THE MAGICIANS #1: Like Hogwarts With a Swear Jar

By

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If Harry Potter dropped F-bombs and the kids from Netflix’s Umbrella Academy were twice as surly, you would have The Magicians, a comic based off Lev Grossman’s best-selling series of novels regarding a more realistic school for young wizards and witches.

The Magicians #1 kicks off a five-issue mini-series from Archaia introducing a new class at Brakebills University for Magical Pedagogy, and the teenager-fueled drama kicks off on page 1. Audrey, Pat, and Emily are three students entering the prestigious school. Audrey is the tough talker who just wants to fit in, Pat is the big jock guy who doesn’t care about anything, ya hear, and Emily is the terrified girl afraid of her own shadow.

The trio is brought to the school with the announcement they’re starting as Year 3 students, despite having no formal magical education. Imagine a home-schooled kid going straight from Momma’s living room to Harvard Law. So some folks aren’t real stoked about these new kids, specifically Andy, who’s Johnny Lawrence without the karate, but with spells.

Andy, our homeschoolers, and assorted schoolmates are told they are part of a special class being taught to them and only them and so now there is a bond between them. That bond is tested that night when they sneak out with Andy demanding to see what the newbies are packing, sorcery-wise. Mayhem ensues.

Grossman and Lilah Sturges are the co-writers, and while the script is good, character development is healthy, and there is good interaction between them, the plot feels like we’re checking off a list of YA tropes.

The brooding guy who pushes everyone away but wants to be loved? Check.

An angry bully who immediately gives our heroes grief? Check.

Lonely doormat girl, who will be called upon to do something great? Check.

Again, the writing is strong, but it feels like Pretty Little Liars with less texting and more abracadabra.

Pius Bak’s art is well-done and does some of the heavy lifting when the plot hits a lag. A more abstract style perfect for the subject matter, Bak’s own magic lies in the emotion his characters convey. Without in-depth, Frank Cho-Esque clarity, he can display incredible intensity and feeling with minimal lines. Andy’s constant fury is only amplified thanks to Bak’s masterful abilities.

For a book about magicians and magic, the muted colors used by Gabriel Cassata would seem to be a dull choice, but it adds to the realism of the story. The combination of pissed-off teens and the subdued palette puts you in the story with Mike Fiorentino providing capable lettering. The best letterers are the ones who never make you question his or her work. When it’s bad, it destroys a vital component of the experience, and when it’s good, you barely notice it.

Fans of the books and the television show will enjoy it as will Harry Potter fans who always wondered what it would be like if Hogwarts students talked the way ‘real kids’ talked.

Read the books and watched the TV show? Tell us what you think of the comic down below!

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Review: GHOST RIDER #2- Two Riders Enter, Only One May Leave

By

Ben Snyder

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Ghost Rider will always be one of the more nonsensical and comic book-y comic book heroes, so what could be better than one Ghost Rider? Have two Ghost Riders fight each other, and luckily Ghost Rider #2 delivers in spades. Writer Ed Brisson’s script does not need to carry the chapter but more so set up the inevitable conflict and succeeds at doing so. The art team consisting of Aaron Kuder, Craig Yeung, John Lucas, and Luciano Vecchio, as well as Jason Keith on colors, deliver the goods on a semi-consistent basis. Due to the crowded art room, some of the shifts in styles seem out of place, but the panels and pages that need to sizzle pop right off the page.

Ghost Rider #2 begins with classic Ghost Rider and temporary King of Hell, Johnny Blaze, violently attempting to recapture all of the escaped demons. One of which is a regular at other Ghost Rider Danny Ketch’s bar, the Fadeaway.

Brisson does an excellent job of setting up the opposing viewpoints of the Ghost Riders within the first couple of pages. Since his time on the throne of Hell, Blaze has become one-sided and ruthless in his chase of the fugitive hell spawns. This is blatantly opposed to Ketch’s perspective considering one of the hell spawns was a regular at his bar, and he didn’t even notice. It certainly sets up Blaze to be the antagonist of this conflict, and it certainly plays into the character’s faults of being reckless and headstrong since his demon underlings are using this to manipulate him.

On the other side of the coin, not enough time is spent on Ketch in this chapter, which makes him read a bit dumb or naïve. He almost reads as a reluctant righteous do-gooder of sorts, which feels off considering he has a satanic spirit of vengeance residing in him. But mostly the script is there to set up a Ghost Rider vs. Ghost Rider title fight, and while Brisson does his best to throw the reader off the scent, it seems like a forgone conclusion that one of the last chapters of this run will be Blaze vs. Ketch before they join forces in some way.

Ghost Rider Punches Ghost Rider — If you ever needed inspiration for a heavy metal album cover

The art department is strong throughout the chapter, despite some tonal inconsistencies. For the majority of the story, the art team is attempting a photo-realistic style with minimal shading and precisely defined line work. However, when there is a Ghost Rider vs. Ghost Rider confrontation, the linework becomes sketchy and heavily crosshatched. The linework becomes increasingly amplified and magnified. There is nothing wrong with either of these styles, as they both look pleasing. However, the sudden change between the techniques can take some getting used to. VC’s Clayton Cowles letters are a standout in this chapter as he changes the font and color depending on which Ghost Rider or character is speaking, which helps clarify who is talking when the Ghost Riders confront each other.

Ghost Rider #2 is a fine chapter that attempts to set up a blazing battle between opposing Ghost Riders. Brisson’s script is solid if anything, and the art team does more than hold their own. Ghost Rider #2 is more of classic Ghost Rider goodness, it’s a flaming skeleton clad in leather riding a flaming motorcycle so really what more could you ask for?

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Review: THE LEGION OF SUPERHEROES #1 Returns to a Bright Future

By

Jose "Jody" Cardona

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The Legion’s Super Stuffed Return!

In April of 1958, Adventure comics introduced us to a superhero team from the far off future: The Legion of Super-Heroes. These heroes are aliens and earthlings who were inspired by the adventures of Superman and came back to recruit him when he was a child. Lead by Cosmic Boy, Saturn Girl, and Lightning Boy, the heroes would often be seen as reoccurring side characters in Superman comics but were popular enough to have several series dedicated to them. The most recent adaptation was during the new 52 with Paul Levitz as writer.

When that series was canceled six years ago, the team just disappeared. With Brian Michael Bendis, they return with a new time period and look. How will our Legion soar this time around?

**Some Spoilers Below**

Story:

We open with an exciting car chase on the planet Gotham. Ultra Boy has recently stolen something from an alien race known as the Horraz that could help save a planet. When their leader, Mordru, tries to steal it back, Karate Kid, Wildfire, and Star Boy rush in to help. They defeat the monstrous gang leader, and it’s revealed he was trying to steal Aquaman’s trident.

Meanwhile, Saturn Girl introduces Jon Kent to the rest of the Legion. This basically becomes a dream come true as he finally feels like he’s a part of a larger group. This feeling soon fades when he learns that by this point in history, the Earth has been broken.

This issue is what you would call a mixed bag of qualities. The biggest positive is definitely the fantastical universe the Legion exists in. It’s full of neat aliens, references, and tons of action. It makes me want to learn more about what exactly happened to Earth. What happened to the oceans? How many Batmen were there? Why is there a system that shows off the Legion codenames? Questions like that are currently whizzing around in my mind, and I really want answers!

The downside, unfortunately, is the fact that for new readers, it is too much. I can only just follow since reading the Legion Millennium two-parter from last month. If one were to go into this without reading that or know what the Legion is, it would leave a lot of people confused. First issues need to give a balance of introducing readers to the world and calling back for long-time fans. This leans more towards the latter and needs to even itself out.

Art:

The artist for this first issue is none other than Ryan Sook. I have to say; he certainly knocked it out of the park for this opening issue. The hardest art challenge for the Legion series will always be the Legion themselves. Due to their large cast, it can be daunting to make different looks for every character, let alone make them look good. Thankfully Sook does masterful work updating every hero, including Superboy himself. These looks are only made better thanks to the fantastic colorwork from Jordie Bellaire, allowing the world to feel full of life. Love or hate the story, you can’t say that the art team didn’t give it their all.

Conclusion:

Overall this was an “Okay” start to the Legion of Superheroes. While it feels overly stuffed, the universe is full of intrigue and action that could bring readers back, with an impressive cast of characters. The art team definitely carries the weight of the packed story with stellar artwork. It might not be a perfect opening, but the team definitely has an idea of what the Legion is. I’m excited to see where we’re going in the 31st century.

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Review: THE INFECTED: KING SHAZAM! #1 – Infected With…Puberty?

By

Zac Owens

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the infected king shazam dc comics review

If you thought it was heartbreaking to see Billy Batson, one of the most innocent characters in the DC Universe, working for the Batman Who Laughs, you’ll be devastated once writer Sina Grace and artist Joe Bennett put Billy’s transformation into context in The Infected: King Shazam! #1, out this week from DC Comics.

Seeing how Billy’s transformation affects his siblings and parents is what truly allows his degradation to sink in. Yet something about this new King Shazam seems oddly… familiar.

Newly infected by the Batman Who Laughs, Billy acts out in ways that might strike close to home for some readers. Billy yells at his parents at the breakfast table before leaving in a huff; he goes out on his own and doesn’t tell his siblings where he’s going; he challenges every authority in his life and tries to prove himself better and more powerful than they are. Frankly, it looks like Billy has hit puberty.

The nuanced tone given to Billy’s transformation by Grace allows us to see past the puppet of an evil Batman, and see the boy struggling with the changes in his life. Though some of the other infected, like Jim Gordon, have seemed to do 180 degree turns to pure evil, Billy’s new personality doesn’t seem to be entirely new. There is a sense that all of his actions and words are coming from somewhere that already existed in Billy before his infection. He was already feeling alone and like he could do so much more if he just let himself go. The Batman Who Laughs just gave Billy the nudge.

Artist Joe Bennett and inkers Belardino Brabo and Matt Santorelli manage to walk the line between dehumanizing Billy and making his transformation seem unimportant. Through the issue, we rarely see Billy’s face when he’s in his King Shazam form. The colors by Hi-Fi leave Billy looking pale and unhealthy when contrasted with his bright-eyed siblings. We worry about what may be under the hood just enough to still hope he’s human, and get just enough glimpses of his new face to catch our breaths in heartbreak. This worry and heartbreak is shown beautifully and in stunning detail on the faces of Billy’s siblings and parents.

While there is a heavy number of words per page, Rob Leigh’s lettering is clear and never detracts from the story. Each sound effect echoes across the page to show the sheer immensity of Billy’s newfound power. The quieter moments, through size of the font and size on the page, truly do feel visually quiet as well. Leigh champions the tone of the storyline with his huge range.

Grace, Bennett, and company imbue their story of evil with a surprising amount of humanity. When one would expect murder and mayhem, they show fights at the dinner table. While there is still plenty of mayhem to go around, their story never loses sight of the humanity beneath power or the boy inside the suit. The Infected: King Shazam! #1 a must read for any fans of Billy Batson, because, all in all, Billy is still in there somewhere.

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What Does LEGION OF SUPERHEROES #1 Mean For Rebirth?

By

Zac Owens

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November 6, 2019

With Brian Michael Bendis’ Legion of Superheroes #1 finally hitting the shelves this week, many of us are wondering: What does this mean for DC’s big plans and Rebirth?

Of course, with many writers playing their cards close to the chest, and the finale to Doomsday Clock still on its way, we can only guess as to what the plan may be, but let’s have a refresher on what’s happened so far. We are going to do dive into Doomsday Clock, DC Universe: Rebirth, and some of Bendis’ Superman, so beware of some spoilers.

**Fact #1: Imra (Saturn Girl) reappeared in DC Universe: Rebirth alongside Wally West, creating the possibility for characters from previous continuities to return.**

In DC Universe: Rebirth, we followed Wally West’s return to mainstream continuity. He gets pulled back to the land of the living by Barry Allen and tells us that someone has been messing with the timeline. The heavy implications are that Dr. Manhattan is the puppeteer pulling the strings. But Wally isn’t the only one who shouldn’t exist. Imra is seen, wearing her Legion flight ring and all, waiting to talk to Superman. The next time we see her in Batman/Flash: The Button, she is locked away in Arkham Asylum, as clearly her belief that there is another forgotten version of the world has been dismissed as delusion.

**Fact #2: Imra and Johnny Thunder make their way onto the pages of Doomsday Clock.**

Johnny Thunder, possessor of the Thunderbolt imp from the days of the Justice Society, is another character who has been dismissed as crazy for what he remembers. Escaping his old folks’ home, he later runs into Imra who has escaped from Arkham. They come face-to-face with Ozymandias, on his own quest to find our puppeteer, Dr. Manhattan. He locks them away again as they represent Manhattan’s meddling.

Fact #3: Imra disappears. (Again?)

In Doomsday Clock #11, Ozymandias says: “I would theorize that you’re no longer a part of this timeline, you just didn’t realize it,” and with that Imra disappears but her Legion flight ring is left behind. Unless something is done with Imra’s flight ring in the final issue, it seems her role in Doomsday Clock may just have been as a red herring.

Fact #4: Imra reappears, but she’s not the same Imra.

Finally, we come to Bendis’ run on Superman and to Legion of Superheroes #1. Imra is one of many Legion members who comes to welcome Superboy to the team, but she is not the same Imra as before and it is not the same team that we have known in the past. It seems that Bendis is taking the storyline in a bold new direction. We have new members on the team, a new base of operations and new versions of characters we thought we knew.

This begs the question: is Doomsday Clock going to be considered canon, or has it now become its own thing, since the rest of the DC Universe seems to be moving in a different direction? It would seem the Geoff Johns wouldn’t have bothered writing about Imra evaporating if he didn’t have continuity in mind. But does that just mean that the idea of “forgotten timelines” is over and that we’re going to be getting new versions of these forgotten characters?

Hopefully Doomsday Clock #12 provides some answers. Perhaps Doctor Manhattan has one last rewrite up his sleeve that will explain the new Legion.

Ultimately, it seems as though some of the original ideas for Doomsday Clock and the Rebirth storyline have been scrapped, while the spirit of what they were planning on doing remains intact. We don’t seem to be getting back the original, forgotten characters from the Legion of Superheroes, but a set of new versions that are now part of this Rebirth Universe. DC’s history and continuity is one of its most attractive qualities as a comic book universe. Will reintroducing old characters succeed in the way they hope, or is it the rich history and rapport between characters we miss as much as we missed the characters themselves?

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Review: ‘Til Death’ Gets a Lot More Likely in GOING TO THE CHAPEL #3

By

Grant DeArmitt

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We’re willing to bet you’ve been to weddings that you wished you could escape. However, we’d also bet that’s not because of a literal bomb placed at the altar, which is what was happening to the cast of Going to the Chapel Issue 2. Today, issue three continues the exploits of the Bad Elvis gang and their wedding hostages, and just like you before your edgy-humor uncle was about to give a toast, they’re all looking for a way out. Still, they’re about to learn that there are more dangerous things at this wedding than explosives, and more shocking things that can happen to a couple than having their wedding robbed.

Now that we know that gang leader Tom and bride-to-be Emily have a romantic history, Issue Three finally delves into that history, explaining the reason for their break-up years ago. We’ll let you find out for yourself why Tom broke up with Emily over text in Rio, but let’s just say it certainly wasn’t out of cruelty, and just because he broke it off doesn’t mean he wouldn’t rekindle it. Meanwhile, Grandma Harriet has slipped Ambien into Motown’s slice of wedding cake. When the Bad Elvis falls asleep, she picks up his shotgun, ready to relive her Vietnam days.

The Writing

David Pepose has been packing Going to the Chapel with as much action as heart as can fit on a comic book page, and issue 3 is certainly no different. What’s really impressive about this issue, however, is just how high it’s stakes are, how deadly the hostage situation really is. Sure, it was fun to listen to the dysfunctional Anderson clan and Bad Elvis gang trade barbs in issue 2, but now there’s an armed explosive around, and neither side is entirely against doing harm to the other to get away from it. With Emily in the middle of it all, and unsure of whose side she’s actually on, David sets up a particularly heart-pounding and, of course, explosive end.

The Art

You might recall in our review of Issue 2 how we praised Gavin Guidry’s art to really bring home the humor of the book. While that’s still the case in #3, this issue spent a lot more time reminding us of Gavin’s talent in drawing action sequences (to be fair, his imagery of Grandma Harriet with a shotgun kind of covered both). Gavin’s style is dramatic and locomotive, like a quick zoom-in on the bride in Kill Bill. A lot of that comes from Gavin’s ability to keep the reader’s eye focused, measuring out shots to deliver the most exciting and shocking moments in the book. Going to the Chapel is a book for just about anybody, but Gavin’s art will definitely make sure it pleases action movie fans.

The Coloring

This book reads like a Tarantino-filmed soap opera, and a huge key to making that happen is the coloring by Liz Kramer. Liz has a particular, stylized way of coloring a page, bringing out the emotion of the scene along with the reality. She doesn’t just focus on coloring this book literally, making sure that the lighting is true to the scene (which, side note, it always is), she focuses on letting the colors tell their own story, even if they have to split from photographic realism. Characters glow as much as actual sunlight, their emotions taking on visual form. The result are panels that ooze with drama; you’d know what the tone of a scene is whether you started at the beginning or opened to a random page.

The Lettering

Letterer Ariana Maher once again handles the sounds that Going to the Chapel makes, from heart-stopping explosions to blink-and-you’ll miss it background SFX humor. This issue, Maher also does a great job recording the backing tracks that set the story’s mood. Her social media blurbs scattered around the opening pages are a great introduction to the third issue, reminding us of where we are in the plot and providing some humor in how Twitter might react to a situation like this one. Ariana’s lettering is the foley board of Going to the Chapel. Without it, the reader would have a much harder time getting sucked in.

Overall Thoughts

There’s a rich history of non-teen romance in comics, even though we don’t talk about that nearly enough. Love for stories like Young Romance were a heavy influence on Stan Lee, who incorporated romantic subplots into books like Fantastic Four, giving those comics the human touch that the best comics still strive for today. Going to the Chapel is a great reminder that comics are a perfect medium for that type of story, while still satisfying the every need of a modern comic book fan. The book will sadly conclude next month, but we can guarantee it’s not the last we’ve seen of the talented creators, and, with any luck, readers will see more clever, exciting romance like it.

****

You can pick up Going to the Chapel #3 at your local comic shop and on ComiXology November 6th. For more reviews like this one follow us on Twitter. And for all the best comic book reviews, news, and discussion, say tuned to Monkeys Fighting Robots.

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Review: IMMORTAL HULK #26 – Is Your Child Rebellious? Afraid of You? It’s HULK SYNDROME!!

By

Cody Walker

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Bruce Banner delivers a manifesto and starts a movement as the story returns to Earth in Immortal Hulk #26, out this week from Marvel.

After breaking worlds throughout the ninth cosmos, Immortal Hulk #26 settles back into the groove and sets up what is sure to be a city shattering brawl. The gang is all back together for this issue as well as Al Ewing, Joe Bennett, Ruy Jose, Paul Mounts, and Cory Petit return to action for a mostly calm and collected chapter.

Ewing tipped his hand and showed what is in store for the jade giant’s future with Immortal Hulk #25, and #26 begins the countdown to the breaker of worlds. This issue is relatable to current events and Bruce is expressing some emotions I’m positive many of us feel on a day to day basis in our own lives. After going interstellar, it’s exciting to get back to what makes the Hulk fun.

Bennett is continuing to knock it out of the park with every issue. While Immortal Hulk #26 is a pretty laid back issue, as far as smashing and breaking goes, Bennett captures accurate facial expressions and keeps the 9 panel pages interesting when most artists would use the same drawing 9 times. His line work is always extremely impressive, and when he posts the pencils on his social media, I always take the time to drool over every gorgeous page.

Bennett uses hundreds of lines to make up his shading, so Jose always has his work cut out for him, but the result is always worth it. The inks are intricately detailed and enhance Bennett’s pencils to make the pages pop.

Mounts works seamlessly with this group. No one distracts from the other’s work; just simply enhances it and brings out the best in everyone on the team. In what could’ve easily been an issue that Mounts checked out on, he makes sure every page is a treat for the eyes. The colors capture the emotion from every environment and the transitions to different settings is such a smooth operation.

Petit has a style that is easy to read and perfect for a dialogue driven issue. With all the news stories and internet articles, Petit had plenty to do besides hordes of world bubbles. The big bad villain at the end has speech text reminiscent of the scratchy fonts used when the Joker speaks, highlighting the evil undertones in his delivery.

Immortal Hulk #26 takes the pulse of the communities that the hulk is affecting. News stories spread fear and propaganda just like every time we turn on the TV. Hulk has his detractors and his believers, while cops stick to their stereotypes. Bruce Banner wants to disrupt and destroy the human world, and this is his first step towards the end.

With Marvel doing sequels to big events, is World War Hulk 2 next? As the gamma gang gathers numbers and followers, world leaders are turning to propaganda and ads about “Hulk Syndrome”. Bruce is growing his forces with some heavy hitters that share his beliefs, and that spells trouble for anyone standing in his way.

A war is brewing. Do you believe in Bruce Banner? Or will you stand in the way?

What did you think of Immortal Hulk #26? Who’s side are you on? How delicious do you think Atlantean seafood is?

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Review: Bruce & Bane Square-Off in BATMAN #82

By

David DeCorte

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This is it: the showdown everyone’s been waiting for. Batman and Bane square off determine, once and for all, who truly runs the streets of Gotham in Batman #82, out this week from DC Comics.

The two agree to a straight-up, bare-knuckle fight. No utility belt, to Venom…nothing. But of course, there’s much more going on here. The balance of power shifts constantly, keeping readers on the edges of their seats with dynamic, well-paced writing and artwork.

The Writing

The core of the narrative in Batman #82 is focused on the showdown between Bruce and Bane.

Over the last thirty or so issues of Tom King’s run on the series, we’ve watched as Bruce, Thomas Wayne, Selina, and Bane all jostle to determine who has the upper hand over the others. The balance between these characters shifts constantly. We’re never really sure who’s outwitted the other parties; just when you start to believe one might actually get the drop on another, the tables turn.

King ramps up that teeter-totter dynamic considerably in Batman #82. It seems that, on just about every page, one character upsets another. Such a dynamic narrative could give readers whiplash, but thankfully, King manages to nail the pacing, which makes for gripping storytelling throughout the book.

The writing is tense and engaging. The reader wonders: will Bruce manage to topple Bane? Does he have a plan to contend with his father? Will the story take another dramatic turn? Right up to the last two pages, we’re left unsure about who will ultimately come out on top.

The only point where the writing falls flat is when Bruce and Selina recall they had conversation about their plan to take on Bane. In mid-fight, we have the two characters taunting their opponent in the kind of blasé tone of inane chatter that occasionally slips into King’s work. Other than that, though, it’s great stuff overall.

The Artwork

As we see in the preview pages above, artist Mikel Janin preserves a sense of symmetry and a continuum of motion through the use of repeated motifs. The artwork throughout Batman #82 is evenly divided into grids. However, Janin still manages to keep things visually engaging and lively from page to page.

In terms of artwork hitting the beats of the story, this is some of the most impressive material we’ve seen on the post-Rebirth run of Batman. The reader feels propelled through the story, compelled from one page to the next. The only points at which things drag slightly are, again, when Bruce and Selina offer their “How I Did It”-esque bit of exposition.

Not to be outdone, colorist Jordie Bellaire also turns in some of her finest work yet on the series with Batman #82. Much of the book has a consistent reddish, yellowy hue. The intensity of the colors increases as the fight progresses, though, shifting to a more intense, fiery tone like the crescendo of a piece of music. It’s tasteful, yet highly-expressive work.

Final Thoughts

Batman #82 is an excellent, well-paced showcase of storytelling ability through sequential art. Definitely pick this one up.

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THE MAGNIFICENT MS. MARVEL #9 Gets REAL On Us

By

Samuel Pratt

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Out this week from Marvel Comics, The Magnificent Ms. Marvel #9 is both heart-wrenching and uplifting, it will quickly unsettle you but gradually bring you back with its wholesome scenes to follow.

Ms. Marvel has always felt like a symbol that you CAN still make new superheroes fresh and awesome. Anyone who has kept up with Magnificent Ms. Marvel might not have kept those same thoughts in mind the entire ride. Not to say they’ve been bad, I still enjoyed watching Kamala’s parents interact with alien life, as goofy as it was. But there’s still a clear hill to topple for this series to reach what it could be.

Issue #9 continues this story arc about Kamala’s father. (Spoiler warning for past issues) Yusuf Kahn is dying of a very new and unknown illness that doctors can not find a treatment for. Kamala turned to Tony Stark in issue #6 but even Iron Man did not have a way to help. Which lead to a lot of pain, and struggle for the Kahn family.

This was a very real tone that was significantly different from story arcs in previous Ms. Marvel runs. At first, it was a tough pill to swallow. However, issue# 9 really brings it together. Without giving too much away, the issue begins with Kamala and Zoe (Who I’m so happy to see again finally) at Kamala’s house on the dreaded homework grind. This scene is abruptly and horrifyingly interrupted by an off-panel yell and CRASH. Shown to be Kamala’s father who has fallen over in the next panel.

A shocking panel that still puts a knot in my stomach!

The lettering by VC’s Joe Caramagna in this scene made it all the more bone-chilling. It’s depressing when a close family member has any form of illness, let alone your own father. For Kamala I imagine hearing this yell, clearly from her father, was terrifying and the two panels that create this scene feel as real as it can get. It was the simplicity of the lettering that made it this way. There’s a sense of urgency, the way no one says anything when something like this happens, everyone hears it and reacts on instinct alone.

Ian Herring’s coloring for this scene is well executed. The way the first panel has that red tint over everything adding to the look of shock and heavy tone in the air. Speaking of that look of shock, Minkyu Jung’s penciling of this entire scene is very on point. The character expressions are believable, there’s a sense of blank fear on everyone’s faces followed by that rush of realization and worry. Paired with the inking by Juan Vlasco, who emphasized these dark foreboding shadows that linger around Kamala in the hospital after, this issue really does bring the art style for this series together.

It’s been a tough transition coming over from G Willow Wilson’s run with Kamala, where the struggles had more emphasis on social issues than domestic. But this is an issue where I feel the team starts to bring it all together and define the story they’re trying to tell. Magnificent Ms. Marvel is telling a harsher more real story than the previous series. Something less “Saturday morning cartoon” feeling which has its ups and downs for this character.

That’s not to say this entire issue stays like this. While things start off seeming as bad as it can get for Kamala and her family, this rest of it ends up focusing a lot on showing her relationships with characters. (As the cover by Eduard Petrovich may have implied)

Starting very simply with her and Zoe just palling around talking about Zoe’s potential crushes, we see their light-hearted relationship as school friends. But even Zoe doesn’t come with Kamala to the hospital. Of course, it’s Bruno who comes to her side instead. Anyone who has kept up with Ms. Marvel going all the way back to 2014 knows Bruno and Kamela have a relationship that is bittersweet and can only be described by the term “It’s complicated” at best. But Bruno coming to Kamela’s side in this detrimental time shows a lot for how close they still are despite their history.

Among these relationships, we also get to see a little Iron Man and Kamala in this issue, with Tony making a brief appearance. During Civil War II, Kamala once stated that the conflict between Tony and Carol Danvers, (Captain Marvel) was like her “superhero parents are getting divorced.” –Ms. Marvel #10 and I believe Ahmed has really kept that in mind when writing Iron Man in this issue.

Never mind this is DEFINITELY the sweetest thing.

While Tony describes himself as an uncle to her, there’s a clear sincere relationship between these two and that Tony will do anything for Kamala, much like a father would go out of his way for his daughter no matter the circumstances. This is a very wholesome part that adds relief from the heartbreaking moments in the beginning. As well as giving the reader hope for events to come.

Magnificent Ms. Marvel #9 ends on some action with the return of a classic villain who I will not spoil, leading into some more expected action for issue # 10. The end of the issue has one more surprise I’ll leave be, and overall this is a good issue for the new run. If you’ve been following this story but have not been crazy about it this issue may jump-start your interest in the series again. I recommend it for any long-time Ms. Marvel fan.

Read it already? Let us know how you felt about this issue in the comments below!

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CRONE #1 – No Rest for the Wicked

By

Cat Wyatt

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CRONE #1, out this Wednesday from Dark Horse Comics is all the proof we need that one can never truly outrun their pasts. Dive into a dark and brutal tale, one that twines the past and the present together.

This is not a woman you should risk angering.

***SPOILER WARNING***

A new dynamic team has gotten together to bring us Dark Horse’s latest dark epic, Crone. Dennis Culver (writer) takes the helm, with Justin Greenwood (artist) and Brad Simpson (colorist) setting the bloody tone of the series itself.

Crone #1 introduces us to Bloody Bliss, a warrior of legend – and one who has moved to the mountains for retirement. Or a bloody death, it’s hard to tell. But even the greatest of warriors can’t hide from the fight. And the past is always waiting to get dug up again.

Crone #1 starts with a tale from the past – setting the scene and introducing us to the adventurous and gory history that Bloody Bliss became known for. Even this small hint gave a solid idea of her fighting prowess while giving us the impression that there is so much more to her tale.

Despite her chosen career path, Bloody Bliss somehow managed to live to a ripe old age. And boy, is she bitter about that fact. It’s a perfect example of the trope, the warrior who doesn’t want to die quietly in their sleep. And yet, there’s something more lurking beneath the surface.

As you can see, Bloody Bliss has earned her nickname.

Splitting Bloody Bliss’ tale into two parts, the past and the present, added vital context to the series. Yes, Bliss is now the Crone, and there’s little doubt that she’s still a brutal warrior. But we also needed to see the younger version of this warrior, to truly appreciate her abilities. And how much of an effect time has had on her?

Culver’s decisions for the introduction of this character and her story enhanced it all. Okay, the whole concept of an old crone warrior is pretty awesome on its own, we can admit that. But Culver takes it and forms it into something new and different. There are still a lot of questions that need answering, but the series will undoubtedly get to it.

Take a look at the cover of Crone #1. This cover will give you an excellent example of what is to come. The style is evocative, and yet delightfully bloody. Any comic reader hoping to get their hands on a gore-fest will not be disappointed.

There are two distinct sets of character designs and even styles, to a slightly lesser extent. The tale of the past shows a Bloody Bliss living up to her name – covered in blood and shedding it all over the place, and loving every moment of it. Meanwhile, the Bliss of the future, the Crone, shows a woman worn down by time, and yet no less dangerous or agile. Greenwood worked hard at making the two time periods distinct. And again, it’s believable that this is the same character.

Perhaps the most striking difference between the two was the decision to alter the color palettes. The bloody past has a red hue on it, which is appropriate, given the battle occurring. But the present is a much colder tone, with blues taking over the scene. It was compelling and memorable, and we’re going to have to give Simpson credit for what was done here.

Lastly, Pat Brosseau was the letterer for this issue, and we can’t forget about their work here. This single issue boasted plenty of conversations, naturally. But it also had a lot of sound effects, which certainly added to the impact of several scenes.

What could these people possibly want from the retired Bloody Bliss?

Crone #1 was an exciting start to what is already proving to be a bloody series. But we were expecting that. What is impressive is the amount of finesse worked into the tale. Our Crone is tortured and desperately holding on to the oaths she has left. She’s not at all what we expected. She is, in fact, so much more than that.

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