Review: JUSTICE LEAGUE #30 and the Time Heist for Totality

The Year of the Villain is in full swing, and Justice League #30 kicks off the Justice Doom War. It is the culminating event to everything Scott Snyder and James Tynion IV have been writing in Justice League since the series began in May, 2018. To quote Snyder on Twitter, “if you only ever pick up one issue of our run, let it be this one.”

In short, Snyder is right.

** Some Spoilers Below **

Story

The “Justice Doom War” starts here! The Lex Luthor the League has known and fought is no more, replaced by an apex predator version of Lex, powered by Perpetua with a goal of bringing tragedy to the DC Universe. Now that Lex has powered up villains across the cosmos, he marshals his own troops, sparking a war between the Legion of Doom and the Justice League that will span space, time and the Multiverse itself. This is the start of the next big Justice League event, with consequences affecting “DC’s Year of the Villain” and beyond!

As the greatest heroes of the DC Universe assemble for an epic showdown, so does a terrific creative team. Snyder and Tynion take on co-writing responsibilities to bring this vast event to its crux. The stakes are set as the newly-expanded Justice League prepare for an imminent attack from Lex Luthor (looking like a full on Prometheus Engineer), who now possesses six of the seven hidden energies needed to bring Perpetua to full power.

Snyder’s infamous worldbuilding is on full display in Justice League #30, which is so perfectly designed for the comic book medium. It’s difficult to think about an attempt to make a movie out of this story. It’s so cosmic and grand, and precisely what makes comics great. Can you imagine the string theory board Snyder needed to put this story together?

The standout character in this issue is without a doubt Starman. Since being reintroduced way back in 2017’s Dark Nights: Metal, his strength and purpose has finally been brought to light. It was apparent he was a powerful hero, and somehow integral to this story. But, after this issue, it’s safe to say that Starman is probably the most important hero in the DC Multiverse at the moment.

The final pages of Justice League #30 are something to behold, and an outstanding setup of what’s to come. The plan to retrieve the Totality fragments in the past and future rings similar to another epic superhero team-up time heist. However, that doesn’t make it any less exhilarating and compelling.

Art

Jorge Jimenez and Alejandro Sanchez are back, and their immeasurable talent is as strong as ever! There is a moment, however brief, where the exposition starts to drag. But it’s the vast array of colors and designs as the heroes and villains of DC gather that bring those pages of Justice League #30 to life.

Another shining example of the artwork are the opposing images of Justice and Doom over a depiction of the Multiverse in its gleaming glory. The visuals this team crafts to aide in the intricate worldbuilding have been some of the artwork in comic books today. Though this one is a bit cluttered with caption boxes, the artists’ use of color and light and kinetic energy is nothing short of stunning.

Conclusion

In the 20 short pages that make up Justice League #30, you will find a continuation of impressive universe-building, stunning artwork, and an ending so mind-bogglingly exciting you’ll be counting the minutes until the next issue is released.

What did you think of Justice League #30? Let us know in the comments!

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Review: MARVEL MONSTERS #1 Frenzied Monster Mashing For All Ages

Cody Walker

While Marvel Monsters #1, out this week from Marvel Comics is not what I expected, it is a fun and informative look into the monsters of the Marvel world.

Cullen Bunn provides the story and Scott Hepburn handles the art for the actual story portion in the issue. Israel Silva provides colors and shows off his great ability to get these larger than life creatures to pop right off the page. With so much going on at once, so much can get lost, yet we can see clearly what every monster is doing, no matter how small they are.

Travis Lanham handles the lettering in this one-shot, and with all the monster action, he had his work cut out for him. The noises and roars from the monsters don’t take away from the artwork and actually blends in and becomes part of the art.

WARNING: SPOILERS FOLLOW

Marvel Monsters #1 is a one-shot that pits Kid Kaiju and Max Frankenstein against each other in a battle for a monster anatomy book. Kei Kewade is in the Baltic Sea exploring an abandoned castle on a small island. While searching the ruins with his monster companion Scragg, they happen upon an altar surrounded by candles enshrining a book. The book appears to be about monster anatomy, and something Max Frankenstein has been using to create his evil creatures.

A Timely publication from 1939, the book shows all the different monsters and all their statistics. It shows height, weight, and the functions of each part of the monster, and is a considerable opportunity for different artists to draw pin-ups of the monster each page is detailing.

Many great artists contribute full-page pin-ups and they are stunning. Marvel Monsters #1 is an art book Marvel made to show off their more unknown offenders. Stephanie Hans, Clayton Crain, Michael Allred, Nick Bradshaw, Becky Cloonan, and Gerardo Zaffino are just over half of the artists contributing full-page pin-ups. Superlog does a fantastic job with the cross-sections breaking down their anatomy and explaining their powers, giving it an old worn look.

While Kid Kaiju can manifest monsters just by drawing them, it appears the book Kei found was research material for the Frankenstein family. Max has to create his monsters just like his namesake, so this book is paramount to his evil schemes.

Kid Kaiju is still a fairly new character. I didn’t read much of the Monsters Unleashed run about him, so I’m not aware if that series gave him an archenemy like a Joker to his Batman. Marvel Monsters #1 presents Kid Kaiju with a super-villain that could prove to be his big bad guy to contend with.

This issue provides some amazing art and a new direction for a new character. I fully expected this to be a horror centered story that perhaps led to a longer series. Although disappointed when I opened the book, I was pleased when I did a little reading. I grew up watching Godzilla so it’s nice when a story like this can be enjoyed by fans of all ages.

This is not a story full of destruction and blood. It is a story to get children interested in some aspects of Marvel they may not be familiar with. Any fans of monsters will enjoy the anatomy and full-page pin-ups, and collectors of horror and monster books won’t want to miss this.

How awesome are those monster pin-ups? Let us know how surprised you were by this issue in the comments below.

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Review: TRIAGE #1 Is Strong & Surreal SciFi via Phillip Sevy

Grant DeArmitt

At first glance, Phillip Sevy’s Triage (soon to be released by Dark Horse Comics) might seem like several different comics accidentally printed together. The styles and moods of the different pages almost lack a connection. But read on, and you’ll find that this strong, surreal weird-fiction adventure is beautifully and intricately connected in the most satisfying ways, hinting at a story that is both as big and breathtaking as the scope of the first issue itself.

Triage #1: Cover by Phillip Sevy, Dark Horse Comics

A Tri-Cornered Tale

Our story begins with Evie Pierce, a clever nurse leading a straight-forward, perfectly average life. Evie goes through the familiar daily struggles of every young professional. She deals with work and relationship drama, questions her purpose. Suddenly the story takes a turn, introducing us to Orbit, an over-powered, over-confident superhero and public figure. Orbit’s life is the opposite of Evie’s; while our nurse deals with the uglier parts of another person’s pregnancy, Orbit takes on a massive robot wreaking havoc in the city. The scenes end and we the audience search for a connection. Why are Evie and Orbit focal points of this story? And who is the gas-masked rebel we meet next, living in some post-apocalyptic wasteland? In just a few introductory pages, Triage sets up stories that could stand on their own as a great new title. Luckily for the reader (though maybe not so much for the characters), what appears as three stories is really just one. Massive, far-reaching, but cohesive.

Page-Turning Plot

For a story that is definitely complex, the first issue of this book makes for an engaging, followable read. This is mostly because Phillip Sevy, auteur of Triage, has incredible control over his narrative. He releases just the amount of information we need to know in any given scene through his dialogue, but manages to keep it grounded and not overly expositional. This achieves two pretty impressive things: 1.) it keeps the reader’s interest in the mystery, going into sparse character detail to make us turn pages while sparing us awkward world-building. And 2.) it lets his art absolutely sing.

Triage Issue 1, Page 2 – Credit Dark Horse, Phillip Sevy

A Symphony of Strange Sights

That’s not being hyperbolic, reader. There’s a strange, alien music to Sevy’s art that makes Triage worth the cover price and more. Fans of either Phillip K. Dick or Salvador Dali with both find something fascinating about his otherworldly imagery, how it moves on the page and dances between literal hard-sci-fi tech and abstract dreamscapes. Sevy takes on the lions’ share of his book, contributing both the pictures and the words that make Triage, and the seamlessness of their matching makes difficult ideas easy to convey, like in the more ethereal issues of Hellboy or some of the best Sandman stuff. Weird-fiction fans should of course pick up this book, but so should anyone interested in seeing a well-constructed comic.

A Retro Rainbow

If there’s one thing not terribly revolutionary about Triage, it’s the coloring. The book is made up of neon purples, pinks, and blues, reminiscent of an 80s VHS logo. It’s not that the colors are poorly done, just that a readership who’s seen promo pics for Stranger Things, Atomic Blonde, or even a couple episodes of Riverdale won’t find anything new about the retro tones. That said, the colors do fit the images appropriately. In fact, that might be the problem. When the obvious choice for how to color an image is as commonplace as it is now, it could have been cool to see some thinking outside the box. But hey, if so many people are using those colors, it must be because they’re interesting, right? You can’t fault Triage for that.

Overall Thoughts

Weird-fiction is experiencing a revolution right now. Trippy episodes of Black Mirror and films like Annihilation are making everyone reconsider their perceptions of the sci-fi and fantasy genres. Comics of course are part of that march, and Dark Horse’s upcoming title is in the vanguard. You can pick up Triage at your local comic book store September 4th, make sure you don’t miss out. There’s a fascinating future contained in the first issue of Triage, don’t get left in the past.

Triage #1: Cover by Hannah Templer, Dark Horse Comics

For more comic reviews like this one, keep an eye on Monkeys Fighting Robots.

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How Chaos Ensues in LUMBERJANES #65

Cat Wyatt

LUMBERJANES #65 from Boom! Box is out this week and it is looking about just as chaotic as we’ve ever seen them. Here our campers have their own goals and even a new mystery on their hands. But what will come of it?

The Zodiac Cabin is fighting for center stage on this cover!

***SPOILER WARNING***

The Lumberjanes is one of those fun series that makes for a perfect escape. And Lumberjanes #65 is no exception to that rule. This issue begins a new plot, and from the looks of things, it’s going to be even more chaotic than normal. Assuming that’s even possible.

This issue spent a lot of time setting up for something big, so we just know that the next issue or two is going to be pure Lumberjanes chaos. Add to the fact that there are two favorite authors for this plot, Shannon Watters and Kat Leyh, and you just know they’re working on something major here.

The Roanoke Cabin is looking good in the preorder version of Lumberjanes #65.

There’s actually a lot going on in this issue; at least two plots that we’re aware of. And knowing the Lumberjanes, there’s possibly even more on the horizon. The issue starts off casually enough, but it doesn’t take long for us to realize that something else is going on.

After all, when a group of campers like these, you know something is up when people start sneaking off in the background. That always means something is up; no exceptions. Still, we appreciated the subtle foreshadowing done early on.

The plot then splits into two elements. On the one hand, a group of campers trying to look at a meteor shower �� which means that something else is absolutely going to happen to change those plans. And then there’s the other group…who want to hunt aliens and/or talk about their feelings – it sort of depends on who you ask.

The badge for this issue gives us several ideas for what is in store for the Lumberjanes.

The artwork for Lumberjanes #65 was interesting. The style has changed slightly from the last plot – but that’s not unusual. The creative team behind this series is constantly shifting, and fans have gotten pretty used to that fact.

Our characters seem to be even smaller – and dare we say even more adorable than usual. The style suits many of the campers, as well as the general chaos shown in this issue. So it’s basically perfect here.

Kanesha C. Bryant is the main reason behind the new art style being shown, as she took overdrawing for this plot. Meanwhile, Maarta Laiho did the coloring, and Aubrey Aiese the lettering. This team works well together, so hopefully, they’ll stick around for a while.

Lumberjanes #65 was a fun and chaotic issue. This issue, in particular, managed to show the individual chaos our members can have, as well as many of their unique traits and qualities that make them who they are.

The issue also took a lot of time setting up the plot – so fans just know that it’s going to be a brilliant adventure for our Lumberjanes. Now we just have to wait for the next issue to see where this is going.

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BATGIRL #38: Can This Town Handle An Oracle And A Batgirl?

Cat Wyatt

BATGIRL #38, out this week from DC Comics begs the question; who would win in a fight; Batgirl or Oracle? This question may end up being a lot less theoretical than you might expect.

***SPOILER WARNING***

Batgirl #38 continues the plot arc started during the Year of the Villain crossover. Our heroine is still on the hunt for the Moth – and probably only partially because of her damaged pride. Unfortunately, her funds are running low – all the while there are enemies working just out of sight.

Cecil Castellucci has been weaving a net for Batgirl – and it’s not going to be pretty. Yes, Batgirl always gets back up. That’s one of the things we love about this character. But that won’t stop her from taking a beating on the way. And we mean that in the most literal sense possible.

It’s easy to get so focused on your target that you forget to watch out for any other surprises. It’s something we’ve seen Batman and his allies do on more than one occasion. And now, we’re witnessing Batgirl do it as well.

The plot for this issue has been split into two major focuses; one that Batgirl can see and track. And the one that is about to blindside her. Both have been fairly interesting; though as time has gone on our eyes keep getting drawn back to the one she can’t see. But she soon will.

This whole buildup has been fairly intense, not to mention effective. Using Batgirl’s distraction to have other antagonist run off and get into trouble is clever. But to have them introduce a new antagonist this way? It completely ups the ante and is leaving us anxious to see the inevitable fight.

The artwork in Batgirl #38 was brilliant, just as we hoped. Batgirl’s new suit is well…not new. It’s a combination of old suits, but she made it work. It’s impressive that our creative team was able to depict this so clearly.

And then there’s the Oracle. Her design is eye-catching, all sharp lines and bright colors. She makes for the perfect mirror to our Batgirl. A fight between these two characters is going to look amazing.

Carmine Di Giandomenico was the lead artist for this project, with Jordie Bellaire providing the colors. And we can’t forget about the letterer, Andworld Design. Their work here brought an interesting plot to an all-new level.

Batgirl #38 was an interesting read. The balance between the two plots – one concluding and the other developing – was well done. And it leaves us anxious to see the inevitable fallout for the whole situation. Something that we know is bound to happen within the next issue. Until then, we’ll have to practice being patient! Or play the guessing game. How do you think this fight is going to go?

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How Adjustments Are Made in RUNAWAYS #24

Cat Wyatt

RUNAWAYS #24, out this week from Marvel Comics, shows us what it’s like to be a team full of people who desperately need to find themselves. The short answer is; a whole lot of adjustments. The longer answer is a bit more complicated than that.

Two of the Runaways are prepping for a new attempt at being heroes.

***SPOILER WARNING***

Runaways #24 is one of those classic setting up issues. There are a lot of little things that happen in it (and some big things), and you just know that it’s all going to be followed up with an explosive issue next time around.

Rainbow Rowell has done an excellent job of showing us how much the team has grown during their years apart – and what that means for the Runaways. They’re not the misfit teens they once were, as hard as it is to picture.

This issue really focused on that, showing us all of the changes our heroes are dealing with. And all of the changes they’ve been trying to make for themselves. In that sense, it’s a bit of a ‘feel-good’ issue.

Though, this is the Runaways we’re talking about. There’s always something darker looming just on the horizon. In this case, there are two elements than likely will leave fans concerned. The first; there’s Gib. They still haven’t managed to feed him, and since new Runaways members don’t have a great track record…and that leaves us concerned about his fate.

And then there’s Karolina and Nico. It’s awesome that they’re trying to become heroes again, even if they are doing it outside of the main group. But it’s likely that they’ve bitten off more than they can chew. At least, if the fight we saw is anything to go by. But we’re sure that they’ll figure something out sooner rather than later.

A title page and a costume reveal, all in one!

Runaways #24 is full of fun panels – brightly colored and shown with strong lines. It’s an iconic look, for this team. Although some of the panels are more memorable than others – particularly the ‘dancing’ scenes that come towards the end. Those were a riot.

Andrews Genolet was the artist for this issue, with Matthew Wilson being the colorist to work alongside him. They did a solid job on this issue, though you can tell that they had more fun on certain pages.

The costume designs in this issue (for Nico and Karo) do leave something to be desired…but they’re not bad either. Perhaps we just need to see them in action a bit more before giving a final say on that count.

The Runaways has come a long way since they took this photo. For better or for worse.

This issue was a fun and lighter read, which makes us feel like it’s the calm before the storm. Given the past patterns with the Runaways, this doesn’t seem like an unreasonable leap. We know one thing for sure – we’re going to keep reading to find out exactly who this mysterious new stranger is.

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The End of an Era in STRANGER THINGS: SIX #4

Cat Wyatt

STRANGER THINGS: SIX #4 is out this week from Dark Horse Comics, and it concludes the dramatic prequel series. Here we’ll see how Six and her fellow test subjects fair, in a time before Eleven became the major focus.

The man we love to hate takes center stage on the final cover of Stranger Things: SIX

***SPOILER WARNING***

Stranger Things: SIX #4 brings with it the conclusion to this miniseries, giving us fans the answer to what happened to the test subjects in a time before Eleven became the main focus. As far as prequel series go, this one has been fairly interesting the whole way through.

The series has followed Six – though she actually had a real name before the program began. Unlike Eleven, she didn’t grow up inside the facility. Perhaps that’s why she was so determined to find a way out.

Not all fans love adaptations like these or even prequels. So this series isn’t for everyone. But for anybody that’s wanted to learn a bit more about the people who came before Eleven, this series is worth checking out.

A retro title page that fits the style of the series.

Jody Hauser was the writer for Stranger Things: SIX #4 and she wrapped up this plot perfectly. The tone felt distressing similar to another tale of the time – the one where Eleven’s (Jane) mother tried to run a rescue mission.

There was always a bit of a limiter on this series, as the characters that are shown here couldn’t be more powerful than Eleven (because why else would they have moved on to her). But Hauser managed to make Six’s powers interesting – and to give her enough of a reason to want to run.

The final issue tied back together with the Netflix series in stronger ways than we’d seen previously. It really took the tale full circle – reminding us of the timeline, and what was soon to follow. It was both satisfying and distressing, for obvious reasons.

Stranger Things: SIX #4 had a large creative team making it work. Edgar Salazar was brought on for the pencils, while Keith Champagne did the inks. Marissa Louise did the coloring for this issue, and Nate Piekos of Blambot joined to do the lettering.

The end result of all that work? Stranger Things: SIX ended up looking and feeling remarkably like the Netflix series it originated from. The characters don’t quite feel like they were pulled from screen to paper – but it was a near thing. The creative team kept the series flowing organically, preventing most of the issues that arise visually from this sort of adaptation.

Six’s visions, in particular, were striking, and easily the most memorable moments (visually) in the issue. Especially the one that started off this issue. It was certainly an effective way to grab our attention!

Stranger Things: SIX #4 brought this series full circle. Now we can say that we know the tale of Six, and how her story tied in with the larger plot shown in the Netflix series. In many ways, this series did capture the tone and feel of the series, while also being its own unique tale. And for that reason, we feel like this was a strong adaptation.

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Review: ASCENDER #5 And The Love Of A Father For His Daughter

Corey Patterson

Things have been ramping up to new levels of excitement in Jeff Lemire and Dustin Nguyen’s ASCENDER series—Mila and her father Andy, most famously known as one of the protagonists in DESCENDER, have spent the past four issues evading the vampiric army of the villainous sorceress Mother. At the same time, Mother herself wastes no time plotting against all forms of technological resistance within the galaxy, and she’s finally found a trace to Mila and Andy’s home on Sampson.

ASCENDER #5, available in comic book stores on Wednesday, August 28, follows the father-daughter duo as they desperately search for a ship to take them off-planet. But will they find it before Mother arrives?

Story

In their exploration of Sampson’s dock area, Andy runs into Telsa, a ship captain friend from his past. Unfortunately, the woman is passed out on her own deck. Andy, lacking all the subtlety of a bullhorn, slaps her until she wakes up.

Their shaky relationship from the events of DESCENDER do nothing to discourage Andy’s pleas; he makes clear his determination to get his daughter off the increasingly dangerous Sampson at all costs. Lemire captures the heart of a caring father in Andy’s sincere plea: “Telsa … she’s my little girl. Me and Eff. She’s–she’s all I have left in the universe. I–I can’t lose her.”

While this reunion is taking place, Mother consults a seer and discovers Andy and Mila’s location. But the duo is not what concerns her; it’s their pet robot, Bandit, a perceived threat to her empire. She then proceeds to set her sights on the planet Sampson, just as the father and daughter attempt to make their escape.

Will Telsa agree to help Mila and Andy escape their perilous predicament? And what’s so special about Bandit that Mother would abandon everything else to pursue him? These questions and more will be answered for readers in the thrilling events of ASCENDER #5.

Artwork

Dustin Nguyen’s penciling and coloring, combined with Steve Wands’ lettering, perfectly capture the action elements present in the narrative. Nguyen crafts crisp waves in the Sampson dock area to set the scene for Mila and Andy’s attempted escape, then abruptly shifts to the explosions created by the vampire troops to effectively wreck this harmonious scene. He also makes these stark shifts in his coloring, depicting a colorful marina on Sampson while removing almost all color from the scenes featuring Mother. These sudden changes only enhance the story’s dichotomic elements, showing the overblown polarities we perceive in our world.

In addition, Wands’ lettering brings the characters to life. He too adds unexpected shifts, specifically in the dialogue, helping readers imagine the character’s reactions to the shocking events as they unfold.

Comic Cover

Nguyen’s cover artwork features a hooded figure, most likely Mother, gazing into a void full of asteroids and planets. It reminds readers of her determination to conquer the universe through her sorcery.

Conclusion

ASCENDER #5 is a fitting conclusion to the “The Haunted Galaxy” arc in this series. With such tumultuous events leaving our protagonists in dire straits, it’s anyone’s guess at how they will avoid Mother’s grasp.

Do you think Mother will clash with Andy and Mila soon? Let us know in the comments below!

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Review: ABSOLUTE CARNAGE #2 Shows The Nightmare Is Only Beginning

Colin Tessier

With Marvel Comics’ Absolute Carnage #2 (on sale August 2), writer Donny Cates continues the series’ hot start while he plunges the Marvel Universe deeper into Carnage’s bloody and nightmarish schemes.

Absolute Carnage #2

Writer: Donny Cates

Penciler: Ryan Stegman

Inker: JP Mayer

Color Artist: Frank Martin

Letterer: VC’s Clayton Cowles

With Absolute Carnage #1, Cates, Stegman and the entire art team delivered a masterpiece. The second installment of Marvel’s newest blockbuster is similarly remarkable for similar reasons. Once again, Stegman’s art, especially with the character’s facial expressions, elevate the issue to the next level. Meanwhile, Cates’ script is still rich with memorable quotes, compelling moments and, surprisingly, a few comedic moments sprinkled in with the horror.

With this series, Stegman brings his “A” game and then some. For the second issue in a row, the penciler’s detailed facial expressions add pure emotion to the story. Stegman continues to show the reader exactly what these characters are feeling, whether it’s Norman Osborn’s symbiote-enhanced insanity or Eddie Brock’s despair when he realizes his son Dylan is one of Carnage’s targets. Stegman makes the characters feel like real people and this sense of realism makes Cates’ story even more impactful.

At times, that impact is gut-wrenching. Near the end of the issue, Cates gives fan-favorite webslinger Miles Morales a few delightful hero moments. These scenes feel like Morales’ coming-out party, particularly in Cates’ Venom-centric world. While Miles and Eddie have interacted before, this issue marks the first time Cates gives Miles the spotlight in such an important way. Miles and the Scorpion are fighting a horde of Carnage’s underlings. When the Scorpion questions Miles’ prowess as a hero, he valiantly yells, “Because I’m Spider-Man!” as he gains the upper hand on the infected symbiotes. To make the moment even more cinematic, Miles’ Venom blast looks like a bolt of brilliant lightning. This combination of Cates’ script and Stegman’s art demonstrates the quality of the duo’s collaboration; both men continue to click with each other.

Miles gets another moment to shine later when he bravely sacrifices himself to save Scorpion from Norman. Here, Miles’ courageous action feels like a punch to the stomach because it comes moments after his latest validation as a legitimate hero. At the end of the issue, the future looks bleak for Miles and, rather than skeptically thinking about how the hero will eventually be fine, the reader genuinely mourns this (temporary) loss.

With a series like Absolute Carnage, you’d be forgiven for assuming that the pages would be filled with an unrelentingly horrific tone. After all, thanks to Stegman, inker JP Mayer and color artist Frank Martin, each and every glimpse of Carnage, his goons and his headquarters look like portraits of the devil and hellscapes. Plus, the rapid progression of Carnage’s widespread infection is terrifying in its own right. But Cates adds a few bits of comedy to lighten the mood and the results are wonderful.

Primarily, this comedy comes early in the issue. Venom and Spider-Man (Peter Parker) are on the side of a building with no way down. (Peter’s out of webfluid, so they’re both in trouble.) Peter starts to stress out about how they’re going to get out of this predicament. With a silly, toothy smile on his face, Eddie practically says, “Don’t worry, be happy.” Eddie proceeds to grow dragon wings and fly away while he carries Spider-Man. Naturally, Peter freaks out and VC’s Clayton Cowles humorously runs Spidey’s words together so they read, “WhatisgoingonrightnowIhateallofit!” You wouldn’t expect to laugh out loud during a horror story but, once again, Cates and the art team continue to defy expectations in the best way possible.

Absolute Carnage #2 continues the series’ strong start and, thanks to the consistently addicting story and Stegman’s beautiful art, it’s clear that Marvel has another winner in its hands.

What’d you think of Absolute Carnage #2? Where do you hope to see the story go from here?

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Review: Fast-Paced Action-Horror in ABSOLUTE CARNAGE: MILES MORALES #1

David DeCorte

Just because you’ve never been bonded to a symbiote, that doesn’t make you safe. Miles learns this the hard way in Absolute Carnage: Miles Morales #1, out this week from Marvel Comics.

The Scorpion (Matt Gargan) attempts to rip-off an armored truck, coincidentally right in from of Miles. The two faceoff, with the young Spider-Man actually starting to gain the upper hand. Just then, Carnage’s squad of symbiotes crashes the scene, and Miles is caught up in the middle of the horror.

The Writing

If you weren’t aware, this book exists as a side-story to the Absolute Carnage event currently unfolding. The entirety of Absolute Carnage: Miles Morales #1 is, in essence, one continuous action sequence. The book picks up with Gargan’s heist, and remains firmly planted in the moment-to-moment sequence of events.

Beyond the intense action, the issue serves to reinforce Miles as one of Marvel’s most idealistic characters. The Scorpion serves as a perfect foil to Miles; the former is cold and viscous, the latter unfailingly principled. Upon realizing the symbiotes are not consciously attacking him, Miles insists they try not to hurt them. Scorpion, for his part, is wholly uninterested in whether the assailants live or die. This characterization comes through loud and clear in the book.

“We can do this without killing them!” Miles exclaims at one point, to which Gargan replies “Maybe. But where’s the fun in that?” This contrast of personalities is a deliberate move on the part of writer Saladin Ahmed, who describes Gargan in a recent interview as “a surly, thorough scumbag – a monster of a person” (warning: interview contains spoilers).

Absolute Carnage: Miles Morales #1 is engaging and compelling from beginning to end. The only real problem is that it isn’t really essential to the overall narrative.

The book relays events we see unfold in Absolute Carnage #2, only viewed with a focus on Miles’s story, rather than Eddie Brock’s. If you haven’t yet read that book, the events here will likely come as a surprise. That said, Absolute Carnage: Miles Morales #1 doesn’t bring much new information to the table if you’ve read it already.

The Artwork

As mentioned, the book is essentially one continuous action scene. With a lesser artist on duty, it could have easily devolved into a hard-to-follow blur of confused and disjointed illustrations. Fortunately, artist Federico Vicentini proves up to the task, providing some excellent visual work for Absolute Carnage: Miles Morales #1.

The work captures the chaos with vivid, dynamic energy without disorienting the reader. The artist lays out each page in a different manner, but follows a regular, starkly-delineated scheme from one panel to the next. As a result, we can follow from panel to panel, never feeling lost or unmoored. Vicentini’s character designs are angular, yet sleek and stylized. The style lends itself well to the action on the page and drives home the energy of the storytelling.

Erick Arciniega provides colors for Absolute Carnage: Miles Morales #1. His work is vibrant and meshes well with the dynamism of Vincentini’s illustrations. He shadows streaking figures in motion, distinguishing them from stationary objects and making the figures leap off the page.

Final Thoughts

Absolute Carnage: Miles Morales #1 is a fun and action-packed read. If you’re only interested in material essential to the larger Absolute Carnage event though, it can be skipped. Check it out for yourself at your local comic book shop.

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