Absolute Carnage: Lethal Protectors #3 hits your local comic book shop on October 23, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview as Deathlok unloads on Carnage’s doppelgänger army.
The book is written by Frank Tieri, with art by Flaviano Armentaro, Federico Blee worked on colors, Joe Caramagna handled lettering, and Iban Coello & Jason Keith brought the cover to life.
Armentaro’s art in this book is ridiculous! Some artists draw action better than others, and Armentaro is on the better half. The lines in his work provide so much movement with an old school flare. The Deathlok image is my favorite from the preview; the anger and intensity are perfect.
About the Absolute Carnage: Lethal Protectors #3: IN THIS ISSUE: The culmination of a story that’s been building since the stunning events of CULT OF CARNAGE! Carnage’s doppelgänger army has stormed Manhattan, and Misty Knight is trapped beneath the city’s street with the monsters… INCLUDING THE MAN-WOLF! THE BATTLE FOR THE SOUL OF JOHN JAMESON BEGINS HERE!
What do you think of Absolute Carnage so far, are you reading all the tie-in? Comment below with your thoughts.
Check out our Absolute Carnage: Lethal Protectors #3 preview:
Strikeforce #2 hits your local comic book shop on October 23, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview as Daimon Hellstrom heads to Las Vegas.
The book is written by Tini Howard, with art by Germán Peralta, Miroslav Mrva worked on colors, and Andrea Sorrentino & Dean White brought the cover to life. Joe Sabino handled lettering and design, and Jay Bowen conceived the Strikeforce logo.
The squad put together for Strikeforce has endless potential – Blade, Angela, Spectrum, the Winter Soldier, Spider-Woman, Wiccan, Hellstrom. The team can gel together well, or be explosive opposites. Depending on which direction Howard takes the squad, this is where she will show her talents.
About the Strikeforce #2: THE DEVIL’S CHILDREN IN THE CITY OF SIN! Something is very wrong with Daimon Hellstrom. And that’s saying something for the son of Satan. The only one who might be able to help is Daimon’s sister, Satana – but she’s no angel. Demons, debauchery and decapitation abound as Asgard’s X-Force takes on Las Vegas!
What did you think of the first issue? Here are David DeCorte’s thoughts – STRIKEFORCE #1 is a perfect blend of action and horror, with a paranoia-inducing premise. While the book doesn’t land perfectly in every department, it lays out an intriguing opening chapter that will keep readers coming back.
While DC Comics is known for their superhero work for the better part of a century, they’ve also produced top quality scary books in the thriller and horror genres. The company has even gone so far as to host a number of imprints for their darker publications, such as Vertigo, Black Label, and the recently announced Hill House Comics.
With Halloween right around the corner, here are just a few of the many books and series that are perfect to pick up for this time of the year.
American Vampire
A horror book with a rich tapestry of lore and history, American Vampire is a Vertigo (and soon to be continuing via DC’s Black Label) series created and primarily written by Scott Snyder, with artwork by Rafael Albuquerque. The overall series details vampire evolution and conflicts throughout history, particularly the formation of a new American bloodline, one that is stronger and impervious to sunlight. The first volume switches back and forth between two storylines, one written by Snyder, the other by the master of horror – Stephen King. If you’re looking for a vampire tale filled with bloody violence which sprawls throughout the dark underbelly of distinct moments in American history, then pick up American Vampire.
Animal Man
When DC Comics decided to reboot their stories and characters with New 52 in 2011, it’s difficult to imagine that one of their best revamps would be Jeff Lemire’s take on Animal Man. It was also an impressive cross-section of superhero and horror fiction. In short, Lemire’s Animal Man depicts the titular character – aka Buddy Baker – leaving his superheroic duties behind to work as an environmental advocate. Baker possesses the power to take on the abilities of any animal. This power comes from The Red, a life-force that ties together all bioorganic life on the planet. Baker is tasked with fighting The Rot – the force of death – and all of its abnormal, horrific creatures. A story with comprehensive mythology, and body-horror visuals, this run of Animal Man is a perfect read for Halloween.
Arkham Asylum: A Serious House on Serious Earth
Creepy, surreal, and creative, Arkham Asylum: A Serious House on Serious Earth is the groundbreaking graphic novel by Grant Morrison, with the darkly twisted artwork of Dave McKean. When the inmates of Arkham Asylum take over the prison, Batman must endure a demented and horrifying journey, facing off against his gallery of rogues in their versions of hell. The book can get a little difficult to read, what with the surreal dialogue and painted illustrations, but that only adds to the scary experience.
Blackest Night
This DC crossover event, written by Geoff Johns and illustrated by Ivan Reis, Blackest Night pits DC’s bravest and boldest in a battle to save the universe from an army of undead Black Lanterns made up of deceased Green Lanterns, heroes and villains. This is the epic adventure that introduces the emotional spectrum of the Green Lantern mythos. Blackest Night is filled to the brim with scary good action that sprawls across the cosmos, and brilliant artwork full of color and life.
DCeased
One of the more recent entries on this list, DCeased poses the question, ‘What happens to the World’s Finest if the world ends?’ With death spreading across the planet, who will live and who will turn in this apocalyptic tale of heroism, sacrifice and annihilation? This gruesome journey through the DC Universe is written by Tom Taylor, with artwork by Trevor Hairsine and Stefano Gaudiano. It’s gory and fast paced, and a clever commentary on the current obsession with smartphones and tablets.
Hellblazer
First appearing in The Saga of Swamp Thing #37 in 1985, John Constantine is the chain smoking warlock and occult detective featured in the darker corners of the DC Universe. He’s had his fair share of run-ins with dark magic and demons of all sorts over the last thirty years, so you really can’t go wrong with picking up any of his stories for a chilling read on an October night. His best run is, arguably, the 300-issue Hellblazer series that began in 1988. Specifically, the Dangerous Habits arc by Garth Ennis and Will Simpson, is a dark and complex drama which has Constantine diagnosed with lung cancer, and the inner and external demons he faces while searching for a cure.
I, Vampire
Andrew Bennett, the Lord of the Vampires, originally premiered in a backup story in the horror anthology House of Mystery in 1981, before getting his own series a few years later. The character was later rebooted for The New 52 in 2011. And though this update of I, Vampire only lasted 20 issues, the run produced some scary good storylines and nightmarish imagery. The first arc, entitled Tainted Love, sees the bloody end of a truce between Bennett and his ex-lover Mary, the Queen of Blood.
Justice League Dark
Another New 52 entry, Justice League Dark brought together the supernatural heroes of the DC Universe, including John Constantine, Swamp Thing, Madame Zanadu, and Deadman. The team faces off against all sorts of magic and monsters, including a massive vampire war with the previously mentioned Andrew Bennett. The post-Rebirth incarnation of Justice League Dark, currently led by Wonder Woman, faces off against its fair share of scary nightmares, and dives even further into the origins of darkness and magic.
The Sandman Universe
This entry is well-deserving of a list of its own. Of course, there’s the impeccable, masterful 75-issue run of The Sandman by Neil Gaiman, with haunting works of cover art by Dave McKean. The Sandman tells the story of Dream – aka Morpheus – the personification of all dreams and stories. In the first arc, Preludes and Nocturnes, Morpheus is captured and imprisoned by occultists. Some 70 years later, Dream manages to escape and attempts to regain control of his domain of The Dreaming. The Sandman has since spun out into a plethora of titles to devour, including Sandman Presents, an anthology series featuring characters of this universe; Death: The High Cost of Living, which features Morpheus’s older sister Death; and the current imprint Sandman Universe, with titles such as Books of Magic, The Dreaming, and Lucifer. It’s an immersive, expansive world that is dark, poetic and full of horrors.
Have we missed any scary good titles from DC Comics? Let us know your favorite in the comments.
The Summers family welcomes you into their home for X-Men #1, cribs edition, out this week from Marvel.
Spilling out of House of X and Powers of X is X-Men #1 from Jonathan Hickman with pencils by Leinil Francis Yu. Gerry Alanguilan is the inker and Sunny Gho handles the colors. VC’s Clayton Cowles is once again at the lettering helm for Hickman.
While Yu’s artwork is top-notch and crisp, there is nothing that particularly stands out. Larraz and Silva’s work on House and Powers was gorgeous and unique, and made the X-Men stand out on the shelves at your local comic shop. Yu’s pencils are fantastic and work very well for the X-Men; they just lack anything extraordinary that would stand out among the other comics out there today.
Carrying the team on his back is Sunny Gho. His colors make the issue shine in just about every panel. From Cyclops’s energy beams, to Storm’s eyes and the glowing tech, Gho’s palette is gorgeous and the most consistent carry over from House and Powers.
The action in X-Men #1 involves saving some mutant children in a scene that reminded me of Star Wars with our heroes running through a ship with red beams whizzing by. Big bad Darth Vader (Magneto) shows up and wipes everybody out pretty quickly. Polaris helps her father subdue the threat, but this is a high-powered team ready to tackle some high-powered threats.
Saving mutant children means new characters and 1st appearances galore. There’s even a uniquely designed post-human that is confused and conflicted upon her release from stasis, and time will tell if she is a friend or a foe. Omega sentinels will obviously have a huge part in Hickman’s X-Men, and he leaves no loose ends so we have not seen the last of her, and we should expect many more to come.
After the 12 issue mind blowing series leading into the Dawn of X, I didn’t expect so much down time, but House of X and Powers of X allowed for Hickman to ease the new X-Men team into action. The entirety of mutantdom has been rebooted and now these series will focus on the smaller teams of mutants and their adventures. The X-Men will be made up primarily of the Summers family, so get ready for those deep cutting family dilemmas.
Along with Cyclops and Jean, their children Rachel and Cable are on the team, accompanied by Cyclops’s father Corsair and his brothers, Havok and Vulcan. Magneto and his daughter are connected to the Summers family because Polaris and Havok were engaged. The only real outliers are Storm and Dr. Reyes. Wolverine is not related to anyone either, but his history with Scott and Jean and the weird numbering of their rooms is sure-fire drama waiting to happen.
Hickman loves helmets and eye accessories, so I’m still surprised Cyclops doesn’t have a new visor or goggles yet. I’m actually very surprised that most of the X-Men’s costumes have stuck to their original look. Maybe we’ll get new designs after the next resurrection.
X-Men #1 is a more focused introduction to the new mutant society, and finally branches out from Krakoa. The Summers home shows exactly why the living island is so important to the thriving mutants. Krakoa earns the classification as a paradise, and the possibilities are endless. Hickman keeps the ball rolling with more new characters and a cliffhanger to bring you back for more. The problem for the rest of the Dawn of X titles may be that the bar has been set so high that it will be hard to reach.
What did you think of X-Men #1? Do you think Hickman can keep this up? What reveals from the first issue are you looking forward to the most? Let us know in the comments below.
When Superman Year One was first announced, I was honestly worried. Frank Miller was never one to stop making Superman an unlikable hero during his Dark Knight Trilogy, so the worry was he’d present a story that would make Clark look more like that version.
Instead, we had gotten a rather human story of Clark growing up in Kansas with his friends and family. Instead of becoming a journalist, he heads to the Navy, where he learns of the more supernatural parts of his world when he finds Atlantis. By the end of that story, he stays with the people after defeating a mighty sea creature after donning the uniform we all know and love. How will that soon change as his first year comes to a close?
**Some Spoilers Below**
Story:
We open our tale with Lois Lane exploring the ocean in search of the Man of Steel. When she gets too close to Atlantis, they fire on her submarine. Before it’s destroyed, Superman comes in and pulls her to safety. Realizing he could no longer stay in Atlantis or the coast for that matter, he goes off to become a journalist. He eventually makes his way to Metropolis and begins to make waves as both Superman and Clark Kent. Soon after, Clark comes face to face with Lex Luthor, who tells him of a dangerous terrorist that controls their neighboring city: Batman.
This is probably the weakest of the three-part story. It feels as if they took two issues and stitched them together. The first half of this story is great with Superman’s integration into Metropolis. It wasn’t this grandiose final battle you see with most origin stories that would cause the world to look upon the new hero. Instead, it was Superman stopping robberies, domestic violence, and other street-level crimes. It was grounded and a breath of fresh air from most stories like this.
The problem sadly lies in the back half of the story with the introduction of Lex and Batman. If the story were to have ended with Superman meeting Lex for the first time and then he flies off into the sunset, it would have been an excellent end to the series. Instead, we have it so we can have an interaction with Batman. This part feels tacked on as a way to bring in World’s Finest. If it was an issue unto itself, it might work, but here it just feels like an afterthought.
Art:
John Romita Jr.’s art actually works really well here. With no alien creatures, he is able to take a more grounded style. The best panels more often focus on Clark Kent, such as him adopting his disguise and saving a child as he comes to Metropolis. That isn’t to say the action sequences with Superman aren’t amazing. Superman fighting the military in the opening looked badass. Add to it the excellent color work of Alex Sinclair, the art of this finale goes above and beyond.
Conclusion:
While I found the first two issues as strong retellings of the Superman origin story, the conclusion feels rushed. While there are definitely parts that work really well for Superman’s start, the forced inclusion of Lex and Batman feels like an unnecessary afterthought. Romita and Sinclair provide an excellent look for the final issue, staying grounded in the world of the Man of Steel. Of all the DC Black Label titles, this one stands out as a more hope-filled entry. Overall, the series a very welcome addition the Superman Mythos. I just wish it had a smoother conclusion.
Children are dying and a new face in town is causing problems in Something is Killing the Children #2, out this week from Boom Studios.
Written by James Tynion IV and drawn by Werther Dell’Edera, colored by Miquel Muerto and lettered by Andworld Design, Something is Killing the Children #2 widens the lens on the town of Archer’s Peak as more of its inhabitants are introduced.
Muerto’s color pallette is bewitching and perfect for this story. The small town is gloomy and coated with a haze. Bright colors are seldom used and possess a darkness when they are. There is something so evil lurking in this town that the sun is afraid to shine.
Andworld Design does a phenomenal job with the lettering in this issue. Noises spill off the panel to show these sounds breaking through the silence. Everyone knows how loud even the quietest noise can be when it is completely silent. Archer’s Peak is eerily silent and the letters do an incredible job of expressing it.
Dell’Edera has designed very unique monsters for this story so far. We’ve only seen a few, but they’re creative and original. I look forward to learning more about their history, as well as the monster-hunting female lead and how she has stumbled into this life. His linework on the rest of the human characters is busy yet crisp and refined. There are shadows everywhere, especially under the eyes of these sleep-deprived characters.
We know the monsters can hide in plain sight, but we don’t know how or why some can see it and others can’t. So much emphasis has been put on the lead character’s eyes that it must have something to do with the something that is killing the children. As it stands, we still don’t know her name, so there is obviously a great deal we have yet to learn about her. Maybe she has some kind of cybernetic eye? Perhaps she ripped out some gifted child’s eyes and put them in her own head?
Tynion expands on the inhabitants of Archer’s Peak by exploring the effects the missing children are having on the community and the families. The citizens are on edge and there are no clues to what has been happening. Fear permeates in the air, evil lurks in the shadows, and no one has any answers. There is so much more to figure out about this small town and the horrors afflicting it. Why does this monster seem to just ignore the adults? I can’t wait to find out.
Tynion has created a more expansive universe than I would’ve expected after the first issue. The big-eyed, blonde leading lady has been talking to someone named “St. George” on the phone, and they seem to be giving orders and asking for updates, which leads me to believe she is part of a secret organization. A secret society of monster hunters sounds pretty awesome to me. After the last panel of Something is Killing the Children #2, St. George could be anyone or anything, and my money is on the ghost of an actual saint.
Something is Killing the Children is fantastic edge of your seat horror, and I’m sweating with anticipation for the next gruesome chapter. There is something larger at work here, which means there are plenty of ways to branch off and make sequels from this tale of terror. More monsters to kill, many other towns to explore, and countless problems to tackle across the face of this world. Tynion has created another money-making horror franchise with this one, I’m sure of it.
What do you think of Something is Killing the Children so far? What are some of your other favorite creature features? Let us know in the comments below.
FIREFLY #10, out this week from Boom! Studios is a strong reminder that, for many, the battle never ends. The Browncoats may have lost during the Battle at Serenity Valley – but they never lost their hearts or their determination.
Mal and Zoe back together again on the cover of Firefly #10.
***SPOILER WARNING***
The latest series of Firefly has been doing their best to weave the fans an all-new tale about our favorite characters. Of course, there’s a bit of a challenge here, since they only have so much time to work with. If you’ve seen the Serenity movie, then you know the exact reason why they can’t just throw tales on after that point.
Despite this limitation, the series has found a way to continue the feud between the Browncoats and the Alliance. More than that, they’ve succeeded in making the whole situation even more complicated than ever before. Suddenly, this seems less like a battle of good versus evil and more a battle of two opposing sides. Though naturally, most fans know which side they would prefer to support.
If there’s one thing this series has been able to make clear, it’s that time changes everyone. And sometimes being left to stew in your loses – seeing what the other side has done with their victory, is the worst medicine out there.
And that is why things have come to such a head in Firefly #10. The Browncoats were quick to jump into a war for the sake of Mal’s life. But they were a lot slower about putting down the idea of another war, even when given the orders to do exactly that. It shouldn’t be surprising to see this happen. But it is.
Saffron makes a cameo on this alternate cover of Firefly #10.
Greg Pak has done an excellent job of weaving this story together for us. It’s not every day a hardcore fan can look at this beloved series and admit that maybe the Browncoats aren’t acting too altruistically (for the moment, at least). And even now, that’s still a tough admission to make. But that just proves that Pak has done something unique with this plot.
The crew of the Firefly is still split up, and sometimes that results in their best work. At other times? It creates chaos. Only time will tell which way this plot will go. What we do know is that there are still several threads of this plot that need to be brought back around.
This arc has been focused on Mal and Zoe more than the rest of the crew, but every now and then, it has managed to sneak in a moment or two for everyone else. And that is appreciated – It feels like every member of the Firefly crew has his or her own fandom. So we never want to see any of them neglected.
The conclusion to this issue is a twist that most fans will not see coming. It’s an emotional and shocking spin, and perhaps it is something that we should have expected to see someday in the series. After all, it’s precisely Mal’s luck.
This alternate cover of Firefly #10 is absolutely striking and features Serenity, Inara, and Shepherd Book enjoying a lovely sunset. Or waiting for trouble.
Firefly #10 had plenty of dramatic moments that needed to be fit within the pages. For starters – Serenity Valley had to be portrayed. And we can all agree that showing a beautiful setting with so much emotional weight cannot be an easy task.
This issue also had dozens of characters to portray, and from three sides of a brewing war. Drawing unnamed characters in a manner that would make it clear what side they are on is easier said than done though it helps that they all have their distinct styles.
Together Dan McDaid (pencils and ink), Joana Lafuente (colors), and Jim Campbell (letters) were able to create a series of striking images. The landscapes were undoubtedly a highlight in this issue, but so were many of the expressions given. The rougher quality of the artwork is a perfect match for Firefly, and this issue shows us why.
This realistic cover of Book is sure to make more than one fan a little melancholy.
Firefly #10 is an explosive issue, with many of the split plots coming together. While the shit hasn’t quite hit the fan, it’s clear that we’re only seconds away from that happening. The real question is, how much worse is it going to get before it gets better?
Plans, plans…everyone’s got plans. The question in Batman #81, out this week from DC Comics, is that if everyone’s a step ahead of their foe, then who’s really in command of the situation?
Damian—never really a captive, as it turns out—allows the rest of The Family into the Batcave. Now, as Bruce and Selina continue working their way through Gotham’s underworld, The Bat Family launches an all-out assault on Thomas Wayne.
The Writing
Writer Tom King packs a tense narrative into Batman #81. Just when one party seems to have their opponent on the ropes, the tables turn suddenly. The writing is well-paced as well; each of the twists and reveals feel evenly-spaced through the book. However, although well-paced, it is still dense and prone to summary, rather than storytelling.
There is so much information dumped on readers here, it can be hard to keep an eye on the breadcrumb trail. As a result, it’s hard to recall all the details sprung on readers. So much so, in fact, that one will likely require multiple read-throughs by the book’s end to fully absorb everything.
The main complaint with Batman #81, though, is that much of the dialogue is just Batman expositing to the reader. It’s essentially a “How I Did It” story, with Batman making the claim that everything up to now—his defeat in the pit, allowing Bane and his lackeys to run Gotham—all has been part of his plan. “I wanted them to break me, to see me broken…So that I might discover a way to defeat them outside their watching eyes,” he tells Selina. Of course, it’s doubtful that Alfred’s death was part of that plan.
The Bat Family taunting Thomas as they beat him is a little melodramatic, to be honest. They further exposit how they decided on their plan mid-fight, which leads to some awkward and stilted dialogue.
As it is, Batman #81 is fairly compelling, but largely due to the momentum of previous chapters. It would be a shame if, as King’s run comes to its climax, the density of the story itself forces the last few issues to essentially become self-summaries in order to tie up the loose plot threads.
The Artwork
The visuals in Batman #81, courtesy of John Romita Jr. and Klaus Janson, are exceptional. They pack the book with great, highly-dynamic action illustrations from cover to cover.
The team keenly and skillfully illustrates each individual panel. Beyond that, though, the work manages to carry momentum from one panel to the next.
It’s not uncommon for an artist to achieve one effect but not the other. Many are great illustrators, but struggle with tying images together in a sequence, or vice-versa. Fortunately, though, Romita Jr. and Janson both bring their “A” games to the table.
The artists are not always big on fleshing out scenes with backgrounds. Instead, they embrace some interesting textures that provide a backdrop to the character illustrations. It’s an expressionistic approach, and one that could backfire in less capable hands and make the book feel unfocused and unmoored. As with the pacing, though, Romita Jr. and Janson pull off the effect well, so the reader never misses the backgrounds.
Colorist Tomeau Morey shows off some of his best work yet on the series in Batman #81. It’s vibrant and eye-catching, without ever being too distracting to the reader. Morey works with a palette of bold pinks and blues, giving the book a distinct and gorgeously-stylized vibe. The artist slips seamlessly from this aesthetic to a more conventional, realist palette from page to page. Absolutely brilliant work.
Final Thoughts
Batman #81 can feel rather like a summary of the story’s climax. King still manages to make it interesting, though, and with the brilliant art working in its favor, this book’s still a winner.
In Spider-Man #2, J.J. and Henry Abrams solidify Benny Parker as a bona-fie hero, with Sara Pichelli continuing to prove she was born to draw Spider-Man comics.
From Marvel Comics- The most anticipated comic event of the year continues from J.J. Abrams (Star Wars, Star Trek, Lost, Alias), Henry Abrams and Sara Pichelli (SPIDER-MAN, GUARDIANS OF THE GALAXY)! Peter and Mary Jane have had their first run-in with the new villain Cadaverous and it did not go well. What horrific impact from this horrific villain will scar them the worst?!
Spider-Man #2 Written by: J.J. Abrams & Henry Abrams Art by: Sara Pichelli Inking Assitant: Elisabetta D’Amico Colors by: Dave Stewart Letters by: Joe Caramagna
Story
With a lot less set up needed, Spider-Man #2 starts to dig into Benny Parker and what makes him different (and similar) to his father. We get to spend a lot of time with the kid now and the writing duo of Abrams and son use that time to show and (and not tell) who Benny Parker really is. What we get is a kid angrier than his father, but that need to do the right thing is rooted in him as well. He’s a good kid, but with a huge chip on his shoulder. His antagonistic relationship with Peter is also very different from what Peter had with his uncle Ben; Pete is just not the father figure Uncle Ben was.
But when Benny finally swings into action, it’s great. It feels big, scary, exciting and dangerous. Benny is urged on by new friend Faye Ito, a great character that will hopefully continue to be a constant.
We also do get to spend some time with Peter in this. Pete here has a deep sadness that has risen to the surface in him. That sadness has always been a part of Spider-Man, but Peter here is literally an absent parent in this, not to mention an absent hero and not so friendly in the neighborhood.
Art
Sara Pichelli is without a doubt one of the best artists to ever draw Spider-Man. This issue, in particular, has some of the best linework she has done. The panels with Benny wearing a slightly big Spider-Man costume have the off-kilter vibe and weird visuals of the early Steve Ditko Spidey stuff. Like Ditko, Pichelli draws gangly and long-limbed figures which fit in great here. When Benny swings, it’s all arms and legs and webs everywhere. It’s fucking fantastic! Pichelli is such a master of her craft; the action scenes are dynamic and the quite scenes feel serene.
Elisabetta D’Amico’s inking assists along with Dave Stewart’s colors add weight and energy to the art. The pages become fluid and start to become cinematic. Visually the book as that Abrams touch we all love to see in his films.
Conclusion
This take on Spider-Man continues to surprise and be fun; it really does feel like a new take on the character. It’s also beautiful. It’s the rare high-profile comic book from an artist outside the medium actually works (see Kevin Smith’s run on Daredevil and Green Arrow). Grab it today.
Spider-Man #2 is available now from Marvel Comics. Grab it at your local comic shop today.
ONCE & FUTURE #3, out this Wednesday from Boom! Studios tells a significantly darker and more disturbing tale of King Arthur and his devout followers. In a world full of King Arthur retellings, this one stands out amongst the pack.
Once again the sword’s reflection has changed, in this cover of Once & Future #3.
***SPOILER WARNING***
Take a look through any collection of books or comics, and the odds are good that you’ll find more than one retelling focused on the legend of King Arthur. With that in mind, note that Once & Future is a completely different take.
ONCE & FUTURE #3 is a world in which letting King Arthur continue his eternal rest is for the good of all man. Because some legends are better left alone. It’s a darker rendition of the tale, but that is why it has become such a fascinating read in such a short period of time.
And okay, throwing an awkward man and his elderly grandmother into the mix certainly helped to shake up any preconceptions we had about this series. Best of all, their interactions allow for the occasional moment of comic relief, giving the readers a chance to breathe before diving back in.
Take a good look at the creative team for this issue – because it is worth talking about.
Kieron Gillen is the author behind Once & Future, and fans of his previous works probably didn’t need to be told this. He has such a distinctive way of writing – telling a story that is both compelling and bone-chilling.
Once & Future #3 is no exception to this rule. This issue starts with a dramatic battle (the one hinted at with the conclusion of the second issue) but then backs off to give us a chance to learn more about the situation at hand.
And to be fair, there is still a lot we need to learn about what is going on. Thankfully, Duncan seems to be equally ignorant. So we get to learn alongside him. Something to be even more grateful about is the fact that unlike Duncan, we won’t have to be risking our necks to gain this knowledge.
In the previous issue, there were hints of a few more classic tropes rearing their heads. And this issue essentially confirmed that fact. These tropes are going to help add to the complexity of the situation, all while giving us something familiar to lean back on. It’s cleverly done.
Is this a good example of spray and pray?
Once & Future #3 gets to boast about many things, including the brilliant artwork. This series has already been getting a lot of attention on that front, and the third issue does not disappoint. There’s something so eerie and foreboding about the way the artists have rendered the supernatural in this series. But it’s also all sorts of perfect.
The dichotomy between the two sides in this series cannot go unnoticed. On the one hand, we have figures that are classically and sinister-looking, corpses rising from the graves, and the like. The living among their side is that beautiful that doesn’t look real – like they’ve taken a step away from humanity. And in a sense, they have.
On the other side of the war, we have a man and his grandmother. His character always looks so dramatic on the covers, yet the issues portray a very different man. He wasn’t raised for this battle, and he’s struggling a bit. Meanwhile, his grandmother is all lines and determination. Even her expression has been hardened by her drive to see things through.
Knowing all of this about the art, it’s probably no surprise to hear that there is an amazing artistic team working behind the scenes here. Dan Mora was the lead artist for this issue, with Tamra Bonvillain providing the coloring, and Ed Dukeshire doing the lettering. And all credit for the look and feel of this series should go to them.
Of course, grandma has bombs in her bag.
Once & Future #3 somehow managed to balance the pacing of the previous issues with the need to provide some answers about what is happening. And all while increasing the tension of the situation. This combination has made for a perfect read, not just for fans of the creative team (though there is that), but for fans of King Arthur and lore and well.
