Welcome to ‘I’d Buy That For A Dollar’ a column where I will be exploring the weird and wonderful world of dollar bin diving. The only rule is each and every comic is purchased for one dollar (or less!).
This Week’s Comic(s): DC Comics’ Who’s Who series!
So I am taking a different approach to this edition of I’d Buy That For A Dollar. Instead of focusing on a single issue, I’m going to showcase some highlights from DC’s Who’s Who books. For those young comic fans who weren’t around before Wikipedia and Google, guidebooks like Who’s Who were the only sources for deep-cut knowledge and statistics on continuity and characters. And as much fun as that is, the real pleasure was in all the fantastic artists that contributed to them (and DC was great about crediting the specific artists on the pages they did), You could even argue that they are more of a Who’s Who of artists than characters! Anyway, I will let the pages, images, and covers speak for themselves. Enjoy!
Here is an early cover by Todd McFarlane!McFarlane also did a few interiors. Check this one out. Love that Mr. Bones!David Mazzuchelli doing Commissioner Gordon! Perfect!The double-page spreads are classic. Just check out this Joe Kubert Easy Company entry!And here is another double-pager by the great Rick Veitch!Marshall Rogers!!!!!!Classic Superman artist Curt Swan does one of the most beloved Silver Age creations, Composite Superman!The always great and underused Tim Truman!Colleen Doran and Karl Kessel!The Racketeer’s Dave Stevens!Steve Rude!!!!
There you go, folks! And that’s just the tiniest of tastes! These books are so well worth it, so seek them out in those bins and deep dive!
You can find great dollar bins at almost every local comic shop. So find a shop, ask a comic clerk what they can do for you during this time and get some dollar comics! Pick them up curbside and have them delivered if you must!
THE MAN WHO F#%&ED UP TIME #5 hits your local comic book store August 26th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: Time’s up for Sean Bennett, the very unfortunate man who f#%&ed up time and now has a death sentence handed down by the dreaded cyborg Future Police. The past has been f#%&ed up, and it looks like irrevocably so. What does this mean for the future? Nothing good!
THE MAN WHO F#%&ED UP TIME #5 is by writer John Layman and artist Karl Mostert, with colors by Dee Cunniffe, and letters by Layman. The cover is by Mostert and Cunniffe.
“A time-twisted sci-fi action-comedy, a butterfly effect noir…“
Check out the THE MAN WHO F#%&ED UP TIME #5 preview below:
Are you reading THE MAN WHO F#%&ED UP TIME? Sound off in the comments with your thoughts!
“Lost Soldiers” #1 is the work of writer Ales Kot and artist Luca Casalanguida, with Heather Marie Lawrence Moore on colors and Aditya Bidikar on letters. This unique Vietnam War-era comic makes use of a twin plot thread, examining the lives of old former soldiers both during their time in Nam, and many years later in their new occupation. Kot’s solid dialogue and haunting poetic passages combine with Casalanguida and Moore’s incredibly atmospheric art make this debut issue a powerful opener, with plenty of potential moving forward.
“Vietnam, 1969. Juarez, forty years later. Three men tied by the war they left behind—on a collision course with a new one.”
Writing & Plot
Ales Kot‘s plot follows a trio of old Vietnam vets who went through the grinder of jungle combat and now work as freelance operatives in operations taking place in Juarez, Mexico. The plot switches between their time in Vietnam as young men fighting in a war they don’t really understand, then to their briefings about their next job, where they do the only things they are likely good at anymore. The notion of old soldiers never being able to leave the battlefield, regardless of time period or location, is an old old story that’s still tragically engaging to read when handled properly. Kot’s three main characters are distinct individuals in their own right, with their own perspectives on the battlefield in ‘Nam, their personality types, and how they handle life 40 years after that war (even though they stayed in the field of blood & bullets). Because of this, there is considerable tension among the three, adding to the overall drama and believability of these three men. It also separates “Lost Soldiers” from much of its war story ilk where men can often be unabashed “brothers in arms” and making these three soldiers distinct individuals with their own moral compasses. The combination of brutal action and believable written humanity in this issue makes for an engaging experience throughout this first chapter and makes me excited to see what Kot has in store for the rest of this 5-issue mini-series.
Art Direction
“Lost Soldiers” #1 is gifted with the pencils of Luca Casalanguida, an artist who has crafted a gritty and fitting visage to every soldier that makes up the cast of this comic. His heavy linework and thick inks set the wear and tear in these men’s faces that paints how tired and unsure they are while in Vietnam, and then shows the age in their gaze 40 years later. There is still a distinct humanity in each man, and Casalanguida is able to show the pained existence behind the eyes of even the most optimistic of the trio, years after the first time they experienced war and have now found it again in a new country. Adding to the excellent artwork are the colors of Heather Marie Lawrence Moore. Outside of her detailed and realistic use of shades and shadows on characters, clothing, and environments both urban and jungle, she often uses this kaleidoscope effect during the battle and confrontation sequences in Vietnam. This coloring is reminiscent of the cinematography of Apocalypse Now, and casts shadows of mental uncertainty upon these moments. The lettering on this issue is solid, although it doesn’t do much more than purvey the text in the same font throughout the comic, with little to no change based on context. Overall however, this is a fantastic looking book with perfect artwork for the story being told.
“Lost Soldiers” #1 is a deep and unique opening chapter to this Vietnam war comic. Writer Ales Kot’s dual-plot focus and haunting poetic passages, as well as his sharp dialogue and characterization, make for a stellar reading experience. The visuals from Luca Casalanguida’s pencils and Heather Moore’s inspired colors are not only brilliant but perfect for the story that’s being told in this comic. If great war comics are your thing, then be sure to grab the first issue of “Lost Soldiers” on 7/29 from your local comic shop.
Tying into the Empyre event, Marvel Comics releases X-Men #10 July 29. Writer and “Head of X” Jonathan Hickman is joined by artist Leinil Francis Yu, color artist Sunny Gho, and letterer VC’s Clayton Cowles.
Writing
I expressed surprised in my review of Empyre: X-Men #1 that the issue didn’t address the fact that the Summer House is on the move, the location of the Cotati base of attack. Hickman aptly addresses my previous concerns in the opening prose section describing the Cotati’s presence on the moon: “Huh. Who do we know who lives on the Moon?”
The issue focuses on Vulcan (Gabriel Summers) and picks up a previous revelation that the original Vulcan did not die in the War of Kings. As the original Vulcan is captured and probed by aliens from the Fault, whose goal seems to be to embrace being a broken person, we see the Vulcan at the Summer House on the moon muse and reflect about his struggles with violence and darkness as he tries to convince the Cotati not to embrace violence by attacking Earth. Ultimately, the Cotati don’t heed Vulcan’s admonishment and are destroyed, setting up a future conflict between Krakoa and the Cotati.
I’m excited to see where this two Vulcans story goes. They seem to share some sort of psychic link, with Gabriel waking up on the moon appearing to remember his counterpart’s probing. The Fault aliens’ intent seems to be to release Vulcan back into the universe as some kind of trojan horse, appearing to be good, but only as a mask for the brokenness within. If I had to guess on the direction this plot is going, I’d say that there will be some encounter between the two Vulcans, where Gabriel vanquishes his past self as a sign of personal transformation.
But that’s only a guess.
Art
I love Yu’s art in this issue, especially his close-ups of people’s eyes and faces.
I appreciate the detail that Yu gives to his characters close up and have always appreciated the way his art complements Hickman’s writing.
Yu also is able to communicate some comedic timing in what is largely a serious and self-reflective issue for Vulcan. As Vulcan confronts the Cotati, his friends Petra and Sway are back day-drinking at the Summer House. Yu does an excellent job of capturing a funny moment.
Everything about this scene that makes it funny is obviously a collaboration between writer, artist, and letterer. Still, that little explosion on the horizon in an otherwise tranquil scene makes it all work.
And then, of course, there are just badass moments in this issue when Vulcan fights the Cotati.
After having Vulcan standing around trying to reason with the Cotati, Yu does a beautiful job showing him unleashing on some fools.
Coloring
Gho’s colors are gorgeous here and are a great complement to Yu’s art. In the fight with Cotati, the colors of Vulcan’s fire are shaded well, giving them a smoky, smoldering look. That is particularly captured here.
That grainy mixture of black and orange works on a couple of levels, both to capture the fiery destruction, but accompanied by the look on Vulcan’s face, it reminds us of the brokenness, anger, and violence underneath the surface that has now been allowed an outlet.
Again, I very much hope that Vulcan’s arc is leading to redemption and not an unleashing of wrath upon his friends and enemies alike (I thought he might kill Petra and Sway when he turned around in that last panel).
Lettering
Cowles’ lettering is excellent throughout the text. I found it interesting that this is one of the first X-titles I’ve read in a while that lacked a significant prose section unless of course you count Scott’s letter to Gabriel telling him that he’ll be there for him; however, this is accompanied by images, so I don’t think it quite counts. Cowles does a good job differentiating his lettering between the various alien species in this issue, character inflections, and narration without at any point overcrowding the page. His letters are a perfect complement to Yu’s art.
Conclusion
This is another excellent issue by Hickman. Per Hickman’s usual MO, everything he does is a majorly decompressed slow burn. Hickman is giving the X-World he’s creating room to grow and breathe and establish its own status quo. I am waiting for the other shoe to drop, though. Having read House/Powers of X, I know it’s coming, but Hickman isn’t in a hurry to get there. I’m still waiting for all the teased menaces to pay off in a big way. This issue teases that there is something on the horizon.
What did you think of X-Men #10? What do you think is in store for Vulcan’s future? Tell us in the comments below!
FIREFLY #18, available now from BOOM! Studios, brings the tale of Sheriff Malcolm Reynolds ever closer to it’s inevitable conclusion. While their journey has taken unexpected twists, there’s no denying that this is the crew that fans have fallen in love with.
A foreboding cover for Firefly #18.
***SPOILER WARNING***
The infamous outlaw himself has become a sheriff, though everyone in the ‘verse should know that this is not a title he’s going to hold for long. After all, Malcolm Reynolds has always been one for pushing his luck.
Firefly #18 brings fans back to this strange journey, one that takes beloved characters and puts them on a journey like no other. It’s sometimes strange, picturing them on these adventures that are so different from the original series.
While it has been interesting seeing this new side of things, it’s hard not to hope for a rare sighting of the rest of the crew. Mal has taken center stage, with the occasional appearance from Kaylee, Jayne, and Inara.
That leaves fans wondering: What is the rest of the crew up to? Where are the siblings (River and Simon), where are Walsh and Zoe, and where’s Shepherd Book? These characters have rounded out the team on more than one occasion, and their loss is keenly felt.
It is time to go to war on this variant cover of Firefly #18.
The Writing
Firefly #18 is an issue that has its ups and downs. Written by Greg Pak, this is another issue that focuses mainly on two groups of characters: Mal & Inara, and Kaylee & Jayne — plus the new characters in both groups.
There were moments when this issue really did feel like it was going back to the roots of Firefly. Kaylee and Jayne haggling for no reason other than the fun of it. A dangerous (and poorly planned) heist in the works. The usual.
Then there are parts that once again showcase all of the changes, i.e. the lack of beloved characters, Mal’s new position, and the people he’s constantly coming across. It’s all so new and different. But different isn’t bad. In fact, we might be nearing a point where change is needed. Perhaps it’s time to bring the Serenity crew back together again?
Admittedly, that doesn’t seem likely. There are more and more figures getting added to the roster, and naturally, they all have their own goals. In general, that usually means that the crew is gaining yet another problem to deal with.
Kaylee, Jayne, and their latest ally enjoying a heist in Firefly #18.
The Art
The artwork is absolutely one of the highlights of this series, and Firefly #18 is no exception. The art is bold and unafraid to get a little experimental at times, while still having that feeling that the original always carried with it. Sort of Space meets Western.
Lalit Kumar Sharma was the lead artist for this issue. He’s the one behind that tone described above. The lines are rougher, with a textural look and feel even to the simpler backdrops. It’s evocative and quite effective for this series in particular. Especially when flames are involved (which tends to happen quite a lot, with their heists).
Francesco Segala was the colorist, and overall the colors are muted and darker, yet that also works quite nicely with the series. It may seem counter to the level of tech in the world, but it’s still a strong fit to the core of the plot.
Jim Campbell is the mind behind the lettering for this issue, and that’s another highlight worth talking about. His lettering is perfection, being so carefully placed. There are some beautiful scenes in this issue, and they are complemented with the balloon placement here.
Who will win in a verbal standoff, Mal or Leonard?
Conclusion
Firefly #18 is another interesting issue, though admittedly one that continues to raise questions about the crew. What seemed like a temporary change has gone on much longer than expected, and while some characters are still having fun, others haven’t been seen in some time. Will our beloved crew ever get back together again?
Mirka Andolfo’s MERCY #4, available today from Image Comics, dives into a dark world full of monstrous creatures and the humans they feast upon. This is not a series for the weak of heart — or stomach.
Lady Hellaine’s control is slipping in Mercy #4.
***SPOILER WARNING***
Mirka Andolfo’s Mercy #4 continues the tale of the Woodsburgh Devil and the poor town stuck dealing with it. Lady Hellaine has entered this town with a plan, yet nothing has gone according to it. How much longer can the charade hold up?
With this issue, we’re officially past the series’ halfway mark. There are only two issues left with which to wrap up this tale of blood, treachery, and vengeance. While some points have become clearer with time, there are still many answers left to be provided.
This fourth issue in this series is arguably the most graphic thus far, thanks to the imagery as well as everything that is implied. Consider yourself warned.
Lady Hellaine and the little girl who thinks she has found her mother in Mercy #4.
The Writing
Mercy #4 is a hard pill to swallow. There’s so much going on, and very little time provided for readers to fully process what they just experienced. In that sense, there’s a certain bond being formed with the characters themselves.
Mirka Andolfo has created a dark and foreboding world. Never once did she promise readers a happy ending. Yet she has still successfully surprised us at every turn, both with the good and with the bad.
Previously, the more graphic scenes were exactly that — graphic — with not much of an emotional tie to bring them home. That is no longer the case here, with heavy implications being found left and right. The writing and the artwork have fully merged, and it’s going to leave a mark.
Credit to Andolfo for being confident enough to write something so deeply unsettling. This is not a series you can casually read and walk away from. It demands an emotional toll. It has from the start, but even so it was hard to prepare for the events of this issue.
The exploration of memories and humanity was beautifully done, even if it was intentionally harsh at points. If anything, that merely helped increase the impact of the story being told.
The Art
Andolfo is also the leading artist for this series, including Mercy #4. Yet she did not work alone for this issue. Gianluca Papi and Francesca Carotenuto were the color assistants brought on board, while Arancia Studio did the translations, and Fabio Amelia provided the lettering.
The artwork within these pages is incredibly haunting, and obviously quite graphic at times. That isn’t a bad thing, naturally. It’s perfectly suited for the story, which leans towards the darker edges of humanity (and the monsters that attracts).
Lady Hellaine has always been the most notable character, bouncing back and forth between extreme beauty and something truly horrifying. It felt like those latter traits were amplified in this issue, bringing a visual representation of her struggle to the forefront.
A peek at what is in store in Mercy #5.
Conclusion
Mercy #4 is not an issue for young readers. Then again, that should have been painfully obvious several issues ago. Now it’s seeking to tear into the emotions of the readers, all while continuing this almost tragic journey of Lady Hellaine’s.
Young Cable’s adventures continue in Cable #2, released by Marvel Comics on July 29. Writer Gerry Duggan, artist Phil Not, and letterer VC’s Joe Sabino continue unfurling the mystery of the sword Cable found on Monster Island as well as future Cable’s ongoing Hunt (X of Swords prelude?).
Writing
A lot happens in this issue. It begins with a mutant baby kidnapping with possible ties to a cult, the Order of X, but quickly transitions to a battle with space knights who have arrived on Earth to reclaim the sword that Cable discovered. And then, of course, it ends with future Cable’s journey, which I don’t yet understand, but I’m sure Duggan will make clear in upcoming issues.
I don’t know what to think of this book yet. I’m withholding judgment until the first arc is completed, and I can see the bigger picture a bit better.
On a side note, it is always lovely to how all of the X-titles relate to each other. In the case of Fallen Angels, Cable, and Hellions, it’s pretty easy to get the sense of where the first title ends and the other two begin. In the case of Kate Pryde, her death, and her appearance in X-Men-Fantastic Four, I’m a bit more confused. In this issue, we see a bit of payoff from last week’s issue of Wolverine #3, where the Cuckoos tell Wolverine that they want him to hook them up with Cable, and lo and behold, in this issue, Cable is dating ALL of the Cuckoo sisters.
Art
I love Noto’s art in this issue. The character designs are well done, and I think the colors are gorgeous, looking almost like watercolors. The colors, while each is vibrant, are partially shaded, so while the color palette is diverse, they aren’t overly bright.
There are some cool panels in this issue, but I particularly appreciate two scenes involving Cable and Cyclops, both talking to the Philadelphia police on separate occasions about the missing persons case.
I appreciate the “like father, like son” vibe that these panels give off. I’m not going to post them here, but the following panels, showing the cops, even mimic each other.
Speaking of the cops, they tell Cyclops to get a Philly cheesesteak, go home, and let them do their jobs.
I love so much about this panel, mostly that he actually GOT the sub and that the smile on his face indicates the joy of being able to sit down and eat it (before getting interrupted by Emma, who chastises him for eating a sandwich while talking to her).
Lettering
Sabino’s lettering is serviceable in this issue. Usually, in an issue with diverse characters, I look to see how the letterer gives each voice its own distinct look so that the page doesn’t become a jumble of interchangeable dialogue. In this issue, you have conversations between humans and mutants, psychics, and space knights. I’m happy to say that Sabino gives each of these voices their own visual inflection, which is always a nice aesthetic touch for the reader.
Conclusion
Cable isn’t my favorite X-title, but it’s only been two issues. It’s seeding some mysteries and plot details (some of which appear to be leading up to X of Swords), so I’m curious to see how they’ll pay off, particularly the future Cable story. This book is beautifully drawn, such that I wish all the X-books could look this good (many of them do, but I’m just not a fan of more “cartoon-y” styles).
What did you think of Cable #2? What do you think future Cable is up to? Tell us in the comments below!
In Marvel Comics’ Empyre #3, on sale July 29, Al Ewing and Dan Slott present the next chapter of Marvel’s latest event and take it to another level by further muddying the waters. Two shocking returns and more deception turns Empyre into a spy movie-like thriller, and the writers also make us wonder if a sequel to Secret Invasion is on the horizon.
Empyre #3
Story: Al Ewing & Dan Slott
Script: Al Ewing
Artist: Valerio Schiti
Color artist: Marte Gracia
Letterer: VC’s Joe Caramagna
Come Together
Empyre #3 instantly reminds readers how the Cotati are taking over planet Earth. In the opening pages, artist Valerio Schiti shows the invaders’ plant life covering the Eiffel Tower. It’s only a matter of time before the Cotati reach other iconic landmarks. Naturally, Marvel’s brightest minds join forces as they hope to counteract the potential conquerors. As a result, Reed Richards and Tony Stark come together in a scene that reminds us of the duo’s alliance in Civil War.
It’s an all-out war in Empyre #3
Richards’ team-up with Stark in that legendary event had disastrous consequences for the Marvel Universe. So seeing the two genius side-by-side doesn’t exactly fill the reader with joy. But Ewing and Slott make their reunion a compelling contrast between the two heroes. He juxtaposes Stark’s self-imposed isolation with Richards’ constant connection with his family. Stark is clearly struggling with his guilt for precipitating the Cotati’s onslaught, and Schiti brilliantly conveys just how far he’s fallen. Stark looks like a miserable college student during finals week, with bags under his eyes and stress lines all over his face. The sight of a coffee maker with multiple empty cups of coffee nearby completes the image of a man who’s burning the candle at both ends.
Richards tries to comfort his friend when Stark blames himself for believing Quoi’s lies. “Nobody could have seen this coming,” Richards says as he puts a reassuring hand on Stark’s shoulder. Seeing this reassuring gesture completes Richards’ return to the proverbial main event scene; after a lengthy absence, the Fantastic Four is back where they belong at the center of the Marvel Universe.
Still, Stark rejects Richards’ kindness. He snaps back at Richards’ claim that he’s not alone by saying that it’s easy for him to say that. Richards knows Stark is right because the Fantastic Four uniform is a reminder that Richards is always with his family. With this clear difference, Stark is at a crossroads; will he continue to isolate or will he lean on his allies? That decision could have major ramifications for the rest of this event.
The Fantastic Four’s return isn’t limited to Reed Richards, as The Thing is back in the thick of things.
Secret Invasion II?
The Kree and the Skrull empires have put aside their differences and united. This shift didn’t necessarily spell the Earth’s doom, but now it’s time to sound the alarm. Not only are the Cotati trying to annihilate all animal life on the planet, but now the Kree/Skrull alliance looms as a major threat. That may seem obvious, but the shocking return of a major Skrull supervillain at the end of the leaves us wondering if the next Secret Invasion is on the way. We’re only three issues into this event, but the writers have already shown us how the Kree/Skrull alliance is manipulating some of Empyre‘s significant players.
Deception abounds in Slott’s and Ewing’s story, and it’s fair to wonder how extensive the damage of this duplicity will be before it’s all said and done. The end result may be another attempted hostile takeover by the Skrulls. With the Kree empire by their side, Earth’s Mightiest Heroes may not be able to stop them this time.
Empyre hasn’t quite hit a level where you’re constantly on the edge of your seat, but this issue pushes the story forward in several fruitful directions. The potential of a Secret Invasion follow-up is promising, even if it’s ultimately just wishful thinking. The next installment might be make or break for this event’s ultimate success, as it’s about time Empyre becomes an all-out epic. Slott and Ewing have built a strong foundation through three issues; now, they just have to deliver the goods.
What’d you think of Empyre #3? Where do you hope to see the series go from here? Check out your local comic shop to see if you can get it there, or consider buying the comic online.
ASCENDER #11, available in comic book stores Wednesday, July 29th, brings back one of Descender loyalists most favorite characters. Driller, the massive robot bodyguard of Tim-21 from the previous series, is introduced to Mila, Telsa, and Hilda by his old friend Mizerd. But unfortunately, the meeting is cut short by Mila’s pursuers. Can Driller save the day?
Story
The narrative first brings readers to an important memory of Mizerd, one in which he escapes with Digger for dear life. We’re reminded of the magical forces who used their incredible might to wipe away all bots. And though the twosome escaped from this threat, the magic unleashed didn’t let them rest for long.
In an immediate change of pace, readers are brought back to the present as Mizerd proclaims his joy from finding Mila. The reason? Her unprecedented level of magical ability.
Despite her denial of being a “witch,” we’re given the glimmer of hope we’ve been waiting for in this one-sided battle against Mother’s forces. And less she have any doubts, Driller is ready and willing to help further her quest.
Jeff Lemire’s masterful storytelling immerses readers in the narrative after just a few short events. Even if we knew little of the characters from Descender, we’re pulled into their story through their strong personalities.
Artwork
The illustrations from Dustin Nguyen and lettering form Steve Wands were a pleasure to view. Each panel contains the characteristic Nguyen style readers love—illustrations that look simple at first glance, but contain highly intricate details at a closer look. These characters are brought to life by such features, from the wrinkles on the vampires’ skins to the strands of Tesla’s brilliant red hair. Additionally, the font styles further emphasize each character’s many of speech, specifically with the computeresque type in Digger’s dialogue.
Conclusion
ASCENDER #11 introduces an old fan favorite in an incredibly entertaining way. We look forward to more potential returns of characters from the previous series.
Were you surprised by yet another reappearance of a character from Descender? Let us know in the comments below!
Spawn #308 out this week from Image Comics is the beginning of a new arc in the franchise complete with a new artist Ken Lashley joining creator Todd McFarlane.
Recap
After issue 300, Al Simmons is dealing with the fallout of his failsafe plans. Most recently, the Hellspawns preceding Al have appeared with Spawn contemplating on what to do next.
Spawn #308 Plot
Spawn #308 features a lot of growing tensions from just the beginning. Along with the clashing newscasts from Spawn’s early days, the Hellhound agents are looking to use to the materializing Spawns to their advantage. And with the return of Spawn ally/enemy Cogliostro who in times past manipulate Spawns to his cause, Al and his allies could be in a lot of trouble. Spawn himself plans on taking a few drastic risks that could make or break this new development. It’s little wonder why McFarlane calls this arc “The Consequence of Sin.” Unfortunately, readers will have to wait for next month’s release as the issue ends as the tensions start to boil.
Art
Spawn #308 advertises itself with the appearance of a new artist, Lashley, of X-Men fame. Working primarily in the penciling department, Lashley works between pin-up style artwork and cinematic style movements. The pin-ups always feel frozen in time with captions and word balloons by Peter Steigerwald playing up the intense moments. Unlike the cinematic motions where enough information can be on display in a split second. The inking between Lashley and McFarlane provides just enough contrasting detail to display enough emotion. That same detail shows who has the most weight to a setting with the Spawns having so much detail they drive the pages forward.
The coloring by Tom Orzechowski certainly highlights the situations that take place in these tense moments. With all of the lights and sparse bright colors to otherwise dark settings, this displays what goes on when the characters discuss the situations. As more information comes to light, the brighter the room gets. But when things are at their brightest, things get dangerous. Such as when the Gunslinger Spawn’s host’s eyes glow green.
Get Ready With Spawn #308
Spawn #308 certainly has an interesting set-up that might require some background knowledge of previous issues. Yet Lashley’s inclusion provides enough information to know that the current situation is going to be tense. Something that is only going to rise with the wait for next month’s issue release.
What do you all think? Does this new arc spark your fancy? Or should you see what comes before in Spawn #301 onwards to get the full picture?
