Review: EMPYRE: X-MEN #4 – An Anticlimactic (Though Heartfelt) End

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On August 19, Marvel Comics releases the final issue of its Empyre tie-in series, Empyre: X-Men #4. Writer Jonathan Hickman returns to the series with pencilers Jorge Molina & Lucas Werneck (also doing inks), inker Adriano Di Benedetto, colorists Nolan Woodard and Rachelle Rosenberg, and letterer VC’s Clayton Cowles.

Writing

In a series with rotating creative teams that has seen its share of escalating action, this issue brings the series to a close with a lot of jokes and maybe a few tears, but it is quite anticlimactic.

Readers discover the Scarlet Witch’s fate and a plan she set in motion with Doctor Strange to end the Genoshan zombie threat that comes as a bit of a deus ex machina. At the same time, Beast commits intellectual property theft again, Hordeculture.

One of the more touching parts of this issue is when the zombie Explodey Boy comes face to face with his (fully) resurrected Krakoan counterpart. The two have a very heartfelt conversation and catch up before zombie Explodey Boy sacrifices himself to end the Cotati threat by blowing up inside of the giant Cotati creature, causing all the Cotati to die Phantom Menace style. Likewise, as noted earlier, the zombie threat (from the actual zombies and Magik the “zombie queen”) also ends with ease.

Many readers may walk away wondering what the point of this story tie-in was, other than merely piggybacking on the main Empyre event for a chance to sell more comics. Perhaps the Hordeculture plot will pay dividends down the road, but there is no confrontation between the X-Men and Scarlet Witch, so while I initially believed this story might tie into the underlying Scarlet Witch/Pretender plot thread from the X-books, that doesn’t seem to be the case. But given the ease with which the big bad of Empyre, the Cotati, are dispatched, one still finds this series, as a whole, a bit vacuous. As Explodey Boy tells his zombie, this was “some kinda interesting stuff wrapped in a bunch of other not-so-interesting nonsense.”

Art & Colors

The art team (and there is very literally A TEAM working on this issue) continues to give the series a consistent look, even if the writing sometimes feels like “and then another random thing happens, and then another random thing happens, and then another random thing happens, etc.” The art has been one of the strongest parts of this series.

One sequence that the art team creates to significant effect involves a flashback to Beast’s work with Opal on Krakoa.

The use of black and white to indicate a flashback as we read Beast’s internal monologue plays well in this issue. It communicates Beast’s memory without relying on overly clunky exposition.

It was also refreshing to see the series return to the series-opening sequence, where Wanda was confronted by the horde of zombies and screamed in terror. While her final scream might have made readers believe she was overwhelmed by the zombie horde (although most likely not, given her presence in Strange Academy), we are reminded here what a badass she is.

Wanda is no damsel in distress. She’s a powerful witch, and the art team does a fantastic job portraying her as the confident super being that she is, while still conveying in other places that she is a person carrying deep regret over her past actions.

Lettering

As has been the case for the whole series, Cowles’s letters are great, and there are several really clever dialogue moments. As mentioned before, the interactions between Explodey Boy and his zombie are priceless, particularly a comment that might as well be a comment on X-Men continuity and storytelling over the past decade.

Another great humorous moment, in an issue with a lot of them, comes at the beginning of the issue when Wanda and Doctor Strange are looking for the materials to undo Wanda’s mistake. When the two of them go to Asgard to get a branch from the World Tree, the Asgardians suffer from a bit of deceit.

Cowles’s does an excellent job playing up the humorous effect here with his lettering. Magical bastards indeed!

Conclusion

Judged as a whole, this series is fine enough of a tie-in, even if the plot did feel randomly strung together at times, and ultimately, a bit pointless. Each issue ended with a cliffhanger whose role was acknowledged although to necessarily substantially built upon by the next creative team, who added their share of random escalation until the final issue when everything ended a bit anticlimactically. As a fun, crazy comic book story, it probably works. As a must-read for either Empyre or the overarching X-titles narrative(s), not so much. Perhaps Hickman and company will address Scarlet Witch’s tampering with Genosha when she finally faces a reckoning with Krakoa, but we’ll have to wait and see.

What did you think of Empyre: X-Men #4? What did you think of the series as a whole? Tell us in the comments below!

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Review: X-FORCE #11 – Krakoa Gets Attacked…Again.

By

Matthew Brake

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On August 12, Marvel Comics released X-Force #11. Exploring some of the fallout from his Wolverine series, writer Benjamin Percy is joined by artist Bazaldua, colorist Guru-eFX, and letterer VC’s Joe Caramagna.

Writing

One advantage of having the same writer writing multiple titles is the ease with which they can cross-pollinate between those titles. Picking up on the events from Wolverine #3, the issue opens with an autopsy of the Russian supersoldiers Wolverine and the Marauders encountered in that issue, only to discover these supersoldiers are far deadlier than they first appeared, with a violent twist on the Russian Nesting Doll. Meanwhile, Colossus struggles with his reluctance to become an active combatant again, all while showing that deep down, he’s still a hero.

Also, while the X of Swords event isn’t supposed to drop until the Fall, this title appears to plant some seeds leading up to the event as readers learn that the latest attack on Krakoa is an attempt to retrieve “the Sword of Cerebro.” And, of course, in what has become an X-Force tradition, Quentire Quire gets gruesomely killed, although not before we find out he’s sleeping with one of the Cuckoos (wonder how that’s going to go over with Cable?).

For those who might’ve been expecting a fight between Colossus and Omega Red, you might be disappointed. Dustin Weaver and Edgar Delgado’s cover is well-drawn but doesn’t quite reflect the contents inside. However, given that the X-books, mainly Percy’s, are focusing on an escalating conflict between Russia and Krakoa, and it is hinted at that the mutant nation might’ve been betrayed from within, the cover may foreshadow a potential future conflict between Colossus and Omega Red.

Art & Colors

The art team does a good job highlighting the menace of the Russian supersoldiers. Bazaldua and Guru-eFX’s depiction of even the dead soldiers makes them look more menacing than they appeared in Wolverine #3.

The art and coloring make their body armor, and even their (dead) faces appear more menacing than they did in Wolverine.

One great collaboration on the art team happens when Kid-Omega is killed. The scene is set up wonderfully, with Quentin’s contentment being established only to have it violently interrupted.

There are several things that work about this sequence, not the least of which is the clever means by which Quentin’s death furthers the plot, since the Russian agents can’t get through the Krakoan gates, and so couldn’t escape with the sword. Killing Quentin and pushing him through, however, accomplishes just that.

In terms of its execution, seeing Quentin’s contentment give way to shock in the splash of red (along with the stabbing sound effect) conveys the gruesomeness of the situation, while still being able to be played for laughs…albeit very dark laughs.

Lettering

Caramagna’s letters are on point in this issue. Very early on, his letters help establish the impending danger facing Krakoa in this issue, in a scene that’s quite Alien-esque.

That movement from the silence of the dead to the chest-bursting Russian supersoldiers creates a very palpable “oh shit!” moment that sets the tone for the entire issue. And you couldn’t get that without “SKELCH.”

One area that was a little unclear was the purpose of the prose sections in this issue. Typically, these sections serve to provide plot details that aren’t shown (which isn’t necessarily a good strategy) or to flesh out a character’s own private thoughts or to show the reader some sort of communique. In this issue, the prose sections are partial chapters of a novel or memoir. Who is speaking is a bit unclear, but hopefully, Percy and company flesh this out and make it understandable in future issues.

Conclusion

X-Force #11 catches Krakoa with its pants down as they suffer a biological attack from Russia, and it appears to establish another piece of what I’m sure is part of the lead up to X of Swords. Percy and company establish a challenging enemy for X-Force, continuing to escalate the conflict with Russia, which will probably eventually involve Colossus getting involved, despite his protests to the contrary.

What did you think of X-Force #11? Is it laying the foundation for X of Swords? Will Kid-Omega ever NOT die in an X-Force issue? Tell us what you think in the comments below!

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Review: MARAUDERS #11 – Kate’s Fate Revealed!

By

Matthew Brake

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The fate of Kate Pryde is finally revealed in Marauders #11, released by Marvel Comics on August 12! Writer Gerry Duggan, artist, Stefano Caselli, colorist Edgar Delgado, and letterer VC’s Cory Petit bring readers another issue of what is easily one of the strongest X-titles currently being published.

Writing

This issue begins with a tender moment, with Nightcrawler writing a letter Kate while she’s “away” in order to keep her in the loop of all the goings-on around Krakoa. The X-Men then hold a ceremony for Kate, and a sense of sadness hangs over the book. That sadness quickly turns to anger, however, when Lockheed returns, and Emma Frost discovers that Sebastian Shaw betrayed Kate. Rather than take this discovery to the Quiet Council, Emma keeps it to herself, setting up a future (and probably ongoing?) conflict in the series moving forward.

Finally, the moment readers have waited for finally happens…Kate returns! The mystery of how to resurrect her is uncovered, and hopefully, this will move the narrative one step closer to revealing why she can’t go through the Krakoan gates.

Again, this is a solid title, with a well-paced story, and a lot of good character moments and interactions. Readers will have to wait for the fallout of Kate’s murder by one of her fellow mutants and Hellfire members, as well as for the significance of the B-plot involving Storm and one of the agents of the X-Desk.

Art & Colors

The art team crafted a gorgeous issue filled with some beautiful and poignant imagery. One image that particularly stands out comes at the beginning of the book, with Kate’s body being shown.

There has been a sadness hanging over this book, and a general sense of uncertainty hanging over the X-titles, ever since Kate’s death. This image drives that home, particularly given reader knowledge of the circumstances of her death.

Given the themes of life and death in this issue, it is only fitting that the next image to highlight comes from Kate’s rebirth, beautifully colored by Delgado.

Caselli and Delgado complement each other very well here, with the fetal imagery and ambient lighting working in tandem to show us Kate’s fetal state before she can phase through the egg.

Again, thematically, it is beautiful that this issue is bookended by the themes of death and rebirth, subjects that the art team can skillfully convey.

Lettering

In an issue full of some tender moments, one of those moments is used as a framing device to begin the issue: Kurt’s letter to Kate. Kurt’s words establish the tone for the entire book as sad but hopeful. Petit’s letters are well-done here as he overlays the images with Kurt’s letter to his dear friend. Particularly worth of note is how the lettering provides a nice touch to the image of Kate’s dead body (noted above) by simply stating, “when we meet again.”

It’s a heartfelt sequence, and Petit does a beautiful job working in tandem with the art team to add a nice verbal flourish. In an issue mourning the death of a teammate and friend, all of Petit’s letters operate that way, not overwhelming the scene but appropriately accentuating the scene when needed.

Conclusion

It’s good to have Kate back, and moving forward; it will be interesting to see how the conflict with Sebastian Shaw will play out. Will he eventually meet the same fate as Sabretooth, exiled below the surface of Krakoa for his crimes? Or will Kate and Emma be able to put him under their thumb? And has a new relationship with the X-Desk opened up future avenues for cooperation, or is there a conflict being foreshadowed with the U.S. government?

What did you think of Marauders #11? Tell us in the comments below!

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Review: EMPYRE: X-MEN #3 – Things Keep Escalating…

By

Matthew Brake

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On August 12, Marvel Comics released Empyre: X-Men #3. With rotating writing and artist on each issue (I’m guessing to accommodate the weekly releases), writers Vita Ayala, Zeb Wells, and Ed Brisson are joined by artist Andrea Broccardo continue this tie-in tale to Marvel’s larger Empyre event. They are joined by mainstays of the series Nolan Woodard on colors and VC’s Clayton Cowles doing letters.

Writing

Empyre: X-Men #3 is a messy issue. A fun and action-packed issue, but a messy issue. At times, it’s a bit difficult to keep track of all of its moving parts. The issue moves back and forth between the action on Genosha and characters on Krakoa, with a few characters, like Hordeculture’s Opal, being teleported to Krakoa, and somehow returning to Genosha off-panel.

Highlights include Magik’s discovery of the staff Scarlet Witch used when she attempted to resurrect the dead Genoshans, although still no sign of the witch herself. Upon grabbing the staff, however, Magik is overwhelmed by its power, becoming “the Zombie Queen of New Genosha,” whatever that may mean. We’ll see what this development means in the final issue.

Meanwhile, the Cotati threat escalates even further, with the seedpod giving birth to a monstrous creature, which one of the dismembered Cotati indicates will lead to the deaths of everyone on Genosha.

This series keeps exponentially growing (albeit messily) in scale, and the final writing team will have its hands full tying up all the loose ends while hopefully giving readers insight into the Scarlet Witch’s whereabouts.

Art & Colors

It’s worth noting here that Eduard Petrovich’s cover doesn’t quite reveal the actual contents of the issue. While I appreciate the partitioning of the cover between the Cotati, the X-Men, and the Genoshan zombies, Cyclops, Polaris, Magneto, and Colossus don’t appear anywhere in this issue.

Inside the issue, Broccardo is able to jump right into this event, with the change in artist barely being registered (this is a credit to the artists across the three issues). One of the standout panels from Broccardo includes her full page of Nightcrawler jumping into action.

It’s always nice seeing the elf charge into battle with a smile on his face and a sword in his hand! We don’t get quite enough of fun Kurt jumping around in the X-titles.

Another great panel includes one of the Cuckoos (it doesn’t specify exactly which one), who gets cut off from her sisters and is about to be killed by the zombies. Resurrection may be a reality on Krakoa, but the writers and artists do a decent job in this panel, reminding the readers that one ought not to think that resurrection is without its cost.

Although Magik saves her, the tears on her face and her request to be brought back without the memory of being eaten reminds us that there can still be traumatic consequences to the characters even with resurrection.

Of course, Woodard’s colors have been constant throughout this series, helping in part to keep the look consistent even with rotating artists. Woodard’s shifting yellow-green, and brown-orange-red hues have been consistent throughout, accentuating the plant-based Cotati and the plant-based Krakoan weapons while also providing a nice contrast to the viscera and rot of the zombies.

Lettering

Cowles’s lettering remains steady in this issue, and he’s certainly given plenty to do. THIS panel alone gives him a fair share of dialogue and sound effects to put in.

*Nog Nog* indeed.

There was one place in the lettering (and in the art) that may bring some confusion. In a transition from a panel featuring Angel to one featuring Multiple Man, you’d be forgiven for thinking that the letterer, the artist, or both mixed up characters’ locations and dialogue.

You’d be forgiven for thinking that the dialogue between Jamie and Warren got mixed up here since Hordeculture chastises Jamie for calling them old, but the last person to call them old was Warren. Also, the panel before Jamie throwing up is of Warren throwing up. Initially, I thought a mistake had been made in terms of the art or the lettering, but the effect is probably meant to mirror the similar effects of getting over Hordeculture’s pheromones (nausea, calling them old, etc.). And yes, Jamie had been dosed in issue #2, so it makes sense that he’d be having the same symptoms as Warren, even though the previous issue highlighted Warren’s susceptibility to the pheromones.

Conclusion

Overall, this was a fine third issue, filled with action that at times can be a bit confusing to follow. We will see this week if issue #4’s writing team resolve the escalating conflict with the Cotati, the zombies, and the fate of the Scarlet Witch.

What did you think of Empyre: X-Men #3? Tell us in the comments below!

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Review: STEALTH #4 Is The Action Movie Rental You’ve Been Waiting For

By

Gabriel Hernandez

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STEALTH #4, available from Image Comics on August 12th, follows all the players – Tony, Stealth, and Dead Hand – as they converge towards the final showdown. Mike Costa’s story leans heavily into the action movies of the ’80s and ’90s to bring you a chapter that’s violent, tense, and surprisingly humorous.

Cover Art

Jason Howard’s cover is a beautiful blend of action in pulp. The henchman is getting ready to blast away when you see the reflection of Stealth bearing down via a pool of blood. The cover plays up and on the violence of the issue well, but the angle of the reflection is off, so it was a little distracting.

Writing

Costa’s story picks up right after the events of issue #3 (you can read our review here). Tony is searching for Stealth. Stealth is cornered in an old safe house. And Dead Hand is killing anyone who gets in his way.

Costa does a great job weaving the three-character threads towards convergence. Tony uncovers the clues to Stealth’s plan if you can call it that. Stealth is racing to uncover the tools he needs to defeat Dead Hand before he loses his memories. Dead Hand throws grenades and kills rival gang leaders to consolidate power and bring down Stealth in a very public way.

Different from the previous issue, this entry had a few dark humor jokes that caught me off guard. The jokes made the issue more fun to read, and it gave off a distinctly RoboCop (1987) vibe in their absurdity. Excellent work overall by Costa.

Pencils/Inks

Nate Bellegarde lays down a no-nonsense style to the art for this issue. All the panel angles are straight on without coming off as flat. The character renderings have a grounded and realistic quality to them, and the action is – in a word – cinematic.

At the risk of sounding redundant, this entire issue reminds me heavily of the better action movies of the ’80s and ’90s. The exploding house looks straight out of a Lethal Weapon (1987) film. Maybe the creative team has a thing for movies released in 1987.

One panel, in particular, caught my eye for its freeze-frame effect I don’t believe I’ve ever seen before. A henchman shoots a gangster in the head, but rather than projecting the typical splatter from the shot; you see the gangsters face bulge out from the bullet’s exit point at the precise moment before the bullet comes out. It’s a panel that’s equal parts disturbing and fascinating to see—really cinematic art here by Bellegarde.

Coloring

Tamra Bonvillain’s color work is gorgeous in this issue. Rather than muting all the panels to keep it sober and gritty, the colors are almost cheery in their brightness. That cheeriness helps to elevate the absurdity of the violence and infuse the book with a bit of grindhouse ambiance.

Lettering

Sal Cipriano’s lettering does well for maximizing every square inch of space. For an action movie-esque issue, there’s quite a lot of dialog going on. Surprisingly, the high volume of word balloons never got in the way of the high-quality art, and it kept the pace moving nicely.

Conclusion

STEALTH #4, available from Image Comics on August 12th, reads like one of the better action movies of the last few decades. The story is action-packed with a few surprising jolts of humor to make the issue thoroughly entertaining. The art is colorful and cinematic, and this issue would serve as an excellent pitch for a film or streaming adaptation.

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How Red Seeps Into the World In RED MOTHER #7

By

Cat Wyatt

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RED MOTHER #7, available this Wednesday from Boom! Studios, continues Daisy’s journey, following the aftermath of that horrible night. This dark series is a puzzle waiting to be solved by the readers.

***SPOILER WARNING***

Red Mother is a series following Daisy McDonough and the events that follow the worst night of her life. Ever since the attack, nothing has been the same. Her life feels haunted. By the loss of her boyfriend, the damage to her eye, and haunted by a mysterious red figure.

The Red Mother is a psychological horror series through and through. Realistically, it is not a series for the faint of heart or those that have trouble seeing the damage that occurs around the face. That is the sort of imagery prevalent within these pages.

Daisy is looking mighty haunted on this alternate cover of Red Mother #7.

The Writing

No matter how far Daisy runs, she cannot get away from what is haunting her. Or is it hunting? She’s made it to another continent, and yet the red is still there, right at the corner of her vision.

Jeremy Haun has continued his thrilling and terrifying tale in Red Mother #7. Daisy’s journey is feeling increasingly claustrophobic, as the supernatural following her gets ever closer. The sense of foreboding is on point in this issue, as are many other subtle elements.

All of which weave together to create a dark and concerning tale. Even the moments of brightness cannot chase away the dark or in this case, the red. It almost feels like the moments of happiness in Daisy’s life as put in place to remind readers of everything that can (and will) be lost when it all goes awry.

There are a lot of elements to appreciate in this issue. The commentary on street art, the subtle clues dropped here and there, as well as the significant revelations. None of it should be ignored, as it’s all building up to something. The question is, what?

The Art

The artwork behind Red Mother #7 is every bit as haunting as the story it supports. Though in an exceedingly more deceptive manner. Danny Luckert has been the lead artist for this project, working alongside Ed Dukeshire for lettering.

There are panels where the world looks almost normal, only to flip towards the red spectrum. It’s a twist that fans of the Purple Man will easily recognize – and that makes it no less terrifying. In fact, the opposite could easily be argued for.

The artwork on these pages subverts all expectations, turning bright colors into moments of pure horror. The twist leaves a strong sense of anxiety, proving how effectively it manipulates the reader’s emotions.

All of this is coupled with a sense of light, which the series isn’t afraid to play with. Dark shadows are bouncing all over the backdrop, while light dances over the hands of leading characters. Is this just a moment of playfulness, or a hint towards something much darker?

Likewise, the lettering for this issue is so carefully crafted. There’s a real sense of impact, subtle cues that spring from the placement of the words. It’s subtle, yet it also carries the readers along in this twisted tale.

Conclusion

Red Mother #7 is a complex issue, providing ample opportunities for concern while building up for something so much bigger. Like the calm before the storm, things are about to get a whole lot more complicated in Daisy’s life. That is a message telegraphed very clearly in this issue.

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POWER RANGERS: DRAKKON NEW DAWN #1 – Recovery Scars

By

Jake Palermo

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Power Rangers: Drakkon New Dawn #1 Cover

Power Rangers: Drakkon New Dawn #1 is the beginning of a spin-off to Boom! Studios’ main Power Rangers series. The story written by Anthony Burch, with artwork by Simone Ragazzoni, colors by Raúl Angulo, and lettering by Ed Dukeshire, focuses on the World of the Coinless trying to recover after the Shattered Grid crossover event.

Power Rangers: Drakkon New Dawn #1 Story

Burch stepping out of his partnership with John Carpenter and the horror genre pens Power Rangers: Drakkon New Dawn #1. Continuing off of Power Rangers: Ranger Slayer, a post-upgrade Kim is trying to lead a rebuilding of her reality’s society. But things are not easy as old wounds in both of Coinless and Power Sentries are manifesting every other day. All of which reflects in the company Kim keeps. Some include her former ranger teammates who know her brainwashing into the Ranger Slayer and old enemies like Scorpina, whose condescending attitude makes it hard to be in the same room with. Yet it’s the struggle to find tolerance that makes the rebuilding efforts worthwhile. Because not all of who went against Drakkon or joined him are purely good and evil, respectively, some of the Sentries only wanted to protect those they could under Drakkon’s rule.

So Kim takes it upon herself to dismantle any remains of Drakkon’s influence, starting with a prison. Years of trauma continue to haunt this place, especially in the prisoners. One prisoner, in particular, serves as what kickstarts the story as a reminder of Drakkon’s aftermath. Drakkon may be gone, but he leaves behind a nasty surprise that may push Kim and friends to the brink.

Art

Ragazzoni gives a distinctive look to the world of Power Rangers: Drakkon New Dawn #1 in terms of character design. Most characters not in Ranger suits look worn out and ready to break. It’s a display of the amount of trauma that still resides in the World of the Coinless. However, the Ranger suits are more or less masks to hide their exhaustion. It’s merely a means of keeping themselves together in a world where these suits are the marks of Drakkon’s influence. No one displays that better than the Prisoner Ranger whose crudely put together design demonstrates his place in a terrible surprise from Drakkon.

Angulo’s coloring in Power Rangers: Darkkon New Dawn #1 shows a grim bleakness throughout the issue. While the brighter colors do appear throughout the issue, the muted atmosphere and flat colorizations hold the brightness back. In fact, when color with more luster appears later, it’s not life returning to a barren world, it’s a harbinger of destruction.

Dukeshire provides lettering that is uniform, never straying from the panels. Some of the fonts even get a stylization to coincide with the emotional states that characters are in. A boat of rage is often with an orange font word. Caption boxes stand out enough for readers to follow them without getting in the way of the images. But what really stands out are the wordmarks that possess details that are drawn for this very occasion. They are not extremely bright, and the flat colorization belies their impact as they jump between panels.

Get Started With Power Rangers: Drakkon New Dawn #1

Power Rangers: Drakkon New Dawn #1 begins an exciting spin-off series that displays how an already bleak setting can get even worse. Yet the creative team is going to make this series something fans will never forget.

What do you all think? Is it time to move on from Ranger Slayer and Drakkon? Or do you want to give this series a try? Leave your thoughts in the comment section below.

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Review: VOYAGE TO THE STARS #1 Brings The Podcast’s Hilarity To Comics

By

Corey Patterson

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VOYAGE TO THE STARS #1 hits stores on Wednesday, August 19th, bringing one of the most beloved sci-fi podcasts to comic books. Readers get up close and personal with a less than polished team of space travelers who happen to be the sole survivors of Earth’s recent destruction. But rather than giving up hope, they’ve decided to search the universe for answers and find a way to destroy the “Nothing” that took their home.

Story

The story opens up with brief yet detailed recap of the protagonists’ current predicament, which is told through the characters’ interactions. This narrative technique is particularly effective in two ways: first, it relays key information pertinent to the story, and second, it gives readers an immediate look into each character’s personality.

From the conceited Tucker Lentz to the rational Elsa Rankfort, each individual offers a dynamic that makes the greater whole that much better. This is exemplified even further when the group finds a mysterious “guide” who is supposedly the last hope of the universe. Watching Tucker bemoan the fact that someone else is more important in this quest is priceless.

Ryan Copple and James Asmus’s writing is both hilarious and thought-provoking. We were thrilled getting to probe the mysterious of the Nothing while enjoying a laugh along the way.

Artwork

The illustrations were a beauty to behold in this issue. Connie Daidone’s penciling and ink work crafted characters full of life, using a mix of flowing and sharp lines to showcase their movements and expressions. Reggie Graham’s coloring makes these images shine through the use of brilliant blues and purples in the midst of outer space. In addition, Andworld Design’s Justin Birch’s lettering engages readers with font styles that vary depending on the importance of each word, whether they be names of characters or notable “features” of the team’s mech robot.

Conclusion

VOYAGE TO THE STARS #1 took us out of this world. We’re excited to continue reading about the crew’s journey in future issues.

What was your favorite part of this issue? Let us know in the comments below!

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Review: Is ALIEN: THE ORIGINAL SCREENPLAY The First And Best Version?

By

Darryll Robson

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Alien #2 cover - Edited — Alien:The Original Screenplay #2 Credit: Dark Horse Comics

How do you follow something like Alien: The Illustrated Story? It is seen by a number of people, including Frank Miller, as the best adaptation of a movie in comic book form. The transition from cinema to comic is perfect, adapting a dynamic visual movie into superb static storytelling. Some of the horror and suspense is lost in Archie Goodwin and Walter Simonson’s version but they more than make up for this with the striking visuals and character interaction.

With Alien: The Original Screenplay readers get a completely new take on an old classic. This is nothing new and has been happening in cinema since the 1970s, although it was the popularity of video in the 1980’s that allowed the ‘Director’s Cut’ to feed fan’s the world over. Movies like Blade Runner and Aliens have undergone the Director’s Cut treatment and in each case they add to and fix some of the original release’s narrative problems. However, just because you can do something doesn’t mean you should. Remember the Donnie Darko extended edition? The newer version includes elements that belittles the intelligence of the audience and removes the ambiguity of the story that made the film so interesting in the first place.

When it comes to comic adaptations, revisiting original scripts to create new takes on fan favourites is becoming a bit of a trend. BOOM! Studios recently released Planet of The Apes Visionaries, a graphic novel based on the original Rod Serling script. The book was a success and a big hit with the fans of the franchise.

In Alien: The Original Screenplay, published by Dark Horse Comics, writer Cristiano Seixas and artist Guilherme Balbi return to the very beginning to adapt Dan O’Bannon’s first script. Long before Ridley Scott and H R Giger infected the movie with their singular vision, this version contains designs based on O’Bannon’s original descriptions. The question is, does this comic provide fascinating new insights into the movie, narrative, and Alien franchise? Or is it a case of flogging a dead face-hugger?

Original’s

Issue 1 of Alien: The Original Screenplay was released on 5 August and the second issue is due out on 2 September. Earlier this year it was announced that the publishing rights for both Alien and the closely linked Predator franchises were moving to Marvel, which means this will most likely be Dark Horses final foray into these worlds. If you take that into account along with fan expectation then there is a lot riding on this series.

The first issue’s opening is instantly familiar. In the depths of space, the crew of a cargo ship awake, drowsy and out of sorts. Although the scene is very similar it is also markedly different in a number of ways. The first, noted in the very first panel, is the title of the ship: The Snark. Instantly a different tone is set then when the movie introduces the Nostromo. Maybe the word snark used to conjure up images of mythical and elusive creatures but today, it is more likely to invoke hilarity. It becomes very difficult to take the sequence seriously because, in the back of your mind, you’re thinking about the word Snark. This less than serious tone is enhanced by the introduction of the first crew member: the cat. The series begins with what appear to be jokes.

Readers will know that the cat played a major part in the movie and the cryogenic pods popping open to reveal the sprawled feline is a cute, funny moment that contrasts against the dark, brooding technology that surrounds it. I mention this only because it illustrates how the tone throughout the opening issue is different from the movie, and what you might expect. The crew all appear similar in age, with their uniforms invoking more of a military vibe than the working class miners in Ridley Scott’s vision. The design and layout of the cryogenic pods feeds this assumption because they are more reminiscent of Aliens, the War Movie sequel, then they are the visually exciting starfish shaped design from Alien.

Alien:The Original Screenplay #1 Credit: Dark Horse Comics

Character Flow

As the story progresses you will find yourself trying to reconcile the characters in the story to the ones from the movie. Motives and reactions will throw you off as you expect one character to act in a particular way but doesn’t. It is the curse of dealing with such a familiar story. Every little difference in behaviour or design is instantly noticeable and as a result very distracting. From the naming of the crew to the design of the spaceships, Seixas and Balbi have a difficult job keeping the reader’s attention.

Even moments that haven’t changed from this original script to the finished product can be distracting. This is most notable with the speech itself. When there is a line of dialogue that is familiar it stands out on the page almost as if letterer Michael Heisler has written it in a different font. Which is unfair to Heisler whose lettering work is wonderful throughout. He brings the speech to life by placing the balloons around the panels to illustrate pauses or fast conversations. The sound effect work is especially effective and there is a clear distinction between the mechanical world of the Snark and the organic world of the Alien.

The biggest problem with this version of events is the crew themselves. Ripley wasn’t Ripley until Sigourney Weaver stepped into the boiler suit with her attitude and determination. Ash is only Ash because Ian Holm was so believable as an emotionally disturbed synthetic. The crew of the Snark are too similar in nature. There is an element of playfulness between them and also a tension that is generated from people working in such close confides, however two issues in and there aren’t any clear personalities. Broussard is brash and impatient as he enters the alien pyramid but then so are his crew mates waiting at ground level.

Alien:The Original Screenplay #1 Credit: Dark Horse Comics

Mid Review Turnaround

So far I’ve been pretty harsh about Alien: The Original Screenplay but it’s not all bad, in fact it’s fair to say there is a massive amount of ‘good’ to be garnered from this comic. In order to do that, however, there is one thing that you have to do: forget that this is the Alien story you know and love. Put that to the back of your mind and bury it deep because that’s the only way you are going to enjoy reading this comic.

This is a spaceship you don’t recognise with a crew you don’t know. These aren’t the Captain, the heroine, or the victim that you are accustomed to. Instead it’s a collection of new people to get to know, thrown into a situation that is familiar but then, isn’t most situations in the Aliens franchise?

There is enough of a difference in these opening two issues to distance the story from the movie. The design work helps because it is quite radically different in a number of places. The derelict spacecraft lays in the dust storm like a stranded starfish, with large spikes protruding from it. The Pilot is all extended bone, looking more like the creatures from Pitch Black or a deformed Nemesis the Warlock.

There is no-way to hide what is coming in the narrative but Balbi is able to distract the reader just enough with his artwork to retain some mystery and tension. The switch with the Alien eggs from the derelict to a large pyramid adds a new dimension reminiscent of a short story called Aliens: Advent/Terminus which also features a pyramid and a young bunch of cocky explorers.

There is a wonderful contrast between the Snark interiors and the desolate hostile rock they land on. Candice Han’s colors play a large part in this. Cold blues cover the smooth, clean interiors where technology reigns. This is juxtaposed against the mucky yellows and oranges of the dust storm raging all around them. The contrast is best illustrated in the panels where the Snark sits in the centre of the storm so that you can see the two worlds battling it out for dominance on the page. It is visually very powerful and striking.

Conclusion

Alien: The Original Screenplay is a difficult comic to get a grip of. On the one hand it’s a visually stunning piece of work with great storytelling that favours atmosphere over character. What the cast lack in personality is made up for with impressive design work and expanded vistas.

On the other hand, it can’t escape from it’s legacy and the narrative flow is shattered by the constant comparisons to the original movie. Every difference becomes scrutinised, for better or worse, and even the recognisable moments stand out on the page like a beacon for the fans. The worst part about this constant comparison is that this version will never live up to the brilliance of Ridley Scott’s vision. The Alien designs will never be as visually impressive as H R Giger’s horrifying nightmares.

In the end, your enjoyment of this is going to come down to how well you disengage it from what you already know. If you’re not an Alien fan and haven’t, for some reason, seen the movie then you will get so much more out of this series. This is also true if, as a fan, you can distance this from what you know. However, if you go into this expecting some new insights into the franchise you love, you are going to be disappointed. The biggest takeaway from this is that the script didn’t make the movie the phenomenal experience that it is. A number of the themes and narrative elements so important to the Alien story are missing and the crew just aren’t as likeable as Dallas and Co.

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INTERVIEW: Writer & Director Nicole Brending’s Dollhouse Is Funny And Thought-Provoking

By

Ruben Diaz

-

August 18, 2020

Writer and director Nicole Brending’s new film Dollhouse: The Eradication of Female Subjectivity from American Popular Culture is a provocative, thought-provoking film with a punk rock attitude that pulls no punches and delivers satirical brilliance using dolls, a lot of imagination, and creative filmmaking.

Dollhouse is a film that centers around Junie Spoons, a young woman who rockets to superstardom on the back of her entertainment talent. Junie’s rise and fall and everything in between comes to life via dolls, doll-sized sets, and spot-on voice acting. Junie is a stand-in for superstars like Britney Spears or Whitney Houston, who, at one point or another, succumbed to the enormous pressures of fame. Dollhouse is a throwback to the 80s and 90s era of indie filmmaking that eschewed the status quo to tell a familiar tale in a wickedly impactful way.

PopAxiom spoke with Nicole about her road to making movies and the power of dolls over people.

Storyteller

Nicole Brending is a working-class woman who loved telling stories in every way possible, but it didn’t start with filmmaking. “It developed into filmmaking. I was always drawing pictures to tell stories. I think I was a visual artist first. That slowly grew into a lot of performance as a kid. I did professional theatre when I was a child from about the age of nine to sixteen. I went to an arts high school for creative writing.”

“After college,” Nicole says, “I was producing plays and performances. I wanted to do some video and incorporate that into one of the performances.”

Nicole first contacted a small production team, but they wanted too much money. “I took a production class and figured it out on my own. As soon as I learned video and editing, I never went back to performance. I fell in love. It was a culmination of all the things that I love and want to bring together.”

Nicole loved many facets of creating art, and filmmaking was a natural place for her to land. “Filmmaking is always evolving towards incorporating all of the arts.”

About Dollhouse

Modern audiences are not ready for Dollhouse, but they need to watch it. The film is deceptively powerful in covering the rise and fall of a pop superstar and the lecherous world that rises around such fame. But it wasn’t always this way. “I had another idea around the time Black Swan came out. I had this idea for a psycho-drama, set in the pop world with a Britney Spears-type character and the psycho-drama of being her.”

Nicole explains, “How freaky fame is and the paranoia it must create. The way people are never sincere and you never know what’s going on. It’s a battle to figure out what’s real and what’s not.”

Putting that battle on display is Dollhouse. However, the road to becoming a working filmmaker is twisted, uphill, and full of jagged rocks. “I was trying to get work as a director, but it was impossible. There’s a lot against a first-time filmmaker, especially a woman trying to make dark content.”

The idea for Dollhouse was percolating, and the struggle to make films was real. “I’d worked with puppets in the past, and I had brainstorm one day ‘Why don’t I make a puppet movie?’”

After connecting the idea for Dollhouse with its visual representation, the work flowed. “The story just started to meld with the puppets and grew up out of that. It wasn’t initially as satirical as it ended up being.”

Nicole’s Dollhouse is getting plenty of attention from audiences. “I think one of the things that people recognize in the film is that it’s familiar; it’s how we treat women regularly.”

Making Dollhouse

Working with puppets comes with its own set of challenges. “It took about nine months to shoot, but that also includes the building of things. I would do a build for 10 minutes of the script, shoot that, take it down, then do another 10 minutes. The builds took a couple of weeks and the puppets a couple of days to a week, depending on how sophisticated they are.”

“I did a lot of stuff on my own,” Nicole says. It doesn’t get more indie than Dollhouse, and while a part of that is “… budget reasons, but also because I come from a performance background, so I can get very specific about what the voices sound like.”

Filmmaking is a collaborative process, and each part of Dollhouse sums up to a fantastic whole. The score is a wonderful collaboration between Nicole and a long-time friend. “I worked with Jean-Olivier Bégin for 12 or 13 years now. He did the first score I ever had on a movie, and I was his first score. So we lost our scoring virginity together. It was on a doll movie.”

Nicole elaborates, “I was going to Columbia, and there was a school just up the street called the Manhattan School of Music. The Manhattan school asked Columbia film school if they could get some films for their scoring class. So I submitted this doll movie that I just made. It’s a really sweet lesbian love story, forbidden love kind of thing. J-O [Jean-Olivier] fought for it. He said, ‘Nobody else gets this movie.’”

The first of many collaborations was a success for Nicole and Jean. “The movie did well. J-O won a student Emmy for the score, and it went to a bunch of festivals and won a bunch of best short film prizes. We had a great start to our collaboration.”

A decade, plus a few years later, Nicole adds, “J-O’s done all my films, and so, we have this system. He does the scoring, but he and I also write songs together. Usually, the way it goes is that I write the lyrics and sing them very poorly. I email them to him, and he does some magic, gets professionals to sing it, then sends it back to me sounding awesome.”

Nicole gets “… writing credit for that, but he’s a brilliant composer. I can say to him, ‘I want this to sound like Ramstein or Top 40 whatever.’ We went through the early 00s to now to look at the progression of Britney’s music, for example, and tried to make a progression for Junie as well.”

Biting Comedy

Dollhouse is raunchy, provocative, and thought-provoking. Could Nicole have made the same movie with actors instead of puppets? “No. Hell no. There’s no way. That was one thing about the puppets. Once I decided to use puppets, it gave me a lot of liberties. I could engage with the truth of things and be honest, but also palatable.”

Nicole explains the effect the dolls have on viewers. “It’s a lot easier to see the dolls because you can laugh. There’s no better way to take the edge off of the brutal reality.”

Dollhouse is funny but also a punch to the gut. It’s a story that doesn’t hold back on what it wants to say while still being hilariously poignant. Nicole thinks there’s a movement that believes comedy should be “… a way for people to avoid reality or avoid the truth. I disagree with that. I think comedy is the best way to engage people in the truth of things.”

Wrapping Up

Two of Nicole’s influences include John Waters and Todd Haynes, both avant-garde filmmakers with something to say and a bold way of saying it. Who are some others? “I would be remiss not to mention Trey Parker and Matt Stone. I think Jonathan Swift is somehow speaking through me. I like to think so. Also, Aaron McGruder, who created The Boondocks, I admire that, folks like that. Dorothy Parker and so many women who also speak to me.”

What stories would Nicole love to get a chance at putting on film? “I’ve always wanted to do a “Confederacy of Dunces,” which has never been made into a movie. I’d love to do Fatal Attraction but from the female point of view.”

Dollhouse: The Eradication of Female Subjectivity from American Popular Culture is available on Amazon, Vudu, Fandango, Vimeo on Demand, and Indemand. So, what’s coming next from writer, director, actor, singer Nicole Brending? “I’ve always got more projects. I’ve got a couple of features that I’m going to try and bring out this fall. I’ve got some TV projects that I’m working on. I have one thing I’m pitching, with puppets, about the end of the world.”

Is Dollhouse on your watch-list?

Thanks to Nicole Brending and Rock Salt Releasing
for making this interview possible.

Want to read more interviews? CLICK HERE.

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