ORPHAN AGE #3 hits your local comic book store on June 12, but thanks to AfterShock Comics, Monkeys Fighting Robots has a four-page preview of the issue written by Ted Anderson with art by Nuno Plati.
About the 32-page issue: Lessons on the highway. “The civilized thing.” Lies and misdirection. The wild child. Learning and teaching. What world are you living in? Which animal dies?
Anderson has previously worked on MOTH & WHISPER, My Little Pony, and Adventure Time. You will recognize Plati’s artwork from Alpha: Big Time and Marvel Girl. ORPHAN AGE #3 is lettered by Marshall Dillon, with colors by Joao Lemos.
Check out the ORPHAN AGE #3 preview below:
Do you have ORPHAN AGE on your pull list? Comment below with your thoughts on the series and AfterShock Comics.
Runaways #21 hits your local comic book store on May 22, but thanks to Marvel Comics, Monkeys Fighting Robots has a four-page preview of the issue written by Rainbow Rowell and art by Andrés Genolet.
About the issue: Chase is proud to be the Runaways’ handyman, co-breadwinner, steadfast supporter…well, their dad? But Chase is headed for DISASTER. Hold on to your hearts, Stein-iacs! Plus: Find out what threat has Karolina rainbow-ing out this issue.
The rest of the creative team includes Chris O’Halloran on colors, Joe Caramagna’s letter work, and Kris Anka’s cover art. Nick Lowe and Kathleen Wisneski are the editorial team in charge of the issue. Runaways was created by Brian K. Vaughan and Adrian Alphona.
Check out the Runaways #21 below:
Whoa, Karolina!
Do you have Runaways on your pull list? Comment below with your thoughts.
DC Comics announced a new WILDCATS series Thursday morning, with writer Warren Ellis and artist Ramon Villalobos. The six-issue miniseries launches August 28, take a look at the main cover (above) and variant cover below.
According to DC Comics, WILDCATS from Ellis and Villalobos will build on Ellis and Jon Davis-Hunt’s 24-issue series THE WILD STORM, which kicked off in 2016.
“The first line I wrote down for WILDCATS was: ‘Saving the human race from the human race,’” says Ellis. “It’s a team made up of people who have seen the worst in everybody and everything, and yet still put themselves in frankly absurd amounts of jeopardy just so tomorrow might be a little bit better. And it’s a short series, so I might just kill them all. Come and see what happens. The art is great.”
“Warren has created something truly spectacular with the relaunch of the WildStorm universe over the past two years,” says DC Chief Creative Officer and Publisher Jim Lee. “There are few visionaries in our business and few still who can elevate mythos with such vitality and spectacle. Paired with Ramon’s extraordinary artwork, I’m thrilled for fans to check this out come August.”
About the series: From the pages of THE WILD STORM, the piratical covert team are here to stop humanity from destroying itself. The black-ops team featuring Grifter, Savant, John Colt, and Adrianna Tereshkova have discovered that the secret space program Skywatch has been performing medical experiments on abducted innocents for decades. And now one of those experiments is about to explode—revealing a new threat and level of danger that no one could have prepared for. The covert team may have thought the world was strange before, but they had no idea—and now the stakes might just be too high.
“From the jump, WILDCATS has always represented to me the most modern and cutting-edge approach to superhero comics,” says Villalobos. “I’m excited for the opportunity to draw fun and fashionable comics for the coolest and smartest audiences in comics. WILDCATS has a heritage of genius creators who have worked on these characters, so it’s pretty cool to be able to awkwardly put my name among theirs.”
Are you excited for WILDCATS #1? Comment below with your thoughts.
Spencer & Locke 2 #2 takes the fan-favorite series to places its never gone before, and leaves you genuinely terrified for whatever is coming next.
Detective Locke is put on trial as Roach Riley continues his murderous rampage. The series is by David Pepose and Jorge Santiago, Jr., with colors by Jasen Smith and letters by Colin Bell.
The Spencer & Locke saga is really hitting its stride. The creative team has found a solid groove, and this issue feels totally “in the pocket,” to steal a musical term. The voice and aesthetic are consistently interesting, thrilling, and unique. Santiago’s art and Smith’s color palette deserve special note. It’s simply magical the way these two are able to capture the gritty yet playful essence of this world. This is especially apparent in the intense opening pages of issue two, which you can see at the bottom of this review.
Because we’re in a groove, and we’ve established a bond with these characters, now the team is really starting to turn up the heat. Issue two raises the stakes to new heights, and has more “OH SHIT” moments than you can count. Pepose and Santiago have us in the palm of their hands, and now they’re taking the story to some seriously dark places. It’s terrifying (but also thrilling).
This series is (unfortunately) only four issues long, and it isn’t wasting any time. It’s rocketing through at breakneck speed, throwing all sorts of action and twists your way every page. These guys know how to keep their reader engaged. You won’t be able to put this book down, and because it’s so masterfully paced, you’ll be done before you know it. But then the real joy begins: you get to read it a SECOND time, and really take your time to absorb the nuance and art.
Spencer & Locke is a series with layers, and those layers get peeled back more and more with each issue. Trauma is still the central theme, but the further we go, the more we see different angles on that theme. There are discussions about parenthood, and justice, and what makes someone “good.” There’s a special place on bookshelves for stories like this that makes you think deep while also entertaining the hell out of you.
Make sure Spencer & Locke 2 is on your subscription list at your local comic shop. You don’t want to be missing out on this classic-in-the-making.
Take an early look at this preview of SPENCER & LOCKE 2 #2:
The Immortal Hulk has called the shots since Bruce’s resurrection, but another personality has taken the reigns as of late. His name is Joe Fixit, a persona Bruce adopted years ago when he first became the Hulk. Now Joe is in charge of Bruce’s human form and must escape from the members of Shadow Base who are attempting to take him down.
Story
Al Ewing’s depiction of Fixit is amazingly consistent with the classic version, albeit with its own unique flavor. This version can’t fall back on the brute strength of the Grey Hulk from previous stories. He’s forced to find and use the strengths of Bruce instead.
Unfortunately, Fixit has to learn to use Bruce’s body to his advantage before Agent Burbank of Shadow Base takes him down. This forces him to think on his feet, making for a story that’s both fast-paced and entertaining.
Watching the once-composed gambling shark come to terms with Bruce’s “scrawny” frame adds an interesting hurdle for the character. Seeing him use his own brand of rationality to solve problems shows how Bruce’s disparate personas can still unite for a common purpose.
Art
Penciler Joe Bennett, inker Ruy Jose, and colorist Paul Mounts craft impressive illustrations for this issue. They blend the action-packed scenes of Shadow Base’s gun chase with the horror-inspired mutations that have become synonymous with the Immortal Hulk character. And Cory Petit’s lettering does a great job of depicting the differences between Fixit’s internal dialogue and external speech.
Alex Ross’ cover features Bruce navigating the sewers of Shadow Base with the Hulk’s reflection casting from him; it gives a clear depiction of the story to come. Heyjin Im’s variant cover, on the other hand, features the classic depiction of Hulk readers are most familiar with, pointing out the fact that this persona is still a part of Bruce.
Rahzzah’s variant cover takes a completely different turn than the other artists by depicting the Red She-Hulk mid-transformation, possibly offering a clue into the storyline’s next direction.
Conclusion
THE IMMORTAL HULK #17 is an action-packed issue featuring the intriguing Fixit persona. The conclusion is equally exciting and sets up the series for thrilling new developments.
What did you think of Ewing’s depiction of Joe Fixit? Let us know in the comments below!
We’ve heard about Bane’s plan to “break” Batman for dozens of issues at this point. In Batman #71, though, it’s possible that Bane may finally achieve his long-term goal.
Bruce calls on Barbara to assemble the Bat family, prepping the assault on Arkham promised in our last issue. As predicted, though, there’s much more to Bane’s plan than a simple hero/villain throwdown.
The Writing
There’s been a tendency by some writers over the last couple of decades to try and make Batman into a superhuman force. However, we can’t lose sight of the fact that under the training, discipline and expertise, he’s still, fundamentally, a man. He, like anyone, has a breaking point. He’s still vulnerable—both physically and psychologically—a fact King drives home in Batman #71.
Bruce is losing his grip on reality in the book. His friends and closest allies are beginning to doubt his mental state. While he remains convinced that what he saw and experienced is real, no one backs up his version of events. The story is thus told in fragmented manner, reflecting Bruce’s own deteriorating grip on reality.
With Batman #71, King advances the larger plot, delivering a chapter that manages to be satisfying, while also raising even more questions and deepening the intrigue. He takes the story in an interesting direction, setting up a major turn in issue #75, which King describes as “essential”:
It’s drawn by @TonyDanielx2, it’s oversized, it kicks off a huge event, it’s an essential part of a culmination of DCU stories, it’s the pay off to the final, infamous page in Batman 50. As for Selina…
The few complaints to be had here are more stylistic nitpicks. For instance, King has a certain…penchant…for ellipses. He often uses them to illustrate pauses or hesitance in dialogue, and they tend to pervade most of his work. That tick kicks into overdrive in Batman #71, though, forcing us to read everything in fits and starts.
Overall, it’s a solid chapter in King’s run, making up for a lot of the tedium of the Knightmares story.
The Artwork
Mikel Janin and Jorge Fornes provide excellent visual work on Batman #71. The pair divide the pages into clean grids, breaking the pattern only for purposes of effect. This gives the work a sense of cohesion, allowing the reader’s eye to flow smoothly down the page. When the artists then opt to expand out into a wider panel or a spread, it feels motivated, rather than arbitrary.
We have some fairly striking imagery, largely focused on dynamic character illustrations paired with minimal backgrounds. This is especially true in the book’s second half, as the action starts to pick up.
The heavier lines work to underscore the imagery, giving the art a substantial, heavy, and imposing vibe. Then, Jordie Bellaire’s colors come in, further driving home the impression. She opts for a lot of monotone with heavy shadows, using unnatural greens and blues for effect. It’s pleasing to the eye, while also giving added weight to the lines.
Final Thoughts
Batman #71 is a great chapter in King’s ongoing saga. You’ll definitely want to grab this, especially in the lead up to whatever earth-shattering event the creators have planned for issue #75.
Since witnessing Jon returning from space seven years older, Clark Kent has undergone tremendous emotional pain. He’s failed to be there for his son during the most formative years of life, and all the blame appears to point toward Jor-El. But the House of El has a bigger problem to handle first: a massive fight near Earth between three warring races. Can the family come together and defeat this threat despite their internal strife?
Story
The time has come for Clark and Jon to confront Jor-El and figure out why so much trouble follows in his wake. But after surveying the area, they note the three civilizations warring near Earth have some connection to the House of El. Clark, instead of destroying them outright or interrogating them, chooses to engage the issue with diplomacy in the hopes setting a good example for Jon.
Brian Michael Bendis’ more than proves his ability to write from a caring father’s perspective. One easily sympathizes with Clark’s regret at his son growing up without him. But this sadness is soon outweighed by the hope of the teaching moment that presents itself.
Clark spends most of the issue confronting Jor-El in order to learn more about the conflict at hand. But just as they’re about to argue Rogol Zaar and General Zod, villains thought to be imprisoned in the Phantom Zone, attack the heroes directly. The House of El will have to face these villains who seek revenge against the family they hate the most.
Art
Ivan Reis’ penciling, Alex Sinclair and Gabe Eltaeb’s coloring, and Oclair Albert and Joe Prado’s inking, give this issue an authentic Superman vibe. Reis’ penciling crafts fully formed characters amidst Sinclair and Eltaeb’s brightly colored backgrounds. In addition, Albert and Prado use their heavy inks to give the illustrations a sense of boldness readers have come to expect from the Man of Steel.
The main cover crafted by Prado, Reis, and Sinclair features Rogol Zaar standing over the seemingly defeated House of El, alluding to an unfortunate future they must avoid at all costs. Adam Hughes’ variant cover places the focus on Clark in his journalist attire with news reports of Superman in the background, giving readers a classic depiction of the House of El’s most famous member.
Conclusion
SUPERMAN #11 depiction of the House of El contains all the drama, disagreement, and deceit one would find in most families. But it also brings them together in a satisfying way.
Do you think the House of El can withstand the coming conflict? Let us know in the comments below!
Andy, a.k.a. Aquaman, is nothing if not resilient in his quest to find his true identity. The recent events with the Old Gods helped him realize his true power, which stoked a desire to unearth his past life’s secrets. Andy’s entire world is about to turn upside down as he begins his solitary search for his identity. But will this amount to a fruitless endeavor, or will he find the keys to his true identity?
Story
Kelly Sue DeConnick’s memory loss storyline throughout these past few issues has proved to be just the kind of reinvigorating does of excitement the character needed. It’s a deep dive into Aquaman’s roots that old and new fans can appreciate. The previous “Mother Salt” arc was focused on helping him realize his powers once again, and this next journey appears to be setting him up to use them.
After a hefty dose of encouragement from the Old Gods, as well as a questionable ritual, Andy sets out into the great wide ocean. Everything appears to be figments of a dreamlike state until the colossal Mother Shark makes her grand appearance. Like Mother Salt, Mother Shark is an elemental deity who helps the ocean’s deceased pass on to the afterlife. This should have been the case when Andy was presumed dead in the Drowned Earth event, but the goddess reveals she has other plans for him.
DeConnick’s Mother Shark weaves together some of the most impactful moments during Andy’s life as Aquaman. The reader is drawn into the hero’s history, catching glimpses of his most important moments. It’s clear the main purpose of this comic was to give readers reasons to be an Aquaman fan, and in this respect it does not disappoint.
Art
Viktor Bogdanovic’s penciling and inking, collaborating with inkers Jonathan Glapion and Daniel Henriques, adds effective definition to Andy by employing detailed lines to frame his features. This is coupled with their heavy shading and Sunny Gho’s coloring to illustrate Andy’s descent into the ocean’s depths.
Clayton Cowles’ lettering shines through spectacularly, especially in Mother Shark’s speech bubbles. Their squiggled border and bright blue hue gives the impression of an actual bubble, signifying her connection to the ocean.
Heniques and Alex Sinclair’s main cover features Mother Shark in her mighty glory. The menacing look to the creature makes the reader believe her motives are nefarious, fueling common themes of ocean fears. Josh Middleton’s variant, much like his versions from previous issues, features Aquaman alone. But this time he’s holding his trident to show how much he’s grown into his former heroic status since losing his memory.
Conclusion
AQUAMAN #48 takes readers on Andy’s journey of self-discovery, highlighting the best aspects of his character. They’ll enjoy finding out what truly makes him worthy of being Aquaman.
What ultimate role do you think Mother Shark plays in this storyline? Let us know in the comments below!
Previously, on Justice League, the team makes their daring escape from the sixth dimension’s Apokolips – the planet-sized prison – with the aid of Darkseid and the Legion of Doom. Meanwhile, Superman hurtles through a bleak and perpetually dark galaxy, and Batman contemplates the role he could play in the World Forger’s plan for a perfect Multiverse.
In the adrenaline-filled penultimate issue of the “Sixth Dimension” storyline, the League races to return to their realm and save their future, with Apokoliptian guards Lois Lane and Jimmy Olsen on their tail. And Batman finds a familiar device that helped in the crafting of the utopian future.
** Some Spoilers Below **
Story
“The Sixth Dimension” chapter five! The League’s plan is in full swing, but one member of the team isn’t on board with their message and sides with the World Forger! Betrayed, there’s only one person who can turn the tide of this battle. Can Superman find the strength to escape his prison planet and save the Justice League, or is the League doomed to live out their days trapped in the Sixth Dimension?!
In the opening pages of Justice League #24, Superman contemplates a memory involving Gray Kryptonite. It’s something Lois coined to describe the Man of Steel’s internal strife that builds and builds when one negligible thing goes wrong. It’s a hero’s burden, that no matter how much good he or she does for the world and those close to them, it’s the failures, no matter how trivial, that fester.
Snyder also seems to have injected some of that Gray Kryptonite into Batman, who is on the cusp of turning completely to the dark side in order to preserve a future void of doom.
Make no mistake, the sci-fi action is front and center as the League and Legion bolt across the sixth dimensional cosmos. The book features interesting takes on already complex relationships between heroes and their villain counterparts. The funny dynamic between Grodd and Darkseid is infinitely entertaining. Simply put, it’s got the right formula of high stakes, action, and intrigue.
Art
The aforementioned action sequences wouldn’t be half as bewitching, if not for the intense and remarkable artwork of Jorge Jimenez. Everything from the scene work, to character design, to page layout is packed with texture and ingenuity. Jimenez brings a wholly unique style to Justice League. There is just as much life in each set piece as there is in the characters’ eyes.
Alejandro Sanchez also adds so much life and expression in his coloring. There is a genuine energy to his work in Justice League. His coloring features a striking glow around characters and objects that make the book feel that much more fantastical.
Conclusion
This issue of Justice League is as much an energetic chase through space as it is a thought-provoking piece of storytelling.
What did you think of Justice League #24? Let us know in the comments!
Nick Spencer’s “HUNTED” arc continues in AMAZING SPIDER-MAN #21. Kraven’s plan is fully realized as we get ready for the big finale.
***SPOILERS LIE AHEAD***
Inside Arcade’s death trap, the inmates are running the prison. Vulture’s revolution continues to take a toll on both sides of the fight. It’s been a delight to see Mr. Toomes act so dastardly as he manipulates his animal themed brethren into fighting the fight for him.
Spidey has his hands full, being overrun by a gang of vicious Vermin clones before Kraven rescues him. Of course, this is all apart of Kraven’s plan to push Spider-Man to evolve into a more formidable foe for him to conquer himself.
Between Kraven, Vulture and Arcade, we’ve got ourselves a healthy dose of comic book villain plotting. Everyone has their own secret evil agenda and they’re all satisfying to watch unfold. Nick Spencer has woven a highly entertaining web of evil-doers all out for their own gain while involved in this murderous mess.
In order for Spidey to grow into being worthy of the Hunter, he has to basically kill Curt Connors so they can escape their imprisonment. The Lizard and his brutal history with his son Billy are the core of this issue.
Curt Connors losing control as the Lizard and murdering his family is one of the most memorable moments of Dan Slott’s decade on Amazing Spider-Man. Curt got his family back via clones but that doesn’t erase the damage done to them psychologically.
Curt tells Peter that he knows nothing of responsibility and power without having any children of his own in a gut-wrenching and twisted scene. This ends up being a huge moment for both Peter and Curt as they try to get through this experience together to save those they love out in the death trap. Add in Billy’s memory of being murdered by his father and you’ve got some wonderfully layered drama.
Nick Spencer has crafted a satisfying and justified bit of closure and follow-up to both Kraven’s Last Hunt and Lizard’s tragic family history. HUNTED is a welcome addition to the complicated continuity of these characters.
Dan Slott’s retcon of his own Connors family massacre wasn’t enough for Spencer, he took it upon himself to dig back in and take us somewhere new and exciting. The magic between Spider-Man and Nick Spencer is so strong that he could probably even make the Clone Saga into a condensed and worthy read.
Gerardo Sandoval provides some excellent action sequences, especially the violent Vermin swarm. His slightly cartoon-ish style isn’t too far removed from veteran Humberto Ramos so it feels like home still. Sandoval and Victor Nava handle inking duties while Edgar Delgado and Erick Arciniega fill our hearts with color. This is a really fluid and flowing issue despite how many cooks are in the kitchen.
All of our villains look as menacing and sinister as they need to to sell the story and action. Surprisingly Spidey himself is the only character that really lacks depth in the emotional spectrum of illustration. The black costume doesn’t do any favors for Sandoval’s style.
Amazing Spider-Man #21 sets us up for an exciting and emotional finale. There’s a lot at play and the pieces are all in place. There’s going to be a lot of father/son drama between the Kraven and Connor pairings as Spidey tries to survive the final chapter of HUNTED.
