The steps leading up to Iron Man 2020 continue in Tony Stark: Iron Man #18 as Don Slott, Christos Gage, Paco Medina, and Edgar Delgado find another way to make Tony’s future more difficult. Will all of this building towards a new title distract from the intense battle taking place again Ultron or help to establish the new future for the Iron Avenger?
“The Ultron Agenda” continues! Chapter 3: Inner Conflict! While Rhodey and friends fight the robot war topside…a literal war rages on INSIDE TOny STARK! It’s the Wasp and a remote piloted Nano Iron Man versus a shrunken Ultron/Pym inside Tony’s physical body.
Writing
There really doesn’t seem to be much going right for Tony these days. He has questioned his own existence, had a major disaster take place with his technology, and his best buddy Rhodey barely feels comfortable thinking about putting on the War Machine Armor. So what does Dan Slott and Christos Gage do? Simple they decide to throw up another hazard on the horizon.
The problem comes from Arno Stark, who’ project is guaranteed to send Tony’s world upside down. Tony really can’t catch a break lately. The only good thing in his life right now is his relationship with Janet but let’s hope nothing happens to her (knock on wood). Still, even though there are a lot of seeds for the future event, the battle against Ultron remains entertaining and intense. Even when a company has plans for a major event, its important to see issues like this where the right elements are set in place for it to come off as a natural part of storytelling.
Artwork
The art by Paco Medina with Walden Wong on inks helps to really shape how the battle is happening on two fronts. Between the fight on the streets against Ultron/Pym to the fight in Tony’s body, both environments are striking and visually distinct. The winner of these two arenas is definitely Tony’s body as the detail is paid to blood cells and oxygen swirling around the heroes.
Thanks to the coloring work by Edgar Delgado a sense of peace and discomfort comes through quite well. The eerie light remains on technology like Ultron/Pym and his cyborgs showcasing how they are unnatural and should cause dread. Yet, with the final page, the use of proper lighting allows for a reveal which will make many an Iron Man fan swell with joy.
The lettering by VC’s Joe Carmagna aids in telling a story when body language alone doesn’t cut it. One scene, in particular, comes to mind, as Tony is in the armor and it is impossible to tell how he is feeling. Yet, thanks to lettering, the moment lands in showcasing it is a blow Tony did not see coming.
Conclusion
Though more people are probably more focused on what is going to happen with Iron Man 2020, the steps leading up to this event are important. Tony Stark: Iron Man #18 features an intense battle but still has time to tell a gripping story. The future may be ever-changing for Mr. Stark but watching it unfold has been a joy.
Maria Llovet’s 2015 Spanish comic about a dark high school filled with bloodthirsty kids, and titled moral codes – elegantly dubbed HEARTBEAT – hits your local comic shop this Wednesday in English from BOOM! Studios.
Interior Art By Maria Llovet
Art With Rhythm
Heartbeat #1’s opening page (seen below) showcases Llovet’s great sense of panel rhythm and foreboding imagery. A large heart covers the top third of the page with motion lines spilling out from the middle, giving the enlarged organ a certain beat; a “heartbeat” if you would. The panels that follow show quick shots of things that have happened or may. Each panel that follows the heart feels as if it’s in tune with said organ.
Throughout Heartbeat #1, Llovet keeps the panels rectangular, varying the sizes for certain moments. But for the most part, she keeps this panel scheme to portray a slow build-up. That is until the end, where she picks up the pace with smaller rectangle and square panels, simulating a higher heart rate that Eva feels as she runs from a particular scene.
In addition to art, Llovet does the coloring for Heartbeat #1, which features scaled-down bright colors. At moments these colors pop, but never enough to draw the attention away from the art that adorns the page. Llovet’s art style is extraordinary. Be it busy pages that include a ton of miscellaneous items in the background, or clean backgrounds; she makes both look phenomenal. The style she brings is reminiscent of Manga, as is the story.
Interior Art By Maria Llovet
Steady is The Tale
The trend of being akin to Manga continues with Heartbeat #1 story, as it takes its time to slowly build the world and main character. This slow build-up of Eva’s daily life, and the world help crescendo the life-altering moments that transpire. Throughout the narration filled panels, we learn of her day-to-day struggles and the relationships she has with fellow classmates. These moments further the impact of events that will happen later on, giving the chest-pounding last few pages more weight.
At first, this slow-paced storytelling feels like the first steps of another slice of life, Manga. Especially with the schoolgirl outfits, and our main character is sporting an eye patch. These clearly being a nod towards a multitude of Manga/Anime. Yet this pacing matches the rhythm she sets with the paneling throughout. Granted, this “take it slow” approach could be a deterrent for readers that went in expecting a blood bath, or something near that idea. But, for the story Llovet is telling, it works gracefully.
Lettering comes courtesy of lettering studio—Andworld Design. Heartbeat #1 is never too heavy with its dialogue, plus Llovet keeps enough space in her panels, making the placement of dialogue bubbles/narration boxes easy. If a single panel has only one bubble/box, the placement of the next panels box will be on the opposite side, essentially helping guide the reader’s eyes across the page.
Interior Art By Maria Llovet
A Heartbeat Away
Llovet’s story of a high school with a dark secret, love, horror, death, and the moral dilemmas Eva has to choose is a hard comic to recommend. Is it because Heartbeat #1 is bad? Hell no. As you can see above it’s amazing. Alas, the slow burn, the use of some haunting images and the twisted story being told feels as if it’s for a niche group. If you’re part of said group, Heartbeat #1 will get your heart pumping.
Translation Notes:Heartbeat #1 was originally published in Spanish with a French and an Italian version following. The English translation is handled by Andrea Rosenberg. As a frequent reader of Manga that has seen a varying amount of good and bad translations, Rosenberg’s work falls under the great category. No sentencing, wording, or punctuation seemed off, nor did what anyone was saying not translate well.
Cover Story: Llovet’s cover is amazing for its simplicity and design. But I’m a sucker for Mirka Andolfo, who did an amazing cover! Well, you could call them two different covers. But the statement remains, they’re awesome!
Heartbeat #1 Variant Cover By Mirka AndolfoHeartbeat #1 Variant Cover By Mirka Andolfo
Dear Reader
Did you read Heartbeat when it originally released in 2015? Or is this your first time reading it? Either way, let us know below!
If you want more of her art check out BOOM! Studio’s Faithless.
On the shelves this week from DC Comics, RWBY Chapter 6 continues the comic run of the well known Rooster Teeth franchise with our first look at the story beyond the character introductions.
RWBY Chapter 6 tells another tale of team RNJR’s adventures during their time together from the fourth season of the show. While this issue felt particularly short, it does bring a plot point back up that the animated series started, but hasn’t touched upon since — something to be handled by Ruby, Nora, Jaune, and Ren.
(RWBY Vol 3 spoilers ahead)
During the fall of Beacon, story antagonist Cinder Fall broadcasted the chaos across the world of Remnant, showing its populace a warped interpretation of what the students at Beacon Academy were being taught. Cinder claimed the students were being bred into child soldiers and killing machines, and all who watched the broadcast were shown a biased feed that only supported the statement.
RWBY viewers never really got to see the effects the broadcast had on the populace after the matter, only briefly when it is revealed that the nations were separated and communications between them were at a halt. RWBY Chapter 6 finally shows us the aftermath of Cinder’s broadcast among more common folk in the world of Remnant.
An example of what effect Cinder’s broadcast had
Though as a story it is a bit short and sweet, I will say Meghan Hetrick’s art is exceptional, detailing each character well in their design. What is even more worth noting, the fantastic and different redesign of the Manticore Grimm.
The Manticore which is significantly bigger than its appearance in Volume 6
Still on the colors is Arif Prianto, who continues to do an amazing job maintaining the color themes for each character in their design, as well as giving the world a lush and vibrant palette. I feel Prianto understands the characters and world of RWBY very well, and I hope he stays for a long time to come.
Gabriela Downie continues the lettering in this issue, which is optimized and easy to digest, even for longer parts of dialogue the font and spacing are presented in a manner that’s not so intimidating and welcoming to anyone new to comics. Being that the target audience leans more towards RWBY fans who may not necessarily read comics often, this seems like a smart direction to take.
While I appreciate RWBY in a comic-book form and the stories being told are enjoyable, I do hope in the future there will be some continuous story arc established in these issues. As of right now, they do seem more inclined to tell short stories that are open and closed, but it’s only issue 6, so there’s still time to see where it goes. As a RWBY fan, I am still happy with the issues to date, as an avid comic reader, I’m still holding out for that cherry on top.
Writer Tim Seeley (Grayson, Hack/Slash) comes together with a fantastic art team to create a blast of a first issue in “He-Man: Masters of the Multiverse #1.” The debut comic for this six-issue mini-series is sure to please long-time He-Man fans, while still bringing enough new to the table to be an enticing read.
Across the multiverse, Eternia lies at the center of every universe with He-Man as a force of absolute good. That is, except for the one Anti-Eternia, where a dark image of He-Man is created. This anti-He-Man takes off across the multiverse to steal the power from all other Castle Greyskulls in the multiverse, all the while killing the heroes who defend them. Now, it’s up to a rag-tag team of surviving He-Men to band together and stop this villain from gaining control of the entire multiverse!
If there’s one thing writer Tim Seeley knows how to do, it’s make a story that’s a blast to read. The script behind this first issue of “He-Man” is full of exciting twists, balanced pacing and perfect dialogue for this sort of book. The reveals of new characters and locations all come across as wondrous and, frankly, cool as hell. Any brief moments of exposition are delivered in a way that feels natural and necessary, and as such they don’t effect the speedy pacing of the issue. The dialogue itself feels like classic He-Man, but it never gets too campy. It’s a fine line that Seeley balances here. Let’s face it though, any issue that opens with Skeletor’s evil laughter is an absolute winner. Sure, the whole “someone is taking over the multiverse” trope has indeed been done to death, but getting to see it done in a new He-Man comic is too much of a treat for it to be a major critique. This is an issue that neatly accomplishes a lot of story in the span of only 20 pages.
Any long-time comic fan understands how important the right art is to a proper sword & sorcery series. Fortunately, Dan Fraga‘s pencils and Richard Friend’s inks create a style reminiscent of the classic designs of the 70’s and 80’s while still making it fit for a He-Man story. Fraga’s penciling is indicative of the 90’s musclebound character art that he cut his teeth on, but it’s sharpened here to just the reasonable amount of over-the-top. Fraga draws a fantastic He-Man, as well as an excellent amount of detail to the world(s) that the characters inhabit. Richard Friend’s inks give excellent definition and depth to everything from He-Man’s absurd musculature to the bolts of magic Skeletor lobs at his nemesis. The comic looks like someone dug up an issue from the 1980’s, and you wouldn’t want it any other way.
What sells the look of this new He-Man comic just as much as Fraga and Friend’s art is Matt Yackey‘s top-notch coloring. The color choices in this issue look like a toy commercial and damn does it look fantastic. Characters are perfectly matched to their classic cartoon versions, but with the visual pop of modern techniques. Everything from blobs of projectile sorcery to drawings of the multiverse are given the neon-sheen of old-school color palates that have apparently aged like wine under Yackey’s supervision. If you came for Seeley’s take on the classic character or for Fraga’s artistic interpretation, you’ll stay for Yackey’s incredible colors.
“He-Man and the Masters of the Multiverse #1” is a fantastic start to a new mini-series featuring Eternia’s massive cast of heroes and villains. The pages within bring to life enough classic material for old fans to get a kick out of, but an intriguing enough premise to tide over newer fans who may be more unfamiliar with the characters. Tim Seeley’s script works in conjunction with the talents of an outstanding art team to make this a blast to read. Whether you’re a long time fan of the heroes of Castle Greyskull or a first-time observer, this issue is a worthy pick from your local comic shop on 11/20.
I PLEDGE ALLEGIANCE TO THE MASK #2, available in comic book stores Wednesday, November 20th, gets more political than ever—with just a touch of blood. Mayor Kathy Matthews continues to push her campaign for the presidency despite a alarming number of murders among the candidates. Many speculate that a new person assuming The Mask persona is behind the killings; what’s peculiar is that they’re currently running for president as well. No one knows who this late-comer is, but it seems a large segment of the public have taken to his message—a message that embodies America at its worst.
Story
The drama all starts when The Mask, dressed as Uncle Sam, pays a visit to Orville Willicker, leader of The Columbia Party and player in the current race. Willicker believes him to be nothing more than one of his aides and plays along with number of personal indictments. But the fun ends when The Mask proceeds to murder the man in cold blood.
Following this horrific event, The Mask murders three other presidential candidates in quick succession, leaving the political landscape even more chaotic than before. Despite this atmosphere, Kathy remains committed to her campaign, though she does spend her free time sparring with boxing instructors to keep her physically and mentally sharp. However, The Mask wastes no time setting his sights on her, planting his agents at one of her public speeches and orders him to lob a bomb at her podium.
Fortunately, Kathy survives, and decides to beef up her security, enlisting long-time Mask chaser Detective Mitch Kellaway into her personal entourage. Though they’ve butted heads over the yeas, the duo know how to hold their own against The Mask.
Writer Christopher Cantwell adds a neat twist to this story by letting The Mask run for president. Outlandish as it seems, the vigilante’s own campaign promises of wealth and guns hits a disturbing cord in its similarities to America’s modern politics. Can Kathy find a way to stop the megalomaniac before he takes her life, wins the election, or both?
Artwork
Patric Reynolds penciling and inking, along with Lee Loughridge’s coloring, provides a grungy and gritty vibe for the Edge City setting—a perfect fit for this story. The back alley meet-ups, the police chases—scenes employing dark shades and bold lines—give us just enough clarity while keeping much hidden in the darkness. The only brightness we see comes in the form of The Mask’s outlandish costumes and unforgettable green face. Nate Piekos of Blambot’s lettering reinforces this by using jagged borders on much of The Mask’s dialogue balloons—quite literally adding “edges” to this chaotic being who represents the degeneracy of Edge City itself.
Comic Covers
Main Cover
Reynolds and Loughridge lend their expertise to the main cover, depicting “Big Head” in all his glory in the presidential seat at the White House—the worst nightmare for some and a dream come true for others. The burning U.S. capital behind him adds to the chaos this candidate wishes unleash.
Variant Cover
James Harren’s artwork places Javier Antanasio, the mask user from issue #1, front and center, gazing ahead with a crooked smile while tormented faces of The Mask. This shows the many personalities that have worn the mask and the tormented existences they lead.
Conclusion
The twisted tale told in I PLEDGE ALLEGIANCE TO THE MASK #2 is uncannily relatable in its scope, seeking to draw in mature, politically savvy comic book fans. Readers will undoubtedly be on the edge of their seats watching the Edge City “hero” take the country into his own hands.
Do you think The Mask has a shot at winning the election? Let us know in the comments below!
In Marvel Comics’ Amazing Spider-Man #34, (on sale November 20), the various elements of Marvel 2099 fall like dominoes and the event shifts into high gear. With such a heart-pounding issue, writer Nick Spencer draws the reader in and leaves us begging for more.
Amazing Spider-Man #34
Writer: Nick Spencer
Artist: Patrick Gleason
Colorists: Matthew Wilson, Dee Cunniffe and Chris O’Halloran
Letterer: VC’s Joe Caramagna
Miguel O’Hara is struggling to remember the future, which could doom his efforts to save it.
To quote gifted comedian John Mulaney, “The other shoe just dropped.” Before this issue, Spencer slowly set up Marvel 2099. The event remained shrouded in mystery and we didn’t know what to expect. Here, Spencer firmly kicks off the event and, boy, it’s a doozy. From an attempted assassination to the end of worlds, the stakes couldn’t be higher. It had been easy to assume that Marvel 2099 would only affect the future but the present is clearly in danger, too.
In addition to the shift from a slow burn to a rapidly escalating mystery, another compelling narrative progression could define the event’s next steps. In previous issues, Miguel O’Hara and other characters have focused on how the present has doomed the future. But now, even though his world is ending, Miguel becomes more hopeful about tomorrow. He’s worried about his chances of finding Peter but his optimism shines through. “Who knows what the future holds?” Miguel asks. In times like this, hope can make all the difference.
Most events start with a bang but the sight of Doctor Doom getting gunned down might just take the cake. Of course, as Spidey points out, “It’s always Doombots with this guy.” Still, the art team makes Doom’s “death” feel like a major moment. In one lifelike panel, artist Patrick Gleason shows the surrounding crowd panicking or taking a picture with the fallen tyrant. (It’s easy to imagine some of the bystanders taking a selfie with the corpse.) Bright camera flashes, courtesy of colorists Matthew Wilson, Dee Cunniffe and Chris O��Halloran, light this scene and the body looks almost angelic in its innocence. Don’t worry, it’s not all doom and gloom; there’s plenty of visual comedy, too.
Both in the present and the future, Doctor Doom plays a vital role in Marvel 2099.
Everybody knows the meme where the animated Spider-Man are pointing at each other, so it’s delightful when it pops up in comics or movies. The art team references the classic image when Miguel finally finds Peter Parker. Miguel eagerly runs to his predecessor and yells, “Spider-Man!” Confused, Peter shouts, “Spider-Man?!” Though the reunion is short-lived, it’s still the highlight of the issue — Spencer has slowly built toward it for weeks now. It’s fitting that destructive emerald energy blasts from the Doombot serve as the background; sure, it’s a chaotic time to meet up but for the Spider-Men, it’s just another Tuesday.
Marvel 2099, like many comic events, got off to a slow start. Inpatient readers (like yours truly) may not always enjoy this pace. But now that it’s officially off and running, we can’t wait to see where it goes.
What’d you think of Amazing Spider-Man #34? Where do you hope to see the series go from here?
In Absolute Carnage #5, (on sale November 20), writer Donny Cates bring Marvel’s horror-infused event of the year to a close. While he radically changes the status quo for Eddie Brock and sets up an even more terrifying sequel, the conclusion doesn’t live up to the expectations set by its predecessors.
Absolute Carnage #5
Writer: Donny Cates
Penciler: Ryan Stegman
Inkers: JP Mayer & Jay Leisten
Color Artist: Frank Martin
Letterer: VC’s Clayton Cowles
Up to this point, Absolute Carnage has gotten better with each issue. Each one featured twists, turns and moments that stayed with readers long after they finished reading. So maybe it was inevitable that the conclusion was a letdown; the series couldn’t live up to itself. As promised by the end of the penultimate installment, we got the final clash between Venom and Carnage. But it didn’t quite deliver.
Absolute Carnage #4 ended with Venom, who just grew wings, flying after the similarly winged Carnage. So we knew we were in for a treat; in a series that’s featured symbiote dragons, a Venom-Hulk and a bunch of other crazy stuff, we couldn’t wait to see how it’d come to a head. While strong dialogue and stellar art continue to define this series, the final fight between Venom and Carnage is anticlimactic.
It all comes down to this: one final battle between Carnage and Venom.
To be fair, the ultimate battle in any event doesn’t have to be awe-inspiring. This one actually lines up with Eddie’s arc throughout the event; he doesn’t have to be outmuscle Carnage because he can find other ways to win. But at the height of the plot, Eddie makes a questionably bold sacrifice that’s sure to send shockwaves throughout the Marvel Universe. Unfortunately, the shocking moment takes away from the resolution of the current story when Cates briefly previews the ramifications of Brock’s decision. We’re left with a clear idea of where the sequel is going. But this knowledge comes at the expense of a sense of finality — rather than ending, Absolute Carnage just stops.
Other heroes are present in Absolute Carnage #5 but the story isn’t about them.
While the event has incorporated numerous aspects of the Marvel Universe, Cates changes course and narrows the scope so that it focuses on the two main rivals. Previously, he’s given the Avengers and other heroes important roles in the story. While they’re present here, the battle comes down to Venom and Carnage. This focus feels somewhat fitting, given the bitter conflict between the two. But the lack of narrative importance for the other heroes is also disappointing.
As always, the art team adds immeasurable depth to an already rich story. When Carnage taunts that Eddie, penciler Ryan Stegman conveys the villain’s shifting mood. At first, he’s arrogantly bragging that Eddie has already lost the battle. Then, the glee on Carnage’s face is sickening when he laughs and boasts, “You’re going to lose your little boy!” It’s impossible not to root against the horrifying antagonist. Time and again, dynamic facial expressions inject the story with tangible passion. After Carnage presents Eddie with an impossible choice between saving his son or the world, the look on Eddie’s face could say 1000 words. He knows he has to do something terrible and the resentful determination in his eyes is palpable. Stegman’s ability to add visual emotion to a script is unparalleled.
Our expectations for Absolute Carnage #5 were quite high because the series has been so outstanding. While there’s plenty to like about this conclusion, it doesn’t hit the mark because the ending focuses on setting up the sequel.
What did you think of Absolute Carnage #5? Are you excited for a potential sequel?
The return to the future of 2099 begins with 2099 Alpha #1 thanks to Dan Slott, Victor Bogdanovic, and Marte Garcia showing off a period in desperate need for heroes. Does this glimpse into the world of tomorrow show events worth anticipating or a bleak era ahead?
In the future of 2099, the world seems ready to tear itself appear on many fronts but where are the heroes? Will anyone step forward and turn the tide of chaos sweeping the land?
Writing
As it has been a bit since the last time 2099 has been used in a major storytelling capacity it is not surprising to find the place is in an utter state of disarray. The dystopian aspects of the future are on full display and there is a lot of great scene-stealing moments. Still, as a setup, it only offers a minor taste of what all the different plots will focus on for the different heroes. With the book servicing as the launch for five series, it almost packs too much into one issue.
This doesn’t mean this book isn’t without its merits on its own. Nick Spencer makes sure to point out some moments which will be interesting to see play out in the various books. The scenes with Doom 2099 alone are intense and memorable. They help to showcase the level of villainy this version of Doctor Doom is capable fo pulling off.
Artwork
The artwork really helps to cement the idea the future is bleak. The art by Victor Bogdanovic showcases a chaotic world where mutations are running wild and violence is around every corner. The scenes with the appearance of Conan 2099 offer the perfect display of carnage to show off this feature.
The coloring by Marte Garcia adds to the feeling of dread and gloom in the issue. Characters, buildings, and vehicles have an aura of dinginess thanks to the coloring work. The perfect blending of colors offers a sign things are going to get a lot worse before they get better.
With VC’s Joe Caramanga on lettering, the comic establishes some great voices for the storytelling. Through this narration technique, the scenes between Doom 2099 and his captive allow the audience to get a better glimpse into the other characters who will feature in the other 2099 books.
Conclusion
Though 2099 Alpha #1 isn’t a perfect introductory issue, it still leaves the reader with enough interest to want to check out this new event. The scenes with Doom 2099 will be sure to strike up a conversation and leave people to want to see how the heroes will be able to face whatever he has up his cape. So far, the future looks to be a fantastic read for those willing to take a trip to 2099.
WONDER WOMAN COME BACK TO ME #5, releasing this Wednesday from DC Comics, brings us back to the crazy adventure Diana and her friends have gotten themselves into. And it has gotten even more chaotic than before, which is saying something.
Wonder Woman is looking epic on this cover.
***SPOILER WARNING***
A friendly reminder, before we begin: Wonder Woman Come Back to Me has been published once before, during a run in Justice League Giants. This collection is really just for fans that missed that, or for the collectors out there.
So far, each issue of Wonder Woman Come Back to Me has been split into two parts. And yet, Wonder Woman Come Back to Me #5 felt like it wasn’t broken up at all, as it flowed from one part to the next in rapid succession. It made for a fast-paced issue, one with a surprise twist.
Cheetah is loving all of the violence.
In this chaotic plot, Wonder Woman went off after the lost love of her life, only to find herself (and her allies) in a strange world. Things only got weirder from that point, culminating with everyone getting pulled aboard an alien space ship. Only, it doesn’t actually end there.
To say that this is a wild plot would be an understatement. It seems like every page brings about a new danger or surprise for Diana to deal with. And thus, the readers are kept entertained as the plot bounces from one thing to the next.
Amanda Conner and Jimmy Palmiotti did an excellent job of moving the plot forward while keeping it surprising and unpredictable. This may be the most out-there plot that Diana has had to experience. But it certainly is a memorable one.
Wonder Woman Come Back to Me #5 boasted one major plot twist. But it also went a long way in explaining some of the dissonances that has come up before now. There are still a whole lot of questions that need to be answered. But at least we’re getting closer to the truth.
Well, that was a change of events.
Wonder Woman Come Back to Me #5 has artwork that matches the chaotic and fast-paced plot. The battles are bright and dynamic, with Cheetah’s enjoyment of the brutality being clear to everyone. While sometimes the expressions of other characters can seem a little bit off, on the whole, everything is carefully thought out. And some of the expressions were perfect (especially every shot that showed Cheetah’s delight).
Tom Derenick (pencils and inks), Alex Sinclair, and Hi-Fi (colors) and Travis Lanham (letters) worked together to bring us this issue. And they did an exciting job with what they were given. The book is vibrant and brightly lit, making it very pleasing to the eyes.
There’s little doubt that the highlight of this issue came from the battles shown. They were intense and dramatic, all while displaying an excellent understanding of movement. There were some apparent juxtapositions made between Wonder Woman’s fighting style and the alien Princess’ savagery in combat. But that was smart, as it was the first hint towards something untoward.
The other satisfying part of the battles shown was that they had a real sense of impact. It was hard not to wince whenever Diana took or delt a blow, as the artists made them feel so real. In many ways, those fight scenes carried more weight than the threat of unnamed guards and electric weapons.
And it’s time to be tasered, for the sake of plot and all that.
Wonder Woman Come Back to Me #5 has brought us a lot closer to getting the answers that we’ve been desperately seeking. And at least now we finally have a face for the person behind everything – even if we don’t understand the why just yet.
It was an exciting issue, on the whole, with one major twist about halfway through. In hindsight, it’s something we probably should have seen coming. But the transition was nicely done. It’ll be interesting to see how this affects everyone’s plans to get back home.
In this week’s Supergirl #36 from DC Comics, the Daughter of Krypton finally joins the universal Event story featuring the Batman Who Laughs virus. With the infection spreading wildly, what will Kara’s roll be in the fight between heroes?
Drawn to the Fortress of Solitude by Brainiac, Supergirl is infected with nanites and stopped in her tracks. Fighting internally to break free, Supergirl has limited time before the evil Brainiac can download all of the Kryptonian database. But a larger threat is on the horizon, one that could spell doom for both Supergirl and her enemy. One infecting the DC Universe. The Batman Who Laughs.
Supergirl #36 Credit: DC Comics
A Mixing of Genres
A strong opening sees Supergirl overrun by insect like robots, their extendable legs covering her body, attempting to claw inside. The scene is reminiscent of a scene from Superman III and contains the same level of horror generated by that 1980’s movie.
Marc Andreyko sets the scene early and reiterates the horror motif that has been running through the last few issues of this superhero comic. It has all been building to this: a confrontation with Brainiac.
Except, there is a lot of other stuff going on. This issue is tightly linked to various other DC comics that are released this month, with some of the fight scenes being shared across the pages of Batman/Superman. The Batman Who Laughs virus that has been infecting other heroes has finally found its way into the pages of Supergirl and not even her super strength can protect her.
How Andreyko manoeuvre’s Kara from the Fortress of Solitude into the greater DC arena is almost flippant in its disregard for narrative structure. He turns his back on the opening so quickly that he undermines the months of build up that has surrounded the two characters and their inevitable meeting. A resolution of sorts comes later in the comic but even this moment feels rushed, a victim of the crossover story.
And that is where this issue’s main problem lays. It is swallowed by the crossover. If you aren’t reading any of the other DC comics then this will leave you out in the cold; partially wondering what is going on but also not really caring very much. The ‘evil’ Supergirl comes off as lazy, both in design and character, especially without the backstory of the Batman Who Laughs. The action then moves at break-neck speed as if Andreyko has to tie everything up before the end of this issue.
The narrative is a blend of skin crawling horror and light hearted superhero shenanigans. There is plenty of banter in the fight sequences and pantomime level posturing by the villains but none of it is genuine enough to be anything other than cheesy. A clever script could have pulled this off but Andreyko just doesn’t quite manage it.
Supergirl #36 Credit: DC Comics
Goth Girl In Action
The only thing keeping the reader engrossed in this issue is the art work. Eduardo Pansica’s pencils and Julio Ferreira’s inks bring all of the energy and dynamism you would associate with the character. The Superhero tropes are there, just as in the script, but the clever panel layouts and shifting points of view give the artwork an edge over the narrative. The visual storytelling blends the horror and superhero aspects together successfully making this issue decidedly uncomfortable in places. The theme’s are set in the opening and carried throughout, almost overcoming the cliches of the costume design, which have been forced onto the comic by the crossover.
The coloring is a lot more murky than usual, another victim of the crossover. In an attempt to bring the comic more in line with the other titles in the event Chris Sotomayor has toned down the color pallet. The scenery is awash with grays and there is a prevailing sickly green tinge to an array of panels. These coloring choices do make sense in the grander scheme of the story and they reflect effectively Kara’s journey in this issue.
Unsurprisingly, the only aspect of the comic not adversely affected by the crossover is the lettering. Tom Napolitano does a spectacular job of keeping the speech flowing evenly through the panels and differentiating between characters; especially between those infected by the virus. For Napolitano the crossover offers him the opportunity to play around with the styles he has set up in previous issues.
Supergirl #36 Credit: DC Comics
Conclusion
When people talk about the pros and cons of Event comics, Supergirl #36 could be used as a prime example of both the good and the bad. It has engaging elements that relate to the characters own story, written and drawn by the usual artists. However, it also has a narrative forced upon by the crossover with a whole set of new cliches, most likely designed by another team of creators. The joins between the two are obvious and more often than not the quality of one is lost beneath the need of the other.
Entire scenes are missing from the story because they happen in a different comic. This interferes with the pacing of this comic and pulls the reader out of the story. Even if you are reading the related titles, the flow of Supergirl is interrupted and her story, the one that readers have been following for the last few months, is almost dismissed with a wave of a hand. The conclusion is unsatisfying and quick. Regular readers are let down by the need to include the crossover events.
The Supergirl comic, historically, always has the same problem. A new creative team launch the comic with some outstanding stories, building an impressive world for Kara Danvers to live in. But after a while, the momentum flags and the old stories are repeated, with Supergirl thrown into any and all Event stories as possible. This in turn dilutes her narrative and affects the quality of her comic until a re-launch with a brand new creative team.
We are currently in the later part of that cycle and next month sees a new team take on the Daughter of Krypton, albeit with the hangovers from this event story. Hopefully Supergirl will once again take flight and soar above the rest, where she belongs.
