Fantastic Four #11 hits your local comic books store on June 26, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview of the issue to share with you.
Fantastic Four #11 is written by Dan Slott, with art by Paco Medina, Kevin Libranda, Paolo Villanelli, and Juanan Ramírez. Jesus Aburtov is the cover artist on the book, with Joe Caramagna’s letters, and Esad Ribic worked on the cover.
About the issue: LICENSE TO QUANTUM DRIVE!
Franklin and Valeria are growing up fast…but not fast enough to legally operate Fantasti-Cars in NYC! But wouldn’t you know it, the day of their big driving test is at the exact moment the entire Microverse might implode and take our reality with it! Get ready for a cosmic adventure with Marvel’s first family…and two members of New York’s Department of Motor Vehicles. Going to parallel worlds? Easy. Parallel parking? Kinda hard!
Take your first look Fantastic Four #11:
Do you have Marvel’s first family on your pull list, what do you think of Slott’s run so far? Comment below with your thoughts.
American Soul is a BET series looking into the rise of Soul Train, the long-lived American dance program that thrived off of the music of the day and making the new show sound just right is music supervisor Ashley Neumeister.
Soul Train started in Chicago in the early 70s before making a move to Los Angeles and prominent national exposure. American Soul starts there and takes us through the life of the long-time host and the show’s creator, Don Cornelius. Artists like Kelly Rowland and Wayne Brady show playing legendary singers like Gladys Knight and Little Richard, and another multi-award winning artist wrote several original songs for the show’s characters who are aspiring entertainers.
PopAxiom caught Ashley between a spotting session and preparation for an awards show to talk about being a music supervisor and American Soul.
Something In Music
Ashley grew up in “… A really small a** town …” La Crescent, Minnesota. Population: 4,830 (as of 2010).
“My parents were big music lovers, so music was always a big part of my life.”
Growing up, Ashley listened to everything, but also learned “… piano,” and, “… sang in the choir.”
As she definitively puts it, “I just loved music.”
Musical passion took Ashley to “… Columbia College in Chicago to study Music Business. I didn’t know what I wanted to do, but I wanted to do something in music.”
Ashley focused on being a record producer, but near the end of her time at Columbia, she felt “this isn’t what I really want to do.”
Ashley joined a new program at the school in Music Supervision. “I quickly realized that was what I wanted to do.”
We’re in a world of non-stop movies, network TV, premium cable, video games, and streaming. “We’re working all year round.”
The job of a music supervisor like many jobs in film and creative projects “… changes depending on the project.”
What does Ashley do? “In addition to finding music for scenes, it’s about getting the rights to use the songs, which is incredibly time-consuming.”
“You’d think it [getting rights] would be a lot easier, but it’s challenging.” More on that later.
Ashley adds about her role as music supervisor that she will, “Reach out to the people. Negotiate fees. Stay within budget.”
But it doesn’t end there. Or start there. It’s whatever needs to get done. “Sometimes, we help hire composers and provide support with that process. I would manage on-camera performances too. Getting the talent to make that happen.”
Ashley also needs to clear songs, a process that goes through phases, deliver audio to the stage for live performances, and getting it to the music editor. “It’s a lot of little things that you have to manage and be aware of.”
About American Soul
Wayne Brady as Little Richard in American Soul on BET
For American Soul, Ashley had to do pretty much all the above. The process included some legendary talent. “The three main characters of the show are an aspiring group. We had five original songs written by Kenny “Babyface” Edmonds.”
During the process of creating those songs, Ashley, “… had to make sure the lyrics make sense with the script.”
Soul Train featured an incredible amount of music in its 35-year history. American Soul has original songs, plus a brilliant score from Kurt Farquhar, but also, “We re-recorded 25 cover songs; early 70s R&B hits. That involves a lot of things.”
On rare occasions, Ashley notes, “… writers will write in song titles. I will see that and let them know if it’s possible or not.”
“Most of the time, editors cut in songs because editors love to edit to cut to music. I try to give them the music ahead of time. For American Soul, I gave the editors a bunch of different folders for stuff that could work bar scenes … diner scenes … that way they’re pulling from a folder of stuff that we can use.”
Challenges
The role of a music supervisor comes with many hats, which makes it challenging which, in turn, makes it fun for the people who love to do it. The first challenge Ashley mentioned before — song rights. “One of the biggest challenges really is who owns music. Who are the writers and publishers of a lot of music and finding that contact information.”
The legal rigamarole is real. “There are a lot of songs that are in conflict, and no one knows who really owns it.”
The second biggest challenge? “… Deadlines. TV moves fast.”
Wrapping Up
If you could work on a remake of a favorite film, what would it be? “Footloose.”
When it comes to what kind of music she likes, Ashley puts it simply, “I listen to everything.”
What’s she listening to lately? “I work on a lot of shows that use R&B and soul music, so I’ve been listening to a lot of that. One of my favorite artists is Jacob Banks. I’ve used a few of his songs in my shows. I also love Masego; also a soul singer who plays saxophone, and does a lot of really cool collaborations.”
Ashley’s work continues on “… Games People Play” on BET. Also coming up is “Ambitions on Own.”
Thanks to Ashley Neumeister and Rhapsody PR
for making this interview possible.
Want to read more interviews like this? Click Here.
Dark Horse Comics and Berger Books continue to impress the market with complex, compelling, and imaginative comics. Invisible Kingdom is one of the highlights of this publishing line and the fourth issue was released this week.
An outlandish world full of corruption, greed, and hypocrisy great the reader as they return to the adventures of a trainee nun and a disgraced cargo ship captain. After being chased by a floating monastery, can things possible get any worse?
Writing/Story
On the run with nowhere to turn, Vess and Grix must work together to survive in the hostile world they find themselves in. But with the militant arm of the Renunciation on their trail is there any chance of escape?
After the scene setting and character building of the previous issues, G.Willow Wilson concentrates on the action in the latest issue of Invisible Kingdom. The characters still play an important part, and it is in the subtleties of Wilson’s script where the character’s shine. The central cast each have their own distinctive voices and mannerisms which help scenes to play out in a particular way. Wilson is able to manipulate a sequence of events through the character interactions so that certain tones are brought out. The tenseness on the ship is built via the characters, just as the sense of loneliness and abandonment is later in the comic.
Even with the outstanding action taking place, Wilson manages to make Invisible Kingdom about the characters and their greater fight against the ‘State’. The Sundog spaceship is a vessel of castaways, people isolated from their own kind, and their desperate situation brings them together. The overriding theme of this comic is one of individual acceptance, a message that Wilson isn’t afraid to place front and centre in the story.
Invisible Kingdom #4 Credit: Dark Horse Comics
Art
The personal interactions between the cast members are often portrayed in the smallest of moments. Christian Ward has proven that he can present out of this world scenery with beautiful art work and spellbinding layouts and in issue 4 of Invisible Kingdom he turns that magic towards the character. Sly looks between shipmates, and intimate moments show off the acting ability of Wards characters. There are some images that portray strength and confrontations while others are sentimental and touching.
The emotional aspects of the central cast are laid bare in these pages, hooking the reader. It is impossible not to feel for their plight or become engrossed in their relationships. Ward illustrates the action with dynamism and energy but it it is the infusion of raw emotion in the panels that really makes the storytelling so spellbinding.
Sal Cipriano’s lettering blends into this sea of beauty despite the whiteness of the speech balloons. This is achieved by having uneven boarders on the speech balloons so that the black lines are not solid or ridged. It is as if the art work is encroaching on the speech, taking it over. This becomes more noticeable when the Hammer of the Path vessel turns up and the spiked balloons force themselves into the lives of the heroes. The violence and anger of the captains voice is visually represented through the speech balloon giving it emphasis and domination over the scenes.
Conclusion
Invisible Kingdom has grown as a comic month on month which is impressive considering how good the first issue was. The art work is without question beautiful to behold; it is daring and exciting but the panel compositions are also dramatic and emotional. The script is clever and subtle and the story is compelling.
Wilson, Ward and Cipriano have created a masterpiece of science fiction. It is an adventurous tale of space exploits but also a commentary on current social acceptances. Easily the best place to get your science fiction fix.
Arthur Curry, a.k.a. Aquaman, met the powerful oceanic deity known as Mother Shark last issue and continues to probe her for answers to his past. The hero desperately needs to know how he died after the events of DC’s Drowned Earth event. Fortunately, Mother Shark is ready to answer this query but with a warning that the memory could leave him devastated.
An Aquatic Love Story Gone Wrong
Kelly Sue DeConnick dives into the second part of AQUAMAN’S Mother Shark storyline by featuring a deep conversation between the deity and our hero. Mother Shark begins by posing an important question: Out of all the poor souls who’ve lost their lives at sea, why did she save him? This gives Arthur great pause as he recollects the most memorable moments in his life, but each memory comes back to one person: Mera.
It is here readers get to relive some of the most intimate moments between the couple, experiencing the highs and lows of their relationship. One feels the pangs of loss as Arthur slowly realizes that the love of his life was somehow involved in his death.
DeConnick continues prying open these forgotten memories throughout the issue and eventually reveals the sequence of events leading to Arthur’s supposed death. It’s exciting to read a story that starts slow and smoothly builds up to the secret’s unveiling. This is definitely a story AQUAMAN readers will not want to miss.
Breathtaking Artwork
Viktor Bogdanovic’s penciling and inking, coupled with Daniel Henriques, Jonathan Glapion, and Ryan Winn’s additional ink work, provide incredible details to the underwater world, whether it be the Atlantean throne room or the depictions of Arthur’s classic superhero suit. And with Sunny Gho’s coloring readers are able to feel fully immersed in this aquatic landscape.
Clayton Cowles’ letters continue to prove worthy of this comic, especially the bubble-like styling he applies to Mother Shark’s speech balloons.
The Comic Cover Art
Robson Rocha, Alex Sinclair, and Henriques’ main cover artwork features a skeletal version of Arthur kissing Mera on their wedding day, alluding to the death the hero recalls throughout this issue. Josh Middleton’s variant edition adds more life to Arthur as he swims across waves in triumphal fashion.
Conclusion
AQUAMAN #49 delivers on the answers the series promised readers many issues ago. But this reveal was well-worth the wait. We’re excited to see what Arthur does with his newly restored memories.
What did you think about Arthur’s death mystery reveal? Let us know in the comments below!
Following Bruce’s encounter with Bane in our last issue, Batman #73 sees the two Batmen roaming the desert, cowboy-style. Thomas’s ultimate goal, his reason for working alongside Bane, is simply to get Bruce out of the super game. How he plans to do it, though, is the matter at hand. The shock reveal in the issue’s last pages seems to pull it together.
The Writing
Tom King’s writing on Batman is marked by obscured, seemingly surreal sequences that eventually come into focus after the fact. He lets the mood foment as events occur, then applies context to give the narrative shape. Batman #73 is no exception to this approach.
We open with an unconscious Bruce Wayne being driven through the desert on horseback by his father. The horse drags a coffin behind it, and all the while, we have Thomas Wayne ceaselessly delivering the lines to the folk tune Home on the Range. The book seems fairly inscrutable for its first two-thirds, but snaps into focus with information revealed toward the book’s end.
Thomas’s use of the song seems to harken to a desire for escape and simplicity. He wants a kind of return to innocence, the significance of which becomes clear with the reveal in the last three pages.
It’s hard to issue a solid verdict here. The writing is strong and consistent, based on the approach laid out above. That said, Batman #73 will likely be a polarizing issue among longtime fans. The issue resolves some questions, such as key elements of Thomas Wayne’s motivation. But, for every issue resolved, more come about; namely, as it pertains to the book’s ending: “if this were always an option, why is it only coming up now?”
Tom King said what he’s doing with Batman is “going to change the character for a generation, or maybe more. Maybe forever.” If this issue is an indicator of where we’re headed, that’s entirely possible. We’re yet to see whether it will pay off.
The Artwork
Mikel Janin turns in another strong showing for Batman #73. The book’s first half is full of heavy silences and sparse dialogue, and Janin captures this well. We feel the space as Bruce and Thomas wander the desert. Dramatic shots of Thomas riding on horseback while dragging a coffin behind him pay homage to Django and other spaghetti westerns. It lends itself well to the ambiance and atmosphere of the issue.
The book splits its time between wide, painterly illustrations and tight, regularly-spaced, close-cropped panels. The work feels cohesive throughout, though, and flows nicely.
Jordie Belleaire bathes Janin’s illustrations in earthy tones. Reds, oranges, and browns are the dominant tones through most of Batman #73. Only occasionally does the artist break this scheme, opting for ethereal evening greens and lavender sunrises. It’s not always naturalistic, but rather a skilled impression of the time of day.
Final Thoughts
Batman #73 is likely to be another polarizing issue among fans. If Thomas is to be believed—and based on King’s statements, he is—these next issues could change Batman forever. I won’t give spoilers, but it threatens to essentially strip away Batman’s raison d’etre. We’ll have to wait and see what the consequences may be.
Award-winning composer Kurt Farquhar brings 70s vibes to modern TV to score American Soul, a BET series that looks at the rise of Soul Train the long-lived music-dance television show.
Soul Train ran for 35 years and featured some of the most amazing musical talents during its run. American Soul is c0-produced by Anthony Cornelius, the son of Soul Train’s creator and long-time host Don Cornelius. Of course, this is a dramatized version of it all, but it features musical stars just the same with the likes of Kelly Rowland playing Gladys Knight, Michelle Williams playing Diana Ross, and Wayne Brady playing Little Richard.
PopAxiom got on the dance floor with Kurt Farquhar to talk about making music for shows likeBlack Lightning and The Neighborhood and putting the rhythm into American Soul.
Symphony To Soul
Kurt began playing music “very, very young, around the age of four,” and his mother encouraged him to “play guitar.” However, Kurt, “Didn’t take to it.” Flash-forward, a few decades and Kurt, can now play 20 instruments, but “… I still can’t play guitar.”
“Oddly enough, I write for guitar really well. Just can’t play it though.”
Despite lacking the skills for the guitar, Kurt says, “I was very much a rock and roller when I was a kid. A lot of Hendrix and Jethro Tull.”
Kurt wrote his first symphony at age 12, so there was little doubt music would be his professional life. “I thought that the word composer was snooty. It took a few years of doing scores for TV shows before I called myself a composer. Other people are composers,” Kurt thought, “I look at James Newton Howard, one of my favorite composers ever, that’s a composer.”
While working in TV, Kurt also worked with musicians like the Pointer Sisters, Natalie Cole, and Lionel Richie. More gigs came in from both ends, and something had to give. Unsure which way to go, Kurt called his brother, writer Ralph Farquhar, who said, “What’s going to pay the bills?” Kurt quickly replied, “… the TV stuff.” Ralph hung up. ‘Nuff said.
Like the hero in a story destined to accept his place in the grand scheme, Kurt embraced the word composer. “To go from Sister, Sister, to Moesha, and King of Queens to Black Lightning, The Neighborhood, and American Soul … it’s pretty humbling at times.”
About American Soul
American Soul premiered on BET on February 19th, 2019 and the network already renewed the series for a second season. “I’m from Chicago, so I have a personal connection with the show.”
American Soul is based on a legacy that’s rich with incredible music that appeared through the 30+ years of Soul Train. “The key to doing the show was for it to sound ‘retro’ but not ‘old.’”
Kurt’s score was going to live alongside classic hit songs plucked by Music Supervisor Ashley Neumeister and original songs written by Kenny “Babyface” Edmonds. “I wanted the score to feel like it was inhabiting the same world. Some of the mysterious or sinister scenes feel like a 70s cop show. I took that vibe from the 70s and made it slightly newer.”
“I’m proud of the sound. It’s not like anything else on TV.”
Soul Train started in Chicago, and American Soul begins as the show makes its move to Los Angeles and prominent national exposure. Kurt explains, “I wanted a lot of live musicians. So, I brought in a lot of really amazing Chicago musicians like guitarist Keith Henderson, Ray Fuller, and Daryl Jones.”
Wrapping Up
Kurt’s musical influences run the gamut of what’s out there. But he joyfully confesses, “I do love country western a little more than everything else. True story.”
What’s next? “I’m working on Games People Play on BET. It’s an exciting show. I also worked on a show premiering on Own [Oprah’s network] starring Michael White and Robin Givens.”
Thanks to Kurt Farquhar and Rhapsody PR for making this interview possible.
Want to read more interviews like this? Click Here.
Previously, on Justice League, the team successfully defeated the World Forger and the elder versions of the heroes from bringing their “perfect” society to the prime universe. In the aftermath, Superman pleaded with the World Forger to help them defeat his mother, Perpetua, and prevent the destruction of the Source Wall to save the entire Multiverse. He agreed, and when the League returned to their home, discovered that Lex Luthor televised a message to the citizens of Earth – that the Justice League is to blame for the death of the Source Wall, and that the only way to save it, and themselves, is to unleash their inner DOOM.
And so, the universally praised “Sixth Dimension” story has come to a close, and the “Year of the Villain” has officially began. The great minds behind the last few issues – Scott Snyder and Jorge Jimenez – take a brief reprieve from Justice League, handing the keys to Snyder’s former padawan James Tynion IV and Javier Fernandez. Both have done impressive work in and out of Justice League. But the work that was done in “Sixth Dimension” was consistently fantastic, and pretty difficult to top. How did Tynion and Fernandez fair in the first part of the “Apex Predator” story? Read on to find out…
** Some Spoilers Below **
Story
After being off-planet for so long, the Justice League must try to pick up the pieces of their lives—but Lex Luthor has other plans. If he has his way, he’ll show all of humanity that the Justice League will never be there in the world’s time of need!
James Tynion IV is a much more verbose writer than Snyder. Sometimes, those words have felt somewhat overwhelming, especially when trying to weave in so much plot and worldbuilding and character development. In this one issue, he is charged with wrapping up “Sixth Dimension,” set up “Apex Predator,” continue “Year of the Villain,” and further escalate to what feels like another Crisis- level event. That’s a lot of moving pieces.
And yet, Tynion succeeds in weaving the aforementioned into a solid, 20-page issue of Justice League. He does so by splitting the weight of all that story into three different threads. We have J’onn J’onnz, who searches for a cloaked man that people are using as the embodiment of fear mongering across America in the aftermath of Lex Luthor’s villainous call to action. Tynion characterizes J’onnz as a steadfast, yet somewhat paranoid detective as he hunts for the cloaked man.
Meanwhile, the bulk of the prime League-ers venture to the House of Heroes – the pandimensional Watchtower as first seen in Grant Morrison’s The Multiversity way back in 2014 – to recruit their doppelgangers in the effort to fix the Source Wall and stop Perpetua. Readers will get a kick of seeing these heroes from across the Multiverse pop up in the main continuity. Here, we get some lighthearted exchanges between Barry Allen and John Stewart, but the sequence is missing what feels like a great opportunity for characters to interact with their multiversal counterparts.
Finally, Hawkgirl leads the charge in the Hall of Justice, searching for The Legion of Doom. A number of familiar faces have answered the call, including the Metal Men, the Teen Titans, and… Rorschach. There’s also a brief bit featuring Starman, who is looking for aide across time to mend the Source Wall, which is also the wellspring of his power. This is a hero that has been wholly underutilized since popping up in Justice League way back in November 2018. He seems to have the strongest connection to the Source Wall, yet only appears in one or two pages per issue. Hopefully, they are sowing the seeds for something big involving Starman.
Art
Artist Javier Fernandez brings a classic, pulpy style to Justice League #26. It’s darker and heavily shaded, giving the book this ominous feeling that doom is looming overhead. While the bright, energetic styling Jorge Jimenez is missed, Fernandez still manages to capture the robust imagery we have come to know and love in this current run of Justice League.
The scenes in the Hall of Heroes and Hall of Justice are fun in that we get to see a wide array of heroes from other teams and other universes. It would have been great if Fernandez had more fun with the multiverse heroes, giving them a more unique look as if plucked from their respective books with the artists styles in tact. There double page spread featuring the heroes from multiple earth’s is a substantial achievement, and something to admire. However, it still felt as if something was missing from it. There should have been a little more depth and detail to help give this image the magnitude it deserves.
Conclusion
Though it isn’t as exciting as anything from the “Sixth Dimension” story, Justice League #26 is an admirable entry in this series, easily setting up its new arc, while also adding crucial bits to the “Year of the Villain” event.
What did you think of Justice League #26? Let us know in the comments!
In February of 1987, DC put out the first issue of Batman Year One by Frank Miller. It followed the story of Bruce Wayne and James Gordon as they come back to Gotham and begin working to make it a better place, as a cop and as Batman. It’s an iconic story and continued the already growing popularity of Frank Miller.
Thirty-two years later, Frank Miller comes back with another Year One story for DC’s Black Label line of comics. This time around it will be centered on Superman, a choice which is surprising to this reviewer, as Miller has made the Man of Steel an antagonist on more than one occasion. Will Miller catch me off guard and deliver a story worthy of Superman?
**Some Spoilers Below**
Story:
We open the story as most Superman origins do: On a dying Krypton. After an emotional opening that describes Clark as semi-aware of what’s happening, he ends up on Earth and is found by Johnathan Kent. The Kents adopt him and raise him as his own, taking the emergence of his powers in stride. Soon it’s time for Clark to go to High School where he faces off against his first villains: Bullies. He tries his best to keep them off the back of him and his friends, but Clark isn’t fully Superman yet. Thankfully there is a light in the school that brings him happiness: Lana Lang.
Now there are going to be people who will hate the lack of actual Superman in this book but that kind of makes it better. We keep the story grounded and more personal as we watch Clark grow up. Moments such as the narrator describing Clark needing to be soft in his throws while playing catch with father make the story feel real. This is less of a Superman tale and more of a coming of age story for Clark Kent. Every kid has felt like an outcast as he appears in the book and that’s what truly makes the character relatable.
We still have moments of Superman within this book. Moments of flying, pushing bullies, and lifting large objects. That being said, most of it is off-panel, leaving those hoping for action left wanting. By the end of the story, Clark has head out into the world which promises for plenty of action. This lack of action doesn’t detract from the story, so it can only get better from here.
Art:
The art of this book is done by the famous(or infamous depending on your point of view) artist, John Romita Jr. He does a fantastic job keeping a grounded look for this story, allowing the readers to relate more to this story. The colors and linework of Clarks decision to leave is just breathtaking. I’m not surprised they used it for previews. The only part of the issue I thought could have been better was Krypton. It’s not that it wasn’t bad, it was just nothing new. Other than that, we have one great looking Superman book on our hands.
Conclusion:
Overall, I was surprised by how much I loved this first issue. I was going in expecting this gritty retelling of the Superman origin and instead find a more down to earth tale. I loved seeing these simple moments in Clark’s life; it makes the character feel more human than most incarnations. The art helps capture that feel as well with grounded designs yet bright colorwork. The first year of Superman has begun, and I can’t wait to see what Miller and Romita have in store for us. Go pick this up today.
Chip Zdarsky’s stellar DAREDEVIL run continues with issue #7. Matt Murdock, now retired, has a copycat running around to deal with.
***SPOILERS LIE AHEAD***
Matt Murdock is living the closest thing to regular life as he can. He’s focused on his day job, his friendships, and a potential librarian love interest. Detective Cole is recovering, both mentally and physically, before returning to duty. Kingpin reveals he is stepping away from his criminal empire.
In all of Marvel’s many superheroes, Daredevil might be the one that’s most entertaining away from the vigilantism. His struggles with religion, blindness, relationships, and profession are compelling more often than not.
It’s no different with Chip Zdarsky behind the wheel, he knows exactly what buttons to push in order to extract the right drama from Matt Murdock and his supporting cast. The themes in Daredevil #7 are far from new, but Zdarsky gives them a fresh spin, taking full advantage of the current landscape Hell’s Kitchen finds itself in.
Daredevil #7 is very much about transitions and development, Zdarsky is moving the pieces on the narrative board but without halting the pace. Kingpin’s announcement was every bit the shocker it needed to be, he’ll be very interesting to follow going forward–especially when Horn Head inevitably comes back.
The citizen-Daredevil subplot and Detective Cole’s role, now release from the hospital, should make for a highly entertaining conflict. Chip Zdarsky has this book loaded with threads that are all worth pulling on.
Matt coming face-to-face with the brother of Daredevil’s victim was a powerfully executed scene. The heartbeat text getting bigger and bigger as he seeks relief in the bathroom. Not having Matt’s eyes to use forces the creative team to share his emotions and distress in more creative ways.
The final page of this issue is absolutely dynamite, another brilliant use of text. Murdock can’t help but contribute in any way to protecting the city. He is now the city’s ears, reporting any crimes that come across his heightened sense of hearing. It’s a fantastic character moment to end the issue on.
Full marks to the creative team of Lalit Kumar Sharma (pencils), Jay Leisten (inks), Java Tartaglia (colors), and Clayton Cowles (letters). The only knock against the art is the piss-poor size of Hammerhead’s one recognizable feature–his head.
Daredevil continues to be one of the best books Marvel is putting out. It doesn’t rely on over-the-top superhero action or even much comedy. Zdarsky is delivering a compelling story and continuing to show that he’s a superstar talent.
Donny Cates and Geoff Shaw’s first GUARDIANS OF THE GALAXY arc comes to an end. “The Final Gauntlet” concludes with chapter six, our heroes try to stop Thanos from being reborn.
***SPOILERS LIE AHEAD***
Donny Cates has been on fire in the world of comics for the better part of two years. This Guardians Of The Galaxy run however has been one of his weaker titles so far. The biggest thing keeping this book from being great is the team dynamic. That continues here.
One of the big selling points of this series was Cosmic Ghost Rider being apart of the team, which we’re still waiting for. The lineup we’ve been given is stellar, bringing Moondragon and Phyla-Vell back was a wise decision. These two have yet to make an impact or really be given any time to shine.
This Guardians team had us all salivating when it was announced to be the next series by the hottest writer in comics. It hasn’t lived up to it’s potential yet, not by a long shot. Donny is a very talented creator, but perhaps team dynamics and not among his strengths yet.
It’s not just the hero side of the equation either. This story is loaded with classic cosmic characters across the board. These issues of Guardians Of The Galaxy have been about throwing all these fan-favorite characters together for the sake of how cool they all are rather than giving them a compelling reason for being together.
What is the point of assembling this all-star cast of cosmic players if the story is still going revolve around Star-Lord and Gamora? The premise of this tale was interesting enough but became less and less about the race to stop Thanos and more about Quill’s relationship with Gamora. The other members of this team deserve more than being props.
There are a few moments of charm, like Eros’ final words about how “frustratingly obvious” it was for him to be the vessel for Thanos’ return.
This is by no means a horrible Guardians Of The Galaxy run, we’ve seen how bad it can get plenty of times since the famous Abnett & Lanning run (Bendis run, I’m looking at you). It’s not an awful comic book it just hasn’t been able to deliver the quality content that we should expect from this team with these characters yet.
Donny Cates may not have delivered yet but that hasn’t effected Geoff Shaw one bit. Guardians Of The Galaxy #6 is another beautiful looking book. We aren’t getting a compelling reason for this team to be together but goddamn are they gorgeous to look at.
Beta Ray Bill has never looked better than this version from Geoff Shaw. The scene where the black hole cannon is fired and the station collapses on itself is stunning. Our cosmic landscape is breathtaking and fleshed out at every turn.
Colorist David Curiel gives these pages a ton of life with the blend of cosmic colors. Each and every character and setting fill your eyes with an ocean of beauty. Visually the book has hit the marks set by our expectations.
By the end of the issue, the extra members of the team disperse and we’re left with the core of Groot, Quill, Gamora, Beta Ray Bill, Phyla-Vell, and Moondragon. While not the team we were promised at the start, this is probably a good sign for what’s to come.
With a smaller roster to juggle, Cates might finally be able to dig into these characters and give them a similar treatment to that of his other comic books. Even if we’re immediately jumping into a story about Rocket rather than take a moment to explore the rest of the team, we should be heading in a better direction.
