AfterShock Comics Exclusive Preview: ANIMOSITY #26

January 23, 2020

aftershock comics comic books exclusive preview animosity #26

ANIMOSITY #26 hits your local comic book store February 18th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
In the land of the kings of Texas, the only thing worth more than oil — is blood.

ANIMOSITY #26 is by writer Marguerite Bennett, and artists Elton Thomasi and Rafael De Latorre, with colors by Rob Schwager, and letters by Taylor Esposito. The cover is by Rafael De Latorre with Marcelo Maiolo.

The series tells the story of a world where animals suddenly gain the ability to think and speak like humans…and they begin their revenge. Issue #26 is the second part of the “King of Texas” storyline.

Check out the ANIMOSITY #26 preview below:

Are you reading ANIMOSITY? Sound off in the comments with your thoughts!

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Marvel Comics Exclusive Preview: Horrors Unleashed In RAVENCROFT #1

Anthony Composto - EIC

January 23, 2020

marvel comics exclusive preview ravencroft #1

Ravencroft #1 hits your local comic book store January 29th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
RAVENCROFT REOPENED! After the hellish horrors of ABSOLUTE CARNAGE, the Ravencroft Institute has received a much-needed facelift and is open for business with a new staff, including JOHN JAMESON, looking to atone for the part he played in ABSOLUTE CARNAGE. But will Ravencroft return the mentally unstable villains of the Marvel Universe to upstanding citizens and give John the redemption he’s looking for, or will they fall prey to the hospital’s seemingly sinister nature?

Ravencroft #1 is by writer Frank Tieri and artist Angel Unzueta, with colors by Rachelle Rosenberg and Dono Sanchez-Almara, and letters by Joe Sabino. The main cover is by Kyle Hotz and Dan Brown.

**Check out the Ravencroft #1 preview below:**

Are you excited for Ravencroft? Sound off in the comments!

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I CAN SELL YOU A BODY #2 – Love, Money and Dead Bodies Reanimated

Jason Jeffords Jr

Denny stoops to new lows as he drags others into his final 48 hours of life while enacting an asinine plan in IDW’s, I CAN SELL YOU A BODY #2, in a morgue near you.

A team up in I Can Sell You A Body? Sadly, no. — Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

Don’t be caught dead not keeping up with I Can Sell You A Body, check out our review for the first issue, or pick it up from your local comic shop.

I CAN SELL YOU A BODY STORY

Writer Ryan Ferrier quickly sets the stage for the future issues of I Can Sell You A Body with a quick visit to Vatican City. It isn’t a long stay, yet Ferrier uses these pages to set up more antagonists for the unlucky Denny. Tonally this scene is akin to the whole issue. But, it feels as if it shouldn’t be. I Can Sell You A Body #2 reads like a jokebook with constant jokes. At times this comedy hits perfectly, yet in others, it would bode well to have a few serious moments. That’s not a dig at the tone of the book, as it wears its humor on its sleeve. Nonetheless, moments (especially Vatican City) could’ve benefited from a different demeanor.

The highlight of I Can Sell You A Body continues to be its main character, Denny Little. Throughout the little bits of history Ferrier sprinkles in, it seems the masses know and hate him. Hopefully, in the future issues (or a spin-off), Ferrier delves into these stories more. Yet, an interesting main character can only drive a story so far. Luckily, Ferrier keeps the plot remarkably interesting by diving deeper into Denny’s powers. The extent of his powers aren’t exactly shown, but we do learn Denny can raise multiple dead bodies at once. We learn this in a foolish plan that is hilarious but fails like much of the stuff in his life.

LETTERS TO THE DEAD

Ferrier continues pulling double duty by providing the lettering for I Can Sell You A Body #2. The lettering shines when it’s time for the undead and ghosts to speak. When Denny brings the bodies back to life, Ferrier makes them vastly different than others. Instead of the words being contained, they explode out, most times being bigger than the bubbles. On a more subtle note, Ferrier portrays the ghosts’ dialogue with a green border around their dialogue. It’s a small change, yet it works perfectly.

I Can Sell You A Body #2 brings in more players! — Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

LIVELY ART

George Kambadais’ art and colors retain the amazing quilty seen in the first issue while playing with lighting/shadow usage more. I Can Sell You A Body #1 had a few panels where Kambadais would focus on a face while casting them in a menacing light. Yet, in its second issue, he uses this technique in multiple instances that flow into regular moments as well. When Denny is visiting a “lover” at night, Kambadais paints the background pinkish with shadows forming about. This subtle lighting effect is gorgeous in its execution, making the world fill that more real.

The lighting/shadows aren’t the only places that Kambadais shines, as his art continues to be lively. Throughout I Can Sell You A Body #2, Denny and other characters don’t always stay inside of the panels. Instead, when the story calls for it, Kambadais breaks panels and backgrounds to make the pages pop to life while catching your eyes. While keeping the reader’s eyes by popping panels, the visual humor carries over from the first issue into the second. When Ferrier sets out to tell a joke, Kambadais follows through on the art side.

Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

CONCLUSION

I Can Sell You A Body #2 retains the comedy seen in its first issue, yet not every joke lands as desired. As hilarious as some moments are if I Can Sell You A Body took itself just a tad bit more serious the story would benefit immensely. Nonetheless, the ride throughout is a fun one that readers that love dark humor can kick back and enjoy.

Memorable Quote: “FUCK!” – Denny

Throughout this one page, Denny says, “fuck” 37 times. The page is hilarious in its simplicity and humor.

VISITING THE MORGUE

What have you thought of Denny Little’s story thus far? Let us know in the usual place.

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SUPERMAN #19: “I’ll Take a Superman Story with Everything on It”

Zac Owens

DC Comics’ Superman #19, written by Brian Michael Bendis, with pencils by Ivan Reis, inks by Joe Prado, Danny Miki, Julio Ferreira and Oclair Albert, colors by Alex Sinclair and lettering by Andworld Design, takes every kind of great Superman Story and says “I’ll do it all.” With the ongoing repercussions of Clark’s identity reveal, Bendis and company balance heart-to-hearts with alien brawls in a brilliant ode to the Man of Steel.

Writing

It’s tempting to say that Bendis (or DC Comics) is dragging out Clark’s big reveal. But the reasons for thinking that might be precisely what makes this series great. Where other series would skip past the nitty-gritty of what it means for a hero to tell the world who they are, Bendis attempts to deal with the fallout head-on. And while much of the issue is made up of heartfelt conversations, Bendis knows when to pull back. We hear of a statement Clark wants to make to the bullpen, though we never hear the speech itself. We see fellow heroes approach Clark, but we don’t hear what they say. Bendis knows we love these characters so much; nothing he could write would do these moments justice. And in doing so, we each get to hear a different statement, or a different word of encouragement, filling in the dots in our own way.

Art

Reis, Prado, Miki, Ferreira, and Albert pool together to give this issue its intimacy. Speaking through the smiles of the characters, or the somber looks in a sea of smiles, they remind us what Superman means to everyone. From his co-workers to the many civilians of Metropolis, the Man of Steel has a place in everyone’s heart. The team on inks and pencils makes that clear. They also gradually zoom out near the end of the issue, to prepare us for a change of pace. With cosmic clashes, zooming back in on snarling faces, the team shows us Clark can be more than heartwarming. He can be a lot of fun too.

Colors

Sinclair’s colors play a game with the reader. Winding down to darker tones, like the calm before the storm, Sinclair teases moments of grief that never arrive. It prepares the reader for the worst, only to then offer up the best. Similarly, Sinclair switches to brighter tones in happier moments and even in moments of danger. Sinclair truly knows how to use a color pallet to pull on heartstrings. It allows us to feel Clark’s triumphs and sets us on the edge of our seat for Superman’s trials.

Letters

Andworld Design’s lettering often varies in size and style. As a result, many characters are given his or her own voice, and moments are given their own unique significance. In one scene, when a group of people begins to clap for Clark, the first clapping sound effect is smaller than the ones that follow. It’s so easy to hear the real-life equivalent of this happening, and the representation of it makes the moment feel real. Many alien races are given their own style of lettering and word balloons. This variety helps to set them apart and even makes it that much more fun to read a page.

This is a Superman issue that does it all. The creative team from DC Comics shows us all the reasons we like Clark, and all the reasons we like Superman. And they remind us what makes the two so different. Pick up Superman #19 at your local comic book shop on January 22nd, 2020.

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BATMAN: CURSE OF THE WHITE KNIGHT #6 – Digging Up the Past

Cody Walker

January 22, 2020

The past comes back to haunt the Wayne family in Batman: Curse of the White Knight #6, out his week from DC Black Label.

First Impressions

Sean Murphy dives back into the Three Musketeer-esque family history of Batman to reveal something Bruce definitely doesn’t want to hear. Batman becomes the biggest oxymoron the city has ever seen. Murphy mentioned on his twitter that he did something bold that people might not like. We’ll see how the reaction is from other readers, but I didn’t find the reveal to be earth shattering.

These are comics and nothing is permanent, so big reveals don’t do much for me anymore. The only revelation in the past decade that really made me feel anything was Jonathan Hickman with the X-Men and Moira McTaggert. No one stays dead anymore. Centuries old family history doesn’t change who Batman or Bruce Wayne are now.

Art

Murphy’s art in this series is sublime. His attention to detail is second to none. These panels look like they’d take most people months to complete, but I doubt it takes him long at all. His character designs are unique and Azrael’s mech-suit is awesomesauce. One day I hope we’ll see some of his art with some gaudy vivid colors. I doubt it, but a guy can dream.

Matt Hollingsworth is Murphy’s partner in crime. His colors are dulled, pale, and realistic. Let’s be honest, most of our world is dark and dirty. To use such bright colors in so many stories is more wishful thinking than realism. Unless there’s some type of explosion, lightning, or blinding light, there will be NO bright colors in Sean Murphy’s books. Lack of bright colors makes the shadows so much more important, and Hollingsworth is a ninja.

Letters

AndWorld Design takes care of the lettering in Batman: Curse of the White Knight. None of the sounds look the same to give different inflection to the same type of noise. Everything is easy to read, even the tiny noises from tossing keys. This issue is full of dialogue and plenty of action so AndWorld had no problem staying busy with this one.

My Two Cents

Batman: Curse of the White Knight really is a beautiful book. Each issue is meticulously drawn with so much detail in mind. Murphy is one of the most original artists in comics, there’s nothing out there quite like it. This story is a non-stop adventure from cover to cover, but it has its mystery as well. I’m reminded of Indiana Jones by the storytelling here. More is revealed the deeper and deeper they dive into history.

Flashback scenes allow Murphy to draw some stellar old outfits and classic architecture. I’m sure those are his favorite panels to draw, especially when you can see the extra detail and creativity that goes into the layout of those drawings. With the obvious references to the Three Musketeers, this is a comic you could recommend to those history and literature lovers that haven’t tested the waters of comic books.

It is always a treat to experience different creators’ takes on Batman. Elseworlds and other offshoot stories have put Batman in different locations with different challenges. Sean Murphy might have created one of the most interesting and successful alternative universes for the Dark Knight. I can’t think of any other alternate universes that have gotten this many sequels and one shots, and from what I gather, it sounds like there are more to come.

While the review was a little lackluster than what I was led to believe, I think it won’t be fully felt until next issue. We only know the information now, we don’t know how it will affect Batman, who else will find out, and how they will react. See you next month. Same Bat-Time. Same Bat-Channel.

What did you think of Batman: Curse of the White Knight #6? How do you think Batman will handle the new information? Do you think this changes anything? Let us know in the comments below.

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Review: Evil Survives Across Times in RED SONJA: AGE OF CHAOS #1

David DeCorte

Red Sonja: Age of Chaos #1, out this week from Dynamite Comics, is a landmark crossover for the publisher. The new book pits the titular warrior against a host of horror baddies from the Chaos! Comics imprint (now owned by Dynamite), including Purgatori, Evil Ernie, Jade, and more, for an exciting cross-dimensional rumble.

After finally vanquishing the powerful lich Kulan Gath, Sonja takes precautions to ensure he never rises again. The wizard’s evil survives through the ages, though, eventually being sought by a coterie of supernatural forces.

The Writing

Sonja herself only makes a few appearances in Red Sonja: Age of Chaos #1. Most of her time exists as a prologue to provide establishing lore for the series, which appears to take place in the present. As such, this first issue feels mostly like the lead-in to a big, epic story to come.

Despite being primarily setup, the book is far from boring. Eric Bunrham’s writing is tightly-plotted and fast-paced, without an ounce of fat. It’s true that the dialogue can be a little cloying at times. With an over-the-top cast of characters as we have here, though, it comes off as charming rather than off-putting.

Beyond the serious, high-fantasy elements, Red Sonja: Age of Chaos #1 has a fun tone, as well as a sense of humor. There is also plenty of fan service aimed at Chaos! Comics devotees, who don’t get many opportunities to see these characters in action outside of Dynamite’s current ongoing Chastity title, and Coffin Comics’ Lady Death.

Despite the high marks, Red Sonja: Age of Chaos #1 is not all perfect. The book tosses readers into the deep end, and could be alienating for new readers who aren’t already familiar with at least some of these characters. In addition, the temporal shifts can be confusing; the writer doesn’t always provide visual or textual cues to indicate when we change place. I, for one, found myself doubling-back at least once to make sure I hadn’t missed something.

The Artwork

Jonathan Lau’s artwork possesses an energy and edge to it reminiscent of the late-90s style. While there may not be a great deal of cohesion in the page layouts, the energy behind Lau’s drawings is sufficient to keep the reader’s interest, even without that sense of focus.

Lau’s character designs in Red Sonja: Age of Chaos #1 are meticulously detailed, and this is the arena in which the artist’s work really shines. While many of the backgrounds show an impressive level of detail, it’s very selective. The focus is always on the characters, with the regular use of closely-cropped panels accentuating that point.

Perhaps the only significant weakness in the visual department is the composition of panels. It can be difficult to parse what’s happening in some of these illustrations. At other times, Lau simply makes strange choices that don’t seem to make much sense. It can feel as if certain panel were illustrated without much thought given to presenting a coherent image.

The colors by Celeste Woods are incredibly vibrant. There’s a wide range of colors employed; however, the artist manages to keep the ethereal tones from clashing. The end result complements the classic horror vibe of Lau’s inks.

Final Thoughts

Red Sonja: Age of Chaos #1 is an engaging opening chapter to this crossover event. The book presents an interesting concept, propelled by capable storytelling and artwork. It’s worth picking up.

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Review: ROKU #4 Trying Too Hard to Break Away From Ninjak

Jake Palermo

Roku #4 is the finale to a mini-series detailing the redemption of Roku, rival to Ninjak. Unfortunately, this story of a mercenary features way too many similarities to the rest of the Valiant universe. From the mercenary work of Ninjak to the redemption angle of Bloodshot.

Quick Recap

Formerly known as Angelina Alcott, Roku has broken free of her former employers, the Shadow Seven and Weaponeer. Taking a page from her old flame and rival Colin King, Roku becomes a mercenary. On her first assignment, Roku has to secure an asset to her client. The asset turns out to be an augmented child who acts as an information receiver. So Roku fights to ensure Marybeth stays out of the wrong hands. As you can see, there are parallels to Bloodshot Salvation but without any of the relatable stakes.

Roku #4 Story

The conflict of Roku #4 feels driven purely by the admittedly impressive action. Not a bad thing on its own thanks to flashy abilities, but it feels hollow. Marybeth doesn’t feel all that compelling; how can a kid who has barely been in conflict be okay with seeing death all around her? Marybeth doesn’t even seem to be much of a personality for the reader or Roku to empathize with. The only reason the series progresses at all is because of what happens to her. This is essentially the same as a video game escort mission NPC, ergo a plot element.

Roku herself makes up for Marybeth for both her newly found compassion and her quick thinking. After seeing how Roku’s journey from before changes her, it’s nice to see compassion come out of this assassin. Unfortunately the surprise ending feels on the nose when Roku speaks part of her plan out loud. So if the writing’s not that great what about the artwork?

Art

That's a whole lot of wasted black ink — Look at top panel background for reference

Ramón F. Bachs artwork shows its limitations at various points in Roku #4. While being able to draw the same character model over and over again is becoming common, his inking process shows how much he overcompensates through shading. In the right time and place, it can emphasize feelings like how menacing the Minister of Blades is. Most of the time, however, it feels like half the world is blackened in broad daylight. Yet Bachs’ art is actually some of the better artwork of the series.

What color there is by Stéphane Paitreau feels monotonous if not out of place. Had it not been for Bachs’ inking, certain areas would’ve blended in too well. The dark red smoke and setting sun against Roku’s hair, for example. Sometimes the colors exaggerate effects such as a head slamming against a wall that appears to create a small explosion. That didn’t even need to happen thanks to the panel having a slamming effect and lettering.

Lettering Goes Everywhere

The decorative sound effects by Dave Sharpe are in fitting places with some of them acting as extensions of the characters. Red and black for Roku’s hair while guns have a signature sound to certain models. When it comes to captions and speech bubbles, they tend to scatter about. So much so, that at times it gets hard to focus because of the lack of curvature. Sometimes a few speech bubbles don’t even need to be around to make a reading path.

Roku #4 Conclusion

Roku #4 is certainly not the worst thing Valiant has ever released, but so much of its potential feels wasted. Instead of a character trying to compete with some of Valiant’s heavy hitters smartly, it’s more like Roku is using what works for them without context. The artwork perfectly reflects this, there is so much room for employment, but the people behind this are cutting corners. Despite what little character development she gets, it doesn’t seem worth getting this issue. The Ninjak ad near the back practically serves as a way of telling readers that Roku drove them back to him.

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Review: FAR SECTOR #3 Gives Voice to The Masses

Justin Munday

Writer N.K. Jemisin and artist Jamal Campbell bring forth their most emotionally provocative chapter thus far with the third issue of “Far Sector.” The socio-political impact of stripping the population of The City Enduring of emotion and relations between the rich and poor are delved into with considerable intensity – while also making searing parallels with our own reality’s history.

Protecting the City Enduring’s population of 20 billion aliens gets even harder when rookie Green Lantern Jo Mulein is thrust into the middle of a massive protest that’s about to get out of hand. What do the protesters want? The right to feel.

Writing & Plot

There’s an almost poetic and rhythmic sensation to the dialogue, narration, and plot progression of N.K. Jemisin‘s work on “Far Sector.” The way Green Lantern Jo Mullein interacts with those both suspect and ally comes across almost as a consistent dance of words. It rarely ever feels unnatural though, and even if it happens to it could be chalked up to all the supporting characters being aliens. Jo’s internal narration has smoothed out from the first issue‘s bombardment of exposition to a steady stream of internal observation and often internalized struggles. Sojouner is quickly turning into one of the most likable protagonists in current comics. The direction the story itself is heading has interestingly turned away from the murder mystery of the series’ debut and towards the factors that precipitated that event. This third issue displays a ruling class’ enforcement of a rule that drastically altered the lives of millions of others. The dissatisfaction of this reality is boiling to the surface. Jemisin takes this already intriguing in-story plot change and directs it towards our own reality. This is every bit a socio-political comic, and it’s pulled off damn well. From the grey areas of “how do we fix this?” to the ever-lasting struggle of populism vs the elite, “Far Sector” #3 is as fine a political challenge intertwined with great storytelling as any comic like it.

Art Direction

Jamal Campbell‘s art direction and panel layouts continue to be breathtakingly brilliant here in “Far Sector” #3. His stellar use of digital art in conjunction with a neon color palette thrives when put together with this kind of plot. It’s an aesthetic that I honestly wish I saw in more sci-fi comics. The environment is completely alien and yet also familiar and mesmerizing. The alien characters (who are humanoid) are elegant and relatable via Campbell’s own designs. The various cityscapes and different internal spaces are wondrous to behold. The panels and layouts themselves have an artistic eye to how they’re presented and how they guide the reader along. There’s always a focus on character among the fantastic visuals that still makes Campbell’s art feel intimate while still being so vast.

“Far Sector” #3 is yet another triumph of a chapter. Jemisin’s increasing focus on Jo Mullein as a character works in tandem with her increased focus on socio-political issues both in-universe and in our own world. Jamal Campbell’s art continues to be some of the absolute best in the industry today. Since the first two issues look to be getting second printing, this is a good time to put this cool as hell space opera on your pull list.

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Review: THE VISITOR #2 Frustrations in Mysteries

Jake Palermo

The Visitor #2 is Valiant Entertainment’s latest attempt to bring back older titles to modern audiences. First conceived as a superhero mystery in the 90s, the title transforms into a spy series. This time around, the series revolves around a Japanese government-backed conspiracy. Like most conspiracy stories, they end up with more questions than answers.

Recap

Borrowing only structural similarities to the original Visitor series, The Visitor is a title that has been building up since the Book of Death. Upon finally revealing himself, the titular character presents himself as a saboteur targeting Japanese officials involved in an AI project. A project so secretive, officials are staking Japan’s future on it. But who is this electrokinetic Visitor, and what is his connection to this project? Especially since he’s not willing to harm even a rat. In The Visitor #2, readers only get breadcrumbs that lead nowhere.

The Visitor #2 Writing

The title of this chapter perfectly encapsulates the stakes and setting “What?”. This mystery starts with UN Security Agent Talia Dauber asking for insights. Something that she doesn’t get due to the project’s classified nature. The only thing anyone gets is that it involves an AI program with no name. Accompanying this is a flashback by the Visitor about his past. Which again says nothing except where he’s from and that this secret project went wrong.

The characters barely make any progress; the most people get an attachment to are Dauber or the Visitor. Like the reader, Dauber’s frustrated by the red tape surrounding the Visitor’s motives. As for the Visitor, people only get a glimpse of his motives and where he fits into the Valiant Universe. He’s been advertised as being someone who brings great change. The series is meant to make the Visitor the hero, but it’s very hard to empathize with someone the reader can’t understand. His actions and the issue’s slow pace make him feel more like a moral yet threatening villain.

Smooth Artwork Against the Rough Writing

The artwork in The Visitor #2 is quite easily the series’ main selling point. MJ Kim’s penciling is quickly becoming a recognizable Valiant asset after Faith: Dreamside. Thanks to her diverse designs in character models, camera angles, and effects, the reader can more easily follow the story. All of which are accented by Ulises Arreola’s coloring. The Visitor, in particular, receives the best treatment. The bright blue color of his electrokinesis, in contrast to dark backgrounds, shows how he’s ready to reveal some big secret. What’s more, the Visitor’s flashback sequence shows how bright reds tell of danger, which comes up again near the end of the issue when it comes to the source of the Visitor’s powers. For that matter, the green circuitry in the gutters of the Visitor’s flashback displays science fiction-based origin.

Unfortunately for Simon Bowland, his lettering can get confusing unless the reader can properly trace the speech bubble and caption patterns. If that’s not enough, the sound effects he places can be very basic if not help emphasize a flaw. For example, the Visitor loudly breaks down a steel door with ease in front of a pedestrian. For someone who’s supposed to be incognito, the guy should probably exercise more caution.

Take Or Leave The Visitor #2

While The Visitor #2 is a decent place to start looking into the series, it might be best to wait it out for the trades. That way, the reader might feel more satisfied than deal with the slow pacing. It doesn’t mean you can’t try to enjoy yourself and figure out what happens behind the scenes. Mysteries are meant to be slow; you might even grow to appreciate The Visitor if you give it a chance.

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HEARTBEAT #3 – Eva Takes The Next Step Down A Spiraling Path

Jason Jeffords Jr

This Wednesday, Eva loses her innocence as she fully enters a dark world filled with secrets and actions that she cannot return from in Maria Llovet’s Heartbeat #3.

In Heartbeat #3 Eva stares back. — Interior art by Maria Llovet

*Trigger Warning* There is mention of wrist cutting as it happens in Heartbeat #3 and seems crucial to the story. So please let this serve as a warning before going in.

In case you haven’t read our reviews for the previous two issues here is Heartbeat #1, and issue two. But, if you’re caught up, pick up issue three at your local comic shop.

A SLOW AND STEADY HEARTBEAT

BOOM! Studios’ Heartbeat #3’s story continues to be told in a different manner than usual. We’ve mentioned that in the previous two reviews, yet in its third issue, it absolutely rings true. Whereas other comics have up to 20 dialogue bubbles on a double (sometimes single) page, Heartbeat #3 barely has that in its first ten pages. Instead, Maria Llovet doesn’t waste any bubble on words that needn’t be said. Anything spoken/thought furthers the plot instead of just filling space. This works in favor of Llovet’s story, giving it the chance to breathe.

At times Llovet will void the page of all dialogue/narration or keep it only to one bubble. In these scenes, she allows her art to tell the story. When Heartbeat #3 hits its crescendo, Llovet uses only a few words to help the scene hit harder. At this moment, it seems Eva has finally crossed her moral line with no sign (or way) of looking back. One thing I would take note of is the manner Donatien cuts their wrists.

During the final moments when Eva and Donatien embrace in sexual acts, Donatien slices Eva’s wrist down, but slices his side-to-side. This could mean nothing, but we know he has done this before. Meaning, he knows slicing down has a higher chance of killing then doing it to the side. This makes it seem that he does want to kill Eva. Or this could be him making a mistake. Nonetheless, this small detail seems as if it’ll play a huge part later.

Heartbeat #3 shows how lonely a swing set can be. — Interior art by Maria Llovet

A VISUAL TALE

Llovet’s art is gorgeous, with small details sticking out that seem to matter as much as the larger details. During some panels, she tends to focus on something that seems not to matter, yet it does. Some of the panels shown in Heartbeat #3 are visually striking, proving Llovet has a hell of an eye for visual composition. Although we aren’t talking about a film, Llovet’s framing for certain elements in the panels is cinematic beauty. Some could pass as stills taken from a film. Although each panel is alluring with her phenomenal art, that isn’t the only visual element she excels at.

As she’s brilliant with her pacing of Heartbeat #3 with the changing of panel sizes. This can be seen in the constant “heartbeat” of near-symmetrical rectangle panels, keeping the pages evenly paced. But, when tension builds, she places more rectangles on the pages showing an increase of speed. Other times she adds smaller square panels to show quick scenes that matter, yet shouldn’t take up space. The color palette of Heartbeat continues to mirror that of realism. During some scenes, the colors do shine bright, yet never enough to not seem real. The colors showcased throughout help sell the eerie setting without going over the vibe Llovet sets out for.

FEW, YET STRONG WORDS

Llovet’s moral breaking story was originally published in Spanish. Later on, it received translations in several different countries. BOOM! Studio’s English version is translated by Andrea Rosenberg. Nothing seems off in this translation, nor weird in word usage. AndWorld Design remains on lettering, which as with past issues, works quite well.

MORAL DILEMMAS

Llovet’s slow-building tale has been phenomenal in all three issues. Yet, the story matter and the way Llovet tells the plot in Heartbeat makes it hard to recommend to others. I’ve said this of the other issues, yet it feels even more so in the third issue. This, due to some of the taboo factors Heartbeat #3 involves. Nevertheless, Llovet continues to show how amazing she is as a creator in every aspect.

Cover Story: Heartbeat #3’s cover is beautiful in its visuals, yet the message it brings is as great. Llovet shows Eva tangled in strings with various items caught up with her. Each of these items plays a part in the story being told. Whereas the entanglement shows how caught up Eva has become in Donatien’s world.

Memorable Quote “If you’ve sprinkled the gasoline, lit the match, and fed the flame, how can you be surprised by the explosion?” – Eva

I usually only go with a Cover Story or a Memorable Quote. Yet, this quote is amazing, and equally so is the cover.

Dear Reader

Have you been following Eva’s slow descend in Heartbeat? If so, let us know what you’ve thought so far.

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