SABAN’S GO GO POWER RANGERS #29 Continues To Bring Us Full Circle

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GGPR 29 Feature — Cover by Eleonora Carlini

Out this week from BOOM! Studios and Hasbro, Saban’s Go Go Power Rangers, continues our countdown to the series slated end.

Moving back to the main points of “Necessary Evil” after issue 28’s deep dive into Rita Repulsa, Saban’s Go Go Power Rangers #29 takes us right back to action. Tommy has taken the role of the leader on the team, but it doesn’t seem to be going all that well.

Saban’s Go Go Power Rangers #29 shows us a rough start for Tommy. As he attempts to lead the Rangers against another Zedd monster, he makes a call that doesn’t work out. Jason steps in, and the Rangers succeed, but Tommy is left with remorse after almost getting Billy hurt.

It seems like the remainder of Saban’s Go Go Power Rangers will be about tieing up the beginning of “Necessary Evil” and leading us into where we started with Mighty Morphin Power Rangers # 40. As writer Ryan Parrott confirmed, issue #32 will be the final one for this series., though Mighty Morphin will continue after.

What Saban’s Go Go Power Rangers # 29 accomplishes well is bringing us back into the same vibes as earlier issues of “Necessary Evil.” This has been a story arc with a heavy theme of change. Though it feels like we’ve become adjusted to that change in Mighty Morphin where it’s become the new normal for that series, Go Go’s exploration of how these changes came to be put us right back in that mindset of “things are different now.”

Tommy’s awkward transition to becoming the leader helps bring us back into this mindset. It truly feels alien, especially given how much focus this series has had on the team without him.

It’s nice to see Tommy not starting off as the perfect leader. It gives more weight to the change over in the team.

This sense of change is important for where the rest of this issue takes us from there. We’ve started to come full circle as we begin to reach points now that was past tense for Mighty Morphin.

Saban’s Go Go Power Rangers features a lot that will be missed once the series concludes. I, for one, will miss the art in this series particularly. Since the beginning, character designs have always had a more cartoonish style to them that pair well with the context of the series. For this arc, Francesco Mortarino has done a spectacular job bringing these scenes to life.

When it comes to the fight scenes, every panel is a spectacle. The Rangers are constantly drawn in motion, with every action having a purpose. From extinguishing Putty Patrols to taking on classic “Monsters of the week,” every page resembles the classic T.V series with insane detail.

This full pagers have so much to them. Every time I look at it, I notice something new. Like how Trini put a dagger in that Putty’s Z

Adding to this, Raul Angulo’s colors continue to impress. There’re a variety of settings this issue takes place in, some dull and some lively. While there’s a lot of grey at the beginning of this issue, we move onto areas like the Command Center and the Ernie’s Juice Bar, and we see the pallets and backgrounds really shine and vary.

Ed Dukeshire handles the lettering again and continues doing right by it. With a series that has as much history to it, memorable voices and characters, it’s important to try to represent this in dialogue. Zedd specifically comes to mind here. His dialogue contains a lot of bold emphasis on the specific words resembling his speech tendencies. It reads how late actor Robert Axelrod spoke as the character.

With only three issues remaining, the send-off for Saban’s Go Go Power Rangers feels closer and closer. Excited as I am for the finale, there’s a lot with this series that is going to be missed. Issue 29 does a fair job prepping us for the future, though I will note, with how much we already know from Mighty Morphin Power Rangers taking place further in time, the catch up we’re getting while nice, doesn’t feel quite as important based on this issue alone.

Having us be put in a place where we accept that events of the past have already occurred without seeing them, and then going back to show them to us much later on feels more like bonus information. While still enjoyable to read, there is notably less of a hook.

The pull of seeing this through to the end helps. While obviously I still want to see the inception of the Omega Rangers and see how Rocky Adam and Aisha are introduced, I’m just hoping there’s at least one more interesting note to pull us into the finale.

I have faith Parrott will not disappoint in the end. I look forward to seeing what is in store for us moving forward and am very eager to see what is coming for Power Rangers after the completion of “Necessary Evil.”

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Review: Alfred’s Requiem in BATMAN: PENNYWORTH RIP

By

David DeCorte

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Batman: Pennyworth RIP, out this week from DC Comics, takes on one of the biggest questions of Tom King’s recent run on Batman: is Alfred really gone for good?

I’ve heard it said that, in comics, no one’s ever truly dead unless they’re “Uncle Ben dead.” A character can always come back unless that individual’s death proves indispensable to a major character’s motivation. Of course, with the return of Thomas Wayne, it’s apparent that even this rule can be broken.

I expect we’ll see Alfred Pennyworth sometime in the future. Regardless, DC felt the need to give Bruce’s surrogate father a fitting, if less-than-optimistic sendoff.

The Writing

Detective Comics writer Peter J. Tomasi and new Batman head James Tynion IV share writing duties for Batman: Pennyworth RIP. The pair manage to craft a fairly-cohesive narrative that mostly delivers on the emotional impact of the situation.

We see each member of the Bat Family relay their best memories of Alfred, with the main story serving as a framing device. We see each character manage their grief at Alfred’s loss in a different manner. For some, it’s anger, while others are colder and more detached. In every case, though, there’s a note of definite tension, laying the groundwork for further conflict in ongoing Bat titles.

The book is dialogue-dense, with each character recalling their best memories of Alfred. While there are some touching points, it doesn’t always deliver on the emotional impact for which the writers were going. At the same time, the wordiness takes a toll on the book’s pacing throughout. The result is that some of the characters’ interactions feel somewhat hollow, even histrionic at points, like Damian’s exit after sharing his tale.

More than anything, Batman: Pennyworth RIP underscores Alfred’s role as the glue that held this combative clan together. He was the cohesive element that mitigated the worst dynamics of the Bat Family’s disparate and testy relationships. With him gone, though, the members immediately begin to pull apart.

Probably the book’s greatest strength is what it means for the characters going forward. Their individual traumas and personalities grind against one another, and old wounds open…this time, though, there’s no Alfred to tend to them. It doesn’t bode well for the future of the family.

The Artwork

DC emptied the benches calling on artists for Batman: Pennyworth RIP. The book credits a team of ten different artists and colorists who contributed pages. As a result, each of the different vignettes has a unique style and aesthetic, and these tend to complement the stories well.

The pages in the main story are very stylish, nailing the mood of the book. Character designs within the framing story are sharp and angular, and there’s a definite sense of gloom hanging over these scenes that suits the tone.

Some of the pages feel a bit cluttered in the side stories, and don’t land the story beat every time, though. The pages feel very busy at points, packed with panels and speech bubbles, which slows the pace. It likely would have been more effective to stretch this book to 64 pages, rather than the 48 allotted.

The colors also play a major role in selling the mood of the piece. Our main story is streaked with icy blues, highlighting the depressive emotional tone. In contrast, our flashback sequences are brought to life with more vivid, earthy tones.

Final Thoughts

Batman: Pennyworth RIP may not be the definitive sendoff for Alfred that DC was hoping for. That said, it’s entertaining and, at times, even touching. It’s worth picking up if you’re a Bat Family aficionado.

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Snyder, Capullo Reunite For DARK NIGHTS: DEATH METAL

By

Kevin Sharp

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February 12, 2020

We’ve gotten hints for a while now that Scott Snyder and Greg Capullo had some kind of followup cooking to their hit series Dark Nights: Metal. Now, DC Comics has made it official with the announcement of Dark Nights: Death Metal.

The new six-issue series will debut this May. Check out the official announcement below, along with issue #1 covers by Capullo, Francesco Mattina, and Stanley “Artgerm” Lau. You can also click over to DC’s blog for more preview artwork.

Scott Snyder and Greg Capullo Take a Curtain Call

for a Bigger, Louder, and Faster Sequel to their Headbanging 2017 Series

BURBANK, CA (February 12, 2020) – DC will give readers what they want this summer—bigger, louder, faster, and “metal-er“—as the publisher announced its plans for Dark Nights: Death Metal, the sequel to the smash-hit 2017-18 series Dark Nights: Metal, which brought widespread changes to the DC universe and introduced fans to the Dark Multiverse and a runaway-hit villain, the Batman Who Laughs.

A new Dark Nights: Death Metal series means an encore for the original team of hardcore headbangers: the bestselling team of writer Scott Snyder and artist Greg Capullo, along with inker Jonathan Glapion and colorist FCO Plascencia. Issue #1 of this six-issue miniseries hits comic book stores and online retailers on May 13, 2020. The series will also include several “Metalverse” one-shots throughout the summer months, expanding the vast world created by the Death Metal storyline.

“I’ve been waiting to do this story since we finished Dark Nights: Metal,” said Snyder. “As much as it was a complete event, we left some threads hanging there for sure. I’d hoped that if people liked the first series enough, we’d have a chance to set up something bigger, and that’s our plan for Death Metal.”

“For all of us, Dark Nights: Death Metal is about the fun factor,” adds Capullo. “Comics should be fun, bombastic, and over-the-top. This series is going to be exciting and jam-packed with great ‘metal-esque’ moments that will make fans lose their minds when they see them.”

This new series spins out of the events of Scott Snyder’s Justice League run and the Year of the Villain: Hell Arisen miniseries by James Tynion IV. The Earth has been consumed by Dark Multiverse energy, having been conquered by the Batman Who Laughs and his evil lieutenants, corrupted versions of Shazam, Donna Troy, Supergirl, Blue Beetle, Hawkman, and Commissioner Jim Gordon. Some heroes, like Wonder Woman and the Flash, have made compromises as they negotiate to keep humanity alive in this hell-born landscape. Others, like Batman, are part of an underground resistance looking to take back control of their world. Superman is imprisoned, cursed to literally power Earth’s sun for eternity.

But a mysterious figure provides Wonder Woman with vital information she might be able to use to rally Earth’s remaining heroes to resist the Batman Who Laughs. Can the Justice League break away from the Dark Multiverse and defeat Perpetua?

“Dark Nights: Metal was an absolute game-changer for DC,” said DC SVP and editor-in-chief Bob Harras. “It was a crazy roller-coaster ride that gave us not only the Batman Who Laughs, but a story that was so crazy over-the-top, it kept our readers on the edge of their seats with every issue, and I expect Scott, Greg, FCO, and Jonathan will tell a story with even higher stakes, and definitely more Joker dragons!”

Dark Nights: Death Metal is a six-issue monthly series with issues #1-3 shipping in May, June, and July, then resuming in September, October, and November. Issue #1 will be available in comic book stores and participating online retailers on Wednesday, May 13, 2020.

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Review: Clark Is Branded A Political Opportunist In SUPERMAN #20

By

Corey Patterson

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Clark Kent’s life as a reporter/superhero has become more intertwined than ever since revealing his identity to the public. Within the pages of SUPERMAN #20, available in comic book stores on Wednesday, February 12^th, readers get a look into how the world of mass media perceives this combined identity. Unfortunately, some are reluctant to give Superman the benefit of the doubt. A particularly cynical reporter at the Daily Star claims it’s unfair to leverage his status as a hero in his reporting work, despite his fellow employees’ insistence of the contrary. But when it’s revealed Superman recently claimed the title of Earth’s Representative in the United Planets, media professionals everywhere want answers.

Story

The reporters at the Daily Star are spending their time adapting to the new status quo of reporting in Metropolis, one in which Clark breaks stories as a star reporter and as Superman. A few people are uncomfortable with him straddling these roles, but for the most part the reporters realize that he spends just as much time saving the world as he does reporting. We even hear a personal story from one woman which recounts a time the hero save her and refused to break the story so other media outlets would have the chance to on their own.

But while this discussion is taking place, Superman attempts to keep the peace on a distance planet. Mongul has attacked the United Planets peace meeting, and the Man of Steel is doing all he can to keep the peace lest war breaks out in the cosmos.

Despite Clark’s fight for peace, a number of accusations from the Star fly his way after video footage is released of his diplomatic activities on behalf of Earth. The reporters believe this to be a prime example of Clark using his dual status as hero and reporter to garner political clout. Ultimately, they question why he deemed himself the ambassador for Earth despite not being elected to the position.

Writer Brian Michael Bendis does a wonderful job of positing unexpected troubles in the life of Clark after revealing his identify. We would naturally expect every villain in the galaxy to attack his loved ones, but Bendis surprises us by showing the political ramifications instead.

Artwork

The artwork in this issue to top-notch, presenting readers highly detailed panels of both the scenes in the newsroom and at the United Planets gathering. Ivan Reis, Joe Prado, and Oclair Albert’s penciling and ink work, combined with Alex Sinclair and Jeremiah Skipper’s coloring and Dave Sharpe’s lettering, present a seamless story that shows both the epic battle with Mongul and the chaos in the Star’s newsroom. We see the team is equally able to depict the average news office just as well as an alien planet with multiple alien beings.

Comic Covers

Main Cover

Reis, Prado, and Sinclair’s main cover features Clark in the clutches of Mongul, who’s the catalyst for the destruction of the United Planets peace talk.

Variant Cover

Brian Hitch and Sinclair’s variant cover gives readers a god-like depiction of Clark, showing how many of those in the newsroom, and society as a whole, now see the once clumsy reporter.

Conclusion

SUPERMAN #20 throws in an interesting new wrench in Clark’s life. Despite the lack of hurtles facing him after the initial identity reveal, it seems our hero failed to consider the politics of the whole ordeal.

Do you think the public as a whole will turn against Superman? Let us know in the comments below!

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Review: RAI #4 The Threatening Stakes From All Around

By

Jake Palermo

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Rai #4 out this week from Valiant Entertainment continues the story of the titular cyborg ronin. With a piece of the AI Father’s backups insight, everyone moves in for war. As if tensions were not high already, it looks like Rai is about to clash with an old friend and reoccurring enemies.

Recap

Rai and his “older brother” Raijin are on a quest to eliminate the Offspring, backup units of Father to prevent his rise to power. Along the way, Rai deals with how this journey affects those closest to him. People try to reach out to him, but this leaves Rai vulnerable to threats from Bloodfather. With an army of devout followers at Father’s feet approaching at every turn, the stakes begin to grow more desperate.

Rai #4 Writing

Rai #4 has the positronic brothers at a very difficult impasse. As Dan Abnett continues to point out, not everyone is happy with how New Japan is on the surface. The farming village the brothers arrive at, Hope Springs, holds it against Rai for allowing it to fall in the first place. But they make the most of it with the tech they salvage in order to make fertile soil. Which is why Gilad the Eternal Warrior and his geomancer ward take up residence there. After Fallen World left them in a difficult place, it’s nice to see them leave for what they believe is better. Unfortunately, with his vitality restored and his new home possibly compromised, Gilad doesn’t take well to their presence.

Every character who has a chance, Gilad included, points out Rai’s flaws when it comes to thinking in the long run. Gilad, in particular, sees Rai’s intense feelings when it comes to the threat of Father. He sees Rai’s quest as guilt for not being able to finish off Father, so much that Rai seems to take it out on Raijin for not complying. Even Raijin thinks that Rai’s fears might be unfounded when their objective is found.

At the same time, Raijin points out to the Geomancer Karana that despite his faults, the situation is not entirely Rai’s fault. Necessities like the fight against Father are short-term. It’s also why Gilad and Karana chose to leave the Green sanctuary, they were not necessary, and they hated the Green’s ways. Much like how Gilad hates the way Rai is doing things with both Raijin and finding the Offspring. But in the end, all of them aren’t that different, which is what makes the clash between Gilad and Rai so ugly. Gilad, much like Rai, is trying to balance his task with his humanity, but they both have trouble when something compromises those tasks. The attack on the village by Bloodfather’s forces might just make things worse.

Rai #4 Artwork

Continuing from previous issues Juan José Ryp’s penciling continues to give detail to the rustic but natural world of the future. Every wrinkle and expression feels alive in contrast to the smooth and faceless grunts of Father’s forces. The coloring by Andrew Dalhouse helps differentiate the more natural from technological. Even the wings of mechanical bugs give off radiance to show this. Situations like that play express a message that the natural can co-exist with technology. Unfortunately, the contrasting soldiers against the fields show the threat they pose to the world. In that way, it’s impossible not to get behind Rai when it comes down to it.

Dave Sharpe’s lettering, however, works best in Raijin’s diagrams that come before the main stories. Otherwise, they follow the standard and well-balanced flow of going between speech bubbles. The onomatopoeias meanwhile are diverse but are primarily stock images for the occasional punch and gunfire. A few wordmarks, however, illustrate some storytelling. For example, a blow by Gilad shows a wordmark that has no filling to illustrate Rai being knocked outside.

Prepare For War in Rai #4

Rai #4 brings up some extreme tension that proves Matt Sardo’s comparison of Dan Abnett’s epic with Game of Thrones right. Got anything to say about this issue? Leave your thoughts in the comment.

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Review: A Deal is Struck in THE DOLLHOUSE FAMILY #4

By

Justin Munday

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Mike Carey and Peter Gross’ “The Dollhouse Family” has been one of the most exciting and harrowing comics to read over these past few months. This fourth issue is a prime example of why that is. “The Dollhouse Family” #4 is a chapter built with mounting haunted house and cosmic horror that still manages to create fantastic character storytelling. The work of Peter Gross and artist Vince Locke once again lure in the reader with pitch-perfect visuals to make yet another superb chapter in this DC horror comic.

“Alice’s worst nightmare has come true: the Dollhouse has returned…and if it can’t have her, it’ll settle for her daughter! And as horrible as her prior experiences with the House have been, they’re nothing compared to what it’s been able to come up with after 20 years of waiting…”

Writing & Plot

Writer M.R. Carey’s perfect balance of mysterious intelligent horror and relatable character building is on full blast in “The Dollhouse Family” #4. The tragedy of the prior issue is met with the reuniting of a key past character in Alice’s life. Meanwhile, the story of the Dollhouse’s origin is wrapped up in a harrowing and sinister manner. Carey’s flawless ability to flit between these two storylines is once again brilliant, as the two timelines complement each other wonderfully. The sense of passing time from the origin tale to watching Alice grow up presses the agelessness of the terror at this story’s core. Despite the well-orchestrated horror, this series is truly held up by its compelling character drama. Alice’s story has always been interesting, but since her becoming an adult and a mother, it has taken on a whole new level of intimate complexity. Watching Alice attempt to protect her daughter from the Dollhouse’s temptations while maintaining that mother-daughter relationship despite her own traumatizing past is one of the best elements of this series. Truthfully, this human element is what makes this horror story, and any horror story really, so memorable.

Art Direction

The expert layout and panel direction of Peter Gross combined with Vince Locke‘s distinct style creates the perfect slow-burn mystery-horror of “The Dollhouse Family” #4. There’s an almost cinematic manner in which Gross’ layouts direct the reader along, often laying panels in the foreground or adding artistic flairs that ignore convention. This has been a normal practice for the series so far and is one of the reasons that tension is so effective. The other is of course the penciling of Vince Locke with the colors of Cris Peter. The visual aesthetic of this series is character-focused and off-putting in all the right ways. The characters are given proper expression during the quiet scenes that ground this series, while also setting up the horror-drenched sequences. The style and color palette are so special in this classic Vertigo way where they are somewhat naturalistic but also just off-kilter enough to demonstrate that something is amiss with this world. The images of monstruous or haunting figures are always a shock upon the turn of a page, and they contrast brilliantly with those quiet moments.

“The Dollhouse Family” #4 is the climax of this brilliantly spooky and intelligent mini-series, with heartfelt character moments and terrifying twists galore. M.R. Carey’s intricate but careful plotting excels yet again, while the art team of Peter Gross, Vince Locke, and Cris Peter maintain the comic’s original and foreboding atmosphere. Be sure to keep reading this excellent outing when issue #4 comes out on 2/12!

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DRAGON AGE: BLUE WRAITH #2 – A Tale of Agents and Relics

By

Cat Wyatt

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DRAGON AGE: BLUE WRAITH #2, out February 19^th from Dark Horse Comics, continues the tale full of legend and magic. Grim is the setting for this issue, as characters seek to complete their own quests, be it revenge, capturing a relic, or freeing loved ones.

***SPOILER WARNING***

And here’s a sneak peek at the cover for Dragon Age: Blue Wraith #3.

Fans of the Dragon Age video games likely have made a note of this series and with good reason. This series has brought back the infamous Blue Wraith, along with several other fan favorites from other comic series.

That means there’s a lot of fun – and drama – to be had here. After all, the events that occur in Dragon Age can be grim, as characters fight for their lives and freedom left and right. Dragon Age: Blue Wraith is a series that touches upon concepts such as revenge and desperation, in ways that wholly suit the franchise we love so much.

The Plot

It currently feels like there are several plots winding around one another in Dragon Age: Blue Wraith #2. While there’s little doubt that they’ll all eventually come together, it is doing an excellent job of showing complex storytelling. It’s also a strong reminder of how much can be happening at any given moment in the world of Dragon Age.

Nunzio DeFilippis and Christina Weir were the authors involved in this issue, and it’s thanks to them that we’ve been handed such a complex story. There are so many characters involved, each with their own goal and desire.

It’s really no surprise then that this is a fast-paced issue. There’s no room for downtime here, as there’s seemingly always something happening. Thankfully, while there is a lot of information passed to the reader, it never once feels like an info-dump. Instead, it reads as something more organic, thanks to the use of flashbacks and character conversations.

What is shocking is how intense the plot has gotten, and so quickly. There’s really no avoiding the stakes at hand, or what certain characters have had to do in order to get to this point. When you think about it, that is one of the many reasons fans have been drawn to this franchise in the first place. So it’s appropriate to see it here.

The Art

Dragon Age: Blue Wraith #2 is full of dramatic artwork, fight scenes, and magic. It makes for an all-around feast for the eyes. You can tell that the artists really enjoyed portraying some of these scenes, as it feels like a lot of attention has been paid to the details.

Magic is a fickle thing, lending towards flash and brilliant scenes, while also sometimes being more difficult to portray. But that balance has been struck here. There are a few scenes in particular that really stand out here — one of which being an example of how the Blue Wraith got his nickname.

Fernando Heinz Furukawa’s lines are ideal for this series. Their style is on point with the series as a whole, especially in regards to the different races portrayed and the magic they carry. Meanwhile, Michael Atiyeh’s colors are truly striking. They made excellent use of the white space available to really make certain scenes and expressions pop. Finally, Nate Piekos (of Blambot) did a fantastic job with the lettering. They’re so simple and understated that for a moment, you could forget that the balloons are even present.

In Conclusion

Dragon Age: Blue Wraith #2 was an enthralling read. This was an issue that wasn’t afraid to show the darker side of conflicts. The pacing makes it easy to stay invested in this series, while also making it impossible to predict what will happen next. One thing is certain; it will be interesting to see how the series wraps up, given that there’s only one issue left.

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Sacrifice and Loss in STRANGER THINGS: INTO THE FIRE #2

By

Cat Wyatt

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STRANGER THINGS: INTO THE FIRE #2, out this Wednesday from Dark Horse Comics, provides a gritty view into the lives of the other surviving test subjects. Fans of Stranger Things have been asking what happened to the rest – and this series has the answer.

***SPOILER WARNING***

A retro alternate cover is available for Stranger Things: Into the Fire #2.

Did you know that Stranger Things: Into the Fire isn’t the first comic series focused on the Netflix series? There have actually been a few series at this point, set both before and during the events of the show.

Stranger Things: Into the Fire #2 continues the tale of Dr. Brenner’s wayward subjects. While a shocking number of patients managed to escape (seriously, the count is up to four – and that’s just what we’re aware of) it seems that not every subject has been so lucky.

That is merely the beginning of this story. Set sometime after the events in season two, this series gives a glimpse into how Eight has been doing, as well as leaving a clear idea that the events Dr. Brenner set into motion did not all end with his death.

The Plot

Jody Houser was the mind behind Stranger Things: Into the Fire #2, and you’ll probably recognize that name. She’s been behind several of the Stranger Things projects, and that’s actually a great thing. She’s keeping the stories between series cohesive and unified. That’s not something every spinoff series can brag about, so embrace it.

There are a lot of clever storytelling techniques woven into this issue, starting with the creative use of flashbacks to create a narrative. This allows for multiple viewpoints to merge, telling a fuller story. That story is shockingly dark, but then again, this is Stranger Things we’re talking about. So experimenting on human beings (and worse) has sort of become the norm.

There’s this almost beautifully tragic feeling to the entire issue, as the truth is revealed. What had been a celebration has turned into devastation, as characters learn the price of their freedom – and who they left behind. It’s somber, and it’s jarring, but it’s also thematically appropriate for the franchise.

The end of this issue marks the halfway point for the series. That means we only have two issues left to wrap up the plot, which presumably will involve a rescue mission (or the attempt at one), and all of the chaos that will bring with it. That likely means that the next few issues are going to be packed of action, taking full advantage of all the setting up presented here.

A disturbing comparison is made on this final alternate cover of Stranger Things: Into the Fire #2.

The Art

The artistic team behind Stranger Things: Into the Fire #2 really went all out. As mentioned above, there were a variety of flashbacks presented in this issue. Each and every one of them felt unique, with color palettes and details altering based on who was telling the story. It’s a small but effective piece that made this issue work so well.

Ryan Kelly (pencils), Le Beau Underwood (inks), Triona Farrell (colors), and Nate Piekos of Blambot (letters) all worked together to a brilliant effect here. The scenes are dynamic and powerful, showing off all of the drama and intensity that we’ve come to expect.

Adapting a series to comic book form can sometimes be a challenge – especially when you have to pull in recognizable characters. But this issue did a great job portraying Eight and everything that made her so distinctive — all while showing off their own distinctive flair.

In Conclusion

Stranger Things: Into the Fire #2 was a carefully planned issue. One that hinted at the past, while fanning the flames formed by concern and anxiety. Our characters are headed down a dark path, but it’s also the only right path left for them. This is a feeling fans are familiar with, but we’re still looking forward to seeing how it all plays out.

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NEBULA #1 Begins Her Quest for Change (Or Victory)

By

Cat Wyatt

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Nebula #1, out this Wednesday from Marvel Comics, is the start of an all-new miniseries focused on the conflicted rogue we love so much. Or love to hate, depending on how you look at it. Nebula is not a character out to make friends or allies, but that just makes her solo story all the more intriguing for fans.

***SPOILER WARNING***

This issue marks the start of a five-issue miniseries following the one and only Nebula. She’s a conflicted and tortured character, and one that has more than earned a chance to tell her story. But given the opportunity, what sort of story will she be inclined to tell?

Nebula, like Gamora, is the adopted daughter of Thanos. Unlike Gamora, she didn’t receive special treatment (for being the favored daughter and all that). That has, understandably, resulted in some bitter feelings on Nebula’s part. Bitter feelings that she’s been drowning in for years.

Perhaps that is the reason she starts off this series with such a drastic measure. For it’s clear that Nebula is desperate to bring change into her life, regardless of any and all risks that may come with it. But then again, this is Nebula we’re talking about…

And so Nebula’s quest begins…by scaring a little girl?

The Plot

Nebula #1 is everything it promised the fans it would be. It’s dramatic and full of all that fantastic Nebula angst fans have come to love. Mind you; this is the Nebula we’ve come to know from the comics. Not the MCU version of Nebula, where she’s found a semblance of peace for herself.

Vita Ayala brings us Nebula in her pure and raw form. A Nebula who is still fuming about everything that has been done to her, and as such, is actively seeking to get an edge. Something, anything to let her escape the shadow of Thanos (and Gamora).

If that sounds like a lot of raw emotion, that’s because it is. Ayala bottled all of that up and tucked it neatly beside the core of this plot. Mainly, that plot involves Nebula getting in over her head, all in the name of doing some great (and dangerous).

In that sense, this series is already proving to be exactly what we expected. But there are actually quite a few surprises to go alongside that, such as the way this issue concludes. It’s unlikely that any fan will see that little revelation coming. Nor can we predict how it’s going to go from here. But we have four more issues to find out.

Nebula is ready for a fight, and perfectly content to grab a child by the head.

The Art

The Cover for Nebula #1 is one of the most vibrant and dynamic covers coming out this month. So for that reason alone, this issue deserves a little bit of attention. The artwork inside is also quite noteworthy, as well as being unafraid to have a little fun.

The artistic team really ran with the concepts provided for this issue. The scenes laid out are either striking or fascinating, depending on what is being depicted. The trick that Nebula sought out was especially well portrayed, with clever alterations to any expectation set.

Claire Roe was the lead artist, with Mike Spicer providing the coloring, and VC’s Travis Lanham doing the lettering. Together they brought us a dramatic issue, one full of fighting, anger (again, this is Nebula we’re talking about), and science fiction insanity.

Well, at least now the reason for grabbing that kid makes sense…

In Conclusion

Nebula #1 is a chaotic and highly entertaining introduction to her latest miniseries. It’s got everything fans could have expected and hoped for – as well as a few surprises to keep us going. The artwork made the entire plot all the more interesting, especially thanks to Nebula’s ability to get herself into the strangest battles.

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Review: SUPERGIRL #39 Fighting The Fight, For Better Or Worse

By

Darryll Robson

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Supergirl #39 cover — Supergirl #39 Credit: DC Comics

The Last Daughter of Krypton fights the Amazonian Princess in an epic battle on the pages of DC Comic’s Supergirl, out this week. Continuing the sage of the Infected Supergirl as she tries to adjust to her new life, Jody Houser and Rachael Stott pull no punches.

It’s a superhero punch-up on a grand scale, but just how long will the U.S. Military sit back and watch? Spoiler: Not very long at all.

Super Dialogue

This issue opens with Supergirl’s speech from last issue being played to a U.S. Military War Room. The General in charge explains the situation to those gathered, with mentions of the Leviathan Event currently happening elsewhere and of Superman’s recent Identity reveal. Here Houser is able to turn a ‘previously in’ introduction into an element of the story. With this opening scene she brings the readers up to date on everything that has happened, in Supergirl and elsewhere, while also introducing a new element to the narrative.

It takes a while for this new element to appear in the comic because there is the whole issue of Supergirl Vs. Wonder Woman. The conversation between Kara and Diana reflects the current personalities of both women. Diana’s pleading for restraint and Kara’s anger and resentment comes through the speech patterns of Houser’s dialogue. This back and forth keeps the pace of the comic moving, assisted by the visual fight scenes.

The reader gets to understand a lot about what is currently making Kara tick at this point. Long time readers will be able to see the struggle happening within Supergirl and the contrast to how she has been represented in previous stories. There is an emotional battle going on within the hero, and Houser illustrates this perfectly within the narrative.

Action Illustrated

With any fight scene in a superhero comic you would expect it to be big and bold and this issue of Supergirl won’t disappoint. A large section of the comic is made up of Kara fighting Diana before yet another fight breaks out. Colorist Cris Peter soaks the pages in action inspired colors. Almost all of the pages are predominantly orange and yellow with inserts of red for the most violent actions.

Tom Napolitano’s lettering serves the script perfectly. The harshness of the contrasting fonts between Supergirl and Wonder Woman highlights the differences in personality. The chaotic appearance of Supergirl’s speech goes one step further as it illustrates the conflict within Kara herself. There is a violent struggle within Supergirl’s psyche which is visualized by the lettering.

Rachael Stott, almost in contrast, has a very clean, precise art style. She uses thin inked lines to define the characters, choosing to focus on the foreground instead of the background. This means that only scenery important to the actual story is illustrated, leaving the action to pop from the page, unhindered by location or setting.

For the most part this approach works, especially within a comic such as this. The story is about the interaction between these two super women and the internal struggle facing Kara; to a vast degree, everything else is immaterial. This point is highlighted within the story itself when Supergirl realizes, in true superhero fashion, the consequences that their fight is having on the local inhabitants.

The drawback of this focus is that any inconsistencies within the art are more noticeable. And there are a number throughout Supergirl #39. There is a moment where Wonder Woman’s Lasso of Truth disappears, causing a brief moment of confusion within the narrative. There are also some questionable anatomical decisions in a few panels, making the reader stop unnaturally, disturbing the rhythm of the comic.

Stott injects the images with energy, and her style brings out the power of the central characters. She is also able to fill the cast full of emotion, alternating between rage and helplessness in the lead role but also giving the supporting cast powerful reaction shots. The locals trapped in the barn are a perfect example of this. Their fear is clearly depicted upon their faces.

Conclusion

Part 3 of the ‘I’m the Bad Guy’ story has the continued action that is required for this type of superhero comic. Everything in this issue is larger than life, bursting with color, and has the conversational banter that keeps the story moving. Houser has a good grip on the balance between the action and the story. She is able to introduce elements into the combat that feed the emotional drama playing out without it feeling forced.

The artistic team also knows where to focus their talents. They concentrate on creating a visual difference between the two fighting women, which is the main aspect of this issue’s narrative. Unfortunately, a few inconsistencies and a plot that requires knowledge of stories outside of this title give this issue a disadvantage.

If you have been reading Supergirl for a while, this issue gives you precisely what you are expecting, but if you’re coming into this cold, it’s going to be a difficult read. It isn’t the best jumping on point, in fact, I’d give it a couple of months and come back for issue 41 when this current story arc is over.

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