SCOUT COMICS Announces New Series LAST STOP Coming This Fall

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September 4, 2019

The evergrowing indie publisher Scout Comics has announced another exciting title, Last Stop. Written by Trey Walker, with art by Hoyt Silva (Drink Champs, AOC and the Freshman Force, Shock Anthology), and letters by Micah Myers, Last Stop has a fascinating set up: When he’s diagnosed with a life-threatening disease, the world’s last Super is ready to die in peace, until an old nemesis and a new threat emerge! But is there enough time? Sounds great right? Well here’s more information and some words from the creators!

Time is ticking for the world’s last superhero. Lincoln Adams (aka Unstoppable) must make peace with the changing world around him—can there truly be a place for him in a world without Supers? After learning he has a terminal disease, Lincoln sees an easy way out; however, the re-emergence of an old arch-nemesis and a new shadowy masked figure turn Lincoln’s plans of an easy passing on their head. Can Lincoln stop this new threat before the disease stops him?

Writer Trey Walker had this to say:

From releasing it originally as a webcomic to successfully funding a Kickstarter edition of the graphic novel, the reception to LAST STOP over the past year and a half has been heartfelt and amazing! The real cherry on top, however, is that we now get to team up with Scout to share our story about a hero confronting his own looming mortality.

Artist Hoty Silva added:

Scout Comics is really pushing the envelope with the titles they are putting out and I couldn’t be happier to have them publishing LAST STOP. Is there a better home for creators than one crafted to pursue innovation and taking a chance on ideas that are outside of the box? I don’t think so!

Scout Comics Publisher and CCO, James Pruett also had something to say:

I’m excited to welcome Hoyt and Trey to the team. I’ve known Hoyt for years and we here at Scout are all very excited to bring LAST STOP into the Scout Family!

Last Stop #1 is now available for preorder via your local comic shop (Diamond Preview code SEP191956).

Scout Comics was founded to discover, develop, and support content creators in addition to helping translate their projects to different platforms and mediums. The label has had several breakout hits recently, including Gutt Ghost, Long Lost, The Mall, Midnight Sky and Stabbity Bunny. To learn more about Scout Comics, please visit us on our Facebook Group: “The Official Scout HQ” or go to our website at www.ScoutComics.com.

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Review: SOMETHING IS KILLING THE CHILDREN #1 – Glorious Gore

By

Cody Walker

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best comic books of 2019 boom studios something is killing the children

Out this week from Boom! Studios, Something is Killing the Children, and it’s not just killing them, it is tearing them the @#$% apart.

James Tynion IV, known for his great work on Detective Comics and for being the chosen one to fill in for Scott Snyder in his stories, presents one hell of an opening chapter to his newest release. I have never read a horror title from Tynion, but I will be reading every single one from this day forward. Frightening someone and achieving terror in writing is admittedly a challenging task and done with ease here. Something is Killing the Children is suspenseful, surprising, shocking, terrifying, and drenched in blood.

I’m reading this on labor day with Tom Petty playing through my computer speakers, and I was so entrenched in the story, the music just became a sound barrier. A coworker was able to walk up behind me and make me jump out of my chair by only saying my name. When that happened, I knew I had found an enthralling horror title that people need to be reading.

Werther Dell’edera is an entirely new and unknown artist to me, but the work in this issue is incredible. Together with Miquel Muerto, this team provides an atmosphere of anxiety, distrust, and gloom. From the dark blues and purples of a TV lit sleepover to the bright yet shadowed interrogation room, the story exists in a haze. Avoiding bright colors is paramount to a horror story. The most vivid colors should always be reserved for the blood and gore, and Something is Killing the Children nails it.

AndWorld Design takes care of the lettering and brings a subtlety to the table that works exceptionally well. The lettering designs add an extra attitude to the noises they portray. It appears as if the letter produces the noise without needing to read the word it makes.

Something is Killing the Children began to garner attention when the cover art for the first issue was released. Any new title that gets names like Jae Lee and Jenny Frison to contribute variant covers, deserves at least a look, and SiKtC is a title that promises to deliver on the hype.

I want to keep this review short and sweet and without spoilers because this book is so great and deserves the privilege of unveiling details itself. If you are a horror fan, buy this book. If it’s sold out, reserve a 2nd or 3rd or 4th print. Tynion IV and Dell’edera have created a story destined for the big screen, and I can’t wait to see it in a theater.

What did you think of Something is Killing the Children? Let us know in the comments below.

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EVERYTHING #1: Why You’ll Never Look at a Mall the Same Way

By

Cat Wyatt

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EVERYTHING #1, coming out this Wednesday from Dark Horse Comics, is an amusing twist on consumerism and the dangers of mega malls.

Just what everybody needs; a disturbing mall owner in their lives.

***SPOILER***

Everything #1 is the start to an all-new series that’ll make readers question everything they thought they knew and loved about mega malls. Or perhaps not. Any employee stuck working in a mall will gladly tell you that it’s never as perfect as it seems.

This series is so retro in so many ways and eerie and disturbing in others. It makes for an oddly brilliant combination – one that we’ve seen work in a few other famous instances. Though there’s a good chance that none of the others were quite as vibrant as Everything is proving to be.

Everything #1 starts off on an alarming note. But on the bright side, it’s sure to catch the reader’s attention. And once caught, it holds onto it with both hands. Christopher Cantwell certainly knows how to write an introduction. From there, the series takes no time to introduce three completely different leading characters.

Lori is a unique soul. She’s depressive and a bit of a downer – the sort of person you tend to avoid at work when possible. Rick is from out of town, and he also has his issues. Including a potential phobia of insects that may or may not be real. And finally, Remo. He’s a teenager desperate for a job, and quite possibly a way out as well.

You’ll notice that this list isn’t including the woman who owns the mall. And that’s because we still don’t know where she stands. There’s a good chance that she’s not even human. And only time will reveal the truth of this whole situation.

The artwork for this series is exactly as bright as the cover hints at – there’s a lot of bold shapes and colors, with scenes that bounce back and forth between the mundane and incredibly intense. It’s a solid balance, though one clearly designed to disorient the readers.

I.N.J. Culbard is the artist behind the series. Their style is unique, and since they’re the only artist on the project, that gave it a certain sense of cohesion. Considering how intentionally disjointed other elements are, this was a good call.

Steve Wands provided the lettering for this issue, and the attention to detail shows with the font choices and placements. In many ways, the font made the issue have that retro feel they were looking for.

Everything #1 was a strong yet odd start to a new series. The creative team worked hard at grabbing the reader’s attention – while also leaving us in the dark as much as possible. It’s an interesting balance, one that leaves readers with more questions than answers. But that’s not a bad thing.

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How the Series is Wrapping Up in GIANT DAYS #54

By

Cat Wyatt

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GIANT DAYS #54 is out this Wednesday from Boom! Box is the second to last issue in the beloved series, and the nostalgia is real with this one.

This cover captures everything about the impending graduation.

***SPOILERS***

It’s hard to believe that Giant Days #54 is the second to last issue in the series. But it is the sad truth. The series is not intended to run past the 55^th issue – but at least fans are getting a chance to say goodbye, as all of the storylines are properly wrapped up.

Daisy and Esther’s graduation day is upon us, with Suzie stuck in school for a couple more years (thanks to her choice in degrees). That means the series must finish. The series wouldn’t be the same if our chaotic girls’ tales continued through their adulthood – though it would surely be entertaining.

One of the last of these will be seeing for the series…

John Allison wrote the second to the final issue in this delightful escape from reality. And he has done his best to give fans a genuine chance to say goodbye. While our leading ladies were the focus, some of the secondary characters we know and love made their appearances as well. Everyone from parents (and grandparents) to Ed and McGraw, it’s bittersweet but certainly better than not seeing everyone one last time.

Of course, this series wouldn’t be the same without a few extra moments of drama and interpersonal issues are thrown into the mix – nothing else goes perfectly for these girls. But they always make it work. Their quirks shined through in this issue, for this exact reason.

The conclusion of this issue was an interesting choice – there’s a slight jump in the future, which is unexpected. Many fans thought the series would be over upon the graduation. But it would seem that there’s one last story for us to see.

Esther is acting (and packing) just as expected.

The artwork in Giant Days #54 felt exactly as it should have. The iconic style stayed the same, while also showing us some minor character changes – all hints towards the future these three (and others) face.

There were a lot of characters to portray in this issue, and not much time to fit them all in. But they somehow managed to make it work. Even if not everybody had a whole lot of screen time, so to speak. That’s where the artwork had to work hard – showing us what couldn’t be spoken. In this element, in particular, the artwork stood out.

Max Sarin provided the lines for all of the artwork mentioned above, with Whitney Cogar providing the iconic color palette we all know and love. Jim Campbell provided the lettering for this issue, which was also extremely iconic to the series.

We’ve got to give Daisy the win on that debate.

It’s sad to think that the series has only one issue left now. It leaves us wondering, what will the next series be? Will there ever be anything that feels quite like Giant Days?

The series will be concluded in Giant Days: As Time Goes By #1. So make sure not to miss it!

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How Our Girls Can Recover From Anything in HARLEY QUINN & POISON IVY #1

By

Cat Wyatt

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HARLEY QUINN & POISON IVY #1 is the start of a new series from DC Comics, hitting the shelves this Wednesday. This miniseries will follow our dynamic duo as they create more chaos for themselves.

Yep. This looks about as chaotic as expected.

***SPOILERS***

Harley Quinn and Poison Ivy are back together for their own miniseries – one that’s set to last for six issues. These events directly follow what happened to Poison Ivy (and Harley) during Heroes in Crisis. So there will be spoilers for that event. Consider yourself warned (assuming you’ve been able to spend any time online lately and miss spoilers for that series).

Harley Quinn & Poison Ivy #1 brings us back to a fan favorite pair; only things aren’t quite the same. Ivy is changed, and she’s struggling to deal with those changes. And we all know that Harley would do anything for Ivy, but what happens when there’s nothing she can do to help?

The title for this first issue has perhaps the most appropriate name ever, ‘Pushing Daisies.’ We know that not all fans received some aspects of the whole Heroes in Crisis plot too well, so it is refreshing to see some fun being made of it.

A split page cover! Scroll down to see the other half.

Jody Houser took the reigns for this new plot, and she did a great job weaving multiple arcs and premises together. This issue had to go through a lot – covering the past (see above), touching upon the current DC event, and of course, giving us a little bit of our favorite couple.

That’s a lot to balance out, but this issue managed to do so. And it had some fun in the process – because our girls are nothing if not chaotically humorous. Though one could argue that this issue had a slightly darker tone than usual, given the circumstances, this is understandable.

This plot looks like it’s going to be touching upon some of the more fascinating sides of Ivy’s character. Parts that are frequently overlooked and ignored (or at least, not shown as often as her fans would like). For that reason alone, this series is going to be one worth watching.

Ivy’s redesign is looking good in the other half of this split cover.

The artwork in this issue was bright, despite the slightly darker tones. It had fun when it could, but also went all out in showing the organic and flora whenever possible. So it indeed was perfect for a plot revolving around Ivy and the woman she cares about more than anything.

Adriana Melo was the lead artist, with Mark Morales doing the inks. Together they created a striking template. Here bold lines met organic in a way that’ll make readers stop and appreciate their work.

Hi-Fi’s colors perfectly supported the lines – they tended towards bold when possible, and even the duller colors seem to have so much life and vibrancy to them. This fit both of our leading ladies very well. Finally, Gabrielle Downie provided the lines – and the little extra touches she threw in really brought it all together.

harley quinn poison ivy dc comics review — A quick rundown of what’s been happening to our girls.

Harley Quinn & Poison Ivy #1 is an exciting start to this miniseries, and there’s no doubt that the next five issues are going to be a hectic ride. That’s what this pair is best known for, after all. The somber elements were appreciated, as were the pure Harley moments that balanced them out. Now we just need to see where this plot is going to lead us. Any theories?

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AMAZING SPIDER-MAN: GOING BIG #1 – Welcome Back To The 90s

By

Brandon J. Griffin

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This week Marvel throws you into a web-filled time machine back to the 90s for a handful of Spidey stories. AMAZING SPIDER-MAN: GOING BIG #1 is a serving of the Good, the Bad, and the Ugly of 90s Spider-Man comics.

SPOILERS LIE AHEAD

If you’re a longtime Spider-Man reader, you may recognize the creative forces being sold to you with this special issue. If not, this should be a fun exercise in what your favorite web-slinger was like during the 90s.

First up we have veterans Gerry Conway and Mark Bagley on their very first collaboration. Both have many years with the character separately, it’s kind of crazy that this is the first time they’ve worked together.

“Field Of Fire” is by far the best story of the bunch in both plot and art. We’ve been seeing a lot of Mark Bagley’s Spider-Man work lately (Spider-Man: Life Story, Venom) and he’s still got it. This is probably some of his best work on a web-head book out of the past few years.

There’s a fluidity to the layouts that serves the story well and delivers us a Spider-Man that we’re all familiar with. Conway’s script is great, taking full advantage of the shorter format telling a self-contained story to completion. The “mystery” of who the sniper is could be solved by a coma patient in the first bit of dialogue–but it doesn’t make it any less fun.

Our second story is an ultra-short tale written by Ralph Macchio and Todd Nauck on art. Poor Ralph Macchio and his comic book writing aspirations, he’s been given a few short story opportunities for Marvel recently and none of them have struck a chord at all.

“Life Lessons” is a forgettable and boring three-page story that we’ve all read a thousand times before. Macchio seems to do fine as an editor, but his writing credits are lackluster at best. Maybe he doesn’t have anything to say with these characters or maybe he’s not given enough rope. Either way, this is the weakest of the bunch for AMAZING SPIDER-MAN: GOING BIG #1.

The third and final story is the big draw, longtime Spidey creator Erik Larsen returns to tell a quick story about Spider-Man and Nightshade (long forgotten Spidey villain)–also a bit with Pete and MJ’s attempt to see a movie.

NO NOT MAN-WOLF, THE OTHER WEREWOLF BASED SPIDEY VILLAIN WE ALL KNOW AND LOVE

Larsen’s art hasn’t changed much, Laura Martin’s coloring gives it a bit of new life. Mostly, this another forgettable exercise in nostalgia. It’s quite jarring sometimes when a book striving to look like the 90s is telling a modern day story. This would be a great example of that.

Spidey looks just like he did all those years ago, but Nightshade and her werewolf cronies look awful. Larsen’s Spider-Man dialogue attempts to immediately tap into the attitude of way back when but it doesn’t translate well. Rather than be our lovable cornball attempting humor at the worst possible time, Peter comes off as an annoying Deadpool-ripoff.

AMAZING SPIDER-MAN: GOING BIG #1 isn’t all bad, but it definitely goes downhill drastically after the first story by Conway and Bagley. This is a one-shot issue that leaves you with nothing in the end unless the only Spider-Man you’ve ever cared for was the 90s.

Especially considering this is a $4.99 book, you’re better off avoiding this one.

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Review: DOOMSDAY CLOCK #11 Sets Up the Finale in a Big Way

By

Jose "Jody" Cardona

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Doomsday comes closer with one last set up!

It’s been another long while since the last issue of Doomsday Clock where we left on a big reveal. The entire issue followed Doctor Manhattan’s journey to the DC Comics Earth. Using an actor as a tether, the blue god-like metahuman observed the timeline and experimented with it. This all came about when Manhattan saw Superman for the first time and sensed the world’s timeline was connected to him.

His first attempt to remove the Man of Steel ended up delaying Clark’s eventual arrival and his connection to the Justice Society. The second attempt messed with the Legion of Superheroes. The final push had Doctor Manhattan remove the past and future to create the New 52 timeline. After Wally returned in Rebirth #1, Manhattan realized that this was going to lead to the confrontation between him and Superman. Will this battle end the world or just the Blue Metahuman?

**Some Spoilers Below**

Story:

After Doctor Manhattan defeated the heroes on Marse, he comes to Earth to see it go to hell. From the gang war started by Mime and Marionette against the Joker to the Anti-Superman riots in Washington D.C., the world has become more like the Watchmen’s World more than ever. Ozymandias, correctly guessing this would happen, watches on from a bunker, explaining to Saturn Girl how this was all a part of a master plan to save both worlds.

Meanwhile, our trinity has been hard at work to stop doomsday from happening. Batman rushes to stop nuclear launches all over DC, asking Alfred to find the new Rorschach to help. Wonder Woman continues her fight against Black Adam’s forces at the United Nations, while the Amazons plan to go to the mainland to get her. Finally, while Superman plans to join Diana, Lex Luthor shows a certain time anomaly that has been appearing throughout the DC timeline. It turns out whenever Manhattan alters time; he leaves behind a copy of his photo, proof that he had done it.

It’s hard to admit it, but this is definitely the weakest of the issues. After coming off an entire issue where we get a ton of exposition on how Manhattan has edited the DC Timeline, and now a good chunk of this one is an exposition on how Lex knows. Other characters that started in the series have been completely tossed aside with dropped plot points. Mime and Marionette with the Comedian? Pointless. New Rorschach? Given up hope. Even Saturn Girl and Johnny Lightning have been pushed off to the side.

That being said, there are still plenty of positives in this book. The conflicts of the Trinity kept me on the edge of my seat. Diana’s battle against Black Adam’s forces while seeing Batman fighting to stop nukes from going off actually had me question how doomsday could be prevented. Even Lex Luthor’s story, despite it being Manhattan’s story from another angle, is incredibly interesting. To top it all off, we have the ultimate Cliffhanger to lead us into the final issue. This reviewer isn’t sure when that next one will come, but it definitely has the potential of being a powerful finale.

Art:

It isn’t clear if Gary Frank’s art is the cause of the delays, but it certainly forgives them. Every panel is a masterpiece, and with Brad Anderson’s colorwork, it brings the book to life. It’s hard to praise something you’ve enjoyed with every passing issue. The best part, however, has to be the little nods to past DC comics sprinkled in, including the Planet Krypton restaurant from Kingdom Come. If the story hasn’t captured the readers, the art of Doomsday Clock will.

Conclusion:

As we come to the penultimate issue of the series, it still continues to amaze this reviewer how captivating it is, despite delays. While there are definitely parts that feel rather pointless, a good portion of the issue will have readers on the edge of their seats. The art helps the issue with its incredible detail in line and colorwork, detailing the final battles to come. Add a nailbiting cliffhanger, and the finale promises to be an epic as the Doomsday Clock clicks to midnight.

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HOUSE OF X #4 – High-Octane Devastation

By

Brandon J. Griffin

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HOUSE OF X #4 drops this week from Marvel Comics. Jonathan Hickman and Pepe Larraz deliver a pulse-pounding issue that doles out multiple gut punches.

HOUSE OF X 4 CVR — GET READY FOR THE HURT

SPOILERS LIE AHEAD

If there was ever an issue that would bring to light why the reading order for both House Of X and Powers Of X, this would be it. Where this story takes us and where it leaves us by issue’s end makes everything fall into place.

The reading order for this two-series story is crucial, it’s trade collection NEEDS to be one book. These last two issues of House Of X are about this commando mission the X-Men are on to destroy a Mother Mold being rebooted in space.

All of our brave mutant heroes on this mission lose their lives in a successful but devastating effort to stop the Mother Mold. We are most likely in another one of Moira X’s lives when we thought we were all caught up. Unless they find a way to resurrect all the mainstays that were just killed, Moira will be starting anew in next week’s Powers Of X.

House Of X #4 is a masterful work in terms of pacing and motion. Readers may find themselves in a bit of a sweat as they see the drama unfold. This issue is packed to the brim with emotional action and substantial sacrifices on every other page.

Every one of these heroic moments where we lose a member of the team is devastating. Their final moments crafted and executed flawlessly–totally within each of their very own distinct characteristic ways as well. The final page shows a tearful Professor X claiming “no more” and it’s an extremely impactful image.

Hickman’s way of building a world in sometimes excruciating detail may be painful for some readers, but these last two issues were all about payoff for those along for the ride. I can’t see this issue making any sort of sense without a full grasp on the rabbit hole that Hickman is leading us down.

That being said, this issue is extremely satisfying for anyone who has taken the time to absorb each little detail and chart that’s been shared so far.

Artist Pepe Larraz dazzles with these pages, making every single action sequence and facial expression matter. Every important action carries weight and feels immediate, demanding your attention and leading into whichever emotion he wants you to feel in that moment.

The panel where Cyclops meets his untimely demise stands out as highly creative and memorable.

Marte Gracia once again fills your eyeballs to maximum capacity with color. A lot of the emotional weight and danger can be extracted from the color alone but it never becomes overbearing.

Marvel has made a lot of promises over the years to sell their comic books to old and new readers. Thank the maker that this time they were absolutely right in the amount of hype they were stirring up. Hickman and his art teams between these two titles have been nothing short of spectacular and bold.

House Of X #4 takes readers places they probably did no expect to go with five issues left in this story to kickstart the new era of X-Men comics. We’re left in a place where we have no idea what’s around the corner.

Aside from making the X-Men interesting and important again, Hickman has also managed to keep readers on their toes with a beloved franchise that was built on soap opera drama and tired tropes. This Dawn Of X era should be able to satisfy both oldschool fans desperate to love X-Men comics again and those who never cared much for them.

Bless you Jonathan Hickman, you brilliant man.

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How Black Widow Falls Back to Basics in WEB OF BLACK WIDOW #1

By

Cat Wyatt

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An all-new miniseries about the one and only Black Widow launches this Wednesday, in WEB OF BLACK WIDOW #1. This one is for all of the long-standing fans of this conflicted heroine.

Black Widow is back! And she’s ready for action!

***SPOILERS***

Web of Black Widow #1 is the first part in a five-issue miniseries, all focused on one of the most complicated and conflicted heroes in the Marvel Universe. We are, of course, talking about Black Widow.

This miniseries follows several major events to happen in the world, including Civil War II and Infinity Wars. But don’t worry – fans that skipped that should be able to follow along without much of a problem. Just know that somebody is digging up Natasha’s past – and she’s understandably unhappy about it. The other detail worth knowing is that Natasha is still struggling with some events of her past, most specifically her death and resurrection.

The Black Widow imagery is strong with this page.

Jody Hauser was the author for this issue, and you can tell she’s trying to do right by our character. Here we delve into Black Widow’s past, but it’s done uniquely. The whole issue is a series of mirrors – the present reflecting the past in ways that Natasha can’t deny. The real question is, what’s it all leading to?

It was an interesting – and smart – call to include Black Widow’s struggle with the events that have happened to her relatively recently. Even in the comic book world, it can’t be easy to get over one’s death, regardless of how impermanent it ended up being. In a way, this struggle reminded us of Natasha’s humanity. It was poignant and respectful. And for that we’re grateful. It’s certainly a nice touch for any fans that are still grieving after the events of the latest movies.

Natasha is looking good on this page of Web of Black Widow #1

Web of Black Widow #1 had some brilliant artwork backing up an intriguing plot. The style leaned more towards elegant and dark, but if that description doesn’t entirely fit Black Widow, then we don’t know what does.

The panels making direct comparisons between the past and the present were exceptionally well done. It would have been easy to go overboard on these scenes, but our artists toed the line – making the point clear, while still holding something back.

Speaking of our artists; Stephen Mooney was the lead artist for this issue, with Triona Farrell providing the colors. And finally, VC’s Cory Petit did the lettering. Here’s hoping this team stays on for the next four issues as well.

Things are coming full circle in this tale.

This issue was a solid start to a new miniseries about one of the classics. It’s always nice to see somebody like Black Widow getting her own storyline – too frequently we see her relegated as a supporting character to other arcs and events.

Having this plot be both exciting and respectful was an excellent touch. It’s sure to draw out the fans of our beloved Black Widow. Leaving many wondering what she’ll do next.

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Review: A Life-Changing Bad Day in ABSOLUTE CARNAGE: SYMBIOTE SPIDER-MAN

By

David DeCorte

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Absolute Carnage: Symbiote Spider-Man, out this week from Marvel comics, isn’t the most graphic or twisted chapter of the Absolute Carnage story thus far. However, it may prove to be one of the darkest, drawing from a forgotten pair of pages from old Spectacular Spider-Man backissues to tell a story of surprising emotional gravitas.

Judge Len Elkhart is a regular, upstanding member of his community. Everything changes, though, after one really bad day pushes him over the edge, sending him down a sinister path that can only end with his destruction.

The Writing

Absolute Carnage: Symbiote Spider-Man is an unorthodox approach to a Spider-Man story. That’s namely because, aside from a brief cameo, the book doesn’t actually feature Spider-Man. Even the symbiote in the book’s title takes a backseat, only really becoming relevant in the last few pages. Instead, we’re introduced to an unfamiliar new character, Len Elkhart, who is briefly hijacked by the symbiote suit while visiting New York.

The book is not really an action story. Rather, it’s more of a drama detailing the sad events that led our protagonist where he is. The book offers an extended flashback explaining how one man comes to welcome death.

Writer Peter David does a fantastic job drawing the reader into Absolute Carnage: Symbiote Spider-Man. Despite having limited space with which to work, he manages to weave a compelling and emotionally-resonant narrative. Elkhart’s pain and regret are palpable, generating pathos and capturing the reader’s interest.

The book features thematic elements drawing on other classic stories in comics history. Focusing on an ordinary individual as our protagonist, rather than the heroes occupying this world, has hints of Marvels. The narrative, however, borrows from other sources; Len’s life unravels because of a few bad choices and happenstance. “That’s all it takes. One excuse,” he says at one point, closely paralleling The Joker’s “one bad day” thesis from The Killing Joke.

Overall, the writing is tight, efficient, and incredibly compelling from beginning to end.

The Artwork

Francesco Mobili’s illustrations in Absolute Carnage: Symbiote Spider-Man perfectly capture the tense, mournful tone of the story. The work makes repeated use of closely-cropped panels focused on Len’s face as he recounts the story, showing the lines and imperfections carved into his skin after years behind bars. His gaunt appearance contrasts with his lively, younger self, driving home how heavily the events of the book weigh on him.

Mobili maintains a consistent approach throughout the book. He tends to keep panels tightly-focused on characters’ faces, pulling back into wider images primarily for impact or to enhance the mood. This allows him to play with different angles, constantly changing the perspective without making the page feel cluttered or confusing.

Java Tartaglia and Rain Beredo share color duties for Absolute Carnage: Symbiote Spider-Man. Their work suits the style of the book well, providing a subtly washed-out look for much of the flashback sequence, contrasting with the sharp, dark tones of the present day.

Final Thoughts

Absolute Carnage: Symbiote Spider-Man is a surprising entry in the Absolute Carnage storyline. While the connection to the larger event is tenuous, it’s a well-crafted story and is definitely a must-read chapter in the tale.

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***SPOILERS LIE AHEAD***

Doomsday comes closer with one last set up!

Story:

Art:

Conclusion:

***SPOILERS LIE AHEAD***

The Writing

The Artwork

Final Thoughts

SPOILERS LIE AHEAD

SPOILERS LIE AHEAD