Review: OBLIVION SONG #18 – Eerie and Evil Existential Experimentation

Driven by gorgeous art from Lorenzo De Felici, Oblivion Song #18 out this week from Image Comics, gives more insight into the nefarious plans of the Faceless Men and their ally.

With The Walking Dead ending, Oblivion Song is Robert Kirkman’s baby now. In TWD he gave the readers many characters to fall in love with and many characters to fear. De Felici makes fearing some of these adversaries in Oblivion Song pretty easy. The monsters roaming Oblivion are already terrifying enough, so throw in some evil experimentation and it just gets worse.

Annalisa Leoni is the colorist and Rus Wooton is the letterer. Wooton is a veteran and no stranger to working with Kirkman. You’d almost expect the both to be working on every book together at this point. Oblivion Song #18 is action packed so Wooton gets to stretch out and let his talents show.

Just about every sci-fi noise you could imagine streaks across the pages of this issue. Large letters sweeping across the panels and never once taking anything away from the art in the panel. The lettering meshes so well with the art as a dominant part of the panel, but not overpowering.

De Felici has a uncanny ability to show intensity and emotion on his character’s faces. Even from a distance his characters do not have emotionless scribble faces, everything is detailed. While enjoying the action sequences in Oblivion, I always forget how beautiful his realistic environments are.

When the brothers drop in on a few unsuspecting youngsters, the neighborhood looks just like suburbia where I grew up. Fences and mom-mobiles line the streets in all their glory. Leoni uses this time to shine as the bright colors of the real world glisten brightly in the sunlight.

For anyone that has not read any issues of Oblivion Song yet, it is a more adult take on Stranger Things. Oblivion Song takes the idea of a hidden alternate reality existing in the same space and elaborates, here it is called Oblivion and there it is called the Upside Down.

WARNING: SPOILERS FOLLOW

Oblivion Song is about if the Demogorgons were collecting humans for science experiments and an entire community of people are living in the Upside Down willingly. So far no super human abilities in this book, but with TWD and Invincible having ended, maybe we’ll see a crossover at some point, maybe this is all happening in the same universe. Haha.

The first page reveals some interesting family drama. Ed mentions that Lucy and Scott have been taken, prompting Nathan to ask “Who is Scott?” When Ed reveals that Scott is his son, Nathan seems taken aback that he would name his son after their father. It would appear one of them had a much better relationship with their father than the other as Ed doesn’t have a response to that for Nathan.

From this extremely short conversation, it would give the impression that Ed had a decent relationship with his father, considering he named his son after him. Ed’s inability to say anything to Nathan’s question about naming his son Scott definitely seems like some guilt, like Nathan expected Ed to also have some disdain for their father. If this is true, it has me racking my brain why Ed would be the brother that started a life in Oblivion and not Nathan.

Kirkman is sneaking what promises to be some great family drama directly before some amazingly drawn action panels, so as readers, we forget what happened and our attention is as easily distracted as the characters in the story. His storytelling is unique and this issue is a great example of his style.

With TWD gone, readers are left scrambling for something to read, Oblivion Song provides the same amazing characters that readers can relate to and it creates a universe where the environment fights back. I can relate to Ed Cole in the simple fact that I had the same haircut in high school.

There are people you love in this universe and people you hate, and just existing seems to be pretty dangerous. If you loved The Walking Dead, Oblivion Song has all the best parts of that story with added color.

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POWERS OF X #2 – “We Are Together, Or We Are Nothing”

Brandon J. Griffin

POWERS OF X #2 unleashes the next wave of Hickman’s X-Men vision this week. Simply put, there’s no valid excuse for X-Men fans not to be reading this.

POWERS OF X 2 CVR — I HAVE SO MUCH TIME FOR TOAD’S BOWL CUT

SPOILERS LIE AHEAD

Power Of X #2 is another monumental issue, every issue of Hickman’s X-Men has been so far. At the core of this bold new direction is two men we’re all quite familiar with in a new light.

While we may have seen Xavier and Magneto on the same side before, it’s very different this time around. Moira is the key to everything in the Dawn Of X era and through her this alliance is completely new.

Rather than Magneto changing his ways or coming around to Xavier’s way of thinking live we’ve seen in the past–now there is a legitimate bridge between the two ideals. Like Charles says, it’s not about surviving anymore, it’s about thriving as a people.

To see both Xavier and Magneto side-by-side in such a manner is exhilarating in a way that we haven’t experienced before. When Charles is talking about mutants and their “rightful place” in this world, it sounds a bit like Magneto himself. That’s how impactful this re-imagining of Moira MacTaggert is.

“You must see by now there is no you and I, there is only us. We are together, or we are nothing.”

There’s a lot of powerful imagery and extremely useful “Hickman Charts” used in this issue. For an issue with almost no action, it doesn’t feel slow-paced or dull at all. Excitement is built through dialogue and imagery rather than punching…for now.

We see Apocalypse as an ally of the Mutant front in the future–alongside our new Rasputin, Cardinal and Xorn. The new cast of characters in the future are wonderful. We haven’t gotten a ton of development yet but the little personality morsels have been delicious.

R.B. Silva gives the art in this issue an intensity that allows tension to build with a dialogue-heavy script. Close-ups on characters and the emotional spectrum on display are phenomenal.

The environments and landscapes throughout each of the different time periods are distinct and interesting. Silva gives them all a personality of their own, as well as the characters populating each of them. The arrival of the Phalanx is effectively creepy.

Colorist Marte Gracia brings these intense pages to life. The blending of colors and the utilization of light in many of the panels is impressive. The redesign of the X-Men has a strong color pallet overall, but not an overwhelming or harsh one.

Powers Of X #2 is an educational issue that sets up a lot of the coming narrative while still setting the table for this new era of X-Men. Jonathan Hickman has a lot of extremely detailed information to share with us, it’s all been a joy to read so far. If the X-Men were a class to take, Hickman would be our favorite professor.

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Review: CRITICAL ROLE: VOX MACHINA ORIGINS II #2 And The Search For Grog

Corey Patterson

The courageous crew known as Vox Machina has been looking for their poor friend Grog ever since he cryptically left their encampment in issue #1. But thanks to Pike’s cleric scrying abilities, they were able to locate him in an ancient cave. Fans will see if they find a way to their wayward friend when CRITICAL ROLE: VOX MACHINA II #2 hits comic book stores on Wednesday, August 14.

Story

The tale Matthew Mercer crafted in the first season of Critical Role continues running strong in the comic book medium. And much of it is because of writer Jody Houser—she once again shows she’s more than capable of channeling the highly energetic spirit Mercer exuded in the original campaign. Each of her characters brings a vivaciousness to their unique personalities as they search for Grog.

Pike serves as the de facto guide on this particular leg of the trek and showcases some incredible leadership qualities. She brings the team together by telling the story of Grog saving her father’s life, giving the heroes’ even more motivation to find their lost party member. Pike also single-handedly takes down a gigantic spider attempting to devour Vax while maintaining a focused pursuit of Grog. It’s great to see such seemingly minor characters take on important roles in fantasy epics of this magnitude.

Readers follow the crew through dense forests until they reach the cave Grog is supposedly hidden in, but are ambushed by an army of undead skeletons. Can the adventurers band together and defeat an army of beings who have already died? Will they save their beloved Goliah? All these questions and more are answered in Houser’s exciting story.

Art

Olivia Samson and Msassyk, through their masterful penciling and coloring, respectively, conjure up a beautiful landscape any Dungeons and Dragons player would believe was part of their fantastical world. Houser also adds incredible detail to the protagonists’ expressions to fully express their heartfelt reactions to reuniting with Grog. And Msassyk’s dark shades of the forests and bright hues of the Gnome village frame the setting.

Ariana Maher’s lettering does a great job of moving the story forward, particularly in the action scenes. The way she takes note of the battle grunts and cries by cutting word balloons short helps the reader focus on the action taking place.

Comic Cover

William Kirkby’s cover art gives readers a cryptic view of Grog lying on a funeral pyre, suggesting a potentially grim fate for the hero. It helps temper readers’ expectations less they assume a happy ending from the get-go.

Conclusion

CRITICAL ROLE: VOX MACHINA II #2 reminds fans why they love these characters. The comraderie expressed in their fight to save Grog is both inspiring and entertaining. We’re excited to see what adventures the Vox Machina crew embark upon next issue.

What did you think of Pike’s prowess displayed in this issue? Let us know in the comics below!

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Review: COLLAPSER #2 – Incredible New Powers or Unfortunate New Sickness?

Cody Walker

Take some Moon Knight, mix vigorously with Event Horizon, bring to a boil, stir in some Norman Osborne, add travel through time and space for taste and Collapser #2 out this week from DC Comics is what’s for dinner.

With story by Mikey Way and Shaun Simon, art from Ilias Kyriazis, colors by Cris Peter and letters by Simon Bowland, DC’s Young Animal gives their own take on superheroes with mental illness. The vibe of this series reminds me of a Moon Knight story, except this Collapser has way cooler powers.

Collapser blends science fiction horror with dark comedy and Kyriazis’s gorgeous art. Way and Simon take a humorous approach to a story about Liam James, who’s dealing with anxiety and a new black hole in his chest.

WARNING: SPOILERS FOLLOW

Collapser #2 opens with our lead character Liam James stranded at Stonehenge. This is already an uncomfortable situation for an anxious person, so after Liam takes out some frustration on the stones of Stonehenge, a tour bus shows up. Finally, Liam can get back to civilization and chill out, but not so fast. As he’s about to board the bus he mentions he should’ve hit the stones harder, and no sooner does it leave his mouth, Stonehenge crumbles to the ground.

After transporting the bus and himself to Egypt, it’s almost as if Liam is one of the unluckiest people on the planet. His frustration and anger seem to trigger his new powers, while just putting himself in a worse situation causing more anxiety and confusion, leading to more frustration and more anger.

Anxiety is an unfortunate and tricky beast to deal with, Way and Simon use it in a way that evokes empathy for Liam, yet you can’t help but laugh at what he keeps doing to himself. He possesses a power that could easily help him get away from anything dangerous and he just goes anywhere and everywhere more dangerous than the next. That can’t possibly help ease his worries.

The taste of Event Horizon comes later when Liam is attempting to resume a normal life. As what appears to be a side effect of using black holes to move through time and space, Liam is seeing pure horror and other beings following him. Aliens and demons are materializing next to him at cafes and operating food trucks. People passing him on the street are bleeding from their eyes and mouths.

Has using black holes given Liam the horrible ability to see the evil dimensions endangering our existence? Has Liam given evil a gateway into our world? Is Liam just going insane? Has the anxiety taken its toll? Whatever it is, it has gotten the best of Liam and he can’t tell what is really happening and what he’s only imagining. His friend can no longer stand to see him like this.

As a mini-series, Collapser most likely won’t go into as much detail into Liam’s psychological damage as many Moon Knight series have. After a month passes, we see Liam hasn’t really gotten much better, only stronger is his denial. Upon exiting the psychiatric hospital and reuniting with the friend who sent him there, the entire city has the terrifying realization that what Liam has been seeing was real all along.

Kyriazis does a fantastic job in Collapser #2. The alternative dimensional beings are terrifyingly hilarious, mixed amazingly with scenes of blood and gore. The visions Liam endures leads me to believe maybe he’s seeing more than just 1 other dimension. Perhaps Liam is seeing one of pure evil and another strange bizarro world. I can’t wait to find out.

Collapser #2 is a great mixture of contrasting elements that work so well I’m wanting more and I’m out of pages. This is an intriguing new character and a story that feels like it exists within Tom King’s Mister Miracle. Hopefully, this new character has a future in DC and this is not our only tale of the Collapser.

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AMAZING SPIDER-MAN #27 – The Boomerang Show

Brandon J. Griffin

This week’s AMAZING SPIDER-MAN #27 pits Boomerang Spidey against the newly formed Syndicate who’s come for Boomerang’s head. Marvel continues to have a hot book on their hands with Nick Spencer’s run.

SPOILERS LIE AHEAD

Girls certainly do run the world here in Amazing Spider-Man #27. We get our first full look at the Syndicate in action. Beetle, Electro, Lady Octopus, Scorpia, White Rabbit and Trapster are one hell of a team and they fantastic together on these pages.

Each of these ladies are given proper character treatment and a reason for being here. Electro most of all, her story continues to develop in exciting ways. She’s one of the best lasting effects of the tail end of Dan Slott’s decade on Amazing Spider-Man.

Nick Spencer continues to grow Boomerang into one of the best Spider-Man characters. He’s a wildcard that’s always entertaining, usually hilarious. The more involved with Peter’s life away from Spidey he becomes the better.

Amazing Spider-Man #27 isn’t full of twists, turns or big reveals. It’s a blast to read, just having fun with this fight and the quick comedy bits littered throughout. The cliffhanger is a bit soft, it feels tacked on but makes for a solid story development as Peter’s life gets more complicated.

Poor Aunt May and her homeless shelter, she can’t seem to catch a break. It’s almost as if she’s caught a bit of that “Parker Luck” that’s plagued Peter all his life. When it rains, it pours.

Kev Walker provides pencils, colored by Laura Martin, inked by John Dell. The art in this issue is a major highlight. There’s a fluidity and intensity that carries throughout the entire issue.

Specifically, this might be the best Boomerang has ever looked in a single comic book issue. There’s a few panels where Walker makes Boomerang remind you of Judge Dredd–and for some reason it just works really well.

The only knock against Kev Walker here is that his Spidey looks off in some of these panels. There’s a proportion problem going on with his body parts. He has an interesting take on the web-head and by no means is this a lackluster effort–just a few panels that seem off.

Every member of the Syndicate looks absolutely gorgeous. They’re all perfectly in contrast to each other and Laura Martin balances their colorful costumes superbly. Every panel of them in action is wonderful.

Amazing Spider-Man #27 is another solid issue. The cliffhanger falls short making an impact but it’s an absolute blast spending time with all of these characters. Nick Spencer has no problem with scripts that don’t heavily rely on Spider-Man himself.

This is Boomerang’s world, we’re all just living in it.

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GIDEON FALLS #16 – A Whole New Ball Game

Brandon J. Griffin

GIDEON FALLS is the most inventive and striking story happening in horror. This week, issue #16 takes a turn into a whole new world for our cast of characters.

GIDEON FALLS 16 CVR — SORRENTINO IS A FORCE OF NATURE

SPOILERS LIE AHEAD

Things just got a whole lot more complicated for our friend Norton Sinclair. Gideon Falls #16 reveals that Norton is really Daniel Sutton, who is the young boy in the opening that falls from the tree and sees the black barn. His father was the doctor obsessed with the black barn mystery and sister to the Gideon Falls sheriff.

This issue is an anxiety attack that readers experience along with Norton. It’s a deja-vu trip that takes a turn for the worst. The work that artist Andrea Sorrentino, colorist Dave Stewart, and letters/designer Steve Wands are doing is an absolute triumph for horror storytelling.

There are multiple moments in Gideon Falls #16 that are terrifying and dreadful. This art team has a way of giving the reader that drip of anxiety and panic down the back of their skull that you get when you’ve stepped into somewhere you’re not supposed to be.

Everything about Gideon Falls is striking and iconic. The terrifying images presented in these issues are hard to shake from your head. There’s a palpable sense of dread that washes over readers anytime the story calls for it. Stewart’s bold coloring sends shivers down your spine and grabs your attention every time it needs to.

Gideon Falls #16 is chock full of twists and turns that are hard for our main protagonist to swallow. It’s a disoriented mess of overwhelming curve balls that’s scripted and presented in such a smooth manner. The way this creative team is able to deliver this complex story in this easy digestible format is impressive.

Not only does Norton get smacked in the face with information about who he really is, he’s reunited with his father at the exact moment the “Laughing Man” uses the old man’s body as a doorway into our world. This issue sets up the next chapter of Gideon Falls in a big way. We’re in a whole new world now.

Our main cast is split up and completely disoriented at the worst possible time. The way this story has unfolded is an absolute masterpiece for both comic books and the horror genre at large. Gideon Falls isn’t just important to the comic book medium, but all of horror–especially with a television show on the way.

Jeff Lemire has developed these characters and this narrative at the perfect pace. The chemistry he has with this art team is astounding. They are operating on another level of storytelling. As strong a writer as Lemire is, he almost takes a backseat to the visuals that Sorrentino provides.

The sixteenth chapter takes us in a new direction for the start of the next arc. One loaded with dread and terror that will surely continue to take readers on a horrifying journey right along with this strong cast of characters.

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Review: How IRONHEART #9 Brings Two Tech Geniuses Together

Cat Wyatt

IRONHEART #9, out this week from Marvel Comics brings together two unique characters; both are loved and both are insanely talented in the world of tech. The real question is, how exactly will these two dominant personalities get along?

An iconic and amusing cover if ever there was one.

***SPOILER WARNING***

Riri Williams is a tech genius. Nobody is going to argue that point, not around here. But she’s still had a bit of a tough life, and trying to balance life with being a hero is never easy. Lately, Ironheart has been on the hunt for a group of villains known as the Ten Rings – and it’s taken her to an unexpected place.

Ironheart #8 brought in an unexpected cameo out of Doctor Strange, and it would seem that the cameos are not over for Riri’s tale. This issue sees two major characters alongside several recognizable ones. You’d think that’d leave for a busy issue, but you’d be wrong.

Riri is rocking the iconic pink and gold lately.

Ironheart #9 brings back a classic icon to the tale; Tony Stark. It also gives Riri a chance to meet a contemporary of hers; Princess Shuri. Both interactions are a delight for fans, though naturally both go very differently from one another.

Crossovers can be tough. Sometimes they’ll be comical, but miss some of the vital elements that make our beloved characters who and what they are. This series managed to do justice to both named characters listed and overall made for a fun issue.

One highlight of this crossover was the chance given to Riri to see a life that is very different from her own, yet similar enough to truly strike a chord within her. The emotions expressed at these moments were subtle and understated and masked by Riri’s instant reflex to shield her feelings. It made for a very moving scene.

Our two Iron themed heroes on the same page? Yes, please!

The crossovers may have dominated the focus, but the plot moved forward along the way. Riri’s hunt is still active and has been made ever the clearer that she must find and stop the cause to this mess sooner rather than later.

Eve L. Ewing has done an amazing job writing this series so far. You can tell that she really enjoys the story she’s telling. She’s taking risks with the character, which is always appreciated, while also trying to stick to her roots. It’s a tough balance, but one that has been found nonetheless.

We have just as many questions about how Tony managed this one.

Supporting Ewing’s writing is the amazing artwork from Luciano Vecchio (pencils) and Matt Milla (coloring). Together they bring a sense of vibrancy to this world. This issue, in particular, was a standout one; thanks to the new world they were able to place Riri in.

The artists particularly excelled when it came to rendering Shuri and Wakanda – these elements were striking and iconic, in every way that they should always be. It made for a stark contrast to Riri’s vibrant colored technology that she carries with her always.

Credit should also be given to Geoffo for the layout in this issue, and you can see the extra attention given to the layout of some of these panels. And of course, VC’s Clayton Cowles once again knocked the lettering out of the park.

The reflection on Ironheart’s helmet truly does add to the scene.

Ironheart #9 took Riri out of her comfort zone, but in doing so gave her a chance to experience something new, while hopefully obtaining a new ally along the way. Combining these new interactions with the continuation of the plot was a good call – it kept the pace going steadily, while also holding our attention.

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An Arthurian Tale Like You’ve Never Seen in ONCE & FUTURE #1

Cat Wyatt

It is the year of Arthurian retellings, but ONCE & FUTURE #1 out this week from Boom! Studios is proving to be one of the most unique examples out there – full of twists and turns.

***SPOILER WARNING***

Once & Future #1 is the start of a modernized tale of King Arthur – and it’s already looking like things are not going to go the way we expected. Set in the present day, Once & Future combines archeology with history, prophecies, and supernatural horror all in one neat package.

Early on in the process, writer Kieron Gillen expressed hope of finding a new way to bring the classic tale into the future. But, naturally, he wanted to do something that had never been done before. Considering Arthurian retellings are a dime a dozen, we can hardly fault him for the logic here.

But the real question on everyone’s minds is, did they succeed? After having read the first issue in the series – it certainly looks like they have. Once & Future is everything it promised; it has a strong basis in the supernatural while holding on to history through the use of character backstory and archeological hints.

If this image isn’t dramatic enough for you, we don’t know what is.

Once & Future #1 starts in a way that immediately grabs and holds the reader’s attention. This storytelling technique is a clever one but usually needs some further explaining later down the line. Something which our creators were happy to do, through the use of what we can only assume is one of the main characters of the series.

From there the series seems to bounce around a little bit, giving us time to get to know our main characters before tossing them into the thick of the plot. This also allowed for a moment of humor, and a chance to really see the dry wit underlying the series.

Being that this is the first issue, it’s no surprise that they spent most of the time on establishing the frameworks of the series. What is a pleasant surprise is how intriguing and fun they made the process. There was never a dull moment to be found in this issue, and instead, the conclusion left us eager for more.

The creative team for this project should be enough to grab many new fans.

The artistic team for this series is already proving to be a powerhouse. Dan Mora is the artist behind the scenes, providing the lines that are already creating such iconic moments. Meanwhile, Tamra Bonvillain provided the colors, and you can see her influence over the series. Finally, Ed Dukeshire came in for the lettering, and his work was both beautiful and understated, just like we hoped.

There was a lot to like about the art in this series. The color palette leans well towards the supernatural and the horror, while also supporting some of the lighter moods already shown. This isn’t an easy balance to achieve, but it was done effectively here.

The supernatural elements shown have been fascinating so far, leaving readers hoping for more. It’s ironic, in a sense. There was a statement about watching your obsession with monsters, only to present us with a monster worthy of studying. Was this an intentional mirror, or just a happy coincidence provided by talented artists?

Once & Future #1 has managed to take a story told countless times and completely flip it on its head. The source material is still clearly recognizable – the characters themselves don’t shy from the subject at hand – yet it’s been altered to suit the needs of the story. And that is where this series shines.

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Review: BLACK HAMMER/ JUSTICE LEAGUE: HAMMER OF JUSTICE #2- Two Stellar Teams Combine To Form A Comic That Is Just Alright

Ben Snyder

Reading Black Hammer/ Justice League: Hammer of Justice #2 is a lot like watching someone play with their favorite toys. It is clear that writer Jeff Lemire has the utmost respect for this paradigmatic super team that his award-winning Black Hammer series has made a legacy of deconstructing. While it feels odd to see someone other than Dean Ormston and Dave Stewart draw and color Black Hammer’s stellar cast, artist Michael Walsh certainly puts forth a valiant effort. Black Hammer/ Justice League: Hammer of Justice #2 out this week, is definitely a slower chapter, but the revelations it is building up towards feeling seismic.

Black Hammer/ Justice League: Hammer of Justice #2 picks up initially 10 years after the events of the first chapter with the Justice League already settled into the town of Rockwood. Batman has a history with the local law enforcement as he has been previously cited for vigilantism, Wonder Woman is a schoolteacher, and Superman has settled into the role occupied by Abraham. Simultaneously, the Black Hammer crew is coping with the fact of dealing with Starro, being placed into this bizarre new world of Metropolis, and encountering the rest of the Justice League.

Lemire is clearly having a ball placing these two groups of characters in these new circumstances. The manner in which the police officer scolds Batman while he pulls him over, is a direct reflection of how ridiculous the situation is. Batman literally got pulled over for being a vigilante but not because he was pummeling the Joker instead he is investigating who was tipping cows. This light-hearted tone is also shown when Gail is potentially faking being controlled by Starro to take a swing at Madame Dragonfly and Gail’s realization that she cannot curse in this dimension.

Colonel Weird and Green Lantern’s storyline definitely seems to be the main branch for information, which is especially odd for Weird. Weird has always been the Knowing Observer who is reluctant to spill any coherent thoughts so learning how he processes information and seeing the Para-Zone is a nice look to see why he is this way. The introduction of the Bizarro Black Hammer Crew is also a nice touch.

Michael Walsh’s art is clearly inspired by Dean Ormston and Dave Stewart’s, but it definitely fails to live up to their lofty standards. Walsh’s depiction of Rockwood is really the only setting that stands out. Walsh drapes Rockwood in heavy shadows and makes clever use of setting that story around sunset/night time, adding to the lurking unease to it.

However, in daylight, the cracks are shown. And the main detraction is how certain panels have a surprising lack of detail, especially when it concerns to Aquaman and the Green Lantern Corps. I understand that the style isn’t as focused on the fine photo-realistic details of everything, but some panels are simply unfocused. For instance, when shown the entirety of the Green Lantern Corps, one is simply shown as a blue blob in the corner. Also when Green Lantern and Colonel Weird are in the Para-Zone, they point out a mystery man in pictures and he is almost undistinguishable due to the lack of focus.

It feels disingenuous to critique Black Hammer/Justice League: Hammer of Justice #2 too much as it combines two of the most well written and/or prominent super teams in creation. But something is simply not clicking the way it should. Lemire’s script is effective, punchy, and thoughtful. Walsh’s art and Nate Piekos’s letters are serviceable. But the combination of these two sensational entities is producing something just good enough, which is just a tad disappointing.

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Review: TITANS: BURNING RAGE #1 Is Great For New Fans

Jason Jeffords Jr

Debuting in Walmart exclusive Titans Giant #1, #2 this new Titans story is available to the Direct Market for the first time as Titans: Burning Rage #1. Written by DC Comics veteran Dan Jurgens, Titans: Burning Rage #1 is an easy starting point for those interested in this long-running team. Let’s call it Titans #1 for brevity’s sake.

Minor Spoilers Follow

Jurgens throws us straight into the action with a confused Beast Boy delivering pizza to his Titan teammates who seem to be absent from their T-shaped building. With a crackle of purple air Raven arrives to wisp the green hero to help the other Titans. Once on the scene of S.T.A.R. Labs Jurgens and team introduce us to one of our villains for Titans #1; The Disruptor. Wanting to amplify his power he breaks into S.T.A.R. Labs to steal an Amplifier, which name explains itself. Gotta love naming schemes.

Failing in his task due to the Titans effort Disruptor returns to H.I.V.E., now this is where that spoiler warning comes in. Back at base Robin playfully throws the container the Amplifier resides in at Beast Boy. First off, why would you throw something such as that? That alone makes no sense especially for someone trained by the likes of Batman. To make this scene worse the container is empty, meaning Disruptor was in fact able to steal it. Why didn’t Robin check it at the scene? If it was any Titan other than Robin that could be understandable, alas it’s not, making it seem out of character.

This is the only blemish in a well-written entry issue by Jurgens that seems to not take place in DC’s canon, making it more of a side story. This and the great team introduction page midway through makes Titans #1 a fantastic opportunity of being an entry point for anyone interested in the Teen Titans. Jurgens writes each character unique and true to his or her incarnations while sprinkling in elements for fans of the past, showing how well-versed and caring he is in this universe.

The line art by Scott Eaton and Wayne Faucher’s inking reflect this ease of excess for newcomers. With each character’s action being drawn fluidly making it easy on the reader’s eyes while drawing them towards the next element. The fighting doesn’t involve anything unique or groundbreaking but this works out for the better with each moment being clear and precise. This simplicity shines in the aforementioned Titans training page with a single page showing all characters in action then transitioning into smaller panels spotlighting each member’s powers and wonderfully lettered name/logo.

Jim Charalampidis’ colors fall in line with the theme of easy access with a palette that’s pleasant for the eyes. With no colors clashing with each other or overpowering another we get what is essentially a perfect balance of a color spectrum that isn’t too much at once.

Jurgens storytelling for Titan #1 blends effortlessly with Eaton and Faucher’s fluid action. These elements mixed in with Charalampidis colors make for a great first issue for long-term Titans fans and new alike. The only abnormality in the color department being Starfire’s hair color difference on the cover and inside the comic.

Side Note: It’s weird that DC calls it Titans: Burning Rage when the team themselves say Teen Titans. The main difference being the Titans usually are in their late teens, whereas the Teen Titans are just that; teens. But tomatoes potatoes, right?

Side Note 2: The T-Tower is one of the cooler comic bases. No, that’s not up for debate.

Memorable Quote:

“But when you keep me from my pizza, you’ve gotta pay.” – Beast Boy.

I’m going to side with you on that Beast Boy, don’t mess with another’s food or food time!

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