In a surprise press release from Image Comics, The Walking Dead will be returning to comic shops this July in a special one-shot titled NEGAN LIVES #1. Written by the series creator, Robert Kirkman, with art by Charlie Adlard, NEGAN LIVES #1 is an all-new story chronicling the titular character’s adventures since the events of THE WALKING DEAD #174.
This surprise one-shot is intended as a ‘thank you’ and show of support for comic shops hit hard by the COVID-19 lockdowns. The support is both symbolic and financial as all shipping costs by Diamond will be waived, and 100% of the sales go to the shops selling the book. You can read the press release in full below.
Is this the best surprise comic shops could have hoped for? Do you want to see other publishers follow suit? Let us know what you think in the Comments section, and share this post on social media using the links below.
THE WALKING DEAD WILL RISE AGAIN IN SPECIAL NEGAN LIVES #1 STORY THIS JULY
The surprise one-shot from Robert Kirkman & Charlie Adlard aims at generating new excitement for comic shops recovering from the COVID-19 crisis
PORTLAND, Ore. 06/18/2020 — The New York Times bestselling, award winning creative team behind The Walking Dead phenomenon—Robert Kirkman (Fire Power, Oblivion Song) and Charlie Adlard (Vampire State Building)—returns to the beloved series for a surprise one-shot story, Negan Lives #1, which will arrive in stores this July.
This shipment arriving in July will be without financial burden to receiving retailers—with no freight cost for them to worry about. “I’ve been inspired by Steve Geppi and Diamond’s efforts to shine a light on how essential the Direct Market is to our beloved industry with their #backthecomeback campaign,” said Kirkman. “While Charlie Adlard and I had laid the series to rest, this felt like something special we could do for the store owners who made our series a success to begin with. To that end, I’m happy to report that 100% of the revenue generated from this book will go to the stores selling it. The retailer community does backbreaking work to get comics into the hands of our loving fans, we should all be doing more in these trying times to show them how appreciated they are.”
Negan Lives #1 will not be available digitally and will be available exclusively at comic book shops. Fans interested in ordering a copy can find the comics store closest to them on Local Comic Shop locator. Many comic book shops are fulfilling orders online and via curbside pickup.
Spurned by a slowly rebuilding society, Negan lives a life of desperate isolation… or does he? In the tradition of Here’s Negan, this all-new story in Negan Lives #1 gives readers a glimpse into what has happened to one The Walking Dead‘s most popular characters in the time since his last appearance in The Walking Dead #174.
As long-time readers of the post-apocalyptic survival series will recall, The Walking Dead #174 proved to be a pivotal point for Negan, as he was tracked down and confronted by a vengeful Maggie, still heartbroken and furious over the murder of her husband, Glenn, in The Walking Dead #100.
Negan Lives #1 (Diamond Code MAR208199) is a 36-page, black and white comic book, available exclusively at comic book shops on Wednesday, July 1. There are extremely rare Gold (Diamond Code MAR208201) and Silver (Diamond Code MAR208200) foil variants of Negan Lives #1 in limited quantities, inquire with your local comic shop for availability and further details.
Negan Lives #1 hits comic book shops on the same day as the Fire Power, Vol. 1: Prelude original graphic novel and the FCBD Fire Power #1 free promotional comic, both by Kirkman and co-creator/artist Chris Samnee.
Undone by Blood or the Shadow of a Wanted Man #4 hits your local comic book store July 15, but thanks to AfterShock Comics, we have a four-page preview with a great look at Sami Kivela’s panel design.
The book is written by Lonnie Nadler & Zac Thompson, with art by Kivela, Jason Wordie drops some color, you will read Hassan Otsmane-Elhaou’s letters, and Kivela & Wordie designed the cover.
About Undone by Blood or the Shadow of a Wanted Man #4: As Ethel approaches the truth about the man who murdered her family, she’s discovering that the justice of the old West isn’t as glorious as fiction makes it out to be. Chasing one fickle lead after another has not paid off. No one can be trusted – a lesson she failed to learn from cowboy legend, Solomon Eaton. And Solomon is in his own heap of trouble, going up against a town full of men who will do anything to prevent him from saving his son.
“Kivela does not conform to any set panel layout. There isn’t an overriding pattern that can be discerned from reading each issue. There are no formulaic nine-panel grids here. Instead, Kivela chops and changes the layout page by page, choosing a structure that suits the scene.” – Darryll Robson
Enjoy the preview below.
What other AfterShock books are you reading? Comment below.
Undone By Blood #3 Cover Credit: AfterShock Comics
One of the things that is often said about comics is that you can do things you can’t do in any other medium. Often this isn’t always obvious because a large number of mainstream comics don’t tend to experiment too much with the format, instead mimicking other mediums to make themselves easier to access. However, there are plenty of comics, published by some of the big named publishers, that push the storytelling boat out. Undone By Blood from AfterShock Comics is one such title.
I have written previously about Undone By Blood and artist Sami Kivela’s clever use of the image to break one panel into many. However, this is only the tip of the iceberg when it comes to the creative techniques that are used in this comic.
Kivela does not conform to any set panel layout. There isn’t an overriding pattern that can be discerned from reading each issue. There are no formulaic nine-panel grids here. Instead, Kivela chops and changes the layout page by page, choosing a structure that suits the scene. On occasions, the narrative may warrant a character comparison, so the panel layouts on given pages will mirror or match previous pages. At other times there may be specific elements of the plot that need to be emphasized; small details that Kivela can zoom in on. There are also specific page transitions that need to be made for the story to flow easily.
Undone By Blood #3 Page 9 Opening Credit: AfterShock Comics
Inserts and Overlays
One of the techniques used by Kivela to accomplish a number of different narrative tasks is to employ the use of inserts into larger panels or small panels that overlap gutters. These are not simply a quick succession of panels in a tier to increase the narrative pace, although he does do this on occasion (see example above).
The inserts that I am referring to are usually close-ups of an object or part of a scene. These close-ups draw the reader’s attention to something specific in the narrative that plays an important part in a particular scene. They also act as a narrative device themselves to inform the reader of some change either in place, time or as in the following example, a move from one fictional world to another.
The narrative within Undone By Blood is split between two stories; the first is about Ethel Lane, who is looking for her family’s killer; the second is the book that Ethel reads, entitled The Shadow of a Wanted Man. The shift from one narrative to the other is usually pretty clear, especially if you compare the artwork side by side. Kivela uses a different style to render the characters and backgrounds for each story, and the color, by Jason Wordie reflects the two different time periods.
The two concurrent stories do not appear on the same page, however, and occasionally the artist signals to the reader that a transition is coming. This signal prepares the reader before a page turn that the focus will shift from one character to another. It acts like a full stop, or paragraph break, and takes the form of a small square panel at the bottom of the page. The panel has a thick border, sometimes white or sometimes black, and the image bleeds to the right of the page. Its other distinguishing feature is that it overlaps the final panel on the page, becoming more prominent.
This form of page ending happens on several occasions in issue 3, and the example from Page 9 (above) highlights how it looks and functions. The page shows Ethel being attacked and knocked from her bike as she scrambles by the side of the road in that penultimate panel on the page the moment is interrupted by a close up of her book. It has fallen from her bag and lays open on the ground, the writing visible (but not legible) on the page. The thick black border makes the panel stand out because it is different from every other panel design on the page. The right of the panel bleeds away into the page turn and takes the narrative into the book on the next page.
Undone By Blood #3 Page 11 Inserts Credit: AfterShock Comics
Concentrated Detail
These small panels don’t just appear at the end of a scene or a page. Kivela enjoys placing them throughout the comic like a close up in a movie. Single beats that make a quick point, drawing the reader’s attention, and then back to the larger scene. There are three such panels on page 11 that are especially interesting as they work together to enhance an element of the narrative.
After being knocked down, Ethel has followed a lead to a Paper-mill in the hopes of meeting someone who can help her. As she enters the Mill, two overlapping square panels are very similar to the one discussed above. Each panel features a close up image and thick black borders. The difference is that they are solid on each side, contained images that do not lead to something. In essence, they act like bullet points highlighting, in this instance, the injuries that Ethel has sustained.
Her scraped shoulder and bleeding knee not only explain her stance in the panel that lays below, panel four if you will, but they also relate to a third, similar panel later on the page. This third panel is a true insert as it is situated completely in the final panel. It is designed in the same way with a thicker border and acts as a close-up image. The difference is that there is no zoom; it merely emphasizes an element of the image, inviting the reader to take note.
The image is of Waylon’s strapped up leg, denoting an injury of his own. The simple panel border that Kivela places around the leg reinforces part of the conversation that Waylon and Ethel are having but also refers to the top of the page and Ethel’s own injuries. It is making a contrast between the open wounds of the heroine and the old wounds of Waylon. The moment also makes a comment on the freedom of one character against the restraints of the other.
So much is inferred by the one overlapping panel and its relationship to the overall page.
The creative team of Undone By Blood is experimenting with the storytelling possibilities of the comic book medium. Each member of the team is pushing the boundaries of what they can do for the greater good of the comic and the story.
Kivela is not bound by rules, especially those that define other mediums, and instead demonstrates exactly what you can do with a page of panels and images. He thinks about the single panel image and what that has to convey, but he also considers the page and even beyond to the issue as a whole. When you read Undone By Blood, you get the impression that everything matters, and the creators are leading you through the pages, allowing significant clues to sneakily slip by in the background.
The majority of comics aim to engage the readers enough to pick up the next issue. Undone By Blood has so much going on it feels like it’s aim is to get you to instantly re-read it. There is so much to take in; Kivela’s use of small, close up panels is only a tiny fragment.
Undone by Blood #3 from AfterShock Comics is currently on sale at your Local Comic Book Shop.
The Rise of the Decepticons event continues in Transformers #20 thanks to Brian Ruckley, Anna Malkova, Joanna LaFuente, and Jake M. Wood. The last issue seemed to lose the velocity from the previous issues. Will Transformers #20 reclaim the flow of recent events or cause it to further grind to a halt.
Prowl and his team need information and decide to investigate Swindle’s illegal operations for the answers they need.
Writing
Something which immediately sticks out about this issue is how characters seem to actually have some amount of personality. Instead of being objects moving a plot forward actual glimpses of characters with conflicts and persona are coming forward. Details such as Prowl keeping a pet, Hound feeling remorse for innocent lives killed by recent events, and Sideswipe being eager to prove his worth display a depth needed in this series. It has often felt like we not getting the chance to connect with these characters and understand what they are like in this new installment of the franchise. Hopefully, more moments like this will be commonplace in the future.
There is a sense the story Brian Ruckley introduced back in issue #1 is moving towards wrapping up. Frankly, this ending is way overdue as the murder of Brainstorm seems less important than the other issues such as large scale destruction and widespread civil unrest have appeared since the first issue. The mystery of why Brainstorm was murdered needs to be solved so the audience can move onto bigger things.
Artwork
The art by Anna Malkova sells the stress and frustration the characters are under. Looks of pain and exhaustion are prominent on Prowl and Hound and illustrate just how much recent events pushed them to the breaking point. There also is a great splash page in Swindel’s illegal casino filled with some recognizable faces from previous incarnations of the series.
The colorwork by Joanna Lafuente suceeds in making the scenery pop. The darkness of the alleys where Prowls team meets, to the ominous golden glow from inside Swindle’s casino helps to make the energy of the setting come through much clearer. Also, the coloring nails the unnatural power Mindwipe has at his control.
The lettering by James M. Wood finds a way to meld perfectly with the artwork in many deceptive and impressive ways. Too often sound effects are thrown on and end up becoming more of a hindrance than adding to the action of the story. In this issue, Wood hides the effects in energy attacks and speed lines to not distract from the rest of the panel.
Conclusion
Transformers # 20 offers a bit of depth and a bit more progress in the overarching plot. Still, moments of promise have appeared before. The groundwork of setting up the tension of the world of Cybertron has been laid. From here on out, the fans deserve to see some powerful and truly fulfilling moments.
After all the teases and all the waiting, Dark Nights: Death Metal is finally here. To commemorate the release of the first issue by Scott Snyder and Greg Capullo, DC Comics has revealed an “equally epic” music video.
DC Comics just gave fans another reason to pick up Three Jokers in August: each issue will now include a free souvenir playing card illustrated by series artist Jason Fabok.
Here’s the official word:
GET A FREE COMMEMORATIVE PLAYING CARD WITH EACH ISSUE OF
BATMAN: THE THREE JOKERS!
In celebration of the highly anticipated Batman: The Three Jokers prestige miniseries, DC and participating comic book stores are dealing fans the ultimate wild card by offering a free with purchase souvenir playing card for each of the three issues of the series, while supplies last.
Featuring breathtaking new artwork by series artist Jason Fabok, each issue of the Geoff Johns-penned series will feature a different card, spotlighting the Clown Prince of Crime and his three major adversaries – Batman, Batgirl and Jason Todd.
Batman: The Three Jokers reexamined the myth of who, or what The Joker is, and what’s at the heart of not just his eternal struggle with Batman, but how his horrific treatment of Barbara Gordon and Jason Todd has affected them. Arriving at open and operating comic book stores on Tuesday, August 25, the series will carry DC’s “Black Label” content descriptor, identifying the series a appropriate for readers 17+.
After Realm #2 out this week from Image Comics provides an epic backstory to the series’ main character before really going into the mythic main series. In fact, this issue would make epic comic creator Walt Simonson proud.
Recap
After Realm is a post-apocalyptic story where the event of Ragnarok wreaks havoc with Loki’s release, his releaser, the elven ranger Oona must now journey throughout Midgard to discover the fate of the Old Gods.
After Realm #2: The Origin
Last issue Michael Avon Oeming shows Midgard in chaos with trolls and the Statue of Liberty alive. All while Oona struggles to keep herself and her bird friend in one piece. But where does it all begin in After Realm #2? Why in a flashback Oona dramatizes of course. Readers can tell from the dialogue of the younger Oona that the present version isn’t too fond of this part in her life. However, there’s a colorful contrast to all of the bleak moments. A child’s naivety can lead to optimistic ideas to combat grimdark settings.
After Realm #2 and its conflict with Loki goes to lengths to show how Oona’s struggles react to her identity. Not able to fit in, she makes a startling discovery about her parentage. But that doesn’t stop her from trying to make what little friends she can or let Loki do as he pleases. However, there’s a flaw in how the series goes into details you would need Norse mythology knowledge for. Like Loki’s love for his wife or the goat that transports Thor. Good for people familiar with Marvel Thor, especially Oeming’s take, or Walt Simonson, but not so much for everybody else.
A Familiar Creative Team
After Realm #2 features scenes of intense emotion such as the facial language of young Oona’s eyes. The look of shock at seeing her friend expresses a perfect state of mixed emotion. Along with the breathtaking landscapes, a reader could return to the pages just to take it all in. Thankfully Oeming’s wife and colorist, Taki Soma helps make those images memorable while keeping the reader on track. Something as simple as Oona’s red hair against the blue backgrounds helps guide the reader through.
Which along with Shawn Lee’s lettering helps keep the emotional intensity up. The part where Oona convinces herself that her ploy against isn’t a trick by repeating words as they enlarge and embolden displays this. In addition, Loki’s red word balloons act as a reminder of his clash with Oona. At least until his emotions run high and they can’t be contained.
After Realm #2 Is The Abridged Ragnarok
Oeming instills pure passion into After Realm #2. By setting up how the main character sees herself and how she operates, the reader finds an enjoyable romp. All the better thanks to the mythic tone through the coloring and lettering. In any case, if you’re mythology buff like Oeming or Simonson, you just might like this.
WYND #1, available from BOOM! Entertainment on June 17th delivers the story of a magical, LGBTQ+ teenager who hides his identity from forces that want to purge Pipetown of magical beings. James Tynion IV and Michael Dialynas have crafted a new story that’s a mix High Fantasy, a dash of Steampunk, and current year coming-of-age all in one.
Cover Art
Michael Dialynas’ cover is a strong encapsulation of the titular character’s free spirit and energy. In the story, Wynd chooses to live among the humans but likes to run a little wild when the opportunity strikes. Since Dialynas also drew the interiors, the art is as consistently light and optimistic as the story itself.
Writing
Tynion IV’s story is an original concept that leaves you with more questions than answers. It sets up the world, the characters, and the social conflicts deftly while still leaving you wondering, “How did we get here?” and “Where are we going?”. Wynd, the titular character, is of magical heritage, and any magical being is forbidden from living in Pipetown. Banning magical creatures is apparently the result of some past conflict – possibly a war – that’s mentioned but never explained. Wynd hides his pointy ears to “disguise” his magical origins so he can remain in Pipetown and live out his days in peace, working at the local diner as a busboy.
The straight-forward premise is further complicated by Wynd’s affection for the son of the royal gardener, Thorn. Affection might not be the best choice of words here because in actuality, Wynd regularly goes off to ogle the sweaty, shirtless Thorn from a nearby rooftop using a telescope. It’s an understandable move from somebody who’s wrestling with their identity in more ways than one, but it’s still a creepy move on its surface. It’s unclear if Thorn is even aware of Wynd’s existence, and Thorn clearly expresses some level of affection for the Prince, as the two have been friends and confidantes for some time. This pseudo-love triangle is flawed, but made all the more relatable and realistic because of its flaws. That said, the ages of the characters are undetermined, and depending on the panel and page, Wynd looks like a young boy barely over twelve, making his ogling habit, and the overall romantic aspects of the story, a bit uncomfortable to read.
Does the story work? It’s tough to say with just the one issue. It’s certainly well constructed with organic dialog, but the future potential of the plot is unclear. I will say that I’m intrigued to see where Tynion goes in issue #2. Keeping a reader to hooked enough to see what happens next is the best compliment for a #1 issue.
Pencils/Inks
Dialynas’ artwork is light, colorful, and playful. It’s very reminiscent of reading a child’s book, although the subject matter is not wholly for children. Regardless, the child-like, verging on cartoonish designs of the characters infuse the story with elements of whimsy and innocence. It’s the type of artistic style that would likely translate very well to film and fit right in with Netflix’s The Dragon Prince or The Seven Deadly Sins.
Regarding the main character, Wynd, his design is innocent and impish without any hint of mischief. From the first panel, you know something deeper is going on with Wynd’s magic, but he doesn’t know what it is. (Yet another question for the reader to hold on to for the next issue.) But at no point is Wynd threatening to the ones around him. His facial expressions and overall demeanor smack of a teenager trying to figure himself out.
While Wynd is imminently relatable and likable, there is one aspect of his design that didn’t quite make sense. The townsfolk are on the lookout for magical beings, identifiable by their pointy ears. Wynd not only has pointy ears, but he has chalk-white skin and deep navy blue hair. In short, pointy ears are the least standout aspect of his design. If the townsfolk were truly watching out for somebody “weird,” Wynd wouldn’t make it two steps outside his home before getting tagged. In isolation, Wynd’s design suits the design of the world well. Contextualized in the plot of the story, it doesn’t make much sense.
Coloring
Dialynas’ coloring is likewise perfectly suited for the world Tynion built. Blue skies are bright and cheery. Wynd’s chalk-white skin reflects the shades of his surroundings — going from neutral white in the sunny outdoors to dreamy blue in the nighttime panels. There’s a lot of attention being paid here to the assortment of flesh tones and shading on each character, and it pays off.
Lettering
I’m always awed when a letterer finds a way to visualize a sound effect for something that doesn’t actually exist, and yet, makes you imagine that the sound is accurate. Aditya Bidikar’s lettering pulls off just such a feat with unique sound effect lettering that underscores great imagination. What does it sound like when you hit a gryphon with a crescent wrench? I have no idea, but the lettering for those sounds are in this issue, and it completely works.
Conclusion
WYND #1, out now, is a promising start to a completely new property. The art is whimsical and fun, and the story starts a lot of threads that begs more than a few questions. I’m looking forward to seeing what happens in the next issue. Would recommend.
THE CROW: LETHE #2, available on June 17th from IDW Publishing, pulls away the veil of Null Narcos’ amnesia to show him his purpose as the latest Crow. Unfortunately, denying his memories and past opened the door for a scavenger to kill Null’s friends. It’s un-dead against un-dead in this violent and bloody (good) issue.
Cover Art
Peach Momoko’s cover captures the right tone of goth flavored with sideshow freak. Narcos wearing the Western hat, combined with bird bones, evokes a distinctively ‘cowboy’ feel. And the general WANTED poster composition perfectly reflects the nature of the story inside.
Writing
Tim Seeley’s story works by playing with the fringes of reality. We know there are traveling sideshows that exist and wander through the lonely towns of America. We know those sideshows offer acts that surprise, titillate, and repulse. So Seeley’s world, although populated by a collection of bizarre characters, lingers right on the periphery of what’s real.
Null Narcos, the latest Crow, has been arrested for Bust’s murder. His interrogation, and subsequent lockup with Benga, forces Null to face the memories he’s been avoiding. The new knowledge gives Null his purpose in resurrection and reveals the origin of the real murderer.
Without spoiling anything, this issue was surprisingly gory. Null’s awakening is voluntarily brought on by pain and violence, and the big battle between Null and the villain is probably the most creative use of circus tent poles I’ve ever seen. You learn a little bit about the Crow’s backstory, you get a little insight into what happens when the Crow avoids his duty, and you get a pretty kickass fight scene. All in all, a solid issue by Seeley.
Pencils/Inks
Ilias Kyriazis’ art is exploitative without being cheap. All of Kyriazis’ character designs keep their oddities on full display. You see the armless woman (“Stalk”) in all her glory, and she’s treated as just another person with an unusual difference. Likewise, Benga’s tiger stripes and Masterpiece’s emaciated frame all combine to form a motley crew that appreciates Null for his unusual look while effectively hiding in plain sight.
Likewise, Morgrau’s design looks just like you would expect a scavenging vulture to look like in human, albeit un-dead, form. The use of a bomber jacket works just as well here as when Michael Keaton used it for a similar effect in Spiderman: Homecoming. The net effect is the visage of a surly bird of prey that’s equal parts tough and deadly.
Coloring
Katrina Mae Hao’s coloring is top-notch in this issue. Contrary to previous Crow incarnations and O’Barr’s original B&W compendium, the main character is typically cast in dark shadow in gritty urban scenes. In this issue, Hao is tasked with coloring the sunny, dusty back roads of the American mid-west while still keeping the Crow’s signature style sufficiently glum. The colors of every scene are vivid, and the blood, when it starts to copiously flow, is shockingly red. Hao also uses the blood’s red brilliance to highlight silhouette scenes when Null and Benga perform their stage show. It risks coming across as schlocky and cheap…but it doesn’t.
Excellent work here by Hao.
Lettering
Samuel Murray’s lettering is most effective during Null’s dream/vision sequence. In the scene, Null is getting lectured by Death(?) about his mistakes and what he needs to do to correct what’s happening. The scene is drawn and colored like an old. B&W film, so Murray’s choice of reverse bolding and placement adds the right flare of disembodied voice, tinged with death and gloom. It’s a great choice of lettering that keeps the scene moving when the reader is pulled out of the action in the middle of a big fight scene.
Conclusion
THE CROW: LETHE #2, available on June 17th from IDW, pulls you into a world that’s almost real for a thriller filled with truly evil villains and big, bloody battles. The characters are bizarrely fascinating, and the art team hits all the right notes for a Crow story. Worth picking up.
RED SONJA: AGE OF CHAOS #4, available from Dynamite on June 17th, follows Red Sonja and the day-walking vampire, Chastity, as they search for a way to resurrect Kulan Gath. Erik Burnham’s story and Jonathan Lau’s art deliver a tale of monsters and wizards competing to be the first to find the source of Gath’s power.
Cover Art
Lucio Parillo’s art consistently excels with the collection of Dynamite’s female heroes. Chaos takes center stage on the cover as the titular character. Parillo’s attention to life-like anatomy is outstanding, and his use of deep shadow for dramatic effect takes the cover to a grand artistic level.
Writing
Let’s take roll call: Red Sonja (warrior), Chastity (day-walker, punk rock vampire), Evil Ernie (magic-wielding zombie), Purgatori (winged, vampire goddess), Jade (vampire sorceress). Whew! That’s a lot of characters to juggle for one issue, and that doesn’t include the assorted sorcerers, warriors, and townsfolk they meet along the way.
With all those characters to pack into one issue, Burnham deftly keeps all the threads moving in the right direction. Red Sonja and Chastity’s journey takes up the lion’s share of the story, with a battle between Evil Ernie and Purgatori taking up a close second. With all that story going on, I never felt lost or confused about who was doing what.
Most of the vampire characters were transported from other times and locations to Red Sonja’s setting, and Burnham took the time to give each character, especially Chastity, a fish-out-of-water moment without overplaying it. The story was amusing, exciting, and engaging. Of all the Red Sonja books out this week, this is the easily the best of the bunch.
Pencils/Inks
Jonathan Lau’s artwork is the top highlight of this issue and of all the books reviewed this week. The characters, costumes, and backgrounds are rendered in fine-grained detail that looks closer to the type of work you find in a graphic novel that’s been poured over for months.
The fight scene between Purgatori and Evil Ernie is face-paced and explosive. I was riveted with every single panel as the two monsters traded escalating attacks with a mix of brute strength and magical blasts. This issue is worth the purchase for Lau’s artwork alone.
Last but not least, Lau made an artistic change to Red Sonja that I don’t think I’ve ever seen before. Usually, Red Sonja is drawn with a long, full-bodied head of hair. Here, Lau changed it up to give Red Sonja a rude bushel of hair, almost akin to a lion’s mane. It makes all the sense in the world for a barbarian warrior who wanders the wastelands to have hair that looks that way, and it gives her status as a warrior a bit more credibility. It’s amazing to see a seemingly innocuous change generate a completely fresh take on a character.
Favorite Panel/Page: The battle between Purgatori and Evil Ernie steals the show for this issue, and page 19 is the best panel of the entire scene. It’s a full tier panel where (No Spoilers) one character deals a “death” blow to the other, effectively eliminating some of the competition…albeit temporarily.
Coloring
Andrew Dalhouse’s coloring is a perfect match for Lau’s art style, particularly with the execution of red. Red Sonja has a red lion’s mane, Chastity has a red mohawk, Purgatori is, well, all red, so it would have been easy enough to select an acceptable red tone and leave it at that. To Dalhouse’s credit, if you look closely, even the color selection between Red Sonja’s hair and Chastity’s hair is subtly different to give each character a little bit of distinction. It’s that kind of attention to detail that makes this book the winner of the week.
Lettering
Similar to Burnham’s fine work juggling multiple plot threads, Carlos M. Mangual’s lettering does an equally great job finding a way to keep multiple voices in multiple languages easy to read. You have English dialog, native tongue translations in the town Red Sonja and Chastity are visiting, the voice of a disembodied ghost head, mystical zombie voices, a talking smiley face lapel pin, and a screeching wyvern. Lots of voices. All of them made clear and distinctive with the artistic use of word bubble borders, fill colors, and custom fonts—fantastic work by Mangual.
Conclusion
RED SONJA: AGE OF CHAOS #4, out this week, is a masterclass in ensemble storytelling combined with next-level art. The entire creative team brought their A-Game with this issue, I highly recommended.
phenomenon—Robert Kirkman (Fire Power, Oblivion Song) and Charlie Adlard (Vampire State Building)—returns to the beloved series for a surprise one-shot story, Negan Lives #1, which will arrive in stores this July.
