences are varied. They include Robert Wise, an editor-turned-director. Shawn remembers watching Wise’s West Side Story again while editing a sendup of a gang fight for Flight of the Conchords. “I was blown away by the cinematic angles Wise chose, how perfectly he synced them to the music and action.”
Shawn says he appreciates “directors who make deliberate choices like that.” Sidney Lumet is another such director who Shawn admires for his deliberateness. “Lumet came out of theater and then went to live television. Twelve Angry Men was originally released as a teleplay. How do you make two hours that take place in one room so riveting? It’s all in the cinematic language of acting, camera movement, composition and a good edit.
“Another great inspiration to me is Carol Littleton. It wasn’t until after I knew the body of her work, editing for directors like Jonathan Demme and Lawrence Kasdan, that I looked back on one of her first films. E.T. the Extraterrestrial (Steven Spielberg) was a film that inspired me to work in cinema. It was one of the first films Carol edited, and remains to me an editorial feat. The main character was a puppet, which you could easily see – but she found the takes, found the moments when this puppet moved just right and she edited it just so – to make it convincing. She’d jumped the Uncanny Valley, and we the audience feared for, wept for, and cheered for the kids getting the alien puppet back home.“
There’s a scene early on in the film where Elliot first encounters E.T. He’s searching through a cornfield and the creature is just a shadow in the stalks. “I was completely terrified as a kid at that moment when Elliot is overwhelmed, in short visceral jump cuts, by the terror of the unknown. That was in no small part to her editing choices.”
“Since then, I always keep in mind when I’m cutting whether the audience is following the plot or is ahead of it. If the audience has already figured out where we’re going, and not viscerally caught up in the moment, then as a storyteller, I’ve got to figure out a way to keep them engaged.”
When asked what remake he would love to be a part of, Shawn points to one that’s already in progress. “Taika Waititi is doing Time Bandits as a series. That’s two great tastes that go great together, Taika and Terry Gilliam. I would love to join the fun at some point, if the moons align.”
The Broken Hearts Gallery comes out on September 11. So, what’s next for Shawn? A new TV series called Sweet Tooth, created by Jim Mickle and produced by Robert Downey, Jr’s company, ramps up production in New Zealand this month. “It’s an adaptation of a DC comic book series,” explains Shawn, “with a timely plot and message. Much as I love editing comedy, after half-year of sheltering in place, I’m really excited to work on an action adventure show. That said, my first social outing in ages was attending the drive-in premiere of The Broken Hearts Gallery last week, and it was a blast.”
Web of Venom: Wraith, published by Marvel Comics, tells a captivating tale and provides new revelations of the lore behind symbiotes that are backed up by some astounding art.
Wraith first appeared in Annihilation: Conquest in 2007, and made a recent appearance in 2019 in Guardians of the Galaxy. Wraith is on a quest to be free of the Exolon, a type of symbiote — that is attached to him. This journey will lead him to cross paths with the god of symbiotes, Knull, and in the process, uncover new information about the lore behind the symbiotes and who created them.
The writing of Donny Cates in this one-shot is clever, even from the start of Web of Venom: Wraith. Wraith is not a super popular character, so there is a good chance many people who pick up this issue are not familiar with him at all. Cates does not waste the opportunity to introduce this character to the reader in a stunning way. We first are introduced to Wraith with a scene of him jumping in to save a Kree woman who is about to be brutally assaulted by four other Kree men before the credits. The credits inform the reader of the Wraith’s backstory and is followed by the conclusion of the prior scene. This conclusion features him defeating all four Kree before they even have the opportunity to react, and perfectly introduces Wraith to those unfamiliar with him. By saving the woman for no reason other than benevolence, Wraith is clearly a good person. By defeating them with such style, the reader is able to understand the power given to Wraith by his symbiote. It is an ingenious way to tell the reader everything they need to know about the character in a short amount of time.
The Web of Venom one-shots have been an excellent opportunity to tell new stories around the Venom series and deepen the lore of the symbiotes, and Web of Venom: Wraith exceeds at doing both. A mystery has been introduced around Wraith in previous issues, and this one-shot reiterates it for a new audience and then concludes it. The one-shot teaches the reader many new things about Knull and the backstory of Wraith, so it is a must-have for those who are a fan of the recent stories being told in Venom.
The art of Guiu Villanova is some fantastic semi-realism in Web of Venom: Wraith, and features lots of complicated alien architecture and cool-looking symbiotes. The issue features heavy use of shadows, which adds a dark tone that complements the story well. Several double-page splashes illustrate the events necessary to flow with the story, while also having such pleasant composition that they deserve to be framed and hung on a wall.
Web of Venom: Wraith begins with many dark-colored scenes that help solidify the grim tone of the one-shot. Dean White does an excellent job of adding enough colors to accent these dark scenes and the accompanying tone, and often provides nice cool-colored backgrounds to emphasize how the scene either has low energy or is taking place in space. White’s work with scenes that contain very bright lights that cast heavy shadows on parts of characters’ faces are phenomenal, and provide some very interesting shading.
VC’s Clayton Cowler provides this one-shot with some very unique lettering that pays dividends in terms of subtle characterization. Wraith’s speech bubbles have a black background and white text — an inverted color scheme to what is standard. This could serve two purposes: one, to showcase how the Exolon that has bonded to him has changed him into a completely different entity separate from a normal person, or two, to demonstrate that Wraith may be empty and lacking of a soul due to his symbiote. Whether the lettering choice intended either of these effects, it still looks phenomenal on the page and stands out from the typical lettering seen on comic bookshelves. A similar thing is done with the symbiote God, Knull, where the background of his speech bubbles are pure red, and the outlines are sharp and jagged. This helps with the dark and monstrous characterization of Knull and composes some outstanding lettering in Web of Venom: Wraith.
Web of Venom: Wraith is a necessary comic book if you enjoy the story that Donny Cates is telling with Knull and want to learn more about the god of symbiotes. The story is gripping and reveals lots of new information, and the art is fantastic through and through. This one-shot is a brilliant way to add to the lore behind Knull, and if you’re a fan, you won’t want to miss this revelation.
Available now from Boom! Studios, Buffy the Vampire Slayer: Willow #3 builds more delicious suspense with deliberate use of color and slow payoff of meticulously planted clues. Subtitled “The Best Bean,” this issue satisfies as much as it teases on multiple levels, as written by Mariko Tamaki, illustrated by Natacha Bustos, colored by Eleanora Bruni, and lettered by Jodi Wynne.
Given that this is issue three in a five-issue series, we’re around the middle of the story. Here, we readers find symbols unravel, relationships change, and more questions arise. The end approaches, but it’s not quite in focus.
Picking up after the second issue’s happy bonfire ending, Willow wakes in her hotel bed, experiencing a déjà vu of the previous morning. But it’s definitely a new day since Abhainn’s energy has totally shifted. Where the town was virtually empty the day before, it’s now teeming with activity. It’s as if someone hit the reset button.
Groundhog Day
Further, whereas Aelara was the only one kind and attentive to the new arrival, now everyone acts cordially toward Willow. In a different world, such a reaction might be natural. It does take some time to welcome a new person in a small, remote community, so it makes sense that Abhainn’s witches might have needed a bonfire to warm up to Willow. However, Tamaki and Bustos’ visual and verbal references clue us into the underlying magical manipulation going on.
The first of these signals is the tiny pink rose Aelara pinned on Willow’s sweater in the previous issue. I had to rewatch “Once More, With Feeling,” the iconic musical episode of the TV series, to get it. In the episode, Tara finds out that Willow performed a memory-erasing spell on her. Willow used a flower called Lethe’s Bramble to augment her spell, which Tara mistook for a love token and affixed to her sweater.
With the understanding that Aelara’s framing in the book plays up the attraction and romance between her and Willow, the use of this device feels right. It’s both a genuine token of affection and a tool for Aelara’s more sinister seduction. Not to mention it’s a fun nod to the fans of the show.
A Powerful Spell
Despite Willow being under Aelara’s spell, she’s no fool. Willow quickly notices the shift in attitude toward her and the Groundhog Day feel of it all. She goes so far as to confront Aelara about it, asking the witch if Abhainn is home to a cult. Aelara, still in seduction mode, denies Abhainn is a cult, describing it as an innately magical place. She insists that it’s a commune for witches where they share power.
In a splash page that mirrors a splash from issue two, Aelara takes Willow’s hands, guiding her to feel the power flowing through them and an apple tree next to them. It’s this demonstration that reveals to Willow how much power she holds within.
What’s so seductive about this page is the close-up on Willow’s face. It floats in the middle of the page between disconnected images of the two women’s hands. Composed like a dream, the page communicates how loved and understood Willow feels in the moment. But, unlike the bonfire scene, this splash doesn’t hold the sense of freedom and joy that marked the end of issue two. Instead, it shifts the narrative into one of entrapment.
It’s A Trap!
Bolstering the entrapment angle is the reappearance of the crows from before, introduced in contrast to Willow’s interactions with Aelara. When Willow leaves Aelara on the promise to join her for a lentil soup dinner, she seems a bit disoriented, still reeling from Aelara’s magic. (Side note: Anyone else think Aelara’s lentil soup could be a subtle reference to Arthur Miller’s The Crucible?) She wanders into the forest and meets a perfect line of crows in the trees at Abhainn’s outer limits.
Crows, as I’ve noted before, mark the space between spiritual or magical realms and the real world. At this point in the story, however, they seem to not only be tangible symbols of Abhainn as a liminal space but perhaps guardians of this magical town. They stop Willow in her tracks right before a group of four women pops up behind her, asking if she’s lost. Willow uses her quirkiness to assuage any concern, and the women walk away. One of the women in the group gives Willow a terrified look as she walks away. (Suspiciously, this woman resembles Amber Benson, who played Tara in the show.) It’s then that Willow decides something’s really wrong, and she has to investigate.
“The Best Bean” excites and tantalizes by beginning to payoff this symbolism. Adapting key show elements also cleverly hints at character motivation. While the writing could stand on its own, illustration and color choices employ a distinct language to reinforce the story.
The Color of Magic
The fuchsia and purple appear to be favorites of the colorist throughout the series. In issue three, these colors are used for sunset in the final scene. The final half-page panel features the black silhouettes of the crows in a dark purple sky. Purple, famously a color of royalty, can symbolize mystery and spiritual growth.
Fuchsia, a mix of red and purple, symbolizes confidence and maturity. Its use as background in the moment Willow hears the four women and its contrast with purple highlight the themes of the story. This is Willow’s journey to confidence and magical growth.
Willow #3 makes for a brilliant midpoint to a limited run. It leaves one both longing for and dreading its conclusion. Was Aelara lying to Willow? Is Abhainn really a cult? Was that Tara among the group of four? With suspense this good, it’s worth waiting another couple issue to find out.
STEALTH #5, available from Image Comics on September 9th, reveals Dead Hand’s origin as Tony makes a desperate move to uncover the truth. Written by Mike Costa, this issue answers questions about the Stealth’s link to Dead Hand’s power and moves all the players in place for an epic finale next issue.
Cover Art
Jason Howard’s cover, like the several before it, evokes a strong Batman/Joker dynamic between the main hero and villain. Drawn in a near-josei style, Dead Hand’s dominant position on the “high ground” echoes how he always seems to have the upper hand in their conflict. It’s a powerful image that practically drips with dramatic tension.
Writing
Costa’s penultimate issue in this run makes a considerable amount of forward progress in the story to set up the finale. The issue was wholly satisfying for telling the full story of Dead Hand’s origin in an efficient way (it only took two pages) and revealing just enough about the safehouse connections to feel like you’re moving forward while still leaving something for the finale.
The story is super lean, action-packed, and fast-paced. You get equal parts “big reveal” and “shoot ’em up” action in a way that didn’t feel muddled or crowded. I enjoyed the quick-hit storytelling from Costa.
Pencils/Inks
Nate Bellegarde’s art packs tons of kinetic energy into every action panel. There’s plenty of gunfights and explosions in this issue, and Bellegarde adds to the impact of each moment by showing characters taking damage and flying from the force waves.
It’s a high-octane demolition derby between a superhero and a super-villain in the crossfire between rival gangs. Just like Costa’s writing, Bellegard’s produced rapid-fire art that keeps hitting you over and over. There are so many action lines in this issue; it becomes a literal blur, making it a real page-turner.
Coloring
Tamra Bonvillain’s color work shines for the sheer volume of flames and explosions that light up each panel. Bonvillain knocked out of the park for how well the color shading reinforced the light sources to make the explosions blinding and full of energy. Kudos also for the colorwork on the Stealth costumes where the leaking radiation created glowing drips and streaks. The colorwork was so good; you’d almost suspect the comic was lit up with batteries.
Lettering
Sal Cipriano’s lettering is remarkable for keeping the pace up when so much information is being revealed. Instead of turning out a wall of text that would have stopped the issue in its tracks, Cipriano broke up the dialog to move with the flow of action. Great work by Cipriano.
Conclusion
STEALTH #5, available from Image Comics on September 9th, is a lean, mean comics machine. The flashbacks and reveals come just as fast as the bullets, and the art packs a punch. I’m excited to see how it all ends.
Rise of Ultraman #1 out this week from Marvel Comics is an issue full of action and intrigue. A retelling of the classic Ultraman franchise for comic fans, the issue offers amazing art and is full of extras. Along with the Mill Creek Entertainment releases of the series, this issue becomes another magnificent way for individuals to enjoy the ever-growing Universe of Ultraman. Here is the creative involved with issue one; Kyle Higgins, Mat Groom (writers), Francesco Manna, Espen Grudentjern, Michael Cho, Gurihiru (art team), and VC’s Ariana Maher (letter work).
In darkness there lurks Kaiju – terrifying and unfathomable monsters. Between Kaiju and the rest of us stands the United Science Patrol! But who are these enigmatic defenders, and how do they perform their miracles?
Writing
The writing team of Higgins and Groom takes the time to update the story of Ultraman to have it reflect a modern setting. The issue begins in the 60s as Dan Moroboshi (the human form of Ultra 7) experiences a first contact and moves into a modern world plagued by Kaiju and the USP as the only one who can stop it. From the second page, the issue captures the reader’s attention early and doesn’t let go.
The reimagination of Shin Hayata and Akiko Fuji is the most notable change but this aids in giving the pair more personality. Hayata is no longer a boy scout and instead of a skilled yet impatient person, thinking with his heart over his head. Fuji can repair the equipment for the USP but wants to be advance and become a field operative. They seem more relatable than the original characters who were characters with specific skills and little else.
The additional story segments of “Ultra Q” and “Kaiju Steps” aid in offering layers to the comic. “Ultra Q” serves to offers a look into the early days off fighting Kaiju on Earth while “Kaiju Steps” offers humorous PSAs on how to remain safe during Kaiju related events. Both are welcomed additions to the issue.
Artwork
The art by Manna in the main story is a magnificent call back to the old shows. The vehicles and monsters are straight from the series and are immediately recognizable. Meanwhile, in the “Ultra Q” storyline, Cho utilities a gritty look and captures the feel of a flashback to a previous era.
The colorwork by Gudendetjern in the main story is phenomenal. Between the action effects and giving certain moments an extraterrestrial feel while reading the book, it feels like watching an episode of Ultraman. The look of Ultraman before becoming corporal as being a giant of light is magnificent.
The lettering by Maher adds to the immersive experience of the issue. The alien letters as Ultraman speaks is an excellent design touch. Also, the dialogue boxes with scratched out letters make the descriptions of places and objects feel like the reader is looking at classified redacted reports.
Conclusion
Rise of Ultraman #1 is a must-read for fans of Ultraman. Between the callbacks to the old show and the visually pleasing art, this issue is worth the purchase price. Once the series is complete, as long as the level of quality remains high, the book will serve as a means to help others understand the entertainment value of the franchise. Just like the Power Rangers comics from Boom Studios, Kyle Higgins has shown the world the immense joy hidden in the genre of Tokusatsu.
LUMBERJANES #73, available Wednesday from Boom! Box brings with it the first Lumberjanes event, ‘The End of Summer.‘ Our beloved campers are about to embark on yet another journey, though this one with less intentional than usual.
***SPOILER WARNING***
It’s safe to say that the Lumberjanes have always had a talent for getting themselves into trouble. That goes doubly so for the campers within the Roanoke Cabin. But what is about to follow is different.
Lumberjanes #73 is the start of an event in Lumberjanes, the first event, according to Boom Box! It’s hard to believe that a series has gotten 73 issues in without an event – but then again, with this delightful series every plot feels like an event.
‘The End of Summer‘ brings many thoughts to mind. It’s a reminder that summer will eventually end, even in a world full of time bubbles. In that sense, it’s a bit of a depressing reminder of what will eventually happen to this series (read: end).
Yet that doesn’t feel like the focal point of this event. Once again the Lumberjanes are going to go up against forces of evil (they’re old pros at that), and face odds and adventures like never before. The real question is, what sort of chaos will they get up to in the meantime?
The fun is about to begin in Lumberjanes #73.
The Writing
‘The End of Summer‘ begins here in Lumberjanes #73. Written by Shannon Watters and Kat Leyh, this issue feels like it’s going to take the Roanoke Cabin to new heights – and adventures. All while bringing with it that charm that made fans fall in love with the series in the first place.
Unlike many other issues in the series, it starts out on a calmer note. The campers are enjoying the nice weather, staring up at the clouds and discussing what they want to do before camp ends. (Another depressing reminder).
From there, things quickly spiral in that classic Lumberjanes fashion. What is surprising is that they don’t stick together, not for the beginning of this adventure, at any rate. Perhaps (hopefully) they’ll get grouped up once again, later on.
Still, it’s impressive to see several plots running alongside one another. All while reminding fans of the unique characters that fill the pages (as well as providing some fun new details about those characters).
It all made for a fun and quirky start to this event. Honestly, that actually makes it even harder to predict what’s going to happen next. Will it be one major event for all of the campers to deal with? Or several events happening simultaneously? With these campers, anything is possible. Even giant kittens, as they were so quick to prove.
Back into the land (time) of the dinosaurs!
The Art
The artwork inside Lumberjanes #73 is fun and knows better than to take itself seriously. While artists have come and gone for this series, there has always been a unique style to this series. A style that shines through in this issue in particular.
The characters all seemed to get a moment to simply be themselves, showcasing the attributes that make them unique. Seriously, April has never looked more determined, and Ripley never so excited (just to name a couple).
Kat Leyh was the lead artist for this issue, as well as being responsible for the writing. As such, Leyh obviously knew exactly how each character was feeling, and thus how they were meant to look at any given time. Not to harp on it too much, but there are times when these expressions really did feel larger than life, but that’s honestly part of the charm for this series. (Also, that’s kind of April in a nutshell).
Maarta Laiho was the colorist for this issue, and the colors really do a wonderful job of setting the scene. On that note, there are several scene changes that occur within this issue (courtesy of several adventures), and each one has its own color palette. It makes it all feel distinct, even while being neatly tucked together.
The lettering was provided by Aubrey Aiese, and its the icing on the cake. The letters convey the story, of course, but also the level of excitement required (remember, Lumberjanes). All while making sure we don’t miss a single detail on the page.
Time to earn those badges in Lumberjanes #73.
Conclusion
Lumberjanes #73 is the fun and highly entertaining beginning to the campers’ first major event, and it’s already obvious that it’s going to be full of chaos and charm. It’s the Lumberjanes way, after all. Now it’s time to guess what sort of mess they’re going to get into before it’s all said and done.
RED MOTHER #8, available Wednesday from Boom! Studios, continues the dark and foreboding story that Daisy has found herself unwillingly thrown into. There are simply some stories that cannot be run from.
***SPOILER WARNING***
Daisy McDonough has finally begun to truly recover from that horrible night, many months ago. She’s found herself a new job, new friends, a new place to live, and even somebody new to possibly fall in love with.
That’s not enough to keep old horrors at bay. Something that Red Mother #8 seems intent to remind her – and readers. Whatever grabbed onto Daisy in that dark alley is not content to let go, though the motives of it all have yet to be explained.
If you’re a fan of psychological horrors, this slow-burning series might just be perfect for you. It throws in a dash of supernatural suspense, as well as a deeply human element to bring it all together, and create something new.
Something is lurking in the shadows.
The Writing
Red Mother #8 is a shockingly harrowing issue, though not at all for the reasons one might expect. Okay, maybe partially for the reasons expected. Still, this series has gone above and beyond to set the scene and bring about more than one surprise.
Jeremy Haun carefully crafted a narrative for this issue. For a moment – just one beautiful, brief moment, it seemed like everything was going to be okay for Daisy. Then the readers are reminded of the supernatural that barged into her world.
It’s impressive that, eight issues in, there’s still this vague sense of hope. Likewise, it’s impressive to see how much buildup has gone into this story. It feels like we’re on the cusp of something, and it’s going to be even darker than the rest of the series combined. At least, that is the impression we’re left with.
It’s hard not to walk away with a sense of impending doom – not with all of the imagery readily available in this series. The red leeching into scenes, Daisy’s pain, carefully repeated phrases that are nearly overlooked. The level of foreshadowing is real, and it’s a uniquely terrifying experience to read.
Who can be trusted in Red Mother #8?
The Art
As you might imagine, the artwork in Red Mother #8 makes up a huge part of the story. Honestly, this truly is a plot that goes hand and hand with the artwork. It’s a horror story that wouldn’t have had nearly the same level of impact if told in any other format.
Danny Luckert is the lead artist, creating both the lines and colors. Working alongside him is Ed Dukeshire, who provided the lettering. Together they’ve created a truly…haunting experience here. It starts out subtle, but by the end transforms into something completely different.
The infusion of red has been a highlight of this series, right from the start. It’s ideal, both for the title and for the figure it’s named after. Whenever a scene turns to that stark color, it’s clear that something is about to go wrong.
What’s intriguing are the other notes in this issue. There are other supernatural elements seeping into the pages, as well as a few that feel very human – though perhaps not in a good way. The final page is a shocking twist, made all the more so by Dukeshire’s careful placement of a few key reactions.
The Red Mother is rearing her head once again.
Conclusion
Red Mother #8 is a dark issue, with heavy implications left and right. There’s no doubt that Daisy’s life is about to take another dark turn – and once again she’s not going to see it coming (despite all the hints around her).
The events of Outlawed are about to hit The Magnificent Ms. Marvel #14
THE MAGNIFICENT MS. MARVEL #14, available Wednesday from Marvel Comics, is an issue that many a fan has been waiting for. The world around her has been changing, and now it’s time for Kamala to make her voice heard.
***SPOILER WARNING***
The events of Outlawed changed the superhero world for all those underage – but arguably none more so that Kamala Kahn, aka Ms. Marvel. It all started as another mission for the Champions. Protect an important figure, keep the school safe.
You know, the usual. But only, it ended up being far from usual. Everything went out of control, and fast. While Kamala did succeed in keeping everyone else safe, she took a huge hit. Literally. To make matters worse, the event quickly became politicized.
Hence, Kamala’s Law. The law that keeps underage superheroes from being a thing. Not like it’s the first time superheroes have faced regulations, right? Though this time it’s made to feel more personal, what with Kamala being used as a martyr (the irony cannot be ignored here).
All of that is vital to remember, going into The Magnificent Ms. Marvel #14. This will be the first time Kamala’s perspective has been shown since that fateful event, and that means fans are finally going to get a chance to see how she reacts to it all. It’s a moment we’ve been waiting for, to put it mildly.
Obviously, don’t dive into this issue if you haven’t read Outlawed. Unless you’re okay with spoilers, in which case go right ahead. The issue does a solid job of getting fans up to date, though some details are naturally lost in the process.
The events of Outlawed are about to hit The Magnificent Ms. Marvel #14
The Writing
The Magnificent Ms. Marvel #14 is a long-awaited issue. It’s been months since Outlawed #1 came out, and that’s a long time for any fan to wait and see what’s going to happen to their favorite character. Realistically, there was no way that Marvel was going to put somebody like Kamala on the bench for very long, but it’s still refreshing to finally see her side of the story.
After all, Kamala has never been a character afraid to speak her mind. Her perspective to this particular event is vital, due to the fact that it revolves around her – both her superhero and mild-mannered persona.
Saladin Ahmed did an excellent job of juggling multiple elements in this issue. There’s a quick recap, which will also allow fans that missed the event to continue reading Ms. Marvel’s story. It also sets the tone, and puts readers into the right frame of mind.
From there, it’s a series of truly moving events, dreams, and revelations. Ms. Marvel/Kamala has always led a complex life, despite her best efforts. All of that shines through here, and in such detail. It’s beautiful and heartbreaking all in one.
It showed the conflict she deals with on a daily basis. A conflict similar to many other heroes out there, yet with a uniquely Kamala-like twist to it. It’s colored by her history, and her choices (much of which was hinted at throughout this issue).
Every revelation, every moment in this issue felt like it was leading up to something. It all pushed towards Ms. Marvel rising once again. As well as setting the scene for events to come (Champions #1 and Ms. Marvel #15, respectively).
Her memories are rising to the surface.
The Art
Unsurprisingly, the artwork within The Magnificent Ms. Marvel #14 is just as stunning and moving as the plot itself. The artistic team was hard-pressed for this issue, portraying a variety of scenes, with characters and details steadily shifting throughout. It’s somewhat alarming at times, and yet it is also so perfectly suited to the emotional turmoil that Kamala (and her loved ones) is currently going through.
Minkyu Jung (art), Juan Velasco (inks), Ian Herring (colors), and VC’S Joe Caramagna (letters) all worked together to bring this awakening to life. There is literally not a dull moment to be found in this issue. There’s always something to catch the eye.
Be it the stillness of Kamala Khan, laying in her hospital bed. Or the jarring way her friends and family are portrayed in her nightmares. Or any number of details found in between. It all merges together to carry the story, and the tone, and bring readers to the same conclusion.
It’s time to wake up. Wake up, and save the day.
Conclusion
The Magnificent Ms. Marvel #14 is an issue that fans had been waiting some time for. It’s also an issue worth the wait, which is very convenient. This is one of those rare issues that takes a major event and turns it into a deeply personal journey for one character. In that sense, as well as several others, this issue did justice to Kamala’s character.
With nine days left in the Kickstarter campaign, Scott Snyder and Tony Daniel announced a new stretch goal and two new high-end reward tiers for NOCTERRA 1 Collector’s Edition. The campaign is currently sitting at $172,012, and at $200k, backers of the physical book will get a free NOCTERRA print by Jorge Jimenez and Gilded Edges for the book. The new tiers will include getting drawn into the book, speaking roles, and original pages.
“We really want to keep surprising fans, both throughout the campaign and when they read the comic,” said Snyder. “And we still have some big surprises left!”
For additional information, check out the press release below:
Scott Snyder and Tony S. Daniel Invite Readers to Get Drawn into NOCTERRA COLLECTOR’S EDITION in a Red Shirt Role on Kickstarter
Plus New Stretch Goal Announced: A Free NOCTERRA Print By Superstar Comic Artist Jorge Jimenez
(September 8, 2020) The NOCTERRA COLLECTOR’S EDITION Kickstarter campaign from superstar comic creators Scott Snyder and Tony S. Daniel is bringing fans behind-the-scenes for their upcoming series from Image Comics, with Snyder’s script displayed alongside Daniel’s linework to provide a rare look at the process of making comics. Now the hit campaign is offering a new tier that offers fans a chance to be drawn into an issue from the series’ first story arc, with a speaking role… and an untimely on page death. Backers at this tier will also receive the page of original art of that scene by Tony S. Daniel. In addition, the creators are offering 5 slots for the chance for to be drawn into NOCTERRA issues 2 through 6.
“We were surprised by how quickly the tier offering fans a chance to be drawn into issue one disappeared,” said Tony S Daniel. “And since this is a horror comic, we thought it would be great to bring our fans in on all the gruesome action.”
In addition, the creators announced a new stretch goal of $200K, which will unlock Gilded Edges for the book and a free NOCTERRA print by superstar comic artist Jorge Jimenez (JUSTICE LEAGUE) for all backers of the physical book.
The new tiers are as follows:
$1000: Get Drawn Into NOCTERRA
Get yourself or a loved one immortalized in an issue of NOCTERRA, ranging from #2 through #6. You must provide adequate photo reference. Where and how the person appears will be at Tony’s sole discretion. You will receive a high quality scan of the art to print and frame at your own leisure, all three prints (by Jock, Francis Manapul, and BossLogic), plus a softcover! NOTE: you will NOT appear in NOCTERRA #1: Collector’s Edition. You will only appear in one of the issues between #2 through #6 which will be put out by Image next year and you will have to buy that copy separately on your own.
$5000: Redshirt Speaking Role + Original Page
You or a loved one will have a speaking cameo in an issue of NOCTERRA, ranging from #2 through #6, followed by a grisly death. You must provide adequate photo reference. Where and how the person appears and dies will be at Tony’s sole discretion. You will receive the original page on which you appear, all three prints (by Jock, Francis Manapul, and BossLogic), plus a softcover! NOTE: you will NOT appear in NOCTERRA COLLECTOR’S EDITION. You will only appear in one of the issues between #2 through #6 which will be put out by Image next year and you will have to buy that copy separately on your own.
In NOCTERRA, you can still feel the sun’s warmth – it must be there – but for some reason, light no longer reaches the earth. There’s only darkness. But this new darkness, there’s something strange about it, something terrifying. Because anything – or anyone – that stays in it too long starts to change… NOCTERRA takes place ten years after the world is plunged into an everlasting night that turns all living creatures into monstrous “shades.” Enter Valentina “Val” Riggs, a skilled “ferryman” who transports people and goods along deadly unlit roads with her heavily illuminated eighteen-wheeler. When an old man promising sanctuary offers Val a job to drive him and his granddaughter up through the Rocky Mountains, she takes it, hoping there might be some truth to his claim. What she finds in the end, though, is something much more horrifying than any shade…
Starting at 72 pages, NOCTERRA COLLECTOR’S EDITION is a one-of-a-kind reading experience, with Scott Snyder’s script displayed alongside Tony S. Daniel’s linework, to provide a rare look at the process of making comics. NOCTERRA COLLECTOR’S EDITION will be released to backers ahead of Image Comics’ release of issue #1 this winter and will mark the first time that one of Snyder’s scripts has been published in its entirety.
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