Welcome to PANEL BREAKDOWN, a weekly series where we take a look at our favorite panels of a comic book. This week we are talking about the new Marvel Comics series Wolverine #1 “Catacombs,” written by Benjamin Percy, with art by Viktor Bogdanovic, colors by Matthew Wilson, and Cory Petit’s letters.
Bogdanovic brings a 90s style to his Wolverine with deep dark emotion.
Part 2 – Viktor Bogdanovic
Part 1 – Adam Kubert
Did you pick up Wolverine #1 this past Wednesday, or did the $7.99 price-tag scare you off? Comment below with your thoughts.
Director Zoé Wittock unveiled a new film at Sundance that uses our love for inanimate objects to weave a beautiful story about love and friendship. To help make the motion picture come to life was cinematographer Thoma Buelens.
Jumbo stars Noémie Merlant alongside one of the most iconic amusement park attractions imaginable — a Ferris wheel. In the film, Merlant plays Jeanne, the janitor at an amusement park with Jumbo, the Ferris wheel, at its center. Jeanne and Jumbo form a relationship of sorts. Things get surreal and maybe a little erotic from there.
PopAxiom caught Thomas between the amusement park and World War I to talk about his road to taking the moving pictures that make a movie what it is.
It’s In The Blood
Thomas is a native of Belgium who credits his love for photography to a past that’s alive in his veins. “It was a little bit pre-wired in my DNA. If I go way back, my grandfather worked in a steel mill in the early 20th century, he had a passion for photography.”
Thomas’ grandmother changed the course of destiny. “My grandmother was a really savvy businesswoman, she suggested they move to the city and open a photography shop, and they actually did it. It was successful, and by the 1950s, they were the biggest sellers of photo gear in the area.”
Though part of a photographic family, Thomas admits, “I wasn’t pushed into photography. I got into skateboarding. I was interested in the skateboarding magazines, and in there was all this artistic photography.”
Thomas’ modern love — skateboarding — met the family business. “My father taught me the basics, and I learned it was easy for me to take nice pictures.”
The Right Brothers
The jump from photography to cinematography required a combination of brothers to create a spark. “One evening, when I was around 16 or 17, I get a call from my brother-in-law about a movie on TV that I should watch. It was The Big Lebowski by the Cohen Brothers.”
The spark created a career that’s now 11 credits deep and counting. “I was a regular kid. I didn’t know anything about cinema. I was into Jurassic Park and Independence Day. I watched that movie [Big Lebowski] … my eyes opened. I stopped skateboarding the same week, went into making a short film, and never looked back.”
Thomas started to do his cinematic homework. “I discovered all the Cohen Brothers films, Hitchcock, and on. The masters. I found out you could study [filmmaking], and by the time I was 20, I was doing internships on sets.”
Thomas was in school while also following his passion and the time came to have a conversation. “I sat my parents down in a Chinese Restaurant and told them, ‘If I pass these Christmas exams, I’ll keep studying, but if I fail, I’ll just go and work in cinema.”
The emerging cinematographer’s final grade was an F, as in ‘fate.’ “The day after that conversation, I got a call from the biggest film production company in Belgium who wanted me to come do set photography. I went to the exams and just filled out my name.”
About Jumbo
A bunch of short films, commercials, and features later, Jumbo appeared. “The script came through my agent who reached out to me. I read it and saw huge photographic potential.”
Thomas went through his usual process while reading a script. “… I go through visual references, but I don’t show it to the director right away. I want to get in their minds and their vision for how they see the movie.”
During his interview with Jumbo director Zoé, “… I saw that it was going in the same direction as my references … I showed her my references, and she was surprised. More than fifty percent of references she put together for herself was the same.”
Needless to say, the pair hit it off. “She has a really strong vision and great experience. It was a nice match.”
As one might imagine, shooting a film that heavily involves a Ferris wheel is no simple task. “One of the biggest challenges was really making Jumbo come to life. It’s an inanimate object, but there’s a lot of interaction between Noémie and Jumbo.”
Making the giant wheel come to life was priority number one. “Light is emotion. We added an enormous amount of lights on it. We had to program over 160 lights onto Jumbo.”
The team got together to give Jumbo a heart. “I worked closely together with Zoe and our amazing production designer William Abelo to attach lights onto Jumbo that could change colors in all the ways we wanted. It was a huge challenge to have it all planned out in such a short period of shooting.” Jumbo was filmed in 30 days.
Jumbo Feels
On such a tight schedule, Thomas talks about how they decided on Jumbo’s feelings. “We didn’t have a lot of ‘test days’ so we had one evening where we programmed Jumbo and said, ‘Ok, this is its happy lighting; this is sad; this is shocked.’ That was quite complex …”
On top of the programmed lights, Thomas explains the other bright side. “On top of the programmed lights, we had the film lights, we had to program them as well to work with the lights on Jumbo.”
Now that Jumbo could feel, there was the matter of making the movie. “There’s a scene where Noémie crawls up on Jumbo … It’s eight to nine meters high [26-29 feet]; we had to have stunt cranes and a special crane with the camera.”
In the end, Thomas says, “All of this was a challenge, but it’s what makes a day exciting.”
Collaboration
No matter the size, 99.9 percent of all film crews require teamwork to succeed. “To me, costume design and production design are so important. In a way, even more, important than cinematography because I can only capture what’s in front of the camera.”
Thomas tells us about his work with production design. “In this film, I had a close relationship with William, and we talked in detail about all the colors and textures of things. That makes me a better cinematographer.”
A goal of the film, Thomas says, was “… to not make the film too magical, keep it realistic. We called it ‘Enhanced Realism.’”
Jumbo was a very real Ferris wheel. “We tried to capture as much as possible in-camera. But we did plenty of CGI … there’s some interaction with oil, we did a lot of tests in-camera as a reference for the CGI artist.”
Wrapping Up
Thomas shares some of the joy he feels about making movies. “When you dream of a shot months in advance and then it’s on the monitor, and you can show it to other people, the hairs on your arm stand up. That’s the best feeling in cinema.”
Outside of the DNA that directed him to this business, cinematographers like Roger Deakins are an influence on Thomas. An even more significant influence though is Robert Richardson. “He has such a vast array of styles. One of my favorite movies is Snow Falling on Cedar. It’s such an amazingly shot film. If you compare that with Nixon, there’s such a difference but still beautiful.”
Thomas continues, “Greig Fraser is another one. He really captures something that was a reference for me on this film. The movie Killing Them Softly, which has that ‘enhanced realism,’ it has this documentary feel … but still quite cinematic. It’s one of the reasons we shot on anamorphic.”
“I’m a big fan of anamorphic,” Thomas says, “I shoot about 80 percent of my stuff, features, and commercials, on anamorphic. It gives you a little more scope in a realistic setting.”
What remake would Thomas like to shoot? “I’m always a little afraid of remakes. Mostly, I think, don’t mess with the original. I do believe in sequels, so, imagine, a sequel to something like Seven or Big Lebowski, that would be amazing to have a chance at that.”
Jumbo premiered at Sundance. So, what’s next? “I’m heading off to Tokyo to shoot a commercial, then I’m on pre-production for a World War I movie, which I cannot go into detail quite yet.”
Will you be watching Jumbo?
Thanks to Thomas Buelens and Impact 24 PR for making this interview possible.
Want to read more interviews like this? CLICK HERE.
Gotham is changing for the better, but something is standing in the way. The biggest villains of Gotham have prepared a plan to take down Bruce Wayne. The mastermind of this plan, the Designer, has also made it a point to target his co-conspirators. The first step of the master plan is to hire five of the deadliest killers, lead by Deathstroke. While Batman first captures them, Penguin frees them, only to have them turn and try to kill him. Batman lets the killers get away while Penguin exposits what is going on. What’s going to happen to the caped crusader?
**Some Spoilers Below**
Story:
We open with Penguin flopping into the hospital, demanding the staff see his wound. He tells them that they need to be ready for a fight in case the assassins know he lives. Across town, Batman takes on the lesser-known assassins, eventually leading him to Riddler’s abandoned hideout. He activates a recording, and we see the Designer of the master plan kidnapping Riddler.
Meanwhile, Catwoman and Harley fight off Joker’s gang at the graveyard, discussing how the former will tell Batman her involvement. Before they can get too into it, however, Merlyn and Shiva arrive to try and kill Catwoman. All the while, a new right-hand woman of Joker watches on.
The highlight of the story is the action-heavy sequences with Batman. The past few issues have had us cut away from the action, missing out on the best part of having Deathstroke and the assassins. While we don’t get cool fights with the big names, Batman’s fight with Gunsmith, along with his backstory, has me on the edge of my seat. Along with that, Harley and Catwoman’s fight at the graveyard makes for entertaining viewing.
The problem is that, while fun, it doesn’t really push the story forward. We got the reveal of the Designer, but since the video he’s seen on is muted, we don’t really get a chance to know his character. We’re basically at the same point we were since the end of the first issue. Even the ending can’t get me too excited. We don’t know if it’s part of the current story or setting up for a future arc! I want to get excited about this story. It has so much potential for being one of the best Batman stories. Something needs to be done to fix the pacing or risk failing the series.
Art:
The art continues to do the heavy lifting for the series. Guillem March and Carlo Pagulayan team up for one of the best drawn Batman issues since the start of Rebirth. Every character is well-drawn, and even sillier characters have a menace about them. The Designer is utterly ridiculous, but it has a charm and mystery about it that makes me want to learn more. The colorwork is also well done, giving this chilling vibe as the plot thickens. The art keeps on giving even if the plot doesn’t.
Conclusion:
Overall, we keep running into the same problem this new run has been having: pacing. We do get some sweet action sequences and a neat reveal of the Designer. But all that flash doesn’t provide enough substance to get a reader invested. The art team continues to pull the heavy lifting, giving fantastic designs for characters across the board. A comic can only stand on good visuals for so long, and Batman needs to thrive. The story definitely has the potential of being one of the best, but it needs to pick up the pace. Hopefully, Selina talking to Bruce will fix that, but it seems unlikely.
Image Comics has unveiled the first look at their new series Adventureman, from the all-star team of writer Matt Fraction and artists Terry and Rachel Dodson. The title will be Fraction’s third for Image — joining Sex Criminals and November — along with Jimmy Olsen at DC.
The series seems like it will both hearken back to old pulp stories (along the lines of Indiana Jones and The Rocketeer), while at the same time being firmly planted in the modern world. Here’s the description:
The story of beloved pulp hero “Adventureman” ended with a never-resolved cliffhanger for his legion of fans as their hero faced execution at the vile hand of his ultra-nemesis “Baron Bizarre.” And now, eighty years later, single mother Claire and her Adventurefan son Tommy seem to be the only two people alive that remember the thrilling Adventureman sagas… but from that memory burns the spark of… resurrection. What if it was all true? What if it all really happened? And what if it was happening again? Where his story ended… her story begins!
Check out the full press release below:
PORTLAND, Ore. 2.19.2020 — New York Times bestselling, Eisner Award winning writer Matt Fraction (Sex Criminals, Hawkeye), artist Terry Dodson (X-Men/Fantastic Four), and Rachel Dodson (X-Men/Fantastic Four) team up for an all-new, ongoing adventure series—Adventureman—from Image Comics this April beginning with a massively extra length and wildly affordable first issue.
“Terry and Rachel and I have been working together a long time on Adventureman and I’m thrilled our giant baby is finally ready for the world. It’s a high-flying, senses-obliterating, earth-shaking, imagination-quaking, adventure and we can’t wait to share it with everyone,” said Fraction.
The story of beloved pulp hero “Adventureman” ended with a never-resolved cliff-hanger for his legion of fans as their hero faced execution at the vile hand of his ultra-nemesis “Baron Bizarre.” And now, eighty years later, single mother Claire and her Adventurefan son Tommy seem to be the only two people alive that remember the thrilling Adventureman sagas… but from that memory burns the spark of… resurrection. What if it was all true? What if it all really happened? And what if it was happening again? Where his story ended… her story begins!
Dodson added: “Creating Adventureman has been a heck of a journey! It’s been an amazing opportunity to develop new worlds of yesterday, today, and tomorrow. Worlds inhabited by enduring and believable characters, making a family. This project allows me to tick off numerous ‘wants’ on my creative list! I hope everyone enjoys the ride as much as we did making it.”
Blending high-octane pulp action, low-flying dirigibles and more art-deco rayguns than you could shake a walking stick at, Adventureman kicks off with a 64 page issue filled to the brim with action and intrigue for the introductory cover price of $3.99.
Adventureman #1 (Diamond Code FEB200011) will be available at comic book shops on Wednesday, April 29.
Adventureman #1 will also be available for purchase across many digital platforms, including the official Image Comics iOS app, Amazon Kindle, Apple Books, comiXology, and Google Play.
Amazing Spider-Man #40 hits your local comic book shop on February 26, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for you.
The book is written by Nick Spencer, with art by Iban Coello & Zé Carlos. Ryan Ottley and Nathan Fairbairn worked on the cover. Brian Reber & Pete Pantazis were the colorists on the issue, and you will read Joe Caramagna’s letter work.
About Amazing Spider-Man #40: J. Jonah Jameson’s new gig has proven to be nothing but trouble for Spidey. As you are well aware, JJJ doesn’t take “no” for an answer, so even if Spidey is knee-deep in a world-saving situation, JJJ will always be there to “help” him. But while Spidey is dealing with JJJ and Chance, something is brewing with Kindred and it can’t bode well for Peter.
Where does Spencer rank as a Spider-Man writer? Comment below with your thoughts.
Stan Lee and Steve Ditko created Peter Parker and Spider-Man with his first appearance in Amazing Fantasy #15 (1962). Amazing Spider-Man #1 hit the newsstand in March back in 1963. David Michelinie and Mike Harris created the villain Chance who first appeared in Web of Spider-Man #15 (June 1986).
Fantasy Island, a film directed and written by the same person who is responsible for 2018’s abysmal Truth or Dare. Blumhouse really needs to stop prefacing these atrocious films as if hot garbage is something to be celebrated. Not only does Fantasy Island fail to deliver, but it also bypasses logic for nonsense and gaping plot holes galore. A premise that was interesting, but ultimately fumbles in every which way possible.
Based on the late 70’s show of the same name, this horror reimagining of Fantasy Island centers on a group of guests at a remote tropical resort where their wildest dreams are brought to life in the form of nightmares. Directed and written by Jeff Wadlow, Fantasy Island stars Michael Pena, Lucy Hale, Portia Doubleday, Ryan Hansen, Austin Stowell, Jimmy Yang, and Maggie Q. Honestly, this film will probably be so bad its good for many but I am not one of those individuals. Also, if Wadlow is going to create a running gag of casting Hale in all of his future films, then that will probably be the best indicator that the film is not worth seeing.
Patrick, Gwen, J.D., Brax, and Melanie arrive at Fantasy Island
It seems like every Valentine’s Day a horror film releases and it either becomes a classic like Silence of the Lambs, or it is completely forgettable like Fantasy Island. It would be nice to sit down and speak with the individual who greenlit this project because this film is a complete mess in its writing department. The happenings on the island are all orchestrated or overseen by Mr. Roarke (Pena) and with each twist and turn, the story becomes so illogical and disregards everything that happened prior to tell a brand new story almost. The group of guests consists of Melanie (Hale), Gwen (Q), J.D. (Hansen), Brax (Yang), Patrick (Stowell).
Each with their own personal fantasy and the island grants it upon discussion with Mr. Roarke. Melanie wants revenge on a childhood bully, Sloane (Doubleday) who for some reason was already on the island prior to Melanie’s arrival. This is just one of the minor things wrong with the film as it unfolds. Gwen wants a chance to say yes to a proposal she denied after one year of dating. J.D. and Brax are the two comic relief characters who just want to party with girls and homosexual men. Patrick is looking to meet his deceased father again, as he died serving the country when Patrick was small. Now, none of the characters are really fleshed out other than Melanie because the film spends time resolving her childhood trauma more than any of the other fantasies.
Portia Doubleday and Lucy Hale in Blumhouse’s Fantasy Island
Aside from that, the dialogue between these characters comes off as cringe at best and it is just so awful to hear. Getting into the baffling logic, each guest is revealed to be connected to each other from a past event, and a mastermind, of course, is responsible for this one ultimate revenge fantasy. Wadlow’s screenplay suffers here because none of the guest fantasies came to life until they were on the island. It is stated that the guests won a contest to be on the island, so how this mastermind got a fantasy like this to work without being on the island is ridiculous and nonsensical. Also, the twist is so irrational it renders every scene prior unnecessary because if it’s all one big revenge fantasy then there was no need to have the guest go through their own personal fantasies in between.
Lucy Hale as Melanie in Blumhouse’s Fantasy Island
On a more positive note, Hale and Q give the best performances here and everyone else just feels uninspired and disingenuous. Pena’s Portrayal of Mr. Roarke is very flat and one dimensional, but so are most of the characters on screen so I guess he was matching the energy of his character and co-stars. Q probably should have been the lead actress, but her arc wasn’t as relevant to the plot in the end. None of the character arcs are relevant until their connection is revealed and it factors into the twist. Again, it is as if a whole different script should have been written to make sense out of the twist because it just shatters the film to pieces logically. Doubleday is great in the series Mr. Robot, but here her character is mishandled, she gives a decent enough performance but still very flat.
Wadlow’s direction is fine, he captures the film wonderfully but everything becomes undone by the script and weak performances. He is capable of directing, but it’s best he leave the writing to someone more talented. The score in Fantasy Island by Bear McCreary is a perfect match for the premise and setting of the film, and McCreary was also responsible for the recent score for Child’s Play, so it wasn’t surprising that he delivered in the sound department yet again. If there is one component that is near perfect for this film, it will definitely go to its score.
Much to no one’s surprise, Fantasy Island is an abomination overall simply because the writing and the acting just aren’t up to par with all the other filmmaking components. Perhaps if someone took the time to make sure the script made sense, the film would have been better. Unfortunately what we have here is yet another crash and burn film that was poorly executed. Fantasy Island had potential, so it’s just frustrating to see that it was squandered for nonsense and a cash grab attempt.
Artemis and the Assassin #1 hits your local comic book store on March 18, but thanks to AfterShock Comics, Monkeys Fighting Robots has a first look at the interiors of the issue.
The book is written by Stephanie Phillips, with art by Meghan Hetrick and Francesca Fantini, colors by Lauren Affe, and letters by Troy Peteri. Phil Hester is the cover artist.
About Artemis and the Assassin #1: What happens when a time-traveling assassin and a spy from 1944 try to kill each other?
For a price, a top-secret assassination organization will travel through time and interfere with watershed moments. Trained as the agency’s top Assassin, Maya is sent to kill Virginia Hall, the deadliest spy of WWII. Charged with carrying important plans about the invasion of Normandy to the Allied troops, Virginia’s death would have a cataclysmic effect on WWII as we know it.
If you like what you see, make sure to let your shop owner know as the final cut off for orders is next Tuesday, February 24.
Check out the first look below
Are you going to add Artemis and the Assassin #1 to your pull list? Comment below with your thoughts.
The Robot Revolution continues in Machine Man 2020 #1 thanks to Christos Gage, Andy MacDonald, Dono Sanchez-Alamara, Tom Delfaro, Mike Hawthrone, Andriano DiBenedetto, and Erick Arciniega. Does this outing with X-51, the Machine Man run seamlessly or does it need a reboot?
The A.I. uprising has begun, and Machine Man finds himself torn about his place in the revolution! As the battle rages around him, will Machine Man aid mankind’s fight for survival or join his robot brethren in ushering a new age?
Writing
This comic contains two stories, one focusing on Machine Man and the other following his old team, The Midnight Wreckers. The Machine Man story by Cristos Gage finally decides to address the elephant in the room. A character calls out Machine Man on his change in behavior, which hasn’t seemed very heroic as of late. Between his character in Tony Stark: Iron Man and him now leading the robot rebellion, its good someone got around to asking why he decided to become so extreme with his methods.
The second story by Tom Defalco, featuring The Midnight Wrecks helps to add to the world-building of the 2020 event. It showcases what is happening as the robot rebellion is taking place outside of the main focus on Iron Man 2020 and Machine Man. Sadly, it doesn’t really help give any indication where the event. Frankly, the entire issue feels like a side story.
Artwork
Machine Man 2020 #1 has two different teams for the two different stories. For the one focusing on X-51, Andy MacDonald does the artwork and Dono Sanchez-Almara provides coloring. Their work produces some detailed action scenes and is the most stunning part of the issue. The battles Machine Man has against his robotic opponents as he tries to catch up with Jocasta is the highlight of the issue.
With the Midnight Wrecker story, Mike Hawthrone is on Pencils, Andriano Di Benedetto is the inks, and Erick Archiega is on colors. Their style allows for a very cyberpunk style for the characters and the setting. This helps to provide the atmosphere of being cutting edge, which the Midnight Wrecker team was known for in previous stories they appeared in.
VC’s Travis Lantham takes care of the lettering work for both stories. Through proper placement of dialogue boxes, a great flow is established to the battles taking place. Also, it helps to add to effect work whenever Machine Man decides to use his scanners.
Conclusion
Machine Man 2020 #1 reads like a side story and doesn’t give enough time to the main character. It is nice Machine Man is getting the time to explore his decision to care more about robots than humans, but it probably could have been told in a single issue. Instead, its stretched out and half the issue is dedicated to side characters who haven’t been mentioned in years.
Bloodshot #0 out this week from Valiant Entertainment is the prologue to writer Tim Seeley’s main run with impressive art by Marc Laming. For everyone who misses the reluctant hero of Jeff Lemire’s run, this is your chance to see him.
Bloodshot #0 Story
Taking place after Bloodshot Salvation but before the beginning of Seeley’s Bloodshot #1, Bloodshot tries to get away from all of the grief as an oil pipeline worker in Siberia. Tired of just being another weapon, he doesn’t even protect himself from the angry locals. The aesthetic elements, however, feel out of place when it comes to the Russian setting. Just look at news reports about the Druzhba Pipeline. As such, they feel like things to get attention from Americans with opposing political leanings.
The true story of Bloodshot #0 comes from how Bloodshot comes to care for a young teenager and his choice of actions. The teen girl wants to be useful to somebody yet has to put up with abuse, not unlike Bloodshot. While Bloodshot doesn’t want to get close to anyone, he can’t help but empathize with her. They’re a couple of lost souls looking for purpose but choose to be on the move.
When an undercover agent asks for Bloodshot’s help in a disappearing people case, he refuses, which is a little tragic considering the agent is without backup. But more importantly, he knows about the good Bloodshot did. Something that’s continuously been lacking in Seeley’s issues. Bloodshot’s humanity is what makes him such a good character, flaws, and all. Instead of the tragic brooder in most of Seeley’s run, we get a reluctant hero who makes decisions and regrets in Bloodshot #0.
The Art
Laming’s artwork evokes feelings similar to the numerous artists of the Lemire era. Similar to Doug Braithwaite’s art, the characters feel like real people with movement and camera angles. Whatever actions do happen are simple and not trying to fit too much in one panel. It’s efficient for both action and expressive features. Whenever Bloodshot is in focus in his civilian form, his body language expresses his need to remain hidden. Whether he’s at work or trying to tell the agent to leave him alone. Sometimes the background fills in just as crucial details like the scornful looks of Bloodshot’s coworkers.
The muted colors by Andrew Dalhouse perfectly encapsulates the dour mood of the issue. Everything seems so rigid and cold, befitting the wintery setting. Once the real action begins, atmospheric reds and yellows occupy panels between blue backgrounds. All of which get help from Dave Sharpe’s onomatopoeias. Unlike the rest of the series where he recycles stock images, Sharpe shows a genuine dedication to this issue with custom wordmarks. Red and white wordmarks differentiate the attacks of Bloodshot between the yellow wordmarks of his attackers. Orange wordmarks meanwhile symbolize a direct confrontation between a thug and Bloodshot. Something that could very well transition from one side to another. Pure white wordmarks meanwhile displays a surprise that affects both Bloodshot and the reader. The surprise is so powerful; it pushes them to the main series.
Give Bloodshot #0 A Shot
If past issues of Seeley’s run aren’t clicking with you, look to this issue for some nostalgic goodies. More importantly, it displays what Seeley can really do in the right circumstances. Who needs a narrative ad for a movie when you can make a good story?
RUNAWAYS #30, out this Wednesday from Marvel Comics brings the now infamous Doc Justice back to the forefront, as his long game is revealed. This is the vindication many fans have been looking for.
Gert and Old Lace look about ready to get to the bottom of things in Runaways #30.
***SPOILER WARNING***
Fans of the Runaways (us included) have been having a significant amount of concerns about Doc Justice. Over the course of the last several issues, his character and insidious habits and plots have slowly been revealed. But while that might have been enough for many fans to condemn him, it didn’t carry the same satisfaction as seeing the Runaways catch him in the act.
Assuming they’d be willing to see what was right in front of their eyes, that is. The truth of the matter is; the Runaways went from being a bunch of teenagers too paranoid to trust any adult to adoringly following his every wish. With the exception of one.
That is where this issue begins. Runaways #30 is the second to last for this plot arc, and this is one we’ve been eagerly waiting for. You just know that things are about to start going wrong. After all, this is the Runaways we’re talking about. Something always goes wrong.
Canon Fodder is proving to be an apt name for this plot arc.
The Plot
Runaways #30 is a dramatic issue through and through. This is the sort of plot that Runaways fans live for. These young heroes have faced off against plenty of adults in their day, but perhaps nothing with quite so much buildup.
Rainbow Rowell really took their time building up the whole Doc Justice plot. There was something so chilling – yet satisfying – about watching it all come to ahead. Fans could clearly see the writing on the wall, while desperately wishing the characters could as well.
This is the issue that made all of that buildup and anxiety worth it. Though it also took some time to further buildup the tension. The revelations were cleverly done, leading us to be concerned about what is about to happen. And giving us even more fuel to hate Doc Justice with. It’s a win/win.
There are so many layers and little details to pick through from this issue. Doc Justice is a character who has been at this game for a long time, and we likely haven’t even seen the half of what he’s done. But the creative storytelling techniques used in this issue gave us a glimpse – without having to spend a ton of time doing so.
Don’t tell her not to smile. Don’t tell her to smile, either.
The Art
Runaways #30 features some dramatic art to go alongside all of that buildup, don’t worry. Though most of the action will occur later in the issue itself, there’s still plenty to appreciate leading up to that moment.
The photoshoot scene is one of the highlights of this issue, having this odd balance of humor and foreshadowing. Most of these elements are nonverbal, and thus relied heavily on the artwork. Another moment worth talking about is the clever storytelling mentioned above. This was a ton of information that had to be offloaded in a way that was interesting and not overwhelming. Easier said than done, but our artists found a way.
Andres Genolet was the lead artist for this issue. So you have them to thank for the dramatic poses, which are another highlight worth talking about. Our Runaways have really come into their own, which is a bit ironic, given what is happening.
Dee Cunniffe was the colorist, and they did a fantastic job with this issue. Karolina in particular really shines here – pun not intended, but welcome. Finally, VC’s Joe Caramagna was the letterer for this issue. And their work was especially vital during that scene we’ve already talked to death. It just wouldn’t have worked otherwise.
Doc Justice doesn’t seem like the type of man who takes being turned down well…
In Conclusion
Runaways #30 was basically everything that fans have been hoping for when it comes to this plot. The conclusion is now only an issue away, and there’s no doubt in our minds that it is going to be a dramatic one. In the meantime, this issue left plenty of little details worth pouring over. So that’ll keep fans busy for a time.
The muted colors by Andrew Dalhouse perfectly encapsulates the dour mood of the issue. Everything seems so rigid and cold, befitting the wintery setting. Once the real action begins, atmospheric reds and yellows occupy panels between blue backgrounds. All of which get help from Dave Sharpe’s onomatopoeias. Unlike the rest of the series where he recycles stock images, Sharpe shows a genuine dedication to this issue with custom wordmarks. Red and white wordmarks differentiate the attacks of Bloodshot between the yellow wordmarks of his attackers. Orange wordmarks meanwhile symbolize a direct confrontation between a thug and Bloodshot. Something that could very well transition from one side to another. Pure white wordmarks meanwhile displays a surprise that affects both Bloodshot and the reader. The surprise is so powerful; it pushes them to the main series.
