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[Review] FEMALE FURIES #1 Aims to Smash the Apokoliptian Patriarchy

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Female Furies #1 kicks off a new six-issue limited run focused on the fanatically-loyal Apokoliptian fighting squad. At the book’s core, though, is a multifaceted exploration of sexual politics and power viewed through the lens of the superhero genre.

The first half of the book focuses heavily on the Granny Goodness, providing a backdrop for how she came to manage The Orphanage and train the Furies. In the second half, we see the team disrespected, harassed, and written-off as inferior, despite their skills. It comes to a head when one Fury takes an action that could have serious consequences for the whole team.

The Writing

The writing in Female Furies #1 is a treat right from the beginning. Cecil Castellucci open the book with a unique look into the character of Granny Goodness. The first several pages function as an exploration of a rarely touched-upon character, providing an interesting glimpse into her history and motivation. She may be a devoted servant of Darkseid, but Castellucci manages to make readers empathize with the character.

The (not so subtle) degradation endured by Goodness and the Furies, courtesy of their male counterparts, takes central focus here. For example, we see the Furies as a powerful, capable fighting force. However, even with New Genesis’s forces bearing down, the contributions the team could make are ignored or derided.

This goes hand-in-hand with the exploration of coercive relationships between several characters. Darkseid and Willik both use their positions of power to this end with no expectation of consequences.

Castellucci paces the story in Female Furies #1 incredibly well. We see indignity upon indignity stacked on the team members, the pressure  building until a breaking point that forms a perfect turning point to set up Act II of the story.

The Artwork

Adriana Melo’s illustrations in Female Furies #1 showcase a mastery of the craft. Dynamic, eye-catching artwork occupies every panel in the book. Flashback panels have a subtle, yet distinct Bronze Age aesthetic, which is a nice nod to classic comic stories, and she weaves the two styles together well.

Melo manages to convey a wide range of emotions through the characters, from annoyance and rage to resignation. The reader gets a sense of complex thoughts in a character’s mind through something as simple as a glance.

The colors provided by digital studio Hi-Fi supplement the excellent artwork. The artists manage to capture the perfect tones for the flashback sequences, then pivot to the more modern style, where vibrant color choices accentuate the emotional pitch of each scene.

Final Thoughts

Female Furies #1 is a great start to the new series. The creators take a straightforward, unambiguous approach to social commentary, fleshing out some of DC’s less-developed characters in the process. Highly recommended.

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[Review] VINDICATION #1 Has More Cop Drama Than Commentary

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Vindication #1 introduces readers to a story with all the makings of a traditional police procedural.

When a black man is exonerated by DNA evidence after ten years in prison, the cop who put him away makes it his mission to ensure the man doesn’t remain free for long. Detective Chip Christopher is obsessed with proving Turn Washington’s guilt…even if he has to distort the truth in the process.

The Writing

Writer MD Marie does a good job of keeping readers guessing about certain key points in Vindication #1. She gives readers the sense that Washington is an innocent man caught up in a corrupt system. Turn’s past is used as a means to seed doubt about his innocence, though, and there are forces at work intent on proving him guilty even beyond the detective.

Marie dedicates much of this first issue of to police drama following Detective Chip Christopher. He’s a brash, loose-cannon loner who refuses to play by the rules, thus embodying many of the classic genre tropes. This sense is highlighted when he’s assigned a new partner, a fact he seems largely ambivalent toward.

However, that reliance on the cop drama elements can be a liability in certain regards. Vindication #1 ends up centering its narrative on the police procedural element, making the detective our protagonist. He’s the only character we have to connect with from a narrative standpoint, and thus we end up centering the narrative on his absolute faith in Turn Washington’s guilt and his quest to prove it.

It will be interesting to see how the next several issues play out. There’s not as much in this first issue to latch onto if you’re not a fan of the cop drama genre, though.

The Artwork

The lines provided by Carlos Miko and Dema Jr. are rich with detail. Each panel features intricately-drawn backgrounds, grounding us in the reality of the world laid out in Vindication #1.

The character designs are also well done. Miko went with a realistic style for these figures, which could backfire if not for the meticulous detail work. That said, the characters are primarily shown in static positions, and often with blank facial expressions that don’t really sell the emotion the writer is attempting to convey. As a result, the book lacks a bit in terms of dynamism.

The colors provided by Thiago Goncalves are muted, employing a lot of earthy tones. Even though they’re understated, you can tell there’s plenty of skill at work. Goncalves pays close attention to the use of shadows and conveying how light hits characters’ faces.

Final Thoughts

Vindication #1 should be a hit for fans of cop dramas, though the broader themes of the book have yet to really manifest in the narrative. The book has shortcomings, but it lays the groundwork for what may still develop into an engrossing narrative.

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Review: G.I. JOE: SIERRA MUERTE Is Pure Comic Book Fun

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With G.I. Joe: Sierra Muerte, indie comics artist Michel Fiffe brings his very distinct sequential art sensibilities to a classic pop-culture property; making it both completely new, unique and a love letter old die-hard fans will love. G.I. Joe

 

G.I. Joe: Sierra Muerte #1
Story & Art by: Michel Fiffe

Eccentric soldiers dominating bizarre terrorists are showcased in this bombastic account of G.I. Joe’s quintessential mission against Cobra! Through a beachside ambush, a compromised manhunt, and a revenge plan that backfires, America’s fighting elite risk life, love, and honor in this brutal globe-spanning adventure.

Writing

G.I Joe: Sierra Muerte is a loving tribute to a classic property.  Michel Fiffe’s debut issue of this new 3 part IDW series is filled with just about every character you want to see in a Joe story, and all the fan favorites are written to fit their classic archetypes. Fiffe also wastes no time in starting his story. The issue opens on a bad-ass action scene, with all the major players getting an appropriate roll call. That momentum continues page after page, right up to the cliffhanger ending that will have some classic Joe fans saying “Holy Shit!” This kind of writing is perfect for G.I. Joe, a property that mostly always succeded on the basis of its iconic, dynamic characters, situations and places. Fiffe understands this and rolls with it.  He uses the large Joe canvas perfectly and has an obvious love for it. But he also brings with him an idiosyncratic sense of humor that gives it a unique feel that no other cartoonist could bring to the page. The result is a comic book both classic Joe fans and Fiffe’s Copra readers can enjoy. It’s a joy to read and like most of Fiffe’s stuff, it embraces comics for its unique storytelling rhythm.G.I. Joe

A nice added extra is an entertaining and knowledgable essay on G.I. Joe geography and locations by comic book writer Chad Bowers (X-Men ’92/Youngblood: Blood Wars). More comics need this kind of extra back matter stuff.

Art

Fiffe’s linework is truly unique. He is one of those artists whose style is so distinct it simply cannot be mistaken for anyone else. Sierra Muerte is filled with classic Fiffe panels, layouts and choreography. There are thick lines, pop-art colors and wonderful use of lettering. Fiffe truly understands the visual language of comics and knows the in and outs of the medium. His art on Sierra Muerte truly shines, and will not disappoint his fans or those new to his talents.G.I. Joe

Conclusion

Without a doubt, G.I. Joe: Sierre Muerte is one of this week’s comic book highlights. It’s a perfect fusion of property and artist and a real treat for comic book fans. Yo Joe!

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Marvel Brings SPIDER-MAN/VENOM To FCBD

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Marvel Comics has announced another title for this year’s Free Comic Book Day: Spider-Man/Venom #1, featuring an impressive lineup of creators including Tom Taylor, Saladin Ahmed, Cory Smith, Donny Cates, and Ryan Stegman. This news follows the previously announced Avengers #1.

spider-man/venom fcbd 2019

Here’s part of the official press release:

Everyone knows Miles Morales, who rose to fame in Marvel’s acclaimed animated sensation Into The Spider-Verse – and with a second feature film arriving this year, Peter Parker will once again suit up to save the world with his web-slinging super powers! In a special FCBD story, creators Tom Taylor, Saladin Ahmed, and Cory Smith take these superstar heroes of the Spider-Verse in a shocking new direction, with a story that will build to one of Marvel’s most fantastic and epic tales later this year!

And prepare for absolute terror within the pages of FCBD, as the Venom story by Donny Cates and Ryan Stegman sets the stage for what will become one of the most fearsome events in the Marvel Universe…

Nearly a year after the epic red-hot arc of the Red Goblin, Venom‘s dynamic creative team is bringing you a story that’s been brewing since classic Spider-Man tales like Amazing Spider-Man #252The Spectacular Spider-Man #90Marvel Team-Up #141 – a saga so big and so absolutely action-packed, it will deliver the most dramatic story in all of FCBD history! Fans will be well aware by the summer of 2019 that “everyone is a target”…and this May, Marvel invites you to experience the threat for yourself!

It’s interesting to note that the three issues they name-check as tying in to the Venom half of Spider-Man/Venom go way back to the 1980s and the aftermath of the very first Secret Wars. Remember Amazing Spider-Man #252?

Spider-Man Venom fcbd 2019

What do you think of Marvel’s FCBD offerings so far? Leave us a comment!

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Review: BIG MOUTH SEASON 2 – Ups the Show’s Game

Netflix re-examines the trials of puberty with the second season of their surprise animated hit Big Mouth.

The second season picks up where the first left off – Jessi (Jessi Klein) and Jay (Jason Mantzoukas) have run away from home while Nick (Nick Kroll) and Andrew (John Mulaney) lament of their differing levels of physical development. Throughout the season new characters are introduced, from love interests in the form of Gina (Gina Rodriguez) to another spiritual being tormenting the teens in the form of The Shame Wizard (David Thewlis).

The first season of Big Mouth was a pleasant surprise when it came out considering the awful trailer Netflix released. It was basically a crude comedy that worked because of its likable and reliable characters because audiences would have been or currently going through the same growing pains.

The second season continued what worked in the first season and toned down what didn’t. The best aspect of the first season was the main characters and their struggles. The second season expands on them and gives them bigger arcs. The first season focused on Nick and Andrew particularly Andrew struggling to be a good kid when his hormones are raging. The second season focused more on Jessi and Jay, especially Jessi. Jessi goes off the rails because of her parents’ divorce, and her Hormone Monstress gets her to shoplift and experiment with drugs. The final two episodes literally goes into Jessi’s mind, and she has a major realization. Her storyline makes the show a bit more like Bojack Horseman. The final scene of the penultimate episode where Jessi is sad and alone when her classmates are partying could easily have fitted in the other Netflix show.

The first season established that Jay’s brash personality is a front because he has a turbulent home life. The second season expands on this because his parents are absent – they don’t even notice he has run away. Jay ends up forming a friendship with Coach Steve (Nick Kroll) and despite the man barely functioning as an adult he ends up being the closest thing Jay has to a parent. Jay also questions his own sexuality at the end of the series, and it will be a storyline that will continue in season three.

Even minor characters were expanded upon. Lola (also voiced by Nick Kroll) was one of the most grating characters in the previous season, and she’s still an overbearing personality. She forces Andrew into a relationship with her. But she is genuinely hurt when the relationship falls apart, and the penultimate episode reveals she’s desperate for a real friend. Matthew (Andrew Rannells), the sassy gay kid also has a little arch because despite being outwardly confident his own insecurities are exposed. More characters will properly be developed in the next season.

Nick and Andrew still have their own storylines. Nick is insecure that he isn’t developing as quickly as his peers and he has a romantic subplot with Gina. Nick’s romantic intentions with Gina were originally lustful due to her growing breasts, but he does have a rapport and suffers the usual levels of teen angst. However, Andrew degrades as a character. In the first season, he was a decent kid who had a corrupting influence in the form of the Hormone Monster. In this season he is turned into a pervert and openly expresses this – although it could be argued that he’s just acting like a typical 13-year-old boy.

One of the big issues of the first season was the rules of its world. The show was meant to be about normal kids facing normal issues, yet characters shared Hormone Monsters, and the human characters are able to interact with ghosts. In the new season, the Hormone Monsters and the Shame Wizard are more an extension of the human characters and they amplify what the teens were thinking and feeling. This was especially true during the eighth and ninth episodes where tensions between the teens flared up. The role of ghosts was reduced and hopefully, the third season would drop them entirely. Sadly talking pillows that get pregnant but the show is going in the right direction.

A great example of the improvement from the first to the second season is the finales. Both episodes have similar stories where a character gets trapped in another world, and they have to be rescued – in season one Andrew gets lured into The Pornscape and season two shows Jessi leading Andrew and Nick into the Department of Puberty, and she comes stark realization. The season two offered more character development and was much more focused – the first season finale had numerous storylines and a rushed ending. The final scenes with Jessi gives the target audience a positive and poignant message.

Big Mouth second season keeps what works from the first season and tones down what didn’t. It is a more character-driven season and whilst it doesn’t top Bojack Horseman as Netflix’s best animated offering Big Mouth is a relatable show.

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OLD MAN QUILL #1: Grumpy Old Guardians

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Hot off the success of Old Man Hawkeye, Marvel enlists writer Ethan Sacks to tell another story for the growing “Old Man Superhero” brand. OLD MAN QUILL #1 shows us the future of the Guardians Of The Galaxy for this timeline.

old man quill 1 cvr

***SPOILERS LIE AHEAD***

 

We open with a younger Peter Quill who’s assumed the role of Spartax Emperor from his father. He’s got a little family back home as he leads an assault on the Universal Church Of Truth. His “military genius” was for naught and the world he’s sworn to protect falls, along with his family.

Now an old man, Quill is broken and unable to move on. Our story begins when his former galaxy guardian allies come to drag him back into a fight against the Church. Much like the Hawkeye and Logan installments in the “Old Man” brand, Old Man Quill is tragic and oddly satisfying.

One of the strongest elements of Ethan Sacks’ fantastic Old Man Hawkeye was that it was the Hawkeye of old. The Clint Barton we remember from pre-Matt Fraction era Marvel comics. Sacks looks to revisit the same formula with Star-Lord, his Quill is much more Abnett/Lanning than post-Chris Pratt Quill.

Seeing the wear and tear on Drax, Gamora, Rocket, and Mantis is delightful. Mantis has an especially interesting dilemma in her older age, being overloaded with too many memories and feelings from over the years. These are the kind of details that Sacks is particularly great with.

Quill and his former allies had a falling out years ago and it’s going to be an enjoyable read as they hash it out over these twelve issues. The “grumpy old men” moments are satisfying as well. Sacks knows exactly how to deliver moments like Rocket saying “All that murdering…is murder…on my back.”

The book’s biggest strength is Sacks’ voice and appreciation for these characters; he utilizes the timeline sandbox that he’s creating in. The biggest weakness in this first issue is the plot itself. Quill is scooped up to “save the galaxy” from the Church, but then we’re investigating a distress call? Then the Milano is blasted and crash lands.

Where the Milano and it’s crew crash lands is our shocking twist ending that I didn’t see coming. Throwing these lovable old Guardians into the Wasteland of Old Man Logan/Hawkeye could make or break this book.

In the past, when the Guardians are stranded on Earth, it’s a bore. It limits and dulls the characters to not have them in the extremes and outrageousness that the 616 cosmos provide. Perhaps it will be different given that it’s the Wasteland and not just another Civil War for them to be props in.

Artist Robert Gill channels the Abnett/Lanning glory days as well. These look like the Guardians of that era have been aged, even with Emperor Quill sporting his current armor. Gill does a wonderful job adding appropriate wear and tear to each of member of the team.

Gill’s aging and expressions with Quill himself are fantastic. The pain behind his eyes, the anger in Rocket’s, the sadness and disappointment in Gamora’s. Shredding through a Brood swarm with this gang of geezers shows that they’ve still got it but are definitely not at their peak still.

Old Man Quill #1 may end up being the most fun of the “Old Man Superhero” brand. Marvel was smart for recognizing that Ethan Sacks clearly has a vision for this particular stories and once again paired him with a fitting creative team.

Another trip to the Wastelands makes for an exciting premise, this opening chapter may lack a detailed script but more than makes up for it in character. Also there will be DOOM and you can never go wrong with Dr. D. That Mt. Doommore was a glorious and promising sight.

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Zdarsky Strikes Gold Again With DAREDEVIL #1

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A new chapter begins for Matt Murdock in the all-new DAREDEVIL #1. Writer Chip Zdarsky and artist Marco Checchetto team up for the new ongoing series about our beloved Horn Head.

Daredevil 1 cvr

***SPOILERS LIE AHEAD***

 

Having just barely recovered from getting hit by a truck (again), Matt Murdock has to pick himself up out of a dark hole and start his life again. That includes being Daredevil again, and he has some major problems reinserting the Devil into Hell’s Kitchen.

Zdarsky’s take on Daredevil comes after a fairly long and often brilliant run by Charles Soule. Chip provides a nice change of pace, but one that’s not in drastic contrast. While the subject matter of this introductory issue is still dramatic and darker in tone, it’s delivered with a smirk and a wink.

Soule’s background in law practice allowed to provide an interesting exploration of that side of Murdock. Zdarsky’s ability to inject personality and character into seemingly any scenario will allow us to have a little more fun with horn head again.

Chip Zdarsky’s recent Marvel work with Two-In-One and Peter Parker: The Spectacular Spider-Man showcased his ability to craft layered comic book stories. His comics carry weight without ever taking themselves too seriously. This Daredevil series may prove to be the perfect fit for such a talent.

As Matt gets back to his work as Daredevil, he’s finding it challenging to handle a simple leap from building to building. He almost gets his ass handed to him by a trio of simple burglars. After such a long stretch of darkness and pain, it’ll be rewarding to take this journey with Matt Murdock as he slowly gets himself back into shape.

Daredevil #1’s cliffhanger ending complicates our hero’s woes even further as it’s reported that horn head may have accidentally murdered one of those lowly robbers. Although it seems fishy with that new detective showing up with some sort of vendetta against vigilantes, this makes for a very intriguing Daredevil story–especially given Kingpin’s current political position.

Our first impression of Zdarksy’s Daredevil is a strong one. He quickly demonstrates his handle on Matt’s voice and mindset following a traumatic recovery. We spend a lot of time with a young Matthew and Zdarsky hammers home the priorities that our hero has always had.

Artist Marco Checchetto and colorist Sunny Gho deliver a very solid issue. There’s a small hint of anime to Checchetto’s style that serves the humanity of his character’s well. The tone of Daredevil #1 is fresh, consistent, and welcoming thanks to Checchetto and Gho.

I really appreciate the subtly in how emotions are illustrated. Rather than having an overly expressive face, we’re treated to subtle smirks and expression changes. The scene where a young Matthew sheds a tear while talking to his priest is powerful and cinematic.

Daredevil #1 is a perfect starting point for new readers. It’s also a great change of pace for those who have been following horn head’s recent fall from grace. Chip Zdarsky has been putting together one hell of a Marvel legacy. This series looks to be another great match and he’s paired with an art team that’s capable of extending his vision.

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The Original DICK TRACY: The Birth of an Icon

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Dick Tracy became a household name decades ago. For people born in the ’70s and ’80s, like me, it’s easy enough to associate the name “Dick Tracy” with the 1990 Warren Beatty film, but it’s harder to conjure up an anecdote about the original source material. That’s no great failing on my generation’s part, though, considering the original Dick Tracy source material first saw publication nearly 90 years ago.

DICK TRACY – Looking Back

I’ve always enjoyed looking back at the creators and characters who helped form our contemporary understanding of comic strips and comic books, and you can’t get much more formative than Chester Gould’s work on DICK TRACY. Although, by his own admission, Gould’s initial work on DICK TRACY was not his best, the DICK TRACY strips from 1931–1933 are easily some of the most influential comics ever printed.

After Tracy’s appearance in the early ’30s, his signature fedora and trench-coat became common garb for nearly every hard-nosed detective to grace the silver screen or printed page. But it wasn’t just Tracy’s sense of style that would be imitated: Tracy’s origin story should sound familiar enough to seasoned readers of comic books.

The Original DICK TRACY – Vengeance, Best Served in A Fedora

Shortly after announcing to her parents Tracy’s intention to marry Tess Trueheart, armed thugs break into the Truehearts’ home. One of the mobsters demands the Truehearts’ life savings, but Emil Trueheart, Tess’s father, refuses and puts up a fight.

The mobsters blow the old man away, knock Dick out, and steal the Truehearts’ money. To add insult to injury, the bad guys also kidnap Tess. Upon awaking from his gun-butt-induced nap, Tracy swears a solemn oath: he will save Tess and avenge Emil Trueheart.

The Original DICK TRACY – Dick Spider-Punisher-Batman

This origin should sound pretty familiar, since Tracy shares its essential details with Spider-Man, Batman, the Punisher, the Rawhide Kid, Ka-Zar, and a host of other costumed vigilantes. Vengeance is a powerful motivator, especially when the bad guy has kidnapped your fiancée and killed her dad.

The Original DICK TRACY – Pushing the Envelope

Although, by today’s standards, the violence in DICK TRACY’s early strips is pretty tame, it was shocking to the strip’s original readership. On its second day of publication, PLAIN CLOTHES TRACYDICK TRACY’s immediate predecessor, featured a thug using a blowtorch to torture a bound victim.

This particular method of interrogation may seem surprisingly gritty and realistic for the time, but this level of grit was exactly what readers were looking for. Although DICK TRACY is generally remembered for the strip’s grotesque villains, the first few years of publication saw few of these ugly and oddly named characters. Pruneface and other fan-favourite villains would appear later. During the first couple years of the original DICK TRACY comic strips, Dick’s de facto arch-nemesis was a heavy-set vagrant/conman simply named “Steve.”

The Original DICK TRACY – Dick Tracy or Dick Wolf?

Tracy’s enemies, including basically a carbon copy of Al Capone named “Big Boy,” weren’t the only elements that gave the original source material a sense of realism, though. DICK TRACY also served as one of the original procedural cop dramas, showing various forensic techniques that police of the day would use in the course of their duties.

Tracy didn’t just follow hunches, although he did every once in a while. For the most part, Tracy used ballistics tests, fingerprints, and other real-world investigative techniques to collar criminals.

The Original DICK TRACY – Did Someone Say “Boy Sidekick?”

Beating Batman to the punch by nearly a decade, Dick Tracy started endangering his ward’s life early. Dick Tracy Junior, under the care of Steve when he first appears, quickly develops a respectful relationship with Tracy, eventually becoming an honourary detective in Tracy’s precinct.

The Original DICK TRACY – Final Thoughts

I borrowed IDW’s THE COMPLETE CHESTER GOULD’S DICK TRACY DAILIES & SUNDAYS 1931–1933: VOLUME ONE from a friend of mine. The strips are excellent, if dated, and the supplemental material is a great addition to knowledge-hungry nerds like me. Volume One includes nearly 600 comic strips, but it also contains a great introduction by Max Allan Collins, who took over DICK TRACY writing duties when Gould retired at 77, as well as an interview that Gould gave to Collins and Matt Masterson.

Collins’s introduction provides some great contextual information for the creation of DICK TRACY, and the interview with Gould provides keen insights into Gould’s process and the struggle he endured in his journey to create one of the most influential comics characters of all time.

I have newfound respect for Gould and his legacy after reading this volume. And, unlike some other collections of Golden Age or pre-Golden Age material I’ve read, I’m actually considering buying Volume Two. After all, it’d be nice to meet a villain with a stranger name than “Steve.”

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Review: Mutant Manifestations In THE EMPTY MAN #4

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The Empty Man #4 continues to explore the horrors of a virus spreading fear and violence throughout America. While uncertainty grips the real world, this comic from BOOM! Studios gives fear a physical form and releases it upon the innocent and guilty alike. No-one is safe which is the major theme explored within this horror series.

Story/Writing

The Empty Man virus is spreading and taking new form.

This issue opens in a film studio where two young children are being interviewed for a news show. The reporter is curious about the children and their link to the Empty Man virus. As a contrast, the two children are dismissive of the reporter; they have a greater understanding of what is happening and display impatience for the uninitiated.

Cullen Bunn manages to kick this issue off with an extremely creepy sequence despite the fact it lacks the horror and the gore present in much of what follows. The intensiveness of the two children during the interview and their attitude towards the reporter is extremely unnerving. Bunn gives them voices more suited to a religious or cult leader. As a result their dialogue is uncomfortable to read. They have a steady and matter of fact tone. What they say isn’t just a story they have made up but a Truth that they believe in entirely and this comes across in the way that Bunn has scripted the scene.

After the opening scene the reader is thrown right back into the action from the previous issue where a family and their protectors are trying to escape the neighbour. So far it has played out like a scene from a Purge movie but for this issue Bunn throws a curveball into field: large spider like mutations which appear to be the next stage of the Empty Man virus. First infection, then invasion.

Bunn follows the corruption of the innocent with the fears of adulthood. He continues to punish the FBI agents and the family by making their night go from bad to worse. Even after their apparent escape Bunn reminds the reader of the cost so far and hints at the terrors that are to come.

There are elements of this comic which may not make sense at first as they relate to previous issues and even the previous Empty Man series. However, Bunn has woven a short flashback sequence into the narrative to bring everyone up to speed. The bonus of this two-page spread is that it fits snuggly within the story and doesn’t feel like an info-dump just for the sake of it. It is a moment that makes narrative sense within this issue of The Empty Man.

Art from The Empty Man issue 4
Art from The Empty Man #4 Credit: BOOM! Studios

Art

The difficult job of visualising the horrors in The Empty Man falls to Jesus Hervas. Luckily for all concerned Hervas can manipulate the images within the panel to create the necessary tone. Even in the opening sequence which is bathed in bright light and reassuring color, all provided by Niko Guardia, Hervas uses the facial expressions of the characters to reflect the deeper, unnerving elements of the script. The young boy and girl have an innocence about them which is somewhat belittled by their eyes and the words they are speaking. Hervas creates a contradiction between the art and the speech which results in the uncomfortable feeling emanating from the page.

To contrast this, Hervas draws the reporter with a straight face throughout. By the end he becomes a man out of his depth illustrated by the fact that the children begin to surround him in the panels; he becomes trapped. As this issue continues, that feeling of being trapped is returned to again and again, like a running theme for the central characters. Several pages have the characters imprisoned within the panels either surrounded by other characters or boxed in by scenery or the panel boarders themselves.

One of the highlights of The Empty Man is the lettering work by Ed Dukeshire. Not only can he reflect emotion through the speech balloons but his sound effects strike fear into the hearts of the reader. Whether it’s the chaotic gun shots or the screeching creatures, the sound effects seem to tear across the page and bleed out of the comic itself.

The Empty Man art work
Interior Art from The Empty Man #4 Credit: BOOM! Studios

Conclusion

As The Empty Man progresses it becomes more unnerving and grotesque. The theme of entrapment, physical and emotional, which runs through this issue gives it an additional horrific edge. Bunn understands the horror genre and demonstrates that knowledge on every page of this comic.

In turn, the creative team of Hervas, Guardia and Dukeshire visualise the emotional terror of the characters through dark yet expressive panels. No two page is the same with the layouts changing to best express the elements on each particular page.

There are other horror comics on the shelf but with The Empty Man, BOOM! Studios have a visually disturbing and visceral tale of terror which is really beginning to pick up pace.

 

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Michael Avon Oeming Collars DICK TRACY FOREVER

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Reaching back into comics history once again, IDW Publishing has announced it’s bringing back Chester Gould’s famous detective in Dick Tracy Forever, to be written and illustrated by Michael Avon Oeming. The four issue mini-series will debut this April.

oeming dick tracy

IDW’s official description reads as follows:

Dick Tracy is the proverbial Sisyphus, pushing the law boulder up the hill as he struggles for reason and order in a world with none. His attempts at delivering justice are met with crime and chaos in the form of unpredictable and absurd villains. But Dick Tracy will never give up trying, no matter the era or incarnation… even when his startling new case defies all notions of time and space!

Oeming adds:

“I’ve gotten to write and draw most of my bucket list characters, from The Spirit to Batman and more, but I never dreamed that Dick Tracy would even be a possibility. It feels completely natural and I cannot wait to show why he’s such a relevant character for all times.”

The first issue will have two covers by Oeming, as well as a variant by artist Kyle Baker. Fans may remember that Baker himself illustrated a run on Dick Tracy in the 1990s.

oeming dick tracy

Written and drawn by Chester Gould, Tracy made his comic strip debut way back in 1931; the character is probably best known to the general public thanks to Warren Beatty’s 1990 movie adaptation. IDW’s last Tracy outingDick Tracy Dead or Alive — was released in 2018.

Are you looking forward to Oeming’s take on this classic comics character? Comment below!

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