Brian Michael Bendis has been making waves since his arrival at DC Comics. Sometimes they’ve been great waves with exciting stories, other times have been confusing and subpar. One of the more interesting waves is the new imprint, Wonder Comics. This imprint will be centered on teenage heroes and curated by Bendis himself. The first of this imprint, Young Justice, was a decent read. The next of the imprint is the story of Naomi. This is a new character that will go on an adventure that will affect the whole DC Universe. So just who is Naomi?
**Some Spoilers Below**
Story:
After a small town in the northwest gets a visit from Superman, a young girl begins investigating. This is Naomi, and she is fascinated by Superman. She is curious about why he has come to their little town. She also begins investigating the other time anything strange happened. Everyone appears to be avoiding the topic, much to the young lady’s annoyance. The reason Naomi wishes to know is that she wants to learn if she is special.
This issue is primarily used to give us an understanding of Naomi. As this is a new character, we spend a majority of the issue learning a ton about our heroine. It’s clear that this story will be a more character-driven series rather than an action-packed one. The only action we get this issue is the fight Superman gets into at the start.
I prefer a balance of both action and character-driven narratives. Because of that lack of action, I was getting bored by the end. The cliffhanger saved it, but overall I just couldn’t get into it. Maybe this will change as we learn more of her origin, but right now, I’m just “meh” about this opener.
Art:
The art is by far the best part of this book. Each panel is breathtaking in illustration and colorwork. Jamal Campbell is the artist for the issue, and he gives it his all on every page. The character designs feel grounded in reality, especially in their facial expressions. There’s a scene in this where Naomi is on the verge of tears from the mystery weighing on her. Each panel shows a little bit more of the sad frustration until she starts to cry. It’s full of emotion, incredibly realistic, and I loved it. I hope the artist isn’t going anywhere, because I already can’t imagine this comic without his skill.
Conclusion:
I like certain aspects to this story. Naomi is an interesting character, and I want to see where her story goes. The art is also incredible, being full of excellent colorwork and skillful illustrations. This issue might have been average thanks to a lack of real excitement, but I actually can’t wait for the second issue.
The Golem is a new horror film from Doron and Yoav Paz about Hanna, a woman (Hani Furstenberg) who turns to mystical forces to save her village that’s based on a centuries-old Jewish folktale.
The Golem is a fun horror flick with some great, underlying themes about fear and motherhood. The Paz brothers have evolved as filmmakers since they got a lot of attention for their mostly first-person horror flick JeruZalem. The Golem provides great visuals through an entertains story. At the heart of it is Hani Furstenberg and her performance that holds the whole movie together.
PopAxiom spoke with director Doron Paz and lead actor Hani Furstenberg about their work on The Golem.
Finding Hanna
Hanna is the complicated protagonist of The Golem. She’s solemn but caring, and when the village is under threat, she does what she feels she has to do. It’s a meaty party to play for any actor “I knew Hani was the right woman for the role. I contacted her, and she ditched us two hours before our meeting.”
Doron continues the story “We continued looking for the right protagonist for the film, and no one was the right one. So we tried again, and we contacted Hani again, and this time she read the script.”
Hani’s a fan of horror but “It wasn’t the first thing I wanted to do. I found my love for cinema through horror and thrillers. At about nine or ten I started to make films, and they were always horror films.”
Hani continues the story “A friend finally urged me to be a part of the project and read the script … I fell in love with the heart of the story. It’s a very special film in the genre.”
About The Golem, the singer-actor says “It’s so much more than just a horror film. It’s a period piece, a drama … arthouse thriller and Jewish folklore … so many different kinds of stories.”
Making The Golem
For Doron, making the film started with a realization “It was really amazing to us that no one had touched this story. Hundreds of years old, such an interesting folktale, and it was left alone for one hundred years on film.”
The Golem is a period piece and finding the right place to make it all happen was key “The location was so important to the mood. We shot in Ukraine, in the middle of nowhere. It was a studio that was left there.
Hani adds “It was the coldest summer in Ukraine. It was freezing.”
But ultimately, for the team “… it really put us in the mood as the filmmakers. So often you shoot a scene then go home to your family and friends. Here, we were so isolated, and it was all about the film.”
Hani describes the place “It was acres and acres of land. So much green. Beautiful. It didn’t feel like a [film] set. It really felt like we were in this other time.”
Becoming Hanna
The protagonist in The Golem, Hanna, faces internal and external threats that make the character go through a lot in the 90-minute runtime. How did Hani stay sane through all these horrors? “… With a lot of help from a lot of people.”
Hani’s preparation for the role started before she was even cast and didn’t even know it “I happened to be watching Handmaid’s Tale, the first season. That was a big inspiration.”
About the character of Hanna “This woman … is very smart, opinionated, tries to break through what is supposed to be her part in this life and world.”
Making A Monster
The Golem fits into a lot of subgenres, but first and foremost it’s a monster movie. How did the creature come to be? “In the first draft of the script … something was missing. We had this huge monster, and it wasn’t interesting enough. And we got into, should the monster be CGI or a costume.”
However, the Paz Brothers kept brainstorming and realized “The idea of The Golem is much more interesting than the appearance of the creature.”
Soon after, one decision made that put the whole puzzle together “Once we settled on doing the creature as a child, the rest of the story wrote itself.”
Working Brothers
Think of Doron and Yoav as the Israeli Coen Brothers yet it’s rare to have two brothers working together as directors of a single film. Hani admits “I did not know what it would be like to work with … not only two directors but brothers. But they work amazingly together. They really compliment each other. There’s also something very symbiotic about how they work.”
According to Hani, there’s little disagreement on set between the Paz Brothers, but Doron jokingly admits “We only argue a lot when we’re alone in the editing room.”
Wrapping Up
What is next for the Paz Brothers? “We have so many stories that we want to tell. We wake up with a new idea, and we go crazy for weeks developing it then another idea comes up. I want to do them all! We’ll be shooting something this year but I can’t talk about it.”
Hani jokes “Will I be in it?”
Doron replies “Maybe. It’s going to take place in Germany so practice your German.”
As for Hani, you’ll see plenty of her very soon “I have two series that came out in Israel. One is called False Flag. The other is Asylum City and the first season just started. It’s a cop-based thriller. And you’ll see me in the new season of American Gods.”
The Golem, in theaters on February 1st and available on DVD, VOD, and Blu-Ray February 5th.
Thanks to Doron Paz, Hani Furstenberg, and Big Time PR
for making this interview possible.
Blossoms 666 by Cullen Bunn, Laura Braga, Matt Herms and Jack Morelli brings old-school ‘Satanic Panic’ horror to Archie with a gruesome and fun first issue.
Cheryl and Jason Blossom are a pair of seemingly normal kids in Riverdale. They’re wealthy, popular and likeable—but they also harbor a deep, dark secret—one of the Blossom Twins is the Anti-Christ. Both want the title, and no one in Riverdale is safe.
Blossoms 666 #1 Written by: Cullen Bunn Art by: Laura Braga Colors by: Matt Herms Letters by: Jack Morelli
Writing
Cullen Bunn is no stranger to horror and horror comics. The scribe has been pumping out scary stories all over your LCS’s. Now, with Blossoms 666, Bunn gets to play in the sandbox that is Archie horror and it’s clear the writer is having a blast. One of the biggest draws with any Archie horror title is the subversion and twisting of the classic characters and their relationships with each other. From the beginning, Bunn nails this with the way he writes Cheryl and Jason Blossom. He introduces each in quick scenes that not only establishes the antagonistic relationship the siblings have with each other but also clearly places them both in the upper hierarchy of Riverdale High. This opening scenes also serve as a way for readers to meet the rest of the Riverdale gang, as they exist in this world, with the writer finding ways to tweak and subvert Archie, Jughead, Betty, Veronica, Reggie, and even Dilton. Bunn makes this feel natural and even if you are an Archie superfan, it feels like you are meeting some of these characters for the first time.
It’s about halfway through that the horror starts really popping up and it all enthusiastically embraces the classic tropes of the Satanic sub-genre of horror. We have robed cultists, pentagrams, blood rituals and even a potential sacrifice (I won’t spoil who but it’s someone who probably deserves it). In another title and under another writer’s keyboard this could come off as cliche, but Bunn is having so much fun and seeing these characters reinvented just adds another layer to that enjoyment.
ART
The art team of Laura Braga and Matt Herms have to be able to capture both a bit of the classic Archie feel and give it the horror atmosphere it needs, and they certainly accomplish that. The art is cartoony enough to pull you in and give you a sense of ease, before opening up with full-blown horror imagery. Like the writing, the art plays with both conventions of Archie and horror; blending and melding them into a gruesome and glorious phantasmagorical cauldron of Satanic horror.
Conclusion
Archie horror has always delivered on fun and thrills. Blossoms 666 #1 is no different. It’s fast, fun, gory and good. Pick it up, and pray to the Dark Lord that we keep getting more Archie horror titles.
The second installment of Geoff Johns’ SHAZAM! series expands on the themes of family established in the previous issue. We’re given a deeper look into the inner workings of Billy Batson’s foster siblings and the dynamics that play into their relationships. In this issue, the champions of the worlds of magic are faced with a crossroads as they decide which destination upon which to embark via a magical subway.
Story
Johns focuses his story on the concept of family building, which is what he’s often claimed has been the core aspect of SHAZAM! comics since their inception. Billy’s status as a foster child allows for great storytelling as he learns what it means to create a family. In that vein, the story takes us on a journey with Billy and his foster family into the “Funlands”, one of seven magic lands the heroes discover while visiting the Rock of Eternity.
There was little that took place in terms of action throughout this issue; it chose to focus on the characters’ interactions with one another. But Johns doesn’t disappoint in this regard. When trying to choose a magical land destination Mary, the eldest sister, shows she’s a responsible and concerned sibling when attempting to manage the excitement of the younger children. One of these children, Freddy, exudes the energy of a hyperactive puppy over the prospect of visiting the Funlands, making the clash between him and Mary exemplify a classic case of bickering siblings.
Of the characters’ personalities, however, it was Billy’s that proved to be the most engaging and relatable in this story. The reader experiences the true dilemma facing any child of his age: choosing to be responsible or engage in a fun activity with friends instead. Amazingly, Billy finds ways to balance these two inclinations, showing his development as a character.
Art
Marco Santucci gives us crisp, clean artwork fitting of the comic’s action-packed theme. Mike Atiyeh’s coloring works with this beautifully, creating seamless transitions that take the heroes from dark caverns to brightly colored theme parks. These aspects quite literally illustrate the differing feelings of each hero: from the unyielding doubt Mary faces to the shining optimism of Freddy, the reader is drawn further into the cacophony of emotions in this family.
Rob Leigh’s lettering grants life to each character’s dialogue. There was no confusion as to who was speaking despite the vast number of exciting characters in this issue.
On another note, Dale Eaglesham and Alex Sinclair’s holiday-themed cover art was quite misleading, though this may have been due to the release date changes. Nevertheless, it would have been great to see a bit of the Funlands theme park in the cover art instead.
Conclusion
SHAZAM! #2 was an engaging connecting story, but offered little in terms of plot. Despite this, it was great getting to see what each character was like. Hopefully this issue serves as a stepping stone toward a much more elaborate storyline to come.
What did you think of SHAZAM! #2? Let us know in the comments below!
The Life And Death Of Toyo Harada #2 hits your local comic book store on April 10, but Valiant Entertainment and Monkeys Fighting Robots have teamed up to bring you an exclusive first look at the three covers by Mico Suayan, Ariel Olivetti, and Dean Haspiel.
THE LIFE AND DEATH OF TOYO HARADAwill place the planet’s most powerful man in the spotlight as he strives to control the course of history. But with the menacing mastermind’s resources dwindling after the downfall of the Harbinger Foundation and a target on his head, will the formidable psiot re-emerge as humanity’s greatest hero…or its most dangerous villain?
The first issue of the six-issue mini-series comes out on March 13.
Cover A by Mico Suayan
Cover B by Ariel Olivetti
Cover C by Dean Haspiel
The 40-page second issue is written by Joshua Dysart with art by CAFU and Butch Guice, and will retail for $4.99. Dysart is a multiple Eisner Award-nominated writer and a New York Times Bestseller.
About the issue:
The deadly campaign of the most powerful psiot in the Valiant Universe continues! In the present: Toyo Harada finds himself and The Foundation Zone under attack by a coalition of world governments, as one of his own teammates begins to turn on him. In the past: Toyo Harada escapes Japan aboard a fishing vessel and sets sail for the new world.
Are you excited for The Life And Death Of Toyo Harada? Comment below with your thoughts.
What if the wedding of The Bat and The Cat had turned out differently? Batman #63 seems to give Bruce Wayne his happily ever after, with Batman and Catwoman now married and serving as Gotham’s top crime fighting duo.
Things are not as they appear, though, if John Constantine’s presence is any indication. John dogs Batman throughout the issue, warning of personal tragedy just around the corner.
The Writing
Batman #63 presents part three of King’s Knightmares story arc. The dreamlike mood and uncertainty about reality that defined our last few issues are still here, but we start to get some answers by this issue’s end.
King reveals information in a creeping, deliberate manner, serving to heighten the tension. We see Bruce and Selina enjoy their time as newlyweds. In every scene, though, Constantine reminds Bruce that things won’t—and possibly even can’t—go well for him. He turns up, constantly tugging at the threads of Bruce’s world…or at least what Bruce believes is his world.
The last several issues remained largely abstract, going for mood and suggestion before revealing the twist at the end, and this one continues that trend. But, unlike our last two issues (good though they may be on their own), Batman #63’s end carries some genuine momentum for the broader narrative. We finally get answers to what’s going on and how it ties into Bane’s larger plan to psychologically break Batman.
The Artwork
Mikel Janin does a great job reflecting the tone of King’s writing. The lines are soft, giving the artwork a somewhat wistful, light vibe compared to other recent issues.
Batman #63 is light on action, instead focusing on Bruce’s interactions with Selina and Constantine. Janin keeps things interesting in the way he frames the panels, though. He divides some pages into similar, yet increasingly-zoomed-in images as the conversation rises in intensity, or shifts angles to keep things interesting.
Jordie Bellaire provides a dynamic color sensibility, nicely complementing Janin’s line work throughout. She skillfully captures the tone for each scene, balancing between soft, slightly washed out palettes, and dark, yet vibrant tones.
Final Verdict
While the last few issues are great in their own ways, their lack of immediate connection to the overarching plot did start to drag the momentum a little bit. By the end of Batman #63, though, we finally have our narrative bearings.
A new age of Guardians Of The Galaxy is upon us and the galaxy “is broken.” The all-star duo of Donny Cates and Geoff Shaw (THANOS) takes us back among the stars.
***SPOILERS LIE AHEAD***
Thanos is dead and all the major players of the galaxy are shook. Eros collects all the heavy hitters in one place to share the posthumous threat made by his fallen brother of Titan. There will soon be a new Thanos and the only way to prevent it requires a lot of blood and guess work.
Guardians Of The Galaxy #1 has the gravitas of a major Marvel event’s opening chapter. We learn the stakes, meet the players, get a dramatic shake-up (thanks to an attack by The Black Order), and blast forward into an exciting new adventure with a new core cast.
With Drax having died, Gamora becoming a villain and Rocket elsewhere, Peter Quill and Groot reload their crew by being in the right place at the right time. In perfect GOTG fashion, Quill accidentally rescues a handful of survivors of the Black Order’s attack.
Thanos’ generals have his deceased body, but now Quill and Groot are joined by Cosmic Ghost Rider, Moondragon, Phyla-Vell and Beta Ray Bill. That’s a stacked lineup of cosmic Marvel favorites, GOTG all-stars, and the hottest new character in the 616.
We’ve got ourselves a race across the galaxy to find and stop this “new Thanos” before it’s too late. The way our story is setup and laid out is masterful. Guardians Of The Galaxy #1 manages to satisfy and immediately hook longtime fans and new readers alike with an infectious tone and explosive plot.
Donny Cates has been having one hell of a go at Marvel. This series seems to be another perfect fit, he wastes no time injecting his personality and trademark “punk/metal” appeal to a title that has plenty of room for it. Even giving Groot a mohawk and punk attitude fits perfectly.
As a longtime GOTG fan, the voice and attitude Cates has for Quill is reassuring. Long gone are the days of Bendis’ misguided run and the overreaction to Chris Pratt’s movie portrayal of Star-Lord. Quill is back to being the “Indiana Jones of space” that’s always in over his head but always up for the task.
Teaming up with Thanos collaborator Geoff Shaw once again was a brilliant decision. They pick up right where they left off creatively and clearly have much more to say about the weirdness of Marvel’s cosmic frontier.
Shaw’s illustrations are as sharp and dynamic as ever. His vision for cosmic characters and settings is wonderful, his Guardians panels have a bit more of an edge to them. Shaw has the ability to perfectly convey both the attitude and comedic timing of Cates’ scripts.
Marte Garcia does spectacular work as always, especially with the large cast of characters to breathe life into. The opening scenes with the meeting room full of the universe’s heaviest hitters warrant more than a quick read and page turn.
From the script to each and every panel, this series seems hellbent on delivering us back an age when cosmic stories mattered on their own. This feels like a major crossover event without any of “Earth’s Mightiest Heroes” and that’s a big deal. This could be the beginning of a renaissance for the best corner of Marvel’s universe.
Guardians Of The Galaxy #1 is everything you could’ve wanted from a launching point for our favorite cosmic assholes. The new crew is one fans have been dreaming of for years. You couldn’t ask for a better creative team to elevate the title to new heights. Don’t miss what will most likely be one of Marvel’s must-read comic books going forward.
New Mutants by Abnett & Lanning: The Complete Collection Volume 1 is out this week, and it’s a great sampler platter of stories for Marvel’s more obscure X-Men.
The paperback collection includes New Mutants issues #25-37, written by Dan Abnett and Andy Lanning. These stories feature four different art teams: Leandro Fernandez & Andres Mossa; Michael Ryan, Norman Lee, & David Curiel; David Lafuente, Robbi Rodriguez, Val Staples, Chris Sotomayer, & Sotocolor; and David Lopez, Alvaro Lopez, & Val Staples. Joe Caramagna lettered all the issues.
It also includes issue #632 of Journey Into Mystery by Kieron Gillen, Mitch Breitweiser, Bettie Breitweiser, and Clayton Cowles.
This volume basically collects six different New Mutants stories. Each one naturally flows into the next one, but they all could also easily be read independently of one another. Readers can enjoy the rescue and return of Nate Grey, as well as the team battling Asgardian demons, Magma going on a literal date with the Devil, and more.
Abnett & Lanning are perhaps best known for their epic Cosmic Marvel saga, where they made stars out of lower-tier superheroes by showcasing their full, badass potential. The duo bring that same kind of energy to New Mutants. Yes, this team has its die-hard fans, but these are still fringe characters that aren’t appreciated like the main X-Men. But Abnett & Lanning bring out the best in the crew, showing how powerful they are, both as individuals and as a team. Between Magma holding in an earthquake with her bare hands and the ferocious battle skills of Dani Moonstar, this collection will make serious fans out of readers.
The team chemistry and dynamic is also a joy to read. The X-Men are a family, but the New Mutants have always been like a little family within the family, and you feel their connection in these pages. Plus, New Mutants comics have the ability to go to weird places like no other X-comics can, and this volume is no exception. If you’re a fan of the absurd, or horror, or absurd horror, you’ll dig this run. Again, Magma goes on a literal date with the Devil himself, and it’s probably the highlight of this entire book.
The art varies, due to the aforementioned four art teams, but each team brings the right kind of energy for their story. Fernandez and Mossa provide an edgy grit to introduce the series. Lafuente, Rodriguez, Staples, and Sotomayer give off a scarier vibe that’s very apt for the Fear Itself tie-in. Multiple artists are very good at focusing on delivering emotion and strong facial expressions for more personal stories. The frequent changes may be jarring to some, but it’s hard to argue that the changes don’t work for the betterment of each arc.
New Mutants by Abnett & Lanning is a solid read whether you’re an old fan of the team or new. And with the New Mutants movie hitting theaters this year (hopefully), this collection is a good entry into this world.
BOOM! Studios are taking us back to the very beginning for their new Buffy the Vampire Slayer comic, re-imaging the characters and the story.
Everybody has heard of Buffy the Vampire Slayer, and most of the people picking up BOOM! Studios new comic will have seen at least some of the original series. The TV show, which started in the late 1990’s, became a massive hit, turning its actors, such as Sarah Michele Gellar and Alison Hannigan, into stars and making its creator, Joss Whedon, into a household name.
But now, in 2019, Jodie Bellaire and Dan Mora are re-inventing the Slayer and the cast of characters that surround her. The old will become new and a new generation of fans can discover the exciting adventures of Buffy and the Scooby Gang.
Page Art from Buffy The Vampire Slayer Credit: BOOM! Studios
The Story
The story opens in a Tuna themed fast food restaurant where the reader is introduced to Buffy, a seemingly normal, bored teenager. She watches a couple of her peers enjoying themselves and she laments about her situation. The scene quietly moves outside and the action begins.
Bellaire has decided to skip out on Buffy discovering her secret and jump to the Slayer blues that comes with hiding her secret and not being able to interact with other people her age. This outcast element of the character forms the backbone of this first issue and allows for the creators to explore Buffy’s new world while introducing it to the readers.
One thing that becomes instantly apparent is the strength of the central character. Her presence on the page and the confidence that Bellaire injects into her dialogue makes her stand out above each of the other characters. From the very beginning it is made clear that she is something special, and not just a Slayer. This is a reflection of how important the character is to so many people, including Bellaire and Mora. You can feel the love and the respect for the Slayer’s world in this issue.
Other characters are introduced, some instantly recognisable such as Giles the Watcher who is as focused on the job and as blind to Buffy’s civilian life as Anthony Head was in the 1996 original. Some of the characters aren’t as fans may remember them, but this is where this new comic series is going to be fun. Bellaire gets to play with a massive cast of characters and re-invent them to surprise the readers.
This opening issue has a narrative that is spot on for a re-boot of a popular character. Buffy is exactly as you would expect her to be, reset to factory setting so to speak, and the world around her is familiar but still new. Bellaire captures the ‘snark’ that made the original series so popular without it being out dated or cheesy. The Buffy-speak that became synonymous with Joss Whedon’s early career is alive and well and serving this comic beautifully.
The best part of the Buffy world that has survived is the empowerment of the central character. Buffy is a hero. Troubled and reluctant, sure, but she still does what has to be done to save the lives of the people around her. She was a character that people could admire and look up to and this aspect is present in this new take on the character. There are several panels where, as readers, we are forced to literally look up to Buffy as she towers above us like a superhero. You can change a lot about a character but this is something that is intrinsic to Buffy and Bellaire gets this part of the character spot on.
Interior Art work from Buffy The Vampire Slayer Credit: BOOM! Studios
The Art
Mora has a fine line which allows for some excellent figure work. His characters are wonderfully rendered and their resemblance to the actors in the T.V. show is amazing. So much so that on the opening page you know exactly who Buffy is watching despite the fact that they haven’t been introduced by name.
There is so much detail in each panel. The energy of the character’s bursts from the page making them stand out however, the backgrounds complete the pictures and create a perfect setting. Raul Angulo’s colors create mood from one scene to the next and there is a definite tonal shift from the day scenes to the night scenes. Angulo has a good grasp on light sources and uses this to the advantage of the narrative highlighting aspects of the panels with subtle shadows or glaring spotlights.
Ed Dukeshire has perfect placement for the speech balloons keeping them out of the action. The contrast in balloon designs helps the reading experience. This is most notable between the human and vampire speech. The human balloons are smooth ellipses whereas the vampires have an uneven, wavy edged balloon with crooked tales. This means that, even before you have read any of the dialogue or seen the images, there is something different between the two species. On a very simple level the clean, ordered balloons represent ‘the good’ while the uneven balloons represent ‘the evil’. This is such a simple signifier that the reader accepts it subconsciously and processes the information instantly so that it doesn’t interrupt the pacing of the confrontations.
Buffy The Vampire Slayer issue 1 Credit: BOOM! Studios
Conclusion
Nostalgia is a powerful thing. It has inspired a great number of people to work on projects that reboot and re-image T.V. shows, movies and characters from all of pop culture. It’s especially prevalent in comic books with DC and Marvel making a game of reintroducing characters back to the same reader’s year after year. But to tackle something like Buffy The Vampire Slayer is a brave and difficult decision. There are legions of fans all who love the Buffy-verse with varying levels of intensity. A reboot of this kind is going to be laid under a microscope and systematically dissected.
Luckily for BOOM! Studios, Bellaire and Mora have produced an excellent comic worthy of the Buffy legacy. The love for the series is evident on every page and the influence of the show is there in the dialogue, the action, and even the nuanced storytelling elements. ‘Welcome Back to the Hellmouth’ is an apt name for the story because this comic manages to be a reboot without it feeling like a reboot. The readers will instantly feel at home with the characters and will unconsciously be drawn back into Sunnydale and all the delights it has to offer.
Where the story goes from here? Who knows but it promises to be as wild a ride as the original series was way back in 1995.
Who loves the Buffy-verse? What characters are you hoping will reappear in this retelling of the famous story? Share with us in the comments below.
Following on from a string of popular sporting themed comics, The Avant-Guards, published by BOOM! Studios, is a teen drama centered around a basketball team comprised of drama school students.
Writer Carly Usdin (Heavy Vinyl) takes the reader back to college and reminds us how difficult it can be to settle in and make new friends.
Interior Art from The Avant-Guards. Credit: BOOM! Studios
The Story
The adventure opens with Charlie Bravo on her first day at the Georgia O’Keeffe College of Arts. Having just transferred to the college, she feels isolated from the other students and builds a wall of indifference around herself. Despite trying to avoid unnecessary contact with people, she is strangely drawn to Liv, captain of the college basketball team.
Usdin has created a varied cast of characters and introduces these to the reader en masse in the first issue. Using Charlie as a focal point, the reader starts as an outcast and can only engage with the rest of the cast as Charlie does. This helps to establish the isolated atmosphere that is so important in this issue. Usdin wants you to understand how Charlie is feeling so that as the series progresses any emotional high, or low, that she feels you will also feel. This is achieved surprisingly well in the first issue of The Avant-Guards.
Usdin gives the reader snippets of insight into Charlie’s life, just enough to understand her reactions in certain situations, but not too much that there are no secrets left. We identify with the central character because we recognise these smaller interactions that she has.
The dialogue is befitting the cast and several of the characters already have distinctive voices that shape our understanding of who they are.
Just like BOOM! Studios other hit sporting drama Fence, The Avant-Guards has a niche market, especially if you are considering the sport of amateur basketball, but the true story is not the setting or sport, but the character’s development. Usdin has created a fascinating collection of students for her story and instantly makes the reader want to follow them through their adventures.
Interior Art from The Avant-Guards. Credit: BOOM! Studios
The Art
The art work has that Young Adult appeal that has made comics such as The Lumberjanes so popular. The pencil lines are fine outlines which define the shapes of the characters and setting. The art works to tell a character based story and Noah Hayes is wonderful at capturing expressions and emotions in a minimalistic way.
His strongest attribute in The Avant-Guards is his ability to create an emotional reaction from positioning and scale. At one point he demonstrates exactly how isolated Charlie feels by drawing her small in an already, unusual shaped, small panel. In contract to the rest of the panels on the page this moment seems significant to the reader as all they are faced with is a tiny Charlie, on her own in a sea of nothing.
Later on Hayes uses the minimalistic approach to illustrate how empty Charlie’s life is. A panel in her bedroom seems so much bigger than it is because of the empty space. A single poster adorns the wall and half of the panel is made up blank wall space. Here the colors by Rebecca Nalty really help to hammer home the point. By leaving so much of the panel color free, it emphasises the expanse of space a lot more.
Another wonderful coloring technique that Nalty applies to this issue to help the narrative theme is to defuse a lot of the background images with bleached colors. This makes the central character of Charlie stand out in a sea of people that are different to her. A quick glance of the opening page and the reader knows that Charlie is an outcast.
The lettering on the sound effects is muted and play full. The coloring is a cool blue so it never imposes on the art work but still stands out when it needs to. Ed Dukeshire has a lot of dialogue to handle on some of the pages which he does by evenly spacing the text and allowing for plenty of free space in the speech balloons so that they never seem over crowded. He also distributes the dialogue between a number of different, often linked, balloons. This gives some pages the impression of a lot of speech which in turn makes the silent pages somehow quieter.
Page Art from The Avant-Guards. Credit: BOOM! Studios
Conclusion
The Avant-Guards is another intriguing entry into BOOM! Studios’ BOOM! BOX imprint. It fits in perfectly with the titles that have come before it, especially the sports based comics such as Dodge City and Slam!. Just like those titles the sport element itself is merely a literary device to get the characters to interact and give them a challenge to overcome. Usdin proved with her previous title Heavy Vinyl that she can create intriguing characters and she has done the same here. There is a fairly large cast of characters waiting to be explored and the story is barely beginning.
The combination of clever artwork and a commitment to making it easy to read means that The Avant-Guards is easily accessible for new comic book readers but contains enough for seasoned comic lovers. It’s humorous, fun and bounces along at a steady pace.
