You’d be hard pressed to find a show that did more for the comic book world than X-MenThe Animated Series. This show brought a whole new group of readers into comic shops as they clamored to read about their favorite mutants. Marvel has capitalized on this before as a battle world during Johnathan Hickman’s Secret Wars, as well as a spin off series following the event. This new series focuses on the recent House of X story line that Hickman also wrote. Seeing these events play out in the style of the animated series should please fans of the show and fans of House of X.
WRITING
One of the biggest challenges that Steve Foxe has to face while writing this series is capturing the feel of the original animated show and blending it with the recent House of X story. Foxe starts us off right in the middle of the big battle between mutants and the sentinels. This is a condensed series, so it’s acceptable, but it does lose some of the ground work and nuance that Hickman did in House of X. Foxe does a great job of giving us the characters that we know and love. Cyclops takes charge, Wolverine is an impulsive wild card and Rogue is sassy. Foxe succeeds in making this series just different enough so we don’t know what is going to happen. There are new characters, like Psylocke. The Five are also different and Foxe uses characters who were present in the animated show. Foxe changes the story enough to give us some surprises and some different elements from the Hickman series.
ART
The pencils by Salva Espin are crucial to this book. He had the task of making this series look like the animated show. Espin succeeds in giving us look that is similar to the cartoon, but still feels modernized. Espin also inserts a little homage to the Dark Phoenix Saga as Scott and Jean have a panel where they are fighting off Sentinels. Espin excels at keeping the look and feel of the show while also updating the design a little. The mutants are wearing new battle outfits that have green on their limbs. Little touches like this show Espin putting a little creative design and style on this series.
The colors by Israel Silva needed to match the color scheme from the animated show perfectly to be effective. Silva accomplishes this task with ease. The colors are slightly modernized and not quite as vibrant, but they do feel familiar. Gorgeous reds and blues dominate the backgrounds as the mutants battle for their lives. Silva makes sure that when a mutant unleashes their power it demands your attention. An optic blast or a kinetic charge light up the page. Silva succeeds in capturing the glory of the cartoon while also changing enough to please modern readers.
Joe Sabino is on letters this issue and he does a phenomenal job. He’s most effective on his constant sound effects. When an explosion happens, there is a large “THOOOM” that is layered on the bottom of the page. Storm blasting several sentinels gives us a transparent “KRAKABOOM” that looks and feels like lightning. I would have liked to see a “ZAP” or two when Cyclops unleashed an optic blast, but Sabino lays so many sound effects down, missing a few isn’t a big gripe.
CONCLUSION
X-Men ’92 House of XCII is a worthy addition to the X-Men ’92 cannon. Steve Foxe has managed to blend two worlds together to satisfy fans of both stories. The art matches up very well to the show. This series is off to a blazing hot start and is in great hands. X-Men’92 Hous of XCII is available at a comic shop near you!
If we were going to rattle off Spider-Man’s biggest rival, surely the Green Goblin’s name would come up. Spider’s have always had problems with goblins. Hobgoblin, Demogoblin, Red Goblin, Green Goblin. It seems like every few years a new goblin comes along to wreak havoc on Spider-Man’s life. Amazing Spider-Man #90 gives us a battle between the Goblin Queen and Peter Parker. If you’ve been waiting for Peter to step back into the spider suit, today is your lucky day. Patrick Gleason is the writer of this issue. He’s joined by Mark Bagley on pencils, Bryan Valenza, Dijjo Lima and Andrew Crossley on colors and Joe Caramagna on letters.
WRITING
Amazing Spider-Man has had several writers filling in on the title since Nick Spencer left. For this story arc, Patrick Gleason takes on the writing duties. Gleason is lucky enough to be writing both Peter and Ben in action sequences this week. At this point Peter is no longer in a hospital bed and has donned his costume again to take on Queen Goblin. Gleason uses this issue to show us how heroic Peter actually is. Even though he’s not ready for battle and still injured, he risks his life to save Black cat and fight Queen Goblin. While this is going on, Gleason builds on the mistrust between Ben and Beyond. After sending Queen Goblin after Janine, Ben has finally had enough of Beyond’s antics. Gleason has Ben turn off his locator and officially hide from Beyond. This is a big step for Ben. He’s been going back and forth on whether he should end his relationship with Beyond due to them being shady. Gleason gives us an issue of Spider-Man where characters overcome their inadequacies and doubts. Whether it’s standing up to an evil corporation or digging deep to help your friends, this issue works because Gleason lets heroes be heroic.
ART
The pencils this issue are handled by Mark Bagley. Having Mark Bagley on this book is a trip down memory lane. His pencils on Ultimate Spider-Man are legendary. One of the things Bagley does so well this issue are his scenic backgrounds. As Ben swings Janine past a bridge early on in the issue, Bagley draws the huge bridge in the background perfectly. We see a burning building in between the wires on the bridge and smoke in the air. Action sequences are easy on the eyes as the panel structure is easy to navigate. Bagley still has a distinct style that resonates with Spider fans. issues like this one continue to show he’s one of the best.
There are a few colorists on this issue, but the majority is handled by Bryan Valenza. The colors for this issue have great contrast in the first few pages. Valenza has to have many dark colors due to the night sky and the smoke from the fire. Valenza allows Ben’s red on his spider suit to pop out as a vibrant color on a dark image. Around the middle of the book, the colorist changes. The colors get lighter and the colors Peter’s spider suit looks a little harder. There almost seems to be a texture to the colors as he swings Queen Goblin with a web. Although different colorists are used for this issue, the change in style isn’t so different that it takes you out of the issue.
The letters by Joe Caramagna contribute in many ways, but none more important than seeing the classic “Thwip” as Spidey shoots his web. As Queen Goblin uses her Goblin’s Gaze, Caramagna enlarges the world bubble to emphasize the importance of her power. These are all nice touches put on an issue by a true professional.
CONCLUSION
Amazing Spider-Man #90 is an issue that has some good character moments while also moving the plot forward. Gleason is putting our heroes in a position to finally give Beyond what they deserve. Any fan of this series has been waiting for this moment, and Gleason is delivering. Amazing Spider-Man #90 is out at a comic shop near you.
In the world of Spider-Man, the goblins are one of the biggest pains in the ass. Green Goblin, Hobgoblin, Red Goblin; it just never seems to end. What’s different about this particular iteration of the Red Goblin is that it’s Norman Osborn’s grandson Normie. He’s attempting to do the right thing, but the dilemma lies in the fact that the symbiote is more violent than a 12 year old boy. Alex Paknadel handles the writing for this issue. He’s responsible for giving us all the internal drama going on within little Normie. Joining him on this adventure are Jan Bazaldua on pencils, David Curiel on colors and Joe Caramagna on letters.
WRITING
This is a surprising issue in terms of depth for a super hero comic book. There are pages early in the book dealing with flashbacks to when Normie was younger. Paknadel shows us Norman and Normie riding the subway together. This is an interesting scene because the Osborn’s have an endless supply of money and never nee to be on the subway in New York. Norman, an eviler man at the time, uses this to show Normie what the enemy looks like. It’s a clear cut case of classism and elitism. This is used in the story as Normie fights for his life in the sewers to rescue his Pop-Pop. Paknadel also does a great job of reminding the reader that Normie is still just a child. He makes mistakes and constantly tries to be optimistic, even when he’s getting pummeled. Paknadel also hammers home the relationship between Norman and Normie. Even though Norman has done terrible things to his grandson, Normie still loves him and would do anything for him. This issue is littered with undertones and deeper problems that people face in society. Kudos to Alex Paknadel for turning in an amazing book.
ART
The pencils for this issue needed to be slick with a tone of creepiness. Jan Bazaldua pulls this off wonderfully. In the early pages of the book, while Normie and Norman ride the subway, Norman essentially tells Normie that they are better than the poor people in society. As this conversation happens, Bazaldua draws a creepy Green Goblin behind Norman. The image is eerie and is used to remind us who Norman used to be. The design for Phil Urich is also scary in it’s own right. I understand this is a book about goblins, but something about his look is unnerving. Bazaldua draws a worn down mask with sharp teeth. Bazaldua’s style works well for the spooky side of the book, but it also shows off his talent for drawing large battle scenes. As the Red Goblin fights to save his Pop-Pop, Bazaldua draws him getting pummeled by a barrage of thugs. The pencils are clean and crisp and we don’t lose detail with such a large group in the panel.
The colors by David Curiel are important for this issue. He has to keep the tone for the pencils that Bazaldua puts down. Curiel is successful in doing this. Panels with close ups of Phil Urich are dark and have a lot of shading, especially around his face. When Normie has a vision with his symbiote, Curiel has the entire page with a reddish hue. This is effective to show readers that this is a dream like sequence, but it also works because the red is the color of his symbiote. One of the things Curiel does the best this issue is that he makes this entire issue seem dark. Even in pages where Normie’s mother is talking to the principal, the mood and atmosphere are dark and rainy. These little touches made by the writer and artists help set the tone for everything to leap off the page and get the reader in the mood of the book.
The letters by Joe Caramagna play a large part in the story. Caramagna has to use different word balloons, red serrated balloons, when Normie is talking as the Red Goblin. This works well and allows the reader to see that the goblin has a different tone and voice when he’s suited up. The sound effects flow in this issue. Caramagna “SWIKK” as pumpkin bombs fly at enemies. There is a nice transparent “BOOOMMMM” as a bomb explodes forcing the villains to run. Perhaps my favorite effect is when Normie’s mother talks to the principal at Normie’s school. She scratches her nails into the wood of the desk she sits at. Caramagna puts a little “KRRRrkk” right above her nails. This shows that she isn’t messing around and the whole family is dangerous.
CONCLUSION
Red Goblin #3 is another exciting issue in a series that has exceeded expectations. Alex Paknadel touches on real life issues from class discrepancy to young kids growing up too fast. This series has more depth than other books on the shelf. Red Goblin #3 is available at a comic shop near you!
Benjamin Percy is without a doubt a huge Wolverine fan. He’s been writing him in X-Force as well as his solo Wolverine series. Having said that, this is perhaps one of the most unique story lines in a Wolverine title because Percy had made one of the most lovable X-Men one of their worst enemies. Beast has gone off the rails and done some unforgivable things, and it’s up to Logan to fix this. One way or another. Joining Percy on this title is Juan Jose Ryp on pencils, Frank D’Armata on colors and Cory Petit with the letters.
WRITING
This story arc on Wolverine has been one of the more interesting runs in a while. Beast turning to the dark side initially started during Percy’s X-Force series, but it seems like everything will be coming to a head in the pages of Wolverine. If you really look at this objectively, it’s not hard to see Beast’s motivations. Percy shows us a mutant who has had enough and is willing to take out the bad guys by any means necessary. Which begs the question of how far is too far? A big highlight and character moment for Logan in this issue is standing up to the Quiet Council. Percy uses Logan as the voice for the reader when he tells the Council that they let Beast do what he wanted and didn’t check up on him. While Logan has always been a character that does what he wants, standing up to the Council is a big step for him. It’s also been great seeing Maverick back in action. Percy has been using him here and there throughout his run. It’s a move that plays on Wolverine’s past and allows the reader to continue to see the layers Logan has.
The pencils by Juan Jose Ryp are very good this issue. For some of these pages and panels it feels like there is a texture to the artwork. When we get a look inside Beast’s new base of operations, there are several clones connected to the walls. Ryp draws veins and tentacle like things in the stasis area for these clones. As you look at this page you can almost feel the roughness of the image. Facial expressions are big in this issue as well. As Wolverine drops off Beast’s corpse to the Quiet Council, there are several looks of disgust from characters like Mystique to Charles Xavier. Ryp draws his fight scenes very violent and brutal. This works well because it shows how far Beast is willing to go and just how dangerous these Wolverine clones are. The Maverick pages are done wonderfully. Maverick takes some hits, but also causes a lot of damage, and Ryp perfectly draws all of this.
The colors by Frank D’Armata are integral to the issue. D’Armata is in charge of setting the mood for the book, and he does an excellent job in the opening pages by giving the reader a look at foggy old Scotland. The color palette for these pages are dull and dark, which add to the creepiness of the scene. For the rest of the issue, D’Armata sticks with darker colors. Shades of blue, like during the Maverick pages, or greens and browns as we get a look at Beast’s base, are also less vibrant. This all works well for the story being told. This is a sadistic story about manipulation and murder, D’Armata uses the color palette accordingly.
The letters by Cory Petit are set up nicely here. Petit makes sure that the word balloons or thought boxes are out of the way of the pencils. On pages where several characters appear to be talking at the same time, no one is covered by any dialogue balloons or boxes. As Logan faces the Council, he pops his claws and Petit uses the iconic SNIKT. What makes this panel a little cooler is that he allows the letters to go up Wolverine’s hand as he pops his claws. The other sound effects are used well for this issue. Maverick shooting Wolverine clones has “BUDDA BUDDA” as he unloads bullets from his gun. This is a finely lettered issue from Cory Petit. He continues to deliver wonderful placement and good effects when he’s on a title.
CONCLUSION
Wolverine #32 continues the story of how Beast is turning into a villain. Benjamin Percy has developed Beast more in the past few years than any writer has in the last ten years. His run on Wolverine has been a memorable one that has to have repercussions in the future. The art is great for this issue. It matches the tone an energy that Percy is writing. Wolverine #32 is available at a comic shop near you!
To say that Matthew Murdock has had a rough time lately is putting it lightly. He just lost his best friend Foggy Nelson, and got into a big fight with his super hero buddies last issue. The Stromwyns and the hand have been relentless in trying to torment him, and with almost no allies left, Matt turns to Cole North to whip him into shape. Chip Zdarsky continues his epic run on Daredevil this issue. He’s joined by Rafael De Latorre on pencils, Matthew Wilson on colors and Clayton Cowles on letters.
WRITING
Chip Zdarsky is one of the top writers in comics at the moment. He’s done Batman, Daredevil, the critically acclaimed Eight Billion Genies. Essentially anything he touches is worth a read. We’re at a point in his Daredevil saga where Matt is at his lowest. His wife is arrested and he has next to nothing left to lose. Zdarsky knows this is when Matt is at his most interesting. The Stromwyns have been a worthy white collar adversary for Daredevil. This issue, Zdarsky gives us a Daredevil that has nothing left to lose. As Detective North says, “People were hurt! Foggy is dead!” He’s the perfect person to snap Matt out of his funk. Zdarsky doesn’t hold back in this issue either. We see Daredevil do crazy and unexpected things to gain any semblance or normality back. One thing is clear in this issue though, Matt Murdock loves Elektra. This has been one of the things Zdarsky has been trying to hammer in this volume of Daredevil.
ART
The pencils this issue are handled by Rafael De Latorre. The line work and inks are smooth. De Latorre uses a lot of detail, particularly when he does some close up faces. Detective North is seen on panel with a disgusted look on his face. De Latorre captures this perfectly as the detailed lines really add to his anger. His pages with the Stromwyns are drawn with a level of smugness to them. How they’re postured to how their faces look scream entitled and privileged. There are images where De Latorre out does himself, specifically during some eye gouging. The panels are eerie and creepy perfectly drawn.
The colors by Matthew Wilson have to match the intensity of pencils from De Lattore. Wilson uses bright bursting yellows and reds as a background during action sequences or tense moments in the book. This is effective and adds an extra layer of depth to the art. In a panel where Daredevil confronts the Stromwyns, Wilson allows Daredevil’s uniform to pop out with a nice bright red, while shading out his face. This is an expert job in coloring from Wilson and one of the most memorable pages in the book.
The letters by Clayton Cowles work here. The monologue boxes he uses for Matt as he walks through the city are layered perfectly in a descending pattern. They sink lower and lower on the page and allow your eyes to follow the flow of thought. As someone gouges out their eye, Cowles uses a “SHNK” in red to signify blood. This is also placed across the shaded face of the character. It’s the perfect area for the sound effect.
CONCLUSION
Daredevil #11 is perhaps the most surprising issue of the series so far. Chip Zdarsky continues his great character work and interesting story telling. The pencils and art compliment the writing to a T. Daredevil #11 is available at a comic shop near you!
Marvel Comics announced yesterday that spoiled the story in AMAZING SPIDER-MAN #26; why do they persist in pulling back the curtain and spoiling the surprises? I have thoughts about Marvel’s marketing plan in the below video.
Do you even care when a comic publisher announces a death in advance?
Since death is never permanent, how numb have you become to events like this?
Kamala Khan, also known as Ms. Marvel, first appeared in Captain Marvel (vol. 7) #14, released in August 2013. Kamala Khan was created by writer G. Willow Wilson and artist Adrian Alphona. Her debut marked a significant milestone in Marvel Comics, as Kamala became the first Muslim character to headline her own comic book series. Her relatable personality, cultural background, and shape-shifting abilities quickly endeared her to readers, making her a beloved and influential character within the Marvel Universe.
It’s NEW COMIC BOOK DAY and TITANS #1 hits your local comic book shop today from DC Comics, the first issue sets the stage with multiple storylines and hooks the reader with a murder mystery. TITANS #1 is a must-read — check out my full review below.
TITANS #1 is written by Tom Taylor, with art by Nicola Scott, Annette Kwok drops the colors, and you will read Wes Abbott’s letter work.
About the issue: OUT OF THE SHADOWS The Dark Crisis is over, and the Justice League is no more. Now, a new team must rise and protect the Earth…Titans, go! The Teen Titans are ready to grow up. Each member joined as a much younger hero, certain that one day they’d be invited to join the Justice League. But the time has come for them not to join the League…but to replace it! Are the no-longer-teen heroes ready for the big leagues? Danger lurks around every corner as heroes and villains alike challenge the new team before they’ve even begun. Will the DCU ever be the same? Find out in this landmark first issue brought you by the all-star creative team of Tom Taylor (Nightwing, DCeased) and Nicola Scott (Wonder Woman Historia, Earth 2)!
The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I am committing myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favorite hobby again.
Last week felt a bit intense, but I definitely enjoyed getting my teeth into some comics with monstrous characters. I thought I’d have an easier week this week — keep it light with some laid back reading. Catch up on some of the series I’ve started but not finished, revisit some old favorites, and play it by ear.
So, without further ado..
The Transformers #189 with panel Insert Credit: Marvel UK.
Comic Number 127: The Transformers #189
So, I failed to reach issue 200 before the end of April, but I am so close now. In fact, this issue plays a very important role in setting up the story that features in issue 200.
Dry Run, by Simon Furman, Dan Abnett, and Jeff Anderson, is a simple, stand-alone story involving the current leader of the Decepticons training the former leader of the Decepticons to kill the future leader of the Decepticons. Simple…
Jeff Anderson’s pencils breathe life into the rage filled robots and gives them an animation that is lacking in some of the earlier stories. The emphasis in the art is on the conflict between the different factions of Decepticons, and once the story gets underway, there is virtually no background detail. Anger and unbridled hatred fuel the characters and the artwork focuses on this and nothing else.
The crux of the story, and the important moment, comes when an enraged Megatron tears the head off Cyclonus. A pivotal moment that is punctuated with a panel at the bottom of the page hinting at the consequences of the action.
What is fascinating about this moment is its brutality. It is easy to forget that these robots are sentient beings with a spark of life. Throughout most of the comics the Transformers fight, get injured and reappear fighting fit a few issues later or disappear from the roster of characters. Other than the death of lead figures, the violence between the warring robots is cartoonish: ineffectual but visually exciting. This is a children’s comic after all. But the death of Cyclonus is more unsettling and glimpses at the disturbing truth about war and violence. Megatron is blinded by hatred, silent in his action which is a contrast to the constant commentary throughout the rest of the battle. The violence of the moment brings the reader to a dead stop. The final panel on the page, which sets up the consequences of the action, also acts as a palette cleanser for the scene. The reader is removed from the violent scene for a moment so that they can process what they have witnessed.
I keep thinking what the scene would look like if the two characters were people and not giant, transforming robots. You’d be looking at something Garth Ennis might have written.
The Punisher #4 and The ‘Nam from issue #5 Credit: Marvel UK
Comic Number 128: The ‘Nam (in The Punisher #4, 5, 6 and 7)
Keep it light was the plan so why not re-read some of Marvel’s The ‘Nam, an intense war comic based (roughly) on the experiences of real veterans of the Vietnam War?
When Marvel and DC produced their early war comics, they glorified war and those who fought in them. Later comics would buck this trend and create a more authentic feel for the soldiers’ experience, shifting the focus from physical violence towards a psychological onslaught against the mind. The emphasis of war trauma moved focus and The ‘Nam was part of that shift.
In 1989, Marvel UK began publishing The Punisher, reprinting stories from the American version, in a similar fashion to The Transformers comic. Each issue came with a backup story and the first three issues contained the adaptation of Robocop. But from issue 4 onward, they introduced a black and white reprint of The ‘Nam. Written by Doug Murray and drawn by Michael Golden with Armando Gill on inks, The ‘Nam told the story of new recruit, Ed Marks, as he shipped out to Southeast Asia. The first story, Nam: First Patrol was printed over two issues of The Punisher and contained a crash course in the military action set mostly in the jungle. There is a lack of national politics in the narrative, but military politics is introduced fairly early on with Ed completely failing to realize that certain elements of the American Army were taking bribes for cushy postings.
The artwork captures the hectic day-to-day life of a newbie in the American army. The controlled line work keeps the action readable, even when the situation is out of control, and the cast are exaggerated enough to give them character but not too much that they become parodies or stereotypes.
Doug Murray uses the new recruit as a way to draw the reader into the story, allowing the audience to learn as the character learns. It also provides a certain leeway into explaining elements of army life within the narrative because Ed needs to learn as much as the reader does.
Using Ed Marks as a focal point of the narrative allows this gateway in for readers but does restrict a larger examination of the Vietnam conflict. Harriet E. Earle explained in A New Face for an Old Fight that early representations of war, and the Vietnam war in particular, had a focus that was “firmly on the military conflict and Vietnam as a theatre of war, without nuance of the country itself.” (pg 90 Studies in Comics Vol 9 No 1 2018) This is an argument that can be made in relation to the early issues of The ‘Nam, with the country and its people nothing more than setting for the story of Americans. As the series goes on, I believe that this did change and the wider narrative grew, but here, at the beginning, these “comics are snapshots of the immediate moment, of the military task at hand.” (Earle, pg 91)
The Unknown Soldier #1 Credit: DC Comics
Comic Number 129: The Unknown Soldier #1 (1988)
DC’s The Unknown Soldier was, at inception, a contrast to what comics like The ‘Nam were trying to do. Original appearing in Our Army at War in 1966, the lack of identity for the character allowed the possibility for him to become any man, and real life events could be mixed with fictional representations using the Soldier as a bridge between the two.
The decision to set the comic in the past, away from the Vietnam war, gave the creators more liberty to glorify the trauma of conflict and caricature not only the people but the very war itself. It wasn’t until 1988’s 12-part series by James Owsley and Phil Gascoine that mental trauma would become more important in the comic’s story line than the physical injury from violence.
DC’s 1988 The Unknown Soldier took the concept of the Unknown Soldier in a new direction and tackled head on the brutality and politics of war as an idea, not a setting. The first issue carries the tagline ‘It only looks like a war story’ over an illustration of the eponymous hero with his bandages unfurling as he runs towards the reader, firing his weapons. Behind him a German tank burns with its crew spread, lifeless, on the ground around it. The cover is misleading as only three pages of the story inside feature the Second World War and the enemy the soldier faces is mental deterioration not physical trauma.
This section of the comic relates back to the origins of the Unknown Soldier from Star Spangled War Stories #154 (1971) but takes a more cynical look at the creation of the character. Instead of fighting his way to freedom in the face of serious disfigurement, in this retelling the Soldier goes directly from injury to hospital. He is not a hero who excels at outstanding deeds, instead it is inferred that he is a failure. His one mission was a promise to his deceased mother to protect his brother, something which he fails to do. The idea that war should not be glorified becomes the backbone of this 12-issue run as the Soldier moves from war zone to war zone doing the dirty work of the government.
Pretty Deadly #6 – 10 Credit: Image Comics
Comic Number 130: Pretty Deadly (Vol 2 ) #9
Changing the theatre of war for this comic, as the third arc of Kelly Sue DeConnick and Emma Rios’ Pretty Deadly is set during the First World War. The arc, which started in issue 6, revolves around the Reapers, central characters across the series, traveling to the trenches of France to find and safeguard one young soldier, Cyrus, so that he might return home before his mother passes away.
Scenes throughout the arc superbly capture the psychological trauma and desolation of the war. In an early scene of issue 7, Sissy tells Foxy of her visions of Cyrus and that he has “Dug himself a grave as far away from home as he could get.” The speech leads into a dark image of a soldier, hunched over with shadowed hands reaching across him. A few pages later, the reader is forced to climb into the trenches with the soldiers as the scene is broken down into a number of panels, with the boxed rooms of the trench creating natural panels for the reader to traverse. Rios covers her pages with numerous panels without over complicating or confusing the images. Small snippets of rolling dice or rat whiskers lend as much to the narrative as the open desolate shots of no-man’s land. Rios captures the landscape and uses the visuals to enhance the metaphors laid out in the script.
But it is issue 9 that contains the most interesting representation of war, or rather the theatre of war as a backdrop for a narrative. Part of the narrative revolves around two reapers, Ginny and Big Alice, as they try to stop the war. They face the Reaper of War on the battlefield and their fight is symbolic of the larger conflict that is happening behind and around them. The big reveal, towards the end of the issue, is that the Reaper of War does not work alone, and the horse that War rides is the Reaper of Fear.
It is a powerful comic that that faces the concept of war head on. The focus is split between an individual and the larger scale theatre of war. DeConnick and Rios use the narrative to highlight each aspect and how the fear and relentlessness of the greater conflict can destroy the individual.
War Story J for Jenny Credit: Vertigo Comics
Comic Number 131: War Story: J for Jenny
I mentioned Garth Ennis earlier in the week and, if you know his work, it would come as no surprise that he’s written a number of war based stories. Not only did he write specific war based series, such as Battlefeild, but he also worked on a four issue reboot of Unknown Soldier, which I nearly picked up this week. One for the future.
Ennis is well known for writing tough, no-nonsense characters and excels at facing offensive material head on. You can expect violence, bad language, and characters with strong, conflicting opinions. J for Jenny is no different and, in fact, it forms the heart of the narrative.
The comic follows a crew of a British bomber on several missions during the Second World War. Tensions between the pilot and the co-pilot build as their differing views on the war put them at loggerheads. On the one hand you have Page, the pilot, who is gung-ho and, due to the traumatic experience of losing his own family, doesn’t seem to have any care for the consequences of their bombing raids. Do the mission, get home would be his mantra. If there are civilian casualties, so be it.
Contrasting this viewpoint is the co-pilot Thomas Stark who believes there has to be a better way to destroy the enemy without civilian casualties. At one point, he talks about using his inheritance to fund a charity to help those affected by the war.
On the surface, it’s a good versus evil story, but as the narrative unfolds, Ennis gives us the personal views of each crew member of the bomber and in doing so reveals a whole lot of gray. Each character is struggling to come to terms with the war and their role in it. They each want or expect something different from their life and even the two central characters are shown to be more complex than simply being right or wrong. J for Jenny is an examination of the mentality of war disguised as a Boys Own adventure story.
The artwork by David Lloyd does a lot of the heavy lifting at depicting the atrocities inflicted on and by the crew of the bomber. Their arguments and internal thoughts are posted to a backdrop of murky skies, chaotic fights, and flashes of destruction. Lloyd’s work has the fog of war seeping onto every page and his coloring reinforces Ennis’ main theme: the grayness between right and wrong.
J for Jenny is a thought provoking treatise of a war story which only occasionally becomes ham fisted with the points it wishes to make.
The Last American #1 Credit: Epic Comics
Comic Number 132: The Last American #1
In December 1990, the first issue of The Last American was released by Epic Comics. The story was bleak, hopeless, and distressing on a number of levels. However, the script by Alan Grant and John Wagner was beautifully illustrated by Michael McMahon who was beginning to perfect his own, unique style of drawing.
The comic tells the story of Ulysses S Pilgrim, the last American of the title, as he wakes 20 years after a nuclear war to emerge into a landscape of destruction and desolation. He has three robotic sidekicks and a slowly dissolving grip on reality. In essence, The Last American examines the effects of loneliness and hopelessness on the human mind — a mind raised on the American Dream.
McMahon’s artwork is the star of this comic. His cubist style with thick black lines and harsh shadows creates a world that is often abstract and divorced from reality. Just like the central character trying to come to terms with his surroundings, it is difficult to get a firm footing in McMahon’s visuals. Panel transitions are erratic, jumping from the characters to the destruction around them to quick memory flashes. The amount of panels dominated by skulls constantly reinforces the concept of death that inhabits every element of the comic. In the Solrad review of The Last American, Tom Shapira points out that the true horror of the comic is “not just death of the self, or even death of the many, but the sense of utter annihilation, the notion that nothing we do will have any meaning in the end.”
And this is a universal fear: the fear of being forgotten, of being meaningless. A lot of war narratives have this theme running through them, often hidden underneath the violence and the action. The gung-ho characters and cartoonish villains are all spurred on by the idea that to become a war hero will grant them some ever lasting life. A purpose to be remembered for. The Last American challenges that idea, showing the reader that random pop cultural items are all that remains for whoever survives.
That and the ants, apparently.
Transformer #200, 201. 205 Credit: Marvel UK
Comic Number 133: Transformers #199 – 205 (the Time Wars story line)
I wanted an easy week of reading this week, but somehow managed to surround myself with war comics and trauma. So to finish off, I’ve finally reached the 200th issue of Transformers (UK edition) that brings to an end (sort of) Simon Furman’s “future era” storyline that began way back in issue 78. The story is, for the most part, all-out action as Autobot fights Decepticon, Autobot fights Future Autobot, Decepticon and Autobot fight other Decepticons, and Future and present Autobots team with present and future Decepticons to fight Galvatron.
Furman includes a number of elements that have featured across the entire saga, including the limbo world where the displaced Transformers end up when time travel is involved. He collects all of the dangling threads and ties them off, one by one, to bring everything to a satisfying close. Plus, for issue 200, he brings back Ravage, one of the more exciting and interesting Transformers.
The artwork is provided by Robin Smith and Lee Sullivan whose styles define this era of the comic in the UK. It is fluid and dynamic, giving the giant robots an organic presence that contrasts the rigid, mechanical look of the American comic. As a result, the characters are more empathetic or even human-esq which gives the narrative an emotional punch I find lacking from some of the stories.
It is also a “save the universe” style story full of sacrifice and heroics and devastating loss. The risks are high because there is all to play for. In retrospect, Time Wars has more in common with the early propaganda style war stories, focusing on the good versus evil and the heroics of the characters rather than the actual theatre of war. Within this story, four planets are under threat of extinction and yet that devastation barely features.
But, for a story line 122 issues in the making, it is everything the reader would want. Carnage and resolution.
MILES MORALES: SPIDER-MAN #6 hits your local comic book store on May 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: “CARNAGE REIGNS” – PART 2!
No matter what MILES MORALES throws at CLETUS KASADY, the Extrembiote-powered monstrosity just keeps coming. And Cletus is only getting stronger. But how? Spider-Man needs help. A distraction, a second to breathe. Anything, or anyone, to give him a chance – any chance – at slowing Cletus down. But Miles can’t rest. Help isn’t coming. He’s the only thing standing between New York City and maximum carnage…and if the heroes aren’t answering Miles’ calls…who’s left on Spidey’s speed dial?
The issue is by writer Cody Ziglar and artist Federico Vicentini, with colors by Bryan Valenza, and letters by Cory Petit. The main cover is by Dike Ruan and Alejandro Sánchez.
Check out the MILES MORALES: SPIDER-MAN #6 preview below:
Are you reading MILES MORALES: SPIDER-MAN? Sound off in the comments!
It’s new comic book day, and Amazing Spider-Man #25 hits your local comic book shop from Marvel Comics. Writer Zeb Wells tells an emotional tale that rocks Peter Parker’s world and will resonate with fans.
Kaare Andrews and John Romita Jr. bring spectacular artwork to the table to elevate the drama and action. Andrews’ style has a great 90s flare that takes me back to my youth.
Marcio Menyz’s colors are bright and vibrant went needed and then take a dark twist when Peter’s life falls apart. This issue involves a ton of action, and Joe Caramagana’s letter work delivers.
Amazing Spider-Man #25 is a tough read but a great read. Check out my video for the full review.