DC Comics has revealed an advance look at another “Joker War” tie-in issue: Nightwing #72.
Check out the whole preview below:
The march to “The Joker War” continues with this preview of Nightwing #72, a tie-in issue to the event that will have deadly impact across the entire family of Bat-Titles!
Dick Grayson has learned the truth: that “fixing” his identity lies with none other than Barbara Gordon. He must go to Gotham to find Batgirl-and runs into The Joker’s new henchperson, Punchline. Unlike Harley Quinn, Punchline’s deadpan black humor matches the deadly knives she uses on her victims…and for her next joke, Ric Grayson is the punchline.
DC’s Legion of Superheroes #6 continues to be a fun, unique take on the 31st-century superhero team! Writer Brian Michael Bendis, Penciler Ryan Sook, Inker Wade von Grawbadger, Colorist Jordie Bellaire, and Letterer Dave Sharpe all contribute to what is, overall, a beautiful sci-fi adventure that is full of heart.
Writing
Even as he introduced a number of revelations about the history of the DC universe and its timeline in the previous issue as well as Jon Kent’s importance for the 31 century, Bendis ups the ante again, this issue ties off Jon Kent’s orientation into the Legion of Superheroes, introduces the Gold Lantern, and finishes out the Aquaman trident arc, bringing it to a hopeful conclusion, all while setting up future conflicts. Bendis does, however, leave some things unanswered, like why President Brande tried to confine the Legion to their headquarters. Bendis has been accused of being dialogue-heavy in the past, and while there is plenty of dialogue, it is well-balanced by the action in this issue.
Art
Sook continues to impress in this series, along with Grawbadger. Legion of Superheroes, probably more than any other version of the characters in DC’s history, portrays a very future-looking world (beyond the only difference being the use of flying cars). Sook’s 31st century truly convinces me that if the Earth survives for another thousand years, it could really end up looking like this. It is beautiful. It is unique. And it is extremely alien to someone from the 21st century. It would be easy to allow the diversity of alien life to becomes a blurry background piece to the story, but Sook makes the diversity of the future really pop on the page.
Coloring
Adding to the look of this fantastic future, Bellaire’s colors can only be described as “kaleidoscopically beautiful.” Exhibit A:
There is a lot happening on this page. Aside from the dialogue boxes surrounding the central image, the portrayal of Gold Lantern’s energy pushing back against the water from Aquaman’s Trident complete with explosions and the powers of other Legionnaires on display is a daunting task, but Bellaire is able to make all the colors pop while maintaining the uniqueness of each Legionnaire’s display of power.
Lettering
In a book with this many characters and this much action going on (and Bendis’s dialogue-heavy writing), it would be easy to lose track of who is talking. Thankfully, Sharpe does a decent job of keeping all of the voices distinct. Nowhere is this more clear than the spread on pages 2-3:
Not only are characters like Monster Boy and White Witch given unique lettering, but Brainiac 5’s evacuation message is shown in three distinct languages, each given its own unique lettering and shading to set it apart from the others.
There was one confusing moment for me. It was a little hard for me to follow the dialogue direction on the final splash page, which ends on the last page with the word “hope.” I’m a little unclear which part of the preceding dialogue anticipates “hope.” A few extra indicator words in the dialogue might’ve helped to make the direction the dialogue was supposed to be moving more clear.
There’s a lot happening in this book. Bendis has seemingly brought certain threads to a close while planting a lot of seeds for the future. Legion of Superheroes continues to be a fun title, and I can’t wait to see more of this new 31st century!
There’s so much to be said for DC Comics’ Strange Adventures. Like so much of writer Tom King’s other works, this story is willing to take its time. With artists Mitch Gerads and Evan “Doc” Shaner on the artwork, and Clayton Cowles on lettering, this creative team seems endlessly interested in the terrifically mundane. As Mr. Terrific joins the story, we get to see a glimpse into a day in his life.
Mr. Terrific: Routines and Ruts
Writing
King knows a thing or two about training. With some time in the CIA under his belt, he surely knows someone can’t just be a “crimefighter” casually. And so, as we follow Mr. Terrific through the rhythms of his daily life, we find it exhausting. Terrific’s T-spheres hover around, spouting trivia questions constantly. Terrific’s answers seem full of foreshadowing and thematic nods. At a few points, Terrific talks on the phone with Batman. The juxtaposition shows how each of them has dedicated themselves to their lifestyle. Batman is punching supervillains, while Terrific carries weights through snowstorms. Terrific’s regimen is so wonderfully boring. And with all of this, King asks us, “Can we really trust someone who makes everything seem like an adventure?” Because in the end, life isn’t as adventurous as Strange’s book would suggest. It’s full of workout regiments and trivia questions.
Art
Gerads’ art for these sections is stunning and messy. It feels as though Gerads refuses to put on airs. Terrific’s life feels real. We see it in the small things, the snow Terrific shakes off his hat, the smudges around the jar that has Terrific’s face mask. But the most noticeable thing about Gerads’ art is how slow it moves. He will spend a whole page on Terrific jogging, lifting weights, diving. And he focuses almost claustrophobically on Terrific. We rarely shift perspective to see someone else; many of the scenes are close up. It gives the whole storyline a sense of constancy. The constancy makes Terrific’s life feel like a rut. A rhythm. But it also gives him a sense of credibility. He’s a man who takes things so seriously; he makes no time for himself. He’s singularly focused on being the best he can be. If Adam Strange is guilty of lying to the populace, Mr. Terrific IS the man you want to look into it.
Coloring
Gerads’ coloring for this storyline is beautiful. It’s almost as if Gerads chose to fight the mundanity of Terrific’s life, with splashes of color. You’d expect a bleak color palette. Greys, whites, browns, but instead, each page feels vibrant. When Terrific is out in the snow, the panels look brilliantly blue. As he enters the bookstore, the palette warms up to a red haze. When he talks with Batman, we get a back and forth of color schemes. Batman is framed in yellows and oranges, fighting in chaos, while Terrific stands out on a frozen lake in a cool blue tone. It gives Terrific’s life a sense of beauty. Sure, he’s tireless. He constantly works to keep himself in shape, mentally, and physically. But life is still beautiful even if Terrific doesn’t have the time to stop and take note.
Lettering
Cowles’ lettering is carefully subdued in the Mr. Terrific scenes. When Terrific punches someone out in the ring, practicing his boxing, no sound accompanies his fist making contact. The silence makes the sudden win feel all the more impressive. And when Terrific visits the shooting range, we get the only sound effects of the storyline. White, crisp, clean. Sounds are just as you’d expect them to be in this world, no added flair. And as Terrific’s T-spheres speak to him throughout the issue, their word balloons, filled with mechanical writing, change color.
When Terrific is on a call with Batman, through his T-spheres, the balloon is grey, and the lettering is softer. Otherwise, the T-spheres speak in red or blue word balloons. The red almost gives them a lifeblood; the questions they ask that are strangely human seem to stand out. The blue feels cold and logical; the questions they ask that are calculated and mathematical stand out. It fits then that the one question Terrific can’t answer is asked in a blue balloon. Cold, distant, the question is asked without a calculation of what feelings it will evoke.
Strange Adventures: Romantic Brutality
Writing
While there’s much to say about Mr. Terrific, his is not the only story King is telling. After all, this is supposedly a comic about Adam Strange. So, King describes Strange’s adventures on Rann through Strange’s autobiography, as it’s read by Terrific. The drama of Strange’s story stands in complete contrast to Terrific’s routines. It’s romantic, full of honor and bravery. Strange is a man of few words. His lines are brief and to the point. He simply does what he believes is right, without all the moral anguish of Mr. Terrific. It doesn’t seem like he really thinks things through. This is a character who smiles in the face of danger. His threats to kill other aliens are couched in terms of his loyalty to the Rannians. Everything he does is right, noble, pure. He is a man who will do anything for the people he loves. But just how brutal is he about to become? And how will he put a brave face on it then?
Art
Shaner’s art style is perfect. Not just in the sense of being beautiful, but how it’s all meticulously put together. Every character, every object, has a crisp outline and just the right amount of detail. It’s clean and careful, yet full of life. There’s a clear emphasis on action in Shaner’s panels. Instead of the claustrophobic life of Mr. Terrific, Strange’s adventures are raucous and full of dramatic flair. Whether he’s plummeting through the air or aiming a gun at an alien “villain,” there’s a real sense of movement. With so much action, it leaves one wondering where the humdrum of it all went. Every moment for Adam Strange is a grand adventure.
Coloring
Just as Shaner’s art style feels meticulously correct, so do his colors. There isn’t the tonal haze we see in Gerads’ art. Everything is colored exactly as it should be. Yet, at the same time, the color scheme is warm and vibrant. Strange never looks discolored by hunger or thirst. Alanna’s face is flushed, and she has blue eyeshadow on, despite her and Adam’s plan to trek through the desert. In some ways, the colors are simple. Bright reds, deep yellows, solid blues, and not much of a gradient in between. It gives Strange’s story a kind of airbrushed simplicity. No shades of grey.
Lettering
In Strange’s book, Cowles gives a sound effect to just about anything that could make a sound. When Strange shoots an alien beast in the belly, we see the noises of his gun and the growling noises of the beams hitting their mark. Cowles deliberately plays up the sound effects to increase flair. As in the last issue, we a massive sound effect scrawled across the page. Cowles is reminding us over and over again; this is a story that’s being told. We don’t get lost in the realism of it as we do in the Terrific chapters. We also see that Adam Strange doesn’t talk much. He has brief lines, small word balloons. It gives us the impression he’s a “shoot first, ask questions later” kind of man. An action hero. It’s a simple story with an archetypical hero if we’re to believe Strange’s own view of his story.
This is not going to be a typical series from DC Comics. The experimentation this creative team is doing is both exciting and beautiful to behold. And the concepts they’re kicking around feel so important for us to consider. It’s a meditation on the boundaries of truth, and the responsibilities of storytellers to their audiences. It might take its time, but it’s already abundantly clear it will be worth the wait. Strange Adventures #2 is out June 16th from DC Comics. Order a copy before they fly off the shelves!
As reported on June 15th, Image became the first major comics publisher to add the “Back the Comeback” logo to a selection of its titles. Today, Diamond has released a press release confirming Marvel will be joining their campaign by adding the “Back the Comeback” logo to its cover of EMPYRE #1, available on July 15th.
At this time, there is no word from either publisher if the announced titles will be the only titles to carry the badge, and Diamond has not yet announced what other publishers, if any, are next to join in. MFR will post the announcements in full as we hear them.
Please follow us on social media using the links below, and let us know what you think about Diamond’s campaign in the Comments section.
Marvel Comics ‘Backs The Comeback’ With Comeback Logo Appearing on the Cover of July 15 Title
(BALTIMORE, MD) — (June 16, 2020) — On May 13, 2020, Diamond Comic Distributors and Alliance Game Distributors partnered to launch the “Back The Comeback” campaign, a multi-part initiative designed to support local comic book and game stores as they began to safely reopen, restart, and rebuild following the easement of nationwide stay-at-home orders amid the COVID-19 pandemic. Now, as comic book and game stores across the country have resumed selling new weekly product, many publishers have rallied behind the campaign to support retailers by including the “Back The Comeback” logo on the cover of their newest titles. Marvel Comics is the latest publisher to support the initiative by including the logo on the cover of their July 15 on-sale title.
Empyre #1 from Marvel Comics will be hitting shelves on July 15, complete with the “Back The Comeback” featured on the front cover. In Empyre #1 (DEC198912; SRP $5.99), the Kree and the Skrulls have united under a new emperor – and their war fleet is on a collision course for our world. Meanwhile, the Avengers are on the moon ready to strike with the full power of Earth’s Mightiest Heroes, but the Fantastic Four are seeking a diplomatic solution, and the two teams must come to an agreement in time to save the day.
Back the Comeback in-store promotions for game stores are in the works and will be announced shortly.
Fans can head to their local comic shop to purchase a copy of these Back The Comeback support titles from Marvel Comics. To find a comic shop near you, visit www.comicshoplocator.com. To stay up to date on Back the Comeback announcements visit the campaign’s social pages on Twitter, Facebook and Instagram or visit backthecomeback.com.
Retailers interested in placing wholesale orders for these items are encouraged to reach out to their Retailer Services Representative or contact Diamond’s New Accounts Department at newaccounts@diamondcomics.com.
Back in March, Netflix released a four-episode series called Unorthodox starring Shira Haas (Foxtrot) as a Jewish woman in an ultra-Orthodox community whose journey crosses oceans and cultural boundaries. Antonio Gambale is a composer with a diverse cultural background that brought the score to life.
Esther “Esty” Shapiro (Haas) is a 19-year-old woman who’s silently miserable in a pre-arranged marriage. There’s a woman yearning to see more of the world. Esty has a musician’s heart, and one day runs away from her life in New York to Berlin. It’s in Germany where she’s exposed to everything the secular world has to offer, for better or worse. The uncommon story Unorthodox is getting great reviews across the spectrum.
PopAxiom hopped on a Zoom call with Antonio to talk about his life across the globe, making music with punk rock pioneers, and the mesmerizing underscore of Unorthodox.
Australia, Italy, And France
Australian-born Antonio Gambale spent time living in Italy, where his parents were from. Now, Antonio lives in Paris, where he creates scores for films (Joe Cinque’s Consolation) and television. How’d he end up in the city of love? “Malcolm McLaren, legendary ex-manager of the Sex Pistols was producing an album here in France. Mutual friends were looking for people to work with him on that.”
Antonio was no stranger to collaboration, which is an essential skill. “At the time, I worked with a lot of DJs on electronic stuff and I also spoke English natively. Before Malcolm passed away, he lived in Paris but wasn’t a strong French speaker.”
That summer in Paris proved one person’s hot weather is another’s just right. “I decided to take a bit of a sabbatical. It was the early 2000s, and there was a horrible heatwave. For me, having lived in Sydney, I thought, ‘this is kinda nice.’”
Antonio’s sabbatical lead to meeting another composer, which made the decision to stay in Paris a no-brainer. “Soon after, I met Nathaniel Mechaly (Taken Trilogy). He invited me into the studio, and I showed him some of my stuff. He was starting to get more significant film offers and needed an assistant and a programmer.
Antonio’s skills as a traditional composer and electronic music-maker was a plus, given the trend taking over action films. “There was a real fusion of electronic sounds and orchestrated work. At that time, that sound was becoming a thing.”
About Unorthodox
Nothing teaches quite like experience and working with Mechaly propelled Antonio to even more work, including Unorthodox. “It happened thanks to an old friend. We were on a summer holiday in the Greek Islands. At the time, she was waiting to hear back from this job working for a film and television producer in Berlin. She got the job, and about six months later, she called me asking if she could suggest me for a project. They sent out three scenes to like 10 or 12 composers with some general notes about what they wanted and didn’t want.”
The composers submitted demos, and Antonio got the call. “One of the first themes I wrote was almost exactly what we kept for the show.” Unorthodox is a show that subverts expectations and takes viewers through a roller coaster of emotions.”
The demos included creating music for a diverse range of scenes. “I had to write for some early scenes that were quite varied. One was more of an intense scene, and another more of what might be a character’s theme. A week or so later I got a call from [director] Maria Schrader, telling me ‘I cannot imagine my show without that theme.’”
Creating themes is a powerful tool for composers. “For Unorthodox, I wanted to make themes that were fragile but also powerful. I used a lot of raw, single notes sampled from violin, cello and viola. They’re imperfect, slightly out of tune, but they hit you in the chest. When you use them softly, it gives the theme this gentle honesty, but when you go bigger, it gives off this big voice.”
Unorthodox is a story told within a sacred and private community with scenes representing authentic aspects of the Hasidic tradition, specifically the Satmar community. But the story is transcendent, and the score represents the global nature of the narrative. “There was no need for the score to try to imitate Jewish music. The focus instead was to make the score about the characters.”
https://www.youtube.com/watch?v=-zVhRId0BTw
No Temps
In most productions, placeholder music gets attached along the way. Between conversations with the director and the temporary soundtrack or “temp track,” the score is born from the mind of the composer. However, for Unorthodox, Antonio and the production did something, well, unorthodox. “We had no temp.”
Temp tracks are a double-edged sword. On paper, working on a film or series with no temp “… sounds super cool,” Antonio says. “But it brings its own challenges.”
Antonio accomplished working through the challenges of having no temp by focusing on the foundation of the story. “Because we had this real desire to work with themes, it gave us several clues and an internal logic to defer to when deciding what kind of score needed to go where.”
The process for Unorthodox was somewhat unusual for a series production. “I did a lot of theme writing while they were shooting. I spent that time making a lot of material.” As the process went on, Antonio provided, “… temp music for the editors to use.”
However there are two problematic caveats to this sort of process. First, the tracks are experimental but, Antonio explains, “it’s hard to get any feedback during that time. Everyone is busy shooting.” Second, “People also get married to those temp tracks just the same as when external temp music is used, and it becomes a new kind of challenge.”
Wrapping Up
What composers inspire Antonio’s creative DNA? “There are a few different eras, but I’m a kid of the 80s and 90s, so I grew up dreaming in John Williams. I’m even more of a fan of Williams’ later stuff like Minority Report and War of the Worlds.”
Antonio adds, “In the same era you have Jerry Goldsmith and the Newmans. I have a particular soft spot for David Newman. I think Galaxy Quest is a perfect film in every way, especially the score.”
Antonio puts a couple of names on the list who share the same electronic music background. “Trent Reznor and Atticus Ross. Their work is a great example of the bridge transitioning between electronic and more traditional film scoring.”
In the age of remakes, what film would Antonio love to compose? “I know what shouldn’t be remade, and that’s Galaxy Quest.” Antonio ponders the question for a bit. We discuss Tron: Legacy, The Last Starfighter, Ladyhawke, and The Last Dragon. Antonio answers, “I’d love to do They Live. And remember Starman? I’d love to score that.”
So, what’s next for Antonio? “A lot of people want to see the second season of Unorthodox. I’m also working on arrangements and programming with a duo of composers for a new French sci-fi series, it’s a comedy based in geek culture, similar to the film Paul with Simon Pegg.”
Unorthodox is available now on Netflix.
Thanks to Antonio Gambale and Impact24 PR
for making this interview possible.
Want to read more interviews like this? CLICK HERE.
Since DC Rebirth, the mystery surrounding Dr. Manhattan’s universal manipulation has affected every facet of the DC Universe. In Young Justice #15 (on sale June 16,) the plot thickens, as writers Brian Michael Bendis and David Walker continue to explore Conner Kent’s controversial origins. This issues’ latest cliffhanger suggests that this large-scale investigation is just beginning, and it’s only a matter of time before it rocks the DC Universe to its core.
Young Justice #15
Writers: Brian Michael Bendis and David Walker
Artists: John Timms (P.1-15) and Scott Godlewski (P. 16-22)
Color Artist: Gabe Eltaeb
Letterer: Wes Abbott
As the writer of Action Comics, Superman and Young Justice, Bendis has the rare opportunity to craft an expansive story between the three series. We’ve already seen the Man of Steel and other heroes start to question the consequences of the DCU’s latest crisis, but now Conner’s place in the inquiry makes it even more personal. Conner, with Superman’s help, has been trying to figure out where he came from, and the art team masterfully conveys the young hero’s emotional turmoil throughout this process.
Hell hath no fury like Conner Kent.
Using lifelike facial expression artist John Timms illustrates Conner’s shell-shocked speechlessness quickly devolve into harsh frustration when Impulse (Bart Allen) reveals that Conner is from a different reality. Conner’s stress lines become prominent as his understanding of the world unravels. Color artist Gabe Eltaeb adds a sunset gradient to show Conner’s underlying anger, which quickly morphs into jaded bitterness. Eltaeb represents this shift with an emerald background, which is doubly meaningful, as Conner reflects on his lineage as a clone of Lex Luthor and Superman. Time and again, the script and the art complement each other to create a harmonious story.
Any exploration of the multiverse can be an intimidating task, given the scope of the matter, and the creative team showcases these sizable stakes throughout the issue. Given the Flash’s history with crisis-level events and Bart’s place in the Flash Family, he’s the natural choice for Young Justice’s lead figure in the investigation. As Bart begins to explain what he’s learned, Timms and Eltaeb openly allude to Doctor Manhattan. When Bart says he thinks something broke the multiverse, Eltaeb uses the electric blue glow of a laptop to hint at Manhattan’s presence. Then, as Bart verbally reveals his findings, Timms shows Bart running through the multiverse, and Eltaeb fills the page with a similar shade of blue to hammer home the fact that Manhattan is responsible for the crisis. Here, the entire creative team strengthens the sense of dramatic irony that has filled the DCU for months; the reader knows that Doctor Manhattan is the guilty party, and we’re all waiting for the heroes to figure it out, too.
Conner reunites with his friends in a heartwarming scene.
While the investigation of the DCU dominates the issue, the finale of the series’ latest arc brings Young Justice closer together. At Tim Drake’s suggestion, the team agrees to make Young Justice “a real thing again,” even as the roster appears to be larger than ever before. This newfound cohesion arrives just in time, as the team seems set to begin another world-shaking investigation; this time, they’ll be looking into where Bart went on his universal exploration, and the potentially shocking nature of his discoveries could test the strength of their union.
In Young Justice #15, Bendis and Walker take the next step in the DC heroes’ collective investigation of the universal tampering, and they leave the reader excitedly waiting for the examination to kick into overdrive. With Conner’s substantial character growth, Bart’s intriguing revelations and the team’s renewed focus, the series is set up for future success.
What’d you think of Young Justice #15? Check out your local comic shop to see if you can pick this book, and others you may want, up there.
DC Comics’ Dark Nights: Death Metal #1 (on sale June 15) is finally here, and storytellers Scott Snyder and Greg Capullo opened DC’s latest epic event in thrilling fashion. Given how wild Dark Nights: Metal was, expectations for this new story have been sky-high. Though Death Metal just began, it’s clear that Snyder and Capullo have taken the gloves off, which means we’re all in for a ride that’s even crazier than last time.
The Batman Who Laughs’ evil Justice League is just the tip of the iceberg.
Dark Nights: Death Metal #1
Story: Scott Snyder and Greg Capullo
Inks: Jonathan Glapion
Colors: FCO Plascencia
Letters: Tom Napolitano
Dark Nights: Metal was the most wild event in recent memory. The image of Batman riding a Joker-dragon in the finale remains a classic. But based on this opening chapter, the sequel could give Metal a run for its money. The Joker-dragon is back; Capullo shows two of them proudly soaring through the menacing red sky above Gotham. Along with the dark Robins perched like gargoyles on the city’s buildings, the Joker-dragons symbolize the unrestrained creativity Snyder and Capullo continue to showcase. Plus, Snyder and Capullo double down on the evil Batman that Metal was famous for. This time, we see evil, Batman-infused versions of Deathstroke, Etrigan the demon and a particularly horrifying Plastic Man, whose distorted body stretches the length of a long panel.
The icing on the cake is B. Rex, the dinosaur in the Batcave whom one version of Batman uploaded his consciousness into. Capullo shows the dinosaur screaming at Wonder Woman, and two Batman-like eyes are prominently glowing in B. Rex’s mouth. Color artist FCO Plascencia makes the eyes electric blue, adding even more of a contrast with the creature’s cavernous mouth. In Dark Nights: Death Metal #1, waiting to see what Snyder and Capullo come up with next remains a highlight of the reading experience.
The Joker-dragons are back.
This issue features a few jaw-dropping moments, which we can’t fully discuss without spoiling them. That being said, each of them was genuinely shocking. Instead of predicting what these surprises could mean for the series and the greater DC Universe, let’s just enjoy the excitement they provide. The exhilarating cliffhanger shows that Snyder and Capullo are going all-in by tying in every aspect of the DC Universe. By using all of the tools at their disposal, they’re setting themselves up for success because it will enable Snyder and Capullo to substantially differentiate Death Metal from its predecessor.
B. Rex needs his own series.
No comic is perfect, and while this issue is incredibly fun, its pacing can feel jarring. The story begins in medias res, and after Snyder and Capullo initially take their time to build the world, they later dump a lot of information at once. One character makes a surprise appearance and partially recaps the road to Death Metal, including events we haven’t seen yet. The exposition-heavy explanation temporarily drags the story down, and Snyder and Capullo struggle to regain their footing until the climactic ending. Hopefully, the duo will find more dynamic ways to inform the reader as this series continues.
Dark Nights: Death Metal #1 is a heart-pounding event to the highly-anticipated series. Snyder and Capullo take their winning recipe from their previous collaborations and offer even more twists, turns and storytelling innovations. The rest of the series will have a hard time topping the sheer excitement of this opening issue but, given the track record of this creative team, it’s a safe bet that the series will get even better from here on out.
What’d you think of Dark Nights: Metal #1? Are you excited to see what happens next? Check out your local comic shop to see if you can pick this issue, and others you may be interested in, up there.
A CLASH OF KINGS Part II #4, available in comic book stores on June 17th, is a tale of politics, power, and the games played to control both. Writer Lander Q. Walker’s adaptation of George R.R. Martin’s work splits the story into two sections, highlighting the stories of Daenerys Targaryen in Qarth and Stannis Baratheon in Storm’s End.
Story
Dany has become all but Queen of Qarth. The pompous Xaro Xhoan Daxos, a merchant prince holding much sway over the city, instructs townspeople to cater to her whim. He sees in her a power and authority that is too irresistible to leave alone; the most logical next step for him is to convince her to stay and agree to marry him, giving him ownership of her dragons.
Now the young Targaryen must make a decision quickly, less she find herself beholden to the city forever.
Readers are then brought to the other side of the world where Stannis meets with Ser Cortnay Penrose. The former has seen the man’s death in the flames of his beloved sorceress Melisandre, believing the omen to prove Penrose would be an obstacle in his quest for the throne if not dealt with.
After relaying his plans to his friend Davos, the smuggler expresses misgivings over the sorceress’s involvement due to her suspected connection to Lord Renly Baratheon’s death. But Stannis commands him to accompany Melisandre nonetheless. Will this be the beginning of the plot to kill Penrose.
Walker’s writing captures all of the intense political gaming found in George R. R. Martin’s novels. We feel the stress of both Dany and Davos as they seek to navigate the chaos that is their lives.
Artwork
Mel Rubi’s penciling and ink work, Ivan Nunes’s coloring, and Tom Napolitano’s lettering bring the world’s of Westeros and Essos to life. The elegant gold painting the city of Qarth is contrasted with the grey shades found at Storm’s End. These serve as effective backdrops for our highly detailed protagonists. It feels like we’re watching our favorite GoT come to life. What’s more, the lettering follows the characters movements to slow our reading speed down to take in the illustrations.
Conclusion
A CLASH OF KINGS Part II #4 gives readers engaging, in-depth portrayals of two characters seeking to the make the right choice. We’re excitied to see what comes of Dany’s decision and Davos’s reluctance at serving Stannis.
Which of the two storylines did you enjoy the most? Let us know in the comments below!
Marvel Comics has revealed their big plans — and big talent roster — for the upcoming Amazing Spider-Man #850. But perhaps the biggest news of all is the return of a certain Spider-Foe…
NORMAN OSBORN RETURNS AS THE INSIDIOUS GREEN GOBLIN IN AMAZING SPIDER-MAN #850!
Nick Spencer, Ryan Ottley, and a veritable Hall of Fame of Spider-Creators celebrate a web-swinging landmark this September!
New York, NY— June 15, 2020 — Spider-Man will have his hands full with the Sin-Eater’s reign of terror in the upcoming “Sins Rising” epic – but things will be getting much, much worse. As revealed on Comicbook.com, Spider-Man’s greatest foe, Norman Osborn, returns as the Green Goblin in the over-sized AMAZING SPIDER-MAN #850! Writer Nick Spencer and artists Ryan Ottley, Humberto Ramos, and Mark Bagley will be joined by a veritable Hall of Fame of Spider-Creators to chronicle this climactic chapter in the wall crawler’s years-long conflict with the Goblin-masked madman. And as if that wasn’t enough, the issue will also boast a collection of prestige short stories by Tradd Moore, Kurt Busiek, Chris Bachalo, Aaron Kuder, and Saladin Ahmed!
“This is maybe the most action-packed and harrowing issue of AMAZING SPIDER-MAN ever!” teases Executive Editor Nick Lowe. “There are so many twists and turns and Spidey has never had his back up against a wall like this before.”
Spidey has faced his share of hardships, but even the worst things that have happened to him are just a prelude to what transpires here. This colossal showdown will come crashing into comic shops this September, and is not to be missed!
AMAZING SPIDER-MAN #850 (#49)
Written by NICK SPENCER with TRADD MOORE, KURT BUSIEK & SALADIN AHMED
Art by RYAN OTTLEY, HUMBERTO RAMOS & MARK BAGLEY with TRADD MOORE, CHRIS BACHALO & AARON KUDER
DC Comics has released a first look at the upcoming magic-themed Superman #23 by Brian Michael Bendis, Kevin Maguire, and Alex Sinclair.
Here’s the description and preview images:
If I was Superman, I’d probably be asking myself, “Wonder if I should have rethought this whole revealing my secret identity thing?” Many folks in Big Blue’s world are still worried that he’s been tricked into destroying his own privacy. Having to go toe-to-toe with Mongul probably isn’t helping things, either.
In Superman #23 (on sale July 7) the Man of Steel will be dealing with a new villain, one steeped in magic and mysticism. And any Superman fan knows that he doesn’t have the greatest relationship with the old hocus-pocus. But Fate will step in to lend a hand – Dr. Fate, that is. This issue will also see some appearances from other denizens of the DCU’s more shadowy corners, including John Constantine, Madame Xanadu, Swamp Thing and Detective Chimp.
Here’s your first look at the John Timms cover and some interiors from Superman #23 by Kevin Maguire and Alex Sinclair. Superman #23 is written by Brian Michael Bendis, with additional art by John Timms and letters by Dave Sharpe.
On sale beginning Tuesday, July 7 at all open and operating comic book stores and participating digital retailers.
