Review: THE NEW MUTANTS Is A Mixed Bag X-Men Spinoff

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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.

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In Conversation With SWEET PAPRIKA Creator Mirka Andolfo

By

Justin Munday

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August 30, 2020

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!”

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Review: BILL AND TED ARE DOOMED #1 Fills In The 30 Year Gap Between Movies

By

Darryll Robson

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Bill and Ted Are Doomed — 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 — 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 Cheese being 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.

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

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.

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Review: THE LEGEND OF KORRA: RUINS OF THE EMPIRE Library Edition – Trading One Villain For Another

By

Justin Munday

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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!

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DC Preview: Does Wally West Finally Get Some Respect In SPEED METAL?

By

Gabriel Hernandez

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August 28, 2020

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.

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Review: X-FACTOR #2 – X-Factor vs. Livestreaming!

By

Matthew Brake

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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?

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Review: X-MEN #11 – Who Is Your Hero?

By

Matthew Brake

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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!

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DC Comics Sneak Peek: THREE JOKERS #2

By

Kevin Sharp

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August 28, 2020

After a long wait and many teases, fans finally got their hands on Geoff Johns and Jason Fabok’s Batman: Three Jokers this week.

Now, DC Comics has a short preview for issue #2 ahead of its release next month:

If you’re like most fans, it’s probably taken you until now to catch your breath after reading the debut issue of Batman: Three Jokers! Geoff Johns, Jason Fabok and Brad Anderson have laid the groundwork for a Batman tale for the ages, and they’ve just gotten started!

DC has your first look at incredible artwork for issue #2, on sale Tuesday, September 29.

As Batman and Batgirl follow an unexpected thread linking the three Jokers with someone from the Dark Knight’s past, Red Hood dives headfirst into trouble and finds himself struggling to stay afloat without the aid of his allies.

Batman: Three Jokers continues its trajectory as the ultimate examination of The Joker and his never-ending conflict with Batman. Prepare yourselves for the second chapter of one of the most terrifying and personal mysteries Batman has ever faced!

BATMAN: THREE JOKERS #2

Written by GEOFF JOHNS

Art and cover by JASON FABOK

Variant cover by JASON FABOK

PRESTIGE FORMAT | ON SALE 09/29/20

$6.99 US | 48 PAGES | 2 of 3 | FC

DC BLACK LABEL | AGES 17+

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Review: THE FLASH #760 Sees the Return of Several Speedsters

By

Jose "Jody" Cardona

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The Battle for the Soul of The Flash

Barry Allen is no longer in control of his actions. Eobard Thawne has taken his body in an attempt to take the mantle of The Flash. Barry is stuck in the Speed Force with Jesse Quick and Max Mercury, which work with him on trying to retake his body. As Eobard works as the Scarlet Speedster, Bart Allen pieces the truth together and warns Kid Flash and Avery Ho. With the speedster of the future furious, he attempts to murder the three children. He is stopped, however, by the return of Jay Garrick, the Flash of the Golden Age. Will Barry get out before his body is used for evil?

**Some Spoilers Below**

Story:

As Barry learns about the speed force from Max and Jesse, Jay holds the line against Thawne. The Flash of the Golden Age does his best, but Thawne ends up being too much. Before he can deliver the final blow, Barry tries vibrating free, causing Thawne to flee. Meanwhile, the Legion of Zoom continues on their crime spree of Central City. They head to the final target, only to learn that it’s Nora Allen’s Grave. Thawne arrives, explaining that if he wants to stay in The Flash’s body, he needs to absorb the chrono-energy from her corpse.

The story in this issue can be best described as all Flash, little substance. Pun aside, there are great moments during this story. Williamson appears to try and tie the old and new together as his story comes to a close. The return of the pre-New 52 speedsters uniting with the speedsters of Rebirth is a great way to end the run. Max and Jesse working alongside Barry from within the Speed Force, makes sense and is a great way to honor the past. Even the cameo of an old Flash villain brought a smile to my face. Each speedster gets a moment to shine, and it helps the book.

The problem with the issue is that while the returns are a significant impact for long time fans, for those who just hopped on during Rebirth, it’s not. It’s very cool to be sure, but there hasn’t been one reference to Max Mercury or Jesse Quick in the entirety of Williamson’s run. If there were more references to the past in other stories, this could have been so much better. As it stands, these last-minute reveals stop a good story from becoming great.

Art:

Christian Duce takes the place of Rafa Sandoval this time around and knocks it out of the park. As I’ve mentioned in his previous works, he excels in showing how the powers work. He adds details that some will miss on the first read-through, but if one were to look closer, provide realism. The best example would be the blurred lines on The Flash when Barry tries to take back over. It shows off the vibrational disharmony between the speedsters and could have easily been missed. Scott Kolins does excellent work in the Speed Force section as well, providing a great slower moment between an old enemy and Barry. Throw in the fantastic colorwork of Hi-Fi and Luis Guerrero, and we have ourselves one beautiful issue.

Conclusion:

Overall this issue was good but had the potential to be better. The return of the past speedsters may feel hollow, but there are some spots that hit the feels hard. The art team does a fantastic job of bringing the story to life. As we edge closer and closer to the end, the entire landscape has changed for the next creative team. This reviewer is personally excited to see what changes Williamson has left for us.

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Review: CANTO II: THE HOLLOW MEN #1 Ticks All The Right Boxes

By

Michael Fromm

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The first CANTO series came out last year, introducing us to a heartwarming fable with adventure, magic, and love. It was a fairy tale as old as time, that a hero can come from the most unlikeliest of places.

The titular Canto now returns in a sequel series from IDW subtitled The Hollow Men by writer David M. Booher, artist Drew Zucker, colorist Vittorio Astone, and letterer Deron Bennett.

Story

Book 2 of all-ages fan favorite Canto begins! Once, a little tin slave with a clock for a heart broke all the rules—he found love, he was given a name, and he escaped his masters to go on an epic journey to save his love’s heart. He met strange allies and terrifying enemies and, ultimately, though his adventure didn’t turn out as planned, he returned to his people and led them to freedom.

That freedom is in jeopardy when Canto discovers his people’s clocks will stop unless they return to captivity. He and his friends Falco, Rikta, and Veratta embark on a new adventure to save the lives of all their people. Can they lift the curse before their time runs out?

Everything that made the first run of Canto so beloved is back in The Hollow Men. Booher, Zucker, and company continue to build upon this enchanting world. And while there were a few pages that could have been left on the cutting room floor so we could get to the setup of this sequel series quicker, it by no means takes away from the quality of story.

As expansive as this realm is, it wouldn’t be as compelling if it were not for the short and stout Canto. No great fantasy story would be what it is without its hero. Frodo Baggins. Willow Ufgood. Canto deserves to have a rightful place among those characters. He’s a hero we need during these trying times. He’s innocent and endearing through and through. No matter his stature or status, he braves the harsh landscape to fulfill his quest.

Art

Zucker brings a robust and whimsical quality to the artwork. It really shows in the character designs of Canto and his fellow metal people. They all have a signature size and accoutrement that help them stand out for the reader. Their big eyes are filled with such life and expression. Zucker has also developed a landscape that is wholly unique. The detail of the world drawn behind the characters is created with just as much soul as Canto and his fellowship.

Astone’s colors have a worn, ancient quality to them. It’s as if the book had been created centuries ago, and time has muted and yellowed the colors. It brings this old-world quality to the first issue of The Hollow Men, making you feel as if you are reading an antique fable. Bennett’s letters add to that vintage storybook vibe. What stands out in his work are the caption boxes, which look like their text was meticulously scribbled down via ink and quill onto papyrus scrolls.

Conclusion

If you enjoyed the first Canto series, you will appreciate The Hollow Men without a doubt. It’s a fantasy comic book filled with so much heart. Anyone of any age can (and should) pick up this book.

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