Spider-Verse #5 hits your local comic book store February 5th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: SPIDER-MAN NOIR, DEAD NO MOIR?!
Miles continues his journey to save the web of life and comes face to face with Spider-Man Noir! But, wait…isn’t he dead?!
Spider-Verse #5 is by writer Christos Gage and artist Juan Ferreyra, with letters by Joe Sabino. Dave Rapoza created the cover.
The series follows Spider-Man Miles Morales as he traverses the Spider-Verse, interacting with different spider-people along the way. In this issue, Miles comes across the Spider-Man of Earth-90214, aka Spider-Man Noir, a character thought dead.
You can see in the preview that Ferreyra was the perfect artist for this story, as his inking and color pallette excellently recall the tone of classic noir films.
Spider-Man Noir was a featured character in 2018’s Into the Spider-Verse film, as voiced by the incomparable Nic Cage, and quickly became a fan favorite (though he was already a favorite to comics readers for years prior).
Check out the Spider-Verse #5 preview below:
Are you reading Spider-Verse? Sound off in the comments below!
The baddies in Li’l Abner may not have super-powers, but they sure can be a nuisance. Much like their contemporary comicbook super-villains, though, some of Li’l Abner’s villains prove to be more of a nuisance than others. From Marryin’ Sam, the lovable grifter, to Baron Slinkovitch, the rat-faced conman out to bilk Aunt Bessie out of her millions, several levels of dastardliness are covered in the first year of Li’l Abner’s publication.
Always looking for a quick buck…
Li’l Abner’s Villains: Marryin’ Sam and Other Lovable Grifters
The least offensive of Dogpatch’s villains is likely Marryin’ Sam. The absent-minded grifter, always after a free meal and a quick buck, performed the first marriage ceremony between Li’l Abner and Daisy Mae. Unfortunately for Daisy Mae, Sam had long since lost his marryin’ license. A relieved Li’l Abner survived another 20 years as a bachelor, but love — and Daisy Mae — eventually had their way when Abner and Daisy Mae finally got hitched in the ’50s.
Other notably lovable grifters include Fishface and Hollowhead, who kidnap Pappy Yokum in an attempt to get rich quick by ransoming Pappy for four whole dollars! Never to be out-grifted, though, Marryin’ Sam worms his way into the story, outmaneuvering the two other scoundrels, and securing the fortune for himself.
In one of my favourite story-lines, the three villains above conspire to rig a beauty contest only to be foiled by Mammy Yokum, who ends up winning the contest herself.
Daisy Mae’s Suitors
Daisy Mae’s myriad spurned suitors make up a slightly more conniving layer of Dogpatch’s seamy underbelly. Whether it’s Abijah Gooch or Hannibal Hoops, the non-Yokum male constituents of Dogpatch just don’t seem to know how to treat a lady.
Li’l Abner’s famous distaste for “girls” notwithstanding, he or Mammy Yokum always makes sure that no one treats Daisy too roughly … or too well. One particular episode that had me, and probably several readers, laughing out loud involved the lovelorn Hannibal Hoops trying to discredit Li’l Abner, his perceived romantic competition for Daisy Mae’s affections.
Dressed as the ghost of Daisy Mae’s learned cousin Judge Scragg, who — being a ghost — is supposed to be omniscient, Hoops tells Daisy Mae an unprinted but, the reader is assured, horrible secret about her true love Li’l Abner.
“Shecks, Sol, only I get to treat Daisy Mae like dirt!”
Lucky for Daisy Mae, Mammy appears and clears the air. Mammy tricks the “ghost” into saying that he remembers kissing Mammy long ago. This exposes the ghost as a fraud. There was no kiss. Mammy, rather adorably, states that the only man she has ever kissed is Pappy. Awwwwww … Mammy socks the ghost, tears off its mask, and exposes Hannibal Hoops for the fraudster he is.
Li’l Abner’s Cousin Solomon also finds out how complicated it can be to interact with Daisy Mae when he gets walloped by both her and Li’l Abner for sounding “like he meant it” when, mimicking his charming cousin, he tells Daisy Mae to get lost.
Li’l Abner’s Villains: The Sadistic Ex
“Pappy, I hate you so much that I jumped out of one comic and into this one to get my revenge!!!”“Wait. Why were they frying eggs…?”
Sadism has no place in Dogpatch, so Nellie Noggins, Pappy Yokum’s ex-fiancée who he left at the altar, occupies the next level of villainy on this list.
Although her torture methods are somewhat pedestrian — she eats pork chops in front of Pappy and then has a dog lick molasses off of his feet (some people’s idea of a fun Friday night) — it’s her motives that make her a villain.
She might call herself Nellie Noggins in this story, but faithful Li’l Abner readers should recognize Ms. Noggins as Granny Groggins, from Capp’s ill-fated Washable Jones comic strip. Washable Jones was a two-line supplemental strip at the bottom of Li’l Abner‘s four-line Sunday strip. Noggins, as gigantic and monstrous as Pappy is diminutive and cute, never got over the pain of being left at the altar for Mammy, the superior po’k chop cooker.
Li’l Abner’s Villains: The Scraggs
Although this story-line eventually resolves peacefully, the feuding Scraggs from Skunk Hollow, especially Lem Scragg, take their blood feud with the Yokums quite seriously. After the Scraggs take over their cousin Daisy Mae’s house, Abner eventually finds himself motivated to toss the invading Scraggs out on their ears. No surprise; Mammy and Li’l Abner solve the dispute with a left, a right, and a threat of further violence. Sure, the good guys used a little intimidation and corporal punishment, but at least no one had to use a shootin’ iron.
Li’l Abner’s Villains: Professional Con-Artists
The most reprehensible constituents on this list are two con-artists without any redeeming merits, Baron Slinkovitch and Cynthia Astorbux. The dastardly Baron Slinkovitch of Skurvia tries to lure Abner’s beloved Aunt Bessie into a sham marriage so that he can steal her fortune — Skurvian law dictates that all property previously belonging to the wife becomes her husband’s after marriage.
Abner manages to out Slinkovitch as the villain he is by, first, forcibly shaving off Slinkovitch’s lustrous beard, and then tricking him into losing his temper and revealing his plan in front of Aunt Bessie … oldest trick in the book.
Cynthia Astorbux occupies the same level of immorality. Seeking her niece’s vast $10-million fortune, she faces off against her sister Agatha, attempting to influence her niece’s decision by getting on her niece’s friend Abner’s good side. Abner, lovable doofus that he is, goes for Cynthia’s act hook, line, and sinker. Luckily, young Mary-Ann Astorbux is no fool. Eventually convincing Abner that Cynthia is not the tenderhearted damsel she represents herself as, Mary-Ann and Abner escape the clutches of her greedy aunts. They escape to Dogpatch where Mammy, once more, sets all aright.
Mammy convinces the judge in charge of the dispute to set Mary-Ann’s money aside in a trust fund that neither of her aunts can touch. When only Agatha, who finally sees the light and realizes that taking care of her darling niece is its own reward, agrees to Mammy’s terms, all becomes well.
One wonders what the hell this judge is getting paid for, but there we are.
Y’all Come Back Now, Ya’ Hear?
That about does it for my articles on the first year of Li’l Abner‘s publication. Following decades of publication saw the introductions of popular characters and properties like Joe Btfsplk, Fearless Fosdick, and, of course, the lovable Shmoos.
That Capp could be accused of oversimplification goes without saying. And, like many of his contemporaries, Capp frequently came down on what many would call the wrong side of history, but his loving pastiche of southern culture provides more than just stereotype and prejudice. Whether Capp’s pastiche is accurate or not is open to interpretation, but none can deny its charm or Capp’s obvious devotion to his subject.
With Transformers #16 from IDW by Brian Ruckely, Anna Malkova, Bethany Mcquire-Smith, Josh Burcham, and Joanna Lafuente it seems like the slow build present in earlier issues is moving forward in a positive manner. Does the increase in action scenes make up for the lack of movement in the murder case introduced in the first issue?
Riots rock Cybertron as the delicate balance of peace is fully disrupted. Amidst the anti-Autobot, anti-Decepticon, and anti-Rise actions, can Orion Pax, Chromia, and a Decepticon finally link the deaths of Brainstorm and Rubble to a larger conspiracy?
Writing
This description is very inaccurate yet it is the link to the main page for the book on IDW. Orion Pax isn’t the main focus of the issue (he’s barely in it for a full-page) and Chromia isn’t even present. Still, despite how the description is misleading and the murders of Rubble and Brainstorm don’t aren’t center stage (and are barely mentioned), the issue has a lot to offer the audience.
Writer Brian Ruckely decides to move Megatron’s plans forward in a drastic way, showcasing how he is making good on his promise in the previous issue not to mess around anymore. Deciding to move first and ask for forgiveness later, Megatron orders the launching of a mission which takes up the rest of the issue and is filled with action and drama guaranteed to keep the reader on edge.
Artwork
The pencils and inks are split into two teams of artists again. Anna Malkova and Bethany Mcquire handle the pencils and inks. Anna Malkova’s pages help to establish the atmosphere as the characters engage in diplomacy. The work by Bethany Mcquire-Smith is utilized for some intense action scenes.
The coloring by Josh Burcham and Joanna Lafuente perfectly seems to assist the different artists they are supporting. Josh Burcham helps to add definition and makes the emotional reactions of the characters pop. Joanna Lafuente aids in cementing the powerful moments in the action scenes.
The lettering by James M. Wood helps to add some very impressive sound effects to the issue. The effects are utilized in a way so it doesn’t detract from the artwork. This keeps being a big problem in comics which is a trap Wood could teach others not to fall into.
Conclusion
Though the mystery behind the murders are ongoing, Transformers #16 succeeds instead by offering action and the setup for drama in future issues. Thought it would be nice if the murderer of Rubble and Brainstorm was revealed, the effects of their deaths are on display. Cybertron is on the brink of catastrophe and this issue moves the plot one step closer to civil war.
ComiXology Original Quarter Killer by Vita Alaya, Danny Lore, Jamie Jones, and Ryan Ferrier reaches its penultimate chapter with a fourth issue that ratches up the tension with a dual narrative setting up one hell of a cliffhanger ending.
From ComiXology- Injured in Staaten Eylandt, QK is out of commission when an anonymous message comes for a 12 quarter job. Lo Tek, Hi Top, and Aya take the mark, leaving QK to rest and recover. Their target? The offices of the New York State Senators, who hold the deciding vote on a bill that will determine the rights and powers of corporations as entities. While the gang infiltrates and jockey’s data, QK faces some uninvited guests back at the Arcade. It looks like they’ve finally been pinged by Pyn’s, and he is NOT happy about his old colleague getting involved in the business again.
Quarter Killer#4 Script by: Vita Alaya & Danny Lore Art and Colors by: Jamie Jones Letters by: Ryan Ferrier
Story
Being the fourth issue of a five-issue series, Quarter Killer #4 hits the ground running with its plot. Lo Tek, posing as a driver, manipulates Senator Ellis (the mark) as they enter the State Senators’ house, into a room with the young Aya. So far it plays out like a typical heist plot. But the interesting take here is how instead of the usual scene of forced interrogation, intimidation on the senator, Aya, and Lo Tek have a serious discussion with the man. And that results in an almost mutual understanding on both parts. It’s a clever bit of narrative. It’s unexpected and enriches both the stories and the characters.
The other story told here (and it’s mixed in with the roping in of the senator to create a great sense of parallel narrative) is Q.K. getting attacked by former ‘friends’. These scenes are fast, tight and intense; they add urgency to the issue and they also lead into the cliffhanger that sets up the upcoming final chapter as well.
Art
The credits for Quarter Killer list artist Jamie Jones as creating the “Beats” (the writers are credited as ‘Lyrics’). That is as near perfect a description as you could get, because the art in QK moves, jumps and dances its way across pages. Jones’ thick lines, exaggerated posture, swift panel movements, and fantastic patterns and colored pages/backgrounds create something truly unique. There are newspaper/comic strip influences in its panel work, and that’s always welcome.
And speaking of colors and patterns, this is one vibrant palette. It gives this cyberpunk story visual energy that runs alongside the pace in the narrative.
Conclusion
Quarter Killer is unique and should not be missed. There is one issue left in its run, and there is still time to jump into this comic and bop along with its beats. Raise the volume on this one.
The Rogues’ Reign has come to an end. While struggling to control their powers, The Flash Family joins with the Rogues to overthrow their leader, Captain Cold. When facing the tyrant, it’s revealed that he also had received overcharged powers from Lex Luthor. This leads to a superpowered slugfest between Barry and Snart while the others pulled Central City out of Mirror Master’s realm.
When they get out, however, Barry begins to bear down hard on Cold, nearly killing him. Even though it was an accident, the Scarlet Speedster requests to be taken away to Arkham with Cold. How will this change affect the speedster’s life?
**Some Spoilers Below**
Story:
We pick up shortly after the last battle with Flash and Cold on their way to Arkham. Barry tried to talk to his oldest enemy, but Snart tells him to shove it where the sun doesn’t shine. The speedster doesn’t let up, trying to make a comparison between the two’s pasts. Cold turns this line of thinking on its head by pointing out that with Barry almost killing him, they are alike.
Meanwhile, Iris takes Wallace and Avery to Meena Dhawan at STAR Labs to try and slow them down. Meena points out that the overcharged Speedsters’ vibrational frequency is entirely out of control. This revelation gives Iris an idea to save both of them and the Flash.
This issue fell flat after a great set up in the last issue. The way that the last issue’s ending was set up, it implied that Barry would need to carry the burden, both physical and mental. Instead, we have it ultimately pushed aside through a deus ex machina. This could have potentially been an interesting character arc for the Flash.
Along with the wasted potential of a great arc, we’re just left with tons of questions on why did the issue play out like this. Why are villains of Central City, which is usually portrayed in the center of the country, being transported to the coast by a special metahuman truck? How did the Flash Family not realize their vibrational frequency was off? How is our surprise guest able to fix them in the span of two pages? It’s questions like these that really bog down the enjoyment of the issue and the arc as a whole.
The only highlight is the cryptic ending for the upcoming arc. It’s shocking but also has been building towards for a while. While it is an exciting prospect, it isn’t enough to save this issue.
Art:
While the story was problematic, to say the least, Christian Duce’s art continues to amaze. While there isn’t much in terms of action, the detail he puts in every character is something to applaud. The conversation between Cold and Flash is full of raw emotion as they go back and forth. It will draw in many fans of not just the series but intense conversationalists as well. The story may have been the downfall of this issue, and the art makes it a beautiful story to look at.
Conclusion:
In the end, this issue was a lackluster epilogue to the Rogues’ Reign. Where the last issue set up a potential game-changer to the Flash series, it’s quickly discarded. This story should have been stretched out to two issues and allow these fantastic ideas to breathe. Instead, we have it shuffled off to make way for the next arc. The art team does a damn fine job in delivering one of the series best-looking issues. While the next arc promises to be an epic one, this issue did no favors in tying up the previous. It was just a disappointing issue of the Flash.
What seemed like a simple missing person’s case develops into a much deeper, more arcane mystery in Read Only Memories #2, out this week from IDW Comics.
As Lexi investigates John’s disappearance, she finds herself drawn further into the Santa Cruz underworld than she anticipated. The mystery brings her into conflict with gangs and cultists, ultimately pulling her back home to the streets of Neo-San Francisco.
The Writing
Like our previous issue, Read-Only Memories #2 leans gleefully into the tropes of the cyberpunk genre. That said, it digs deeply into the noir aesthetics and hard-boiled detective stories that inspired the genre’s originators. So, while it reads like a star-eyed love letter to Blade Runner, the book feels more like a contemporary of the genre mainstays. It feels like an original product, rather than a pale imitation as genre revivals often turn out to be.
At its core, the book delivers some fine storytelling. Tension build as Lexi uncovers information about The Harvest, and makes plans to crash it. The primary tension in the issue’s first half rest in the question: what the hell is The Harvest?! We get some answers by the book’s end, but each new reveal only yields more mysteries.
Read-Only Memories #2 takes most of the elements that worked in the first issue and accentuates them. We don’t get to explore as much of the world of the story as before. However, the shift away from worldbuilding ultimately allows for a richer narrative.
Part of the book’s strength lies in its characterization. Writer Sina Grace develops the relationship between Hedy and Lexi, helping shape both into more complex and interesting figures. At the same time, the writer further fleshes out the story and setting. Grace dishes out information tactfully as it becomes relevant, avoiding the dreaded infodump that can poison lesser works.
From a writing standpoint, Read-Only Memories #2 is a master class in how to embrace a genre with defined, well-treaded tropes and do something original with it. From what we’ve seen thus far, it may be one of the most compelling cyberpunk stories we’ve seen in the last decade, at least.
The Artwork
Not wanting to be overshadowed, artist Stefano Simeone provides impressive visuals for the book. The artwork does a fantastic job of capturing the tension in Grace’s storytelling. Simeone hits the story beats perfectly, delivering images that consistently match the dialogue in emotional pitch and dynamism.
The setting of the book’s second half somewhat limits Simeone in terms of inventiveness and flair. However, he doesn’t pass up any opportunity to deliver more of those stylized, blue-and-pink-bathed urban landscapes we saw in our first issue. With Read-Only Memories #2, the creators show a commitment to make the aesthetics serve the story, rather than vise-versa.
The artwork possesses a solid noir vibe to compliment the engaging writing. Even when we’re in a setting that wouldn’t normally work with this kind of story, the artist knows how to leverage dynamic motion and preserve a sense of continuity to heighten the tension.
The colors in the book’s second half have a similar effect. While muted compared to what we’ve seen thus far, pops of color provide enough contrast to keep the visuals interesting.
Final Thoughts
Read-Only Memories #2 is a fantastic second chapter. It takes us to the midpoint of the story, introduces new elements, and draws the reader deeper into the mystery. Definitely worth picking up this Wednesday.
You DON’T want to miss this on the shelves this week! From BOOM! Studios, Saban’s Go Go Power Rangers #28 takes a step away from current events to give us more Rita Repulsa back story!
Writer Ryan Parrott has delved further into Rita’s past than even the source material has dared to. The liberties he has taken with the villain far exceed expectations already. This issue gives us a look inside the dumpster, and what Rita did the whole time she was trapped inside.
The last time we even saw Rita was before “Necessary Evil” began, so it’s nice to jump back to her for this issue. And boy do we jump back to her! What Parrott has written in this issue isn’t too difficult to figure out from the beginning. Still, the impact it has is heavy.
Rita’s dialogue and facial expressions make me hear Barbara Goodson in every speech bubble she has. It’s done pretty on point.
Saban’s Go Go Power Rangers #28 is a lot more sci-fi than the previous issues, and yes the franchise is already very sci-fi at times. The issue begins with Rita being greeted by the A.I in charge of her sentence in the Dumpster. The A.I’s name is Moment. It explains to Rita that Eltarian (Eltar is Zordan’s home planet) law had called for her death sentence but Zordan intervened. What was decided on was an attempt at rehabilitation instead.
Rita is also not the only one granted this mercy. Finster, Goldar, Baboo, and Squat are also partaking. Next, we are shown, that Rita suddenly appears as a little girl in her bedroom. This little girl looks nothing like the young Rita we’ve seen in the past however so this isn’t a flashback for her. What follows after is something right out of an episode of Black Mirror, though it’s worth experiencing instead of hearing about.
My eyes are immediately drawn to that one stuffed… animal? on the far left side with the weird eyes.
Something worth noting is that the artwork in this issue is completely different from what we’re used to seeing in this series. Eduardo Francisco creates alien worlds and beings that set the stage for this issue well. At some points, you might even forget you’re even reading Power Rangers.
Raúl Angulo’s colors really bring the weird alien vibes home. From crazy hair colors to brilliantly pascal backgrounds embedded in crazy architecture and foliage. There’s a lot to wow at in these panels.
The lettering makes the end of this issue even more impactful. It creates this timing within the panels that makes it hit the note infinitely harder than without. Ed Dukeshire had a solid understanding of how the final scenes play out and feel. Again, it’s something to be experienced.
If you showed me this page alone I definitely wouldn’t be able to guess this is from Power Rangers. It’s an aesthetic I can get behind though and I’m happy to see more creative worlds in the universe be explored.
Saban’s Go Go Power Rangers #28 is something completely different from where this series has gone before. On the surface it doesn’t add anything directly to the “Necessary Evil” story, but that may be subject to change if Rita returns to the scene. With her recent absence this issue does feel well timed, especially with all of the lore we were given when she was creating the Green Ranger, it’s good to see she hasn’t been tossed aside entirely.
The fact that Rita can go through all of what she did, and still be the “Empress of Evil” does say a lot for her character. Ten thousand years in there to be exact. That gets even more thought provoking when you realize Zedd put Rita back in the Dumpster when he arrived in the show. So who knows what will happen when she returns.
What Saban’s Go Go Power Rangers #28 does is impressive. It tells a story that we would never think to see in this series, but for how different it is, still feels right at home. The only thing I want is an answer on is how Rita remained evil through everything, which unfortunately we don’t get in this issue. Though that can be done in a later issue and, as a whole, I don’t feel there’s much to improve upon for this story.
With all of the backstory for Rita, it’s fun to think about what other future villains from Power Rangers might get the same treatment down the road. Who would you like to see explored further? I know I would love Ecliptor or Darkonda, but you let us know what you think in the comments below.
The worst superhero duo is back in Quantum & Woody #1, and it’s proof that you don’t need to read every piece of what came before. These dysfunctional step brothers have such a simple life; who needs to take them in a new direction?
Recap Just Because
Quantum & Woody follow two step brothers Eric Henderson and Woody Van Chelton who got superpowers through an accident involving metal wristbands. Due to the unstable nature of their powers, if they don’t clang each other’s wristbands every 24 hours, they’ll dissolve/explode. The problem is, Woody and Eric are complete opposites who can barely stand each other. Even though they became superheroes for hire, Quantum & Woody often bicker and cause more mayhem than the mad scientists they clash with. Dubbed the worst superhero team, they’re often down on their luck trying to make ends meet. To top it all off, the voice of reason in this team is their father’s consciousness occupying the body of a superpowered female goat. Comics are weird and Quantum & Woody #1 revels in that.
Quantum & Woody #1 Story Premise
The writing of Quantum & Woody #1 is a great way to reintroduce readers to the characters (just look at our exclusive preview of the debut issue). Unlike Valiant cash cows like X-O Manowar or Bloodshot, Eric and Woody’s comedy focus offers an easy way in. They don’t have any grand ambitions or arcs, they’re just trying to get by, all the while trying to survive each other and their antics. Quantum & Woody has always been a Buddy Cop story with themes of family sticking together. This series is no different especially when this dynamic duo have to face the Kammerjäger family. Eric and Woody might not have the best chemistry like this hitman family, but they do get the job done. Especially when Quantum & Woody have a good art team behind them.
Art
Ryan Browne’s mixture of moods and camera angles assist in making Quantum & Woody #1 scenes immensely humorous. The close-ups work with exaggerated facial expressions to bring out the issue’s most hilarious scenes. But humor is just half of the art; the rest of the penciling and inking process go into keeping the reader focused. Because if the scene goes in too many directions, who will get the joke?
Most of Ruth Redmond’s coloring is somewhat muted, while the brighter coloring acts as beacons for major developments, from Woody’s fortune telling yellow sparks, to the green light of the Capitol Building entrance. Even the Kammerjäger family gets an introduction through a stove’s bright blue flame. It’s what makes the revelation about them as the issue’s villains all the more hilarious because readers are in on the joke. Finally there’s the lettering by Hassan Otsmane-Elhaou.
Lettering Highs and Low
The lettering’s main job of guiding the reader through the story is allowed to go out of direction during certain periods. This gives readers a choice on which directions to take. Because some people have a preference of following the images instead of text. Only for Hassan to subtly raise the emotional intensity. Perhaps the most obvious are the times when bold red words pop up to evoke excitement. From surprises to anger, the audience is hooked in.
Sure some people can get by with just the artwork, but this lettering style makes Quantum & Woody #1 even better.
What Are You Waiting For? Get Quantum & Woody #1!
What the headliner said! But before you do, got any thoughts? Leave them in the comments.
GREEN LANTERN: BLACKSTARS #3, available in comic book stores on Wednesday, January 29th, concludes writer Grant Morrison’s three part miniseries, and it’s definitely one for the books. The newly created Blackstar order, made from the old universe’s Green Lanterns, is poised to assert absolute control over its beings. But Blackstar Parallax, a.k.a. Hal Jordan, dreams of a world long forgotten, one in where he’s a Green Lantern. Can he uncover the secrets of this alternate reality before free will as we know it is erased?
Story
Jon Kent, the son of Superman, a boy with pent-up angst and disappointment in his world’s “heroes,” has officially joined the Blackstars. Hal knows this puts his teammates in the sights of Superman, but believes reaching out to the boy was the only way to show him he was understood. Unfortunately, Superman sees this as an act of aggression and levels much of the Blackstar militia.
Morrison brilliantly portrays the tensions that inevitably arise between the new generation and the old guard, the restless and the unmovable. We witness Jon unleash the anger that’s been buried for a long time, while Superman attempts to reach out to him in understanding, albeit too late. Each group believes one couldn’t exist while the other was around. Unfortunately, they failed to realize that their fear of losing control over the other would ultimately lead to their destruction.
But all hope is not lost. Hal asks Belzebeth to give him more information about his dreams of another life, only to hear the faintest whisper in his ear—the voice of his old Green Lantern ring A.I. And, in a blaze of glory, the old Hal jumps into action. The former superhero ditches his Blackstar gear and encourages the Blackstars to cling to their own willpower, rejecting any Controller who would decide their destiny for them. But will rousing their forces be enough to topple Belzebeth?
Artwork
The artwork within this miniseries’s final issue captures the essence of the entire run: a blending of dystopian nightmares and hopeful new beginnings. Xermanico’s penciling and ink work, combined with Steve Oliff’s coloring, give readers a fully-realized look at the chaotic world that is this version of Earth. What’s more, the details of each character are incredibly in-depth. Readers can see their heroes in all their glory, right down to the threads of Superman’s cape. Coupled with the bright red flashes of light from the Blackstars, one will feel like they’re in the middle of the action.
Steve Wands’s lettering was well-placed throughout the book as well. It followed the action to help readers pace themselves through the fast-paced scenes.
Comic Book Covers
Main Cover
Liam Sharp’s artwork for the main cover depicts an epic clash between Hal and Belzebeth, pointing readers to the issue’s ultimate confrontation.
Variant Cover
Diego Rodriguez and Darick Robertson’s variant cover illustration features Hal and Belzebeth fighting the Justice League, showing readers the painful division that’s arisen.
Conclusion
GREEN LANTERN: BLACKSTARS #3 is a thrilling conclusion to the Blackstar saga. We’re excited to see where Morrison and team take the mythos next!
What do you think lies ahead for the Green Lantern Corps? Let us know in the comments below!
HAWKEYE: FREEFALL #2 hits comic book stores on Wednesday, January 29th, continuing the sharp shooting Avenger’s solo adventure. Last issue introduced readers to a nefarious figure known as the Hood, who seems to have much of the city in his back pocket. In addition, a person running around dressed as Ronin is causing trouble, and many consider Clint to be the perpetrator. How will the hero handle these thorns in his side? The way he always does—a little luck, a little skill, and a devil-may-care attitude.
Story
Hawkeye’s been on a losing streak in terms of crime fighting. He was unable to apprehend the crime lord the Hood, and the mysterious figure committing felonies in his Ronin costume continues to evade him. In this issue, the anonymous vigilante runs through a number of cronies serving the Hood, slowly clearing them out for unknown purposes.
While “Ronin’s” going on a rampage, Clint uses some recently acquired funds to fund a gala for F.E.A.S.T., the charity run by May Parker. Writer Matthew Rosenberg purposely leaves his motives unknown, allowing readers to decide whether it be for egoistic glory or nobler purposes. This ambiguity allow us to put ourselves in Clint’s shoes.
We then learn Spider-Man has caught wind of the Ronin figure’s escapades and attempts to subdue him. But the figure proves to be too much of a trickster, outsmarting someone as capable as the arachnid hero.
Who is this masked figure? Is it just a coincidence he has similar skills to those of Clint? These answers and more are revealed in this action-packed issue.
Artwork
Otto Schmidt’s artwork for this series’s second issue is unique in its pleasing simplicity. The fluidity of the characters’ designs pairs well with varying purple shades, reminding us that this is undoubtedly a Hawkeye-focused story. What’s more, VC’s Joe Sabino’s lettering employs its own purple variations for Hawkeye’s internal dialogue and the Ronin figure’s speech, bringing greater cohesion between the illustrations and text.
Comic Covers
Main Cover
Kim Jacinto and Tamra Bonvillain’s artwork for the main cover depicts an aerial fight scene between Clint and the Ronin doppelganger. It’s a scene that prepares readers for the inevitable confrontation between these intriguing characters.
Variant Cover
Kyle Hotz and Dan Brown’s variant cover illustration chooses to present Clint and his other rival, the Hood. The sprawling red cloak from the villain covers up much of the city backdrop, perfectly representing the influence he has upon the people.
Conclusion
HAWKEYE: FREEFALL #2, on the one had, takes us further into the life of Clint as Hawkeye and his lackluster escapades. These moments help further humanize the “worst Avenger,” wooing his fans even more. On the other hand, the mystery of Ronin’s identity is intertwined throughout these events, keeping readers on the edge of their seats all the way through.
What did you think of the big Ronin reveal? Let us know in the comments below!
The writing of Quantum & Woody #1 is a great way to reintroduce readers to the characters (just look at 
Most of Ruth Redmond’s coloring is somewhat muted, while the brighter coloring acts as beacons for major developments, from Woody’s fortune telling yellow sparks, to the green light of the Capitol Building entrance. Even the Kammerjäger family gets an introduction through a stove’s bright blue flame. It’s what makes the revelation about them as the issue’s villains all the more hilarious because readers are in on the joke. Finally there’s the lettering by Hassan Otsmane-Elhaou.
