After the resounding successes of Charles Soule and Giuseppe Camuncoli’s Star Wars: Darth Vader – Dark Lord of The Sith, as well as Kieron Gillen’s Star Wars: Darth Vader series, it only seems logical that Marvel would continue to pump out Vader stories. The question that arose was, is this necessary? How many more “Character-Defining” stories can one mostly silent menacing figure have? Unfortunately, the answer given in Greg Pak and Ramón Bachs’ Star Wars: Age Of Rebellion- Darth Vader #1 is not that inspiring. And the resulting book is an overall “meh” as an outcome.
Pak’s story revolves around Vader following the orders of Governor Ahr “to the letter.” Once Ahr realizes he has a killing machine at his disposal, he sends Vader on a variety of quests to destroy, and in some instances humiliate. Because why not? There is no way this relentless killing machine with the textbook definition of an evil leader will ever rebel against you right?
The main problem with this chapter is how little revolves around Vader’s thoughts. The reason Soule and Gillen’s scripts were so successful and impactful in the mythos of Vader was that they dealt with the tumult and emotions of an outwards emotionless, stagnant character. The only insight into Vader’s character in Pak’s script is that he hates kneeling to superiority, especially Palpatine. But anyone who has read a Star Wars comic or even watched a Star Wars movie can already figure that out for themselves.
Pak writes Vader as more of a tool to be used by the governor and the emperor than a character, which is fair because that is probably how these characters view him. Still, it feels like most readers have seen this utilization of Vader previously and more effectively. The story does end with Vader possibly taking control of himself at least reasserting his dominance over the Ahr, but it is worrisome that this is in the last panel. Hopefully, Pak runs with this newly politically dominant Vader in future chapters.
Vader’s back in charge
Bachs’ art is fairly mediocre as well. There are some panels in which he truly shines, like any time Vader is central to the panel, Bachs really nails how imposing of a figure Vader is. And the flashbacks into Vader’s past had an interesting panel arrangement, and the positioning of Vader against the memories spoke to when Anakin embraced the dark side.
The set pieces, however, really suffer in this chapter. Panels that could be colossal splash panels feel glossed over and lackluster. One of the first ones of Vader’s ship attacking the rebels has a surprising lack of detail in the background, even for moving at high speeds. There is a scene in which Vader descends on a war-torn planet to take care of essentially an army of wild droids, and Bachs liters the planet with only a couple of figures. Bachs could have had some real fun with interesting character designs or destroyed buildings, but instead, there are only a few droids and some dilapidated buildings that might as well be rubble.
There is potential in Star Wars: Age of Rebellion Darth Vader #1. Pak and Bachs inherit an iconic character with an immense presence, and they seem to hint at more of Vader in future issues. And it is a tad unfair to compare Pak and Bachs’ run to two of the most defining stories in the history of this character. Even when this is considered and Pak and Bachs’ run stands on its own, it simply is pretty underwhelming.
DEATHSTROKE #45 hits your local comic books store on July 3, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive six-page preview of the issue to share with you.
DEATHSTROKE #45 is written by Christopher Priest, with art by Fernando Pasarin, Jason Paz & Wade von Grawbadger worked on inks, colors are by Jeromy Cox, with Willie Schubert’s letters. Ed Benes, Richard Friend, and Dinei Ribeiro worked on the cover; with a variant cover by David Finch.
About DEATHSTROKE #45:
In the wake of Slade Wilson’s death, a new Deathstroke has vowed to complete his last, unfinished assignment. But the master assassin Shado has plans of her own, looking to step in for the late, great World’s Greatest Assassin and usurp his place in villainous hierarchy. Meanwhile, Rose Wilson discovers the identity of the person responsible for her father’s death. Can her brother, Jericho, stop her from seeking vengeance?
Also, in this issue, Slade Wilson’s son Jericho accepts Lex Luthor’s offer of power—but he’s determined to use it as a force for good”…so why is Lex smiling?
Take your first look DEATHSTROKE #45:
What do you think of Priest’s run so far? Comment below with your thoughts.
For those worried that DC Comics was moving away from edgier material after last week’s Vertigo news, worry no more. Joe Hill, the mind behind NOS4A2 and IDW’s Locke & Key, is bringing his horror chops to DC for a new imprint called Hill House.
As part of DC’s press release, Hill had this to say:
“At Hill House Comics we aim to shock the senses and soak the page in red, with new, hooky horror from seasoned old hands and young masters of the field, all set free to share their most disturbing nightmares…for your pleasure! The books are backed by DC’s second-to-none comic book craftsmanship, and we’re working with the very best editors on parole from Arkham Asylum to craft unputdownable tales of menace and madness. I can’t wait to share some fresh scares with comic book readers everywhere. It’s going to be fun.”
Mark Doyle, formerly the guiding editor behind Vertigo, added:
“Joe is a modern master; his ability to blend visceral, high-concept horror with heartfelt characters is what has grabbed the attention (and throats!) of millions of readers. His vision and taste are unparalleled; you can see it in the incredible talent he’s assembled here, and the stories they’re crafting are bringing the next generation of horror to DC.”
Hill House will be part of DC’s Black Label, and will initially launch with five titles. You can read the whole press release here.
Check out the first wave of titles:
BASKETFUL OF HEADS
Written by: Joe Hill
Art by: Leomacs
Covers by: Reiko Murakami
The rain lashes the grassy dunes of Brody Island, and seagulls scream above the bay. A slender figure in a raincoat carries a large wicker basket, which looks like it might be full of melons…covered by a bloodstained scrap of the American flag.
This is the story of June Branch, a young woman trapped with four cunning criminals who have snatched her boyfriend for deranged reasons of their own. Now she must fight for her life with the help of an impossible 8th-century Viking axe that can pass through a man’s neck in a single swipe—and leave the severed head still conscious and capable of supernatural speech.
Each disembodied head has a malevolent story of its own to tell, and it isn’t long before June finds herself in a desperate struggle to hack through their lies and manipulations…racing to save the man she loves before time runs out.
THE LOW, LOW WOODS
Written by: Carmen Maria Machado
Art by: Dani
Cover by: J.A.W. Cooper
A mysterious plague is afflicting the small mining town of Shudder to Think, Pennsylvania. It strikes seemingly at random, eating away at the memories of those suffering from it. From tales of rabbits with human eyes, to deer women who come to the windows of hungry girls at night, this town is one of those places where strange things are always happening. But no one ever seems to question why…
THE LOW, LOW WOODS is a gruesome coming-of-age body-horror mystery series about two teenage women trying to uncover the truth about the mysterious memory-devouring illness affecting them and the people of the small mining town they call home—and the more they discover, the more disturbing the truth becomes.
THE DOLLHOUSE FAMILY
Written by: Mike Carey
Art by: Peter Gross
Covers by: Jessica Dalva
On Alice’s sixth birthday, her dying great-aunt sends her the birthday gift she didn’t know she always wanted: a big, beautiful 19th-century dollhouse, complete with a family of antique dolls. In hardly any time at all, the dollhouse isn’t just Alice’s favorite toy…it’s her whole world.
Soon young Alice learns she can enter the house, to visit a new group of friends, straight out of a heartwarming children’s novel: the Dollhouse family. As the years pass, Alice finds herself visiting their world more frequently, slowly losing track of where reality ends and make-believe begins. What starts as play concludes in an eruption of madness and violence.
Childhood ends—but that little house casts a long shadow over Alice’s adult life. When the world becomes too much for her to bear, Alice finds herself returning to the dollhouse and the little folk within. The house can offer her a shelter from all her sorrows…but only if she gives it what it wants, and god help her if she tries to walk away again…
DAPHNE BYRNE
Written by: Laura Marks
Art by: Kelley Jones
Covers by: Piotr Jabłoński
In the gaslit splendor of late 19th-century New York, rage builds inside 14-year-old Daphne. The sudden death of her father has left her alone with her irresponsible, grief-stricken mother—who becomes easy prey for a group of occultists promising to contact her dead husband.
While fighting to disentangle her mother from these charlatans, Daphne begins to sense a strange, insidious presence in her own body…an entity with unspeakable appetites. And as she learns to wield this brutal, terrifying power, she wages a revenge-fueled crusade against the secret underworld that destroyed her life.
PLUNGE
Written by: Joe Hill
Art by: TBD
Covers by: Jeremy Wilson
In 1983 the Derleth disappeared, wiped out in a storm on the edge of the Arctic circle—the world’s most advanced research vessel in the hunt for oil, lost in the aftermath of a tsunami.
Almost 40 years later, the Derleth begins to transmit its distress signal once again, calling in to Alaska’s remote Attu Station from the most forlorn place on earth, a desolate ring island in the icy faraway. A US salvage team made up of experts, scientists, and mercenaries helicopter in just ahead of a storm—and the Russian competition—to find the abandoned wreck hung up on the island shores of the atoll. As a wintry blizzard clamps down, anomalies begin to surface: first the samples of an oil with unlikely properties, and then the sonar readings of a sunken prehistoric civilization just offshore. Still, nothing could prepare the salvage team for the reappearance of the Derleth’s crew from the island cave, no older than they were four decades ago, every one of them struck blind by an inexplicable infection…and yet capable of seeing in new ways, possessed of extraordinary powers and stripped of all but their last vestiges of humanity…
SEA DOGS (backup story)
Written by: Joe Hill
Art by: TBD
The Revolution is screwed.
In 1779 the pathetic American navy is a pile of smoldering wrecks choking the Penobscot River. Imperial Britain has amassed the mightiest fleet the world has ever known, led by the HMS Havoc, a 90-gun second rate that has sunk a forest of French, Spanish and American frigates, sketching a trail of devastation that stretches all the way from St. Kitts to Machias, Maine. The faltering Continental Congress can’t hope to match England’s sea power, and they’re just desperate enough to make a deal with the devil…or even three.
Spymaster Benjamin Tallmadge proposes allowing three lycanthropes to be pressed into British service aboard the Havoc. Three patriotic werewolves might be all it takes to butcher the ship from the inside out and paint the decks red. It’s true, their powers are infernal, their minds are mad and their loyalty can in no way be trusted. And yet what else can a desperate nation do…but let slip the dogs of war?
Are you ready for some new horror comics to hit the stands? Leave us a comment about which of these sounds the most interesting!
Fantastic Four: The Prodigal Sun #1 hits your local comic books store on July 3, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview of the issue to share with you.
Fantastic Four: The Prodigal Sun #1 is written by Peter David, with art by Francesco Manna, colors by Espen Grundetjern, Cory Petit’s letters, and Mico Suayan & Rain Beredo worked on the cover.
About Fantastic Four: The Prodigal Sun #1:
CHAPTER 1 OF 3! The first of three interconnected special issues featuring the FANTASTIC FOUR, the SILVER SURFER and the GUARDIANS OF THE GALAXY! Introducing PRODIGAL, a strange alien being who has crash-landed in the Savage Land. When he becomes worshipped by a race of swamp-dwelling barbarians, Ka-Zar and Shanna call upon the Fantastic Four to aid them in stopping the barbarians’ plans to conquer the entirety of their world. Join Prodigal on his lengthy journey to try to return home to settle old scores.
Take your first look Fantastic Four: The Prodigal Sun #1:
Review: A Driving Test Menaces The Team in FANTASTIC FOUR #11 “As with other issues of Dan Slott’s run, this installment focuses on the Fantastic Four’s family dynamic first and foremost. As long as Slott continues to do so in an enjoyable way, fans can consider the writer’s take on the First Family as a solid series that explores common domestic issues.” – Colin Tessier
Are you excited to see what David does with Marvel’s First Family in the Savage Land? Comment below with your thoughts.
In the grand scheme of things, Ft. Lauderdale, Florida is a new city. Established in 1911, there were cars before the place was made official, but even young cities have their ghosts. In this case, the phantom comes through the movie screen in the form of the Popcorn Frights Film Festival.
As legend has it, for five years the festival haunts South Florida. The cinema spirit was first sited at O Cinema in Miami, but now roams the historic Savor Cinema in Ft. Lauderdale. Audiences speak of horrific experiences resulting from viewing some of the best horror films around. Year after year, films like Terrifier and Anna and the Apocalypse made their mark in the memories of the faint-hearted. And in those five short years, the legend continues to grow and bring greater levels frightening fun.
The first big announcement from Co-Founders and Co-Directors Igor Shteyrenberg and Marc Ferman is the World Premiere of Haunt, a new film from Scott Beck & Bryan Woods, the writers of the smash-hit A Quiet Place. The dynamic duo will also be in attendance at the screening so you’ll get a chance to sit quietly watching a movie. See what I did there?
Popcorn Frights Wave One Announcements
THE DARE (World Premiere)
A rare family night for Jay takes a brutal twist when he awakens in a basement with three other prisoners. As their vengeful captor runs riot, Jay engages in a twisted battle to solve the puzzle to his past and save his family’s future. The Dare comes from the director of World of Darkness, Giles Anderson.
BIT
A transgender teenage girl on summer vacation in Los Angeles fights to survive after she falls in with four queer feminist vampires, who try to rid the city’s streets of predatory men.
SATANIC PANIC
From Chelsea Stardust (Into the Dark), a pizza delivery girl at the end of her financial rope has to fight for her life – and her tips – when her last order of the night turns out to be high society Satanists in need of a virgin sacrifice.
KNIVES AND SKIN
Jennifer Reeder’s (Signature Move) mystical teen noir that follows a young girl’s disappearance in the rural Midwest and its effect on teens and parents.
VILLAINS
After a pair of amateur criminals break into a suburban home, they stumble upon a dark secret that two sadistic homeowners will do anything to keep from getting out. The film stars Bill Skarsgard and Maika Monroe and features Kyra Sedgwick.
Depraved
From director Larry Fessenden (The Dead Don’t Die), a disillusioned field surgeon suffering from PTSD makes a man out of body parts and brings him to life in a Brooklyn loft.
Daniel Isn’t Real
A troubled college freshman, Luke, suffers a violent family trauma and resurrects his childhood imaginary friend Daniel to help him cope. Based on the novel In This Way I Was Saved by DeLeeuw the film stars Patrick Schwarzenegger, son of the Terminator himself, Arnold Schwarzenegger.
Paradise Hills
A mysterious boarding school perfectly reforms wayward girls to fit their surroundings’ exact desires. Emma Roberts (Scream Queens) and Eiza González (From Dusk Til Dawn Series) star.
Bliss
A brilliant painter facing the worst creative block of her life turns to anything she can to complete her masterpiece, spiraling into a hallucinatory hellscape of drugs, sex, and murder in the sleazy underbelly of Los Angeles.
The Sonata
A young violinist unravels her long lost father’s past, triggering dark forces that reach beyond her imagination. The film stars “tears in the rain” and Blind Fury legend Rutger Hauer.
Popcorn Frights begins August 8th and runs through the 16th.
Make your way to Ft. Lauderdale to join in the fun.
Are you excited by the films in the first wave of announcements
from the Popcorn Fights Film Festival?
The 32-page book is written by Marguerite Bennett (INSEXTS, DC Comics Bombshells, Batwoman), with art by Elton Thomasi (Doctor Who), Rob Schwager handled colors, Marshall Dillon lettered the pages, with Rafael De Latorre (SUPERZERO) and Marcelo Maiolo’s work on the cover.
About ANIMOSITY #22:
One day, the Animals woke up. They started thinking. They started talking. They started taking revenge.
A new frontier beckons to the West, but before the survivors stand an obstacle, a monster – and a horrifying truth.
Animosity is AfterShock Comics longest running series.
Check out the preview below.
Do you have Animosity on your pull list? Comment below with your thoughts on the series.
KILLERS #1 hits your local comic book store on July 31, but thanks to Valiant Entertainment, Monkeys Fighting Robots has an exclusive interview with the writer of the series B. Clay Moore.
The first issue of KILLERS is all the best parts of a James Bond film with intense action and a few twists and turns. So, it was fun to dig a little deeper into the writing process with Moore. Check out the full interview and a five-page preview below.
MFR: Clay, thank you for taking the time to speak with Monkeys Fighting Robots. Killers #1 reads like a James Bond film, what are the elements that make up a good thriller?
MOORE:First and foremost, I think there has to be some connection to the characters, even if you’ve just met them. Even the greatest action sequences don’t work if the audience isn’t concerned about the personal stakes involved.
Beyond that, I suppose there must be a goal or set of goals that can only be achieved with difficulty.
Hopefully, those elements are all present in KILLERS.
MFR: The story in Killers is a mystery, how do you balance letting the story unfold but not revealing too much?
MOORE:I think the key is trusting that the audience is interested enough in the characters to let the characters lead them into the story. Obviously, you have to reward that interest by developing the story as you go, ideally through the eyes of the protagonists.
MFR: The book is intense and full of action, talk about what Fernando Dagnino brought to the table? Do you have a favorite page from the first issue?
MOORE:Fernando excels at action, but never loses sight of the characters while doing so. I think the stuff I like best is in the London rain. Evocative of the best noir.
MFR: KILLERS is a five issue mini-series, how do you handle pacing versus page count?
MOORE:That’s a good question, but one that’s kind of hard to answer. After writing a lot of comics, I’ve sort of developed an internal sense of pacing. I can usually tell if there’s too much action plotted to allow an issue room to breathe. I also tend to think of single issued as stories within the story, and do my best to build toward a climax that hopefully leads readers into the next chapter.
MFR: JOHN WICK 3 is the most profitable of the series, with the fourth film in production. Killers #1 quickly gets you attached to the main characters, who are assassins. What is it about assassins that society loves so much?
MOORE:I think people respond to assassins with some indication of depth of character. I’m sure there’s some part of everyone that imagines being able to break away from the rules of society, and who exemplifies that better than someone breaking society’s most rigid moral and legal code? Of course, to really make an assassin compelling, you’ve got to pit him or her against someone worse than themselves, so the villain seems to be just as key.
MFR: Speaking of action films, if you were writing a script for a buddy cop film who would be your lead actors and why?
MOORE:Wow.
I could probably answer this a dozen different ways.
Here’s an odd couple that I think could work: Give me Danny McBride as the cynical veteran and Mindy Kaling as the “just made detective” by-the-book partner.
Gold!
MFR: Again, thank you for your time and best of luck with Killers!
MOORE:Thanks much!
What did you think of the interview? Comment below with your thoughts.
KILLERS #1 hits your local comic book store on July 31, with a final order cutoff of July 8. If this sounds like a book you want, make sure to tell your comic shop.
KILLERS #1 is written by B. Clay Moore, with art by Fernando Dagnino, colors by José Villarrubia, Jeff Powell’s letters, and the four covers are by Jonboy Meyers, Diego Bernard, Ken Lashley, and Whilce Portacio.
About KILLERS #1 (of 5):
Five deadly assassins are recruited into a game of cat and mouse by their former sensei, the mysterious Jonin! But what does the Jonin want from them, and what do they gain out of helping him? Each of these assassins can channel their ki—the spiritual energy within all beings—in different ways, granting them incredible powers, essentially making them “super ninjas!”
ASCENDER #3 picks up after Andy and his daughter Mila attempt to escape their home on Sampson. Mother’s vampire guards detected technology in their vicinity and sought to eradicate them. While detailing their escape, the story also takes readers into the past to show how they ended up on the planet in the first place. But more importantly, readers will learn what happened to Mila’s mother Effie all those years ago.
Story
Jeff Lemire takes readers back 10 years within the story to the events of his critically acclaimed work DESCENDER to fully establish its connection to ASCENDER. Readers witness Andy and Effie seek refuge from threatening forces, much like his and Mila’s predicament in the present.
Seeing the two storylines match-up so closely helps readers sympathize with Andy. He’s had to go through two perilous escapes, both with someone he dearly loves. But the most interesting point in this story comes when we learn what truly happened to Effie before Andy and Mila’s arrival on Sampson.
It’s clear the vampiric army of Mother has been a thorn in the family’s side for quite some time. Learning what they did to Effie will leave readers on the edge of their seats and shaking with the same anger Andy feels every day.
Art
Dustin Nguyen’s artwork brings the thrills, and horrors, of the family’s various escapes over the years. Whether it’s the lush green jungles blasts from Mother’s forces in space, we get the feeling we’re right there in the story with our beloved protagonists.
Steve Wands’ lettering is on point throughout the issue. It’s particularly entertaining effective use of onomatopoeia, such as Bandit’s likable “FRA, FRA” or the terrifying “THOOM” of the giant. These little details make all the difference when it comes to enchanting the reader.
The Comic Covers
Nguyen’s cover art features Mila and Andy in battle-ready poses with one of Mother’s dragon ships in the background, showing how the nefarious overlord is behind all of their family’s pain.
Conclusion
ASCENDER #3 does an amazing job of telling Andy and Mila’s backstory, drawing important parallels when necessary. It’s exciting to see a prequel comic have such an impact on the subsequent story.
What did you think of the backstory told in this issue? Let us know in the comments below!
Paper Cuts,a new anthology comic book currently on Kickstarter, is a strange book. You won’t find a common character, or genre, or theme within its pages. It features a collection of stories by talented writers and artists, most of whom are alumni of the Comics and Illustration program at Memphis College of Art. What you will find in the book are diverse, off-the-wall short stories and artistry styles that you won’t find in any conventional comic book store, but deservedly should be.
According to editor Shane McDermott and art director Elliot Boyette, the Paper Cuts team “compiled some 170 color pages of grade A comics into a collection worthy enough for your bookshelf. There’s 15 amazing artists telling just as many fantastic stories that will take you to everywhere from the dreams of a professional wrestler, to the wild west to the nonsensical post-apocalyptic future.
“While this project was sprouted from a few college friends at the Memphis College of Art, it’s grown to include many talented individuals from across the United States. Comics from creators both established in the industry and up-and-coming names ready to explode off the page.”
Story
Each story found in Paper Cuts is wholly different than the next. You’ll find an absurd comedy about a superhero manager of a fast food restaurant, as well as a drama about a soothsayer maid in the Victorian era. While each story in Paper Cuts have their own unique qualities, there are a few standouts that should be mentioned.
The first is entitled Quiet by Aspen Aten, a poignant story about the depression that follows after a hard breakup, and the character’s ascension to finding herself and falling in love once again. Aten uses narrative captions to tell the majority of the story, which is meant to feel like the main character is writing a letter to her ex-girlfriend. It is a sweet and somber story which all can resonate with.
The next story worth noting is The Ghouls, The Bat, and The Ugly by Shane McDermott. It’s a gothic western filled with so much good worldbuilding in ten short pages, you just want to know everything about it by the time you read the final panel. McDermott planted the seeds for a spellbinding story set in an intriguing universe of zombie cowboys, seamonster barkeeps, and a wicked witch of the wild west.
Art
The artwork in Paper Cuts is no different than its writing. Each short has a unique style and texture that evokes distinct emotions.
Junk Food by Elliot Boyette is about a heroic survivor coming to the aid of an injured scavenger in a bizarre, post-apocalyptic world filled with mutants. Boyette’s style is reminiscent of Steven Universe, with thick, curvy linework and big, enthusiastic eyes. The illustration style offers a nice balance to the absurdity that takes place in the story.
Fade by Robert Burns takes place in a junk-punk future, where a young woman is on the run from goons through a garbage-laden, overpopulated city. It’s erratic lines really helps evoke the chaotic and messy future being showcased. The minimal use of colors gives the story and setting this otherworldly atmosphere.
Conclusion
Paper Cuts, with its mixed bag of stories and artwork styles, is an offbeat book from storytellers with wholly unique perspectives on the world, and is well worth your time and support.
You can support Paper Cuts on its Kickstarter page, or learn more about the book and its creators on its website and Facebook page.
The Flash is in the midst of his first year, and it’s been quite an eventful one. After coming back from the future, Barry defeats the Turtle in an attempt to rewrite it. The villain is sent to Iron Heights, and Barry continues with his superhero career. Iris has also been making leeway with her career as a reporter. Their careers cross paths when the plucky reporter tries to approach a group of blue masked thieves. They attempt to kill her, but Barry speeds in and disarms them all. He runs home to see he took one of the bullets. How will the Flash survive this incident?
**Some Spoilers Below**
Story:
Picking up from right where we left off, Barry works to extract the bullet from his chest. While in the midst of his work, Iris quickly knocks on his door. She’s troubled for putting people in the line of fire and needs her boyfriend. Barry quickly removes his bullet, as well as learn of his accelerated healing, and opens the door to Iris. After a night together, Barry heads to Iron Heights to talk to Turtle. We learn that, much like our hero, Turtle was a scientist who got into a lab accident. The villain soon reaches out and touches Barry, learning instantly he is the Flash.
This chapter of Flash Year One has many ups to its story. Right from the get-go, we dive into one of the character’s biggest staples: his relationship with Iris. The opening nails their relationship to a tee and reminds readers why they’re such an iconic couple. She’s just as prone to running in as Flash, and he can ground her as well. The entire opening was incredibly sweet and left me smiling.
The Turtle’s section was also incredibly exciting. I am not sure if this is a reimagining of his origin, but it gives a connection to Flash I never thought possible. It makes the character more relatable as well, as he was a quiet, nerdy kid before his transformation. The only thing that makes the story any better is the ending, which if you’ve been reading up to this point, will leave you with a smile. This story is on the fast track of becoming a Flash classic. Here’s hoping it ends on a high note with one final epic battle.
Art:
Porter’s art continues to kick ass. He’s always done well during this arc, but this one was able to accomplish two goals. Porter can keep characters grounded and make the slower, more character-driven scenes more realistic. The conversation between Barry and Iris bleeds emotion through dialogue, but the art makes it even better.
While we don’t get a ton of it this issue, Porter also does a great job with the powers. Flash’s and Turtle’s powers clashing is always a sight to behold. Hi-Fi takes it a step further with colorwork that’s pleasing to the eyes. The art is definitely the constant great of this arc and makes this reviewer come back.
Conclusion:
Just when readers thought the story would fall flat, the Flash Creative team brings out this curveball. We have magnificent character building, a necessity for these Year One stories. Porter continues to shine With his art style, as well as paired with Hi-Fi’s colorwork. This is just a fantastic issue and chapter for Flash Year One.
