How the World Keeps Turning in FAMILY TREE #8

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FAMILY TREE #8, available this Wednesday from Image Comics, brings fans back to a world full of horror and family drama. There’s no doubt that for one family, the world will never be the same. Even while it all keeps moving forward.

***SPOILER WARNING***

Family Tree has always provided a unique combination of horror and family drama. It’s what made the series stand out in the first place. Yet there’s no denying that the balance between the two has shifted over the course of the last several issues.

Now, it almost feels like everything shifted back, with the focus turning squarely on the family. And the potential horror they’re about to unleash on a mostly unsuspecting world.

Created by Jeff Lemire, Phil Heter, Eric Gapstur, and Ryan Cody, Family Tree is one of those series that defies definitions while breaking ground left and right (pun intended). The real question is, where will the series take us before it all wraps up?

Grandpa isn’t looking so good on this cover of Family Tree #8.

The Writing

Where the last issue was set in the future, Family Tree #8 felt set firmly in the present. There’s no hiding from what is happening to one unlucky family. Nor can fans forget those that are actively hunting them.

Even if those facts had somehow slipped the minds of readers (unlikely), this issue was quick to get everybody on the same page. It’s an emotional read, courtesy of all the harsh changes this one family is facing.

In a way, it’s heartbreaking. In many other ways, it felt inevitable. The glimpses into the future told a specific story, and as such, we all knew that change was on the way. It’s just hard to see that change sometime.

The creative team behind Family Tree has done an excellent job of infusing many elements together to create this series. One moment it’s a horror series, the next a family drama, then suddenly it’s a series full of hope for the future, the next it’s full of dread. It’s almost beautiful, in a way. All while being emotionally draining in the best ways possible.

The fight is still ongoing in Family Tree #8.

The Art

Family Tree #8 is yet another issue in this series that is full of bold and dynamic artwork. The stark white backdrop on many of the scenes forces the readers to take note of the story being told. And the cost that comes with it.

The rougher quality of the artwork is perfect for the more organic nature of this series. It also merges nicely with the scenes full of action and injury, in ways that many other art styles could not. It’s a quality unique to this series.

The infusion of green towards the end of the issue is oddly evocative, foreshadowing events in a way that is reminiscent of classic Marvel villains, whether intentionally or not. The end result is a mild sense of horror, long before any real change occurs.

Conclusion

Family Tree #8 continues the harrowing story of one family and how they’re about to change the world. For the better or worse has yet to be seen, though at times one can’t help but feel like the series has a positive tone hidden inside all of that horror.

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Review: LOCKE & KEY: IN PALE BATTALIONS GO #1 Welcomes Us Home

By

Zac Owens

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IDW’s Locke & Key: …In Pale Battalions Go… #1 is a wonderful welcome home to Keyhouse. Writer Joe Hill, artist Gabriel Rodriguez, colorist Jay Fotos, and letterer Shawn Lee capitalize on the lesser-known parts of this big world they’ve created, and it’s both fresh and familiar at once.

Writing

It’s hard to review In Pale Battalions Go #1 on its own, because one gets the sense that so much elegant groundwork has been lain long before this issue. Hill has created a fully fleshed out world in the pages of Locke & Key, and in Pale Battalions he reels us back in. We become reacquainted with characters like John and Chamberlin Locke, only briefly touched on in the parent series. Despite their lack of “screen time” previously, they feel like old friends. Perhaps because they take on almost mythical proportions. The rosey homelife Hill presents us with is like something out of a dream, and so each character feels bigger than they ought to. Chamberlin is not just the father, he’s every father, just as John is every son and Fiona is every mother. It’s hard to pin down what gives Hill’s writing this quality, but it’s just as hard to deny that the quality is there.

There are a few moments in this issue that suffer from clumsy exposition. John explains his actions in one scene, almost seeming like a supervillain monologuing. Chamberlin and Fiona speak of their children, but their talk goes from conversational to primarily informational. Hill’s mythical tone in Locke & Key makes it so these moments don’t stand out too much, but they’re still peppered in. It’s a natural pitfall in a first issue, and Hill has proven in the past he will not get bogged down by the details going forward.

Art

Rodriguez’s art has always been sensational, but something seems to have happened between the original Locke & Key run and now. There’s a nuance and subtlety to Rodriguez’s art we didn’t even know we were missing until now. In the original run of Locke & Key, Rodriguez’s style is unmistakable. You know it’s him drawing it and no one else. But on rare occasions, Rodriguez could fall into making his characters look a little too similar. Like they were related, even when they weren’t. Somehow, in …In Pale Battalions Go…#1, Rodriguez keeps his style but overcomes his weaknesses. Every character looks unique and fresh, even compared to their depictions in this initial run. It’s just so wonderful to see. It’s like having a treasured memory of a place, and when you go visit you find it’s even more beautiful than you remembered. Rodriguez is doing some of the best work of his career.

Coloring

Fotos subtly makes us feel at home in Keyhouse. John, who is itching to go off to war, doesn’t understand what he’s wanting to get into. But Fotos understands. Fotos allows us to see the warmth of Keyhouse visually. When John is trying to enlist, the office he’s in is slightly paler than the scenes in Keyhouse. And when John is trying to get into the Vault of Shadows, we see it too is colored in greys and blacks. Fotos, in his own way, is begging John to be content with what he has. A warm home, a family who loves him. But John is lured in by the colorful purples and greens that come from using the keys. He wants a more vibrant life than Keyhouse gives him, even though war is not where he’ll find it.

Lettering

Lee does a great job of showing us the cadence of each character. Fiona and Chamberlin are as verbose as they come. Their big, fat word balloons are stacked on top of each other, allowing for as little break in their monologues as possible. Yet when we see John speak, though he’s trying to appear confident, Lee creates more “pauses” than with the others. When he says he wants to go to war and get in on the action, he sounds confident. But when he’s faced with the actual realities of war, we can visually see him second guess himself. His word balloons are connected by a long line in between. It’s John trailing off and wondering what he’s gotten himself into, before saying a simple “Oh.” In small moments like these, Lee brilliantly gives these characters their voices.

If you love IDW’s Locke & Key, you won’t be disappointed by Locke & Key: …In Pale Battalions… #1. It’s a fun, nostalgic, nuanced welcome back to the familiar halls of Keyhouse. Plus, it has couple easter eggs thrown in to get everyone psyched for an awesome upcoming crossover. Pick up Locke & Key:…In Pale Battalions…#1, out from IDW August 26th, at your local comic book shop!

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How Lottie’s Always Right in WICKED THINGS #4

By

Cat Wyatt

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WICKED THINGS #4, available this Wednesday from Boom! Box continues the tale of Lottie Grote, the best underage investigator around. Sure, she’s currently serving time for a crime she didn’t’ commit, but she still loves the thrill of a case.

***SPOILER WARNING***

Lottie hasn’t had a great streak of luck, as of late. Once upon a time, she had been the best young detective around. Now she’s being ignored by the police, while supposedly being assigned to help them solve cases. How’d she got into this mess? By being framed for murder. The irony is not lost on her.

The police she’s been assigned to work with are no happier about the situation than she is. Perhaps that’s why they were so inclined to ignore her, throwing off her theories as a desperate attempt to get attention. Or freedom.

Too bad that Lottie’s quickly formed theory is more accurate than they could have ever expected. If only they had listened, they might have been ahead of this case, rather than struggling to catch up, and failing.

Lottie is about to take charge on this cover of Wicked Things #4.

The Writing

Wicked Things #4 is a thrilling series of events. It’s hard not to take a certain amount of pleasure in seeing Lottie proven right – even if that fact is causing more exasperation among those who are in charge of her fate.

Written by John Allison, this issue has a lot of fun with the concept of a complicated crime. You just know that it is one of the most complex schemes out there when Lottie Grote is struggling to keep up with all the twists and turns.

Twists and turns there are, in abundance. The level of them is almost comical, especially when combined with the reactions of the police (and Lottie). It makes for a nice balance between crime thriller and that classic Allison humor.

Even the moments revolving around the crime itself have shockingly sweet elements. That was not expected but certainly brought it to new heights. At the same time, adding a bit more context and motivation into the mix. Now to see how Lottie reacts, when she finally figures it all out.

They’re all stuck on this latest mystery.

The Art

The artwork within Wicked Things #4 is just as entertaining and charming as the writing it supports. Max Sarin (art), Whitney Cogar (colors), and Jim Campbell (letters) worked together here to bring such a fun plot to life.

There’s a lot to appreciate about this issue. First and foremost is that sense of timing. It’s borderline comedic, as mentioned above. And it wouldn’t have had nearly the same impact without the artwork to resolve much of the show/tell issue.

The expressions of the characters are an absolute highlight of this issue. Not just Lottie’s over the top reactions, but those of the criminals and even the police force. It heightens the experience, allowing for a moment of humor.

Meanwhile, the colors bounce back and forth between dull shades appropriate for dull city life and work, to bold and vibrant – much like little Lottie herself. It adds a certain sense of personality to an already bursting issue.

Conclusion

Wicked Things #4 was an intriguing issue. In many ways, it read like a crime drama, with the crime being played out with the police none the wiser (for the moment). It also read in that classic Giant Days style at times, creating a unique and memorable balance.

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How The Past Catches Up In MIRKA ANDOLFO’S MERCY #5

By

Cat Wyatt

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MIRKA ANDOLFO’S MERCY #5, available Wednesday from Image Comics, continues the dark tale of one small town, and the monsters that have come to feast upon it. There is a saying; you reap what you sow. It makes one wonder what this town has sown.

***SPOILER WARNING***

The Woodsburgh Devil appears to be far from done in Mirka Andolfo’s Mercy #5. Her quest is an odd one, feeling at times like a personal vendetta. At other times, it almost feels like the Lady Hellaine wants nothing to do with this town or the vengeance she could wreak upon it.

Mercy has never been a series to shy away from the dark, or the graphic for that nature. It has always portrayed this strange combination of beauty and horror, of elegance and gore. That element continues in the latest issue, but the implications feel darker than ever.

A word to the wise, where the previous four issues were not for the weak of heart, or those that dislike gory scenes, this one is so much worse. Not because of the gore (the previous issue was worse on that count), but because of the graphic implications of another variety. For those that cannot handle the idea of harm coming to a pregnant woman, now would be a good time to look away.

An odd pairing on the cover of Mercy #5.

The Writing

Mirka Andolfo has created a whirlwind of events in Mercy #5. It is an issue designed to intrigue the mind, as well as to horrifying the soul. The series has been hinting to events leading up to this point, but now it is all out in the open.

It’s so much darker than those hints could ever have implied. Suddenly, the need for the Woodsburgh Devil makes sense as does Lady Hellaine’s quest – and her resistance. There are still many questions that need to be answered, but there’s still one more issue to go.

There are a lot of things this issue does wonderfully. The constant comparisons between the past and the present. The slow revelation of what is going on – and who caused all of this pain and bloodshed to begin with.

In a way, it’s almost cathartic to see it all unfold so. Then again, there have been plenty of innocent victims along the way, so maybe that isn’t the case. One thing is clear; the end of this issue is setting up for the biggest confrontation yet, which makes sense, given that the next issue should wrap up the series.

The memories of the past creep to the surface.

The Art

As with the rest of this series, the artwork inside Mercy #5 is blindingly beautiful, even while displaying some startling grotesque scenes. Those are two descriptors that don’t belong in the same sentence, except to explain this series.

Mirka Andolfo is the lead artist for this issue as well, working alongside color assistants Gianluca Papi and Chiara Di Francia in order to bring it all together. Meanwhile, Arancia Studio provided the translations, and Fabio Amelia the lettering.

The end result is something unforgettable. The opening scene in this issue is designed to disturb – and it succeeds in ways beyond imagination. It’s a different type of horror than the rest of the series has portrayed, proving that there’s still plenty of shocks to be found in this tale.

The clashing of elegance and horror has always seemed to find a balance in this series, a fact that continues to be true in this issue as well. It’s almost disturbing how well it is done.

Conclusion

Mercy #5 is arguably the most disturbing issue of the series, confirming the truth of the previous issue while throwing in its own set of horrors—all while setting up for the final confrontation, and issue. Mercy #6 is sure to be the most alarming and darkest of the set.

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Two Opposing Plots Form In NOMEN OMEN #8

By

Cat Wyatt

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NOMEN OMEN #8, available Wednesday from Image Comics, dives back into a world of magic, lore, and the darker sides they carry with them. Becky’s journey has been far from easy, and she’s still got a long way to go.

***SPOILER WARNING***

There’s no doubt that the story behind Nomen Omen is dark and mysterious. Becky’s life has never been normal, and now it seems that everything she holds dear is on the line. The real question is, will she be able to master this new world before it’s too late?

She went from living a life devoid of magic – and color – to diving headfirst into it all. Everything is so much darker than she, or the reader, could have imagined.

On that note, some of the events in Nomen Omen #8 could be disturbing to readers. While the series has never shied away from the more graphic elements of the supernatural, this issue takes it a step or two further. There’s a strong implication of sexual assault, and while it is never shown in detail, it is pretty unavoidable nonetheless.

Becky is back in control in Nomen Omen #8.

The Writing

In many ways, it almost feels like two stories are being told over the course of Nomen Omen #8. There’s Becky’s story, and the tale of her learning to master an art that once upon a time, felt completely foreign to her.

Then there’s the tale of those that oppose her, and the allies they’ve managed to capture. This is the darker side of this issue and contains all of the uncomfortable elements mentioned above, and then some.

Marco B. Bucci really knows how to capture the highs and lows in a single issue. The intrigue and triumph in Becky’s life can’t be avoided, nor can the darker actions of those she’s eventually going to have to oppose.

Both series of events raises dozens of questions. Questions that will be answered in due time, as the series crosses the halfway mark. There are only seven issues left to this deadly series, and that means the clock is ticking. Perhaps literally, for some.

The Art

The artwork inside Nomen Omen #8 is a complex creature, just like the writing. It portrays the best and the worst that magic (and the inhuman creatures that thrive in it) has to offer. While the magic itself may appear as bright light, it’s clear that the influence ends there.

Once again, there’s that harsh juxtaposition between black & white, and the infusion of color. It’s become the iconic look of the series, and it’s almost good to see it still playing a role this far in. Though there are times where it seems like the color, and thus the magic, bleeds onto the pages. The end result is something beautifully organic, as well as hypnotic.

This is an issue that portrays some heavy and upsetting scenes, as well as showing creatures that are (literally) larger than life. The end result is a bit of an emotional roller coaster for readers, and they’re flung from one reaction to the next.

All credit goes to Jacopo Camagni (pencils, colors) and Fabio Amelia (letters) for bringing this issue to life in such an iconic way.

One hand is not her own in Nomen Omen #8.

Conclusion

In many ways, Nomen Omen #8 is the darkest issue of the series. Likewise, it is the brightest of the series. The paradoxical nature has not gone unnoticed, and yet it seems perfectly at home in a series revolving around magic and beasts of legend.

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Review – MEGA MAN: FULLY CHARGED #1 – The Mega Man Comic We’ve Needed

By

David Weber

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Mega Man: Fully Charged is a new comic book series from BOOM! Studios based upon the 2018 cartoon series of the same name. While the cartoon was canceled after a single season, this first issue sets the stage for a profoundly entertaining and completely different experience.

Mega Man is a character that has been around since 1987 and has a special place in the hearts of many. The classic series now has twelve installments and has spawned several spin-off series, which each have multiple games. The series has an incredibly long history and a devoted fan base, so it was no surprise when Capcom decided to create a new cartoon series with the blue bomber. Mega Man: Fully Charged first aired on Cartoon Network in 2018 and was received… poorly. The story told was entirely different from what fans of the series liked, and the cartoon didn’t stand out enough to attract enough of a newer, younger fan base. It stopped airing after a single season, and no news has surfaced about the show returning. Despite the lackluster reception of the show, this new comic book series features many of the same characters. The major difference being a distinct tonal shift and change in the target audience that allows the world created by the cartoon to be used to make a promising first issue.

Just like the cartoon, Mega Man: Fully Charged focuses on Aki Light, a robotic kid with the ability to transform into the superhero, the public knows as Mega Man. Created by and the surrogate son of Thomas Light, Aki lives with his sister Suna and his dog Rush. He also enlists the help of a robotic partner called Mega-mini that spends time in Mega Man’s helmet when he is engaged in battle.

What I believe is the smartest aspect of Mega Man: Fully Charged is the evident tonal shift from the cartoon. A.J. Marchisello and Marcus Rinehart make it very clear from the beginning of the issue that this new series will not be aimed at the same audience. This is evident from the first page of the issue, which gives the story background that a robot revolution has occurred, and humans and robots are engaged in a civil war. The war is a brilliant way that Marchisello and Rinehart immediately distance the comic book from the cartoon.

One of the most important aspects of a first issue, and an aspect that Marchisello and Rinehart perfect, is planting seeds and beginning stories that hook the reader in and leave them wanting to read the next issue. In the single issue there are characters who are shrouded in mystery, reasons to doubt characters we thought we could trust, and internal struggles of Mega Man. Mega Man: Fully Charged #1 feels like nothing but reasons to continue following the series, and after finishing this issue, I’m not sure how you could not.

There are not many ways to describe the illustrations of Stefano Simeone except that they are stunning. Mega Man: Fully Charged #1 gives all of the characters a wonderful stylized look, and the redesign of Skull Man immediately excites readers for new versions of their favorite robot masters that lie in the issues ahead. Also, his interpretations of the main cast immediately let the reader know that what they are reading has a much more serious tone than the cartoon series.

The coloring of Igor Monti in Mega Man: Fully Charged #1 is a highlight of the issue. Each scene looks astonishingly beautiful due to his work. Whether it be the cyberpunk Silicon City or the clear orange tone given to the Badlands, it is clear that Monti put much effort into each and every panel. It’s been a long time since I have had to stop and appreciate the colors on the first page of an issue, and the quality of the coloring continues throughout the issue. I deeply hope that Monti continues his excellent work throughout the series, because it alone makes Mega Man: Fully Charged worth putting on your pull list.

The lettering of Ed Dukeshire in Mega Man: Fully Charged #1 does an outstanding job of helping the story continue its intended flow. Each instance of lettering is done well enough that the readers feel like they are experiencing the story and dialogue rather than just reading off of speech bubbles, and color-coordinated captions allow for easily distinguishable inner thought from a character.

This is the Mega Man comic we need right now. The original series of games are fantastic, but their stories have always been kept simple, and comic adaptations had to take that story and add a lot of substance to it. In Mega Man: Fully Charged, an entirely new story is being told with elements from the original series, and I couldn’t be more excited for what is to come. Mega Man is an iconic character, and this first issue makes it very clear that Marchisello, Rinehart, Simeone, Monti, and Dukeshire will do him justice.

Are you a Mega Man Fan? Let me know in the comments below!

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INTERVIEW: Actor Adam Berardi Becomes Detective Sanchez For The Last Five Days

By

Ruben Diaz

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August 26, 2020

Adam Berardi plays Detective Sanchez in the found footage horror film The Last Five Days directed by and starring Clay Moffatt (Eyes on the Road) with Joe Pacini (Star Man).

A college project for film class leads two students to the truth about some gruesome deaths. The Last Five Days follows Greg Sanders (Clay Moffatt) and Brian Mills (Joe Pacini) through their investigation. It’s not long before things get worse, way worse when an unknown and violent force begins tormenting the young, would-be filmmakers. Adam Berardi’s Detective Sanchez is the unfortunate investigator charged with making sense of the case for the public.

PopAxiom spoke with Adam about watching himself and becoming Detective Sanchez for The Last Five Days.

Older & Uglier

Adam’s journey into showbiz started early. “I got pushed into it at a very young age. The first television show I was on was Superboy when I was 14 or 15 years old.”

Acting was “… never even a question,” Adam says, then jokes, “My father used to say, you’re not great looking, but you could be in catalogs.”

Adam’s 29 acting credits (and counting) is evolving. “The older and uglier I get, I find being behind the lens serves me pretty well.”

About The Last Five Days

Adam’s role in The Last Five Days came about through his relationship with director Clay Moffatt. Adam says, the pair “… made a love connection recently where we love doing films together. He has an exciting style of filmmaking that I love to tackle with him.”

Adam explains, “His shoot days can sometimes be 3-5 days worth for an entire feature, which is insane. It’s something a little different than the regular SAG workday where on a feature one actor might be on set six or seven days straight, and the entire production is 30 days.”

Moffatt, Adam says, “… likes to shoot for wherever the edit is going to be and call it a day. I like doing that kind of stuff with him.”

The birth of The Last Five Days came about during a hangout between the pair. “I was over at his house one day; he had a bunch of mini-DVs. I asked him a question about it, but he said ‘Oh, that’s nothing.’”

Adam kept prodding. “Nothing’s ever a secret between us. He told me it was a college project from when he went to film school. They were supposed to do an investigative film for a capstone project, so they did a found footage film. I watched it and thought ‘This is pretty good!’”

Fueled by Adam’s motivation, Clay gave the film a once-over. “We added the front and end caps which I acted in. That was the end of it. We got so many offers for that movie.”

Simply updating The Last Five Days with cleaner edits or colors wasn’t enough. “We wanted to do something different,” Adam says, “When it comes to found-footage, there are two ways to go about it. It’s either heavily scripted, or it can just have plot points and let outstanding improv actors do the rest.”

https://www.youtube.com/watch?v=ikuY-GDuyjc

Becoming Sanchez

The beginning and end of The Last Five Days features Adam as Detective Sanchez. “The end caps, we wanted to do something where we introduce the film.”

Inquisitive reporters litter the scene which came about from a brainstorm between Adam and Clay. “What questions would reporters ask, and what would the detective do? Let’s write down a bunch of questions; you pick out what you want to be asked.”

On the day of shooting, each actor playing a reporter was given a number and a question. “We went down the line, and each of our actors, about 12 of them, asked their questions.”

Trying to capture authenticity at the moment was pivotal. “The most authentic thing about the detective was that he didn’t want to be there,” Adam jokes, “I didn’t want to be there.”

Adam tried his best to experience everything as Sanchez would. “I watched the film; took coffee breaks; watched more. By the time I got to the set, I was the detective.”

Watching Yourself

Adam’s been an actor for a long time, yet, he says, “I’ve never seen a thing I’ve done. People tell me it’s horrible, and I just believe them.”

Adam’s not unique. Many actors avoid seeing their work, including Tom Hanks, Reese Witherspoon, and Joaquin Phoenix to name a few. “There are a million different couch critics at home that will pick your stuff apart,” Adam says, then brings up an interesting point, “The thing about art is that it’s not really acceptable to do that at an art gallery. You don’t stand in front of a painting and pick it apart.”

Criticism doesn’t bother Adam. He simply doesn’t like watching himself. He says that for up-and-coming actors to avoid critique like that, “Unless you have a very tough skin or do not care what people think or do not listen.”

“A lot of filmmakers are looking for acceptance,” Adam explains, “It’s a natural thing.”

Wrapping Up

Adam shares some of his long list of influences. “Spielberg, Kubrick, Reitman … those are some of the greatest minds of our times. Hitchcock was amazing too. So many.”

Adam talks about his fondness for 80s movies. “You watch movies like Goonies and Gremlins; every person in the Gremlins universe has their own story, objects have their own story. Like when you watch Back to the Future, every object in Doc Brown’s house has a story.”

What’s a dream project that Adam would love to create? “Easy, Vertigo.”

The Last Five Days is available for purchase on DVD from every major retailer. So, what’s next for Adam? “We have a really big film, two big films. Clay is finishing his kung-fu spectacular The Rise of Sir Longbottom. We made a movie called Sour that comes out in January. It stars Bourke Floyd and Natalie Maher. I got a chance to do some directing, and I was an actor. It’s a terrifying film.”

Are you excited to watch The Last Five Days?

Thanks to Adam Berardi and October Coast for making this interview possible.

Want to read more interviews? CLICK HERE.

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Review: WE ONLY FIND THEM WHEN THEY’RE DEAD #1 — Scavenging For Gods

By

Jake Palermo

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We Only Find Them When They're Dead #1 Cover

We Only Find Them When They’re Dead #1 — coming from BOOM! Studios on September 2 — is a space opera written by Al Ewing, illustrated by Simone Di Meo with colors assists from Mariasara Miotti, and lettered by AndWorld Design.

We Only Find Them When They’re Dead #1 Story

Al Ewing, venturing outside of his Marvel titles like The Immortal Hulk, writes a space opera with a unique premise. We Only Find Them When They’re Dead shows readers a glimpse of a space age where the emptiness of space takes a new meaning. Times are getting tough for a space autopsy crew that mines the bodies of dead god-like beings. These gods all appear at random points in the universe, and rather than acting as things of worship, discovery, or despair, they’re just another means of resources. It’s a pretty melancholic feeling that the reader shares with the crew’s captain who they meet in a prologue. The main story has him looking rather burned out about everything, like this way of life doesn’t suit him anymore. Especially when this “god mining” security looks at him with hostility despite being non-threatening to them. Readers can’t help but support the captain and crew’s journey for meaning to get some life back in them.

Art

Simone Di Meo dedicates We Only Find Them When They’re Dead #1 to his late mother, “who taught (Di Meo) to look at the stars.”

Di Meo uses the emptiness of space to highlight the designs of the ships, each with a unique style with a common characteristic: a spherical chamber that defines an autopsy ship and cuts and stores samples in the “god-mining.” With how these ships take apart the gods, it practically describes the bleak situations of the series; they’re like maggots mindlessly eating away carcasses. No one bothers to figure out what kills these gods, just harvest their remains for money. Even the other ships with different designs and purpose work to keep it like that, such as a sleeker escort ship built for speed which features engines connected with an arc.

Di Meo colors these ships and empty settings with assistance from Mariasara Miotti. Most of the colors set the mood of what panel they take place in. The light purple vastness of space feels cool and practically worry free. That is until a red coloring shows up indicating a skirmish or dangerous presence. A small instance even has the entire interior of a ship yellow as a warning to its occupants. Compare this to the mostly single color panels featuring the main characters’ ship which has a green interior with yellow holograms. It’s an indicator that danger is near yet the crew stays out of trouble. It’s like both artists are keeping things afloat in We Only Find Them When They’re Dead #1.

Lettering

AndWorld Design provides some quality lettering to We Only Find When They’re Dead #1. The word balloons and captions provide a smooth and easy-to-follow trail to guide readers. On the note of captions, the lack of borders presents this omniscient narration that tells the story along with some of the characters. The main cast essentially has an ally that sometimes features words with colored outlines that match the background. It explains who some of the characters are with their identifying colors, but it also lets the captions blend in, which can make them a bit hard to read at times. Thankfully the lighter color word balloons make identification for voices that readers can’t recognize since they speak from their ships. Meanwhile, the inside of ships have the standard white coloring, and the rare instances of having several characters in the same space makes the distinctive lettering important, as this is having clear communication.

Look For We Only Find Them When They’re Dead #1

We Only Find Them When They’re Dead #1 leans subtly into finding meaning in a space devoid of thriving life. People have a common goal, but separate themselves through their diverging perspectives. I’m looking forward to what this space crew will do later in the series.

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Review: ADVENTURE TIME: FIONNA & CAKE TP Reminds Us Why We Love The Show

By

Corey Patterson

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ADVENTURE TIME: FIONNA & CAKE TP, available in comic book stores on Wednesday, August 26th, brings together a plethora of hilariously exciting stories. This issue’s talented creators have put together engaging stories that showcase their unique set of strengths while remaining true to the characters and their mythos.

Stories and Artwork

Cake Bakes

Written and illustrated by Zachary Sterling, with letters by Britt Wilson, Cake Bakes is a fun story that stars the beloved cat. We enjoyed watching the cute cat surprise her best friend with a homemade breakfast.

Short Cakes

Short Cakes, written and illustrated by Ian McGinty, with colors and letters by Fred Stresing, presents readers with a series of literal short stories that feature our heroes as young children. With adventures ranging from snowball fights to mustache growing attempts, we were entertained by the sheer craziness of these goofballs’ predicaments.

Once Upon a Time

This story was written by Frank Gibson, illustrated by Becky Dreistadt, and lettered by Britt Wilson. We were thrilled to see this issue was crafted in the form of a fairy tale storybook, which keeps with the title’s theme. The fonts stand out from the page as if they’re part of the tale itself. And that tale takes Fiona and Cake on a perilous journey to the Ice Queen’s domain.

Adventure Time with Fionna & Cake: Card Wars

Adventure Time with Fionna & Cake: Card Wars, written by Jen Wang and illustrated by
Britt Wilson with Rian Sygh, is by far the longest story within this issue. And in a sense, it’s the most relatable of the collection. Readers fond of playing card games will find Fiona, Cake, the Ice King, and more partaking in their own version. It was great seeing these outlandish characters enjoy everyday games that are akin to Magic: The Gathering.

What’s the Punch-Line

The final story was written and illustrated by Kiernan Sjursen-Lien and lettered by Christine Larsen. Playing on this series’s penchant for puns, What’s the Punch-Line details the journey Fiona and Cake take as they travel to Prince Bubblegum’s party while carrying a bowl of punch. Surprisingly, this beverage becomes the focus of their adventure. While it may seem mundane at first glance, this special punch proves to be the life of the party.

Conclusion

ADVENTURE TIME: FIONNA & CAKE TP satisfies old and new fans alike. If you love the humor from the beloved television show, you’ll love joining in Fiona and Cake’s antics in this story.

What adventures do you foresee this dynamic duo getting into in the future? Let us know in the comments below!

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SUICIDE SQUAD #9 Preview: Bye-Bye Deadshot?

By

Kevin Sharp

-

August 25, 2020

DC Comics has released a sneak peek at September’s Suicide Squad #9, and it teases the end of one of the squad’s foundational members.

Check out the preview of issue #9 below direct from DC, including art by Bruno Redondo and Travis Moore:

DEADSHOT: SHOT DEAD?

If you ever needed proof that you shouldn’t get too attached to the “heroes” of Task Force X, it’s coming on Tuesday, September 22 in the form of Suicide Squad #9, and here’s your first look!

This issue, it’s the shocking death of Deadshot!

The man who never misses has been on the front lines of Task Force X since its inception—bomb in his neck, gun in his hand. He’s seen teammates blow

up and countries fall. He’s faced down heroes and villains alike. Now the Suicide Squad has one final mission: bring down the man who enslaved them, then put a bounty on their heads when they escaped: Ted Kord.

But to finish the job, the world’s deadliest assassin will have to do the one thing he’s never done for the cause: die!

SUICIDE SQUAD #9

Written by

TOM TAYLOR

Art and cover by

BRUNO REDONDO

Variant cover by

TRAVIS MOORE

On Sale

09/22/20

$3.99 US | 32 PAGES | FC | DC

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