Red Sonja #9, out this week from Dynamite Entertainment, sees our protagonist pushed to seek out an unorthodox ally, infusing an unexpected shot of horror into the book’s already potent formula.
Sonja is desperate to forge an alliance with anyone left who can stand against Dragan. This drives her to the lair of The Sorcerers of Wigur-Nomadene, an imposing and sinister magical sect. But, while Sonja seeks the sorcerers, her trusted advisors plot to betray her.
The Writing
This is perhaps the most suspenseful chapter yet in writer Mark Russell’s story. It’s a great example of dynamic storytelling, drawing the reader in with elements of tragedy, political intrigue, and horror.
Red Sonja #9 begins with a foreboding prologue. In the brief vignette, we see a king who goes to the tower to beg for help recapturing his kingdom from Dragan. The effect of this little introduction heightens the tension by showing the danger the sorcerers can pose to those who trespass in their realm. This pays off immediately as we cut back to the present to see Sonja herself approaching the tower.
Tension mounts as Sonja attempts to reason with the sorcerers. We know—as well as she—the danger they pose. This creates compelling tension that builds throughout the book.
The stakes are raised in Red Sonja #9 as events play out back at camp. Convinced Sonja’s dead, her advisers immediately set to establishing a new regime. Meanwhile, we know Foghor is still scheming behind everyone’s backs, adding even more tension to the story. There’s a lot going on in this book, but it comes together very organically.
To offer a minor complaint, Sonja’s ordeal with the sorcerers ultimately feels a little futile. It serves as an excuse to draw Sonja away from camp and to allow a plot to unfold. It could, of course, pay off in successive issues. As it is, though, Sonja’s story doesn’t really have much significance in the broader narrative. Little is really accomplished or discovered, thus making it feel a bit tangential and anticlimactic.
The Artwork
Artist Bob Q gets the opportunity to showcase some more inventive and macabre designs in Red Sonja #9. The Tower of Wigur-Nomadene itself has an imposing, Lovecraftian aura, immediately signaling to the reader that these magicians are not to be trifled with.
The designs of the tower and of the sorcerers themselves are simply awesome. They’re unlike anything we’ve seen in this volume of Red Sonja, yet they don’t feel so out of place as to clash with the rest of the artwork. This book features some of the most impressive and inventive artwork in the series thus far.
Despite the surreal tinge, Q doesn’t overlook basic craft, though. The artwork is well-paced, accenting the drama of the story.
Colorist Dearbhla Kelly provides some stunning work in Red Sonja #9, too. The eerie setting of the tower allows the artist to play with dark tones, cloaking the sorcerers in harsh shadows and unearthly glows.
Final Thoughts
Red Sonja #9 is another home run chapter in Russell’s ongoing story, arriving just in time for the Halloween season. Highly recommended.
Thanks to IDW Comics, Sonic The Hedgehog and team continue to fight against a virus turning everyone into zombie robots (Zombots), the team keeps getting back into a corner. Is this the issue where they turn it all around or do things get much worse from here?
As Tails works to create a cure to the virus, Tangle and Whisper work to fend off the rampaging horde of Zombots.
Writing
This is where the storyline really seems to lean more into the idea zombie takeover theme. Tails spends half the issue laying low and doing his best to research the virus. The other half he finds he has been corned and has no choice but to fight his way out. This mixture of quiet moments mixed with sudden life or death situations is what the zombie genre is known for. The issue serves almost as a testament to the different ways a series like Sonic The Hedgehog can explore other genres and themes.
The story by Ian Flynn puts a great focus on each character to help move the overall plot along and make each scene have weight. Between Tails’ research, Whisper and Tangle’s action scenes, and Dr. Starling working a scheme elsewhere, the plot of the “zombot virus” saga is moving at a very smooth pace. It seems like things will get much worse for the good guys before it gets better.
Artwork
The art of this work is impressive and isn’t hampered by having too many hands working on the issue. Lamar Wells is credited overall for the art but Reggie Graham, Jennifer Hernandez, and Priscilla Tramontano are each work on different pages. The fact there is no major shift between art styles even though many artists are working on the issue is a testament to the teamwork of the group.
The coloring by Heather Breckel helps to convey the shift in tone with the issue. From the pale moments meant to throw the reader off to the impending danger and the shift to intense action emulating a rush of adrenaline adds to the overall feel of dread in the atmosphere. Also, the little bits of shadowing here and there give a great sense of foreboding in just the right places.
Shawn Lee’s lettering work is what really helps to add the final cherry on top to make the story feel like it is taking place in a zombie movie. The sudden use of sound effects of trash cans being knocked over and walls being torn down makes it so the reader can actually hear how the scene should play out.
Conclusion
Sonic The Hedgehog #21 is a compelling issue and showcases the unique opportunities a storyline like this is able to present to the reader. Lots of action and close calls occur as the zombots prove to be an overpowering force of nature. It’s the kind of story that guarantees the reader will pick up the next issue to see how events unfold.
The Black Ghost, ComiXology’s latest orginal title, debuted this past month (you can check out our review here). The superhero title is the creation of Alex Segura, Monica Gallagher, Marco Finnegan, George Kambadias, Ellie Wright and Taylor Esposito.
Co-writer and co-creator Alex Segura was able to take time off his busy schedule as a novelist and co-president of Archie Comics to talk to us at Monkey’s Fighting Robots about The Blach Ghost. Check out the interview and make sure you check out The Black Ghost!
Monkeys Fighting Robots: First of all thanks for talking to us here at MFR!
Alex Segura: Of course! My pleasure.
MFR:Alex, we’ve talked before when you had written your novels and some of the Archie comics you helped pen. But this is your first creator-owned comic work. Can you tell us how The Black Ghost came to be?
Segura: Sure. I’ve always wanted to write superheroes – to add my bit to the tapestry that includes characters like Batman, Spider-Man, Daredevil, The Question, and so on. So, for years I’ve been jotting down ideas and just mentally taking notes as I read books I loved. When I got the chance to co-create Lethal Lit, the podcast at iHeart, with Monica Gallagher, we really hit it off – we sync’ed up so well, it was hard to believe. She’s a dream to work with. Once Lethal Lit wound down, we really didn’t want to stop working together, so I sent her a rough idea for a vigilante book – with a twist. Basically, it’d blend some of the themes I’d been exploring in my Pete Fernandez novels and we’d worked on together via Lethal Lit, through the filter of the superhero/vigilante. Monica was game, and she added some great stuff that took us in a really exciting direction. After that, it was just a matter of finding a home for it, and thankfully Comixology was interested.
MFR: In your own words, can you describe the premise of The Black Ghost?
Segura: The Black Ghost is the sole protector of the city of Creighton – a fading east coast city that’s seen better days and is slowly sinking into a pit of corruption. Enter cops reporter Lara Dominguez, who’s fled to Creighton after tragedy strikes her in her hometown of Miami. She’s fighting off her own demons and obsessing over Creighton’s vigilante, eager to figure out who’s behind the mask – to the detriment of her actual job at the local paper. When we meet her in #1, she’s fighting off a mysterious gang of thugs bent on taking out Ernesto, one of her GED prep students – which strikes her as part of a bigger controversy, one that will envelop her and the Ghost before too long.
MFR: There’s a lot of creative talent involved in this book. How is it working with such a talented group of creators?
Segura: It’s a dream, seriously. Everyone is really bringing their best to this book, from Monica to George Kambadais on art to Ellie Wright on colors to Taylor Esposito on letters and to our fearless leader, Greg Lockard, as editor. We all mesh well, everyone is a pro and easy to deal with, and I’m just feeling really lucky we were able to pool our resource and create such a fun, energizing book. It’s a real passion project.
MFR: How did you link up with co-writer Monica Gallagher?
Segura: We’d worked together on Lethal Lit, but we both come from comics, so it made sense to have our next project be a comic!
MFR: The Black Ghost is a ComiXology exclusive. Did having the book be a digital exclusive first impact it’s creation at all?
Segura: From a storytelling standpoint, no – but we were really impressed and psyched by the rollout Comixology gave it, from publicity to marketing to just feedback and assistance. They’ve been fantastic to deal with, and it’s an honor to see our book launch with so many great, creator-owned books.
MFR: Being a fan of your Pete Fernandez books, I see some similarities between Pete and Lara (and not only the Hispanic last names!). What is it about flawed protagonists like these two that you like so well?
Segura: I just find perfect heroes really boring! I like exploring the trauma of modern life, and how people overcome their pasts to rebuild themselves into something better. That’s a big part of both Pete and Lara’s story, that we’ll see roll out in different ways.
MFR: The book also blends a bunch of genres together: noir, mystery, old school superheroes. Can you give any specific genre examples, be they comics, movies or books, that influenced The Black Ghost? Was there anything on your mind or on your bookshelf specifically?
Segura: Oh, sure. In terms of comics, I feel like we owe a big debt to the work of Greg Rucka – Batwoman, his Question stuff, Gotham Central – all of that, really, fed into The Black Ghost. Same goes for Brian Bendis and Michael Gaydos’s Alias run, Kelly Thompson and Leo Romero’s Hawkeye, Jaime Hernandez’s Locas stuff, the entire run of Sandman Mystery Theater, and Brubaker’s Daredevil. I’m probably missing a lot of people, but those come to mind immediately. In terms of crime fiction, the work of Kelly Braffet, Megan Abbott, Laura Lippman, and Charles Willeford played a big part in Lara and the Black Ghost’s creation.
MFR: What characters might have influenced Black Ghost himself (I see a lot of ‘pulp’ in there, but personally I also see a bit of The Grey Ghost from Batman: The Animated Series.)
Segura: We wanted an iconic look and feel to him, so yeah, you’re right – pulp heroes like The Shadow, The Spirit, Doc Savage…we wanted him to feel iconic and larger than life. Batman also played a big influence, as did the Golden Age Sandman and just the general vibe of books like Astro City or Black Hammer – which is to say, referential and reverential.
MFR: Is your approach to writing comics different than writing novels?
Segura: Oh, for sure. It’s just so much more collaborative, which I think is a big reason I like to do both. Sometimes you want to play with others, sometimes you want to just work alone! But my approach is the same – I want to write about characters, and I want the story to spring from them, not build a story and have characters fit into certain holes. The best, most organic ideas come from lively, vibrant people – conflicted people looking to accomplish something, or spurred to do something. I mean, noir is all about pushing people to the brink and seeing what they do – for better or worse.
MFR: Can you give us a hint as to where the story is going after such a shocking ending?
Segura: I don’t want to spoil anything for those that haven’t read it – but I love that most people had no idea that was coming! I think readers will see a very different story from what they expected, but also one that honors the vigilante and comic book traditions, too.
MFR: Any plans for more ‘The Black Ghost’ after this initial mini-series?
Segura: Hopefully! We have a lot of ideas – and are hashing out a second arc now.
MFR: Anything else you want to mention? Anything you care to plug?
Segura: Well, Archie just announced ARCHIE MEETS THE B-52s, which hits in February from me, co-writer Matthew Rosenberg and artist Dan Parent – which should be a lot of fun, and in the same vein as books like ARCHIE MEETS RAMONES and THE ARCHIES.
Aside from that, my latest and final (!!!) Pete Fernandez novel, MIAMI MIDNIGHT, just hit from Polis Books – so fans can pick that up wherever books are sold!
MFR: Well, thanks again Alex! Always great talking to you!
Ghoster – the new horror graphic novella – is created and written by Thom Burgess & Toby Meakins, with illustrations by Joe Becci.
Deep in the darkest corners of the web comes a book of gothic ghost hunters wielding steampunk weaponry battling malevolent spirits. Chock full of an immersive backstory and chilling artwork, Ghoster is the perfect book to read just in time for the Halloween season, and is available to download and devour for free.
Story
A young man attempts to survive The Gallowing, the deadly initiation into the secret Guild of Ghosters, five families of Malevolent hunters that have protected Britain from evil spirits for centuries. To complete his mission and join the ranks of his ancestors he must hunt down a Malevolent in the most haunted house in London or die trying.
Writers Thom Burgess and Toby Meakins have been perfecting the world of Ghoster for years, and it has certainly paid off. This initial offering is a superb introduction to its world and characters. In its brief 45 pages, readers are presented with this secret cabal of ghost hunters and the darkness they’ve been fighting for four and a half centuries. You get a sense of their rich history, which dates back to Queen Elizabeth I. What’s even more impressive is the science and technology the writers’ created that allows the Guild of Ghosters to enter the plain of the Malevolents and fight them. You will be astounded by the world they’ve created.
There is something for all genre fans to enjoy in Ghoster. They’ve combined the spooks and spectres for fans of Supernatural with the action and weaponry of Assassin’s Creed. And it seems they’ve only scratched the surface of this fantastical story. Burgess and Meakins set up a world with heroes spread across the globe, and the cataclysmic event that will bring them all together. It’s an exciting read, and even more so to wonder what will happen next.
Art
The talented Joe Becci adds spine-chilling and breathtaking artwork to the macabre world of Ghoster. The modern English setting is already dark and gloomy; its olden architecture giving it an air of otherworldliness. Becci furthers to the ethereal atmosphere by adding in a supernatural smog and a color palette of blue and grey once the Ghosters cross through the veil to the realm of evil spirits.
The character work is also worth mentioning. The Malevolents are monstrous and utterly terrifying. The Ghosters’ armor has a steampunk flair about it, each unique to the families of the guild. Overall, the artwork and color palette perfectly rounds out this horror action graphic book, setting its shadowy tone from the very first panel, and not wavering once.
Conclusion
Ghoster is such a great book, filled with nightmarish visuals and rich worldbuilding. It’s a fun and spooky read, perfect for this time of the year.
Ghoster is available for free for all to enjoy. Get your copy today. You can also follow the world of Ghoster and its creators on their Twitter, Instagram, and Facebook pages.
Spencer & Locke is returning for volume three, and this time around the Action Lab Danger Zone series is taking on the juggernauts of newspaper funnies.
The publisher announced Spencer & Locke III today with the teaser image below, and the tagline “His partner was imaginary… but the reckoning is all real.” Additional information about the series is forthcoming, potentially from New York Comic Con this weekend.
The series is by writer David Pepose and artist Jorge Santiago, Jr., along with colorist Jasen Smith and letterer Colin Bell. It reimagines your favorite newspaper comics in a crime-noir setting, with the titular detectives acting as analogues for grown up Calvin and Hobbes.
Last time around, the duo battled the wretched Roach Riley, a villainous take on Beetle Bailey. We don’t know yet what’s in store for volume three, but in the teaser we do see an orange cat, some peanut shells, and a mischievous looking rat, hinting at some of the biggest names in comic strips.
Refusing to quietly disappear, Dead Eyes #1 from Image Comics is re-branded and re-released on October 2.
Almost a year ago Gerry Duggan and John McCrea’s Dead Rabbit was released through Image Comics. But then a so-strange-it-has-to-be-true copyright claim halted production before the third issue hit the shelves. A New York restaurant took umbrage and there ended the story of a retired hold-up man before he had chance to return in glory.
However, just like their titular character, Duggan and McCrea were not going to be beaten, so with a little bit of touching up and a name change, Dead Rabbit returns, under the uncomfortable title Dead Eyes.
To be fair, if you bought Dead Rabbitlast year there isn’t much in this ‘new’ number 1 that you haven’t already seen. The story and art are almost exactly the same with only a few minor tweaks to the script. In fact letterer, Joe Sabino, appears to have had the most work to do on this reissue; replacing each reference to Dead Rabbit with Dead Eyes.
However, if you are new to the story, then you are in for a treat.
Dead Eyes #1 Cover Art Credit: Image Comics
An Eye For A Tale
Creating ‘real’ lives for superheroes and vigilantes is, by now, nothing new or surprising. When Alan Moore and Dave Gibbons did it in Watchmen it felt like a breakthrough, a game changer but these days it’s almost expected. But with all great stories, it’s not what the story is but how it is told that makes it stand out and, with Dead Eyes, Duggan and McCrea are making a big splash in a small pond.
The comic tells the story of Martin, a retired hold-up man and hoodlum, who is living with his wheelchair bound wife. What little money he made when wearing the mask has long since disappeared despite what the news stories seem to think. As a result he lies to his wife and has secretly taken on a regular job just to save them from dept.
It isn’t long before his instincts warn him of a criminal act, one that he might be able to stop. Donning the mask one more time, Martin, aka Dead Eyes, risks everything in his uncontrollable urge to battle crime.
Duggan has a wicked sense of humour. There are some hilarious moments in this issue that contrast the comic book element of the story with realistic interpretations of life. The heart of the story is a man struggling to get on in a world he finds tedious and uninspired, something most people can relate to. There is a realism that you can’t escape from which in turn intensifies the violence of the vigilante scenes.
By the end of this first issue the reader has a clear understanding of the central characters, who they are, what they’ve done, and also the world in which they inhabit. The plot is packed with action and character, while laying the ground work for future issues.
Dead Eyes #1 Credit: Image Comics
The Art of Dead Eyes
McCrea uses heavy black inks with thick shadowing that creates a darkness to the pages. The panel borders are lost in the black gutters giving the impression that the darkness is creeping into the images. The overall effect is one of an imbalance within the visuals drawn from within the narrative. Even within the home scenes McCrea makes the reader uncomfortable, as if something is not right.
The composition and camera angles of the panels are dynamic. Each page has a sense of drama about it long before you start to read. And, just like the script, McCrea’s art often contains humour. Comical poses and exaggerated expressions provide contrasting tones to the violence and horror that Dead Eyes contains.
Some of this tone is brought about by Mike Spicer’s coloring. The bright, almost garish colours used for the moments of comedy is replaced with grim hues when Dead Eyes goes into battle. The distinction between the two is important for the narrative to hit the right beats as the comic progresses. The feel of the page, and the story elements contained within, have to be set by a quick glance so that the reader understands when Duggan is making a joke.
Dead Eyes #1 Alternative Cover Art Credit: Image Comics
Conclusion
Dead Eyes is an uncompromising look at ‘what comes after’. It contrasts the difficulties of reality with the extremes of vigilante justice in an attempt to link the two experiences. It is forcing the point about the metaphors abound in superhero fiction; these aren’t just stories about people dressing up and fighting crime, there are deeper meanings and cultural or social parallels being drawn.
Duggan and co. want to entertain but they also want you to think about what you read in the pages of Dead Eyes and beyond. They touch on fake news, violence within society, and the lies we tell to make it through the day. The story of Dead Eyes is a serious drama told in an entertaining, often humorous, manner.
Unfortunately for the creators, Dead Eyes just doesn’t have the same ring to it as Dead Rabbit, but it is a small price to pay to get the comic into the readers hands.
Berger Books expands it’s range this week with the release of the murder mystery title Ruby Falls #1. Embracing the slow life of forgotten towns, Ruby Falls opens up old wounds and shines a blinding light into the recesses of peoples memory.
Comic book fans will recognise Ann Nocenti’s name from a number of DC and Marvel titles, most notably Daredevil from the late 1980’s and Kid Eternity from the early 1990’s. She is also credited with co-creating Typhoid Mary and Longshot. More recently she had a hit with The Seeds with artist David Aja on the Berger Book imprint of Dark Horse Comics.
With Ruby Falls Nocenti is bringing the reader firmly down to Earth with a slow paced, murder mystery set in small town America. She introduces Lana and her partner Blair. Together they are surviving in an old mining town, facing each day as it comes. Their lives are nothing extraordinary, as Nocenti illustrates with the hum-drum of existence that makes up Lana’s day, but all that is about to change. While visiting her grandmother Lana learns of a murder that the older woman witnessed when she was younger. A murder that went unsolved.
With her friend Raymond, a local librarian, Lana opens up the cold case and her life begins to change.
Ruby Falls #1 Credit: Dark Horse Comics
Ruby Writing
Ruby Falls drifts along like a leaf on the wind. The narrative follows Lana as she weaves around town, interacting with the people that she meets. Nocenti keeps the conversations jovial and friendly for the most part, depicting a close knit town where everybody knows everybody else. All of the character interactions are intimate but there is an emptiness to the town. Long shots of public places lack the hustle and bustle of populated places. Artist Flavia Biondi creates empty spaces within the panels, often losing the characters in the straight lines of the architecture.
Biondi uses cleanly defined lines to illustrate the world of Ruby Falls. This is an effective approach for the landscape and the scenery but doesn’t always produce the best character results. Occasionally the figures are stiff and a touch stifled, as if they lack energy. As a reflection of the town this is fine but other areas of the narrative requires more dynamism.
Having said that, Biondi’s characterisation is effective. She creates instantly recognisable characters with a few, simple lines then fills the character out with costume design. The desolate long shots in the comic work so well because, even from a distance, you can spot and recognise the characters.
Ruby Falls #1 Credit: Dark Horse Comics
Colorful Scene Setting
Biondi’s main focus for this first issue is to set the scene for the murder mystery story. She does this by concentrating on the small town, building a world for the characters to fill later. A large part of this design is the color work provided by Lee Loughridge. Loughridge uses an autumnal palette throughout, mirroring the twilight years of the town and the slow ageing of the characters. There is a sense that this town has passed it’s heyday and is slowly winding down.
The floods of bright orange and golden yellows produces a calming effect on the reader and slows the pace of the comic. For the most part, Ruby Falls has a warming effect, inviting the reader to take their time. Not only does this produce a lethargic visual but it seeps over into the narrative, lulling you into a false sense of security. When something shocking or exciting does happen, it leaps from the page as all of those calming colors disappear and are replaced with strong, harsh colors.
The lettering is adequate, relaying the speech in an unassuming manner. Sal Cipriano follows the tone of the comic, giving the speech a dull, melodic feel for most of the panels. The text is very monotone, very rarely altering from panel to panel. The highlight of the lettering is in the design of the town’s signs and printed word. This is where Cipriano has some fun. The contrast between the swirling design of the Silks nightclub sign and the traditional Ruby Social Club illustrates the differences between the places and the people inside. It also affects the way that Lana is portrayed; in one location she comes alive, excited by who she is and where she is; in the other she’s more formal and straight laced.
Ruby Falls #1 Credit: Dark Horse Comics
Conclusion
Ruby Falls is an intriguing first issue. Nocenti slowly introduces the mystery into a town populated by a small cast of characters. You get the feel of the town and a fair assumption of who the main players are. However, the lilting tone and lack of changing narrative beats makes the comic drift along and at times barely holds the reader’s attention.
It sets the scene, of a dwindling old town lacking life, almost too well. Unlike other recent crime comics like Criminal or The Girl In The Bay, Ruby Falls doesn’t have a strong hook to catch the reader and draw them in. A large proportion of the comic is ‘nice’ and nice just isn’t enough. However, the groundwork has been laid and future chapters of the story have a promising foundation to build on.
This Wednesday, Valiant Entertainment’s DOCTOR MIRAGE#2 elegantly displays how far Shan will go to bring back her husband; no matter the obstacles in her way.
If you haven’t had the chance to read Doctor Mirage #1 or need a refresher, check out our review here.
Letters by Dave Sharpe. Art by Nick Robles. Colors by Jordie Bellaire
A Story of Love
Below the surface, Doctor Mirage (2019) is a story of one’s journey to bring their loved one back; much like (Dante’s) Inferno. This theme is magnificently shown in flashbacks by writer Magdalene “Mags” Visaggio. Primarily taking place before Doctor Mirage #1, Visaggio regales events that caused the present day predicament. Not all of the past events are laid out, just enough to keep the reader interested.
Visaggio portrays Shan (Dr. Mirage) willing to hold another at magical weapon point, for a chance to bring Hwen back. This moment emphases Shan’s love and willingness to bring back her husband, being the main driving point of Doctor Mirage. Moments like this are portrayed beautifully, while in a realistic manner that people can relate with.
Doctor Mirage #2 continues the theme of a television show through narration. Canonically this makes sense as Shan and Hwen hosted a talk show in past series. But Visaggio uses it differently as Shan is the comics camera one, and Grace camera two. This method shows how each view a room/area in a different artistic perception.
Letters by Dave Sharpe. Art by Nick Robles. Colors by Jordie Bellaire
Magical Art
The art by Nick Robles continues to be astoundingly gorgeous. Even during ‘simple’ pages, Robles pencils perfectly guide your eyes through what transpires. Or when given a full page to showcase a moment, Robles does so magnificently, making you want it as your wallpaper.
One other artistic feat is how realistic it all feels. The emotions portrayed, crowded cities, and every ones’ reactions are showcased. Building upon Visaggio’s down to earth story; Robles builds it higher. Then when the story becomes out of earth, the pencils match.
For the different ‘cameras,’ Robles pencils show the similarities of the rooms, while the difference is still glaring. The magical colors of Jordie Bellaire help this difference.
For the life-like segments, Bellaire’s colors are human, never straying too far out the normal. That is until the perception shifts, or when magic is displayed. Anytime magic happens on earth, Bellaire makes sure it catches the readers eye. This is accomplished with bright colors that contrast with the dark.
The most fabulous display of color usage happens during Grace’s perception. Bellaire cranks up the bright colors meter and goes crazy. In these segments the colors beam into your eyes, showcasing the magic of what’s transpiring.
Letters by Dave Sharpe. Art by Nick Robles. Colors by Jordie Bellaire
One of Doctor Mirage #2’s strengths comes from letterer Dave Sharpe. Throughout the issue Sharpe uses differing fonts to his advantage. When Hwen talks the fonts are non-bold, showing his ghostly language. This looks amazing next to the usual bold lettering. Or in the moments he makes Grace’s bubbles rigged and out of control.
Doctor Mirage And The Means To An End
Visaggio’s take on Shan is a wonderfully realistic one. By showing how broken she is, and how far she’s willing to go for her husband, Visaggio shows a character many can relate too. Although the meaning behind Doctor Mirage is a realistic one, the art is out of this world. When all of these elements combine a perfect follow-up issue forms. Making 2019’s Doctor Mirage a must read.
Memorable Quote: “There should be a pamphlet. So you have discovered you are dead and also in hell.” – Grace.
I mean, she’s not wrong. Pamphlets would help a lot in life, and the afterlife.
Side Note: In the previous Issues review it was stated as an ongoing, but it turns out that Doctor Mirage (2019) is in fact a five issue mini-series.
Calling All Doctors
After reading this second issue, how do you feel it’s been so far? Let us know below!
Spider-Verse #1 is out October 2nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview to share with you.
The book is by writer Jed MacKay and a whole host of artists (check out the full credits in the preview below). Joe Sabino letters the book, and Wendell Dalit did the main cover.
About the issue: Miles Morales finally feels like he GETS this Spider-Man stuff… and then falls through a portal! But isn’t the WEB OF LIFE & DESTINY destroyed? Maybe not, True Believer. But who spun this new web? Regardless, Miles finds himself at the center of a multiversal adventure that will feature a who’s who of creators and characters as the series spins forward! And each issue features #SPIDERSONAS from some of the biggest Spidey fans and comic creators both!
Spider-Man: Into The Spider-Verse was one of the most celebrated films of 2018, a critical and commercial success, and from the cover alone, it looks like the Spider-Verse comic is going to try and capture the same sensibilities as the flick.
Take your first look at SPIDER-VERSE #1:
Who’s your favorite Spider-Person (or animal, or robot…)? Let us know in the comments below!
The entire scope of Xavier’s plans are further revealed in Powers of X #5, out this week from Marvel Comics.
As you’ve surely figured out by now, House of Xis the current timeline and Powers of Xare the future ramifications of what they’re doing. I particularly love how the narrative unfolds in this story. Powers shows a what the X-Men have accomplished and House shows us how they did it.
Jonathan Hickman is the mastermind behind the reinvention of the X-Men. R.B. Silva pencils and inks while Marte Garcia colors his work. Clayton Cowles handles the letters. Powers of X #5 is an issue heavy on the planning, plotting, and discussing, so not much action for Cowles to show off his skills.
Hickman has been blowing the heads off of X-Men fans everywhere. Explaining the multiple timelines, resurrecting dead bodies, uploading their consciousness into different bodies, and the many technological advances made by the machines, all showing off the extensive knowledge Hickman has of the X-Men’s history. Choosing to bring along some new young artists to the scene to paint a picture of this new world for us is just another gift from Hickman.
R.B. Silva’s artwork in Powers of X has been nothing short of astonishing. Building a new home for the X-Men is an incredible opportunity, and Silva is absolutely thriving. Just look at all the panels in Krakoa, and you’ll see he’s enjoying every second working on this book with Hickman. Aside from Emma Frost’s floating eyebrow, the art is pleasing and smooth; Silva has definitely scored himself an animation gig in the future.
Marte Garcia is my MVP for this issue. The opening scene with Forge at an aquarium, the future on Krakoa, in the ocean at Atlantis, across the world at homes of other mutants, and in the desolate machine infested future, these environments are shimmering, and there’s no shortage of shine when Magneto is on the page.
With the last issues of House of X and Powers of X upon us in the next two weeks, there promises to be more shocking reveals and drama for these perpetually persecuted people. I’m positive that Hickman will save the biggest and baddest for the end. Will Moira and the resurrections be dwarfed by the last two issues? I firmly believe the best is yet to come.
What did you think of Powers of X? What do you think Hickman has in store for the finale? Let us know in the comments below.
