VENOM #15 written by Cullen Bunn, with art by Iban Coello and Alberto Jimenez Alburquerque hits your local comic book shop on June 12, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for you.
Bunn writing Venom, is it my birthday? Bunn is a horror writing machine and Eddie Brock with the symbiote can be horror personified!
About VENOM #15:
Battered, bleeding and at the end of his rope, Malekith’s War Witches and their henchmen threaten to overwhelm Eddie Brock. Meanwhile, Eddie still has 9-year-old Dylan in tow… Now he just needs to keep him alive.
If Kyle Hotz has some inner demons, he put them all into the cover for this issue. Hotz gives off a quick Sam Kieth / Marc Silvestri hybrid vibe with is Venom. Andres Mossa worked on colors, and Clayton Cowles lettered the issue.
Check out the four-page preview below.
What do you think, are you going to pick up VENOM #15? Comment below with your thoughts.
Tom King’s been pretty upfront about the fact that he’s deliberately writing a long, overarching story with his run on Batman. The writer’s spent these last 71 issues constructing an intricate, interwoven narrative. Nearly three years spent unraveling the story. Now with Batman #72, those plot threads start to reconvene as we move toward the story’s climax.
The Writing
Following on the previous issue, Batman #72 is occupied by one continuous brawl between Batman and Bane. There’s no verbal interchange. There are just the two characters beating the hell out of each other while a narrator provides the monologue. The presentation can be a bit tedious at times. However, the details about the hands-on role Bane played in the story offer enough to keep the reader’s interest.
The reader can presume (probably correctly) who is speaking, but we don’t know definitively at first. The speaker recounts every step in Bane’s grand plan to break The Bat. And, over the course of the book, readers begin to see a different perspective emerge from the story.
Follow me on this one: we’re not reading “a Batman story” here. His name may be on the cover, but this isn’t Bruce Wayne’s story…it’s Bane’s story. Batman #72 forces us to see the entire run in a different light. Once we do, pieces of the puzzle start falling into place. From the beginning of King’s run back in 2016, Bane was always the character with the narrative. He’s the figure whose actions motivate and advance the plot. He’s the one who acts; Bruce, in contrast, simply reacts to circumstances. It’s Bane’s arch, not Bruce’s.
That interpretation may be controversial, but it’s backed by the text in Batman #72. “Yes, you knew then, the one truth in this life,” the narrators says, “That everyone bows to someone. And as such, that there is one man ascendant…and that man is not a rich boy in a cape and cowl.” Bane’s motivation is to prove himself, once and for all, to be Batman’s superior, as it has been since the character first appeared.
Although it’s primarily a recap, the issue feels like a turning point, propelling the narrative toward its climax. Thus, the reader doesn’t feel cheated by a simplistic rehashing of our story up to now.
The Artwork
The art team of Mikel Janin and Jorge Fornes provide solid, and occasionally striking images here. The inks are heavy and shadowy, with just a touch of cartoonish flair.
As mentioned, much of Batman #72 is dominated by the fight between Bane and Batman. These pages keep their focus fairly tight on the characters, but you never feel lost or disoriented. The visuals flow well from page to page. Every two pages, the artists open up to a full spread, presenting key moments from the series up to now. They’re well done, and don’t interrupt the action.
That said, there’s a disconnect between what we’re seeing on the page and what we’re reading. This makes it hard to tie the two together. The end result is that Janin and Fornes’s illustrations feel like an accompaniment to the monologue, rather than as part of the whole. It’s a good show, but it feels somewhat wasted when the reader’s attention is more focused on the narrator, rather than the action.
Final Thoughts
Batman #72 is above-average for a recap issue. It refines the narrative, rather than just regurgitating it, but its value hinges largely on the next issues.
House of Whispers #10 hits your local comic book shop on June 12, but thanks to DC Comics and Vertigo, Monkeys Fighting Robots has an exclusive six-page preview for you.
The book is written by Nalo Hopkinson and Dan Watters, with art by Dominike “Domo” Stanton and Nelson Blake II, John Rauch worked his color magic, and the cover is by Sean Andrew Murray.
About the comic: Erzulie and her two sister-selves face off against the god of stories himself, Ananse, in a storytelling battle for the ages! If Erzulie wins, her husband becomes untangled from her houseboat; if Ananse wins, a prize most delectable comes his way. Meanwhile, the souls of the undeceased return to their bodies, and with them the guilt and pain of the memories of what they did during their soulless time.
House of Whispers is part of the SANDMAN UNIVERSE series of books, which launched back in August of 2018. The line revolves around the world of Neil Gaiman’s Sandman, with Gaiman himself overseeing and curating the comics.
Check out the six-page preview of HOUSE OF WHISPERS #10:
Do you have HOUSE OF WHISPERS on your pull list? Comment below with your thoughts.
Mary Shelley Monster Hunter #3 is out June 19th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive seven-page preview to share with you.
The 32-page book is written by Adam Glass and Olivia Cuartero-Briggs, with art and cover by Hayden Sherman, and letters by Sal Cipriano.
About the comic: Displeased with her first attempt at creating man, Victoria prepares to end the creature’s life mere moments after it began. Horrified, Mary convinces Victoria to allow her to educate Adam—as she names him—before making any rash decisions. Though the results of Mary’s work are astounding, the events that follow lead her to wish she had just let him die…
Brought to life by Adam Glass (ROUGH RIDERS, THE NORMALS, THE LOLLIPOP KIDS) and Olivia Cuartero-Briggs (TV’s The Arrangement) with art by Hayden Sherman (COLD WAR, The Few, Wasted Space), MARY SHELLEY MONSTER HUNTER is historical fiction at its most (After)shocking!
“not only does the book divulge the secret life of the infamous horror writer, it puts a new spin on Shelley’s own masterpiece, Frankenstein; or, The Modern Prometheus.” – MFR Critic Michael Fromm
Take a look at MARY SHELLEY MONSTER HUNTER #3:
Are you reading Mary Shelley Monster Hunter #3? What do you think of the series so far?
Hana, Kenichi, and Master Ito — our heroic warriors from Ronin Island — are trying to find their place in the Shogun’s encampment. Kenichi, with Ito at his side, enjoys the luxuries offered by his royal bloodline while Hana serves with the army grunts. Both groups hope to uncover the secret of the Byonin by flattering the egotistical Shogun, but the nefarious secret they uncover may be more than they’ve bargained for.
All in all, RONIN ISLAND #4 shows how easy it is for people to lose their humanity.
Story
Greg Pak’s trio of heroes spend the majority of this issue investigating the Shogun’s encampment for clues. The narrative shows a stark difference between the way Kenichi is treated and how Hana it treated. It’s once again made clear to readers the Shogun finds the wealth and status of people more real than the character they embody.
This theme continues throughout the story as Kenichi and Ito go through the motions of the Shogun’s formalities, all the while looking for any information regarding the Byonin.
The story continues to dive deeper into the Byonin mystery, eventually seeing Hana uncover their origin within the depths of the Shogun’s doctor’s laboratory. In a way, the Byonin serves as a visual metaphor for the pomp and frills of the Shogun’s empire — a disease that masks the true humanity of the people underneath.
Art
Giannis Milonogiannis’ illustrations for RONIN ISLAND #4, combined with Irma Knivila’s coloring, highlights the true nature of the Shogun’s encampment. We see dark corridors mixed with unearthly colored chemicals in the lab to emphasize this empire’s nefarious nature. In addition, Simon Bowland’s lettering brings the Byonin to life by creating stark font contrasts between the monsters and their pre-transformed human forms.
Milonogiannis’ penciling and Msassyk’s coloring for the main cover offers a nice preview of the story. It features Hana and Kenichi staring off into the Shogun’s camp, contemplating their next steps to both escape and save their island.
The preorder variant cover by Ethan Young, on the other hand, offers a detailed sketch of Hana navigating the ominous-looking encampment’s interior, which highlights the drama soon to be unveiled in the story. However, Kris Anka’s unlocked retailer variant cover shocks us most of all, revealing part of Ito’s skull in the shadow. Together, these covers generate enough suspense to make the idea of reading this story irresistible.
Conclusion
RONIN ISLAND #4 reveals the levels of darkness humanity is willing to pursue when fueled by fear. It’s a sobering analogy to our modern society that will haunt readers. Fortunately, Hana, Kenichi, and Ito’s courage offers an equally powerful hope.
What did you think of the Byonin’s origin reveal? Let us know in the comments below!
BOOM! Studios announced a new graphic novel on Wednesday, Over The Garden Wall: The Benevolent Sisters of Charity, hitting stores in Spring of 2020. The book is written by Sam Johns and illustrated by Jim Campbell.
Over the Garden Wall is the Emmy Award-winning animated television miniseries created by Patrick McHale for Cartoon Network. The show follows two half-brothers as they journey through the strange and haunting Unknown, with Beatrice, a talking bird, as their companion as they search for a way home. The show is based on McHale’s animated short film Tome of the Unknown, which was produced as part of Cartoon Network Studios’ shorts development program. Over the Garden Wall was broadcast throughout the week of November 3, 2014 to November 7, 2014.
About THE BENEVOLENT SISTERS OF CHARITY:
It’s another day in the Unknown but Wirt isn’t feeling too well so when they come across a stately building run by the Benevolent Sisters of Charity who take care of all sick souls, he jumps at the chance to be pampered by the doting nurses. When the nurses frown on animals entering the facility, Wirt abandons Beatrice and Greg’s frog to the elements, then drags Greg with him into the open arms of the Benevolent Sisters. Those arms wrap a bit tight, though, and even when he’s feeling better, the Sisters don’t seem to want him to leave. And where did Greg go?
“As usual, Wirt just wants some assurance that everything will be okay but The Unknown is mysterious and never exactly what it seems, so trusting the wrong people in the forest can end badly for all involved.” said Matthew Levine, Editor, BOOM! Studios. “Sam and Jim guide our young adventurers through this particular health scare with plenty of twists and surprises along the way for fans of Over the Garden Wall.”
The TV show won the 2015 Emmy Award for Outstanding Animated Program; you can currently stream the entire miniseries on Hulu with a subscription.
Comic books based on Over the Garden Wall have been in production since 2014, starting with a one-shot adaptation of the show and spinning out into various miniseries and graphic novels. The comics have varied from telling stories set in between episodes of the show, to stories that served as both sequels and prequels to the show.
About the creative team:
Sam Johns is a writer living in Brooklyn, NY. They graduated from Savannah College of Art and Design in 2012 and have been making comics ever since. When they’re not telling their own stories, they love to read horror novels aloud to their dog Khaleesi.
“The first time I saw Over the Garden Wall, I accidentally binged it in a single day. Since then I’ve watched it in one sitting many times… but, you know, intentionally. I’m the oldest of six siblings, so it was an absolute joy to write about the incredible bond between brothers, and the sometimes incredible fights that come with that closeness.” said Johns. “I was even able to insert some of my Mom into the story! She’s a nurse! But, like, a much better at her job, less scary nurse. I also think growing up in Pennsylvania gave me an edge. The forests there are just like the Edelwoods, and I took a lot of inspiration from hiking there with my friends!”
Jim Campbell is a cartoonist, illustrator, comic book colorist, and animator who served as a storyboard artist for Patrick McHale’s Over the Garden Wall miniseries for Cartoon Network in 2014. He has illustrated various Over the Garden Wall comic books as well as an original graphic novel Over the Garden Wall: Distillatoria for BOOM! Studios. Campbell has been drawing comics off and on since teaming up with the Meathaüs collective in 2001. He has been a color artist for Dark Horse, Marvel, Spongebob Comics, Mad Magazine, and Tony Millionaire. In his spare time, he plays in the Brooklyn band Paper Fleet.
“It’s exciting to step into the world of Over the Garden Wall with the talented Sam Johns. I’m thrilled to show fans of the show exactly what Greg, Wirt, and Beatrice are up to now as they run into yet another group of mysterious folks in the depths of the woods and try their best to survive the experience.” said Campbell.
OVER THE GARDEN WALL: THE BENEVOLENT SISTERS OF CHARITY is the latest release from BOOM! Studios’ award-winning KaBOOM! imprint, home to comics for middle grade and younger readers including licensed series such as Adventure Time, Steven Universe, Regular Show, Ben 10, and Over The Garden Wall, along with original series like Just Beyond: The Scare School by R.L. Stine and Kelly & Nichole Matthews, Hex Vet by Sam Davies, RuinWorld by Derek Laufman, Hotel Dare by Terry Blas and Claudia Aguirre, and Pandora’s Legacy by Kara Leopard, Kelly & Nichole Matthews.
For more on OVER THE GARDEN WALL: THE BENEVOLENT SISTERS OF CHARITY and more from KaBOOM!, please visit www.boom-studios.com and follow @boomstudios on Twitter.
Trapped by the Stronghold in a virtual reality and forced to live a collection of simulated lives, Michael The Primacy struggles to break free. Year after year, life after life, Michael begins to lose a grip on reality and question his purpose for being.
In the fourth issue of Stronghold from AfterShock Comics, Phil Hester and Ryan Kelly once again stretch the boundaries of the medium to tell a compelling story using techniques only available in a comic book.
Stronghold #4 Credit: AfterShock Comics
Phil Hester spends a large portion of this issue overlaying realities. He gives the reader a taste of Michael’s imprisonment interspersed with the reactions of surrounding characters. The concept of time is distorted by overlapping panels on a page thereby presenting different time dilation’s at the same moment.
The way that the characters perceive the passage of time is illustrated in such a unique way by Ryan Kelly, with one reality overlaid not only on the ‘real world’ inhabited by the Stronghold and Claire but also on top of each other. As the small panels build up like a stack of playing cards something else is happening in the central panel, which has been bled beneath everything else. This highlights the difference in perception between Michael and the onlookers but also hammers home the importance of what is occurring to Michael.
This moment represents not just an escape from the machine but a much bigger, metaphorical escape. The handling of this momentous moment in the comic by Kelly is sublime and it is punctuated with a small, emotional punch that humanises the character and the narrative.
As the story moves on, these earlier moments feed into the emerging narrative which begins to question, in an almost meta-narrative, the concept of history and myth building. Interpretation and bias is a theme that Hester and Kelly have explored in the subtext of previous issues but this idea is brought into the foreground during this issue.
Stronghold #4 Credit: AfterShock Comics
While Kelly focuses on the characters, pushing their emotional responses, Dee Cunniffe casts magic with his color palettes, bringing the settings to life and imbuing the pages with emotional context. The two main night scenes in the comic have a very similar coloring however the feeling behind them are very different and this is subconsciously relayed to the reader through the color choices not only in the panels but also in the gutters. The treatment of the gutter in Stronghold has been impressive from issue 1, taking a routine part of a comic book page and turning it into an important aspect of the storytelling.
Another aspect of the comic that is essential to the look and feel of Stronghold is Simon Bowland’s lettering. His placement of the speech balloons leads the reader around a page and focuses attention on specific panels, often by the lack of speech more than anything else. Character interaction exists both physically, thanks to Kelly’s detailed figure work, and verbally due to Bowland’s speech layouts. The back and forth banter between Michael and Claire is represented by over lapping balloons but the seriousness of some speech is emphasised by its isolation within word balloons and the speech around it.
Stronghold #4 Credit: AfterShock Comics
Stronghold is a strange story packed with numerous science fiction ideas. There are great leaps from one idea to the next and the structure of the story-line may seem a little baffling, especially as larger than life characters introduced in one issue don’t make an appearance in the next. But Hester and Kelly aren’t just telling a story about wild Alien races or secret societies, their narrative runs deeper.
Throughout the pages of Stronghold, the creators are questioning the nature of storytelling itself, and in particular the process of telling a story in a comic book format. This is very similar to Kelly’s previous work on Cry Havoc with Simon Spurrier. The entire art team uses the medium and it’s own limitations to engage the reader in an emotionally gripping way.
Stronghold is a highly impressive comic and dares to raise the stakes in superhero storytelling. The world is becoming more in tune with the unique aspects of comics, and the Stronghold team are bravely using everything the medium has available to captivate, entertain, and challenge the reader.
A new story arc, a new Artist and a new dilemma for the Scooby Gang: there is a lot going on in the new issue of Buffy The Vampire Slayer from BOOM! Studios. After the shock ending of issue 4, Jordie Bellaire is taking the series into new territory where nothing feels safe anymore.
The first arc has been a massive success drawing praise from critics and fans alike. So, can the team keep this momentum going?
Warning: Contains spoilers for issue 4. Don’t read on if you are not up to date.
Buffy The Vampire Slayer #5 Credit: BOOM! Studios
Writing/Story
This issue opens with violence and the release of anger. Bellaire channels the emotions of all Xander fans everywhere as she taps into Buffy’s rage and demonstrates just how dangerous she can become.
The pace is then pulled right back as the narrative jumps in time to before Buffy and Willow have found out about Xander’s late night encounter with Drusila. The sequence of events then touches on various relationships that the characters have and, to some degree, how they take them for granted.
In this issue Bellaire is showing the reader how the three central characters react with one another and how important their relationships are. The bound these young people had in the T.V. show was one of the foundations for the show’s success and Bellaire is daring to break that bound. However, by introducing the threat she is also examining the bound on a much deeper level. The reaction of Buffy and Willow and the cruelness of ‘vampire’ Xander all give new insights into their relationships.
This issue of Buffy is almost totally dedicated to this premise giving the plot the weight that such episodes as The Body had during the original series. Bellaire is demonstrating a series of grief reactions in the characters, allowing paternal instincts to shine in Giles, bitterness and even jealously from Drusila, and of course the desperation and anger of Buffy. It is an emotional roller-coaster of an issue.
Buffy The Vampire Slayer #5 Credit: BOOM! Studios
Art
The art work is by the new artist to the series, David Lopez. It is significantly different to Dan Mora’s work from previous issues and this is evident from page one. Lopez’s style is more expressive and distorted. He uses the dynamism of the moments to express feelings and employs almost minimalistic features to illustrate the character’s emotions.
The fight sequences have chaotic layouts and even the sedated moments seem to have less of an order to panel layout. Lopez enjoys layering his panels, over lapping them and changing their shapes to distinguish and separate moments in a scene. This is especially effective in the opening scene and Xander’s later verbal attack on Willow.
It is worth noting that Lopez does not have the same attention to physical representation as Mora did. Lopez’s art is emotionally driven so some of the characters do not always appear like photo realistic interpretations of the actors that played them. This contrast from previous issues takes some getting used to especially as there are some panels where Lopez over exaggerates facial features for an emotional effect but totally loses the representation of the character.
Lopez constructs a flow of narrative which is exciting with highs and lows. The atmosphere is produced by the color work of Raul Angulo who also adds that extra shock element on certain pages. Angulo is able to lead the reader into a situation, raising their heart rate panel by panel until the shock moment comes, in the same way instrumental music is used in horror movies.
Ed Dukshire adds subtle changes to the word balloons to illustrate emotional, or in some cases, physical alternations. Again this is most notable with Xander however the use of longer tails on the balloons in some panels give the images room to breathe while adding an air of bewilderment or shock to the panels.
Buffy The Vampire Slayer #5 Credit: BOOM! Studios
Conclusion
This issue of Buffy The Vampire Slayer is a reactionary issue. It takes the reader on an emotional journey, allowing each of the character’s reactions to take on part of the grieving process. The overall plot doesn’t advance which is perfectly fine for this type of story. Unfortunately, the few moments of larger plot development actually feel out of place and stand out too much against the grief element.
The art work also requires some adjustment time for the reader but luckily most of this is taken up in the opening sequence. Some readers may find later character representations difficult to digest but the story is strong enough to carry the reader passed these points.
This issue of Buffy is very effective and an emotional roller-coaster. It continues to propel the series forward but visually isn’t as impressive as the first four issues.
Kidnapped children, strange symbols, and secret societies form the basis of Descendent from AfterShocks Comics. While reminiscent of a 1970’s horror movie or one of Jonathan Hickman’s side projects, Descendent proves that conspiracies and their perpetrators can still fire the imagination of creators and readers alike.
Descendent #2 Credit: AfterShock Comics
Writing/Story
David Corey posts YouTube videos about his investigations into the conspiracy he believes surrounds the missing children of high ranking politicians. Unfortunately for him, he is being observed by a robed society who wish him ill.
Meanwhile Agent Hernandez is carrying out her own investigation but seemingly with no success.
Could the two meeting prove to be beneficial or will they be drowned in the secrets surrounding them?
Stephanie Phillips packs this issue of Descendent with threat and mystery. Although not excessively original in the general plot, it is the telling of the story that makes it fresh and exciting. Secret robed sects are two a penny and can be found in numerous movies, novels and comics the world over, however Phillips expands on the familiar with engaging characters and gives the whole story a modern twist.
One of the stand out aspects of Phillips script is the inclusion of humour into characters and scenes. Where you might expect straight faced situations to play out, Phillips injects a comical glance between characters or a panel of childishness that contrasts the seriousness of the moment. This integration of comedy is a dying skill in the world of intense action and sombre reality but it adds depth and a relatability to the characters. Phillips makes her central cast complex and more than the sum of their parts; they are not simple plot devices used to move the narrative forward.
Descendent #2 Credit: AfterShock Comics
Art
The main art work by Evgeniy Bornyakov is atmospheric and adopts a tense, thriller feel. The acting of the character’s works best during the static interactions; they have an emotional physicality expressed through posture and facial expressions. Where Bornyakov’s art sometimes falls flat is during action sequences. With some panels he produces an impressive composition with altering viewpoints to add suspense and drama, however there are moments that lack the required dynamism or threat.
The coloring does an impressive job of setting the scenes. Lauren Affe creates an eerie night for the graveyard scene but turns the light up for the saturated modern police station setting. The contrast between the police headquarters and the secret societal room exists because of Affe’s coloring.
There are some subtle touches to Troy Peteri’s lettering that helps the storytelling process. An occasional alteration to the tail of a speech balloon gives that particular piece of speech an added element or indicates that the speech is somehow different; this is most noticeable in a conversation between a police officer and a prisoner when they communicate through glass. Peteri is able to effectively dampen one character’s speech by changing the end of the balloon tail.
The subtleties in the art work help to reinforce the realism that Phillips utilises in her script. The narrative has an edge because the world of Descendent is relatable: this approach made the X-Files popular in the 1990’s.
Descendent #2 Credit: AfterShock Comics
Conclusion
Although there is an odd wobble in some of the panels, the overall structure and narrative flow in Descendent #2 is pleasing and effective. Phillips’ story has credibility which is backed up by the complex art work, and as such draws the reader in. She has control over the plot and shows just enough to give the reader a shock without making everything obvious.
One of the outstanding elements of this comic are the little character moments that add depth and humour; whether this is David blowing out his cheeks on a glass patrician or a shrouded figure quipping a cheesy one liner. These moments breathe fresh air into an all too serious genre and allow the reader to engage with the narrative on a more comfortable level.
Descendent is proving to be an intriguing, character driven comic to rival great conspiracy stories like Saucer State or the Black Monday Murders. Different enough to stand out but similar enough to bare comparison.
Now that Hal Jordan is back from his cosmic battles against Controller Mu’s forces, he’s ready to reacclimate himself to Earth life again. And what better way to do this than to team up with his old pal Oliver Queen, a.k.a. Green Arrow? THE GREEN LANTERN #8 is a fun, buddy cop story that addresses the ever-present reality of drug abuse in our society.
Story
Grant Morrison takes readers to the planet Hadea-Maxima, a war-obsessed world that believes institutionalized murder is required to maintain a healthy population level. One of the occupants, a drug lord named Brotorr, enlists an assassin to take out a dealer called Glorigold who’s based on Earth. The job? Kill Glorigold and destroy the planet.
The story shifts to a drug deal taking place in an abandoned alley, featuring a desperate man willing to pay handsomely to get his fix. It’s here we see a classic Green Arrow/Green Lantern team up in action. And we see them uncover something quite disturbing.
The interplay between these two heroes gives readers the impression of a long friendship that’s been neglected. The amount of time apart, while somewhat of a sore spot for Oliver, nevertheless subtracts nothing from their personalities’ chemistry. And their comparability makes them the perfect heroes to investigate the true purpose of the intergalactic drug trade.
Readers will enjoy this detective story as it deals with both cosmic and contemporary issues. It serves as a quintessential Green Arrow/Green Lantern team up story for seasoned and new readers alike.
Art
Liam Sharp’s penciling continues to astound readers in this series addition. The way he seamlessly shifts between the street level drug deal to the dimension hopping scenes is nothing less than impressive. Steve Oliff’s coloring complements these illustrations beautifully by using a wide range of colors to feature the aliens, heroes, and drug dealers’ interactions. And Tom Orzechowski’s lettering perfectly captures the characters’ emotions, such as the drug dealers desperation after being apprehended by the green clad heroes.
Sharp’s main cover shows the two heroes poised for action in front of an alien with a drug needle, giving readers a preview of the story’s subject matter. Toni Infante’s variant cover focuses on Hal, granting him an emerald sword conjured by the ring. This is a cool illustration highlighting Hal’s battle prowess and ingenuity, two qualities which he will need in this story.
Conclusion
THE GREEN LANTERN #8 takes a topical subject and adds the chemistry of Oliver and Hal to craft a satisfying story. It’s just the boost of motivation Hal needs to jump back into action after the Controller Mu saga.
What did you think of this team up story? Let us know in the comments below!
The interplay between these two heroes gives readers the impression of a long friendship that’s been neglected. The amount of time apart, while somewhat of a sore spot for Oliver, nevertheless subtracts nothing from their personalities’ chemistry. And their comparability makes them the perfect heroes to investigate the true purpose of the intergalactic drug trade.