THE MAGNIFICENT MS. MARVEL #12 Brings This Suspenseful Tale To An End

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MMM 12 Feature — Love this cover by Eduard Petrovich

The Magnificent Ms. Marvel #12 comes out this week from Marvel Comics and brings this suspenseful story to its closure.

(Spoilers Ahead)

With last month’s whirlwind of a cliffhanger, fans will likely dig right into Ms. Marvel this week. The first page greets us not with Kamala, but with her mother waking up in the hospital waiting room instead.

Opening here is a good decision as it is playing off of the cliffhanger further. We don’t see Kamala right away, and we still don’t know if she’s okay. Furthermore, the last issue gave us no word on Kamala’s father. So being greeted by Doctor Strange Surgeon Supreme to update Kamala’s mother on her husband’s condition, we’re given the understanding that we get the final verdict today.

Then we transition back to our unconscious hero, sinking deeper and deeper into the waters of defeat… Literally. Bruno, however, does come and pull her out. With how long we’ve gone without Bruno’s help at Kamala’s side, it’s good to see them having each other’s backs once again in these dire situations.

Just like the good old days for the dynamic duo.

The Magnificent Ms. Marvel #12 has a strong start for an issue. Kamala suits back up in her old costume, Surgeon Strange is updating her (and the reader) on her father’s condition, and Kamala is left with a dire decision to make.

Having to decide between her father and heroism again, Kamala chooses to pursue Stormranger and save her once friend Josh instead. This decision bears more weight than before as Strange informed Ms. Marvel he needs her blood to save her father, and time is running out. The gravity of this timeframe feels urgent, and this really seems like the final hurdle our hero has to face.

Ultimately, Kamala’s showdown with Stormranger does feel a bit anticlimactic. It can even be broken down as simple as, “She goes in with a plan, and it worked.” Granted the last issue was more of a showdown between the two but given the buildup from there, and that it seems to mean the end of Stormranger and the costume as a whole, it feels rushed.

The downside to this is that it undermines the urgency of time that was just given. Kamala does return to the hospital, and while it is stated that there are consequences for her decision, we don’t SEE the impact of them.

Though writer Saladin Ahmed definitely had a strong idea for this story and created an emotional rollercoaster for readers, this issue does end on an underwhelming note. The set up was strong and putting Kamala in these consistent situations where she chooses heroism over her family crisis because it meant saving the lives of others, VILLAINS, for that matter, says a lot for her character.

While the direction of the ending is fine, the execution seems to be just missing a few things. As mentioned earlier, the last showdown between Ms. Marvel and Stormranger is weak, and that doesn’t scratch the “Hero vs Evil version of themself” itch. While I’m sure it’s all too possible we haven’t ACTUALLY seen the last of Stormranger, the implied end just doesn’t fit the buildup.

That being said, this issue isn’t “bad” necessarily. While the conclusion takes away from the severity of the whole situation, there’s still a lot to like. Artist Minkyu Jung and inker Juan Vlasco put together some spectacular panels. Stormranger’s entrance in this issue is notably cool and gives off major “Carnage” vibes. Color artist Ian Herring keeps the aesthetic consistent and admittedly kind of nails the lighting and colors of a hospital waiting room.

I hope we see more Stormranger in the future. The power-kit on this thing is WACKY

The lettering is mostly average this issue, with one notably satisfying explosion effect that VC’s Joe Caramagna takes full advantage of. It doesn’t seem like an issue that lends itself to creative lettering as it’s a lot of dialogue as a whole. The most notable point to make is just that it reads smoothly.

Something quite positive to note about the conclusion would be Kamala and Bruno’s relationship. It’s the last thing we see this issue and displays a very realistic and understandable direction for these characters to take at this time. The whole situation is confusing for them since they’ve been through a lot together. It’s tough to say at this point in time if they’ll ever really work it out, but it keeps a real pace and never gets boring to watch.

While admittedly a little disappointed with the conclusion of this story, it does still stand out as the best thing to come from the current Ms. Marvel run. Though early issues of The Magnificent Ms. Marvel left me skeptical of the direction it was heading in, I am completely back on board for whatever comes next for my favorite Inhuman.

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DC Unveils ‘Generation Zero’ On Free Comic Book Day

By

Kevin Sharp

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February 5, 2020

This year’s Free Comic Book Day will be May 2, and DC Comics has revealed some big plans for their releases. The “main event” book will be Generation Zero, which the publisher describes below:

This 32-page issue features a stunning cover by Francis Manapul and features key stories involving Wally West, The Fastest Man Alive, and Wonder Woman, warrior princess from the island of Themyscira. New and longtime fans can’t afford to miss Generation Zero; this book lays the foundation for even more seismic-level changes in the DC Universe.

“Flash Forward: Epilogue” is a new story by writer Scott Lobdell and artist Brett Booth, following from their recently-completed miniseries that focused on Wally West after the events of Heroes In Crisis.

“A Brave New World” is a reprint of the Scott Snyder-Bryan Hitch story from Wonder Woman #750, that establishes Diana as the first costumed superhero in the DC Universe.

Besides Generation Zero, DC will also release a Middle Grade Graphic Novel sampler, including the first chapters of Batman Tales: Once Upon A Crime and Batman: Overdrive.

You can head over to the official DC blog for a further breakdown of the contents. Warning: this includes spoilers for the ending of Flash Forward!

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Review: Marvel’s STAR WARS: DARTH VADER #1 Is a Bloody Trip Down Memory Lane

By

Justin Munday

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Marvel’s 2020 restart of their Star Wars comic line brings to bear a new story from the perspective of everyone’s favorite Sith Lord. Writer Greg Pak and artist Raffaele Ienco’s “Darth Vader” #1 is an emotional ride through the past during one of Vader’s most distraught periods. The heartbreaking callbacks are met by scenes of brutal devastation by the hands of the Dark Lord, making this first issue a treat for any Star Wars fan.

“In the shattering climax of The Empire Strikes Back, Darth Vader infamously reveals his true relationship to Luke Skywalker and invites his son to rule the galaxy at his side. But Luke refuses — plunging into the abyss beneath Cloud City rather than turn to the Dark Side. We all remember Luke’s utter horror in this life-altering moment. But what about Vader? In this new epic chapter in the Darth Vader saga, the dark lord grapples with Luke’s unthinkable refusal and embarks on a bloody mission of rage-filled revenge against everything and everyone who had a hand in hiding and corrupting his only son. But even as he uncovers the secrets of Luke’s origins, Vader must face shocking new challenges from his own dark past.”

Writing & Plot

There is a massive two-fold challenge to writing a comic such as Marvel’s “Darth Vader.” The first obviously being planting your flag as a writer into one of the most beloved universes ever created. The other, specifically as a comic writer, is following up two other fantastic writer’s runs on the same character. Kieron Gillen and Charles Soule each crafted a Vader story at pivotal times in the Star Wars timeline. Fortunately, Greg Pak appears to be more than up to the challenge. He begins his Vader story in this first issue reflecting on the past, both in regards to the events of The Empire Strikes Back and the pre-Empire past of Anakin Skywalker. Pak understands that the key to writing the character of Darth Vader is that he is a character rooted in the pain of guilt. His rage is almost entirely at himself, and he lashes out against his supposed enemies as a reflexive action. Pak hones in on Vader’s simple actions via complex emotions through the many flashbacks and nostalgic scenes in “Darth Vader” #1. Admittedly, this issue is largely comprised of flashbacks that work to get the reader into Vader’s head. This works for a character of few words and massive, brutal actions. The supporting character, an information analyzing droid, works basically to provide exposition in a creative way. Despite its reliance on past Star Wars knowledge to provide the emotional core of its storytelling, Pak manages to write an emotionally compelling and highly engaging Vader story that promises more original plot points as the series continues.

Art Direction

Marvel has always managed to bring top-notch artistic talents to the table when it comes to their Star Wars comics. This trend holds true with Raffaele Ienco‘s pencils on “Darth Vader” #1. There’s a fantastic blend of character and architectural work that brings out the exact visual variety and authenticity needed for stories in the long-running franchise. Ienco’s representations of Star Wars characters from the past look excellently faithful. His renderings of classic locations such as the Lars family moisture farm are both spot-on and properly weathered as time has passed. Mosty importantly, Ienco’s Vader is one of the best had in all of comics. The immaculate suit detail combined with the menace of his size and expressionless masked face represents the iconic character perfectly.

The colors from Neeraj Menon bring life and dimension to the Star Wars universe in often subtle yet highly effective ways. The look that Menon uses is noticeably grounded approach, which is likely why this comic’s aesthetic is so easily engaging. The colors work in tandem with the pencils and inks to create a textured look to the environment so they look more realistic and cinematic. This is actually a method used in most Marvel Star Wars comics, and it’s easy to see why. Everything from the sun-baked surface of Tatooine to the sanitized black of a Star Destroyer’s bridge looks exactly like it does in the films, just with a spot-on artistic rendering. There’s expert work here in the gradients and shades used by Menon, aiding the atmosphere of this comic and helping to make it so easily enticing.

“Darth Vader’ #1 is a look into the side of an iconic villain that hasn’t really been seen. Pak’s examination of Vader’s psyche during one of his most vulnerable moments makes for an emotionally hard-hitting read with more surprises to come. The visuals from Ienco and Menon breathe a familiar universe to life with authenticity and stellar talent. Any Star Wars fan needs to have this in their pull list on 2/5!

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Review: Some Tales Ended, A Treasure Rediscovered in THE DREAMING #18

By

Justin Munday

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The second-to-last arc of Si Spurrier and an incredibly talented team of artists’ run on The Dreaming comes to an end with issue #18. This wondrous arc ends in an emotional and poetic chapter that wraps up not only one of the most pressing plots in The Dreaming itself, but builds on a Sandman story some thirty-years in the making.

Rose Walker was a vortex, once. And as a vortex, she draws dreams to herself…and she is drawn to them. And it’s a good thing, too, because Dora, Matthew, and Abel are in well over their heads in the waking world—a world that is slowly destroying itself, as Wan’s plans for the collective unconscious of humanity have come to pass!

Writing & Plot

Writer Si Spurrier has had the unenviable job of continuing the story of the world Neil Gaiman created in Sandman over thirty years ago. Fortunately, Spurrier has been up for the task. His work on The Dreaming has successfully recaptured the wonder of Gaiman’s universe and character while barely featuring the Dream Lord himself. The real wonder of The Sandman Universe is the variety of characters that inhabit it, and Spurrier writes them all new and old with all the intelligence and charm as could be desired. The return of Rose Walker from the classic “Doll’s House” storyline from Sandman is an absolute treat for classic fans and a wondrous end to a plot point here in The Dreaming. The story in this issue is presented through a considerable amount of internal narration from Rose herself. In true Sandman and Spurrier fashion however, it’s an entrancing joy to read. The prose is poetic and enrapturing even at its most dense. The only possible slight against this issue is that if for any reason a person who hasn’t read Sandman picks this up (fat chance), they’re going to be a bit lost at some of these revelations. Outside of that, this remains a fantastically written piece of comic storytelling.

Art Direction

While it is disappointing not having the phenomenal Bilquis Evely on art again for this chapter of her and Spurrier’s run, Marguerite Sauvage does a stellar job in her stead. Her pencils faithfully capture the myriad characters and unique visions of the Dreaming’s cast while also bringing a grounded reality through. This reality is besieged by Wan’s accidental destruction of fiction, and so the dead expressions on the many human characters create a perfectly somber mood when needed. The colors may be the real champion here, as the palette shifts from the muted grey of a dying society to explosions of unexpected color. Panels and shots run a gamut of color choices that intensify the wonder of this altering universe. Sauvage’s visual flair fits in extraordinarily well on The Dreaming #18.

Thus, the time of Si Spurrier and a host of wildly talented co-creators tenure on The Dreaming nears its end with issue #18. This is a beautiful and poetic chapter of chaos and emotion that ends some stories, but leaves others open the final two issues of Spurrier and Co.’s run. The script is eloquent and nostalgic, while the art is stunning to examine. This has been one of the best runs to watch happen over the past couple years, and so it will be an intriguing wonder to watch the future of this story come to a close. Be sure to grab this chapter on 2/5!

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DARK AGNES #1 Is a Tale of Rebellion and Freedom

By

Cat Wyatt

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DARK AGNES #1, out this Wednesday from Marvel Comics, dives headfirst into the tale of Agnes – a woman who resists the norm with blood and violence in spectacular fashion. This miniseries is bloodthirsty and bold in the most refreshing of ways.

Agnes is looking ready for a fight on this cover of Dark Agnes #1.

***SPOILER WARNING***

If you’re looking at this series and asking yourself whether or not you recognize the determined young woman on the cover: the answer is yes. That is the only and Agnes, aka Dark Agnes, aka Agnes de Chastillon. She’s made an appearance before, in the Marvel universe. But this time around she’s getting her own miniseries, and she’s going to make the most of it.

By most of it, we, of course, mean causing as much bloodshed and mayhem as possible. All in the name of freedom – and revenge. For nobody can hold a grudge like Dark Agnes, and she’ll make everyone who hurt her – and her mentor- pay.

Of course, she made her way onto a wanted poster!

The Plot

There is something so liberating and enjoyable about reading Dark Agnes’ tale. Perhaps it’s because she herself doesn’t seem to care much for societal norms or expectations. Regardless of the source, Becky Cloonan channeled that emotion well in Dark Agnes #1.

This series starts off with a bang, though thankfully not literally. Dark Agnes may have a bad reputation by some, but that does not mean she’ll leave her friends to hang. Or to be beheaded, as the case may be.

Dark Agnes #1 balances out the daring escapades of this brave woman with flashes of backstory. Thus it’s an easily approachable series, even to those that don’t know her by name or sight. This single issue quickly got everyone to the same page and made it clear what she has gone through – and what she hopes to accomplish.

There are some interesting hints strewn about this issue, which may or may not become relevant later. One thing is certain, Agnes is feeling very bitter about her past, as she’s inclined to rant about it with little provocation (but again, that served a literary purpose in this instance).

And let’s start Dark Agnes #1 off with an execution…or will we?

The Art

Dark Agnes #1 is full of brilliant artwork, all while thematically matching the time period. Agnes herself is a shining beacon, thanks to her short red hair and feisty expressions. It’s no surprise that she stands out – both against the crowd and to our eyes.

If there’s one thing this issue excelled in, it’s showing the gore and violence of the time, and how much Dark Agnes seems to be actively seeking it out. Her reactions to it all are the beginning of a tale we all know so well and yet can’t resist reading along once again.

Luca Pizzari was the lead artist for this issue, working alongside Jay David Ramos for the colors, and DC’s Travis Lanham for the letters. Each artist worked exceptionally hard to match the aesthetic of the series and time period. A fact that is most evident on the title page – the font choice and color palette make it truly look like a poster from the past.

We’re loving the sass from the first few pages of Dark Agnes #1

In Conclusion

Dark Agnes #1 was an entertaining and thrilling introduction to this new miniseries. It’s always refreshing to see an interesting character like her grab the limelight, if even for a time. There’s no doubt that she’s going to all sorts of mischief and mayhem during her run.

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The Past and the Present Collide in NOMEN OMEN #5

By

Cat Wyatt

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NOMEN OMEN #5, out this Wednesday from Image Comics, continues the dark and twisted tale, raising the stakes while increasing intrigue for all. This is a world in which the lore of old is on a collision course with the modern world.

Enter a mysterious new immortal in Nomen Omen #5.

***SPOILER WARNING***

From the start, it was clear that Rebecca was not your typical girl. Even the readers of this series, who don’t yet know the full backstory, can tell that much. Her story and path have been rapidly unwinding in this series, as she comes across deities and legends that she never really believed in. Arguably, she still doesn’t believe. But there’s time yet.

Nomen Omen #5 picks up that story, while also providing a surprising perspective to the mix. This is an issue worth reading, for those fans more curious about the other side of Rebecca’s story. That is to say, the creatures working in opposition to her health, by all appearances.

Rebecca’s awakening is getting ever closer if this cover is anything to go by.

The Plot

Nomen Omen #5 is a chilling read, with lots of weighted implications about Rebecca, her past, and her future. What makes this issue all the more alarming is the glimpse into the immortals that have filled these pages.

Any illusion to their humanity must be shed while reading this issue. Marco B. Bucci wrote this revelation with so much poise, and yet there’s a brutal sense to their being and nature. It’s a fascinating balance and one that does justice to the series itself.

There was one fairly shocking element in this issue, as the creative team pulled a real-life tragedy onto the pages. That does tend to increase the impact of a story – that is a given. But will this help to ground the characters, or alienate them further, thanks to their reactions?

This issue is one that’s going to raise a lot of questions for the readers. We’re officially at the third way marking point, and that means it’s time to the ante to be raised once again – as appears to be the case, thanks to this dramatic issue conclusion. But what will happen next? What does this make Rebecca, and how much of her future has been altered because of these choices? (Not that she had a whole slew of choices, to begin with).

A photographic alternate cover for Nomen Omen #5 makes for a refreshing change.

The Art

All of Nomen Omen has featured stunning artwork, and Nomen Omen #5 is no exception. In fact, this issue may be the most colorful of the bunch, thanks to the perspective change – remember, Becca is color blind, with the exception of seeing magic. That brilliant decision is still here, but to a lesser extent, as Becca’s tale takes up on half of this issue.

Jacopo Camagni provided both the lines and the color, and they created something stark and wondrous here. It’s always interesting to see how an artist will represent an origin story for someone immortal. Camagni went for a blend of classic and new, which is actually quite appropriate for this series. His characters were beautiful and stunning – being immortal and all that, but they were also very clearly something other.

Fabio Amelia was the letterer for this issue, and their work is another element worth talking about. While sometimes the more stylized script is difficult to decipher, that seems to suit the mystery of this series, and thus likely done with intention.

A sneak peek at what is to come in Nomen Omen #6.

In Conclusion

Nomen Omen #5 was a striking issue, one that brings with it endless change. Becca may not have received all of the answers she’s seeking. But there’s little doubt that she’s well on her way to finding them – and making a few dramatic changes in the process.

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LOIS LANE #8 Reminds Us Lois Can Handle Her Own

By

Zac Owens

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DC Comic's Lois Lane is more than just the wife of Superman

DC Comics’ Lois Lane #8, written by Greg Rucka, with art by Mike Perkins, colors by Gabe Eltaeb and letters by Simon Bowland, gets right to the point this week. After the cliffhanger of the last issue, we get to see Lois and Renee fend for themselves. With the Man of Steel in the wings, we are constantly reminded by this creative team that Lois is no damsel in distress. She’s the Woman of Steel.

Writing

Rucka’s plot seems to be slowly coming to ahead. However, Rucka is more interested in the interpersonal conflict or systemic injustices than supervillains. Our introduction to a supervillain in this issue is brief and ultimately anticlimactic, but the anticlimax of it all is what cements our love for Lois. Not only does she defend herself, but she also takes everything in stride. Nothing can rattle her. And despite Superman’s many offers for help, we get the impression he’s someone who is almost twiddling his thumbs. Stepping in at the last moment of each crisis to see Lois and Renee have dealt with it, only to be politely told by his wife to go away. She has it in the bag.

Art

Perkins’ art continues to create the neo-noir atmosphere that this series has lived in. Perkin’s art brings emotion and confident body language to Lois and Renee. While they seem concentrated and sometimes concerned in the midst of chaos, their almost immediate ease once danger has passed speaks to their competence. Lois smiles as the cops investigate, as Renee sleeps in an armchair. When Superman arrives, Lois doesn’t clamber to him but instead gives him a quick kiss and sends him home. Their body language shows their faith in themselves and helps us to have confidence in them too.

Coloring

Eltaeb’s coloring continues to set a brooding tone. The cool palette, using lots of blues and purples, gives each scene a dark feel. But when the police or Superman arrive, the palette becomes warmer. It opens itself up and feels less closed off. It’s the darkness that reminds us that Renee and Lois are on their own. It doesn’t speak to the danger, as we already know they know what they’re doing. But it gives us a sense that they are setting out into the dark to find the truth. Undaunted, as only they would be.

Lettering

Bowland’s lettering is simple and to the point. It varies rarely, but when it does, it does so to significant effect. The supervillain who has arrived on the scene in the opening chapter speaks in a different style than when she was undercover. It makes her feel otherworldly in a way that gives the character some clout. Bowland’s placement of the word balloons help show the kind of relationship Lois and Renee have. Placed far apart, it makes it feel as though there are long pauses between lines. But these characters are already so comfortable with each other the silence doesn’t irk them.

The creative team once again gives the Woman of Steel the treatment she deserves. Without talking down to her or being heavy-handed about her independence as so often is the case with her character, we get to see Lois as she truly is. The badass who knows what she’s doing can protect herself, and would more likely like Superman to show up to kiss him on the cheek than to be saved by him. This is the Lois Lane that you call in for help, not the one doing the calling. Pick up the next great chapter in this series, Lois Lane #8, at your local comic book shop on February 5th!

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Review: ANT-MAN #1 Carries Giant-Size Comedy

By

Anthony Wendel

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Review: ANT-MAN #1 Carries Giant-Size Comedy

Ant-Man #1 (of 5) hits your local comic book shop this week from Marvel Comics, and he’s got his daughter as a partner thanks to Zeb Wells, Dylan Burnett, Mike Spicer, and VC’s Corey Petit. Will this father and daughter team steal everyone’s heart, or would it be better if everyone avoided this picnic?

Summary

Scott Lang is back and doing better than ever! Er, at least according to him, but his daughter, Stinger, and the anthill he’s living in say otherwise. Desperate to raise his daughter’s opinion of him, Scott takes a job from local beekeepers only to uncover a global conspiracy that could topple the world order!

Writing

Scott is not in the best place as this series starts off. He’s shown to be quick to name drop his Avengers teammates, glory hunting, and is living in an anthill. Even Cassie seems to be not willing to give him any breaks throughout the issue. It seems like the series is setting up Scott finding a way to prove himself to Cassie, accepting the fact she is now a hero herself, and help to get him out of this rut he is currently in.

Zeb Wells is channeling the comedic side of his writing portfolio. Lots of good humor helps to drive the issue, and you would expect nothing less from a former writer of Robot Chicken. Still, there is a good natural progression in the issue as Scott goes from taking a simple job to make ends meet to finding himself in a fight for his life in a very short amount of time.

Artwork

The artwork by Dylan Burnett offers a great overall look for the book. The insects look impressive, and the fight scenes are powerful thanks to his work. Unfortunately, many of the facial features drawn in the comic are distracting and unnatural, to say the least.

With color work by Mike Spicer, the book employs a lot of shading elements to it. This allows for some visual interactions between the insects and Ant-Man. It also helps to offer some great effects with Ant-Man’s ability to change sizes in an instance.

The lettering by VC’s Cory Petit serves as a driving force in the issue. Through different borders for dialogue boxes, it is much easier to distinguish the various translations associated with each of the insects Scott interactions with. It also helps to add to the comedy of the issue.

Conclusion

Ant-Man #1 is afun issue and once again shows how entertaining Scott Lang as Ant-Man can be as a character. Though it’s only a mini-series, hopefully, it will lead Ant-Man to a better place than when he started. Lord knows he can’t get any lower.*

*The Editing Staff apologizes for this bad pun. The Writer has been ordered to sit in the corner and think about what they have done.

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Review: Matt Murdock Takes On The Ruling Elite In DAREDEVIL #17

By

Corey Patterson

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DAREDEVIL #17, available in comic book stores on Wednesday, February 5th, brings another fight to Matt Murdock’s doorstep. But this isn’t a physical battle; Matt’s abandoned his old ways (allegedly) and is seeking to deal with the root of Hell’s Kitchen corruption, rather than the symptoms. This means he’ll have to refrain from beating up poor criminals and using less violent methods to take power from the ruling elite.

Matt’s claimed to have given up his violent ways, only to engage in them shortly thereafter. Will he live up to his word this time?

Story

In DAREDEVIL #16, Matt and Elektra stole billions of dollars from the Storwyns, a corrupt family business who’s been systematically destroying Hell’s Kitchen. Though Elektra kept a billion for herself, she sent the rest of the money to nonprofits, clinics, and small businesses throughout Hell’s Kitchen. Her motives weren’t entirely pure, but this act helped Matt believe he could fight for the city without using violence.

Before staging his next heist against the Stormwyns, Matt pays a visit to Ms. Carraro, the mother of the man he accidentally killed at the beginning of this series’s arc. He offers her some of the money acquired as recompense, but she declines it. What’s more, she claims she knows it was him who murdered her son.

In this moment Matt begins to feel the guilt of his life as Daredevil surround his soul. Yet in an unexpected turn of events, Carraro forgives him. And just like that the waves of guilt begin a slow process of washing away, further solidifying his commitment to a less violent campaign against the forces of evil in their city.

Writer Chip Zdarsky does an excellent job of portraying class struggle in the poorer sections of large cities. Using this fictional version of Hell’s Kitchen, he captures what it looks like when a few corrupt individuals hold all of the power—and what it looks like when that same power is given back to the people.

Artwork

The illustrations with this issue gives readers an effective take on live in a neighborhood like Hell’s Kitchen. Jorge Fornés’s penciling and ink work, along with Nolan Woodard’s coloring, captures the highs, lows, and general lifestyles of the city’s citizens. Readers get to see the fine architecture of rooms owned by the elite class, the sketchy bars used for meetings of the competing mobs—even the meager conditions of poor families like the Carraro’s.

In addition, VC’s Clayton Cowles’s lettering makes it easy for readers to tell both who’s speaking and whether or not their dialogue is internal. However, it would have been good to see more variance in style here.

Comic Cover

Main Cover

Julian Totino Tedesco’s cover artwork features Matt in his classic black ninja outfit, reflecting his continued commitment to staying away from the Daredevil label.

Conclusion

DAREDEVIL #17 takes readers on a journey into Matt’s consciousness; more so than ever in this run. We see him deal with guilt in a way few humans could possible manage, inspiring those of us who are unnecessarily hard on themselves.

Do you think Matt’s new method of crime fighting will stick this time? Let us know in the comments below!

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Review: It’s All About Darkseid In JUSTICE LEAGUE ODYSSEY #18

By

Corey Patterson

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JUSTICE LEAGUE ODYSSEY #18 variant cover art

The threat of intergalactic war builds in JUSTICE LEAGUE ODYSSEY #18. Available in stores on Wednesday, February 5th, the issue brings all of our dispersed heroes together for the fight of their lives against the forces of Darkseid. With Orion and a new hero named Gamma backing her up, Jessica Cruz faces off against Xotar, one of the newly christened New Gods. But despite this being’s incredible power, the foe she dreads the most isn’t a foe at all—it’s a lost friend.

Story

Cruz and the other League members on this mission have found themselves in dire straights. They’ve managed to convince the Eskaton creature to follow them to Darkseid, but even that might not be enough, especially when fighting a version of Cyborg completely controlled by the villain.

Dan Abnett’s writing captures the fully embodied emotions of Cruz. We feel her despair and sorrow—and yet, a glimmer of hope shines through as she calls out to what’s left of Cyborg. Whether her call is all in vain remains to be seen, but it’s inspiring seeing a realistic character face darkness while keeping the faith.

However, the Eskaton awakes at an inopportune moment and disrupts the battle. And it’s ready to “greet” the New Gods.

The Eskaton easily disposes of Xotar and attempts to destroy the Darkseid-controlled Cyborg. Fortunately, Cruz reminds the creature of it’s agreement to refrain from destroying anything else so that the League could take it to the overlord. Acknowledging the terms, the beast miraculously retreats into the Mother Box.

We see Cruz attempt to reach out to Cyborg in this moment of reprieve, but to no avail. The former League member reports back to Darkseid, leaving the team more vulnerable than ever. But seeing the Green Lantern’s heroism is a site to behold.

Artwork

Cliff Richards’s penciling and ink work, along with Rain Beredo’s coloring, reflects the unending chaotic events in the issue’s narrative—and it’s enthralling. Readers are treated to extravagant bursts of energy via warm hues, which clash with the cool colors of the Old Gods’ unearthly beams of negative power. Yet despite these clashing colors, the forms of more solid figures are highly detailed, right down to the intricate lines of the Mother Box.

The lettering work from Andworld Design features a wide variety of font styles and dialogue box designs, which helps give each character their own flavor.

Comic Covers

Main Cover

José Ladrönn’s main cover artwork places the viewer behind a menacing depiction of Darkseid. The grayscale background and flashes of bloodlike reds make it clear the villain is planning something horrible.

Variant Cover

Skan’s variant cover features the major players in this issue: Cyborg, Cruz, and Darkseid. Each is locked in battle, representing the conflict at the Edge of the Known Universe.

Conclusion

JUSTICE LEAGUE ODYSSEY #18 moves the pieces in this game ever closer to their final destination: Darkseid. This exciting narrative gets better with every issue; we’re ready to see what challenges the mighty villain prepares for our heroes.

Are you ready to see Darkseid gain power again? Let us know in the comments below!

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