JUSTICE LEAGUE DARK #21 hits comic book stores on Wednesday, March 25th, and it is a remarkable sequel to the story laid out in last issue. Readers will remember the League fought off a fungal invasion of Los Angeles, leading John Constantine and Zatanna to investigate the magical cause behind the outbreak. It seems the elemental forces of nature are warring with each other, and it’s up to our heroes to restore the balance.
Story
The narrative takes readers straight into the heart of the Rot: Lewton Reformatory. It is here they hope to meet Abigail Arcane, an individual capable of tapping into the Rot. They plan to ask her to help them quell the raging Green and Red forces of life.
Zatanna and Constantine soon encounter the heart of the Rot. There they are confronted with a swarm of undead creatures, leading Constantine to jump ahead using magic in an attempt to confront Arcane. However, what he finds might be more than he bargained for.
Ram V’s script is perfectly paced, guiding readers from one unnerving scene to the next. Readers will hold their collective breath as they watch Constantine and Zatanna attempt to bargain with the very forces of death itself.
Artwork
Alvaro Martínez Bueno’s penciling and Raul Fernandez’s ink work, combined with June Chung’s coloring and Rob Leigh’s lettering, effectively crafted an issue full of adventure and horror. The details on the fungi and monsters, varying shades of purple in the Rot, and eery font for the word balloons set the tone for this intriguing issue.
Comic Covers
Main Cover
Yanick Paquette and Nathan Fairbairn’s main cover features our heroes taking on the revitalized monsters of the Rot. This shows the overwhelming forces that are attempting to invade our world.
Variant Cover
Clayton Crain’s variant cover is similar to the main cover, but it uses darker tones to create a sense of mystery.
Conclusion
JUSTICE LEAGUE DARK #21 gives readers a deeper look into the Parliaments of Life and the very forces of death itself. We’re anxious to see how this storyline plays out.
Do you think there’s a solution in sight for our heroes? Lets us know in the comments below!
In Marvel Comics’ Falcon & Winter Soldier #2, on sale March 25, writer Derek Landy adds new layers to the mystery surrounding Hydra’s resurgence by forcing the heroes to work with a vile villain. Plus, he pits Sam Wilson and Bucky Barnes against each other in a battle of moral superiority that purposefully leaves the reader unsure where to stand.
Sam and Bucky regroup after a setback.
Falcon & Winter Soldier #2
Writer: Derek Landy
Artist: Federico Vicentini
Color Artist: Matt Milla
Letterer: VC’s Joe Caramagna
“You’re Not The Punisher, Buck.”
Landy takes some of the seeds he planted in the series’ first issue and turns them into strong narrative threads. The dynamic between Sam Wilson and Bucky Barnes continues to carry the story; again, the duo butts heads for their crime-fighting methods. Whereas Sam prefers to fight like Steve Rogers and avoid killing, Bucky’s willing to do whatever it takes to get the job done. When the former Captain Americas regroup after they were dealt a setback last issue, Sam gives Bucky a speech about why killing is wrong. Using The Punisher as his main example, Sam tells Bucky he’s better than that. Bucky maintains his philosophy — killers deserve to be killed — but Sam doesn’t budge. Despite Sam’s attempt to take the moral high ground, Landy continues to plant doubt in the reader’s mind by showing that Sam and Bucky are more alike than they think.
Despite the differences between Sam and Bucky, this is still a buddy cop story.
Throughout the issue, the art team augments this comparison. Artist Federico Vicentini depicts a lengthy fight scene on a train. Sam and Bucky both get a lot of blood on their hands, and Vicentini and color artist Matt Milla make Sam look particularly brutal; he constantly grits his teeth while he brutalizes some wannabe assassins. The art teami plants some natural irony in the issue when Falcon beats the daylights out of some goons right after he criticizes Bucky’s tendency to use lethal force. There’s room to flesh out this hypocrisy but, for now, the creative team’s subtlety is working. As Sam and Bucky continue to investigate Hydra’s latest revival, the potential conflict remains the series’ main draw.
“Cut Off One Head…”
It wouldn’t be a spy thriller without a moral grey area. Here, Bucky and Sam are forced to work with one of Captain America’s most heinous villains. Landy firmly suggests the heroes are better off working with the devil they know than they are dealing with a new, unpredictable threat. As with Sam’s characterization in the fight scene, Landy shows readers the dark side of the superhero world. Bucky’s so outraged to see the villain that he holds a gun to his head and yells, “Can you reverse a gunshot to the head? Vicentini conveys Bucky’s rage by featuring stress lines on his face and a half-crazed look in his eyes. Eventually, cooler heads prevail, but it’s quickly becoming clear that Cap wouldn’t completely approve of this mission.
The second installment of Falcon & Winter Soldier takes the best parts of its predecessor and makes them even more compelling. Landy interrogates the assumed superiority of superheroes with “no kill” policies and crafts a mystery thriller that leaves the reader wanting more. Hopefully, the next issue will ramp up the suspense to make this story a genuine thriller.
Sonic The Hedgehog #27 keeps the action high thanks to writing by Ian Flynn, pencils and inks by Evan Stanley and Adam Bryce Thomas, colors by Matt Herms and Bracardi Curry, and lettering by Shawn Lee. The quest to claim the Chaos Emeralds is on and if the good guys don’t get them, all is lost. Does the issue deliver enough action for the audience or does it run out of steam halfway through?
“All or Nothing,” Part 2. Will Tails, Amy, Gemerl, and Cream be able to get the Emeralds, or will the Restoration’s last desperate plan fall to ruin?
Writing
The battles against each of the Deadly Six to obtain the Chaos Emeralds continues and manages to deliver some great battle scenes. Amy and Tails have to fight against Zomom, who has more of a stomach than brains. Though there is a joke about how easy Zomom is to fool, the giant monster doesn’t simply hand over the Chaos Emerald to the good guys. Instead, the battle results in some property damage and some careful planning to have any hopes of achieving success.
The real draw of this issue is Cream the bunny and Germerl trying to defeat Zeena. The relationship between Cream and Germerl is tested and their struggle tugs on the heartstrings. Ian Flynn makes it clear never mess with Cream or you will face the wrath of Germerl.
Artwork
The pencils and inks by Evan Stanley and Adam Bryce Thomas achieve a smooth flow which is perfect for fight scenes. The attacks on the Deadly Six come off with impact and damage. The looks of fear and anger on Cream’s face are very expressive and help to show how fighting is a new experience for her.
With the colors by Matt Herms and Bracardi Curry the magic Zeena uses is very eyecatching. Between her attempts to control Germerl and the energy tethers she uses in battle, the color adds to the weights behind the attacks. Also, two different sunset scenes achieve contrasting emotions, one of sadness and the other of impending danger with the execution of different colors.
The lettering by Shawn Lee adds a phenomenal audio quality to the issue. The effect of “Piko” as Amy uses her hammer comes off as a perfect representation of the character’s ability. The lettering also adds to the rage Gemerl experiences when Zeena puts Cream in danger.
Conclusion
The battles in Sonic The Hedgehog #27 are intense but the struggle the characters face in the process will be what really wins readers over. Seeing a character which has limited facial features like Germerl able to express emotions is a success thanks to the art and story working in harmony. With any luck, the series will continue to deliver at this level of quality.
The fourth issue of Livio Ramondelli’s “The Kill Lock” brings this motley crew of machines together like a dysfunctional family, just before an unpredictable climax. The stellar characterization combines with Ramondelli’s gorgeous art and Tom Long’s letters to create what may be the most easily enjoyable issue thus far.
“If their sources are right, they’re on the World of the Cure—the one and only place to have the Kill Lock removed and for four robotic criminals to save their lives. But will this barren world provide their salvation… or their destruction?”
Writing & Plot
Livio Ramondelli‘s winning formula with “The Kill Lock” has always been his focus on characterization, and using that to bolster the plot and worldbuilding. Issue #4 spends some time on the backstory for “The Wraith,” and it once again feels earned. The story learned about the character is utilized in the rest of the issue. The quartet’s shifting attitudes towards one another (which comes out of necessity) isn’t forced into the plot. Ramondelli was clever to deliver this sort of writing after the ominous foreshadowing in the prior issue. Making “The Kid” the lynchpin for the whole group is a choice backed up by the necessity for survival, but watching them bond over both him and their circumstances is truly a joy to read. This issue’s tumultuous events in the latter half following the lighter scenes increase the stakes exponentially going forward, and it will be nervewracking to see what happens as the story heads into the climax.
Art Direction
Livio Ramondelli’s artistic mastery of desolate environments and unique robots extends into “Kill Lock” #4. His ability to make wholly unique designs for the four central characters (as well as extras) that also display considerable personality through only body language is wildly impressive. As an artist first and foremost, Ramondelli knows how to let the visuals speak for themselves, which is why his characters exhibit so much through the posture or the framing of images. The used future aesthetic of this universe, replete with burned-out deserts and uninhabitable tundras, reinforces the desperate tone of the series. The Lettering from Tom B. Long fluctuates in font and style depending on who’s speaking just as it should, but it’s the Wraith’s font that gets the most special treatment. His lettering is reminiscent of some sort of medieval-esque text, and it genuinely plants that character’s manner and speech in a way that the art and dialogue couldn’t possibly do alone. The visual work here is once again a gorgeous tandem of character focus and world design.
“The Kill Lock” #4 is another meticulously crafted chapter in this surprise Sci-Fi hit. Livio Ramondelli’s handling of character development feels natural and is timed perfectly to max out tension before the major climax. His visual work further allows for focus on the four characters as they face hostile environments. This, along with Tom Long’s thoughtful lettering, makes for a consistently stellar series that never fails to impress and engage. Be sure to keep picking this series up from your local comic shop when this issue hits shelves on 3/25.
Ansel’s quest comes to a surprising conclusion in FOLKLORDS #5, available in comic book stores on Wednesday, March 25th. After embarking on a journey to find answers to questions about his origins, the out of sorts hero has faced many fantastical challenges across the land. However, it appears our modern, “real” world has invaded not only Ansel’s dreams but his plane of existence as well. Will he and his band of friends prevent the two realities from destroying each other? And where are the Folklords?
Story
The story opens up with a bang (literally) as Ansel, Archer, and Ugly hide behind a barrier as a World War 2 tank barrels down their path. It seems that the modern world is meshing with their reality in highly destructive ways. Yet Ansel notices something peculiar about the tank: it’s made of wood.
As it turns out, a group of drugged gnomes were forced to pilot the tank as a ruse. The real danger lies in the group of Librarians, who soon apprehend our heroes. And in a short few panels, readers are introduced to John Ronald, a.k.a. The Folklord. And he claims he’s invented the entire world they’re living in with nothing but his mind.
Matt Kindt’s narrative contains all of the thrill and flair one would expect out of any best-selling fantasy novel. The build up to the Folklord’s reveal is played out well, slowing down afterward as the reality of his position takes time to set in. But even though things take a turn for a worse, Kindt finds ways to balance the tone so readers don’t dwell in despair for long.
Artwork
The illustrations within FOLKLORDS #5 are a perfect blend of modernity and fantasy. Matt Smith’s penciling and ink work incorporates suits, ties, and war attire in the middle of a fantastical labyrinth. Colorist Chris O’Halloran fills these “modern images” in with a combination of the bland colors to create a stark difference between them and Ansel’s colorful world. In addition, Jim Campbell’s lettering looks as if it was torn from a fairytale book, adding to the authenticity of this tale.
Comic Covers
Main Cover
Smith put together the main cover of this issue, and it captures the essence of this issue. We see Ansel ascending a mountain and coming upon a shining pinnacle, representing the conclusion of this journey.
Unlocked Retailer Variant Cover
Jeff Smith’s variant cover depicts Ansel smiling gleefully as he’s ferried across a river into unknown territory. It looks much like the River Styx, drawing analogies to the fabled passage in Greek mythology.
Conclusion
FOLKLORDS #5 is a satisfying conclusion to this exciting narrative, but it also opens up the door to something totally new. We hope to see more from Kindt, Smith, and team in the future!
What do you think about the Folklord’s identity? Let us know in the comments below!
Of all the rapidly unfolding COVID-19 news and its effect on the comic industry in particular — such as the canceling/postponement of the entire spring convention season — we may have just gotten the biggest blow yet. Diamond Comics, which handles the majority of distribution to U.S. comic stores, today announced a freeze on all new product.
What that means for customers in the short term is that physical comics (like this week’s Action Comics #1021) will no longer be available in stores for the foreseeable future.
Here’s the official statement to retailers from Diamond CEO Steve Geppi:
CORONAVIRUS EFFECTS ON DISTRIBUTION
As everyone knows, the world faces ever-increasing challenges related to the COVID-19 pandemic. Its effects on the comics & collectibles and tabletop gaming industries have been felt far and wide. We are hearing from thousands of retailers that they can no longer service their customers as they have in the past, many of them forced to close by government action or resort to in-person or curbside delivery. Even those still open are seeing reduced foot traffic in most cases, a situation that seems likely to worsen with time.
Our publishing partners are also faced with numerous issues in their supply chain, working with creators, printers, and increasing uncertainty when it comes to the production and delivery of products for us to distribute. Our freight networks are feeling the strain and are already experiencing delays, while our distribution centers in New York, California, and Pennsylvania were all closed late last week. Our own home office in Maryland instituted a work from home policy, and experts say that we can expect further closures. Therefore, my only logical conclusion is to cease the distribution of new weekly product until there is greater clarity on the progress made toward stemming the spread of this disease.
EFFECTS ON DIAMOND COMIC DISTRIBUTORS
Product distributed by Diamond and slated for an on-sale date of April 1st or later will not be shipped to retailers until further notice. For the time being, however, we have been able to develop procedures with our teams at the distribution center in Olive Branch, MS to safely continue fulfillment of direct ship reorders for the retailers who are able to receive new product and need it to service their customers. It’s unlikely that orders will be filled on the same day they are placed, and these plans are subject to change if at any point we no longer feel that we can safeguard our teams while fulfilling orders.
Product distributed by Diamond UK and slated for an on-sale date of March 25th or later will not be shipped to retailers until further notice. Further updates with regard to reorders and other Diamond UK-specific information will be communicated directly to their customers as information becomes available.
EFFECTS ON ALLIANCE GAME DISTRIBUTORS
Product distributed by Alliance has been shipping from our Fort Wayne, IN and Austin, TX warehouses. Both are closing at the end of the day on Tuesday, March 24th, in the interest of employee safety and to comply with direction from local governments. Any orders not shipped by that time will not be processed until further notice. Your dedicated sales team will still be working remotely and will help you with any orders you’d like to place today or questions you may have.
OUR SHARED PATH FORWARD
With these changes in our distribution strategy, we will work with our publishing partners to develop programs that will address product already in the pipeline and what will happen when we resume distribution. We know that during this time you will face many challenges, and we will direct our energies toward addressing them, rather than fighting on increasingly numerous fronts to get product out.
For those retailers who remain open in various forms, I encourage you let loose your own creativity. For the time being, you will be able to replenish your perennials from Diamond and/or Alliance, but you should also remember the stock you already have in your stores. If your doors remain open, it’s likely you will have customers who will continue to seek diversion from events of the world. Special sales, promotions, and even eBay can help you bring in cash during this trying time. Product for which you’ve already paid may well hold some of your answers. There have been many solid suggestions offered about how to help our retailers, and we will bring many of them together in future communications.
Besides the industry’s most immediate needs, we have been and will continue looking toward the future, when we see stores reopening, bringing staff back onboard, and getting customers in the door. We are looking at issues like debt accrued due to this crisis, what reduced ordering means for your discount tiers, and the availability of credit to help stores through and after this difficult time. We don’t have all those answers today, but we understand the many issues you are facing and look forward to addressing them as partners who all have an interest in the long-term health of the industry we love so much.
As I mentioned in my last update, this industry has been one of the greatest joys of my life, from my days as a collector to a retailer to today. I and my Leadership Team have made these decisions knowing full-well the effect they will have on all of you, as well as our publishing partners and our own team members around the world. At the end of the day, the safety and security of our teams and yours, along with the many customers we all serve, is paramount. I again thank you for your ongoing patience and support.
Thank You,
Steve Geppi
Chairman & CEO, Geppi Family Enterprises
Action Comics #1021 hits your local comic book shop next week (if it’s open, ugh), but thanks to DC Comics, Monkeys Fighting Robots has a six-page preview for you to check out.
Two splash-pages in one preview must be our lucky day. The Twitter feeds continue to be a great Easter egg hunt of details. It also slows the reader down, which sets you up to enjoy the comic book.
Brian Michael Bendis wrote the issue, with pencils by John Romita Jr., Klaus Johnson inked the book, Brad Anderson dropped some color, and you will read Dave Sharpe’s letters. Lucio Parillo created the variant cover.
About Action Comics #1021: Metropolis down! The blockbuster supervillain team-up of the century continues. Leviathan! The invisible mafia! The Legion of Doom! All have descended on the city of Metropolis to challenge Superman at his most vulnerable moment. With the truth about the Man of Steel’s secret identity out in the open, all the rules of engagement have changed-and no one is safe! Guest-starring the Justice League and Young Justice.
Are you reading Bendis’ run on Action Comics? Comment below with your thoughts.
Wonder Woman #754 hits your local comic book shop next week (if it’s open, ugh), but thanks to DC Comics, Monkeys Fighting Robots has a five-page preview for you to check out.
First of all, both covers are filthy good. Robson Rocha, Danny Miki, and Brad Anderson knock it out of the park with the main cover. Clean and badass are the first two words that come to mind.
The variant cover by Rafael Grampá and Pedro Combiaco is pure epic. Wonder Woman leading an army into battle is always so powerful. Their Wonder Woman is feminine and unmoveable.
Steve Orlando wrote the issue, with art by Gleb Melnikov, Romulo Fajardo Jr. dropped some color, and you will read Pat Brosseau’s letters.
About Wonder Woman #754: Just when she thought her troubles were over, Wonder Woman is thrust into a new adventure that takes her out of this world! Princess Maxima, the former ruler of the planet Almerac, has crash-landed on our hero’s doorstep and is desperate for her help. Maxima’s people are victims of a vicious lie, and only the truth she’s discovered will set them free. With Wonder Woman by her side, can she retake her throne and bring back the planet’s peaceful matriarchal society? Back on Earth, there is no peace…only Warmaster! The vengeful villainess has obtained a weapon of mass destruction that can wipe out the Amazons for good!
Are you reading Orlando’s run on Wonder Woman? Comment below with your thoughts.
JUDGE DREDD FALSE WITNESS #1, available from IDW on March 25th, tells the tale of our future law enforcer pursuing a courier holding dangerous cargo. To say this story draws parallels to current year immigration concerns would be the understatement of the 22nd-Century. But does it still hold up as an entertaining read? Let’s find out.
Writing
Brian Eastman’s story is a thinly veiled essay on current year immigration woes. Paper-thin. That’s not a bad thing if the writer can spell out those issues in an engaging story and without being too on-the-nose with the characterizations. Eastman pulls it off successfully.
The main character (Mathias) has a clear backstory and a relatable motivation for his actions. Dredd is, well, being Dredd. And the main villain’s true master plan makes sense, albeit a bit too convenient.
There is an odd bit in the middle of the book explaining the genealogy of “mutants” that was a little hard to follow. The opening narration talking about the nature of fascism seemed out of place with the rest of the story. You get the impression Eastman just wanted to pontificate on fascism and used this story as a platform without blending into the context.
Pencils/Inks
Kei Zama’s artwork carries through consistently from the cover to the internal pages. The dark, dirty sewers look especially grimy. The lower streets look worn and tattered. The pristine penthouses look shiny and new. Zama captures the nature of the aesthetic difference between the multiple levels of society.
The artwork could be a little more potent if the inks weren’t so heavy. Every shadow and outline is a series of thick, almost blotchy, lines. Using thinner lines, especially on character faces, would have helped take the artwork up a notch.
Coloring
Eva De La Cruz’s coloring works for this issue when juxtaposed with the inks. Zama continues the thick lines and deep shadows from the cover throughout the rest of the book, making every line very heavy. De La Cruz really had to push to get the colors to pop through the heavy lines, and she does so expertly.
Lettering
Shawn Lee handles the lettering duties, and he does a great job keeping the different voices straight in an easy-to-follow way. Also, Lee organically blends the sound effects into all panels with action. For example, Dredd’s gun contains an array of different munitions types, so it’s not as simple as lettering “BANG! BANG!” every time Dredd fires a shot. Lee needed to incorporate everything from stuns to incendiaries to straight munitions, and every panel matches seamlessly.
Cover
Zama is pulling double duty for both cover and internal art on this first issue. Zama’s composition on the cover conveys heavy intimidation from Dredd and his fellow judges. The shadows are VERY heavy, making the Judges faceless (or more faceless than usual with their helmets on). Whether intended or not, keeping the shadows deep and obscuring the characters’ faces makes you feel like the Judges’ authority is a deep, dark force. The shadows de-humanize them as individuals on one particular side of the law, possibly with evil intent.
It’s a very good cover in that it captures the spirit of unceasing intimidation a lawbreaker would feel when confronted by the Judges.
Conclusion
JUDGE DREDD FALSE WITNESS #1 takes a current issue and brings it into the 22nd century without being too heavy-handed. Judge Dredd, in typical Dredd fashion, doesn’t play favorites…in the best way. I’m looking forward to the next issue.
Writer’s Note: Local Comic Shops (LCS) are going through a tough time right now with the pandemic outbreak of COVID-19. Comics fans of every flavor that care about his or her LCS should try to do what they can. So, here’s my part:
If you’re in Northern Delaware, South East Pennsylvania, or Southern New Jersey area, please take a moment to visit Captain Blue Hen Comics in Newark, DE. Say ‘hi,’ pick up a book, order a book (they’re on Comichub.com), and let them know you support them.
Nicnevin and the Bloody Queen is a folk horror story of adolescence from H1’s second batch of titles. After the Ignited universe, newer series like Meyer and Big Country bring in more genres. Each of which detail a humanizing experience for readers to follow. Going through puberty at its peak is a very good concept. But does the execution match the concept’s quality?
Nicnevin is Bloody Drama
Nicnevin and the Bloody Queen follows Helen Mullane’s titular protagonist who is going through a very compelling drama scenario. At the tender age of 15, she is among the one-in-five teens conflicting with family. After being expelled from school and with her parents apparently going through a divorce, Nissy with her mother and brother stay in the countryside for the summer. While there Nissy goes through some believable albeit risky things like sneaking cigarettes and lusting for her much older neighbor Reggie. Which in turn awakens her secret magical heritage that causes animals to go into an orgy.
Unfortunately, Nissy is not that great a character to get behind. Her rotten personality makes her rather cringing to read. Especially since the audience never really sees why Nissy is so angry with her mother. Or even why she values her father so much. The reader does not have a reason to vouch for Nissy’s behavior since they don’t know what’s going on.
A Fair Folk
As for the magical world that serves as the main plot, it brings in some great interest. Surrounding Nissy and her encounters with Reggie are folktales surrounding the setting. This makes the setting feel as much of a character as the cast. Complete with how it interacts with the cast and how it calls them to action. Nissy gets glimpses of the magic underneath everything and Reggie wants to find the fairyland.
There are some elements of the book that take away the tension and horror. As much as the magic shows itself to Nissy, she’s rather passive about all of it. Most of the time she just notices animals acting strange and goes back to what she was doing. While there is death befitting the folk horror, those deaths don’t really have a lot weight until near the end. Before the climax, Nissy just reacts to it as much as the animals. If Nissy gave more of a reaction, the tension would be immensely higher.
Nicnevin Demands Great Art For The Bloody Queen
Dom Reardon and Matthew Dow Smith’s art evokes similar supernatural horror stories like Hellboy. Some pieces of the story even share the pitch-black shading against bright surfaces of Hellboy. The contrast between known safety and mysterious evil feels apparent. Even in the brightest of days, there is still a shadow of danger lurking in the corner. Thanks to both artists experience in the horror genre, this is a given.
The fantasy sequences throughout the story feel enriching. Nissy finds herself welcomed to the folkloric stories of old Britain through her dream-like fantasies. They feel so important that when Nissy decides to partake in the flowers’ potion language to get Reggie’s love, the lettering captions match the text from folk texts she finds. When the fantasies come alive near the end however, they feel absolutely alien to the reader and some characters; emphasized by the difficult to read fonts of some texts. Even with the way the fae speak, green word balloons show how alien they are. What once seems fascinating becomes genuinely terrifying. Because no matter how familiar an outsider can be to this world, the fae reminds them that they are not a part of it.
Blood Queen Nicnevin Demands Familiarity
In all circumstances, Nicnevin and the Bloody Queen is best for people familiar with folk horror. The characters can be pretty forgettable, especially when they make adolescence feel cheap. None of them feel like they need care unless the plot demands it. Which is a shame because the artwork evokes feelings of both beauty and terror.
