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Review: It’s Alive’s PINK LEMONADE Mashes Kirby & Knievel

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It takes a special kind of talent to be retro without being repetitive. Too often comics that harken back to the Silver Age just end up copying them, and to anyone familiar with that time period, fall flat. That’s not the case for Pink Lemonade, a new series from indie publisher It’s Alive that’s both as original as it is reminiscent of 60s comics. That’s an impressive feat in itself, but especially when you consider that auteur Nick Cagnetti serves as its letterer, author, colorist, and artist. So, should you pick up Pink Lemonade when it hits comic stores next month? Read on to find out.

PINK LEMONADE # 1 COVER
PINK LEMONADE # 1 COVER – Image via Nick Cagnetti, It’s Alive Comics

Imagine if Evel Knievel was born into a Jack Kirby-designed universe, and you essentially have Pink Lemonade. She’s a high-flying, death-defying adventurer with a motorcycle best friend and a bad case of amnesia. When we meet her, Pink Lemonade is trying to rediscover a purpose in life, but all she has to guide her is a bright pink bike, a stunt suit, and strange dreams of battling otherworldly entities.

Fortunately for her, Pink Lemonade meets two kind strangers in Pammy and Linda, who invite her to their home for dinner. Pammy’s a little girl who idolizes the mysterious rider, and Linda is her comic-drawing mother. The two bring focus into Pink Lemonade’s world, and their influence sets Pink Lemonade on a path to do as much good as she can with her bike and her skills, memories or no. However, Pink Lemonade is soon to learn that the otherworldly entities she sees in her dreams are bleeding into real life, and if she’s going to find out more about who she is, she’ll have to confront some very strange, and possibly deadly, challenges.

Cagnetti’s introduction to the world of Pink Lemonade is chock-full of mystery and surrealism, and he does a great job establishing a very large, mystic universe. At the same time, having Pink Lemonade interact with Pammy and Linda grounds the human element of the story. Pink Lemonade is both the audience’s introduction to the world and the person at its center, kind of a Mulder and Scully at once. That’s a cool thing to see, ensuring the reader will invest in this story.

PINK LEMONADE #1, PAGE 7
PINK LEMONADE #1, PAGE 7 – Image via Nick Cagnetti, It’s Alive Comics

All that said, the absolute strongest piece of Pink Lemonade is the artwork. As we mentioned earlier, this is Silver Age comics fun at its best. Fans will notice influences like Jack Kirby, Adam Strange, and Amazing Fantasy, but at no point is there any copying of what’s come before. Nick Cagnetti knows the instruments of the Silver Age but doesn’t repeat any of the tunes.

Cagnetti does with 70s motorcycle aesthetics what Mignola does with occult artwork: he matches familiar icons with a distinct style. The result makes the reader feel like they’ve been transported to the world of an action-figure ad. In fact, Cagnetti actually throws in some fictional adds of his own, which feature into the story and give the reader the sense of going through an old comic issue. It’s sure to please readers who prefer that type of book, but also anyone who likes to see the style imitated. Fans of Mike Allred’s Silver Surfer or Batman ’66 could do worse than to add Pink Lemonade to their pull lists.

PINK LEMONADE #1, PAGE 3
PINK LEMONADE #1, PAGE 3 – Image via Nick Cagnetti, It’s Alive Comics

If there’s one thing that Pink Lemonade could improve upon, it’s the dialogue. Occasionally characters will overexplain something that’s going on, or say something that feels unnatural to their situations. This can be distracting, especially since the art already speaks for itself so well. Cagnetti is great at drawing expressions; we don’t need Pink Lemonade to say how she feels in a thought dialogue box. To be fair, this is a Silver Age pastiche after all, and anyone who’s read Reed Richards introduce himself a thousand times knows those comics could be talky.

If you’re a fan of the Silver Age or Silver Age-style art, this comic is definitely for you. But there’s another type of comic reader that should check this out, and that’s anyone who’s forgotten how fun comics can be. If you’re bogged down by the gritty, dark tone that some comic book movies have taken, pick up Pink Lemonade. It’s a positive, fun book, but it doesn’t lose any resonance for it. It’s that kind of story that gave us our favorite Big Two comics today, and it’s always nice to be reminded of their origins. You can pick up Pink Lemonade at your local comic book store on October 16th.

PINK LEMONADE #1, PAGE 6
PINK LEMONADE #1, PAGE 6 – Image via Nick Cagnetti, It’s Alive Comics

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A Dark King Rises In ONCE & FUTURE #2

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ONCE & FUTURE #2 is out this Wednesday from Boom! Studios. The dark tale of a warped legacy continues, twisting the legend into something wholly new and deeply insidious.

An ominous cover for Once & Future #2.

***SPOILER WARNING***

Once & Future is Boom! Studios’ take on the legend of King Arthur, because apparently it is the year for King Arthur retellings. That being said, this series has one of the more unique takes on the legend than shown in recent times.

It is said that during Britain’s darkest times, King Arthur will return. But the legend never clarified is King Arthur comes back before or after the darkest times begins. Once & Future explores the possibility that the king of legend is perhaps the cause, rather than the savior.

It’s no surprise that Kieron Gillen has managed to come up with such an unusual take on the oft-retold tale. After all, this is the mind that brought us the spectacular Wicked + the Divine.

Nothing like having your grandmother holding you at gunpoint.

Once & Future #2 continues where the first issue left off; with Duncan being held at gunpoint by his grandmother. It’s quite the start to an issue, is it not? Well, the issue only goes up from there, though perhaps Duncan wouldn’t agree with that assessment.

Duncan and his grandmother are an exciting choice for protagonists in a series, yet they’re fascinating. And while we don’t know much about the forces that oppose them, it’s already becoming clear that there’s a lot that dear grandmother is holding back.

This issue does take some time to sit back and explain a few points, but don’t worry. It doesn’t spend the whole time focused on dialogue. In fact, a large chunk of the issue is spent showing us dark scenes while it pushes the plot forward.

Everything is out of control.

The artwork for this issue is just as striking as the tale being told. The lines are bold and oddly foreboding, while the colors are rich and vibrant. Even the scenes full of dialogue have something interesting happening somewhere on each page.

Dan Mora is the artist that provided the linework for this issue, and there are a lot of positive things to be said about his work. The way he portrayed multiple figures of legend, for one thing. And the overall eerie tone he was able to convey into the work itself. There are some truly bone-chilling moments towards the end of this issue.

Meanwhile, Tamra Bonvillain provided the colors, a fact that is clear right away. Her distinctive coloring brought the artwork to impressive heights, adding depth and elegance. Her mastery of colors showcased well here, but especially in a few panels in particular (she does have a way with ancient structures).

Finally, Ed Dukeshire was the letterer for this issue. And he brought both pieces – the writing and the artwork – together into one cohesive tale. He balanced the amount of words on the page perfectly, and his delicate touch shines throughout some of the more intense moments.

And so it begins.

Once & Future #2 is as dark as the first issue, slowly unveiling the truth behind the legend. The bone-chilling moments will linger with the readers, while not being quite enough to overwhelm our curiosity. There is more to this story, and we can’t wait to see how it pans out.

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Review: BLACK HAMMER: AGE OF DOOM #12-The End of an Epic

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With Anti-God threatening existence once again, Abraham Slam, Golden Gail, and company are forced to make a difficult choice in Black Hammer: Age of Doom #12, out this week from Dark Horse.

Black Hammer has never been your typical super-hero comic. This is not a story about a team of heroes fighting their rogue galleries in new and exciting ways. This is what happens after. It explores the humanity and emotion of a diverse group of people that never really shared much in common except super-powers and the desire to help people. The team is dealing with what to do to defeat Anti-God, but that is not what this story is really about. This is about a makeshift family coming together and finding serenity for themselves in a way that also saves the world.

Black Hammer is a Jeff Lemire creation with artist Dean Ormston. Dave Stewart handles the colors, and Todd Klein takes care of the letters. Stewart stays very busy in the industry, and it is easy to see why. His diverse skill set seems to fit just about any art style and always brings out the very best in every artist he works with. Going from the extremely vivid colors of Silver Surfer: Black to a more realistic palette for this story; Stewart is a executive-level talent.

While there was not much action that would’ve given Klein plenty of work; his lettering always feels perfect. It has an old pulpy science fiction feel that merges right into the storytelling.

WARNING: SPOILERS WILL FOLLOW

Black Hammer: Age of Doom #12 starts right in the thick of it. There is no time to waste and not a single lull in the narrative. Time is not on the side of our heroes as Anti-God’s looming presence is felt. Abraham Slam and company returning to this reality has tipped the scales again, so Anti-God is on the way to even it out.

The team has to come together at Madame Dragonfly’s disguised cabin of horrors. Dragonfly wiped their memories upon coming back and have been reminded (rather violently) by Black Hammer’s daughter Lucy. Dragonfly remembers everything. She was still attempting to get her own “fresh start,” but her new life was really just an illusion created inside her magical cabin.

Anti-God will manifest and destroy everything Dragonfly has done, and without a horde of extra heroes, they cannot defeat him in combat. Colonel Weird suggests there is another way; going back to the farm. Last time the group were sent there by an elaborate spell cast by Dragonfly, and although it worked, they were unaware that it was magic and treated it like a prison. They had not yet confronted the love they have for each other and what it means to be a family.

You live, and you learn, and that is precisely what Dragonfly used to find serenity at the latest version of the farm. This time they are going willingly and without their memory, but they also get to be a real family together. Abraham Slam is as happy as can be taking care of his new family. What else really matters?

Black Hammer: Age of Doom #12 is a fantastic and emotional ending to the main story in an extensive universe. I cannot wait to dive deeper into the Black Hammer universe with Lemire and company. I also don’t believe we have seen the last of Abraham Slam, Golden Gail, Madame Dragonfly, and the rest of the crew.

What did you think of Black Hammer? Do you hope there’s more from Abraham Slam and company? Let us know in the comments.

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FIREFLY #9 Shows How The Past Is Never Far Behind

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FIREFLY #9 by Boom! Studios is out this Wednesday, and it’s a poignant reminder that one can never truly escape from their pasts. Least of all our wayward crew or their captain.

This image is a perfect example of how Wash is so different from his wife.

***SPOILER WARNING***

The Firefly series has picked up the beloved character that Joss Whedon left behind, and they’ve done a decent job of fitting new plots into a very limited time period. All the events that follow occur sometime between the events of the episodes.

Firefly #9 revolves almost entirely around Mal and Zoe – and their shared history. Their pasts and their losses haunt the Browncoats. And this issue is bent on dragging all of that up to the surface again.

To be fair, we had a feeling it was coming, what with Zoe running off with a bunch of old Browncoat allies. But it’s unlikely that any fans were able to anticipate what happened within these pages.

Looks who’s napping while the fight is about to happen.

Greg Pak has continued blending the past and the present for this dynamic series, and we’re grateful he’s stayed on the project. It’s been enlightening, seeing Mal and Zoe’s past in this new light. He seems to be particularly interested in talking about the Browncoats and their old war – and fans are unlikely to complain about seeing more of their long lost allies.

Firefly #9 has upped the ante for this plot – now it isn’t just that the crew is split or, or even a battle of one small crew trying to survive. It has become something much bigger. And so much darker. In a way, things are finally coming full circle. It’s just a shame that we never got to see something like this in the TV series.

A striking cover showing off the endearing Book.

The mood of this issue was firmly set thanks to the artwork carrying the story. Dan McDaid provided the linework, giving us dramatic expressions and scenery to behold. Meanwhile, Marcelo Costa’s coloring was atmospheric and intense.

Together they gave us a dramatic series of pages, jumping from one focal point to the next. Some of the pages or panels in this issue were remarkable, while others had a powerful emotional impact – which was likely the intention.

Jim Campbell was the letterer for this issue, and he handled the significant amount of dialogue with class. His lettering was placed in such a way as to enhance rather than obscure or subtract.

The Tams seem to be having trouble of their own, on this variant cover.

Firefly #9 was an intense read, bringing things full circle in a way fans likely never dared hope or expect for. At least, not after the series had been canceled. Now readers will have to anxiously wait to see how Mal and his crew deal with the next turn of events.

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What A Dangerous World In WONDER WOMAN COME BACK TO ME #3

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WONDER WOMAN COME BACK TO ME #3, out this week from DC Comics continues the strange tale of Diana and her allies being trapped in a land of the lost. In this world, everything is a danger, and Wonder Woman is barely keeping up with it.

Look who has appeared on the latest cover of Wonder Woman Come Back to Me.

***SPOILER WARNING***

Like the rest of this series, Wonder Woman Come Back to Me #3 has already been published once before, in Justice League Giants. Wonder Woman’s plot is being republished into one concise set. It’s perfect for collectors and readers who missed the first run.

Wonder Woman on the run to save her love.

The third issue in the series continues the tale of this strange place that Diana and her friends and loved ones are trapped in. The world may seem full of life, with lush vegetation all around. But it is equally dangerous and deadly. A fact they’re all about to learn.

This issue is split into two segments (due to the way it was previously published), but the two fit together quite nicely. There’s only a slight break in the storytelling when the second half picks up, and that was clearly done with intention.

They have no idea what is about to happen…

Amanda Conner and Jimmy Palmiotti are the authors for this issue, and they are not afraid to throw challenges at Wonder Woman. This is not a safe world by any means, and the additional challenges they’ve put on Diana (her abilities being diminished) only increase the threat level.

Seeing Diana have to deal with the situation without her powers has admittedly been quite fascinating. It’s a rare day when she comes across something she can punch her way through, or fly away from. In that sense, this whole plot has been fairly refreshing.

It’s also getting more and more complicated as time goes on. The secondary characters introduced all have their own plots, and based on how this issue concluded; they’ll be starting to take over a little bit more in the next issue.

Admittedly the plot does get a little strange at times; but given the setting, and how many different subplots are running at the same time, this actually makes quite a bit of sense. And the secondary characters are peculiar themselves.

Needless to say, things aren’t going so well for the whole crew…

The artwork behind Wonder Woman Come Back to Me #3 was perfect for the plot. The jungle was full of vibrant colors and vegetation. Meanwhile, all of the strange critters are both familiar and eccentric at the same time – the perfect mix.

Four artists were brought on for this project; Tom Derenick for pencils, Trevor Scott for inks, Alex Sinclair for the coloring, and Travis Lanham for lettering. The sense of movement and shading in this issue were some of the best parts, though there were plenty of other elements to enjoy as well.

There were a couple of fight scenes that highlighted the issue artisticly with the facial expressions and backdrops a close seconds.

Wonder Woman to the rescue!

Wonder Woman Come Back to Me #3 was the perfect follow-up to the first two issues, while also building onto the already busy plot. There’s no telling how Diana and her group will get out of this mess, especially given the fact that there’s more than one development at hand.

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HOUSE OF X #5 – Get Ready For Your Mind To Be Blown

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This week Marvel’s mutant mania continues with HOUSE OF X #5. Jonathan Hickman’s brain keeps spilling brilliance right into our hearts and minds, this chapter is particularly creative.

HOUSE OF X 5 CVR
SURVIVAL OF THE SWAMPIEST

***SPOILERS LIE AHEAD***

 

At some point you would figure the excitement would settle a little bit. You would think that all the changes our beloved X-Men have been going through in the beginning of this new era would lose their luster to some degree. That is not the case at all.

The way we left things in the last issue raised a lot of questions. No matter how close your theory was to the events unfolding in this issue, there’s no way you could have imagined it being this extraordinary.

House Of X #5 is absolutely loaded with creative re-imagining and re-purposing of characters, abilities, and philosophy. Everything we’ve seen so far in these two series has been on another level of creativity rarely found throughout the X-Men’s storied history.

Even still, this issue is a mind blowing experience.

Polaris and Magneto’s discussion about mutant and human society is a brilliant evolution of mutant philosophy that perfectly encapsulates their current place in the 616 universe. Each and every member of “The Five” gain a new purpose as a huge pillar in the new mutant society.

GOLDBALLS FTW

Hickman’s re-imagining of Goldballs made me audibly gasp when it was revealed that he’s been throwing biological eggs at people all these years. The process of turning those gold-eggs into mutant shells for Xavier to populate with the consciousness of fallen X-Men is absurdly cool. Even Cerebro gets a new purpose in copying mutant consciousnesses.

Watching this whole process unfold will give readers chills by how perfectly it’s executed and illustrated alone. Comic book characters are resurrected constantly, but this something completely different and special.

The Krakoan politics and place among the united nations is a dream many X-Men creators over the years have flirted with, but Hickman has been able to flesh out and actualize. There’s no poking holes in any of Hickman’s bold ideas and detailed execution.

House Of X #5’s closing scene is another awe-inspiring shocker. Apocalypse, Mr. Sinister, and a cavalcade of X-Men villains arrive in Krakoa and pledge their allegiance. Apocalypse submitting to Xavier and confessing how proud he is for realizing his own vision for mutantdom to dominate the world is unreal. This is easily the most interesting take on Apocalypse in a very long time.

RESURRECTIONS HAVE NEVER BEEN THIS COOL

Hickman’s brilliant vision would be nothing without a visual compliment that readers can comprehend. Not only does Pepe Larraz exceed expectations, but this may be the best work of his career. The amount of creativity and beauty flowing through each and every one of these pages is inspiring.

Marte Gracia also dazzles with probably the best work in his career to date. These pages warrant multiple investigations into every panel. Gracia gives the atmosphere of this book a dreamlike shine that elevates Larraz’s art to another level.

Every page of House Of X #5 is iconic and will stick with readers long after they’ve completed the issue. The art makes you want to stay here forever when you’re in the thick of it. These images immediately burn themselves into your brain and will be pillars in X-Men art history forever.

House Of X #5 is astounding. It’s breathtaking, shocking, and oozing with such creativity that it’s inspirational. There’s nothing that can compete with Hickman’s X-Men vision right now, it’s a masterpiece.

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GUARDIANS OF THE GALAXY #9 – The Universal Chuch Of Action

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This week Marvel unleashes GUARDIANS OF THE GALAXY #9 upon their faithful cosmic followers. Donny Cates delivers another heavy metal soaked script that artist Cory Smith packages in a fast-paced and action-packed issue.

 

Guardians of the Galaxy #9
WHERE THE STAR JAMMERS AT THOUGH?

***SPOILERS LIE AHEAD***

 

The Universal Church Of Truth has Peter Quill held prisoner, with Pete’s own father at the forefront of their dastardly agenda. Rocket is on death’s door (and in a Gundam mech) as he and the other Guardians seek out an adolescent Magus to help defeat the UCOT.

Donny Cates’ brand of comic book writing and aesthetic is very distinct–and very metal/punk. It wasn’t all there at the beginning of this series but now nine issues in, we’re getting more of the Cates flavor and style that we’ve grown to love in his other work.

Maybe what kept this glorious team from feeling fully formed was that Cates hadn’t figured his Star-Lord out yet. Now with the team separated and Quill developing on his own journey, we may get the fully cooked chemistry we expected from issue one.

Guardians of the Galaxy #9

Guardians Of The Galaxy #9 is a very quick read thanks to it’s pacing and nearly nonstop action. It’s a full and satisfying serving of cosmic adventure and tantalizing imagery. The opening scene of what Quill sees as the Church’s vision reads like the lyrics of a doom metal song brought to life–which is Donny Cates through and through.

Artist Cory Smith takes center stage with this issue being more about “showing” rather than “telling.” He brings the weight and edge needed to make this script reach it’s potential. There’s creepy visuals, explosive action, and iconic full-pages–plus Rocket in a Gundam mech is beyond cool.

Inker Victor Olazaba gives Smith’s pencils a more threatening and dreadful edge. Colorist David Curiel gives panels a pulse with perfectly executed splashes and explosions of color. Letterer Cory Petit keeps the narrative flowing with immediate and imperative text.

Guardians of the Galaxy #9
CUE THE ELECTRIC WIZARD MUSIC

What we thought was an army of Adam Warlocks the Universal Church Of Truth was harvesting turned out to be that of Drax The Destroyer. The final page reveal is a memorable and effective one. Drax looks fantastic in his retro purple costume.

Peter is clearly in over his head behind enemy lines and the rest of the team is going to extreme lengths to try and stand a fighting chance. This is all with Rocket Raccoon’s life being on it’s last leg. Donny Cates seems to have his feet under him now as the book progresses to some highly entertaining places.

Whether you’re coming to this issue in allegiance to the characters or to soak up all of Donny Cates’ current wave of comics, you’ll be satisfied with Guardians Of The Galaxy #9.

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Review: Depression’s Effects On Relationships Explored In MIDDLEWEST #11

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MIDDLEWEST’s angsty protagonist Abel is on a mission to find a way to deal with the uncontrollable power inside of him. Led into The Winter Woods by the mysterious god Nokoyuna last issue, our hero came face to face with his demons—both internal and external. He met his grandfather, but soon learned the seemingly kind-hearted man was in fact a monster, showing even more destructive tendencies than Abel’s father. Now our hero finds himself back in Middlewest, searching for a way to cope with this additional trauma, all the while believing any hope of curing his power is lost.

Fans of this series can continue the epic adventure when MIDDLEWEST #11 hits stores on Wednesday, September 18th.

Story

Abel’s companion Fox, having been forced to wait outside of the Woods, is enthusiastic upon the return of his best friend. Though usually playing the role of sarcastic commentary, Fox shows his “humanity” in his loving care for the distraught Abel, even when the boy ignores him completely as they enter the shady Piper City. In this way, writer Skottie Young captures real emotions in a fantastical relationship between a boy and a talking fox, a clear case of absolute writing brilliance.

Fox waits for Abel outside of The Winter Woods

However, one can only take so much neglect in any relationship before emotions explode, leading to a fight between the duo. Abel storms off alone into the city and is abducted by a human trafficker almost immediately, adding to the constant snowballing of his problems. The trafficker loads Abel up into a van full of other young boys and sets off for another location. This threat, like the emotion of every character in this book, is very real, preventing any form of fantasy escapism. But hope is not lost; Fox tracks the truck to the human trafficking base and begins devising a plan to save his friend.

Artwork

Fox waits for Abel outside of The Winter WoodsJorge Corona’s penciling and inking, Jean-Francois Beaulieu’s coloring, and Nate Piekos’ lettering work continue to give this series a flavor unlike any other. The seamlessness with which the forests near the Woods shift to the the industrialized landscape of Piper City keeps readers engaged the whole story. And the book’s lettering uses bold words at just the right moments to capture the raging emotions of Abel, Fox, and the other characters, making their interactions all the more relatable.

Comic Cover

Corona’s cover art features Abel and Fox, standing back-to-back, against a backdrop of industrial machinery to highlight their entanglement with Piper City. Each character appears to be glaring at the other from the corner of their eyes, emphasizing an anger, however reluctant, toward their companion.

Conclusion

MIDDLEWEST #11 is a dramatic story highlighting the painful realities in one’s relationships—with family, friendships, and even with oneself. We’re anxious to see how Abel and Fox navigate the dangers of Piper City.

What did you think of Piper City? Let us know in the comments below!

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Review: AQUAMAN #52 And Aqualad’s Loss Of Innocence

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Readers last saw Arthur Curry facing down a monstrous oceanic creature on Amnesty Island, the proposed new home for his Old God friends. The hero desperately attempted to soothe the beast with his “call” ability to no avail, leaving the group vulnerable. While its motives for attacking are unknown, one thing is clear: the group needs to think of something quickly lest anyone gets hurt.

On Wednesday, September 18th, readers will find out just what the heroes had in mind.

the monster attacks the Old Gods on Amnesty Island

Story

It was bad enough that the Old Gods had to face the discriminatory glances of the Amnesty Bay townsfolk when they first arrived (which was why they sought the Island’s refuge in the first place), but issue #52 brings them face-to-face with this deadly sea creature. Fortunately, they have Arthur and Jackson Hyde, a.k.a. Aqualad, on their side, both of whom jump to their defense immediately.

Aqualad attempting to save Ralph from the monster

Jackson, with the Old God Callie’s help, charges at the beast with an optimism that’s sure to inspire readers. They can see that the hero trusts his abilities and believes he’ll be able to save Ralph, an innocent bystander in immediate danger. But despite the duo’s combined abilities (and Jackson’s banter about RPG monsters), the creature overwhelms them and kills Ralph on the spot.

Kelly Sue DeConnick beautifully portrays Jackson’s idealism and subsequent disheartening in this moment. We see the cold-hearted face of reality confront the young hero as he watches an innocent person die.

While this preoccupies the heroes, Black Manta, alongside a robot containing his deceased father’s cloned memories, scours the ocean floor in search of something to test out his “father’s” newfound abilities. Will they find Atlantis and harm Mera and the Atlanteans, or will these villains find our weakened heroes in Amnesty Bay?

Artwork

Robson Rocha’s penciling, Daniel Henriques’ inking, Sunny Gho’s coloring, and Clayton Cowles’ lettering work together in beautiful harmony throughout AQUAMAN #52. The intricate details of the fight with the ocean monster are placed front and center, including the torrential waves and the wounds of both the creature and our heroes. The colors of those defending the Island are juxtaposed with those of the monster, creating a conglomeration of dark and light colors to illustrate the chaos. But the icing on the cake is the shift in lettering throughout each scene: readers will see alternating dialogue boxes that tell of one of the Island’s ancient legends, fostering a momentary suspension of disbelief in the supernatural forces that may be at work.

Comic Covers

Main Cover

Rocha, Jason Paz, and Alex Sinclair’s main cover for the book features Arthur in the midst of an attack on the mechanized Black Manta, screaming that he’s “had enough.” This image embodies the pain the protagonist has felt throughout his recent “death,” amnesia, and rebirth processes, showing that every hero has their breaking point.

Variant Cover

Josh Middleton’s variant cover gives us an up close look at Arthur as he maneuvers his way through a school of jellyfish. This trend in Middleton’s variant covers, depicting the hero in a calm, undersea setting, shows us a radically different side of the man who’s forced to fight against forces of chaos.

Conclusion

AQUAMAN #52 is one of the most action-packed books in this current run. It’s also a coming-of-age story for Jackson as he learns an indispensable lesson many heroes struggle with: the good guys don’t always win.

What did you think of Arthur and Jackson’s team-up in this issue? Let us know in the comments below!

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Meet The Next Guardians Of The Galaxy In BLACK PANTHER AND THE AGENTS OF WAKANDA #1

BLACK PANTHER AND THE AGENTS OF WAKANDA #1

In Marvel Comics’ Black Panther and the Agents of Wakanda #1 (on sale 9/18), writer Jim Zub introduces readers to a motley crew that has the potential to be the next Guardians of the Galaxy. T’Challa’s hand-picked operatives may not seem like the most organic team but this unit of these disparate personalities could flourish with Zub at the helm.

Black Panther and the Agents of Wakanda #1

Writer: Jim Zub

Artist: Lan Medina

Color artist: Marcio Menyz

Letter: VC’s Joe Sabino

Man-Wolf_Wakanda
John Jameson unleashes his inner beast in Black Panther and the Agents of Wakanda #1

When putting together the team’s roster, Zub combines elements of the Marvel Universe’s strangest sections. Most readers are familiar with Okoye, T’Challa’s bodyguard and the leader of the Dora Milaje. Likewise, Ka-Zar and Janet van Dyne, also known as the Wasp, are recognizable heroes. But you’d be forgiven if seeing the other members ― Gorilla-Man, the Man-Wolf (John Jameson III), Broo and particularly Fat Cobra ― sends you on a frantic Google search. These characters aren’t household names and that’s the way Zub likes it. As the writer of Champions, he turns similarly underutilized heroes and makes them crucial players in the story. You might not know a lot about the Agents of Wakanda right now but it’s only a matter of time before some of them become breakout stars. 

Zub doesn’t try to establish the Agents as Marvel’s next major team; instead, they’re framed as the J.V. Avengers. T’Challa, the founder of the unit, all but says so himself: “…Our duty as Agents of Wakanda [is to] gather intel for the Avengers but also to deal with immediate hazards the Avengers cannot contain.” This statement can be interpreted two ways; either the Agents are scouts who also handle emergencies the Avengers are too busy to deal with or T’Challa’s team is a group of operatives who are capable of saving the day when the Avengers aren’t available. Heck, the truth may lie somewhere in between. Establishing the Agents as a legitimate group will be one of Zub’s most pressing challenges but he’s on the right track after one issue.

As it currently stands, though, these are relatively obscure characters so, especially early on, Zub’s characterization of them will be vital to the series’ success. In the first issue, Zub focuses on Janet, John, Fat Cobra and Okoye. (The other members, plus Agent Roz Solomon and American Eagle, are smoothly excluded because they’re all on separate missions elsewhere.) It’s easy to see what role each of these main characters will fill on the team; Janet leads the team from within because she’s a seasoned veteran, John could be a liability because he can’t fully control his powers, Cobra likes to eat and fight and Okoye acts as the level-headed commander who gets down and dirty with her team as needed. Add T’Challa, the formidable King of Wakanda and Chairman of the Avengers,  to the mix and the team’s distinct dynamic becomes even clearer. These general ideas begin to individualize the members of the team and they will allow Zub to continue to flesh out these characters.

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Janet van Dyne leads a mission to stop the Scavengers from stealing technology.

By beginning the issue with an action scene, Zub and the art team add some lively energy to the story right away. The Scavengers, a standard group of armed goons, are on the Agents’ radar because they’re trying to steal lost S.H.I.E.L.D. technology. Artist Lan Medina and color artist Marcio Menzyz make the resulting high-speed car chase feel like it’s right out of a movie. Medina draws smoke coming from the tires and you can practically hear the roar of the car’s engine as the thieves attempt their escape. Medina and Menyz also make the impact of John’s Vibranium bullets look even more devastating; when he shoots one of the Scavengers, the bullet causes the crook’s armor to explode. A red background on impact and a similarly scarlet blast for the weapon makes the weapon’s impact feel palpable. Plus, by making the Man-Wolf look particularly monstrous with rage-filled eyes and a scary snarl, Medina and Menyz complement Zub’s script when Jameson loses control and almost kills a Scavenger. Using italics, bold font and a blood-red outline for the speech bubbles, Letterer VC’s Joe Sabino makes Jameson’s bestial dialogue frightening, too. Each member of the art team adds supplement the strength of the script, which shows that Zub, Medina, Menyz and Sabino are a cohesive unit.

While we can’t definitely say that Black Panther and the Agents of Wakanda will be successful, the first issue offers plenty of reasons for optimism. The eclectic group of heroes has the chance to stand out in a crowded Marvel Universe and, based on the reveal at the end of the issue, it’s fair to think Zub has ambitious plans for the series. 

What’d you think of Black Panther and the Agents of Wakanda #1? Where do you hope the series goes from here?

 

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