Review: BLACKSAD: THE COLLECTED STORIES – Neo-Noir Mastery

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Twenty years ago now, creators Juan Diaz Canales and Juanjo Guarnido, both storytellers in comics and animation, released the first installment of Blacksad to critical acclaim. The pulp neo-noir tales of feline detective John Blacksad have become a contemporary classic in the comics medium, and now they are all collected for the first time in Blacksad: The Collected Stories. This new paperback edition collects all the stories from the first Blacksad graphic novel collection, as well as “A Silent Hell,” “Amarillo,” along with additional sketches, short stories, and an introduction from industry legend Jim Steranko. If you’ve never gotten your hands on this beautiful and poetic pulp hit, this is now the best way to do it.

“Blacksad is constantly up to his ears in trouble. Sticking his nose into mystery after mystery, often getting involved with women almost as dangerous as the criminals he thwarts. Be it solving the murder of a famous actress or keeping nuclear weapons out of terrorist hands, Blacksad’s grim work often provides a mirror for real-world conflict and human issues, never turning a blind eye to racism, political tensions, or brutally sudden violence.”

Writing & Plot

Blacksad has already received mountains of praise for its creative, modern pastiche noir storytelling direction, and I’m going to be upfront about just adding onto the pile. If Howard Hawks and Will Eisner were to meet in the 2010’s, read up on issues of class and race, then decide to go watch Zootopia together, then I imagine Blacksad would be the result. Fortunately, somehow series writer Juan Diaz Canales is enough of a genius to put all this together in an immensely effective collection of short stories. Detective John Blacksad is obviously inspired by Golden Age noir icons like Humphrey Bogart and Robert Mitchum, but he’s not in any way derivative. Aside from obviously being a cat and living in a world full of anthropomorphic animals, Blacksad is set apart from his inspirations by his affiliations, his code of honor, and distinct motivations that are caused by these two elements.

Being a comic, Blacksad is allowed to be more obviously political and mature than most of its classic noir inspirations. This comes out as each story tackles blatant sexism in the form of patriarchal power, racism in the form of small-scale fascism, fear and hate-mongering during the Red Scare, and classism through nuanced examples. Canales digs in at complex issues with a careful hand that is still entirely in keeping with noir conventions. Blacksad is also more morally principled than many pulp protagonists. He’s constantly befriending or allying with the struggling underdogs he uncovers in his cases, many of which are victimized by corrupt power structures. He does well with the ladies, but he isn’t a womanizer. As much history as noir has within the comics medium, John Blacksad may be the most engaging protagonist to read out of them all. The anthropomorphization of the characters in Blacksad is the creative touch that separates these stories from the rest of the noir-comics world, and as absurd as it may seem from the outset, it’s almost unnoticeable when you sit down to actually read it. Each character embodies whatever animal they’re drawn as. A principled police commissioner is a German Shepard, a good-humored but shady agent is a hyena, a fool who witlessly repeats whatever he hears is a parrot, etc. Much of what makes this work so well is the art direction, but we’ll get to that later. This is a writing choice that works almost inexplicably well that sets and makes Blacksad an icon among noir comics.

It would be remiss to talk about the writing in Blacksad without acknowledging the team that worked on the Spanish-to-English translation of these stories. Anthya Flores, Patricia Rivera Diana Schitz, Katie LaBarbera and, believe it or not, the Neal Adams. Contrary to popular belief, translation is not just mindlessly repeating whatever the original said in their original language over to English. Truth is, languages often do not cleanly translate into one another, so it’s up to localization experts to take the original text and alter it in ways that are easy to understand and still convey the author’s intended meaning. Canales’s poetic passages and brilliant pulp dialogue are translated beautifully into this English collection, with the highlight truly being Adams’s work on “Amarillo.” While admittedly some of the early chapters do come off a tad clunky, it never detracts from the experience and disappears entirely from the text the further into the book you get. Blacksad is a beautifully written comic experience through and through.

Art Direction

I might as well say this upfront: Blacksad is one of the most impeccably drawn pieces of graphic literature there is. Juanjo Guarnido‘s work is that of a practiced master. His time as an animator for Disney on films such as Tarzan and Atlantis makes itself present on each and every page of this series, as the naturalistic animation of each and every character that strolls across the page is near-unmatched in this medium. The film noir and time period influences appear in the shifting aesthetics and landscapes from story to story. The first few Blacksad chapters are dominated by the smog-laden streets of Chicago, which cast a beige pallor on every panel. This also sells the post-war black & white era of film that these stories draw so much influence from. The later stories like “Silent Hell” and “Amarillo” are more colorful affairs in different parts of the country, and their colors and aesthetics are more akin to a 50’s globetrotting film, filmed entirely in wonderful technicolor. Guarnido’s penciled details of each story are incredible, as well, from the architectural details of each city, landscape geography, and especially his ability to draw large crowds. Every page, regardless if it’s just John Blacksad himself or a massive cast in view, explodes with vivid life. There’s an effortless grace to the work here, one that, as Jim Steranko notes in the introduction, is so good it’s impossible to see how much work goes into it. Remember that “inexplicable” quality to the anthropomorphic characters I mentioned earlier? Well, Steranko also comments in the introduction that this quality rests on the characters not being animals who are acting like people, but on the fact that they are “people resembling animals.” The artistic care taken with every character in the way their faces light up, become downcast, or grow angular when under threat or anger, makes Blacksad & Co. some of the most well-realized people in any comic. Guarnido takes the written direction of Canales and weaves a visual story that is a stirring visual tribute to a classic genre, while still glistening with gorgeous originality.

Juan Diaz Canales and Juanjo Guarnido’s Blacksad is a modern classic in the comic and graphic novel medium. It is a brilliant pastiche work dedicated to film noir and pulp comics, while also being an incredibly unique work on its own. Delightfully funny and heartbreaking all at once, and being as close to visually perfect as a comic can be, the stories of John Blacksad, P.I. are essential on any collector’s shelf. This new paperback of the collected stories from Dark Horse Comics are the easiest and most affordable way to own these works (although seeing Guarnido’s work in an oversized hardcover would be incredible). Order this must-own volume from your local comic shop when it releases on July 15th!

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LIKE FATHER, LIKE DAUGHTER Vol. 1: Superheroic Expectations

By

Jake Palermo

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Like Father, Like Daughter is an indie series that pops up on the internet every now and then. Created by comic critic Kathryn Calamia of Comic Uno, this series delves into the personal difficulties of parental relationships.

The Generational Struggle

Like Father, Like Daughter revolves around Casey Ryder and her estranged father, Jim. Anyone with parents in emergency service have struggles about how busy they are; or how their jobs affect his or her children’s lives. For Casey, Jim’s decision to become a full-time superhero has her look at him with disdain. Considering Jim left Casey and her mother when Casey was about 7, Casey has a right to do this. Yet the apple doesn’t fall too far from the tree as Casey inherits not only Jim’s powers but the instinct to help others.

Now Casey has to deal with a number of expectations. Her mother denies the fact that Casey has powers which is already stressful enough. While Casey has no immediate desire to be a superhero, she does want to know her limitations and help out in ways she can. It’s a pretty standard allegory about puberty, which makes it harder when the best person to communicate this with is her father, who lives like a celebrity. So Casey has to make do with her best friend and a new comic geek friend even if it pushes her out of her comfort zone, including how Casey’s jock boyfriend is a bully.

Like Fan Father, Like Newcomer Daughter

The tension between Casey and Jim can be like how a passive observer views a fandom. With how unapproachable (if not toxic) these communities can be, this can lead to stereotypes and worst-case scenarios. How bad these can get lead to assumptions that isolate one side or the other. Jim, not knowing how to approach Casey makes her a little uncomfortable when he asks a detective to keep an eye on her. Upon seeing Casey help a suicidal classmate, Jim’s attempt to meet with her is like a decent side of Fandom inviting a newcomer. But with only third-party influences and bad decisions from first-parties, there come barriers that people don’t know how to deal with.

Then there comes another side of fandoms in Like Father, Like Daughter, actually learning about the subject of interest. Long time followers of superheroes like Jim stick to traditions of Great Power and Great Responsibility. Yet he loses interest in something crucial like his origin after encountering some blockades. Mainly because jumping-on points are about character and not where it all begins, neglecting these other points means missing crucial details about character. As is the case when Casey develops a power, Jim doesn’t have and sees glimpses of his origin. It’s only by meeting both sides can some real development take place.

Art’s Pubescence

Like Father, Like Daughter is a place of growing both in character and in artwork. Wayne A. Brown’s artwork starts slightly rough. In a few pages in the first issue, there may be too many speed lines and not enough background details like clouds. Sometimes the sky only has minor details like a bird. As for the character models, the lining and details become smoother with each issue. Most of which can be seen with Casey’s semi-curly hair, which begins messy to look at but smooths out over time.

When it comes to detail, David Aravena shines in that department through his coloring. Starting relatively simple in the first issue, the more pale coloring gives way to brighter multilayer detail. Again Casey’s hair serves as the primary factor starting with one color without shading, then pattern shading, leading to intricate designs, and finally, more or less matching with Brown’s lining.

Letterer Matt Bowers also goes through some of the growing pains. The fonts vary depending on the situation in the first issue. The rougher fonts are for more personal emotions like when robbers encounter Jim (as Invulnerable). Casual conversations between people and newscasting use a comic sans style as if anyone can join in. By the third issue, the rougher font subsides in favor of the Comic Sans style with words that occasionally bolden and italicize to denote emotional annunciation.

Like Father Like Daughter: The Upshift

Like Father, Like Daughter‘s first volume can serve as a way into not just a series but comics as well. While the children of superheroes formula is a familiar thread within Super Sons, this series is about reconnecting and reaffirming someone about who and what they love. There are a great many of ways to grow into something even if it has a divisive reputation. With enough time and effort, it can eventually be something that everyone can find common ground on. If Like Father, Like Daughter strikes your fancy, you can find it on Comic Uno’s Etsy.

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INTERVIEW: Hooked Like Helen’s Nikki Stipp And Composing For Netflix

By

Ruben Diaz

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July 15, 2020

Nikki Stipp and husband Jon comprise the musical duo Hooked Like Helen, whose rhythmic pop is undeniably fun and appears in the drama film High Strung: Free Dance and Netflix’s wildly popular docuseries, Cheer.

PopAxiom chatted with Nikki about becoming a musician, meeting Jon, leading a band, and creating music as a composer.

Getting Hooked

Nikki and Jon make up the pop duo Hooked Like Helen. The pair didn’t meet until adulthood, but Nikki says they shared similar interests growing up, “We grew up on music. We had music in our blood since we were kids.”

Nikki’s musical desires were clear from early on. “I was eleven or twelve when I decided pop songs are what I wanted to write. I wanted to be like these artists who moved me so much … and be able to contribute something like that to the rest of the world.”

Nikki started playing “Coffee houses and open mic nights when I was 12 and 13 years old, then I started to join bands.”

It was one of those bands out in LA that brought Nikki and Jon together. “Jon moved out to LA to join a band called Red Circle Underground.” Nikki, already living in LA, joined the band at the lead singer’s request “to do some backing vocals and keys.”

The band “toured around and had a great time but it was time to close that chapter. We found out we were having a child and moved to Cleveland [Jon’s hometown].”

An unfortunate turn of events turned into a whole new positive, music-making legacy. “Jon had an uncle in Seattle who was a music engineer. He passed away and willed us his home music studio. We suddenly found ourselves with all these tools for making music at home.”

Recording music at home was a learning process, however, Jon and Nikki are no strangers to experimentation. “We started small … self-releasing songs here and there. We worked on different types of sounds and music. I was composing stuff and just getting our music out there.”

About High Strung: Free Dance

High Strung: Free Dance is a sequel to the dance-focused film High Strung. The film revolves around a young choreographer who casts a contemporary dancer and innovative pianist in a highly-anticipated new Broadway show.

How did Hooked Like Helen’s song “Liar” end up in the film? “I ended up seeing a Facebook ad for a songwriting contest. It was free to enter. All you had to do was upload an iPhone video. Jon filmed me playing a piano/vocal version of our song ‘Liar.’ We put it up on Indie.com, and next thing we knew, we won the grand prize.”

WATCH THE “LIAR” VIDEO!

The success brought about by the contest put Hooked Like Helen in contact with the creators of High Strung. “We were flown to LA and had a session with the directors, Michael and Janeen Damian. We tracked ‘Liar’ that day.”

High Strung: Free Dance didn’t have a script yet. “But the filmmakers loved the song and wanted to fit it in. We got the call that they wrote a scene in the film based on the music.”

In conjunction with the film, Hooked Like Helen “shot a music video for it that incorporates scenes from the movie. Juliet Doherty, the star of the film, danced to ‘Liar’ based on choreography from Tyce Diorio (So You Think You Can Dance).”

For Nikki, the whole thing is “surreal to us to hear our work in this broader context.”

Let’s Cheer

Cheer is a Netflix docuseries following the Navarro College Bulldogs Cheer Team from Corsicana, Texas. Coach Monica Aldama prepares the team for the National Cheerleading Championship in Daytona Beach, Florida. Think of it as the Super Bowl of cheerleading. Through the lens of a handful of individuals on the team, viewers dive into the cheerleading world, including a glimpse at the history and hard work at the heart of the industry.

“Getting to make music for Cheer was a great experience,” said Nikki. “It was extra special in that it was so successful and so well received. It’s an honor to be a part of it.”

Nikki, like many (myself included), hear there’s a show about cheerleaders and images of Bring It On pop up. “As I got scenes to score, I thought, ‘Oh my gosh, wow, it’s such a crazy sport, and the athletes and injuries are extreme. It’s amazing to watch.”

Wrapping Up

Nikki shares some of the influences that inspire the music Hooked Like Helen makes. “I feel you can hear in our music that there’s a wide range of influences. I grew up on legends like Carole King, Prince, Billy Joel, and I loved Mariah Carey growing up. Jon loves Green Day and Nirvana.”

Nikki continues, “I also love current artists like Halsey and 21 Pilots … Billie Eilish’s new record is amazing. We love pop music and good songs, so a lot of music inspires us.”

As Nikki continues to add scoring credits to her filmography, what film would she love to compose if it were ever remade? “I don’t think they should remake this because it’s like one of the best movies ever but Pulp Fiction.”

What’s next for Nikki and Jon? “The very next thing for us is the new music. We’re working on a new EP right now. We also recently found out we’ve been nominated for 5 Josie Music Awards, and we just announced we have a residency to play live at Cedar Point in Sandusky in August. There’s not a lot of live music happening right now so we are grateful to be able to play for people in a safe environment.”

Is High Strung: Free Dance on your watch list?

Thanks to Nikki Stipp and Impact24 PR for making this interview possible.

Want to read more interviews like this? CLICK HERE.

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How A Sickness Is Found In SPIDER-WOMAN #2

By

Cat Wyatt

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SPIDER-WOMAN #2, available this Wednesday from Marvel Comics, continues the most recent tale of Jessica Drew. Her dramatic return has been marred by an illness, and now Jessica is determined to get to the bottom of it.

***SPOILER WARNING***

Spider-Woman is back, and she’s better than ever! Well, mostly. Jessica Drew is actually facing several new problems, the biggest one being her sudden illness. This is not a character known for getting sick, so it is cause for concern.

Spider-Woman #2 continues the story where the first issue left off – with our heroine clearly understanding that something is wrong. That probably means that she’s going to find the cause of it, and start kicking in some doors in the process.

It has been so wonderful for fans to have Jessica Drew back on the center stage. This is a character that deserves all the attention in the world, and it is refreshing to see her getting it. Now onto her latest journey.

The Writing

Spider-Woman #2 was written by Karla Pacheco, and it’s the perfect balance of emotions and plot. Jessica Drew’s series has always been a delight, and it is wonderful to have her back even if she’s currently facing a whole new set of problems.

This issue starts with a bang and a fair bit of humor. After that, it quickly slides down into something much more intense. On the bright side, this does ensure that fans are fully invested in everything that is happening to Jessica.

This issue did a brilliant job of showcasing the many sides of Jessica Drew. There are times when she’s amused, upset, or even manic. Even after all these years, she’s still finding ways to surprise us.

There is a concerning subtext to Jessica’s behavior, and it adds to the complexity of the situation. While it’s hard to know how everything is going to pan out, it’s already becoming clear that it is not going to be as simple as she hoped.

Looks like the Rhino is about to have a bad day.

The Art

The artwork in Spider-Woman #2 is bold and unafraid, much like the character it is featuring. Jessica’s new suit is put on display here, as she deals with a case like never before. Without the artwork, there’s a good chance the plot wouldn’t have had nearly the same impact.

Pere Perez was the lead artist for this issue. The variety and level of expressions on Jessica’s face are an absolute highlight, one of many worth talking about. The fight scenes are another show-stealer and with good reason.

Frank D’Armata was the colorist for this issue, and they opted for a bold color palette, as is befitting for a character rocking a black and red suit. Even when the scenes feature a neutral backdrop, there’s always something there to draw the eyes.

Speaking of drawing the eyes, VC’s Travis Lanham provided the letters for this issue, and that means your eyes are lead on a journey over every page of this issue. The details are where it shines, for this particular issue.

The Rhino has made the mistake of upsetting Spider-Woman AND Night Nurse.

Conclusion

Spider-Woman #2 was a fascinating issue, one that raised new questions for Jessica Drew, all while giving her a chance to enjoy the limelight (once again). The balance between humor and concern was perfection. It’s more than enough to keep readers looking forward to the next issue.

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How The Fight Continues in ONCE & FUTURE #9

By

Cat Wyatt

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ONCE & FUTURE #9, available this Wednesday from Boom! Studios is a chilling tale that blends the past and the present through creative storytelling techniques. Duncan’s journey is far from over, with new threats rising up.

***SPOILER WARNING***

Duncan has been thrown into a world of lore and legends. A world where monsters really exist, and where the heroes of legend are sometimes not what they seem. Perhaps that makes his new status as a hero a bit ironic.

In Once & Future #9, Duncan finds his quest far from over. There’s a new monster on the loose, while others are still actively working against him and his family. It would be a challenge for anyone, but especially somebody so new to the ‘family business.’

Once & Future #9 is starting right in the middle of the action.

The Writing

Duncan has survived the trials of King Arthur (whose legend is far kinder than reality, at least in this world), yet that appears to have only been the beginning. Now he’s facing off another man of legend, one who seems even fiercer than the stories.

Kieron Gillen is the mind behind Once & Future #9, and it is creative storytelling at it’s finest. Here you’ll find legend pulled into reality, with a horror twist thrown into the mix. The end result is something oddly compelling.

The latest issue in the series is one-part action, one-part setting up. It’s terrifying to think that there’s something larger looming on the horizon, and yet that’s the inevitable conclusion readers are left to come to.

There’s yet another layer to this issue as well, as Duncan is still struggling to cope with everything that has occurred. The lies of the family are finally catching up, and it is taking its toll on both him and his grandmother.

The Art

The artwork of Once & Future #9 is as vibrant and beautiful as the rest of the series so far. The artwork takes an interesting story and turns it into an outstanding tale, one that sticks with the readers. It’s remarkable.

Dan Mora is the lead artist, and therefore the one responsible for the main characters – and the villains. It’s an interesting balance, seeing the normal and the abnormal all in one scene. Yet it works so well here.

Tamra Bonvillain is the colorist, a fact that is pretty clear to anybody that even glances at the pages. The colors as vivacious, bringing the world and monsters to life. Everything from the backdrops to the magic seems to glow, giving the series a supernatural feel (which is appropriate).

Ed Dukeshire is the letterer, and he has consistently done a fantastic job for this series. It’s the icing on the cake, so to speak. These pages are full of things to catch the eye, so having a talented letterer is key to guiding the reader through the pages.

Conclusion

Once & Future #9 was a thrilling read from start to finish. Duncan’s story is steadily getting darker, while the monsters of legend are merely beginning their rampage. It’s been fascinating to see such legends warped, providing a new take on the tireless march of retellings.

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Review: The Embodiments Of The Kree-Skrull War Come To Earth In FANTASTIC FOUR #21 EMP

By

Corey Patterson

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FANTASTIC FOUR #21 EMP, available in stores Wednesday, July 15th, is an intriguing tie-in to the larger Empyre event. Returning to Earth after a jaunt at Kree-Skrull casino, the Fantastic Four must decide what to do with the Kree and Skrull children they rescued. Will there be repercussions of their actions?

Story

The trouble brewing between Jo-Venn and N’Kalla is proving to be much more trouble than originally thought. The two’s rivalry comes not only preteen angst but a literal lifetime of forced combat against one another. Fortunately, Valeria and Frank step up as the world’s most fantastic babysitters.

Seeing the two young heroes attempt to mitigate fighting in their unique ways is, in a sense, a beautiful coming of age moment. They’re each learning how to address a dangerous issue without someone to guide them. But when things start to escalate further, Valeria sends out a distress signal to any Avenger who would listen. And Spider-Man and Wolverine are the two to answer the call.

Dan Slott proves he’s one of the best Fanatic Four writers in the history of the series. Each member of the family has a unique personality all their own, one that’s not too exaggerated so as to make it unbelievable. Valeria and Franklin as quickly becoming some of our favorite characters.

Artwork

Paco Medina and Sean Izaakse’s penciling and ink work, Marcio Menyz and Erick Arciniega’s colors, and VC’s Joe Caramagna’s lettering provide stunning visuals for this issue. The illustrations range from the bloody battles of the Kree-Skrull past to the more realistic streets of New York. Both of these settings are full of an assortment of colors, keeping with the theme of Fantastic Four comics from ages past. And the font uses add to the comic’s dynamic qualities through an effective use of bold lettering.

Conclusion

FANTASTIC FOUR #21 EMP did a great job of integrating the Fantastic Four into the larger event brewing in the characters’ universe. We’re excited to see what part our heroes play in the coming conflict.

What other heroes do you want to join Marvel’s most famous family? Let us know in the comments below!

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Review: Everything Is Complicated In EMPYRE #1

By

Colin Tessier

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Empyre 1 Cover credit of Marvel Comics via CBR

In Marvel Comics’ Empyre #1 (on sale July 14,) writer Dan Slott kicks off the highly anticipated story he and Al Ewing first teased in Incoming! The opening chapter is light on stunning twists, but it’s still a successful introduction. Slott and Ewing focus on strong characterization and craft an intricate ethical dilemma that’s sure to have heroes and readers alike second-guessing themselves.

Empyre #1

Story: Al Ewing & Dan Slott

Script: Al Ewing

Artist: Valerio Schiti

Color artist: Marte Gracia

Letterer: VC’s Joe Caramagna

Most events boil down to a relatively simple conflict. No matter how complicated the stories may seem, they’re typically centered on the battle of good vs. evil. That’s not the case this time. Initially, Slott and Ewing sets up a basic situation; the Earth’s Mightiest Heroes plan to protect the innocent Cotati population from a newly united Kree/Skrull armada. Based on the heroes’ history with these empires, they jump to the conclusion that the Kree and Skrull are in the wrong. But it’s quickly evident that The Avengers are entangled in a complex web of galactic politics. The writers and artist Valerio Schiti strongly foreshadow this blurred morality. When Tony Stark greets Quoi, the celestial messiah of the Cotati, the mysterious dignitary seems remarkably shady.

Empyre 1 Quoi — Quoi quickly rubs readers the wrong way.

Schiti zooms in on Quoi’s face to show a smirk that’s a borderline sneer. His eyes don’t have pupils, but his facial expression still subtly conveys an evil grin. Quoi’s words are equally suspicious. “When this day is done…there will be a place reserved for you here, in our garden, forever.” Letterer VC’s Joe Caramagna uses bold text to add even more unsettling emphasis to the end of the sentence. Altogether, Quoi comes off as a supervillain in disguise, and Slott and Ewing build suspense throughout the issue by muddying the ethical waters in this conflict.

Empyre 1 Garden — The Cotati garden may look pretty, but it’s a hotbed for disaster.

As comic book fans, we’ve been spoiled by events. Time and again, DC and Marvel launch yet another major event and promise the story will produce drastic changes. The failure to fulfill this promise has left many fans feeling justifiably jaded. Now, events often rely on shocking reveals and/or twists in the opening issue to hook the reader. Again, Slott and Ewing buck the trend and rely on good old-fashioned storytelling. The suspenseful narrative still takes some turns, but none of them are completely unpredictable or game-changing. Instead, this story is built on the strength of the interactions between the characters we know and love.

Empyre 1 Iron Man — Iron Man may seem like he’s carefully calculating, but he blindly rushes into action.

One of the most compelling moments comes in the issue’s opening scene when Reed Richard asks his son to fly home in an escape hatch. Franklin argues with him because the teenage hero eagerly wants to make a difference in the looming conflict. With Franklin’s power set fading away, he’s been waiting for a chance to use them one last time in an emphatic burst. As soon as he sees the Kree/Skrull armada honing in on Earth, Franklin sees his opportunity.

“I’ve been waiting for something just like this,” Franklin yells. “A Kree/Skrull war fleet is getting ready to crush the Earth, Dad. Let me help!” Here, Schiti gives Franklin a life-like facial expression, in which his desperation can be seen in his pleading eyes. In response, Reed says, “This is how you help.” Color artist Marte Gracia uses a heavenly golden background while he tries to persuade his son, and the lighting makes Reed look angelic. The emotional weight of the moment begins the story on the right track, and the subsequent mystery only elevates the reader’s investment in Empyre right off the bat.

What’d you think of Empyre #1? Check out your local comic shop to see if you can get it there, or consider buying it online.

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How The Quirky Adventure Carries On In LUDOCRATS #3

By

Cat Wyatt

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LUDOCRATS #3, available this Wednesday from Image Comics, continues the utterly insane journey full of passion, ill-formed plots, and so much more. These are Aristocrats taken to the farthest extreme imaginable.

***SPOILER WARNING***

Ludocrats #3 continues the vibrant and chaotic tale of aristocrats, the nature of boring (and how forbidden it is in this world), torture, and more. If you’re looking for an absurd series to help you escape from your quiet life, this is the series for you.

I usually don’t bring up the issue description in a review, but this is one of those rare times where it is extremely relevant: “Ludocrats, the comic that makes its whole creative team shout ‘Oh God. What have we done? Why didn’t anyone stop us?’ on a monthly basis.”

That is arguably the best description ever seen and is also hilariously fitting for this insane and unpredictable series. There is no better way to sum up this series other than chaos-fueled entertainment. Seriously, even the credits are unconventional.

That is one heck of an alternate cover for Ludocrats #3.

The Writing

To say that Ludocrats is nothing like Kieron Gillen’s other works would be an understatement. Yet the iconic writing style can still be spotted here and there. While the world itself is fueled by chaos, there is some rhyme and reason to be found in the character designs. Working alongside Gillen is Jim Rossignol, and one can easily spot their influence as well. It makes for a highly entertaining read.

Ludocrats #3 is one of those issues that will make readers chuckle, blink, and stare at it. All at once. It bounces back and forth between pandemonium and humor at a moment’s notice (and that’s if you’re lucky).

Additionally, this is an issue that has earned its mature rating. The opening scenes involve torture that feels more like BDSM than anything else, but at least the comic is clear to define lines there. What’s more comical is that it is a scene that would probably pass over a younger audiences’ head – the same can not be said for what follows.

This issue is probably the most chaotic one yet, which is saying something. It’s actually quite hard to believe that there are only two issues left in this series. More accurately, it’s hard to imagine these characters solving the issue in only two issues.

A peek at what is in store in Ludocrats #4.

The Art

Ludocrats #3 is as vibrant as it is…well…unique. It’s full of dynamic characters, colors, and scenery. It’s the sort of issue that demands your attention when sitting quietly on a shelf, which is about the only quiet thing these characters will ever do.

Jeff Stokely is the lead artist for the series, and you can tell that they had a lot of fun designing the world and characters within. They’re all incredibly unique, while also playing off familiar comic tropes. It makes for a hilarious foundation.

Meanwhile, Tamra Bonvillain provided the colors for this series. Her iconic bright colors shine through the pages, with bold backgrounds, and even more vivid details. All of it comes together to create something, unlike any other series.

Finally, Clayton Cowles has been the letterer for this series, and if you think lettering can’t get quirky, you need to check this series out. While the lettering does help to bring the series back down to earth, it also gets a little odd at times, which is fitting.

Conclusion

Ludocrats #3 perfectly continued this chaotic tale, creating something that has never been seen before. It’s the sort of issue that will make you burst out laughing, or shudder at the implications within. Either way, it’s going to be quite the reading experience.

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How The World Is Changing In FAMILY TREE #7

By

Cat Wyatt

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FAMILY TREE #7, available this Wednesday from Image Comics, continues the horror-filled family drama. The world is starting to see permanent changes, courtesy of the actions of the lead characters.

***SPOILER WARNING***

Family Tree is a series that merges family drama with horror, something that doesn’t sound like much until you dive into reading it. The horror elements of the series are increased due to the smaller focus – one family.

Yet there’s no denying that the rest of the world is starting to see an impact as well. Whether that makes it more or less horrifying…well, only time will tell. One thing is certain, Family Tree #7 is marching this one family – and the world – closer to the point of no return.

This series was created by Jeff Lemire, Phil Hester, Eric Gapstur, and Ryan Cody, and it is, without a doubt, one of the most unique horror series available today. It’s thrilling and haunting, and it gets under your skin in a way that no other series can.

Josh is little a little bit…different here.

The Writing

Family Tree #7 brings with it the biggest changes in the series thus far. Yet it’s balanced out by some creative storytelling. The issue is set in two points in time—the not-so-far future, where all of the worst changes have occurred. And then there’s the present, where one family is still confused and grieving, in their own way.

Grandpa Judd’s tale felt like it was nearing an end in recent issues, yet now it appears that there is more to this stubborn bear’s tale. As for the rest of his family? Well, it’s clear that their impacts are having a significant effect on that future already mentioned.

It’s fascinating, seeing the two timelines unfold side by side. Already theories are forming, thanks to the small hints here and there. Yet there are so many questions that need answering, and not just about the leading characters.

There’s no doubt that this series is still a horror tale…and yet at times, it almost feels hopeful. Like a horror series bordering on solarpunk themes. Yet another unique combination to throw into this mix.

Even in the future, the fights follow Josh.

The Art

The artwork within Family Tree #7 is gritty and reminiscent of tree bark – a fact that could not possibly be more appropriate. It sets the tone for the series, all while giving off this air of what is to come.

The cover for this issue is probably the most striking of the series thus far. Though in this case, striking carries multiple meanings. There’s something beautiful yet horrifying about this image, which was certainly the intent.

The present and the future are easy to tell apart, thanks partially to the color palette changes that occur (though it is a mild transition). Mostly it’s apparent thanks to the surrounding elements, as some pretty significant changes have occurred between the two.

Conclusion

Family Tree #7 is another haunting addition to this series, one that raises just as many questions as it answers. The future and the present seem so drastically different, and yet the timing is not as far off as one would think. That only raises more questions – and concerns about what will happen to this family.

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WONDER WOMAN 1984 Tie-In Coming From DC Comics

By

Kevin Sharp

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July 14, 2020

While movie audiences await the October arrival of Wonder Woman 1984 in theaters, DC is bringing the world of the movie to comic pages. Here are the details on a special tie-in issue, along with a sneak peek at the art:

DC’s Wonder Woman 1984 #1 Comic Book: A Great Companion to the Highly Anticipated Warner Bros. Pictures Feature Film

New 32-Page One-Shot Features Movie Tie-In Story Co-written by Wonder Woman 1984 Associate Producer Anna Obropta

Arriving at Participating U.S. Walmart Stores by Sunday, September 20

Available at Open and Operating Comic Book Stores and Participating Digital Retailers Tuesday, September 29

BURBANK, CA (July 14, 2020) – Fans everywhere are anxiously awaiting Princess Diana’s next great adventure when Warner Bros. Pictures’ Wonder Woman 1984 arrives in theaters on October 2. But before being transported to the “totally radical” days of neon colors, leg warmers, portable cassette recorders, and hanging out at the mall, DC is getting you ready with a special one-shot comic celebrating director Patty Jenkins’s exciting sequel to the smash-hit 2017 Wonder Woman film.

The first story in Wonder Woman 1984 #1 is a direct tie-in to the upcoming movie and is co-written by Wonder Woman 1984 associate producer Anna Obropta and Louise Simonson (“The Death of Superman” story arc, Wonder Woman: Warbringer graphic novel), with art by Bret Blevins. When a failed burglary attempt causes a hostage situation at the Smithsonian Museum of Natural History, Diana Prince is forced to leave her teenage tour group behind so that Wonder Woman can save the day! But will she be able to bring 10 gunmen to justice and get back to her tour group in time?

The second story is a 1980s flashback by writer Steve Pugh (artist, Harley Quinn: Breaking Glass) and artist Marguerite Sauvage. In the ’80s, “greed is good,” especially if you have it all! A reckless mastermind has made the ultimate power move by stealing Wonder Woman’s golden Lasso of Truth, and it’s up to Diana and Steve Trevor to get it back before the worst happens!

Wonder Woman 1984 #1 features a powerful and dynamic cover by another great Wonder Woman artist, Nicola Scott. The book arrives at all participating U.S. Walmart retailers by Sunday, September 20 and all open and operating comic book stores and participating digital retailers on Tuesday, September 29.

For more information on Wonder Woman and the World’s Greatest Super Heroes, visit DC’s website at www.dccomics.com and follow on social media @dccomics and @thedcnation.

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