AfterShock Comics has announced a special one-shot project with acclaimed writer Cullen Bunn called PIECEMEAL, available to retailers on December 9th. Artist Szymon Kudranski is headlining the visuals for this new title.
Says AfterShock about this new series of prestige format one-shots: “Five high school kids, soon to say goodbye to each other and to the lives they have known, enter the Nightmare House, the source of local legend and superstition. What they discover within the crumbling old house fills them with terror…”
You can check out a collection of preview images and read the full AfterShock press release below.
Are you up for a little psycho killer horror just in time for Christmas? Let us know what you think in the Comments section, and please share this post on social media using the links below.
PIECEMEAL / $6.99 / 48 pages / Color / On sale 12.09.20
Writer: Cullen Bunn
Artist & Colorist: Szymon Kudranski
Letterer: Marshall Dillon
Cover: Szymon Kudranski
Five high school kids, soon to say goodbye to each other and to the lives they have known, enter the Nightmare House, the source of local legend and superstition. What they discover within the crumbling old house fills them with terror – a human brain, floating in a jar of murky liquid. Soon, the teens find themselves stalked by a vicious killer, a murderer intent on building itself a new body. Piece by piece.
The first in a new series of prestige format one-shots from AfterShock by the top creative talent the industry has to offer, PIECEMEAL is conceived and written by Cullen Bunn (DARK ARK, KNIGHTS TEMPORAL, BROTHERS DRACUL, WITCH HAMMER) and drawn by Szymon Kudranski (BLACK-EYED KIDS, Spawn, Punisher).
CULLEN BUNN ON WHAT THE BOOK IS ABOUT AND WHY HE IS EXCITED FOR IT TO BE RELEASED:
“Piecemeal is the story of five teens who are on the verge of starting their adult lives and going their separate ways. As they visit a local haunted site, they make a startling discovery—a human brain floating in a jar full of disgusting liquid. One of the kids—Jamie—takes the brain home with him, and that sets off a surreal, deadly chain of events. Not only does Jamie’s ailing grandfather seem to “recognize” the brain, but Jamie starts experiencing ghastly, prophetic dreams. And some otherworldly force begins to prey upon the kids.
This is an exciting project for me, because it’s such a different format. This is a focused tale of terror. It has a very specific goal—to scare the reader! And I’ve used this new format as an opportunity to do some different things with the storytelling. There are some elements of this tale that I think will open up the possibility of a lot of discussion among readers.
This is a perfect tale for horror lovers. If you’re a fan of scary stories, this one is for you!”
CULLEN BUNN ON SOME OF HIS INSPIRATIONS BEHIND CREATING THE BOOK:
“For this story, I drew on my own high school days and my own weird experiences. Did I find a brain in a jar in an old house? No. But there are elements of truth to the tale. For example, my friend Doug and I did find a bunch of weird bones, all carved into strange shapes, in an old, crumbling house in the woods. That was obviously the inspiration for the inciting events of this story. But I also drew on the things that worried me and scared me when I was a teen. And Jamie’s grandfather is absolutely a representation of my own father, who struggled with dementia in his later years.
Of course, many stories helped inform the tale, too. Stories like It and Pet Semetery and movies like Phantasm left their marks on Piecemeal.”
CULLEN BUNN ON BEING AN AFTERSHOCK ALUMNI AND SOME OF THE MOST APPEALING THINGS WORKING WITH THE PUBLISHER:
“I love that AfterShock will try different types of stories. One of the first books I did with them, Dark Ark, is a series that I thought might be too weird for a publisher, but AfterShock jumped on it and we’ve done 21 issues in that world so far. Piecemeal, being such a different format from traditional limited series or graphic novels, is just another example of how AfterShock will try unusual and interesting approaches to getting stories to readers.”
On August 26, Marvel Comics released Hellions #3. Writer Zeb Wells, artist Stephen Segovia, color artist David Curiel, and letterer VC’s Ariana Maher continues the story of Krakoa’s rejects as they try to find a place in the new mutant society and face the wrath of Madelyne Pryor.
Thus far, Hellions is proving to be one of the darker, borderline horrific titles among the many X-books.
Several elements make this issue enjoyable, among them the way this series has touched so far upon the X-Men’s deep history. Not only does the action take place in the orphanage where Scott and Alex were raised in a basement cloning facility fun by Mr. Sinister, but this issue touches on the history of Sinister’s Marauders and their history with Madelyne Pryor. We also find Alex and Madelyne’s complex romantic history rekindled.
Readers learn about Pryor’s plans for Krakoa, and they are horrifying, driven by her desire not to be forgotten, which if you know anything about her character’s history, she has been given the shit end of the stick many times by both characters in the X-stories and by the creators themselves.
Meanwhile, while Psylocke is triumphant in her battle with Wild Child to establish her alpha status, seeds are planted in a prose section of this issue that indicates readers should keep an eye on Psylocke.
Hellions continues to be one of the strongest X-titles in terms of art, which, coupled with the mature subject matter and developed fleshed out characters, keeps it from being a cartoony looking quip fest between interchangeable characters who are silly or scowl.
The art in this issue causes Madelyne’s instability to pop and captures the sense of unhinged mania that drives her.
There are also entirely grotesque moments, such as when Alex decides to cut open his mouth (which Madelyne had sealed shut) with a piece of glass. The blood, the rigid shape of the cut, and the parts of skin connecting top and bottom lip all sell grossness of the image, reinforced with a tinge of horrific sexuality as Madelyne kisses Alex’s bloody mouth hole. Maher’s letters complement this moment, using them to indicate Alex’s slurred speech due to the imperfect opening he has created to talk. One can almost hear wet slurping every time he speaks.
There are also some beautiful moments of subtle emotion, such as the sadness on Madelyne’s face and the tears streaming down Alex’s eyes as he agrees to allow Madelyne to kill him to send a message to his brother Scott for leaving Madelyne all those years ago.
Hellions #3 certainly requires some knowledge of the X-canon to fully appreciate, but the darkness of its story and its horror lands nicely. It will be interesting to see how Alex recovers from his encounter with Madelyne Pryor, and how the Hellions will be affected in future stories.
What did you think of Hellions #3? Tell us in the comments below!
Between the upcoming Matt Reeves movie and the new John Ridley comic series, this has been a big year for Batman news — and now we have Batman Day right around the corner. Whether it’s comics, movies, animation, games, or other activities, DC has Bat-fans covered on this one.
Here’s the official word and a breakdown of the schedule:
CAPES OUT, COWLS ON!
DC CELEBRATES BATMAN DAY AROUND THE GLOBE
Fans Can Embrace Their Inner Caped Crusader by Taking Part in Batman-Themed Digital Activities
Drivers Can Ride-Along with Batman or The Riddler with the Batman Theme on Waze
(August 31, 2020 – Burbank, CA) – DC today unveiled plans for a global Batman Day celebration on September 19, 2020, inviting fans of all ages around the world to participate in a wide range of Batman-themed activities to honor the iconic DC Super Hero. For the first time, fans have the opportunity to drive along with a “Batman and The Riddler” theme on Waze. And to complete the experience, you can listen to the Waze and DC Super Hero or Super-Villain playlists on Spotify while driving via the Waze Audio Player feature. Plus, free digital comics, free activity kits for kids, a Batman Virtual 5K/10K Run/Walk, and even a digital mystery to solve in which fans can put on their cape and cowl and transform into their strongest self.
Fans can also team up with Batman to protect Gotham City in a series of digital activities, such as joining the celebration on social media and helping Batman to piece together a series of clues left behind by The Riddler. If you can decode these mischievous hints, you’ll unlock exclusive, limited-time reveals! The adventure begins when the virtual Bat-Signal lights up at 12PM PT, September 18, on the @DCComics Twitter.
The new Waze Batman theme allows for more than 100 million monthly active Waze users to ride along with Batman and The Riddler from August 31 to October 31. Waze drivers can opt to hear directions in the style of Batman, voiced by Batman: The Animated Series actor Kevin Conroy, as well as select a custom Batmobile icon and Batman mood. Drivers who want a slightly more villainous experience can select The Riddler voice directions (voiced by actor Wally Wingert), mood and custom vehicle. Waze users worldwide can experience the Batman theme in English, Spanish, and Portuguese.
As noted above, the other exciting elements of the annual celebration of DC’s Caped Crusader include:
Experience Batman:
Caped Crusader Training: Are you ready to team up with Batman? In the week leading up to Batman Day, fans will have a chance to immerse themselves in all things Batman. Each day, visit BatmanDay.com to find new activities, such as DIY cape and cowl instructions, a how-to video about creating your own Bat-Signal, and more!
Batman Virtual 5K/10K Run: Get your cape on and participate in the Batman Virtual 5K or 10K Run/Walk. Launching on August 31 in partnership with RAM Racing, the Batman Virtual Run allows participants to run their own race during the day or under the darkness of night (but with reflective gear for safety!). Registered participants will receive an exclusive collection of Batman-branded gear, including a premium quarter-zip pullover, finisher’s medal, cap and more. Learn more and register at https://dcbatmanrun.com/.
Injustice 2 Mobile will feature back-to-back Batman Arenas, along with a special Classic Batman Invasion Event. Players will also be treated to a free Batman Day Gift and various sales on in-game chests and bundles.
DC Legends will celebrate the protector of Gotham this Batman Day! Players who login on September 19 will receive a special treat, and can check out the store to unlock and boost up their favorite Gotham Super Hero or Super-Villain with a promo sale.
DC Universe Online is celebrating Batman Day with an in-game Batwing form change trinket, free for all players, and a new Riddler-inspired aura for members between September 14-20.
DC’s digital subscription service, DC UNIVERSE, will also be celebrating with some exciting news you won’t want to miss!
Batman Around the World:
Fans in Mexico, Brazil, France, Italy, Spain, Germany, China and Japan can enjoy special offers, give-aways and exclusives on a variety of Batman comics.
Italy Cartoon Network will host Batman themed programming starting on September 14 on CN+1.
In Japan, UNIQLO UT will be launching a collection of t-shirts and hoodies featuring Batman and other DC characters by renowned artist, Jean-Michel Basquiat, in all UNIQLO stores on September 18.
Fans in the UK will be able to enter competitions for the chance to win Batman bundles. In addition, there will be retail promotions with partners.
Free Digital Comics & Activity Kits:
DC will offer free digital comics including the first chapter of Batman: Curse of the White Knight graphic novel by Sean Gordon Murphy for adults and teens. Fans of any age can enjoy the free digital editions of Batman: The Adventures Continue #1 and the first chapter of the Batman Tales: Once Upon a Crime graphic novel. Readers can find them at DCcomics.com and ReadDC.com as well as Apple, ComiXology.com, Google, Overdrive, Madefire and Nook.
Families can enjoy the timeless DC Super Hero with free activity kits to print at home, available at www.BatmanDay.com.
Explore more of the Batman universe with a curated reading list on www.BatmanDay.com.
Watch Batman:
HBO Max will celebrate with a Batman takeover of the DC Brand Hub from September 18-19.
Key Cartoon Network international territories across APAC and EMEA will host exclusive Batman-themed programming and stunts for kids in September.
Shop Batman:
Warner Bros. Consumer Products and DC are also joining forces with an extensive list of retail partners, including Amazon, Barnes & Noble, Target, iTunes, Walmart, GameStop and Google Play, among others who will have special Batman promotions.
Global partners such as LEGO, SpinMaster and Funko will release exclusive Batman products in celebration of the DC Super Hero’s big day.
Our Batman Day digital comics book sale will feature more than 400 eBooks and 3,000-plus digital comics, discounted as low as 99c for periodicals and as low as $5.99 for ebooks here.
Hero Initiative, the charity that helps comic book creators in medical and financial need, is celebrating Batman Day with the Batman 100 Project! Hero commissioned 100+ top artists to do original drawings on DC’s Batman #75, and the originals will be auctioned at Heritage Auctions (www.HA.com/Batman100) September 13-19.
Conceived by artist Bob Kane with writer Bill Finger, Batman is humanity’s timeless hero. First appearing in “Detective Comics #27” on March 30, 1939, the socialite Bruce Wayne turned crime-fighter called Batman has stood as a symbol of determination, bravery and justice to generations of fans for more than 80 years. He has influenced every area of modern entertainment, appearing in countless comic books, Saturday morning cartoons, multiple television series, video games, theme parks and experiences, toys, collectibles, apparel and lifestyle products, as well as, blockbuster animated and live-action films. Batman is a multi-billion dollar icon who continues to reign as the most popular single Super Hero ever created.
Fans can join in on social media using the hashtag #BatmanDay and visit www.BatmanDay.com for the latest news and updates.
The New Mutants has been delayed many times over the past three years, but the film finally landed in theaters over the weekend and while not as bad as expected, it isn’t that good either. The New Mutants has so much potential that just can’t be reached in the format of a feature film. As the film progresses, and as the backstory of our characters gets addressed it becomes clear this would have worked better as a miniseries on a streaming platform.
The X-Men spinoff that fans have waited for may be enough for some but not all. The film starts off very slow but picks it up as the credits near. The New Mutants spend a lot of time letting viewers get to know and sympathize with our protagonists but they still feel underdeveloped. Directed and co-written by Josh Boone, the film stars Anya Taylor-Joy, Maisie Williams, Charlie Heaton, Blu Hunt, Henry Zaga, and Alice Braga. The New Mutants follows a group of five young mutants, who have just discovered their powers and are being kept in a facility. While coming to grips with their powers, the mutants attempt to escape the facility and their past sins in order to save themselves.
Maisie Williams as Rahne Sinclair in The New Mutants
Our mutants consist of Danielle Moonstar (Hunt), Sam Guthrie (Heaton), Roberto da Costa (Zaga), Illyana Rasputin (Joy), and Rahne Sinclar (Williams). Dani is the first character introduced as her life gets turned upside down. She awakens in a facility where she meets the remaining mutants. Cecilia Reyes (Braga) is the mentor to the mutants and supposed doctor here to help them understand their powers. Dani has the power to create illusions based on the fears of others. Illyana has sorcery powers and can gain access to the soulsword. Sam has jet propulsion powers and is invulnerable during this activity. Rahne, who comes from a religious background can turn into a wolf. Roberto has the ability to manipulate solar energy. The script does a good job establishing that each mutant has an unfortunate background story, but only Dani gets the spotlight it seems overall.
Had this film landed on Netflix in the form of a miniseries then each character would feel more fleshed out, but the film establishes them enough where you can at least get on their side. The script uses a Buffy the Vampire Slayer scene to foreshadow a future event and that was a nice addition. Also, this shows how impactful that particular scene was when it aired on television. In fact, a lot of inspiration seems to be drawn from not only Buffy but Nightmare on Elm Street 3 as well. The performances are all solid but Joy steals the show as Illyana. Illyana is the most confident mutant, she has embraced her powers, comes off as a rebel and Joy portrays this with ease. Hunt is good as our central character Dani, and as mentioned her character is fleshed out the most because she spends most of the film trying to learn her power and move on from a tragedy.
The mutants prepare for battle in The New Mutants
Dr. Reyes is meant to be a threat, but Braga’s performance isn’t giving off anything resembling danger. It doesn’t help when she constantly references her superiors, so in a way, our primary villains aren’t present at all in the film. There is a larger threat presented in the end, but it just feels too last minute to care. The film is more concerned with the mutants but never makes it clear who a central villain will be so we get several small ones instead. The first two acts are good for what they are but then an action-packed finale occurs and it’s captured masterfully by Boone but he fails to add intensity to other moments in the film. Cinematographer Peter Deming effectively supports the overall narrative and the score by Mark Snow adds to the emotional aspects of the film.
The New Mutants’ adequate qualities sadly are held back by its poor qualities. It’s safe to say this won’t lead to a spinoff franchise as planned, so we will never know why there was only one doctor in this entire facility. However, the film still had several elements that worked in its favor, mostly the performances and the visual displays. This X-Men spinoff does enough to stand on its own but The New Mutants is mostly a bland version of Dream Warriors.
I was lucky enough the be able to talk to the incredibly talented Mirka Andolfo (Un/Sacred, Mercy) about her newest project “Sweet Paprika.” We talk about the growing popularity of a new concept, bringing major talent into an animated series, and how this creation sets itself apart from other more erotic projects.
MFR: The entire premise of an Angel and a Demon falling in love is a classic trope now in pretty much every medium. Where exactly did your (Mirka’s) take on this concept come from, and what to you sets it apart so much? MA: An angel and a devil falling in love is a classic concept, also for my work: it’s not the first time I’ve played with this dynamic (that was the initial setting of Un/Sacred, my first comic), but I think that a female devil with a male angel is way rarer to see. That’s probably because the stereotype wants women to be “feminine and angelic,” and the male as a sort of “alpha devil,” so I really wanted to reverse the roles. I love doing this kind of operation. But in general, to be honest, I just like angels and devils so much! Especially if they are reinterpreted! And I must say I love drawing devils!
MFR: These characters rose in popularity just from sharing your sketches with your fans over social media, to the point where people were even cosplaying as them at cons. At what point did you realize that what you had created could lead to some major creative like “Sweet Paprika”? MA: My usual path is that I start sketching a new character (or a couple of new characters, like in this case), and then I realize I want to develop something more when I become really obsessed with them. Too many sketches come to my mind. I think having fun with character design, characterization, and world-building is really important to me, when I start creating a new IP. It’s always pretty instinctive. Then, if I see that fans like them (and I’d say that with Paprika and Dill they did adore them!), I feel super happy, and the desire to work on them is even more intense. But the first rule for me is having fun just for myself. That’s the starting point.
MFR: Gabriele Pennachioli, who worked on Love, Death + Robots (which is mind-blowingly good) is slated as executive producer on Sweet Paprika. How exactly did he get involved with this project?
MA: With Arancia Studio and Grey Ladder, the producing companies working on the animated project, we started discussing talent that we would love to have attached. We immediately thought about Gabriele: we didn’t know him personally, but we did love his work, and his skills were amazing, no doubt. Then, personally, I also love the idea of an Italian talent who’s experiencing huge success in the United States… So, Arancia Studio and Grey Ladder contacted him, letting him know how much I loved his incredible work and, especially, Love, Death, and Robot. He jumped into the project immediately and believed in it. I feel really honored!
MFR: One of the major points in the presentation of Sweet Paprika is that this is an erotic tale set from the perspective of a woman, meant to empower the idea of women’s sexual autonomy. How difficult is it to walk the line between just male-gazey smut and the more intentioned, character-driven erotica being made here? MA: Let me say… It’s VERY complicated. I think the most important thing is to act in a “wise” way, never being vulgar. All the erotica in my work is always sex-positive. And also, making a pornographic project is not our target: we want to tell a cute, funny, romantic story (with the presence of sex) about a woman who needs to balance her work with her private life. Sex is a beautiful part of our lives, but not the only one, and at the same time, it looks like something that just men can talk about and enjoy. In 2020, it still looks “strange” when a female character (like Paprika) looks “sexual active”.
MFR: If it isn’t too early to ask, what platform or platforms are you and the creative team eying for Sweet Paprika to be played on? MA: That’s a very good question! But, yes, it’s still too early, unfortunately. I can say that we got some strong interest from co-producers and from a couple of broadcasters/platforms. Let me say again, in any case: it’s still very early. We are in the first stage of development, and almost anything can happen… Also, I wouldn’t assume that the animated project is the only project related to Paprika and Dill, by the way!
Keep up with Monkeys Fighting Robots for future updates on “Sweet Paprika!”
Bill And Ted Are Doomed #1 Credit: Dark Horse Comics
Over 30 years ago Bill and Ted discovered that strange things were afoot at the Circle K and a Legend was born. Despite mixed reactions to the second movie in 1991, Bill and Ted found an audience that have followed them through numerous comic book series. Therefore it comes as no surprise that a new comic is being released to tie in with the new movie. As Bill and Ted Face The Music in limited cinema releases and streaming services, on paper Bill and Ted Are Doomed.
Comic writer/artists Evan Dorkin and Roger Langridge bring their own anarchic humour to the new series from Dark Horse Comics. Drawing on references from the franchise and the greater world around us, the new comic offers something for everyone. New and old fans alike will find something in these pages to keep them amused.
Bill And Ted Are Doomed #1 Credit: Dark Horse Comics
All We Are Is Dust In The Wind
The award winning creator Evan Dorkin has created some bizarre comics in his time, Milk and Cheesebeing one of this reviewer’s favourites. As such, he is a perfect fit for the farcical adventures of the time travelling musicians. His tale begins in the future where Rufus, the guiding hand for the heroes, is informed of yet another looming disaster. The opening is a clever introduction to this series as well as the franchise as a whole. Dorkin clearly assumes that new fans will be jumping on board so he brings everyone up to speed by referencing the plots of the original movies. This ushers in some hilarious gags, or cheesy one-liners, depending on your sense of humour.
Dorkin uses the opening to kick off the plot but also to set the tone of the comic. Chances are if you pull a face at Rufus’ quipping you’ll not make it through the rest of this first issue. The jokes come thick and fast with most reliant on the way the heroes speak. Very little extends beyond one liners or slap stick. The intention of this first issue appears to be the re-introduction of all of the main characters from each movie. All the favourites are there; the musically talented members of the band Joanna and Elizabeth; the alien duo Station; the bass obsessed Death; and the lonely metal side-kicks, The Robot Us’. The comic also includes younger versions of Bill and Ted’s daughters who feature prominently in the new movie.
To cut a long story short, it’s a massive assembly of characters. The drawback to this is that the narrative reads like a collection of short comic strips rather than a cohesive story. Dorkin moves the action from one introduction to another, playing a short comical scene in-between, and after a while the lack of significant plot becomes tiresome. It does begin to pick up towards the end but then new problems surface. Bill and Ted isn’t known for sensible, linear, storytelling however there is usually an element of comprehension present at each major narrative beat. Dorkin’s script lacks this.
Bill And Ted Are Doomed #1 Credit: Dark Horse Comics
We Got Totally Lied To By Our Album Covers
The Art is cartoony in style, favouring humour over realism. This has been the case for the majority of the Bill and Ted franchise. With the large cast of characters, especially the otherworldly members, the premise lends itself perfectly to this style of storytelling. For older readers it will invoke childhood memories of comic strips such as The Bash Street Kids from the weekly Beano comic*. For younger readers it will be familiar and friendly; an easy to access comic.
Roger Langridge’s style is fluid and direct. He captures the essence of a character and then is free to play with the visuals, sometimes to absurd levels. Langridge often over simplifies the panels allowing for straight forward storytelling. There is a clear emphasis on character and humour on the page that builds a tone for the book. It’s fun and frivolity to the extreme. There is little to take seriously, something that is elevated by the coloring and lettering.
The colors are bold and brash, designed to increase the ease of the storytelling. Each page is clearly set out with a clear reading line from panel to panel. Again this illustrates the accessibility of the comic and the wider public that it is aimed at.
Langridge’s lettering is a high point of Bill and Ted Are Doomed. It blends into the surrounding artwork becoming part of the page and brings the characters to life. The sarcastic inflections within the majority of the speech is picked out beautifully within the speech balloons. You can almost hear the voices of Keanu Reeves and Alex Winter speaking the scripted lines. This is especially true of Death because Langridge gives the Grim Reaper a singular look that stands out on the page.
*I’m from the UK where the Beano is familiar to everyone
Bill And Ted Are Doomed #1 Credit: Dark Horse Comics
Conclusion
There is a lot of enjoyment to be had with Bill and Ted Are Doomed. The extent of that enjoyment will completely depend on how much you love and cherish the franchise. Past Bill and Ted comic tie-ins have ranged from the superb to the merely bland, Are Doomed falls somewhere in-between. The creators have made a conscious decision to use a specific style that is both accessible and fitting for the comic, aimed, as it is, at a wide audience. It will not appease the uber-fan, and may actually put some people off: but not too many.
The long and short of it is, Bill and Ted Are Doomed is a cartoon frolic set to capitalise on the release of the new film. It’s not a bad comic but the familiarity and simplicity of the plot stop it being a great comic.
While Bryan Konietzko and Michael DiMartino’s creation of The Legend of Korra is an entertaining and impressive feat, it is often considered to pale in comparison to its predecessor in Avatar: The Last Airbender. In that sense, it’s almost fitting that The Legend of Korra: Ruins of the Empire is also a completely entertaining and well-made comic arc that falls short of the standard set in its predecessor, Turf Wars. This story arc focuses more on referencing old characters and reexamining old plot devices than exploring new territory within the Avatar universe. This being said, the character writing is so good it’s almost easy to overlook. With fantastic series-fitting artwork from Michelle Wong, this collected library edition is probably going to be an easy buy for any Korra fan, regardless of its faults.
“To secure lasting peace for the Earth Kingdom, Korra must trust an unlikely ally! On the eve of its first elections, the Earth Kingdom’s future is endangered by its past. As Kuvira works to reclaim her honor, the devious commander Guan undermines the peace Avatar Korra has established to take power for himself. Korra and Kuvira must learn to work together to ensure the future of the Earth Kingdom.”
Writing & Plot
Writers and series creators Brian Konietzko and Michael DiMartino tight pacing, fun dialogue, and engaging character interactions mostly make up for the plot contrivances in Ruins of the Empire. This story arc relies almost entirely on old storylines from the show and the nostalgia they bring along to carry the reading experience. Oddly enough, it actually works for the most part. I’ll be the first to admit that Kuvira is my favorite villain in Korra. She’s easily the most complex, and while her endgame was basically fascism and her methods were merciless, she never felt wholly evil. The turn her character takes is superficially engaging, and what is revealed about her past is tragic. However, the end result of Kuvira’s arc here just doesn’t quite feel earned. There doesn’t seem like enough weight going into her development to make what happens with her mental state believable. There is one daring and tragic moment later in the arc where I was applauding the writers – making it seem like they were taking Kuvira to the hardest possible right-hand degree – but then they abandon that potential arc in favor of something much safer and more palatable to Kuvira fans. This catering is ultimately this story’s main flaw. While the appearances of old friends, the references to events long past, and the reappearance of the Earth Empire from Korra’s final season do appeal to the fan in me, they were often introduced in a manner that felt forced or unnecessary. The new villain, Commander Guan of the Earth Empire, brings out a new angle with which to observe Kuvira’s character, but in the end he’s a forgettable cut and dry generic villain. One major character that is brought in again briefly acts against type just to fulfill a service that I imagine a lot of fans and readers would find, well, cool. To me however, it was just distracting.
Despite the issues I have with this comic’s plot, it’s still impressive how engaging Konietzko and DiMartino are able to make a story based solely on their characterization and dialogue writing. This is one a major feature of their work that has to be given credit: even when all other elements are faulting, the story is still fun to read. The snappy dialogue, (mostly) clever humor, and tautly-paced scripting of Ruins of the Empire make it an enjoyable comic to experience – even if the plot itself has some inconsistencies.
Art Direction
In reality, the major contributor to Ruins of the Empire being so fun to read comes from the outstanding visual work of Michelle Wong’s pencils and Killian Ng’s colors. Their vivid imagining of the world of Legend of Korra isn’t just great by comic art standards, it at times looks like it could be a series of screenshots from the show itself. Wong’s thick lines and elegant details perfectly match both the character and environmental designs first crafted in the animated series, and it’s an aesthetic that is sure to easily reel in fans. She also utilizes a combination of both comic-oriented and cinematic visual direction. The flow of action scenes from panel to panel looks naturally sequential and is exciting to follow. Character-focused scenes have varying wide-angle, close up, and shot/reverse shots that feel like unintrusive camera movements. There are quite a few silent panels that are driven wholly by Wong’s ability to animate character expression, or her ability to choreograph kickass fight scenes. The colors from Killian Ng really bring the Avatar world to life with a palette that is ripped right from the frames of the animated shows. The use of detailed shadows, lighting effects, and shading gives this comic fantastic visual complexity. The art in this series makes it worth the purchase of the oversized Library Edition hardcover on its own.
The Legend of Korra: Ruins of the Empire is an entertaining and visually outstanding comic series, with some issues in its plot and characterization. Konietzko and DiMartino’s script manages to be well-paced and fun enough to just barely make the farfetched plot decisions overlookable. Michelle Wong and Kilian Ng’s visual art is energetic and vivid, and is sure to visually satisfy longtime fans. If you’re a diehard fan of The Legend of Korra, then this Library Edition hardcover is likely a must-buy when it comes out on September 9th!
It’s no secret Wally West has been one of the biggest punching bags of DC Comics’ writers in recent years, but all that looks to be over. DC has announced its Speedster-centric story from the Dark Nights: Death Metal series entitled SPEED METAL, available to retailers on 9/22.
In writer Joshua Williamson’s own words: “Wally’s race is not over!” Wally West, possessing Dr. Manhattan’s powers, is on a race through the Death Metal wastelands with an assortment of speedsters at his side.
You can check out some preview images and read the full DC press release below.
Is it finally Wally’s time to shine? Let us know what you think in the Comments section, and please share this post on social media using the links below.
This September, Dark Nights: Death Metal
Unleashes
Speed Metal!
It’s the drag race from hell! Taking place after the events of Dark Nights: Death Metal #3, the Darkest Knight is after Wally West and his Dr. Manhattan powers. Thankfully, Wally has back-up
in the form of Barry Allen, Jay Garrick, and Wallace West! It’s a knockdown, drag-out race through the Wastelands as the Flash Family tries to stay steps ahead of the Darkest Knight and his Lightning Knights!
Dark Nights: Death Metal Speed Metal #1, written by Joshua Williamson with art by Eddy Barrows, Eber Ferreira and
Adriano Lucas and a cover by Howard Porter, hits shelves on 9/22.
X-Factor’s next missing mutant case begins in X-Factor #2, released by Marvel Comics on August 26. Brought to you by writer Leah Williams, artist David Baldeon, colorist Israel Silva, and letterer VC’s Joe Caramagna, X-Factor finds themselves exploring Mojoworld for the body of a missing mutant.
With the return of Northstar’s sister Aurora, who is still recovering from her death and resurrection, X-Factor discovers a mysterious package on their doorstep, leading them to Mojoworld looking for a missing mutant.
An adventure to Mojoworld, while at times violent and brutal, always lends itself to zaniness, humor, and commentary on mass media consumption. Baldeon’s art style, with its at-times exaggerated cartoony-ness, lends itself well to the story, particularly in his portrayal of Mojo.
There is also some excellent panel design in which the artist, colorist, and letterer work together to create the media-inundated atmosphere for Mojoworld, particularly when the members of X-Factor are attempting, through the right amount of up-likes and down-likes, to be approved for entry into Mojoworld.
There are times where the cartoony nature of Baldeon’s style can be a little imprecise (there is a particular panel where Rachel’s neck is…quite long), but it lends itself to the wackiness of the issue.
Meanwhile, Silva’s colors really pop at times, like when Rachel shows what a badass she is and takes down Mojoworld’s encroaching army.
Images like this lend the issue gravitas in a story that is, overall, a little silly, but fun.
X-Factor #2 is far from a self-serious issue. Its creative team presents a fun, wacky story in Mojoworld. Some of the characterizations can be a little shallow at times, as members of X-Factor are either scowling and serious or quippy, although eventually, everyone gets a quip or two in. While it is great having a bunch of X-characters in different titles, where hopefully they’re individuality can be explored, this title demonstrates a potential problem with having so many X-titles…will they eventually just become a bunch of interchangeable mutants in out of this world situation who just scowl or make quips? It’s only the second issue, so we’ll see what happens. I hope this series provides readers with more than “another mutant title, but this time, they hunt for missing people.”
What did you think of X-Factor #2? Tell us in the comments below?
Marvel Comics releases X-Men #11 on August 26. Tying into Marvel’s Empyre event, writer Jonathan Hickman, artist Leinil Francis Yu, color artist Sunny Who, and letterer VC’s Clayton Cowles show readers the fallout of Vulcan’s encounter with the Cotati on the moon in issue #10–an attack on Krakoa!
X-Men #11 sees Magneto take center stage in the defense against Krakoa. Hickman’s run so far has been about seeding future plot developments, establishing the new status quo, and providing a lot of exposition for that purpose. One of the things this Empyre tie-in provides is an opportunity for some beautifully illustrated action, and Yu and Gho’s work is nothing if not beautiful.
Donning his old purple and red armor, readers see Magneto take on the role of the savior of mutant-kind that he always imagined himself to be. This is reinforced by the narration provided by Exodus and lettered by Cowles.
One particularly effective sequence, drawn by Yu and Gho, is the definitive moment of Magneto’s triumph when he defeats the Cotati commander. Writer, artists, and letterer are all in sync for this sequence, as Magneto exchanges some clever dialogue with the arrogant Cotati commander, who is then crushed by a satellite or two.
Krakoa has been no stranger to outside attacks since the Dawn of X, but this issue shows that the new mutant nation, with former friends and allies working together and trusting each other for mutual survival, is a force to be reckoned with. One incredibly subtle moment in this issue comes when Magneto removes his helmet to facilitate telepathic communication with fellow mutants on the island. The helmet Magneto wore to keep out telepaths like Jean Grey, and Xavier is now freely removed without fear and in full trust, further reinforced by Iceman referring to Magneto as “boss.” It’s a moment that’s easy to hurry past, but long-time X-Men fans, if they stop and think about it, should appreciate it.
X-Men #11 brings the X-Men Empyre tie-ins to an end, with Krakoa effectively repelling an alien invasion force. It is also one of the last X-titles before the X of Swords event, the first X-centric even post-Dawn of X. With the next issue serving as a prelude, it will be interesting to see if Hickman can recapture the magic of Infinity during his Avengers run with his first X-event.
What did you think of X-Men #11? Tell us in the comments below!
