Review: ICE CREAM MAN #12 Is The Noah’s Ark Of Space Horrors

W. Maxwell Prince’s ICE CREAM MAN series knows how to throw curveballs to its readers, and issue #12 is no exception. The story is set in a post-apocalyptic future where humanity has annihilated itself through a combination of war, disease, and global warming. The only hope of a future lies in a pilot named Noah who searches the universe for a habitable “seed planet.” Will this re-telling of the Biblical Flood story end happily, or will the ever-elusive Ice Cream Man have something to say about it?

Story

The protagonist Noah serves as a modern-day archetype of humanity’s post-apocalyptic progenitor. Tasked with securing humanity’s future, it’s clear he’s using all his strength to withstand the tremendous pressure.

Unfortunately, it appears he rest of the universe may be unsuitable for life. But the last hope of the human race presses on. His desperation fuels an undying resolve to give humanity one last fighting chance. The unyielding faith in a brighter future is awe-inspiring.

The suspense starts to build when Noah’s A.I. “b0b” alerts him of hostile creatures in an upcoming asteroid belt. These are the Space Spiders of Gunz’llah, and they’re hungry for any ship metal they can sink their teeth into. These threats and a familiar face put Noah to the test as he races to find a suitable home for Earth’s fresh start before it’s too late.

Art

Martín Morazzo off-kilter drawing style does wonders for this issue’s storyline. His thin sketching captures the hopelessness within Noah’s expressions at the sight of the horrors he encounters traveling through space. Chris O’Halloran’s coloring helps Morazzo’s illustrative scenes transition easily with gradual transitions from the dark background of space to the brighter hues when the story calls for an action sequence.

Good Old Neon’s lettering does a great job a differentiating multiple lines of dialogue, including Noah’s, and even b0b’s. Each entity’s speech balloon is a different shape, with Noah’s being rounded to emphasize his organic composition and b0b’s being sharp like electricity to allude to his robotic nature. Even the narration/ship log has a unique dialogue box to draw the clearest distinction.

Morazzo and O’Halaloran’s main cover depicts Noah’s ship floating near Earth, which serves as a reminder of what the character is trying to rebuild. Tula Lotay’s variant cover gives us an up close and personal look at the nefarious Ice Cream Man. Streaked in a shade of orange eerily similar to the narration’s lettering boxes, one can’t help but suspect he might be pulling the strings.

Conclusion

ICE CREAM MAN#12 combines elements of horror, science fiction, and myth in a way that engages the reader throughout the whole story. It also serves as a sobering reflection of the destructive path our world is barreling down.

Did you think this issue captured the essence of sci-fi horror? Let us know in the comments below!

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Review: RONIN ISLAND #3 Takes The Byonin Head-On

Corey Patterson

Weeks of battling the violent zombie-like Byonin has left Ronin Island devastated. But now that the situation appears to be under control, Hana ventures forth with General Sato in order to protect the rest of the region. The RONIN ISLAND saga reaches new heights with these events as Hana, Kenichi, and Master Ito leave their island and attempt to join forces with the region’s new shogun.

Story

Last issue Hana learned an important lesson while defending her island with Ito: One can’t claim to be “together in strength” if they’re not willing to look beyond their tribe. And seeing the nobility of Sato, however distorted through sheer haughtiness, motivates her to offer her samurai skills to his campaign against the Byonin.

In an astonishing act of good faith, Sato bequeaths an impressive samurai sword to Hana, claiming her own won’t be effective in the coming fight. This simple action speaks volumes; it shows how Sato values Hana’s abilities and tenacity above the superficial qualities of status and lineage Kenichi embodies. Greg Pak’s reversal of the stereotypical general image allows readers to sympathize with Sato, as well as Hana.

The anticipation of finally meeting the mysterious shogun will have readers gripping the edge of their seats. But will this ruler reward Hana in the same manner as Sato? And where will Kenichi play into all of this? These questions and more are set to be answered in this exciting issue.

Art

Giannis Milonogiannis’ pencils continue to astound readers with his depictions of the East Asian landscapes. Readers become fully immersed in the story’s coastlines, fields, and forests. In addition, Irma Kniivila’s transition from the quiet, cool colors of the island to the harsher, warm colors of the shogun’s encampment juxtaposes the safety of home and the riskiness of travel abroad.

Simon Bowland’s lettering completes the ensemble of inner artwork by using bold styling to place the focus on the story’s key words/phrases, such as “each other,” “whole world,” and “trust,” to name a few.

In addition, Milonogiannis and Msassyk’s main cover features Hana fending off a sword to show her fighting prowess and determination readers witness throughout the story. Ethan Young’s preorder cover takes another approach by featuring a detailed drawing Sato, who largely serves as a reflection of Hana’s own ideals. Kris Anka’s unlocked retailer variant cover emphasizes this notion further by using Sato’s image as a stand-in for Hana’s reflection.

Conclusion

RONIN ISLAND #3 gives readers a full-circle look at Sato’s character, showing his many similarities to Hana despite their superficial differences.

Where do you think Hana and Kenichi will fit into the new shogun’s regime? Let us know in the comments below!

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Review: THE BATMAN WHO LAUGHS #5 – Did Gotham Just Lose Its Soul?

Matthew Sardo

The Batman Who Laughs #5 hits your local comic book store this week, with Scott Synder, Jock, David Baron and Sal Cipriano pushing the Cape Crusader to the darkest corners of Bruce Wayne’s mythos.

Batman and the Batman Who Laughs continue to battle it out over the fifth issue of the mini-series, with the winner destroying or saving Gotham. Synder and Jock bring shock and awe to the pages of the comic as the series continues to get darker and darker. After re-reading issue one through issue five in a single sitting, the series is very dark and depressing in a lump sum (I had to get some ice cream before writing this review). The story is at that point of the “hero’s journey” where all hope is lost, and Snyder has me believing that there will be no happy ending for our hero.

The rain on the first page sets a tone that weighs you down and hits you on a deeper level. Snyder’s script is more like a eulogy than a table setter. Jock’s art is so raw that you feel every bullet that hits Batman’s cape. Five pages in, you are so emotionally exhausted by what just went down that you might need a week or two before you show another human being page six from The Batman Who Laughs #5.

The Batman Who Laughs #5 felt like Return of the Jedi at times. Snyder has turned into Emperor Palpatine, and he’s trying to persuade us to join the Dark Side. At this point, I can’t tell if Batman in this metaphor is Luke Skywalker or Darth Vader. Either way, Batman is as close as he’s ever been to embracing the Dark Side. Snyder’s tone for the Batman Who Laughs continues with a beat that is overpowering and smothers all light from a room. Thinking back on the issue, all I see is darkness and red letters.

Baron’s color palette makes The Batman Who Laughs #5 a gorgeous book with a vast spectrum of background color that invokes an emotional response. The green, yellow, and purple are powerful and elevate Jock’s storytelling. Cipriano’s letters are built upon the foundation of a mad man, multiple madmen at that, and everyone has a visually clear voice because of his work.

There are more profound concepts in the book about who Batman is and his relationship with Gotham, but Snyder and the rest of the creative team on the issue do such a fantastic job with the story, that I don’t think Gotham will survive. The Batman Who Laughs #5 pulls a Toy Story 3, in the fact that I thought the toys were going to die! This is how I feel about Gotham and Batman. Great storytelling is convincing readers of the emotional highs and lows of the series and The Batman Who Laughs accomplishes that feat.

Read the first five pages of The Batman Who Laughs #5 below.

Come back here after you read The Batman Who Laughs #5 and tell me what you think in the comments below.

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NEW AGENTS OF ATLAS Enter WAR OF THE REALMS

Brandon J. Griffin

Amidst all the chaos and insanity of War Of The Realms, a new team emerges. Greg Pak brings us the New Agents Of Atlas in the latest tie-in to Marvel’s extremely fun event.

SPOILERS LIE AHEAD

Our old friend Jimmy Woo is back within the pages of Marvel Comics to bring us the New Agents Of Atlas. This time he’s recruiting some of the up and coming heroes from the 616 before Malekith’s crusade forces them to band together.

War Of The Realms has been a wonderful crossover event hearkening back to when these huge stories were at their peak. It’s very fitting that now would be the time to resurrect a dormant title with an all-new team rising to face this universal threat.

The team’s lineup consists of a few faces you’ll recognize (Amadeus Cho, Cindy Moon, Shang-Chi) along with a handful of bad-ass women you may not be familiar with. War Of The Realms: New Agents Of Atlas #1 also marks the first appearance of Luna Show, a K-Pop superstar crime fighter. Crescent and Io make their comic book debut, coming over from the Marvel Future Fight mobile game.

Greg Pak is a veteran and absolute pro, this introductory issue is a very easy pill to swallow. We’re quickly introduced to a lot of characters but they all get their proper due enough to get the point across to the reader. There’s no fat in this issue, it’s straight to business and right into the action.

Gang-Hyuk-Lim also displays veteran talent, giving us an easily digestible and explosive first issue. Lim gives each new agent of Atlas distinctive characteristics and personality. The more this group develops into a team, there’s sure to be some wonderful looking action.

Colorist Federico Blee delivers a bright and upbeat display of color. Sindr and her forces specifically stand out with the color making the difference.

Kamala Khan is becoming like Spider-Man, appearing in title launches to get things off to a good start. Ms. Marvel is an absolute joy whenever she appears, her presence is the proper way to bridge the gap between Amadeus Cho’s tenure with the Champions into becoming an Agent of Atlas.

The only knock against the time each character gets is that we don’t get nearly enough Shang-Chi, but it’s for the purpose of getting a crash course in all the lesser known players. One of the biggest bad-asses in Marvel’s 616 is Shang-Chi, any time he gets a spotlight we’re likely in for a treat.

Shang-Chi’s relationship with Amadeus Cho could be an interesting one. After Cho’s recent Hulk rage episode he’s not as confident as we’ve come to know him. Shang-Chi telling him his worst nightmare is being charge makes for some juicy drama coming our way.

Pak chooses the forces of Sindr to square off against our Atlas heroes, a formidable foe. It’s revealed that Sindr actually tricked these elemental heroes into appearing in order to serve her evil agenda. The fact that this isn’t just a random collection of heroes facing a random horde of enemies bodes well for New Agents Of Atlas.

Cindy Moon (Silk) is an underrated character in her own right, it’s exciting to see Greg Pak plucking her from the unused character void and breathing new life into her. Silk has so much story left to tell after her brief involvement in both Dan Slott’s Amazing Spider-Man and Spider-Verse.

War Of The Realms: New Agents Of Atlas #1 properly resurrects and re-purposes a Marvel property that has been dormant too long. Greg Pak immediately proves he has a voice for a handful of underrated characters that deserve to be taken off the shelf (as well as some new ones).

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Review: MISKATONIC HIGH #2 is Scooby Doo Versus Lovecraftian Horrors

Michael Fromm

Miskatonic High is a new, independently published, teen horror comic series by Mike Shea and Ryan Mendoza. For the uninitiated, the title is inspired by a fictional university (named after a fictional river) that frequently appears in the pieces of literature that make up H.P. Lovecraft’s Cthulhu Mythos.

In the first issue, Shea and Mendoza introduce readers to a small group of mismatched teens who attend the prestigious private school Miskatonic High. Members of the school’s community service club, the group takes a field trip to help clean an elderly woman’s basement. Shortly thereafter, they find themselves transported to ancient Egypt, where an evil sorcerer is attempting to unleash tentacled demons upon the world.

In this second issue of Miskatonic High, the group once again find themselves confronting a supernatural horror. Furthermore, a deep connection is made between one of the students and the terrors lurking beneath the surface.

** Some Spoilers Below **

Story

For Sarah Clarke, life at the affluent Miskatonic High had never been easy, being a poor, rural outcast. But when her friends come to help her on the family apple orchard, secrets better left unknown will be unearthed and she and her classmates will experience a terror in the dark.

It is apparent that writer Mike Shea was inspired by the hijinks of another group of supernatural mystery solvers when crafting Miskatonic High. The two published issues are episodic, with the stories more-or-less wrapped up by the final page. What Shea has done well thus far is slowly build upon the connection the group has with these Lovecraftian horrors coming to life, and the protectoral part that they will inevitably have to play. The most intriguing character is without a doubt Sarah, who is the social outcast among these misfits, and has a surprising link to the mole monsters the group encounters in the second issue.

Though the story draws inspiration from Lovecraft’s literary universe, that world’s air of dread and despair cannot be found in Miskatonic High. Instead, Shea opts for a fun and lighthearted tale. The characters are very upbeat, and deal with each situation with snark and a tongue-in-cheek attitude. Readers won’t be bogged down with too much exposition. Rather, you’ll be experiencing the scares and revelations alongside the “Mystery Incorporated” gang for the first time.

Art

Ryan Mendoza does a great job in balancing the light and darker aspects of Miskatonic High. His colors are slightly toned down, and he uses a muted golden overlay to light each panel with an otherworldly glow, as if something off-kilter is looming. He also makes great use of shadows to amplify the tension and potential terrors hiding around a corner.

Mendoza’s character designs are animated and expressive. He cuts into the tension created by the coloring with a style reminiscent of the wholesome, vintage Hanna-Barbera animation found in Scooby Doo and Super Friends.

Conclusion

Miskatonic High is a satisfying balance fun and frights, with snarky, nonplussed characters and exceptionally designed monsters. It’s for anyone who is a fan of Scooby Doo, and even modern incarnations of Archie and The Chilling Adventures of Sabrina. Come for the Lovecraftian horrors, stay for the fun characters and the dangerous mysteries to be solved.

The first issue of Miskatonic High is currently for sale on their official website. You can also support their already successful Kickstarter to get your hands on copies of the first two issues, as well as some other goodies.

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Review: Metal To The Extreme In The Finale Of MURDER FALCON

Darryll Robson

After eight months of metal infused demon fighting, Murder Falcon from the Skybound imprint of Image Comics comes to a stage shattering end. Music and mayhem pack the pages with excitement but all good things must come to an end.

“It hurts to set you free

But you’ll never follow me

The end of laughter and soft lies

The end of nights we tried to die

This is the end”

The End by The Doors

With adrenaline pumping and a world breaking fight on their hands, it’s difficult to imagine the members of Brooticus before they were heroes of the Earth. Their journey has been a long and difficult one and it has all been leading to this moment.

page art — Murder Falcon #8 Credit: Image Comics

Daniel Warren Johnson opens the final issue of Murder Falcon with a scene worthy of the best war movie, or possibly a Godzilla flick. The scale of the battle is illustrated on the second and third page by a momentous double page spread made even more impressive by the lack of dialogue and sound effect. This moment is just too big for words.

The scale of the battle is constantly referenced throughout making this a spectacular final issue. The pages of the comic are almost too small to hold the action and Johnson’s world shattering story. On a large number of the pages, the images simply bleed to the edge encompassing the reader in the vastness of the situation. Johnson tries at every stage to include the reader in the action, like a rock band encourages their audiences to sing along and dance. He wants this fight to be your fight as much as it is Brooticus’.

This engagement is important for the story because Johnson needs the reader to be emotionally committed to the characters. He has proven month after month that he can tug at the heart strings of his readers while surrounding them with the most outlandish of situations. This final issue is no different. As the reader becomes embroiled in the larger than life action, the type of End of the World battle that makes audiences shout out in support as seen in a number of the Marvel superhero movies, Johnson is laying the ground work for the emotional ending. And it is an outstanding piece of storytelling.

In such a short period, an eight issue run is not that long for a comic series, Johnson has made his characters so real and sympathetic that the fans are invested in band members. As such the final issue of Murder Falcon will make you physically gasp, shout out and cry.

interior art — Murder Falcon #8 Credit: Image Comics

The art work follows the tone of the story from page to page. The layouts are chaotic during the battle sequences but the panels become precise and contained for the emotional parts. It is the complex layouts that give the comic it’s clever pacing, pulling the reader along at such a speed that they are not ready for the emotional gut punches to come.

Mike Spicer follows Johnson’s lead by making the fight sequences full of vibrant colors. The lack of actual sound is replaced by the impression of music in the way that the color interacts with the surroundings. The backgrounds fluctuate and the panel boarders vibrate. Russ Wooton’s lettering weaves it’s way on and under the action, becoming one with the artwork. Even the speech balloons help with the storytelling, whether it’s using a tail to separate a character from a crowd or a small balloon lost in an oppressive image to emphasis a moment.

Murder Falcon has been a fresh and exciting comic from the moment the first issue hit the shelves. Johnson hasn’t held back and allowed his love of metal music to fuel his crazy story. But at every single step the characters have been the important aspect of his story: difficult to believe with a quick flick through but Jakes journey has been emotional and relatable. His fight against a natural disease over shadows all of the outlandish demons and mythical metal paraphernalia.

Murder Falcon has been about Jake facing up to the most difficult parts of his life. And the reader has been there every step of the way which is why this final issue is so spectacular and emotional.

Johnson and his team have created something exciting and different from anything else being released by the main comic publishers. The combination of music and mayhem gives this comic it’s edge but the heart is where the story is. Murder Falcon brought a tear to this reviewer’s eye and I expect that everyone who reads this comic will feel exactly the same.

Bravo, Murder Falcon, Bravo.

Now all that’s left are the cries for an encore!

cover art — Murder Falcon #8 Credit: Image Comics

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Review: INVISIBLE KINGDOM #3 Delivers A Sci-Fi Adventure With Hidden Depths

Darryll Robson

A crew on the run and a lesson in religion greet readers in the third issue of the new sci-fi epic Invisible Kingdom from Dark Horse Comics. Combining an intriguing story with fantastic art work, can the Invisible Kingdom team maintain the high standard they’ve set in previous issues?

Writing/Story

With fuel running low and scout ships from the Lux company searching for them, Grix has to risk everything piggybacking on a passing comet. The situation becomes even more complicated when they receive the message from Vess who appears to have discovered the same ‘truth’ about the Lux company.

With two central characters questioning their life choices, G. Willow Wilson is able to shine a light into the darkness. By having the corruption within the system discovered from each side, both aspects of this sci-fi world can be examined from within, for better or worse. The reader is able to see how Wilson’s world functions and, in turn, question the real world in the same way.

Wilson isn’t making any grand statements in the Invisible Kingdom, but she is clearly demonstrating how easy it is to see only what those in charge want you to see. The leader of the religious organisation is manipulative and bully’s Vess while the Corporation can quietly eliminate those who stand against it.

The story in this issue is about bringing the central characters together. The staging is very straight forward: two set up sequences, one for each character, followed by the inevitable meeting. In a number of respects this issue of Invisible Kingdom reads like a chapter from a Firefly story. Grix and her crew have a definite Serenity vibe about them. However, Wilson is able to give her characters their own voices and establishes their characters very successfully. Both Grix and Vess are on difficult journeys and this comes across during the action. The way they react to the situation that fate has put them in is very different but they ultimately want the same thing. Wilson clearly shows that the only way they can survive is by working together.

Art

The Invisible Kingdom offers Christian Ward the opportunity to draw outlandish space sequences and complex personal character moments; both of which he excels at. His style is bold and brash, especially with his chaotic colors splashing across the page, barely contained within the black panel boarders.

Ward chooses emotional representation rather than literal interpretation. In some panels the figures are merely shapes to represent their positions, with specific color patterns identifying which character is which. At other moments all other details fall away apart from the character in the foreground. This focuses the reader’s attention.

Ward isn’t afraid to create an alien landscape and this is achieved mostly through his colors. Standard bipeds are turned into alien creatures simply by the color choices Ward makes. This makes Invisible Kingdom stand out from the crowd. While others strive for a realism in their fantasy and science fiction, Ward and Wilson embrace the alien-ness of their world. It still contains echoes of the world around us but looks so different it becomes fascinating and intriguing.

Even Sal Cipriano adopts the out of this world approach when producing the lettering. The sound effects are rendered in a range of colors that pop from the page. In a number of cases they cross the panel boarders and the gutters, encroaching on the other panels around them.

It is interesting to note that for a comic with such a unique visual style, for the most part it is only the sound effects that break the conventions of the comic book structure. Most of the imagery is contained within the ridged format of the panels, boarders and gutter. In the world of the Invisible Kingdom it would appear that only sound has the power to break convention. The rigid structure is needed in this instance to contain Wards artwork. If the boarders were broken regularly the storytelling aspect of the comic would be lost. To compensate for this the sound effects have a life of their own, reminding the reader of two things: firstly that they are in fact reading a very structured comic and the implications of that; and secondly that the story is about breaking conventions in small, seemingly insignificant ways.

Conclusion

There are many layers in Wilson and Wade’s Invisible Kingdom. There is a space opera style story, which will be familiar to many fans of science fiction. The combination of religion and outlaws on the run forms the backbone of some of Sci-Fi’s greatest stories, just take a look at the Star Wars franchise and the exceptional manga series Akira.

To accompany this are the amazing visuals from Ward which dare to be something different to everything else on the self.

And underneath it all is a commentary on a range of topics such as the structure of society, the struggle against personal convictions, and even the formality of comic books themselves.

It is easy to compare Invisible Kingdom to other comics such as Saga or the Firefly series but this is very different to those series. Wilson and Wade are using their respective languages to create something different. It has a sublime beauty and a deeper meaning that stretches beyond simple entertainment. Each page is a work of Art: beautiful, engrossing and challenging.

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Review: A Satisfying Conclusion In ALIENS RESISTANCE #4

Darryll Robson

The conclusion to Dark Horse Comics’ Aliens Resistance story line hits the shelves this week. It has merged the comic book world with the gaming world by uniting two central characters from each aspect of the franchise. Brian Wood’s reluctant hero Zula Hendricks has battled beside Amanda Ripley, the desperate heroine from the Alien Isolation video game.

What fate is in store for these two women and can Wood finally bring some Xenomorphs into his story?

Writing/Story

Trapped on the classified moon as the day ebbs away, Amanda and Zula have to protect each other, keep the young Alec alive and reach the extraction point while an army of Aliens close on their position.

It is all out action as Brian Wood finally gives the reader an alien threat worthy of the franchise. The character development comes via the reaction to the desperate situation and Wood uses the fight for survival to highlight the best qualities of both Amanda and Zola.

Over the course of this series Wood has broken the characters down for the reader, showing off their different qualities. In this, final, issue of Aliens Resistance Wood brings all of that previous work together to show the reader exactly who these women are. By the end you are rooting for them 100%.

This story hasn’t been about the xenomorphs, not directly. Their absence has been obvious at times, leaving the comic with an alien sized hole it just couldn’t fill. However, this final issue brings the series to a close wonderfully. It focuses on the characters and compares the survival instinct against the need for vengeance. Like most of the best Alien stories, Aliens Resistance is about the human factor.

Aliens Cover — Aliens Resistance #4 Credit: Dark Horse Comics

Art

As the action picks up so does the dynamism of the art work. Whereas some of the earlier issues have been a little static, this is not true here. Robert Carey creates engaging compositions for the panels. Combined with an ever changing layout, the pace is much faster than previous issues and the reader skips from page to page until one moment where the script and the art slows the momentum down.

Carey creates an impressive sense of space. The vastness of actual space and the isolation felt by the cast is depicted in a number of different ways, shifting from large, non-descript backdrops to imposing dark foregrounds. Even during the quitter moments of the plot, the human characters are over shadowed by the scale of the location.

The color work plays a great part in this. Dan Jackson employs the use of light to change the mood within a panel. For some of the obvious, informative, pages the colors are crisp and bright allowing the information to be relayed. Other scenes, however, are color washes playing on emotion rather than exposition. It is during these scenes where the reader truly connects with the characters. The horror of the chest-busters is visual but hard to identify with but the loneliness and isolation of the characters is something that the reader can empathise with. Jackson captures the isolation of the characters succinctly with a single color wash over the heavy black inks.

The lettering is just as succinct. There is a clear definition between the speech balloons, especially when the characters on the moon are speaking to Davis on the orbiting spacecraft. A simple break in the boarder of the speech balloons, which is carried over to the caption boxes on certain pages, make the conversations easy to follow.

Nate Piekos has also expertly positioned the speech within the pages to lead the reader from top to bottom. This makes it pleasurable to read, especially in the conversation heavy middle sequence. Despite the pace of the comic slowing considerable at one point Piekos keeps the reader’s attention by breaking the speech up into less overwhelming, bite sized chunks.

Alternative Aliens cover — Aliens Resistance #4 Credit: Dark Horse Comics

Conclusion

As a series, Aliens Resistance has had its highs and lows. The lack of actual xenomorphs throughout the four issues has been frustrating, especially as nothing has really replaced them to create the kind of tension you would expect from an Aliens comic. However, the ending is very satisfying as Wood brings everything he has set up with the characters to a head. This issue, even with the Alien threat ramped up, proves that Wood was only concerned with characters and not interested in writing an action comic.

Out of the four issues of Aliens Resistance, this final one is the most successful. The plot, the characters and the art have all finally come together as a whole making for a satisfying and enjoyable read.

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Review: EXCELLENCE #1 Lives Up to Its Title

David DeCorte

What if there is a secret collective of magic users who intervene in peoples’ day-to-day lives, providing a “shield” to those considered worthy? This is the conceit of Excellence #1, the new title from Image Comics.

Spencer Dales is born into a powerful family within a magical society called the Aegis. Their purpose is to use magic to better the lives of those with greater potential. That becomes a problem, though, as Spencer ages and his powers fail to manifest, straining relations with his family and causing an anger within him to grow.

The Writing

The core of Excellence #1 is the relationship between our protagonist and his father. It’s a classic formula; we see their relationship sour and take a tense, more adversarial dynamic as Spencer grows older. You feel for Spencer as he suffers through his father’s rejection. At the same time, you want to see the two reconciled, even as the distance between them grows.

Excellence #1 falls squarely within urban fantasy, and the worldbuilding on display is one of the book’s strong suits. We don’t know a lot about this world by the first issue’s end, but writer Brandon Thomas allows us to peak behind the curtain, offering us just enough to follow. What we see is the foundation of a very interesting world, making readers look forward to see it further developed.

There’s a clash developing between Spencer’s idealism and his father’s reverence for tradition and legacy by the book’s end. This sets up the main conflict of the series, reflecting the divergent worldviews that will guide them in future issues. As the story progresses, this rift will likely widen, especially if the imagery presented on the book’s final page is any indicator.

From the first page of Excellence #1, Thomas lays out the four key rules of this world. Thus, one can assume they will all be broken many times before the story’s complete.

The Artwork

Khary Randolph’s artwork is absolutely electric in Excellence #1.

The book’s aesthetic takes elements of Afrofuturism, anime, and other styles, grafting them into something all its own. Angles are sharp and crisp, giving the work a sleek, stylized vibe.

Beyond the design work, though, Randolph also does an excellent job laying out the page. His illustrations carry incredible energy as characters move with poise and grace, dancing from one panel to the next. The book has a solid flow to it, drawing the reader’s eye easily from panel to panel.

Emilio Lopez’s color work plays a big part in bringing the work to life as well. Colors are extremely vibrant, yet there is plenty of contrast and fine detail in the shadows. He uses color as an accent, matching the emotional pitch of each scene.

Final Thoughts

Excellence #1 is a strong start for the new series. Highly recommended for this week’s new picks.

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Review: Get Spooky With RED SONJA AND VAMPIRELLA MEET BETTY AND VERONICA #1

David DeCorte

Red Sonja and Vampirella Meet Betty and Veronica #1 feels simultaneously like a strange mashup, and a no-brainer.

The characters seem to have little crossover appeal at first glance. However, the book draws on the recent popularity of Archie-verse titles on the Archie Horror imprint like The Chilling Adventures of Sabrina and Afterlife with Archie. Add to that other recent pairings like Harley and Ivy Meet Betty and Veronica, and it starts to make more sense.

The Writing

With Red Sonja and Vampirella Meet Betty and Veronica #1, we see Sonja and Vampirella go undercover as new transfer students trying to fit in at Riverdale High. Meanwhile, the pair works alongside Betty and Veronica to crack a series of murders with supernatural overtones.

We’re told from the beginning that Vampirella’s old foes, the Cult of Chaos, are behind the killings. The mystery takes a backseat, though, to your standard “fish out of water in high school” story. Amy Chu’s writing is tongue-in-cheek, as one would expect with a story like this. Sonja is the self-serious stoic, while Vampirella is much more willing to play along with the high school dynamics.

On one hand, dialogue and interactions can feel stiff and uninspired at points. It also seems odd to see Sonja cast-off her “too cool for school” posture after developing an interest in football. Overall, though, Sonja and Vampirella have fun chemistry with one another and with Betty and Veronica. This constitutes the main appeal of Red Sonja and Vampirella Meet Betty and Veronica #1.

It’s a fun story that strikes a balance between supernatural detective story and high school slice-of-life. Chu manages to balance these two aspects well to be funny, without slipping too much into farce.

Readers can expect to see more of the horror element develop as the story progresses and introduces the Cult of Chaos in a more significant role. For now, though, this is a respectable introduction for a novel crossover.

The Artwork

Maria Sanapo provides solid artwork for Red Sonja and Vampirella Meet Betty and Veronica #1. Panels tend to be tightly-focused on our characters, meaning there is little in terms of background and setting. However, the lines flow smoothly from one panel to the next, and her character designs feel fairly animated.

One point that does fall a bit flat is in the expressions. There are points at which characters’ features feel lifeless, or strike the wrong tone for the moment. Though it’s not a consistent issue, certain panels can lack the intended impact due to mismatched expressions.

Vinicius Andrade provides heavy, shadowy tones for the first half of Red Sonja and Vampirella Meet Betty and Veronica #1. It’s a suitable choice, underscoring the more sinister tone of the larger story.

Final Thoughts

Readers will come away from Red Sonja and Vampirella Meet Betty and Veronica #1 getting exactly what they expect based on the title. If it sounds fun, then you’ll enjoy it.

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Story

Art

Conclusion

Story

Art

Conclusion

***SPOILERS LIE AHEAD***

Story

Art

Conclusion

Writing/Story

Art

Conclusion

Writing/Story

Art

Conclusion

The Writing

The Artwork

Final Thoughts

The Writing

The Artwork

Final Thoughts

SPOILERS LIE AHEAD