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

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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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Review: MIDSOMMAR Director’s Cut Offers More Context And Is More Rewarding

By

Eric Trigg

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Interview: Karl Mostert, The Artist Of THE MAN WHO F#%&ED UP TIME

Midsommar, Ari Aster’s sophomore feature re-released this past weekend in select theaters with thirty minutes of additional footage. If the original cut that was released this July wasn’t uncomfortable enough for you, Midsommar’s extended cut is certainly going to provide several more moments to make audiences feel uneasy, and disgusted with themselves.

Just like the theatrical cut, Midsommar follows a group of graduate students that travel to Sweden for a festival that occurs every ninety years, but they find themselves caught in the ritualistic practices of a pagan cult. Written and directed by Aster, the film stars Florence Pugh, Jack Reynor, William Harper, Will Poulter, and Vilhelm Blomgren. At the center of this pagan cult film are Dani (Pugh) and Christian (Reynor), two people involved in a very toxic relationship. Everything that unfolds in Midsommar feels like some weird drug trip, which is what Aster intended.

Similar to his previous hit Hereditary, Aster has written a very detailed film that requires the viewer to pay attention in order to fully understand what is occurring. The screenplay for Midsommar purposely illustrates what will unfold, but many will overlook these details until they view it for a second time. The film also gives an intense look into grief and mental instability, just like Hereditary. Dani, the film’s heroine spends most of the runtime struggling to cope with a tragic event and Christian, her uncaring boyfriend, doesn’t make the situation any better. In fact, Christian is illustrated as more of an awful boyfriend and a jerk in this extended cut. There is an additional scene in the Swedish village that showcases just how toxic Dani and Christian are for one another.

Pugh’s performance as the distraught protagonist Dani is amazing to witness, as she undergoes nearly every emotion possible until the film’s final shot. It’s made apparent early on that Dani is very clingy, and she has a bit of a history with mental issues, which are just a few reasons why Christian wants out of the relationship. Pugh perfectly embodies the pain and grief Dani is enduring, and while her co-stars do what they can, none of them stand out like Pugh. In fact, outside of Dani and Christian, most of the characters aren’t fully developed to get invested in what happens to them.

Aster has crafted a visually stunning film and this extended cut is more rewarding in many regards. Midsommar is more of a discomforting treat with this extra footage and it is still going to leave several viewers pondering on what they just witnessed. The cinematography by Pawel Pogorzelski is stellar and a visually satisfying component that brings the horrific nightmare to life. This extended cut nearly reaches three hours, but it never overstays its welcome. The pacing is very well done and every moment in this deeply dark film will have you invested in the madness unfolding.

midsommar cult — (Center) Isabelle Grill. Photo by Csaba Aknay, Courtesy of A24.

By the time the credits roll, an emotional catharsis will come for both the viewers and Dan, as we are all finally released from our conflicting emotions. As a follow-up to Hereditary, Midsommar showcases just how talented Aster is as both a writer and director. It is apparent that he takes his work very seriously, and while this extended cut offers a lot more, many other moments Aster wanted to leave in are still missing.

Midsommar’s extended cut is just as entertaining as the previously released theatrical cut, but this version offers more context for the relationship that is going to hell between Dani and Christian. If you weren’t prepared for the bizarre activities that ensued during the first release of Midsommar than don’t expect this trip to be any different.

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11 Potential Ways To Introduce The X-Men Into The Marvel Cinematic Universe

By

Kieran Freemantle

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September 3, 2019

Due to Disney buying 20th Century Fox the X-Men and all the mutants are coming to the Marvel Cinematic Universe. Which means some of the most popular Marvel characters are going to be in the same cinematic world as The Hulk, Thor, and Captain Marvel. But the world of the X-Men is extensive, and the series is known for its social commentary. There would be a logistical problem for the MCU to introduce so many superpowered characters suddenly. If there is a will, than there’s a way; here are a few possibilities to bring the X-Men into the MCU.

11. The Memory Wipe

An idea that has been suggested by some fans is that mutants have always existed in the MCU but Charles Xavier has wiped the world’s collective memory about them. To me, this is one of the worst of ideas to introduce mutants into the MCU and should only be used as a last resort. But let’s humor the idea because any story idea could work with imagination and good writing.

If the MCU did use this idea, it would turn the X-Men into the Marvel version of Men in Black. In this scenario Charles Xavier would find out about mutants around the world, tries to recruit them and whatever the outcome he would erase the memories of the people would have seen mutant power use – whether it’s blowing up a water tower or freezing a school. Or the MCU could go down a similar route as Heroes where a shadowy organization finds and track mutants and erases the minds of ordinary people who were exposed to them. Claire Bennett’s mother always had her memory erased.

The risk of this story is it would act as a big retcon in the MCU, leading to questions like why didn’t the X-Men or mutants get involved when Loki invaded New York City or Thanos snapped half of life out of existence. Plus for the story to work the numbers of mutants are small up until the start of the MCU X-Men movie and the press would have been involved in any cover-up.

Weapon X

In the Ultimate Comics series it was revealed that mutants were actually created through genetic experimentation. In the comics Nick Fury Sr. and James Howlett were arrested for looting when on tour during the Second World War and experimented on to recreate the Supersoldier formula. Howlett ended up becoming the first mutant, getting his healing factor and adamantium claws, and the experiment ended up causing more mutants to be created. The US and Canadian government covered up their involvement.

Like the Memory Wipe, using this idea would be the nuclear option: it could only be used if there are no other story ideas. One of the big themes of the X-Men franchise is that people are discriminated against because of a quirk of nature, something that naturally happened. This would be lost if it turned out that mutants were just the result of science run amok.

9. Storm in Wakanda and Other References

A backdoor way to introduce mutants would be to use one character to appear in a non-X-Men film. One of the most obvious candidates would be Ororo Munroe AKA Storm. Storm has a history with Black Panther: she even marries him in the comic. Black Panther 2 could find a place for her, even if it’s just a cameo or reference to a teenage girl or a woman in Wakanda who can control the weather. This idea could even snowball to other references in other films like reports of a Canadian soldier during the Second World War who had rapid healing abilities, or a news story about a teenager with extraordinary powers.

8. The Snap

Another popular suggestion from fans is that The Snap caused the creation of mutants. At the end of Avengers: Endgame the Avengers were able to reverse The Snap and bring 3.5 billion people back to life. Because of the stress of being resurrected the X-gene gets awakened in people and unlocks their mutant powers. The idea would be influenced by the first Deadpool movie where Wade Wilson is tortured so that his mutant powers would be activated. It could be stated in a news report, similar to the opening of Spider-man: Far From Home and allow any MCU X-Men film to jump straight into the action.

7. The Multiverse

Marvel is clearly building up the idea of the multiverse. In Avengers: Endgame The Ancient One stated that if a past event changes then it would create a new timeline and Mysterio said he was from another alternative Earth. One of the films in Phrase Four is titled Doctor Strange in the Multiverse of Madness. Because of this, the multiverse could be used as a way for the X-Men and mutants as a whole coming into the MCU. They could either be in their own universe and through a bit of inner-dimensional travel are about to travel to the MCU or seek refuge in the MCU.

The Multiverse could act as a backdoor for the MCU to keep the 20^th Century Fox cast, particularly James McAvoy, Michael Fassbender, and Hugh Jackman. Sure, Jackman has retired from the role of Wolverine but don’t underestimate Marvel’s powers of persuasion. The Multiverse could also be used to explain the timelines within the X-Men film series.

Within the comics characters from alternative futures have joined the X-Men. Bishop and the Old Man Logan version have both ended up in the main comic series.

6. Wanda and Magneto

In the comics, Magneto was the father of Scarlett Witch and Quicksilver. This wasn’t the case in the MCU because the franchise didn’t have the movie rights for Magneto and other mutants. This has obviously changed now Disney has bought Fox.

In Avengers: Age of Ultron Wanda and Pietro were orphans who harbored hatred toward Tony Stark because they blamed him for their parents’ deaths. This could change with a simple retcon and Wanda finding out her birth father was really Magneto. It could be done because it has been established in other media that Magneto had children out of wedlock and never raised the children himself. It was done in X-Men: The Animated Series and Fox’s prequel films.

Marvel would have two-story possibilities if Marvel decides to use Magneto as a way to introduce mutants. The first would be a revenge story because Magneto would go on the warpath if he finds out his daughter was experimented on by a secret Nazi cult. It could be a way for Marvel to create its own version of the proposed X-Men Origins: Magneto story and modernize his ideology and background.

The other would be Magneto showing more villainous/selfish intends because he uses Wanda’s powers or the research that was done on her as a way to find mutants or awaken the X-gene in people around the world.

5. Rise of the Sentinels

Within the Marvel Cinematic Universe, there have been some examples of amazing technology like helicarriers, nanobots and robotic suits. There are also greater threats in the form of aliens and beings with superpowers. In this scenario, the US government or an alliance of nations may look to take their security in their own hands – especially after the loss of The Avengers. A way they would do that is to use Bolivar Trask to lead the Sentinel Initiative which would fend off any threat.

This base idea could go two ways. The first would be Trask arguing that the Sentinels could be used to face a new but growing threat: mutants. The other is the Sentinels gain self-awareness and see mutants as a threat to the public, so go on the offensive. The driving force could be a rogue mutant launch a terrorist attack which The Sentinels stopped, but this action would lead to a crackdown against mutants and force the X-Men into action.

The problem with this story is that it has similarities to Age of Ultron and Civil War.

4. Avengers vs. X-Men

The “Avengers vs. X-Men” was a huge crossover event back in 2012. In that storyline, the Avengers and X-Men go to war because the X-Men were protecting Jean Grey/The Phoenix while the Avengers see her as a threat that is too great for the world. As evident in that description that storyline sounds similar to Batman vs. Superman: Dawn of Justice and MCU would be foolish to use the Phoenix in their first film, so the film should just use the title and some basic ideas like what happened with Avengers: Age of Ultron and Captain America: Civil War.

In the comics, various cartoons, and the Fox movies Charles Xavier has taken in scared runaways who have been rejected by their family and friends, trains them up, gives them uniforms, and gets them to act as a paramilitary force. From the outside looking in, Xavier could look incredibly dodgy as he is amassing an army of superpowered teens and The Avengers believe he needs to be stopped.

The other way this story could work is simple and more personal. During a mission to stop a supervillain, Captain Marvel ends up getting her powers taken by Rogue, leaving her crippled or in a coma. Xavier would offer Rogue refuge which leads to Avengers and X-Men towards a headlong collision.

The risk with this storyline is Marvel has already done it with Captain America: Civil War. The sudden introduce the X-Men could lead to the MCU having their own Batman vs. Superman, by having two sets of heroes into conflict so early on.

3. Messiah Complex

One of the biggest impacts in Marvel’s “House of M” storyline was mutants were nearly eradicated and only 300 remained. The “Messiah Complex” was a major storyline published from October 2007 to January 2008. In that storyline, the first mutant child is born since the event, and the various mutant factions set out to be first to find him/her.

For this story to be adapted for the MCU, it could be stated that mutants were a phenomenon that was born for a few generations, but none had been born for years. It could be used as a way to explain mutants were in the MCU in say the ‘70s or ‘80s but retreated because the sudden decline in birth numbers. When it’s discovered a mutant child is born and the X-Men race to find it before Mister Sinister, Anti-Mutant extremists or the US government.

For the story to work in the MCU, it would require reducing the number of characters and factions. This story would be the Marvel version of Children of Men where the X-Men have to protect the hope for mutantkind, which would be awesome because Children of Men was a great film. The risk of this story is 2017’s Logan had similarities to Children of Men.

2. Reverse House of M

One of the most popular suggestions on how to introduce the X-Men into the MCU is to do a reverse “House of M” story. In Brian Michael Bendis’ “House of M,” Scarlett Witch uses her reality-warping powers to create a perfect timeline for mutants. When Scarlett Witch puts the world back to normal, she utters the words ‘No more mutants,’ and with one fell swoop, she depowered most of the mutants in the 616-universe. This storyline aimed to reduce the number of mutants in the comics because they got so big.

The Reverse “House of M” story would obviously bring about an explosion of mutants. There a few ways to bring about this event. One could be Magneto reveals himself to be Wanda’s birth father and gets to awaken the mutant gene in people. If Marvel Studios wants to save Magneto they could come up with another event like a genetic discovery that awakens the mutant genre. This could be similar to Y: The Last Man where Dr. Mann impregnates herself with a clone, leading to the sudden death of male mammals around the globe.

This sort of storyline has been explored in other shows. In the third season of The Legend of Korra people suddenly became airbenders after the Harmonic Convergence, leading to the rebirth of the Air Nation. And in Heroes characters gained their powers after an eclipse.

If the MCU went down this route, it could lead to an exciting look at the impact on society if thousands of people suddenly gained superpowers and a new group gets discriminated against.

1. A small but growing mutant population

One of the most organic ways to introduce mutants into the MCU is simply the mutant population is small but growing. It would prevent Marvel from needing to have a major retcon or event to explain the sudden appearance of mutants.

For this scenario to work the number of mutants around the world would be no more than a few thousand. And most of these mutants would be in their teens. Because of the growing numbers, there would be news reports of people with extraordinary powers, scientific studies, and a growing sense of unease towards younger people.

There would still be older mutants like Xavier and Magneto and legends like of a being known as Apocalypse. Because of the presence of Xavier, he would seek out and protect mutants by offering them places at his school for Gifted Youngsters.

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Review: MIDNIGHT VISTA #1 Adds Fresh Flavor To Alien Abduction

By

Colin Tessier

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In AfterShock Comics’ Midnight Vista #1 (on sale September 4,) writer Eliot Rahal takes the alien abduction trope and revitalizes it by adding new emotional layers. Rahal and the art team present the reader with a book that looks and feels like a remastered 1950’s B-movie and has the potential to offer fresh possibilities for the classic storyline.

Midnight Vista #1
Writer: Eliot Rahal
Artist Clara Meath
Colors: Mark Englert
Letters: Taylor Esposito

On the surface, Midnight Vista #1 is straightforward; Oliver Flores, a young boy, gets abducted by aliens and returns to his home in Bernalillo County 17 years later. But the strongest flavor in this issue comes from the details. By honing in on several of the brief narrative moments, it’s easy to see that they transform the comic from a fairly standard introduction to an alien story to a layered story that offers several possibilities for the next steps of the plot.

It’d be too easy to have Oliver come from a perfect life at home; instead, Rahal presents the reader with a child who’s sandwiched between two newly divorced, argumentative parents. In the first scene, Oliver hides and watches TV while parents loudly argue on the phone. Here, the most powerful detail is also one of the most subtle choices; as Oliver flips through the channels and his parents keep fighting, he rapidly increases the volume of the TV to drown them out. Rather than saying anything, crying or running away, Oliver simply sits there and tries to drown out the drama and lose himself in the TV. The entire art team works together to maximize the impact of the moment.

First, Meath draws Oliver sitting in the dark, with the TV acting as the only source of light in the room and Englert complements this contrast by practically drowning Oliver in the darkness. Finally, Esposito’s lettering acts as the cherry on top, as the sound of Oliver clicking the remote, paired with the increasing size of the speech bubbles for the TV and the parents’ argument, makes it clear that the boy is desperately trying to ignore the yelling. Each component of the art builds off another one and, altogether, it shows the successful level of collaboration that’s unique to comic books.

Of course, Midnight Vista #1 is also an alien abduction story and, goodness gracious, the whole team nails the tone of this genre. From the sight of Oliver getting beamed up to the alien spaceship to the jarring reveal of the aliens, a sense of extraterrestrial dread fills the issue. Meath’s aliens are based on the typical stereotype with freakishly large eyes and a slitted nose placed on a similarly oversized head. But, though the creatures’ appearance isn’t a new sight, both the story and the art team still make them grotesque and creepy.

The first time the reader sees the aliens, they’re dissecting Oliver; they’re holding the boy’s intestines in their hands. The creatures coldly tell Oliver to remain calm and one of the aliens mind-controls the boy as they shoot something into his nose. Plus, when the aliens, posing as humans, ask a police officer for help in their quest to find Oliver, one of the creatures literally says, “Small talk, small talk, small talk.” The aliens are masquerading as humans and the combination of their stilted dialogue and their deformed disguises, the charade is unsettling.

Though Midnight Vista can’t be completely evaluated because the story just began, the first issue successfully draws the reader in. Rahal raises enough questions that makes the next installment mandatory reading for hooked readers.

What did you think of Midnight Vista #1? Where do you hope to see the story go from here?

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Review: DESCENDENT #5 Comes To A Horrific Conclusion

By

Darryll Robson

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Taking a turn from intrigue into supernatural horror, the final issue of Descendent from AfterShock Comics is released this week. Tying up loose ends and bringing character arcs to a close, Stephanie Phillips has a difficult job on her hands holding everything together.

However, with the majority of the secrets already revealed, the stage is set for a disturbing confrontation. In order to save lives, David and his fellow conspiracy hunters must face the enemy head on but none of them are prepared for what awaits them.

Written In Fire

In order to set up the final piece of the puzzle, Phillips starts this issue off with another flash back. This time to Massachusetts 1692 and the start of it all. This sequence cleverly sets up both the villain and the motives behind everything that has happened in previous issues.

The decision to take the narrative away from the murky realms of the ‘uncertainty in the supernatural’ that kept the X-Files going for 11 seasons, allows Phillips to end the series on an exciting high note. The shift from F.B.I drama to almost The Wicker Man standards of horror provides the narrative with a shocking twist but also a speedy conclusion to many of the story threads.

The central characters are forced by the confrontation to face various aspects of their personalities, with varying degrees of satisfaction. The conclusion to David’s character arc is especially interesting. He has been a man obsessed from the very beginning but has never had to face his obsession. Phillips walks the character into the very thing he has been searching for his entire life but how do you deal with something like that? David has moments of weakness and his fear and trepidation affects his actions.

For the final issue of a series, Descendent has an ending that is fitting and satisfying for the reader. The journey to this point, and through this issue, has been a roller-coaster of a ride for the characters and the readers alike. Police procedural, family drama, and supernatural horror have all played their part with Phillips blending each part of the story together wonderfully. There has been a strong narrative thread through all five issues, feeding the characterisation and the drama.

Review: DESCENDENT #5 Comes To A Horrific Conclusion — Descendent #5 Credit: AfterShock Comics

Drawn From Blood

In earlier issues of Descendent Evgeniy Bornyakov demonstrated an aptitude for bringing conversations to life through his art work. In this final issue he finally gets a handle on the action scenes. With the characters performing much more physical acts in this issue, Bornyakov has needed to pack the panels with more dynamism. Altering the shape of the panels has helped greatly in producing the fast paced motion required. Bornyakov has focused on the characters and their placement within a panel, favouring an almost empty background for most of the action.

In turn, Lauren Affe has picked up establishing the scene with her colors. The twilight hours are pictured beautifully with simple background lighting and the choking atmosphere created from a burning pyre dominates the panels and pages as the fight escalates. The increase in tension is reflected by the growing clouds of grey/brown smoke that begins to take over the page.

Affe’s lighting is especially effective on the characters during the final confrontation sequence in this issue. She highlights the characters faces, picking out their expressions and relaying emotional states which are instantly recognisable for the reader. As a consequence, the emotional journey of the characters becomes easier to follow.

The emotional state of the characters is also picked up through Troy Peteri’s lettering. The subtle changing of font size within speech balloons adds nuances to the speech. So does the visual depiction of the speech balloon’s themselves. Throughout, Peteri gives the villain a slightly different boarder to her speech balloons, this highlight’s not only her speech but also the speech in the panels surrounding her. The reader can instantly see the that there is a difference between them; a constant reminder of the villain’s origins.

Descendent Conclusion

Over the five issues, Descendent has been an interesting read with highs and lows in both script and art. The ending however is a combination of the best from both. The plot is well paced with a decent combination of humour and horror. The art work is more consistent throughout the issue and captures the tone of the script on every page.

In some respects, the ending has come too quickly with the switch from investigative drama to supernatural horror being a bit sudden. The build-up has plenty of scope for a much longer series with the twist coming at a much later date. However, this final issue is a triumphant and a pleasure to read. It has satisfying conclusions to a number of the character and plot arc’s leaving the reader with a sense that this chapter is complete.

Hopefully this team will get the chance to work together on future comics because, by the end, each aspect of the comic was working fluidly together to tell the story.

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Review: VAMPIRELLA RED SONJA #1 Is The Start Of A Great Relationship

By

Jason Jeffords Jr

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Are you interested in journalism with a bite, if so then you need to check out Dynamite’s newest ongoing Vampirella Red Sonja #1 hitting your local comic book store on September 4, featuring the classic characters of Vampirella and Red Sonja, as they team up to figure out why the bikini-clad warrior is in the wrong timeline.

Vampirella Red Sonja #1 begins in the year 1969, the same year Vampirella herself debuted in the comics world. In this canon, she becomes a journalist to investigate supernatural mysteries. The storyline is a perfect fit for Vampirella, as she is on the search for answers for a slew of murders on Dyatlov Pass in Russia. While attempting to solve the mystery, Vampirella runs into Red Sonja. That’s about as spoiler-free as you’ll get!

Jordie Bellaire puts her spin on Vampirella, giving her a new occupation as this new story beat is what drives the plot well.

Love this Variant Cover by Leonardo Romero!

Before we learn of her new job letterer Becca Carey hints at it amazingly with Vampirella’s narration boxes. Instead of having her usual red box with the black bat, Carey has it as a plain black box, but with a record, play, pause and stop button. At first, this may seem confusing, but once you see her using a recorder, it makes sense and comes off quite smart.

Another unique visual in Vampirella Red Sonja #1 is Drew Moss’ paneling. Throughout Vampirella Red Sonja #1 Moss uses 3-5 rectangle panels for the pages, thus keeping the paneling simple. While this happens for multiple pages, Moss adds in a few different square panels throughout and two full-page layouts. This may sound simple, but it seems that’s what the team of creators was aiming for; plain and simple to help draw in readers that are new to comics. With how much Vampirella Red Sonja #1 relies on characters talking and dialogue bubbles this works best.

The colors by Rebecca Nalty are bright and lively throughout with backgrounds and characters having a palette that catches the eyes, but at times these make the characters faces seem flat. These moments of flat faces look like color-work from the early 2000s.

Another beautiful Variant Cover, this time by Babs Tarr!

A Clash of Titans (Vampirella and Red Sonja of Course) (Conclusion)

Vampirella Red Sonja #1 works best as an introduction to the new universe in a way that any long-term fan or newcomer would appreciate.

Memorable Quote: “Sometimes the literal irony of humans really gets to me.” – Vampirella

You and me both!

Dear Blood-Sucking Readers

If this is your first time reading either of these characters, let us know what you thought! Or if you’re a long-time fan, how does it compare to others? No matter which one you are, make sure to stop by your local comic shop and pick it up!

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Review: GOING TO THE CHAPEL #1 Is “Wedding Crashers” By Way Of Tarantino

By

Anthony Composto - EIC

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Going to the Chapel #1 is out this week from Action Lab: Danger Zone, and it gives a whole new meaning to “wedding crashing.”

Emily Anderson is having second thoughts about getting married, but her troubles quickly worsen when her wedding is hijacked by a gang of Elvis-themed bank robbers. With her dysfunctional family on one side and the thieves on the other, Emily has to try and take control of her own hostage situation and maybe get out of walking down the aisle at the same time. The series is by writer David Pepose (Spencer & Locke) and artist Gavin Guidry (The Death Defying), with colors by Liz Kramer and lettering by Ariana Maher.

We actually got the chance to speak with Pepose a few months back about Chapel if you’re interested in how the series came together. It’s the author’s take on the rom-com, a genre he feels gets a bad rap. As he said in a different interview, “I think rom-coms are just as flexible of a genre as crime or science fiction. And so I wanted to write something that I thought I would really like to read, that both men and women would enjoy and have a lot of fun reading.”

The comic reads a lot like a Tarantino story, with its unique and eccentric characters and neo-western setting. Going to the Chapel takes place almost exclusively in the titular church, and the single setting gives the story a sense of claustrophobia and heightened tension. It feels very cinematic, especially with the way Guidry frames the shots. Most of these panels could easily be torn directly from page to screen (if a film were to ever happen).

This hostage situation isn’t all grim and gritty, though. Chapel is actually a pretty lighthearted and fun comic, which you can feel between Guidry’s cartoony style (not in the “Sunday Funnies” kind of way, but just simple, not heavily-detailed linework), Maher’s big sound effects, and Kramer’s pastel color palette. There are a lot of pinks, purples, and yellows throughout this comic to drive home the romance element, which is interesting when coupled with the action happening on the page. This juxtaposition tickles your brain and draws you further into the story.

Pepose infuses Going to the Chapel with plenty of absurd comedy as well. There’s absurdity inherent to the plot, sure, but the real humor comes from the family dysfunction element. The Andersons make the Bluth family look tame by comparison and they’ll have you laughing out loud, especially Grandma Harriet (stick around to the end of this review to get some of grandma’s advice firsthand in an extended preview).

Through all the crime and craziness, though, this is a comic with lots of heart. Don’t let the Elvis masks fool you. It ultimately is a love story. It’s about relationships, family, happiness, and way more. Just like he did with Spencer & Locke, Pepose is a master at lowering your guard with some zany antics and then smacking you upside the head with some “feels.”

And then the team drops a few bombs that adds a whole new element to this series: mystery. You’ll turn the last page and your brain will start turning with all sorts of theories that won’t go away until you get your hands on issue two. The key to comics – to any kind of entertainment, really – is “never be boring.” Always keep your audience engaged and wanting more. This creative team understands that.

Going to the Chapel has already drawn comparisons to Die Hard, Runaway Bride, and Arrested Development. Don’t you think you owe it to yourself to get in on such a unique and fun reading experience?

Are you looking forward to Going to the Chapel? Did you already get your hands on a copy at a convention? Sound off in the comments with your thoughts!