Allies of the Past in WEB OF BLACK WIDOW #4

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WEB OF BLACK WIDOW #4, out this Wednesday from Marvel Comics brings us back to a Black Widow on the quest for truth. And maybe a bit of revenge. But when somebody is out there committing murders with her face, what else is Natasha supposed to do?

You can probably guess who Black Widow is about to face, based on this cover alone.

***SPOILER WARNING***

Natasha has been working hard at hunting down the person using her face to kill people from her past. But that means that the Black Widow must also face the past she left behind – and all of the allies and enemies she’s made along the way.

Web of Black Widow #4 brings us perhaps the most iconic partner from Black Widow’s many runs: the one and only Hawkeye. Clint Barton has consistently found a way to make his way into Natasha’s stories. But this time it feels different. And that’s all thanks to the mess of a web that has been woven for her.

Natasha is not looking good, but she’s seen worse…

Tracking down the events of one’s past is always easier when you have complete memories. Unfortunately, that is something Natasha is lacking. Perhaps that is the reason she’s been having so much difficulty here. Well, that and the fact that her allies keep getting in her way.

Jody Houser has woven an intricate web in which to trap Black Widow in. Web of Black Widow #4 once again played around with the past and the present; unraveling Natasha’s story one element at a time. This tactic has been used to a brilliant extent in this series, building intrigue and providing a grounding all at the same time.

The other constant in this series? Each issue has brought Black Widow up against an enemy and an ally of her past. The ally is probably the more notable element here, given that it’s Clint Barton we’re talking about here.

The events that follow are dramatic and deeply emotional, thanks to the combined past of these two heroes. Neither wants to be fighting the other, but they’re both too stubborn to stop or to back down. And talking is simply out of the question. Quippy banter and comebacks are acceptable, of course.

That looks like one of Hawkeye’s arrows, doesn’t it?

Web of Black Widow #4 brought with it some clever artistic scenes. The bouncing in perspectives has lent well to a creative form of storytelling in itself, but it also results in some visually striking panels.

The fighting in this issue was exceptional, showing a dramatic sense of movement and impact. And it wasn’t afraid to draw or show a bit of blood either – which fits with Black Widow, don’t you think?

Stephen Mooney (pencils/inks), Triona Farrell (colors) and VC’s Cory Petit (letters) did an excellent job with this issue, all things considered. Natasha is looking driven and stubborn, which is about par for the course. And the colors for each panel are brilliant, giving us a clear distinction with nearly every time jump (there are exceptions but with intent). And the lettering was simple and understated.

Web of Black Widow #4 is the second to last issue in the series. And that means that it’s time to up the ante. This issue brings with it a lot of drama and revelations, but the story isn’t quite over yet. Fans will be left wondering what sort of price Natasha will have to pay when this is all said and done.

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Enter the World of Magic in NOMEN OMEN #3

By

Cat Wyatt

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NOMEN OMEN #3, out this Wednesday from Image Comics, continues the story of Becky and the insane adventure she has unwillingly been thrust into. This is a world of magic and beasts, and we’ve only just begun to scratch the surface of it all.

Becky and Fer are about to face something magical.

***SPOILER WARNING***

It’s safe to say that Becky has not led a normal life up until now. Even the circumstances of her birth were somewhat…out there. But even that life could not have prepared her for some of the revelations she’s about to face. Though she’s arguably more prepared than most.

Last we saw, Becky was being rescued by the most unlikely of allies; a bulky man determined to face off against several others of his kind. And we were left with so many questions about what was going on.

Don’t worry, Nomen Omen #3 makes good on the promise for answers. Though it might just give you even more questions along the way.

Jumping into a magical realm can have some odd consequences.

Nomen Omen #3 is a wild adventure for little miss Becky. Torn from the world she grew up in, Becky now is faced with the reality of magic. And of the beast that stole her heart. The realization is easier to accept than you might believe. But then again, consider who we’re talking about here.

Marco B. Bucci wove an intricate and fascinating story here. He made clever use of several different storytelling techniques. This helped to keep the pace moving, while also giving us some painfully needed information.

Where previously the characters were interesting – yet still relatively flat – they’ve become something more here. Becky and Fer’s personalities play nicely against one another. There’s still a lot more we need to be shown about these two (and all of the other characters we’ve met), but we’re getting there.

Then there’s the plot itself. We’ve getting tossed fully into the deep end in this issue. And it’s looking to be an absorbing story, if this issue is anything to go by. The magical system is complex, and there’s just the barest hint of the politics and vendettas that run through the magical world. It’ll leave readers desperate to see more. And we’re hoping the next issue will give us exactly that.

Becky and Fer look pretty comfortable on this alternate cover of Nomen Omen #3.

Nomen Omen #3 has perhaps some of the best artwork of the series (so far). And considering one of the highlights for this series has always been the artwork, that is saying something. As with the others, this issue carefully balances gray-scale imagery against panels full of vibrant colors. The effect is stunning.

But it also serves a purpose. There are normal events. And then there are magic events and scenes. You can guess which one has been granted the ability to be shown in brilliant color. There are several pages (a little more than halfway through the issue) that are especially striking. And should probably be made into prints.

All credit goes to Jacopo Camagni for all of the artwork in this issue. They singlehandedly managed both the lines and the colors. And that is why it all looks so blindingly cohesive. There was one other artist on board with this project, Fabio Amelia. They’re the ones in charge of lettering. And unsurprisingly they did a stellar job of it.

And here’s a peek at what Nomen Omen #4 has in store for us.

Nomen Omen #3 went a long way in getting fans even more invested in the series. It’s full of beautiful artwork, character development, and answers. There’s still a whole lot left to this tale, but since we’re only a fifth of the way through this story, that makes sense. And it’s looking to be an interesting ride the rest of the way.

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Kamala Plays “Hyde” And Seek In THE MAGNIFICENT MS. MARVEL #10

By

Samuel Pratt

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MMM Feature Cover — Cover by Eduard Petrovich

Hitting the shelves this week from Marvel Comics, The Magnificent Ms. Marvel #10 keeps us on the edge of our seats with Kamala’s father’s surgery.

Kamala Khan’s newest adventures have had some mixed reception from her fans, but these past few issues have been an emotional roller coaster, to say the least. Issue #9 left us with Tony Stark bringing Dr. Strange to perform Yusuf Khan’s surgery, Kamala kissing Bruno, and a classic Marvel villain, Mister Hyde, showing up to put a wrench in all these gears. Now Kamala has to balance handling this stressful time while her father is under the knife, catch a villainous murderer before someone gets hurt or killed, get back to her mother and brother’s side to support them during this time, protect her secret identity, and to top it all off, she and Bruno will have to talk about that kiss between them.

Cool to see Doctor Strange at work. Very hopeful for Mr. Khan’s recovery.

With everything that’s going on, the way this issue explores these situations surprisingly simple, but also effective. The story continues to unravel with one thing at a time, progressively showing us the events without jumbling them together. The main focus of this issue was Ms. Marvel vs Mister Hyde, and that certainly shows as it takes up most of the narrative, but the other events that are going on do get their points across without overextending and taking up too many pages.

The Magnificent Ms. Marvel has an art style that is generally very different from previous titles with the name. Minkyu Jung keeps to sharper lines and mildly more realistic shapes, which has its ups and downs for this super cartoony character. On one hand, the characters look great as they are, plus the Stormranger suit is a cool redesign for Kamala and I welcome the addition. On the other hand, some of the “Embiggening” looks strange in this style. It’s not particularly off-putting, but it does not really translate perfectly with a more realistic art direction.

I’ve gone back to look at this panel specifically multiple times. There’s just something about the combination of her serious expression, and her stretching neck that makes me chuckle for how silly it is.

The coloring for The Magnificent Ms. Marvel #10 by Ian Herring compliments Jung’s art very well. I’m especially fond of the palette choices for Hyde in these issues, as well as the inking on him. Juan Vlasco gives Hyde these immense dark shadows under his eyes and around his massive figure making him this menacing Hulk-like monster stomping around with his pale skin and outrageously proportioned forest green monkey suit. Hyde’s design fits this style very well and it shows.

A very good panel of Hyde, just one example of how cool he looks in this issue.

Writer Saladin Ahmed has been keeping us guessing on what will happen next in this story, and there’s a lot to consider for the direction it has been going. Each new struggle for Kamala feels just as intense as the last without much of a clear resolution in sight. VC’s Joe Caramagna handles the lettering and gets to have some fun with all the grunts and growls from Hyde as he makes them all pop and practically audible.

As we progress through this heart-wrenching chapter in Kamala’s life, things only seem to get crazier with each turn. While the themes and conflicts have a strong bite of realism, the way Kamala goes about it does keep this feeling like Ms. Marvel. The Magnificent Ms. Marvel #10 continues to hit us with these harsh themes but does so in a way that is still consistent with what we’ve seen in the past. If you’re a long time fan of the stretchy Inhuman superhero, I still recommend this book as it expands more of our spectrum on Kamala’s experiences.

How do you feel about Ms. Marvel’s change in tone to more serious issues? Let us know how in the comments!

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Review: Hal Faces The Justice League In GREEN LANTERN: BLACKSTARS #2

By

Corey Patterson

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GREEN LANTERN: BLACKSTARS #2 cover with Justice League

Grant Morrison’s GREEN LANTERN: BLACKSTARS #2, available in comic book stores on Wednesday, December 4th, takes empire of Controller Mu to Earth. In a world where the Green Lanterns never existed (thanks for Mu’s use of the Wishing Machine), the Justice League is falling apart at the seams thanks to an unending swarm of new threats. Now Hal Jordan must attempt to convince Superman to surrender to the Blackstar order lest his home planet is destroyed.

Story

This remade universe’s Earth is spinning out of control. The lack of cohesion among the heroes has dampened hopes among the League members, especially the younger ones like Jon Kent. Rather than following his father Clark’s method of crime fighting, the boy would rather join the Blackstar ranks. Their ideology is quite convincing, much to the chagrin of Clark.

But what does this Blackstar ideology entail? How is it different from the Green Lantern philosophy of the past?

Morrison answers this question by guiding readers through Belzebeth’s past experiences. We witness pivotal moments in her life: her marriage, assassination attempts on her husband, war against the original Controllers, and her fateful meeting with Mu. We feel the gut-wrenching pain she experienced while attempting to thwart the Controller’s plans of domination, and her ultimate defeat. It’s only because of the defector Mu’s intervention that the warrior is saved; she bears witness to the former Controller’s plans to remove all violence from the universe through universal control of willpower.

But what does Hal think of this plan? Will it truly generate lasting peace in the universe? Is it a philosophy that’s diametrically opposed to the hero’s strong-willed mentality?

Artwork

The artwork within this issue combines the off-kilter style made prominent by Liam Sharp in the recent THE GREEN LANTERN run with the classic look found within JUSTICE LEAGUE over the years. Xermanico’s penciling and ink work combines illustrations made up of both well-defined lines and more twisted curves, representing the supposed stability of Earth’s heroes and the unknown, dubious forces of the Blackstars, respectively. This is effectively paired with Steve Oliff’s coloring mix of nebulous colors with the brighter hues of the League members, allowing readers to see the slowly encroaching reach of Mu into ordinary life.

Another wonderful feature of this issue’s artwork was Steve Wands’ lettering; we see a shift from traditional word balloons to dialogue boxes that look like they were ripped out of one’s diary, complete with a cursive font. This enhances Belzebeth’s storytelling by personalizing the events.

Comic Covers

Main Cover

Liam Sharp’s main cover artwork features Hal and Belzebeth raining down chaos upon the League, showing the ultimate fate of those who fail to surrender to Mu.

Variant Cover

Diego Rodriguez and Darick Robertson’s variant cover is much like the main version in that it positions the two Blackstar leaders in an authoritative position over another entity–this time the entire planet. This illustration signals a major threat Mu’s forces impose upon the Earth.

Conclusion

GREEN LANTERN: BLACKSTARS #2, being a part of a 3-part miniseries, speeds things along at a quick past, but it does so without leaving readers behind. The story is easy enough to follow and keeps us engaged with the main plot points.

Do you think Hal will be able to reverse what Mu has unleashed? Let us know in the comments below!

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Review: Doctor Doom Conquers NYC In AMAZING SPIDER-MAN #35

By

Colin Tessier

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In Marvel Comics’ Amazing Spider-Man #35, Doctor Doom rules New York City with an iron fist and writer Nick Spencer plunges Spidey deeper into Marvel 2099.

Amazing Spider-Man #35

Writer: Nick Spencer

Artist: Oscar Bazaldua

Colorist: Steve Firchow

Letterer: VC’s Joe Caramagna

Last issue, Spencer took Marvel 2099 to the next level; it went from a slow burn story about time travel to a heart-pounding thriller. After a failed assassination attempt, Doctor Doom vowed vengeance and shut down Manhattan’s power. Meanwhile, Miguel O’Hara finally founded Spider-Man and warned him of the looming crisis. The narrative becomes even more compelling in Amazing Spider-Man #35.

Doctor Doom holds New York City prisoner in Amazing Spider-Man #35.

Hell hath no fury like a Doctor Doom scorned. Thanks to the art team, the villain is especially terrifying during his conquest of the Big Apple.With bold lettering and red outlines for Doom’s anger-infused speech bubbles, letterer Joe Caramagna gives the dictator a booming voice. Artist Oscar Bazaldua shows Doom towering over the city like a giant; he looks like the menacing figure of the Spectre. Sure, colorist Steve Firchow’s usage of the threatening gray skies and lightning might be clichéd. But it augments the memorable image of the Latverian monarch looming over New York.

Spencer’s script demonstrates that Doom’s power extends beyond this physical appearance. Through Spider-Man’s narration, we learn that Doom has launched a full-fledged subjugation of New York. Using an army of Doombots, Doom blocks all exits from the city, shuts down public transportation and drags Manhattan into mass panic. Plus, he dominates all airwaves with his demand: hand over his would-be assassin. With this plan, Doom has thought of everything and he has New York City firmly under his thumb.

Naturally, we’d expect New York’s collection of heroes to stop Doom. But the villain’s swarm of Doombots severely outnumber the Big Apple’s resident defenders. Bazaldua shows Luke Cage, Iron Fist, the Champions and even Doctor Strange struggling to fend off the legion of robots. As Spider-Man points out, “it’s actually a nightmare” because the Avengers and the Fantastic Four are busy with their own problems. (Involving these teams could turn Marvel 2099 into a company-wide event and, after the conclusion of Absolute Carnage, we could use a break from such a wide-ranging story.) Needless to say, the odds are stacked against our heroes.

At first, it seemed like Marvel 2099 was a story that would feature the usual time travel shenanigans. While that’s still somewhat true, Spencer shifts gears and expands the mystery underlying Miguel’s quest to save the future (and the present.) Between the attempted assassination, Countess Karkov’s devious schemes to start a war between Latveria and Symkaria and the Chameleon’s deceptions, there are a lot of moving parts here. Spidey represents the reader because, since he’s new to the spy game, he struggles to connect the dots. Thankfully, his sister, Teresa Parker, is well-versed in espionage, so she helps him keep up.

Spidey realizes that only Teresa inherited the “spycraft” in their family. Needless to say, this knowledge makes her a vital piece of the puzzle in the Webhead’s mission to stop the dire future Miguel hopes to prevent. Of course, like any realistic sibling, Teresa takes a little too much pleasure in this advantage. She’s a few steps ahead of Peter and, with a sly smirk on her face, tells him, “I already know where [the Chameleon] is.” Shout out to Bazaldua for the lifelike facial expression.

By the end of the issue, the situation for Spider-Man looks even more grim. A callback to “Days of Future Past” makes it clear that, at this juncture, Marvel 2099 is racing toward one of the most dismal futures fans have ever seen.

What’d you think of Amazing Spider-Man #35? Where do you hope to see Marvel 2099 go from here?

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MIGHTY MORPHIN POWER RANGERS #45, It Just Keeps Getting Better!

By

Samuel Pratt

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MMPR Feature Image — Cover by Jamal Campbell

Go-going onto the shelves this week, another exciting issue from Boom! Studios, Mighty Morphin Power Rangers #45 continues the “Necessary Evil” arc with the craziest issue so far.

With the cliffhanger from issue #44, readers have been patiently waiting for this Omega Ranger showdown on the moon with Lord Zedd, and dare I say, it does NOT disappoint. The Omega Rangers have been nothing but badass and this is no exception. After seeing the clear gap in strength between the Earth’s Rangers, who are clearly still adjusting to their new team members, and the Omegas, the next question to come was, are they powerful enough for Zedd?

An awesome panel of Jason squaring off with Zedd!

I won’t spoil anything from this issue because it is DEFINITELY something you will want to read yourself. Writer Ryan Parrott continues to prove he knows exactly what Power Rangers fans love to see in this serious take on the story, even taking the extra mile to add new characters that fit perfectly with lore while feeling fresh and new.

Yeah, you better believe one, in particular, I’m talking about is Kiya. Since she first made an appearance on the Omega team, saying she could take on Jason Zack and Trini in a three on one, she immediately became one of my favorite characters. Her cocky personality and having the sheer gusto to back it make her an exciting and welcomed addition to the cast.

Kiya making a mockery of the Zedd putties.

The one thing I have enjoyed very much about the “Necessary Evil” story arc has been the further development of Jason’s character. At the beginning of Mighty Morphin Power Rangers Tommy seemed like the focus character above all. He was the hero, and he was also the villain. While none of the cast felt slept on throughout the “Shattered Grid” story arc, (especially during the large gap where Tommy was not actually in it) when all was said and done he really was the central character everything revolved around.

While this series’ sibling comic Saban’s Go Go Power Rangers has fleshed out the other Rangers a lot more as it took place before Tommy’s arrival, Jason Lee Scott’s character development had not really taken the same center stage Tommy’s had in the past. While inarguable that Tommy Oliver is probably the most popular Ranger, (He’s been 5 different Power Rangers for crying out loud) Jason Lee Scott may very well hold the place of number two, being that he was the first Red Ranger, so seeing him take the spotlight for his own in this story arc has made for a good read. Especially for me since I am in fact a Jason fan to heart.

Mighty Morphin Power Rangers #45 keeps the pace with the phenomenal artwork and coloring we have come to love from this series. Daniele Di Nicuolo has been on since issue #40 and has done a killer job illustrating each scene, especially with the combat in this issue. Each action feels powerful and purposeful panel to panel and Walter Baiamonte’s coloring adds to the intensity of it all. Each Ranger suit glistens with detail, the gold trimming with its reflective sheen adds to the brilliance of the Omega Rangers’ designs.

A good look at the Omega Rangers’ suits. These designs are CLEAN

I’ve mentioned in a previous review that I’m a big fan of this series maintaining one of the more silly elements of Power Rangers, this, of course, being the audible sounds yelled with each strike. Letterer Ed Dukeshire keeps this trend as every “Kee-ya!” continues to stay right where it should be and not a “Hoo-ha!” is out of place. As zany as it may seem to some, I’ve found this is something that adds to the experience of reading these Ranger comics and helps the series truly hit close to home. At heart, it’s still the good old Power Rangers we know and love.

This issue is another big step for the current story arc which has been a blast to keep up with. While we had a break from the main story with “Beyond the Grid” which was the arc before this, everyone surely wondered what they had in mind to follow up after the epic journey that was “Shattered Grid.” While Lord Drakkon’s story certainly took the world by storm, I do think “Necessary Evil” keeps the pace nicely and is giving us more of what we want from this franchise.

I’m happy to see that the transition in the cast is being handled so well and while Jason, Zack, and Trini have been replaced on the true team, their characters are not simply being tossed away like they were in the show (with the exception of Jason returning in Zeo) I am excited to see where else Boom! studios take these stories and what more creative ideas they have in store for us as it continues on. All in all, another strong issue for Mighty Morphin Power Rangers.

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GHOST-SPIDER #4 Shows More On The Life Of Gwen Stacy

By

Samuel Pratt

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Out this week from Marvel Comics, Ghost-Spider #4 progresses Gwen’s wacky school adventures with a villain that has a history with “her.”

Gwen Stacy has a stalker… Again… Actually it’s the same guy that is was forever ago. As you may know, Gwen Stacy of Earth 65 is the Spider-Woman of her world, who also outed herself as the killer of Peter Parker and was publically prosecuted, sent to jail, came back, was called Spider-Gwen for a time, started college in Earth 616 and has now taken to the name “Ghost-Spider.”

Coincidentally, teaching at the university that Gwen is attending is none other than Miles Warren, otherwise known as The Jackal. Who in the past, had an obsession with Gwen from Earth 616. (Peter Parker’s home dimension) Now that a Gwen Stacy has returned to this Earth, Warren’s creepy obsession can begin again.

While the pacing in for Ghost Spider is admittedly a little slow, seeing Gwen adapt to her new life is the more rewarding part of the story. Previous tales revolving around her had a tendency to be outright depressing almost all the time. Those stories are phenomenal in their own right but it is nice to see Gwen finally catch a break on all of the tragedy that had been surrounding her. Let’s be honest, she’s been through a lot. Ghost Spider #4 continues these feel-good moments for Gwen but also shows us signs of what is to come.

Seanan McGuire writes a good Gwen Stacy, the character feels genuine in her age and attitude with the same spunk we’ve come to love from our punk rock spider gal. Gwen is still as snarky as ever but also caring and selfless as shown by how much she worries for her friend Benji when she does not meet her after school.

Gwen is kind of used to the people she cares about being hurt by being around her. So this concern feels pretty genuine.

Takeshi Miyazawa’s art has been top-notch and fitting for the Earth 65 aesthetic. His Gwen art in and out of costume differs mildly from previous artists’ like Robbi Rodriguez, for example, Gwen having longer hair and the suit having more notable shading all around. This is more a difference in styles than anything but Miyazawa’s designs still stands out to me and are very pleasing to look at.

I love these Symbiote costume change panels. I hope she keeps her Venom for good, their relationship is kind of adorable.

I like the inking a lot in this issue particularly. There are a lot of good shadowy panels and Rosi Kämpe does an excellent job emphasizing them. The coloring by Ian Herring is strong as well, the backgrounds on Earth 616 and 65 differ in palette choices with 616 having more traditional skies of blue and orange and 65 keeping to its usual purples and neons. The lettering is done by VC’s Clayton Cowles and is well kept and easy to digest. All “Thwips” are accounted for.

Ghost-Spider #4 is a decent issue for Spider-Gwen fans, McGuire shows an understanding of the character well and I am curious to see where she takes it from here. Hopefully, we will continue to see more of Gwen and her symbiote on Earth 616 and potentially cross over more with the heroes there. Spider-Women was such a fun read I would love to see her team up with Silk or Spider-Woman again while she is there.

Who would you like to see Gwen team up with while she’s on 616? Miles? Ms. Marvel? Maybe the Unstoppable Wasp? Let us know in the comments!

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Review: Simmons’ Past Comes To Haunt Him In SPAWN #303

By

Corey Patterson

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SPAWN #303 confrontation with Jessica Priest

SPAWN #303, available in comic book stores on Wednesday, December 4th, brings Jessica Priest face to face with her former ally Al Simmons, a.k.a. Spawn. The two used to fight alongside one another against supernatural forces seeking to destroy the world. But Priest’s recent discovery of her own Hellspawn powers has her asking questions, and she deems Simmons to be the person to answer them. The question is: Will Simmons greet her with open arms, or a fit of fury?

Story

Simmons, scarred by years of betrayals and false pretenses, reacts to Priest’s appearance in a flurry of blows. He exemplifies the “fight-or-flight” mentality in flying colors, wrapping his former ally in chains from the bowels of Hell.

Priest, responding to her predicament in a fit of rage, unleashes her newly acquired Hellspawn powers and breaks the bonds. She informs Simmons of the recent death of their mutual acquaintance, Nyx. We learn that she’d been researching the rise in Hellspawn, drawing evil supernatural beings to her doorstep. But Priest concludes it was ultimately due to Simmons spreading of the Spawn necroplasm in various people (in case he ever died and needed a back-up plan).

Todd McFarlane’s script flows smoothly from page to page, acting as a third-person omniscient narrator to hep reader’s share in Simmons’ experience. We feel his guilt at having triggered the rise of Hellspawn beings, leading to the death of an innocent person. But the time for self-pity is short-lived; Simmons must figure out why Priest and the others’ became Hellspawn and how to face the consequences of their awakening.

Artwork

McFarlane, Jason Shawn Alexander, and Peter Steigerwald’s illustrations for this issue worked together beautifully. Each scene is cast within dark shadows, revealing Simmons, Priest, and the other characters via dim lights and sharp, jagged lines.

Tom Orzechowski’s lettering was a great asset as well. The stark differences in size and color between Simmons and Priest’s voices when in Hellspawn form emphasizes the raw emotion felt by the characters.

Comic Covers

Cover A

Francesco Mattina’s main cover artwork features Simmons rising out of a hellish swamp in Spawn form, giving leaders an up close view of the titular character and his growing power.

Cover B

McFarlane’s wonderful Cover B features the mysterious medieval version of Spawn, a character teased in this issue. This makes us wonder if the character was one of those Hellspawn awakened in recent issues.

Cover C

Taking on Cover C as well, McFarlane uses the same illustration from Cover B but removes all color. This offers up a more mysterious vibe than the original.

Conclusion

The tale told within SPAWN #303 dives deeper into the possibility of multiple Hellspawn creatures walking the Earth. As if warring demons and angels wasn’t enough, Simmons will have to deal with the ramifications of his actions in future issues.

Do you think the newly created Hellspawn beings will fight on Simmons’ side? Let us know in the comments below!

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Review: DEAD EYES #3 Brings Die Hard To The Hospital

By

Darryll Robson

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Dead Eyes #3 is a comic that has been waiting in the wings for some time now. However, the long over due and rebranded Image Comic finally sees the light of day this week. It is a real world vigilante story packed with action and violence.

With your dubious past closing in on you, and the mob believing you stole their money, what lengths would you go to to clear your name? And how do you reconcile your carefree history with the responsibilities of the present?

A Touch of Character

While his wife settles herself in the hospital Dobbs, aka Dead Eyes, dons the mask and stalks the halls, ready to tackle the mob head on. Each kill brings him one step closer to the money that they believe he stole.

The majority of this issue is spent in the hospital with the central character doing a number of good deeds in different ways. Whether it’s paying for someone else’s access to TV and Internet, or rescuing an injured man for the clutches of the mob, Gerry Duggan, writer, makes sure the reader knows who the good guy is.

The violence and greed that feeds the characters in this comic manifests itself in different ways and Duggan uses the plight of an aging vigilante to examine how these two things affect people in different ways. Dead Eyes is an archetype for costumed characters with the ever present struggle between ‘hero’ and civilian. Dobbs is forced by his previous life to once again wear the mask against the wishes of his wife. It’s far from a new idea but Duggan manages to give it a new spin and make the conflict fresh again.

The action is confined mostly to one location, allowing Duggan to focus the narrative on personal interactions between the characters. The intimacy of the central character and his wife is contrasted with a similar, albeit more disturbing, intimacy that Dead Eye’s shares with the mob.

Dead Eyes #3 artwork — Dead Eyes #3 Credit: Image Comics

A Sense of Location

John McCrea uses the space on the page wisely. He adopts a widescreen format more often than not, allowing plenty of room within the panels to add scenery. The detail within the background creates an immersive atmosphere for the characters to inhabit and for the reader to get lost in. The location becomes as important as the action and one feeds off the other with the contradictions of the building mimicking the moral dilemma of the central character.

The setting represents the struggle between life and death, a struggle all to familiar to Dead Eyes in his return to crime fighting. The heavy shadows within the backgrounds creates an imposing atmosphere throughout the comic. An atmosphere which is punctuated by the cold, oppressive coloring by Mike Spicer. A sickly grey/green prevails throughout the hospital adding an element of discomfort to the reading experience.

The urgency of the dialogue is brought out by Joe Sabino’s lettering, adding to the drama of the issue. Each page builds momentum as the action intensifies within the hospital, much in the same way as the narrative builds in the Die Hard movie. The noticeable change in the lettering, with size changes in the font and speech balloons being broken, expedites the motion of the narrative, speeding it up from one page to the next.

The drama builds throughout this issue like a well crafted action/crime story. It centres on the struggles of one character who drifts in and out of the scenery but is never far from the centre of attention.

Conclusion

Dead Eyes is not the fun, adventurous type of vigilante often found within the pages of the Big Two publishers. It’s gritty and realistic, dealing with hard hitting real life problems that are complicated by the destructive obsession of the protagonist.

There are moments of high tension but also occasional scenes of tenderness. Duggan wants the reader to care about this man who’s bad decisions in the past are coming back to haunt him.

After waiting over a year for new material from Dead Eyes, this issue doesn’t disappoint. The final scene is perfectly paced drama, beautifully rendered by the art team.

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Review: The Unending Terror of Occupation in THE BUTCHER OF PARIS #1

By

Justin Munday

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The realistic examination of factual events in world history is something that the comic medium doesn’t explore too often. World War II is an area of time that is typically spun in favor of some fictional character or event, as can be seen in everything from Captain America to the Hellboy Universe. So when such an interesting and understated event like the serial murders in Nazi-occupied Paris is given a treatment by a writer through an American publisher, it’s worth taking note of. It’s a relief too then that Stephanie Phillips’ debut issue of “The Butcher of Paris” is an engrossing and dread-inducing start to a series that will expose one of the most harrowing incidents during an already horribly troubled time in European history.

In Nazi-Occupied Paris in 1944, the brutality of the Third Reich’s reign is not the only terror Parisians have to fear. A serial killer has been stalking and murdering civilians by the dozens and using the situation in Paris as a cover. Now with the authorities alerted, it becomes a race against time – and the Nazi oppressors – to stop this relentless horror before more bodies can pile up.

Despite the fact that the synopsis of “The Butcher of Paris” is given upon opening the first issue, writer Stephanie Phillips still takes her time in presenting the horror of the murders themselves. In the meantime she stresses the turmoil the people, especially Jewish people lived under while being ruled by Hitler’s forces. It would be easy to focus on the serial killings almost solely and therefore make the Nazi occupation element lose the element of stress and terror that such an experience needs. Fortunately, this is given the proper attention it deserves. This is a thoroughly dread-inducing issue, with civilians doing anything they can to escape or at least stay alive under Nazi occupation – and this is before the murders are discovered. The characters in the book are well defined by their positions and their struggles, with each main character having an important part to play in the coming story. Interestingly, Phillips chooses to have the killer exposed near the beginning. The reader meets him only a few pages into this debut issue. This further helps instill the sense of dread via dramatic irony; the audience knows who the killer is, but the character do not. A brilliantly written start all around.

The art provided by Dean Kotz‘s pencils and Jason Wordie’s coloring is excellently in tune with the story here. The visual style very much lines up with the semi-realistic and shadow-laden aesthetic provided in many of Dark Horse’s horror comics. The thick lines and heavy inks Kotz uses create the oppressive mood the story needs for its chaotic plot. His detailing of character’s differing facial features and expressions makes each person easy to recognize, which is difficult in a story that uses so many supporting characters. The environmental detail of 1940’s Paris is remarkable as well, from the stone buildings to the dress of civilians and S.S. troopers alike. Wordie’s colors fill the pages with a murky depth in tandem with Kotz’s inks. The panels all seem as though they are lit by either moonlight or gas lanterns, and it works wonders in establishing the tone of the story. The quietly effective work needed for a comic such as “Butcher of Paris” can often go unnoticed in favor of more “explosive” works, but this issue shows just how much this sort of art is needed for storytelling.

The lettering from Troy Peteri is also an interesting choice, as the font favors a slightly more erratic style over more standard comic fonts. It doesn’t look unlike title cards for horror film from this era, and it adds a sort of frantic urgency to much of the dialogue. The bold lines are also subtle but noticeable, and it adds more of the horror undertones to the reading experience overall.

“The Butcher of Paris” #1 is a wonderfully suspenseful first issue, fraught with tension building dramatic irony and historical terror. Possibly the most ingenious element in this comic is that despite its premise about a historical serial killer, Phillips never loses sight of the horror that came to the people of Paris under the boot of the Third Reich itself. Fantastic tension building and character drama fuses with phenomenal art to create one of the most stellar debut issues a series could ask for. Be sure to pick it up from your local comic shop on 12-4.

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