Review: EMPYRE: X-MEN #1 – Zombies Were An Interesting Choice…

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This week, Marvel Comics released their X-Men tie-in to their big Empyre event with Empyre: X-Men #1. X-writers Jonathan Hickman and Tini Howard are joined by artist Matteo Buffagni, color artist Nolan Woodard, and letterer VC’s Clayton Cowles. As the Avengers and Fantastic Four find themselves preoccupied with the Kree-Skrull armada led by Hulking and its attack on the Cotati people in Empyre #1, this issue reveals some of the fallout from that issue, as well as begins to address Krakoa’s relationship with “the Pretender,” the Scarlet Witch.

Writing

Hickman and Howard focus on the Scarlet Witch at the beginning of this issue, showing that she regrets being responsible for the decimation of the mutant population and now seeks to make up for and redeem those actions. When she tries to magically resuscitate the dead mutants of Genosha a month prior to the present, she accidentally unleashes a horde of 14 million zombie mutants. Wanda’s fate remains unknown (although she is alive in Strange Academy, so I’m sure she’s fine). In the present day, the Cotati prepare to invade Wakanda, using Genosha as a staging ground, where they come into contact with the mutant zombies. Meanwhile, Warren Worthington arrives with a team of X-Men to investigate problems with the Krakoan gateway on Genosha.

The X-titles continue to surprise me with how they mash-up their characters and address the various plot threads that have been laid down since House of X #1. Warren’s characterization here is great, and it’s cool to see him taking center stage in an X-book, even as he struggles with the new realities of Krakoan life. This is particularly evident when he is putting together a team to take to Krakoa and is made quite aware that this isn’t like the good old days in the X-Mansion when he has a heated exchange with Magneto about assembling the team of his choice. He also has a conversation with Xavier that may portend future conflicts of interest.

Hickman and Howard also use this opportunity to bring Scarlet Witch directly into the X-titles. Krakoan feelings about “the Pretender” have foreshadowed a future conflict with the Scarlet Witch for some time. It’s an interesting decision to use the Empyre tie-in to do this. I thought for sure the X-Men tie-in would focus on the Summers’ home on the moon (where the Cotati conflict began). Zombies were an interesting direction to take for this.

Also, Hordeculture shows up at the end! Remember them? No? See X-Men #3.

Art

Buffagni does a great job in this issue, and I can’t praise him enough for the ways that he is able to capture the subtlety of emotions on the Scarlet Witch’s face as she grieves her past sins and realizes her mistakes in trying to correct them.

That first image, when she has a quiet moment to herself on Genosha, captures Wanda’s complex feelings of grief, while in the following images, her expression moves seamlessly from surprise to terror. These last moments, juxtaposed with Cowles lettering, shift the tone from one of quiet contemplation and self-pity on Wanda’s part, to one of horror, as the words of the zombies are set against Wanda’s final cry and the close up of her eye.

Coloring

Woodard’s colors are very good at capturing the various settings. For instance, on Genosha, when the zombie horde attacks the Cotati, the colors are a bit muted and there are a lot of grays, browns, and brownish-reds.

Woodard’s colors definitely capture the violent, bloody, undead look of a zombie attack (albeit in a PG-13 way). He also creates a very cool juxtaposition between this scene and the following scene with his use of color.

This juxtaposition, however, isn’t only one of color palette. The last thing one of the zombies tells the Cotati in the previous scene is that some of the mutants were vegetarians, indicating that while the Cotati are plant-based entities, at least some of the zombies will have a taste for their plant flesh. This is a clever quip by the whole team, not only the writers, but even the lettering adds to this minor gag with the “crunch” sound effect.

Lettering

The lettering in this issue helps to capture most of the voices in a unique way, although while the zombies are given a unique voice, it would’ve been interesting if the Cotati had their own unique lettering to indicate their alien nature.

I do appreciate the lettering that Cowles gives to Scarlet Witch’s incantation.

It almost reminds me of Apocalypse’s new mutant name, or even the Krakoan dialect in general (with the dots).

Conclusion

As far as a tie-in goes, the storytelling choices in this issue are interesting. While the villain of Empyre is present, that event seems to serve merely as a pretext for Hickman, Howard, and co. to continue to explore plot threads from the X-title mega-story. In that sense, these mini-series (this one and the X-Men/FF series) do seem to be can’t-miss pieces of Hickman’s tale, paying off or addressing plot points he has laid down elsewhere.

What did you think of Empyre: X-Men #1? Tell us in the comments below!

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Monkeys Fighting Robots Will No Longer Cover Dynamite Comics

By

Anthony Composto - EIC

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July 22, 2020

Hello all,

Monkeys Fighting Robots will no longer be covering books published by Dynamite Comics due to their continued endorsement and promotion of Comicsg*te creators and their projects.

Comics is a community that we should be trying to grow and make more inclusive. Comicsg*te seeks to keep our community small and exclusive. They are a hate group, and MFR will not support those who support them.

We hope that Dynamite reconsiders its position.

Thank you.

—
Anthony Composto
Editor-in-Chief

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IDW Names New President. Publisher, and GM

By

Gabriel Hernandez

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July 22, 2020

Immediately following the news that broke this morning of Chris Ryall’s departure, IDW Publishing has names his successors. Jerry Bennington and Jud Meyers will be the company’s new President and Publisher, respectively. Rebekah Cahalin has been promoted to General Manager and EVP of Operations, covering both IDW Publishing and IDW Entertainment.

The speed with which the replacements are being announced is a strong indication that Ryall’s exit was known for some time to IDW’s leadership. Bennington, Meyers, and Cahalin are all veterans in their own right, so it appears the management restructure is in good hands. You can read the full details in IDW’s press release below.

Does this second announcement that closes the management void ease your concerns about IDW’s future? Let us know what you think in the Comments section. and please share this post on social media using the links below.

IDW Publishing Names Jerry Bennington As President,Jud Meyers As Publisher And Rebekah Cahalin As General Manager and Executive Vice President of Operations

SAN DIEGO, CA (July 22, 2020) –IDW Publishing, a subsidiary of IDW Media Holdings Inc. (OTC PINK: IDWM), has selected industry veterans Jerry Bennington and Jud Meyers as the company’s new President and Publisher, respectively. Rebekah Cahalin has been promoted to General Manager and EVP of Operations, covering both IDW Publishing and IDW Entertainment.

“As IDW accelerates its growth trajectory as a fully integrated multi-media company, we are very fortunate to have Jerry Bennington and Jud Meyers to assume these key roles at IDW Publishing,” said Ezra Rosensaft, IDW’s CEO. Rosensaft was recently promoted from CFO to CEO of IDW Media Holdings, and came to IDW after nearly 15 years at HBO. “We are equally as fortunate to have Rebekah Cahalin step into the GM and EVP of Operations positions. All three executives are already valued and vital members of the IDW team as well as inspiring leaders. I have no doubt that they will accomplish great things in their new positions,” he added.

Bennington, who currently serves as IDW Publishing’s EVP of Product Management, brings more than 30 years of industry experience to his new role, He will be tasked with overseeing IDW Publishing’s strategic business units, integrating product cross-platform programs, establishing product growth initiatives with partners, broadening customer experiences to new platforms and expanding the company’s extensive IP portfolio. As EVP of Product Management, Bennington established new business units including IDW Limited and IDW Games, and he increased IDW Publishing’s stable of licensed IPs including the notable additions of Batman the Animated Series, Dragon Ball Z, Metal Gear Solid and Usagi Yojimbo. Prior to joining IDW Publishing, Bennington was the President of 3 Point Entertainment where he helped develop specialty licensed merchandise, and served as the VP of Marketing for The Upper Deck Company’s Upper Deck Games.

“As a long-standing member of the IDW team, I am thankful for the opportunity to build on Chris Ryall’s work leading the company to product excellence and providing our readers with richer, deeper, and more meaningful experiences,” said Bennington. “Collaborating with our valued customers and partners around the globe, we will achieve unparalleled quality and memorable stories and characters to be shared by family and friends.”

Meyers, who currently serves as IDW Publishing’s Sales Director, will oversee all aspects of production and publication in his new role as Publisher. He will continue IDW’s history of creating quality literature while expanding the company’s reach to new markets worldwide. Meyers started his career in the comic industry at Titan Publishing in London, England, where he helped launch and manage some of the most prestigious comic-book retail stores in the UK, including Forbidden Planet, Virgin Megastore and Meanwhile Comics. Later, he became owner and co-founder of several comic book stores in Los Angeles, and was the recipient of the Will Eisner Spirit of Retailing Award. Meyers also served as the Director of Sales & Marketing at Humanoids Publishing where he helped launch three successful new book imprints and expanded the French publisher’s presence in the U.S. book market.

“I’m so grateful for the opportunity to step into this role and help continue IDW’s legacy of quality storytelling,” said Meyers, Publisher. “We have a wealth of talented creators and a brilliant editorial and production staff helping to shape our stories. In the coming months, we’re going to add to our family, and we will continue to deliver the greatest licensed content in comics, expanding and shaping the global reach of all of our licensors and their brands.”

Cahalin, IDW’s current General Manager | Head of Operations, joined IDW in 2009. She achieved a series of increasingly important positions within the company’s production, digital production and digital publishing teams highlighted by her work as Digital Publishing Director. In her new position, Cahalin will oversee and integrate all operations and business activities.

“I am so excited to work not only with the IDW Publishing team, but also everyone at IDW Entertainment,” said Cahalin. “This new role provides a tremendous opportunity to enhance our operational infrastructure to further drive company objectives, and make this a truly holistic environment.”

“I’ve been incredibly proud of the work the executive team and all of IDW has done in my time back with the company, and I wish them all the best with the exciting things the company has planned,” said outgoing President, Publisher and Chief Creative Officer Chris Ryall

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INTERVIEW: RemiTheSiren Discusses Role-Playing, Gaming, And Streaming

By

Ruben Diaz

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July 22, 2020

The video game industry grows larger every minute thanks to streamer and Twitch ambassador RemiTheSiren whose mix of personality and creativity adds new dimensions to unexpected games.

YouTube, Twitch, and Facebook Gaming feature live streams from gamers who have mastered the art of playing games and saying interesting things at the same time. As a gamer, I can attest that it’s not easy to do either well, let alone both things at the same time. Many streamers focus on competitive shooters or hyper-popular MMOs (massively multiplayer online games). In Remi’s case, she entertains her growing number of followers (nearly 24,000 at the time of this writing) by adding role-playing to games like Grand Theft Auto V and others that don’t traditionally highlight the RPG aspects.

PopAxiom spoke with Remi about video games, streaming, and playing roles.

Welcome To The Water Temple

Remi’s personal history with gaming goes back a long time. “The first game I remember playing was Legend of Zelda: Ocarina of Time. I had to be four, maybe five … my parents had a Nintendo 64 ��”

Veterans of Ocarina will understand Remi’s next statement better than anyone. “I played it over and over until I could beat it. I remember getting stuck in the water temple for the longest time.”

For Remi, Ocarina of Time is “… one of my first and fondest memories of video games.”

Gamer To Streamer

Watching people play video games is a massive and growing industry, a by-product of the gargantuan gaming industry. “I watched people stream on Twitch for a long time but never thought it was something I would be able to do. But one day I was watching some people do GTA role-play and it was on a server I had already played on before. A bunch of people watched it, and I thought ‘Maybe I should just play on there since I’m already on there and whatever happens, happens.’”

What happened was a lot of new followers and an eventual career.

Remi started on Twitch, where she says that part of a successful stream requires “… making it an entertaining experience. Taking something that people have played 100 times but then putting your personality to it …”

Like any good gaming role-play, Remi’s process is a light character sketch with a lot of improv. “I attach a character and some ideas… ‘Do we want her to be evil? Or what would she do in this situation?’ We stick these ideas together and tell a story as we go along.”

For Remi, “… games, where the worlds feel alive, are awesome.”

Playing Roles

Role-playing games and video games were destined to unite. Today, you’ll find many games having “RPG elements.” Remi’s connection to role-play goes back as far as her love for video games. “I’ve always liked to role-play. I did it on my own when I was younger but didn’t quite play it up so much because I didn’t have an audience.”

Remi’s played D&D since high school, which also influenced her connection to playing characters. She tries to role-play whenever possible. “I saw GTA RP had a good role-playing thing going on, and I wanted to jump in on that. GTA is an accessible platform for a lot of people. So, it was nice to jump into something familiar to a lot of people and add an interesting twist.”

Remi’s audience is as inclusive as it gets, mostly due to her natural attitude. But creating a community that embraced everyone was also “… Something I wanted to do from the start. I wanted a place where people could talk about anything, whether it was exciting news about having a kid or something like losing their job or a loved one—a place where people could have a sense of community.

Remi’s driven by a desire to bring positivity into the world and help her fellow humans. “I’ve always had this idea that if I could help one person, then all of the work and all the hours … is worth it.”

Wrapping Up

Remi mentions other streamers who inspire her. “Devin Nash … he talks a lot about analytics and building your brand. Arcadum, I like people who are passionate about what they do. He’s one of those people. He loves Dungeons and Dragons … lives it and breathes it. I’m inspired by people who turn a passion into something that gives people a good time.”

Grand Theft Auto is the most well-known game Remi plays, but she also streams “… Paths of Exile. I have a Dragon Age series play-through. We’re on series two now. That’s interesting because all of the games tie into each other.”

However, the streamer shares an emerging technology that has her excited. “Something I’ve been getting into is virtual reality role-play. It takes a little getting used to moving around in the VR world, but it’s crazy being there. It makes you feel like you’re in this other world, which has been super helpful with everything going on with the virus that you are with these other people.”

Remi beams when she talks about the people involved in VR. “The community right now is so dedicated to it, and is constantly making maps and new character models. There’s a lot of passion for the people who are there.”

Final Fantasy VII recently received a pretty and polished remake, and so have many other classic games. What game would Remi want to receive a makeover? “I would love it if they remastered [Legend of Zelda] Majora’s Mask. I remember my first time playing through it, the way you uncover the story in that game, and the side quests for getting masks and more of the story. I would love to see a remastered version.”

Remi’s stream is active with videos and discussions. What’s coming next from the streamer? “The biggest thing to keep an eye on for my channel is the VR RP. Watching the characters come to life in front of you; it’s so crazy. When other people reach out to you, you can almost feel the touch.”

Follow Remi on Twitch or on Twitter

Thanks to RemiTheSiren and Impact24 PR
for making this interview possible.

Want to read more interviews? CLICK HERE.

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How One Family’s Life Just Got More Complicated In DRYAD #4

By

Cat Wyatt

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DRYAD #4 (available August 12^th from Oni Press) continues the tale of one family and how complex their life has suddenly become. In a world that merges fantasy and science fiction, that is truly a talent worth bragging about.

A whole new world is about to be found in Dryad #4.

***SPOILER WARNING***

Every family has its secrets. For some, it’s merely an embarrassing moment. For others? It’s a secret that can (and will) change the lives of the entire family. The latter is the case for the Glass family.

In a world full of technology and magic, Morgan and Yale ran from their lives to start a new one. The reason why has yet to be made clear — other than the fact that they wanted more for their twin children, that is.

Now the secret they have kept all these years has been blown out into the open, with no time for explanations to be given. The twins have been thrown from their quiet world and into the deep end, and they are going to need an anchor, and soon.

Dryad #4 continues from this point, with the family reaching a city bursting with technology, color, and life. It’s also full to the brim of danger, if the implications behind the flight of the Glass family is any indication.

The Writing

Dryad #4 is an action-packed issue, one that continues to keep the family far too busy to have a vital conversation. It’s effectively keeping the children – and the readers – stuck in a loop of awe and suspense.

Kurtis Wiebe is the creator and lead writer for this series. He’s created this wonderful world, where pockets of serenity exist alongside cities too full of lights and motion. It’s an impressive feat, made all the more surprising by the infusion of fantasy and science fiction elements.

Then there’s the family drama, of course. It’s always been a strong undertone of the series, yet felt significantly stronger in this issue. While no answers have been provided yet, there’s this feeling of rising urgency while reading this issue. Like the twins are becoming increasingly desperate to understand why their world has been so thoroughly shaken apart.

Meanwhile, the parents are also seeking their own understanding. Though in their case, they’re trying to understand the who and why of it all. Who brought them back into this life, and why? It’s a mess they can’t hope to survive without those answers.

The Art

The artwork within Dryad #4 is vibrant, bold, and suiting a world full of technology. From the first glimpse of this city, it’s clear that this is a work polar opposite to what we’ve seen in the rest of the series thus far.

Justin Osterling was the lead artist, creating the characters and world they live in. The flight sequence was especially well done, as were all of the reactions that followed. The sense of movement helped to enhance that scene, as well as many others.

The colors were provided by Francesco Segala, who use bold backdrops and pops of color to tell a story. It was effective and compelling. It was always clear what was the most important element in any one scene, and it added to the impact.

Meanwhile, Jim Campbell was the letterer for this issue, and he did a great job. Both with the dialogue and with the sound effects (which there was no shortage of). The combination resulted in an issue that flowed seamlessly from panel to panel.

In Conclusion

Dryad #4 was another visually compelling addition to this story, one where a family risks being torn apart by secrets. Yet it all feels like something worse is looming on the horizon – perhaps the person who orchestrated this whole thing?

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Review: The Winds Of Change Arrive In WYND #2

By

Gabriel Hernandez

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WYND #2, available now from BOOM! Studios, follows Wynd and his friends as they plan their escape before the King’s life ends and the Wildblood purge begins. James Tynion IV’s writing is brimming with deep, emotional character moments, and Michael Dialynas’ art style personifies characters that look the part.

Cover Art

Dialynas’ cover deftly hints that this issue is a crossroads for Wynd and his family. Without spoiling it, the writing on the pipes has particular significance for the plot, and Oakley’s happy-go-lucky expression ironically informs the reader that life is about to hit her sideways. It’s a prime example of telling a story with a single image.

Writing

Tynion’s IV’s tale of Wynd, and his need for acceptance on multiple levels, spends a great deal of time with character development in this issue. There’s not a lot of action but a huge amount of setup for the adventure to come (whatever that may be).

The King is sick, and it’s assumed among all the characters that his dying wish will be to uphold Pipetown’s safety against any Wildblood presence. Wynd is forced to make plans for escape before the King’s wish is made and he gets caught up in a ruthless purge.

The strongest elements of Tynion’s story are the flashbacks to the Bandaged Man’s and Molly’s past that bring the reader up to speed, including how Molly came to “adopt” Wynd in the first place. What’s not clear are the same lingering questions from the first issue (read our review here): Are the Wildblood’s a threat to Pipetown? Are the stories of death and destruction from the last war accurate? And the most obvious of all, why doesn’t anybody notice that Wynd is a Wildblood? He’s blue. Not light-skinned. Not lacking a good tan. He’s blue. That kills the “hiding in plain sight” motif with each issue, and I hope the creative team finds a way to address it.

Pencils/Inks

Dialynas’ art continues to refine and build on this “Pipe punk” world with rich detail. There’s a fairytale quality in Dialynas’ work that meshes beautifully with the grounded aesthetic of pipes and rust.

What stands out most is the character detail, both in anatomy and voice. By voice, I mean that every character looks like the person you would imagine by the words they speak and the tone they use. Ash is written as a sort of hunky gentle giant that continually cares for his father, and he looks the part. Wynd is an unsure and confused teenager(?) that hasn’t quite come into maturity, and his reactions to Molly’s command to leave are perfectly reflected in his face, his demeanor and physical presence. Dialynas demonstrates a rock solid ability to create the character design based on the voice.

Coloring

Dialynas’ coloring evolves from good to great in this issue. The “Pipe Punk” setting lends itself to a mixture of brown hues reminiscent of toil and rust, but Dialynas’ had an opportunity to show off some filtering techniques in flashbacks. The memories are adjusted through a flat filter to give the page a newspaper print quality “feels” old. It works very well to intuitively move the reader through the time jumps.

Lettering

Aditya Bidikar’s lettering excels in the use of word bubble border variations. Again, this issue is all about the setup for the next issue with character development and emotion. As the reader moves from one scene to the next, Bidikar uses wavy line borders to indicate weakness and sickness in the speaker to rounded corner rectangles for quiet one-word responses. It’s a nice bit of execution to see how the word bubbles border can be varied to express volume and timber in the speakers voice.

Conclusion

WYND #2, available now from BOOM! Studios, is a solid, character-building issue. The art team is firing on all cylinders and Tynion IV’s writing really uses every panel to build depth. If the team can address some of the lingering questions sooner rather than later, this will be a satisfying series.

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IDW Loses Its President, Publisher & Chief Creative Officer – Chris Ryall

By

Gabriel Hernandez

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July 22, 2020

In a surprisingly sudden move, Chris Ryall is stepping down from his position as President, Publisher and Chief Creative Officer at IDW Publishing. The departure is coming at a particularly difficult time as the publisher is struggling to deliver content in the midst of the COVID-19 lockdown. Also,the parent company, IDW Media Holdings, recently took advantage of the PPP loans to the tune of $1 Million dollars to stave off mass layoffs, according to BleedingCool.com.

In the press release received by MFR, Ryall will be moving on to create “a new storytelling venture focused on the disparate worlds and characters that he brought to life at IDW Publishing.” The new publishing venture Ryall is creating with partner, Ashley Wood, is called World of Syzygy. No details around the properties and genres of the new venture are available as of yet.

You can read the full press release below.

This seems like an exciting move for Ryall, but what does this mean for IDW? Let us know what you think in the Comments section, and please share this post on social media using the links below.

Chris Ryall Leaving IDW To Start New Publishing and Entertainment Venture Focused On Developing New Voices Alongside Industry Veterans

Transitions To Advisory Role At IDW Publishing

SAN DIEGO, CA (July 21, 2020) –IDW Publishing, a subsidiary of IDW Media Holdings Inc. (OTC PINK: IDWM), and Chris Ryall today jointly announced that Ryall is stepping down as President, Publisher and Chief Creative Officer to pursue new business opportunities.

“Change is often hard, and I will miss this extended family I have worked with for more than 15 years,” said Ryall. “In the past year alone, we brought on some amazing hires, expanded the scope of many of the departments, and re-focused the foundation of the business to best support the integrated multi-media company that IDW has become. Our collective success with the entertainment team on ‘Locke & Key’ has been a crowning moment for the entire company. I’m so proud of this special place and the incredible people who work here. I know that I leave IDW perfectly poised for continued success.”

In partnership with Ashley Wood and many of the talented creators he has worked with at IDW, Ryall is launching a new storytelling venture focused on the disparate worlds and characters that he brought to life at IDW Publishing.

Although he is stepping aside from his current roles at IDW, he will continue as an Executive Producer on the Netflix series, “Locke & Key,” and remain the sole editor on any Locke & Key publishing ventures going forward.

“After the wonderful experience this past year serving as an Executive Producer on ‘Locke & Key’ and working with the amazingly creative team that brought the show to life, I look forward to bringing exciting new stories into the world through many different storytelling forms,” Ryall added. “I’m thrilled to be back working alongside Ashley Wood, as well as other creators to come, in developing interesting projects for our World of Syzygy venture.”

During Ryall’s tenure as President and Publisher, IDW Publishing signed a multi-year publishing initiative with the Smithsonian Institution, launched a major program to produce Spanish-language graphic novels for the North American market, transitioned its foreign book distribution business to Penguin Random House and led IDW Publishing to 15 prestigious Eisner Award nominations in 2020, the most of any publisher.

Ryall was one of the rare executives who not only produced comic books in his various capacities with the company, but also authored assorted projects, such as Zombies vs Robots, with artist Ashley Wood, in development at Sony Pictures. Perhaps the biggest mark he left on IDW was that of Chief Creative Officer, partnering across divisions to ensure that creators and stories were well cared for as they transitioned to entertainment.

Howard Jonas, IDW’s Chairman, said, “Chris has been instrumental in IDW Publishing’s success, and we thank him for the passion and commitment he brought to the company. We wish him all the best in his new ventures. With Chris’s departure, IDW will be restructuring and expanding its operations, and we will name a new management team very soon.”

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Review: MIDDLEWEST #18 Wraps Up A Beautiful Fantasy Series

By

Corey Patterson

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MIDDLEWEST #18, available in stores Wednesday, July 22nd, concludes Skottie Young, Jorge Corona, Jean-Francois Beaulieu, and Nate Piekos of Blambot’s original series. After seventeen issues, Abel’s journey has come full circle with the reappearance of his father Dale.

Story

Sensing his son’s distress, Dale ventures to Raider Farms, arriving moments after Abel’s tornado form unleashes itself. The two engage in what appears to be a battle, but Abel is the only one who’s fighting. And for good reason. We feel the young boy’s rage at the man who caused him so much pain.

Young’s writing is full of heart. The reader finds themself feeling the rage, pain, and sorrow that lies between this father and his son. Their exchange is so believable one might find themselves questioning whether the characters are real life human beings.

Artwork

The rip-roaring action in this issue is brought to life by the talented artists involved in this issue. Cornoa’s penciling and ink work, combined with Beaulieu’s coloring, stock this book full of engaging illustrations. The once orderly rows of crops on the farm are caught up in the swirling reads, oranges, and dusky grays of the two tornadoes in brilliant fashion. What’s more, Pikeos’s fonts are placed in such a way that they appear to be caught up in the chaotic winds. These illustrations, when viewed all together, offer readers an amazing visual representation of the narrative.

Conclusion

MIDDLEWEST #18 was the conclusion readers have been waiting for since this unprecedented series began. The end, while satisfying, leaves open plenty of room for new possibilities.

Were you satisfied with the ending to this series? Let us know in the comments below!

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How The Past Strikes Back In STAR WARS: DOCTOR APHRA #2

By

Cat Wyatt

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STAR WARS: DOCTOR APHRA #2, available Wednesday from Marvel Comics, brings fans back to the infamous archaeologist/thief extraordinaire. That’s right, Doctor Aphra is back, and she’s already neck-deep in another quest (unsurprisingly).

***SPOILER WARNING***

Doctor Aphra is a character perfectly designed to fit Star Wars. She loves lore and legends – almost as much as she loves money. Her obsessions take her all over the galaxy, giving fans opportunities to see the farthest reaches available.

All while seeing the chaos that Aphra leaves in her wake. Aphra is not a good person, but Star Wars has shown us that great characters don’t have to be good. They just have to be good at what they do.

In Aphra’s case, that usually means backstabbing and coming up with ill-thought-out plans, you know, the usual. Somehow she always manages to survive, but not without burning a few bridges in the process. It’s what makes her who she is, though, and that’s why fans love her.

Aphra is pretty talented at making enemies on her journies.

The Writing

Doctor Aphra’s latest journey continues. She has a new team, a new enemy, and new plans. The works! She’s totally going to mess things up somehow, even if it technically isn’t her fault (it’s always such a thin technicality too).

Doctor Aphra #2, written by Alyssa Wong is a disturbing tale, as Aphra and her allies explore a location that hasn’t encouraged life in who knows how long. Yet the temptation of lore and riches is too strong – which sounds about right.

The use of flashbacks to provide context and set the tone of the issue was incredibly well done. It’s so easy to forget that Aphra has a history of breaking hearts as well as vaults. She’s also quite talented at making enemies, though this guy is no Darth Vader. Even so, it’s likely that he’s going to cause her endless amounts of trouble.

This series simultaneously worked on humanizing Aphra, all while showcasing the worst traits she has to offer. Further proof that Doctor Aphra is a complex character worthy of her own story.

An extra challenge was thrown into the mix for this heist.

The Art

The artwork of Doctor Aphra #2 is striking and horrifying all in one. The artists for this issue did a fantastic job of finding that balance – and of portraying this haunted site Aphra and her crew have located.

The leading artist for this issue was Marika Cresta, who brought the structures of this site to horrifying life. Possibly literally – only time will tell on that count. It’s an element that starts out subtle, yet becomes a larger focus as time goes on. The character reactions help to sell the entire feel of the place, as well as the events that have occurred.

Rachelle Rosenberg was the colorist, and their colors are perfection. The setting is dark and foreshadowing (as it should be), while the characters are vibrant pops of color against it. The scenery found in the workshop would not have had the same impact, if not for those carefully thought out colors.

Then there’s the lettering provided by VC’s Joe Caramagna. This is an issue with plenty of dialogue, and yet the pages don’t ever feel crowded. There’s still plenty of room to appreciate both the characters and the location they are trying to explore.

In Conclusion

Doctor Aphra #2 was a haunting second issue to this series, yet it feels like the tale has only just begun. The cliffhanger ending is undoubtedly more than enough to get fans coming back for more, all in hopes of learning more about this latest twist.

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Review: EMPYRE #2 Is Stuck In Neutral

By

Colin Tessier

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Empyre didn’t start with the “bang” you’d expect from a major event series. But the opening installment still hooked readers in by setting up a compelling conflict between Marvel’s mightiest heroes and a new deadly threat. Unfortunately, this positive momentum doesn’t continue in Empyre #2, on sale July 22, because script writer Dan Slott drags the issue down with excessive exposition. Throughout its second chapter, Empyre spins its wheels and fails to reach the next level.

Empyre #2

Story: Al Ewing & Dan Slott

Script: Al Ewing

Artist: Valerio Schiti

Color Artist: Marte Gracia

Letterer: VC’s Joe Caramagna

In the event’s premiere, Slott presented Quoi, the Cotati’s mysterious messiah, as a sympathetic leader. But now we’re beginning to see that Quoi is a vengeful, bloodthirsty commander, and the depths of his cruelty become quite clear in Empyre #2. Through a lengthy monologue, Slott shows us that Quoi will stop at nothing to avenge his people. Parts of this speech are entertaining, and Slott’s moving dialogue is right out of a movie. “For the good of all life, they had to be purged, their grotesque sins against us redeemed…in death,” Quoi says. The Avengers’ newest villain comes off like a slightly campier version of Thanos; you can trace his logic, and though their flaws are just as obvious, Quoi’s motives are far from unreasonable. But Slott loses himself in this characterization; he slogs through several flashbacks that expand on the history lesson of the Kree, the Skrull, and the Cotati that dominated Empyre #1. As a result, this issue doesn’t move the event forward in a meaningful way; instead, it’s just a filler installment that leaves us feeling pessimistic about the series’ future.

Empyre #2 1 — Quoi’s thirst for revenge is readily apparent in Empyre #2.

We’ve already compared Quoi to Thanos, and it’d be a stretch to consider Empyre an >Avengers: Endgame-like event. But Slott and the art team still provide several cinematic moments that somewhat make up for the disappointing story. First, the Avengers’ big three take center stage and fittingly look like gods when they stand up to Quoi. After they break free of the messiah’s trap, artist Valerio Schiti gives Captain America, Iron Man, and Thor a freeze-frame moment. Schiti shows Thor smirking while he wields Mjolnir and both Captain America and Iron Man looking like they’re ready to kick some Cotati behind. Just a few panels later, the trio teleport to Earth, and Schiti and color artist Marte Gracia again deliver a moment that will give Avengers fans chills. The big three stand together, partially silhouetted as they’re engulfed by the Bifrost Bridge’s brilliant rainbow. All three members of the trio have unshakable resolve written all over their faces, adding to the image’s heroic tone. Time and again, the art team makes the Earth’s Mightiest Heroes live up to their name.

Empyre #2 2 — Exposition-heavy flashbacks drag down Empyre #2.

Empyre #2 is a disappointing follow-up to what had been a compelling beginning to Marvel’s latest epic event. Of course, it’s far to early to give up on this series. But after this letdown, the third installment will have a lot of work to do if it hopes to recapture the reader’s interest.

What did you think of Empyre #2? Check out your local comic shop to see if you can get it there, or consider buying the comic online. Are you enjoying the event so far?

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