BLACK WIDOW #1 Review: Back From The Dead And Looking For Action

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Black Widow has had a difficult few years and, although being killed and reborn in a clone’s body may be par for course for your average Superhero, the strain is beginning to show. To help her through these difficult times Marvel Comics have enlisted movie writers/directors Jen and Sylvia Soska to pen the next stage of Natasha Romanoff’s life. With a selection of horror/thriller B-movies under their belt, it is pretty clear that Black Widow is not going to have an easy ride.

It’s a New Year, and a new creative team brings us a new mini-series about everyone’s favorite Russian spy. What can go wrong?

The Story

Coming back from the dead hasn’t been everything that Natasha Romanoff thought it would be. Part of her has changed, and rage is building inside her. The Soska Sisters (Avengers Halloween Special) have written a story that prods that wound and pushes Black Widow closer to breaking point.

The issue starts with a standard terrorist/hostage situation with Captain America and Black Widow facing an abusive crowd as well as simple-minded terrorists. There is a heavy-handed social commentary throughout this sequence that almost upsets the balance of the narrative; especially as the villains are barely two dimensional. Luckily this set up is about allowing the reader to understand Natasha’s current state of mind and is not about the bland bad guys.

Following this opening Black Widow goes on a journey of self-discovery, of sorts. She heads out with the intention of losing herself to her rage and finds a trigger to set her off — a trigger which is not for the faint-hearted.

As the issue progresses, the story starts to improve, from a central character point of view. Unfortunately, the villains and situations remain second rate. It is well known that the Soska Sisters are fans of Grindhouse movies and that influence starts to become apparent as the story unfolds. However, it is difficult to really embrace that type of genre in a Marvel Superhero comic. For the shlock to work, it has to be visually vicious. There has to be a sense of uncontrollable brutality. Black Widow does not quite reach that mark.

Part of the problem is how comical some of the set pieces are. Whereas this may work in a movie, such as the uncool cop from Cabin Fever trying to party with the kids, it falls flat on the pages of this comic. The sound effects, although beautifully rendered by Joe Caramagna, would be more at home in the 1960s Batman series than in a violent sexploitation story, which is what this is aiming for.

Marvel Comics — Cover Art Detail for Black Widow #1

The Art

The pencil work by Flaviano and the color of Veronica Gandini really suits this take on Black Widow. Together they create a visual world that is over powering with glitz and glamour but underneath shadows are beginning to creep out. Flaviano produces some wonderfully choreographed fight sequences and imbues Black Widow with controlled strength. Throughout it all the reader gets the impression that Natasha is holding back but the strong surface is cracking which is exactly what this story is exploring.

Gandini fills each panel and page with a multitude of colors to give the impression of busy streets and crowded places. She reigns this in, however, in those moments where a simple action or piece of dialogue is important. At these points, the background becomes a single color or disappears entirely. This helps to give weight to some elements of the narrative which is needed, especially if you are new to Black Widow. Although there is a ‘previously in’ type introduction, there are still elements of the story that feels like a back story is needed to understand what is being referenced.

As mentioned, the lettering work by Caramagna is wonderful. There are scenes with a lot of dialogue that Caramagna expertly positions around the action and the characters so that it doesn’t distract from the image but does help the natural flow of the page. The incorporation of the sound effects into the artwork in a number of panels is an especially clever touch; it’s just a shame that in some case the words themselves add an unwelcome element of comedy to violent or cruel natured scenes creating a difficult contrast of themes for the reader to digest.

Conclusion

The laughable villains in Black Widow may seem like that best way into the story, especially if future issues are going to get darker, but it sets it off on a wrong footing. The jarring contrasts between the horrific elements of the comic and the comedy elements make for a difficult read in places. This is a shame because there is a great story at the heart of this issue and the Soska Sisters have a very good understanding of the central character. They handle her development perfectly, illustrating the balance that Natasha walks between hero and killer. They portray her like The Bride from Kill Bill and the similarities between the two fictional characters become more evident throughout this issue.

There is a great comic in the pages of Black Widow if it can just escape the shackles of being a Marvel Superhero comic and embrace the Grindhouse horror it so desperately wants to be. There are plenty of fans waiting for Natasha to let loose and this series looks like they are going to get their wish. If this is the case, then Black Widow is in safe hands with the Soska Sisters because they know how to handle off the rails characters.

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Zac Thompson Goes Home With AfterShock Comics’ THE REPLACER

By

Matthew Sardo

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January 15, 2019

AfterShock Comic announced a new title Tuesday morning with the graphic novel The Replacer written by Zac Thompson with art by Arjuna Susini, described as a bizarre mashup of IT, The Exorcist and The Diving Bell and The Butterfly.

The trade paperback is based on Thompson’s true story of coming to terms with a disabled parent.

“The Replacer is a concept I’ve been developing for a few years. It’s about how a little boy, Marcus, who’s world is irrevocably changed after he witnesses his father suffer a massive stroke. When his disabled father returns home, permanently paralyzed and unable to speak full sentences, Marcus becomes convinced that his father has been replaced by a demon. I’m excited for this to come out because this book is a rumination on my own life experience. My father suffered a from a massive stroke when I was seven, and it took me a very long to understand what that meant to me as a person and how much it changed the way I see the world. I’m excited for people to read a horror story with a different kind of lens, and to shine a light on how we treat people with disabilities,” said Thompson.

Thompson has most recently been part of the writing team with Marvel’s Spider-Geddon and Age of X-men.

According to the press release, The Replacer is a complete 64-page graphic meditation on loss, tragedy and fear told through the eyes of a nine-year-old — a horror tale about learning to walk again, even if a demon has to teach you how to do it. Check out the 5-page preview below.

About The Replacer:
The 1990’s. Tragedy strikes the Beharrell family in the form of a debilitating stroke. Now the youngest child in the family is convinced his paralyzed father didn’t truly fall ill but is possessed by something sinister. He believes a demon, THE REPLACER, has come to take away his jolly, agreeable, tech-obsessed Dad. But no one seems to see the monster — and with every passing day, his father falls deeper into the clutches of evil.

Dee Cunniffe colored the book.

AfterShock Comics’ The Replacer hits your local comic book store on April 24.

Will you add The Replacer to your pull list? Comment below with your thoughts.

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Marvel Reveals WAR OF THE REALMS Art

By

Kevin Sharp

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January 15, 2019

War of the Realms is about to break loose in the Marvel Universe, and now we have our first look at some preview pages by artist Russell Dauterman and colorist Matt Wilson, featuring not only the Avengers but some familiar Asgardian villains as well. The pages aren’t lettered, but the big action beats mean fans shouldn’t have too much trouble deducing the events depicted.

As described in Marvel’s press release:

Asgard. Alfheim. Heven. Jotunheim. Muspelheim. Niffleheim. Nidavellir. Svartalfheim. Vanaheim.

All of the Ten Realms have fallen to Malekith and his army…except one: Midgard. Home to Thor’s beloved humans. Home to heroes and gods alike. Now, at last, it burns. And Thor won’t even be there to see it.

All hell breaks loose in New York City as Malekith and his allies begin their invasion—and the greatest heroes of the Marvel Universe watch as Earth falls…

Jason Aaron explains:

“I have been building towards War of the Realms for the entire duration of my Thor run. So we’re talking six years and 80-something issues and counting. The story really begins when that war that’s been brewing for years in the pages of Thor explodes here in Midgard. And at that point, it’s bigger than a Thor battle; everyone becomes a part of that battle.”

Aaron has been the shepherd of Marvel’s thunder god since 2012, having written three different versions of the main series — Thor: God of Thunder, Thor, and The Mighty Thor — along with the Thors miniseries in 2015. He won the 2016 Eisner Award as best writer for Thor and four other series collectively.

War of the Realms #1 (of 6) thunders into comic stores April 3.

Are you looking forward to this event, whether or not you’re a current Thor reader? Comment below!

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Review: KISMET: MAN OF FATE Brings Back an Old Hero to Tackle New Problems

By

Corey Patterson

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After over 70 years of silence, Kismet: Man of Fate has finally returned to comic books. The updated edition from A Wave New World places the first Muslim superhero in the midst of America’s political turmoil following the 2016 presidential election, assisting his friends in a resistance movement. The story poses a question that many of us have faced during this era of political divisiveness: How do we best use our gifts to stand up against injustice?

**Some Spoilers Below**

Story

Kismet, the man of fate, is an Algerian superhero made famous for fighting with the Allies against the Nazis in World War 2. Writer A. David Lewis beautifully interweaves Kismet and the other characters’ Muslim faith into the story’s narration. It’s as if you can feel Kismet’s crisis of faith as he cries out to Allah in desperation during the various tumultuous events throughout the story.

Lewis does an amazing job of taking the 1940’s superhero and fitting him into modern times. He first introduces us to a twenty-first century man named Qadar who’s come into contact with Kismet in some kind of sci-fi inspired astral plane. The two now inhabit one body but are able to swap them out depending on who’s in “control” at the time. They have also enlisted Qadar’s sister Deena and their friend Rabia to foil a plot contrived by Larue Lamont, a descendant of Kismet’s nemesis from the war. She has plans to betray a group of her supporters at an upcoming dinner.

Kismet experiences traumatizing flashbacks of his encounter with the older Lamont, a leader who promised liberation to an oppressed nation but ultimately betrayed them to the Nazis. For him this isn’t a run-of-the-mill criminal; this is history repeating itself.

What’s more, these events happen to coincide with the airing of the 2016 presidential election results. This leads to an even more tense situation among the characters as they await the outcome. One can almost feel the tension throughout the scene, especially in the all-too anxious personality of Qadar.

A confrontation with Lamont soon follows and results in her unleashing harmful chemicals into the air. Fortunately, Kismet takes over and finds an electric panel that is controlling their release. But upon breaking it he receives an electric shock that erases all traces of Qadar’s consciousness.

Kismet, racked with guilt, tells the others what happened just as a cloud of more sorrow descends on the group as the election results show on television. We see beads of sweat trickle down his back as the implications of what just happened set in.

The fear of going through life without a loved one evokes feelings of sympathy with the group, especially Deena. But seeing the election results adds that final nail into the coffin; there is no hope of solace in sight. Muslims, and minorities everywhere, will have to live in an even more oppressive society.

Now Kismet and the team must find a way to move forward without Qadar and navigate the country’s new political landscape. A stark change overtakes Rabia as she resolves to take action against the injustices sure to follow. Her determined spirit jumps right off the page when calling the others to action.

Deena’s sorrow from her brother’s death and fear of persecution leads her to push Rabia’s call further by questioning Kismet’s motivations: “But there’s a question nagging at you. It’s tugging at you more than any guilt over Qadar—More than Larue’s betrayal. All of it…You need to decide—now, in this new strange life: What do you stand for?”

Despite a growing confusion over the reasons for his arrival, Kismet now has the task of deciding how to help the country: Should he use his fists to fight injustice or his words to take a stand against it? Can a Muslim immigrant turn the tide of a culture dead set against him?

Kismet’s challenge is one we all face in trying times: standing up against injustice. And the crumbling world around him only adds that much more pressure to his choice of action.

Art

Noel Tuazon, Rob Croonenborghs and Taylor Esposito weave together beautifully designed scenes in this fantastic story. Tuazon draws panels with squiggly lines that often overlap, representing the high levels of uncertainty in the characters’ lives. This is coupled with Croonenborgh’s warm hues mixed with shadows to pay homage to the original comic artwork.

Esposito’s lettering distinctly highlights each character’s dialogue, especially with Kismet and Qadar. The use of various dialogue box colors gives a clear indication of who’s talking as well as how central the text is to the scene.

Conclusion

With so much anxiety surrounding our country’s political landscape, it’s refreshing to read a story that speaks to those searching for a way to stand against injustice. What’s more, KISMET: MAN OF FATE offers hope to Muslims and other minority groups throughout the country who have been further marginalized.

What do you think of this revitalization of the hero Kismet? Did you like the political nature of the story? Let us know in the comments below!

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Five Great WHAT IF? Stories From The Original Series

By

Anthony Composto - EIC

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January 13, 2019

What If? Classic: The Complete Collection Vol. 1 is out this week from Marvel Comics, and we’re counting down five of the series’ best stories.

For the uninitiated, the title of the series really says it all: what if things in the Marvel Universe had happened differently? At the start of each issue, The Watcher brings the reader back to a pivotal moment in Marvel lore. A slight alteration is made, and the audience gets to sit back and see how things could have played out differently with the change. These simple one-shot stories ranged from fun and silly to philosophical and thought-provoking, and were put together by some of Marvel’s biggest creators (including Jack Kirby, during his late-70s Marvel comeback).

So without further ado, let’s take a look at five of the best What If? stories you’ll be able to read in the new collection:

What if Spider-Man had joined the Fantastic Four? (What If? #1)

By Roy Thomas, Jim Craig, Pablo Marcos, Janice Cohen, & John Costanza

The story that started it all. Remember way back in Amazing Spider-Man #1 when Peter Parker tried to join the Fantastic Four because he wanted a salary? (The FF don’t get paid for their superheroing, by the way.) This story shows what could have happened if the team accepted Spidey into their ranks. It’s a fun action story that perfectly introduces readers to the concept of alternate timelines. It also immediately shows how even a seemingly positive change can have tragic results, something that would become a theme of the series.

What if Jane Foster had found the hammer of Thor? (What If? #10)

By Don Glut, Rick Hoberg, Dave Hunt, Carl Gafford, & Carol Lay

Well this sure sounds familiar, doesn’t it? Decades before Jason Aaron would put Mjolinir in the hands of Jane Foster, the idea was tackled by Don Glut and Rick Hoberg. This issue is especially interesting to read in light of Aaron’s current Thor run. Despite the large gap in publication dates, the two stories tackle a lot of the same issues, such as sexism, and how Odin, Asgardians, and other heroes react to a female Thor.

What if the original Marvel Bullpen had become the Fantastic Four? (What If? #11)

By Jack Kirby, Mike Royer, Bill Wray, & Carl Gafford

King Kirby himself wrote and drew this crazy story, where he became the Thing, Stan Lee was Mr. Fantastic, Flo Steinberg was the Invisible Woman, and Sol Brodsky was the Human Torch. This is a great read for so many reasons. First off, it’s Kirby, so you get the big, bombastic action that made him infamous. The comic also marked the first time in eight years that Jack had worked on a Fantastic Four comic, and the first time that he had written one himself (although, granted, it’s a very different team). It’s one of the last comics that the King worked on for the House of Ideas, and it’s a must-read for fans of the iconic artist.

What if the Hulk had the brain of Bruce Banner? (What If? #2)

By Roy Thomas, Herb Trimpe, Tom Sutton, Glynis Wein, Joe Rosen, & Tom Orzechowski

One of the deeper issues of What If?. Hulk has always been a character that elicits philosophical discourse. His comics are all about the duality of man, and the monster that lives inside us. Roy Thomas and company take the time to ask what would happen if that monster had the brain, and therefore the logic and reason, of the man. The team explores how differently people would have treated Hulk if he had Banner’s brain, and again we’re left with a shocking ending that turns the positive premise of the story on its head. No spoilers here, but the Watcher’s closing words are a perfect summary of the series: “There is, perhaps, a cosmic scale somewhere — an inescapable balance which decrees: for every gain, there must be a loss.”

What if someone else besides Spider-Man had been bitten by the radioactive spider? (What If? #7)

By Don Glut, Rick Hoburg, Sam Grainger, George Roussos, & Rick Parker

This is perhaps the original Spider-Verse story. We get three different stories packed into this issue, asking what could have happened if the radioactive spider had bitten Flash Thompson, Betty Brandy, and John Jameson, respectively. This is a fun read for Spider-Man fans, especially in the wake of all the recent Spider-Verse stories we’ve been getting, both in comics and film. The Flash Thompson one has actually been revisited recently as well, in the new What If? series from 2018.

Additional stories in the new Complete Collection include “What if Captain America had not vanished during World War II?” and “What if the Avengers fought evil in the 1950s?”

What’s your favorite What If? story? Let us know in the comments, or on Twitter @monkeys_robots!

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Marvel Comics Announces AVENGERS: ENDGAME Tie-Ins

By

Kevin Sharp

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January 12, 2019

With Marvel’s cinematic universe building toward April’s Avengers: Endgame, the comics arm of the company is about to join the party. Marvel will be releasing a series of key Avengers-centric $1 reprint comics to coincide with the movie’s opening.

The official press release is below:

Avengers Assemble! Relive Marvel’s Legendary Tales with TRUE BELIEVERS: AVENGERS Comics!

New York, NY—January 11, 2019—This April, the Avengers will take a stand in Marvel Studios’ Avengers: Endgame. And fans can relive some of the most classic Avengers moments in Marvel history with a line of Avengers themed TRUE BELIEVERS comics, available only at your local comic book shops.

Reproducing some of the most iconic Avengers stories of all time at the suggested retail price of $1, TRUE BELIEVERS are perfect for readers new and old. Whether it’s your first time reading these memorable tales or your hundredth – you won’t want to miss this special celebration. Look for your favorite classic stories with new and colorful re-printings!

TRUE BELIEVERS: AVENGERS – NEBULA #1: Reprinting material from Avengers (1963) #260 #35, #49
TRUE BELIEVERS: AVENGERS – THANOS VS. THE MARVEL UNIVERSE #1: Reprinting material from Infinity Gauntlet (1991) #4
TRUE BELIEVERS: RONIN #1: Reprinting material from New Avengers (2005) #30
TRUE BELIEVERS: AVENGERS – STORMBREAKER #1: Reprinting material from Thor (1966) #339
TRUE BELIEVERS: AVENGERS – THANOS & GAMORA #1: Reprinting material from Warlock and the Infinity Watch #9
TRUE BELIEVERS: AVENGERS – ENDGAME! #1: Reprinting material from Avengers (1963) #71
TRUE BELIEVERS: AVENGERS – THE GATHERER’S SAGA #1: Reprinting material from Avengers (1963) #343
TRUE BELIEVERS: THANOS: THE FINAL BATTLE #1: Reprinting material from Infinity Gauntlet (1991) #6

And stay tuned for these special True Believers to be revealed at a later date!

TRUE BELIEVERS: AVENGERS – CLASSIFIED A
TRUE BELIEVERS: AVENGERS – CLASSIFIED B

The specific issues they’ve chosen might offer some clue regarding key elements of the film’s story. Then again, 1969’s Avengers #71 — a story featuring Kang, the Squadron Sinister, and the Invaders — seems to share only a title in common (“Endgame!”).

Does anticipation for the new Avengers movie have you excited discover (or rediscover) some classic Marvel material? Comment below!

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Monkeys Fighting Robots Now Exclusively Covering Comics

By

Anthony Composto - EIC

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January 12, 2019

Starting in 2019, Monkeys Fighting Robots will shed our film and TV coverage, and focus exclusively on comics.

Comics is a unique, rich, and diverse medium deserving of a website’s full attention. Dedicating our team of writers to just comics will not only allow for more content, but more in-depth content. This means we’ll be offering our readership more exclusive interviews, analyses, and thought-provoking pieces about the intricacies of comics, in addition to our usual reviews and news stories.

It also means that we’ll be able to dedicate more time to smaller publishers, as well as independent and self-published creators.

And fear not, fans of film and TV, you can head over to our new sister-site POPAXIOM for coverage of your favorite shows and movies. (Read our full POPAXIOM announcement here.)

Here are a few examples of the deeper, more diverse type of content you can expect to see from MFR moving forward:

If you’re a publisher, writer, artist, or creator of any kind who would like to see your comics covered on MFR, please contact anthony@monkeysfightingrobots.com.

What do you hope to see from MFR now that we’re comics-exclusive? Let us know in the comments, or on Twitter @monkeys_robots!

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Monkeys Fighting Robots Launches POPAXIOM For Film & TV Coverage

By

Anthony Composto - EIC

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January 12, 2019

Monkeys Fighting Robots has launched a new sister-site, POPAXIOM, dedicated entirely to film and TV coverage.

Now that MFR exclusively covers comic books, we’ve moved our talented team of film and TV writers over to POPAXIOM.com, where you can continue to read their reviews, opinions, interviews, and news stories about your favorite shows and movies.

Similar to MFR going comics-exclusive, having a website dedicated entirely to film and TV will allow our POPAXIOM team to provide more thoughtful, in-depth, and extensive coverage.

POPAXIOM will cover all of the latest releases, from blockbusters to indies, and from premium cable to anime, with a special focus on streaming services, including (but not limited to):

Netflix
Hulu
Amazon Prime
Disney+
HBO Now
CBS All Access
YouTube TV
…and more!

Almost everything is available via a streaming service, so if you can watch it, you can read about it on POPAXIOM.

Be sure to follow our new social channels so you never miss a beat:

LIKE US ON FACEBOOK

FOLLOW US ON TWITTER

FOLLOW US ON INSTAGRAM

And subscribe to POPAXIOM’s YouTube channel to watch red carpet footage, interviews, and panels, like this one about the upcoming SPIDER-MAN: FAR FROM HOME…

What kind of coverage would you like to see from POPAXIOM? Tell us in the comments, or tweet us @POPAXIOM!

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INTERVIEW: Star Trek Discovery’s Gersha Phillips Talks Fashion In The 23rd Century

By

Ruben Diaz

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January 12, 2019

Star Trek: Discovery is the flagship show for the fledgling CBS All Access streaming service and making the show look slick and stylish is costume designer Gersha Phillips who brings decades of experience creating fashion for fiction.

Star Trek: Discovery survived crossing a galaxy full of geeks around the world who hold the Enterprise and the world of Starfleet very dearly to become a hit for CBS All Access. Season two, premiering Jan. 17, continues the adventures of the 23rd century, and Gersha’s mission is to keep boldly updating the looks of the legendary science fiction landscape.

PopAxiom spoke with Gersha Phillips and did a little temporal gymnastics to discuss bringing 60s fashion about the 23rd century into the 21st century.

Engage!

Discovery is a movie-like TV show and so “For what we’re doing there’s a need to expand the look of the show.” Originally, it was re-thinking the world of Starfleet 10 years before the first series. However, as the end of season one reminded us, time moves forward and the new show meets the old. “For the enterprise, we didn’t do a lot. Obviously newer fabrics, but just evolved the basic look.”

A lot of people have taken note of the “desexualized” look of Discovery. The uniforms are non-gender conforming, offering the same general silhouette and the mirror universe, once the most risqué place in Star Trek lore, leaned more lavish than luscious. But what is sexy for Gersha? “I think people think sexy means you have to show skin. I like to think sexy is a presence of character.” With that said Gersha adds, “Everyone to me on Discovery is sexy by the way they carry themselves.”

That’s Inspiring

Discovery is like several shows in one featuring diverse worlds across a massive new galactic community. So what inspires all of that? “In general, I feel like I’m moved by so many different things; traveling, experiencing new cultures, going to museums. I love fashion, so I try to see fashion shows. I love Alexander McQueen. Art is also a very inspiring thing for me.”

In short “The world is an amazing place.”

For Star Trek, Gersha continues, “The technology of the future is super-inspiring and exciting.” Every day we move a little closer to some of the realities of the Trek-verse “With this season, I had more time to think about what’s the reality of what we’re doing. What could the future really be?”

Gersha considered many things “ … gender fluidity and sustainability. Being more conscious of what we’re using and how we’re using it.” Because for her, it was about “Trying to design something that feels like it’s a future evolving into something that’s more … conscious.”

Here Come The Klingons

Gersha shares some insight on the initial look of the Klingons. “The first set of [Klingon] costumes came from Suttira Larlarb, and I think the original inspiration was conquistadors meets samurai?”

As every Star Trek show does, Discovery grows and evolves. “When we did Kol, we wanted to do something more traditional but also take into account that Klingons have double-organs!” Gersha turned to the cultures of the globe for inspiration “I looked at a lot of armors from all over the world.”

From inspiration to illustration to final product “There will be very specific ideas that I send to the illustrator. As we bring it to life, it sort of becomes its own thing. It pulls on so many different elements as the process moves forward. Even as we decide on fabrics, it changes and evolves.”

Star Trek: Discovery Season Two

What can expect to see in the upcoming season of the show which officially begins January 17? “We have Michael in a more traditional Vulcan look. We did some other things to expand the world,” Gersha laughs, “I can’t really talk about them entirely. But we do a lot of really cool new looks for what fans loved in season one.” About the rookie season of Star Trek: Discovery “It was the first time dealing into these things. Season two, we learned so much from last year, and we’re bringing more to the table. Evolving things.”

To hype up fans a little more about the upcoming fashion in the science fiction series “I feel like we up the ante and took things to a new level.”

Wrapping Up

Star Trek spans a galaxy of unique alien species with cultures all their own. But we 21st-century humans only have our one planet for that “If you want to tell stories about different worlds I feel like you want to experience something different and get out of your world.” We are each other’s aliens, so-to-speak.

To date, Star Trek has a bazillion different aliens. But a few stand out to the costume designer and she’d love to get her hands on their look “I’m very partial to the Borg. I’d love to get a chance to work on them. The Romulans for sure. And I’ve been watching a lot of Deep Space Nine with my daughter so I’d love to work on the Bajorans.”

What’s Gersha’s final word on the work she does for Star Trek: Discovery? “I love this level of creativity. It’s so gratifying.”

Thanks to Gersha Phillips, Impact24 PR, and CBS
for making this interview possible.

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[Review] MARTIAN MANHUNTER #2 Examines J’onn’s Past

By

David DeCorte

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Deconstruction may prove to be the trend that will define this period of comic book history. We’ve recently had Tom King’s run on Mister Miracle, plus Margaret Stohl’s Life of Captain Marvel, both excellent titles. Now, Martian Manhunter #2 continues writer Steve Orlando’s wonderfully-inventive exploration of a character that is so often pushed to the sidelines in the DC main roster.

J’onn’s disguise fails following the accident at the end of our last issue, exposing his true form to his partner. J’onn grapples with whether to erase her memory in the present. Concurrently, we see extended glimpses of his past life as both a cop and a family man back on his home world, plus anxious hints at the coming cataclysm that will eventually render J’onn the last son of Mars.

The Writing

As mentioned above, deconstructing and exploring J’onn J’onzz as a character is at the heart of Martian Manhunter #2.

An extended flashback to J’onn’s past life on Mars occupies half of the book. This offers perhaps the most fleshed-out glimpse we’ve ever had of Martian society. We learn more about their customs, physiology, and way of life. More than anything, though, it provides a look at what made J’onn the Manhunter we know today.

There are no real surprises to be had; we already know the story of J’onn’s past won’t end happily. Despite that, you can’t help feeling the tension mount as H’ronmeer’s Curse starts to impact Martian society. Martian Manhunter #2 does a great job of laying on the dread.

The Artwork

From an artistic standpoint, the Martian segments were standout moments in the first issue. With much of Martian Manhunter #2 centered there, Riley Rossmo’s designs really get the chance to shine.

Rossmo’s work on the issue centers around lots of fluid and rounded figures, giving it a nicely-stylized, cartoonish vibe. Even under that, though, you still get an appreciation for the brilliantly-creative design work. We’ve seen comparatively little of DC’s Mars in the past. Thus, the artist enjoys carte blanche to invent the aesthetics of Martian society as he goes.

The colors play an important role in that process, too. Earth is marked by muted, naturalistic tones. However, this contrasts with Ivan Plascencia’s wildly creative, alien colors for the Martian segments.

Final Verdict

Martian Manhunter #2 takes everything that was great in the first issue and expands on it. This may prove to be one of the best limited-run titles of 2019.

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