HAL JORDAN AND THE GREEN LANTERN CORPS #50 Review: Robert Venditti’s Last Ride

Hal Jordan fights Tomar-Tu, and John Stewart refuses to kill the Darkstars as Robert Venditti wraps up his run with this over-sized anniversary issue of HAL JORDAN AND THE GREEN LANTERN CORPS #50. Let’s see how Venditti ends his 50 issue run!

WRITTEN BY: Robert Venditti

PENCILS BY: Rafa Sandoval

INKS: Jordi Tarragona

COLORS: Tomeu Morey

LETTERS: Dave Sharpe

WARNING SPOILERS AHEAD!!!

HAL AND PALS SPOILERS TOO!

To see what happened in issue 49, here.

Summary

Hal continues to fight Tomar-Tu into a stalemate. While outside in space, John tries to hold off Zod from killing all the Darkstars where they stand. Using his willpower, Hal channels everything he has into the Darkstar’s central power battery and somehow overrides their programming tearing the Darkstar suits apart and magically showing all of them the error in their ways.

Zod flies in at the end to kill Tomar-Tu and get his vengeance for his father Tomar-Re letting Krypton explode. However, Tomar-Tu kills himself before Zod could act. Venditti ends the issue by sending out hundreds of new Green Lantern rings while sending Hal to find Carol Ferris to give her a big smooch. THE END… or at least Venditti says “Never The End.”

My Take

Looking at just this issue, I was extremely disappointed. Venditti had an opportunity to wrap everything up within his 50 issue run, but he doesn’t. Extra characters were dangled throughout the issue, as well as the entire arc, for pomp and circumstance. For example, why was Orion in the story? And, what did Kyle really contribute in these last dozen issues?

In addition, what was the point of breaking Hector Hammond out of prison in the first place? Two issues, or more, were spent on Hammond to see him break the connection to the hive mind of the Controllers. Really? Was there no other way to bring this series to an end without using Hector Hammond? He did nothing afterward, like most of the extra’s added to this closing arc.

Furthermore, Zod was the only one with a valid reason to be there, and he wasn’t written well at all. Zod would never listen to a “no kill” order from John, especially after his most recent story on Jekuul. What good would three Green Lanterns do against an angry Kryptonian interested in killing someone? Venditti had Zod willing to fall in line and listen to the same Lanterns that let his planet die. I don’t buy it!

And after Venditti’s last 20ish issues, why is Arkillo still not a Green Lantern? Readers that have been following Venditti’s run thoroughly enjoyed Arkillo. Many could argue that he’s even been a fan favorite. So, why not throw that in as the series ends?

The Art

As always, Rafa Sandoval and Jordi Tarragona do a fantastic job. Their character designs are incredibly detailed, and they demand your attention. These two, mixed with Tomeu Morey’s bright and vibrant colors, are always such a stunning combination. Sandoval, Tarragona, and Morey are a huge reason why I have continued to come back to this series each week. DC. This artistic team needs to stay together and work on another DC property, perhaps TITANS?

Should you buy this issue?

If you’ve been collecting this run, you go for it! Sandoval and Tarragona’s art is impressive and Morey’s colors drive the images right off the page. I had high hopes for this last arc, but it just seemed to fall flat and predictable. There are too many dangling questions that Venditti doesn’t answer. What happens to Zod and Arkillo? How can the Lanterns now suddenly send out hundreds if not thousands of rings? And seriously, why is Hal magically able to jam his ring into the control center of the Darkstars and shut them all down?

If there is one thing I cannot stand in comics, it’s backing your heroes into a corner and getting them out with one last ditch effort at the last minute that fixes everything. Hal’s willpower magically saves the day again. It’s lame and defeats the purpose of ever reading a Hal Jordan story ever again. Why? Well, if he’s ever in trouble or stuck, he’ll just use his willpower. Maybe Hal can fix the Source Wall with his willpower while he’s at it?

Should you add this to your pull list?

No, because the series is over. However, the better question is: should you buy the trade? If you’re reading this article at the end wondering if I give the stamp of approval, I would say that this series has been pretty solid most of the way. It’s had ups and downs but it’s been pretty consistent. However, I could argue that everything started to go downhill around the last 10 or so issues. Again, I was genuinely excited for this Darkstars arc, AND it even began on point, but it just didn’t stick the landing.

What did you guys think of HAL JORDAN AND THE GREEN LANTERN CORPS #50? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!

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Review: X-MEN GOLD Volume 6 – “‘Till Death Do Us Part”

Anthony Composto - EIC

August 7, 2018

X-Men Gold volume six – “‘Till Death Do Us Part” – is out this week, so if you missed the X-Men Wedding of the Century, now’s your time to catch up!

Kitty Pryde and Colossus are finally getting hitched, but not before a little kidnapping, space travel, and superheroing.

This story was spoiled in national news when the single issues came out, but in case you were living under a rock, we’ll keep things spoiler-free.

Story

“‘Till Death Do Us Part” is, obviously, a love story, and a very sweet one at that. But since it is a superhero book, action is also required. When Colossus is kidnapped by bigots who want to weaponize his DNA and wipe out all mutants, his bride-to-be leads her team on a rescue mission.

It’s not the most fresh plot; the X-Men have been staving off mutant extinction for decades. But writer Marc Guggenheim is aware of that. Colossus even says to his kidnapper at one point, “your bigotry and hatred is hardly original.” So instead of plot, this story relies on its characters, and they deliver the goods. They’re likeable, relatable, funny, and their chemistry is off the charts.

If you’re looking for a book that lets the X-Men show off their powers and delves into their relationships, you’ll be satisfied with this volume.

Art

Sometimes, superhero books have to juggle multiple artists to keep themselves on schedule. This is one of those times. The first four issues in this collection jump back and forth between Michele Bandini and Geraldo Borges on art, with Arif Prianto coloring both.

Bandini’s style is more cartoony and clean, whereas Borges’ has a rougher, more sketchy feel to it. Ultimately it comes down to personal preference which one you’ll enjoy more, but alternating between the two is a bit jarring. It might have helped to switch between artists that have a more similar style.

David Marquez draws the flashback sequences throughout the book, as well as the entire last issue. His parts focus entirely on Colossus and Kitty’s relationship and their wedding, and for good reason. The way he draws these characters radiates such emotion, whether it be love, shock, or sadness, that it immediately connects you to them, and to the story. Matt Wilson colors Marquez, and I’m going to go on record here and say that he’s one of the best colorists working today. His colors are soft yet vibrant, and add a glow to this story about love and friendship.

Is this volume accessible to new readers?

Yes, absolutely. Even though it’s volume six of X-Men Gold, you can jump right in here with just base X-Men knowledge. Guggenheim is good about filling you in on the pertinent information as you go along. And it’s well-woven into the dialogue to boot; no clunky exposition here!

What did you think of “‘Til Death Do Us Part”? Let us know in the comments!

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Dan Slott, C.B. Cebulski, And Tom Brevoort Talk About The Return Of The FANTASTIC FOUR

Matthew Sardo

August 7, 2018

Marvel released a behind-the-scenes look at FANTASTIC FOUR #1 Monday, featuring conversations with new series writer Dan Slott, SVP and Executive Editor Tom Brevoort, and Editor-in-Chief C.B. Cebulski.

FANTASTIC FOUR #1 hits your local comic books on August 7.

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Three Episode Report: DARLING IN THE FRANXX

Matthew Simon

August 7, 2018

The Internet went abuzz about the ending for DARLING IN THE FRANXX, the show completely pulled the drag shoot, and left people wondering what they saw. Many thought “They did this before, it was called Kill la Kill.”

Summary

Shinji Ikari…I mean Hiro, is a member of a military academy and is part of a group of students calling “Parasites”, who pilot Evas…I mean Franxx. In a unique twist, simultaneously intriguing and disgusting, the mechs require two people, one male and one female. The way the female is positioned however, is very disturbing, and brings up questions of irony. The Franxx’s purpose is to defeat giant monsters called Angels…I mean…Klaxosaurs.

Hiro & 002 from DARLING IN THE FRANXX — Our two leads, Shinji and Asuka…

Anyway Hiro doesn’t have a female partner. Even his best friend, Ichigo (no, not the one you’re thinking of) has a partner. Until he meets 002, a hot headed, quirky pilot who tends to suck the energy out of pilots. She’s widely regarded as a “project” and under strict scrutiny from the defense force called APE. Anyway, 002 wants Hiro to be her “Darling”, to the obvious disdain of everyone.

Positive

On first impression, the series appearing to be directly ripping off Evangelion. You have a wimpy protagonist, wild red-head, calm female support character, a mysterious organization with shady goals and fighting eldritch abominations with bizarre names. However, the execution (in the A-1 Pictures episodes) feels more akin to Aldnoah.Zero than Anno’s masterpiece. The Trigger episodes resemble something like Gurren Lagann meets Evangelion, with the best parts of both mixed in. Studio Trigger never seemed like a studio who thought out their ideas, which shows often, and it adds a childlike quality to their thought process.

002 from DARLING IN THE FRANXX — As I said, 002 is complicated.

The characterization is relatively solid. 002, comes off as a cross between Asuka from Eva, a cat, and a succubus. Goto is the most levelheaded out of all the male pilots. Hiro still feels blander than blank printer paper. Yet all the solid characterization and decent storytelling is overshadowed by the rampant sexualization.

(This paragraph involved the rampant sexualization in Darling in the Franxx, has been censored for the sake of humanity. We apologize for this oversight. -The Management)

The cockpits in DARLING IN THE FRANXX — Why do I feel the need to be censoring this?

Still despite the sexual awkwardness; there is a decent amount which works here. For example, the animation is top notch.

The show was produced by three studios: Trigger, A-1 Studios (of Aniplex), and CloverWorks (a division of A-1 Pictures). Not surprisingly the animation is crisp and clear. The trademark of an A-1 Pictures anime. Trigger’s work is instantly notable, with insanely fluid action scenes (Hiroyuki Imaishi, the director of Gurren Lagann and Kill la Kill fame is listed as “action director” for the series), making up for the angst ridden drama.

Negative

Hiro DARLING IN THE FRANXX — Plot Consistency! Plot Consistency!

However, the fact there were three production companies leads to a big problem: episode consistency. The series waivers on the tone. The A-1 episodes seem to have been created in a world, where the concept of levity is something to be ashamed of. The Trigger episodes are created in a world, where the concept of angst, is ashamed of. There are two conclusions to be drawn from this. One, infighting between the studios. Two, inconsistency in story structure. Since the structure itself, isn’t problematic it is safe to assume the former is the most correct conclusion.

Middle

Which brings us to the music. In the A-1 episodes it’s noticeable and seems to overpower some of the scenes of dialogue. This is also something which happened on Aldnoah.Zero. It was a bit problematic there too. In the Trigger episodes, the music is there, yet it’s not distracting, i.e. doesn’t overpower dialogue, so it’s a B+, if nothing else.

Grade

In conclusion, DARLING IN THE FRANXX is a mecha show, which shows a decent amount of potential. However, the tone waivers between who is producing which episodes, the trap of “Trigger Syndrome.” It gets a PASS but this one could go downhill later on fast.

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Review: GUNDAM BUILD DIVERS Episode 18

Anthony Wendel

The main obstacle Gundam Build Divers has standing before it is the shows which preceded it. Gundam Build Fighters was near universally loved. Gundam Build Fighters Try was somewhere in the middle. If the show addresses issues and themes which were already presented in the previous two series, is it doomed to failure and simply labeled a bland repeat? Not necessarily.

Summary

It’s Riku vs. Tigerwolf in a no holds fight to the finish.

Review

The idea of senior character taking on the rookie he trained is not new. Back in Gundam Build Fighters, one of the best fights came when Ricardo Fellini faced off against Sei and Reiji, two young fighters Fellini had helped to support throughout the series. Watching the two combatants clash with everything on the line was intense and made you wonder who was going to win.

Surprisingly, Gundam Build Divers is able to replicate the energy and enjoyment of the fight (not the intensity though, Sei and Reiji vs. Fellini still get the vote). As the veteran player, Tigerwolf, goes up again against Riku, his former student there is similarity between the previously mentioned fight but Gundam Build Divers finds a way to stand out and be different enough to prove its worth. Thanks to over the top moves and a deep introspective into Tigerwolf and his character dynamics the episode is able to entertain and add actual weight to the episode.

The premise for the audience has seen before but thanks to intense action and not having a predictable ending its a much more enjoyable episode. If more episodes of Gundam Build Divers are like this moving forward than the series will be much better off in the long run. Hopefully this trend will continue as the next episode seems to be mimicking a storyline from Gundam Build Fighters Try.

Gundam Build Divers is Streaming on The GundamInfo YouTube Channel.

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Exclusive Interview: Steve Orlando on WONDER WOMAN #52

Manuel Gomez

August 7, 2018

Steve Orlando is no stranger to comics fans. Currently killing it on Wonder Woman, the scribe has also written Midnighter, Justice League of America, Batman/Shadow, Batman and many more other DCU characters. Steve took a little bit of time out of his herculean schedule to talk to us at Monkeys Fighting Robots about Wonder Woman #52, what makes Diana Prince so important, the awesomeness of the new Aztek, and much, much more.

Steve, first of thanks for taking the time to talk to us at MFR!
Steve Orlando: It’s my pleasure!

So Steve, for those who haven’t been reading, can you catch them up on what’s been happening in Wonder Woman?
SO: Wonder Woman has just been through an emotional ringer, banished from Paradise Island, unpacking how she feels about the discovery and loss of her brother, and most of all, I think…wishing she could get back to work. There’s peace to be made, and she is conscious of that verb: “make.” She knows peace isn’t something you just find, you work for it, you create it, and she’s ready to roll up her sleeves.

Between revelations like Jason and Grail, and without a way to go back to Themyscira, Diana is also struggling with her view of the Amazon legacy. Here she is, a lone Amazon Warrior in Patriarch’s World, but how has she changed, how have the people she’s meant to represent change? Finding kinship and community where it truly lies, not where we wish it could be, is a big theme for our arc.

What makes ‘The Enemy of Both Sides’ such a good jumping on point for readers?
SO: ‘The Enemy of Both Sides’ is a relatively simple adventure with a strong emotional heart, which makes it a great on-ramp for folks. This is Diana at her most pure, fighting for peoples and cultures abused, inspiring others to fight with her. And through Aztek and Artemis, we also get an unusually broad set of perspectives on who Diana is – we don’t just see her as she wants to be her, but through the eyes of not just a budding hero and fan, but a jaded peer and naysayer…at first, at least.

This issue features the latest Aztek as a major character. What drew you to the character/concept of Aztek?
SO: Have you seen that design? Aztek was always one of the coolest characters in comics when I was coming up. But more than that, the new Aztek, Nayeli Constant, is as new to the heroic world as some of us may be to Diana, and to DC Comics. Like us, she’s jumping head first, the lone warrior in a war that’s already gone on for centuries, learning as she goes, and catching up on the battlefield. Faced with the monolith of Continuity, she is in many ways us, and she gets to ask the question we might ask, while at the same time showing herself to be a hero.

Why do you think the character gels so well with Wonder Woman?
SO: Aztek is someone who is inspired by Diana, but not cowed by her. She is fiercely confident about what she knows and excels with but is strong enough to admit what she doesn’t know. So often, Diana’s legacy is misinterpreted as one of either warlike violence or naive compassion. Loving Submission is a complex concept, as is fighting for peace, and strength itself. In Aztek, Diana is heartened to see someone who understands or is on the way to understanding, the nuance of strength.

Along with Aztek, Artemis is a big player here too. What are your thoughts on her?
SO: Artemis is incredible, she’s become the surprise of my entire run. Because in many ways, ways that are different from Aztek’s, Artemis is our mouthpiece. She’s the one that doesn’t buy into Diana’s message, she’s too cynical, too jaded, and what’s more interesting is that when it comes to Themysciran Amazons in general…she might be right! But her mistake is assuming Diana is like all the rest. She gets to misbehave when Diana doesn’t, but always learns the price of that in the end. I think we all have a bit of her in us, the one who gives the middle finger to the rules. Sometimes that’s a bad thing, but sometimes…it’s just what you need.

Let’s focus on Diana for a bit. What draws you to Wonder Woman?
SO: I spoke about it above, but it’s her compassion. Because compassion is hard. Anger is easy, a warrior’s death is quick. As she says in Wonder Woman 51 – what is the more enduring, riskier fight? To the death? Or to life?

Diana’s greatest asset isn’t her superpowers, it’s that she never takes the easy way. She takes the right way, often when I personally wouldn’t be strong enough to do the same. Her powers mean no one’s going to stop her from doing the right thing, but I think even mortal she’d be the same person. A million people might turn away from someone in need that they’ve never met, but Diana would defend that person with her life, damn anyone who tries to rationalize anything else.

What makes her so important to the DCU?
SO: Diana is the lynchpin of the DCU, in my opinion. While she’s associated with the Trinity, her origins cast her actions in a different light to me than Batman and Superman, both of whom are understandably driven by tragic injustice, be it of a robber’s gun or a planet’s core. Superman is closer, inspired by the humble upbringing his parents gave him. But Diana, I think, looks at the world every day and see her motivation not in the past, but in the burning present. She sees the injustice of the present and wades into it every day, ever vigilant. And even seeing that, even as the world may fail to live up to her hopes, she never gives up on it. Diana is driven chiefly by love, and that makes her unique among the DCU’s icons. Loving something means not just sticking with it when it’s good, it means raising it up, supporting it, and forgiving it when it falls. That’s how Diana feels about the whole world and even the other heroes of the DCU. I think even they know that her door is always open and that in her presence a plea for help given honestly will never be ignored.

Have you always wanted to write Wonder Woman?
SO: I have! Diana is an incredible character, but it is extremely intimidating. Seeing people meet Gal Gadot at SDCC 2017 really put it in perspective for me, watching men and women of all backgrounds, young and old, moved to tears by what she created through Diana. I know without fail Linda Carter has inspired the same, and that’s because of Diana’s power as an icon. It’s because of her acceptance, her reverence, for all. So going into Wonder Woman, I thought long and hard about Diana. It’s a heavy baton to pick up, but as the story unfolds, my chief hope is we’ve done her justice.

Wonder Woman #52 has some beautiful art by Aco, David Lorenzo, and Romulo Fajardo Jr. What was it like working with this team? What did you love about their art?
SO: It’s a dream – ACO and Rom have been with me since Midnighter, and I’m lucky any time we can work together. Both elevate every page they touch, and ACO has only become MORE inventive and surprising in our time together. Every time we work together, whether it’s Milk Wars or this, I try to challenge ACO and Rom, and every time they turn back work that is even more innovative than I would have imagined.

Can you tease us where the title may be going?
SO: All over the world! Enemy of Both Sides will take us from the jungles of Mexico across the Atlantic to Qurac and the current home of the Bana-Mighdall. This is big adventure in every page! And Diana is at its heart, with Artemis at her side.

And finally, you’ve written all over the DCU, from Lobo to Dick Grayson to Midnighter and now Diana Prince. Is there one or more DCU characters you are dying to write about?
SO: There’s so many! Right now the Ditko creations are on my mind: Odd Man, Hawk and Dove, the Creeper (LOVE the Creeper), and as always my favorite character is Martian Manhunter. J’onn is always going to be my #1.

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Review: SUCCESSION Finale The One Where Things Went Off The Main Road

Dewey Singleton - Film Critic

After last week’s episode of Succession, Adam McKay and Jesse Armstrong had all of us on what seemingly was a road to war between Kendall (Jeremy Strong) and Logan (Brian Cox) but the story took a sudden turn. Unpredictability, outrageous moments, and storylines rich with intrigue are some of the many reasons why this season finale was perfect and a preview of what’s to come down the road.

One of the many blessings about being a critic is that we are allowed to see these big moments before the general public, and I was lucky enough to watch the finale last week. Of course, HBO wouldn’t let anyone share what they saw until Sunday night, but truthfully that embargo gave me the time to process what had just occurred. Armstrong managed to shift the dynamics of the show’s narrative trajectory ever so slightly, and the result is a reminder to us all who is indeed in control. This is Logan’s world, and everyone is but a piece on his costly chess board.

Jeremy Strong and Nicholas Braun, photo credit: Colin Hutton/HBO

What’s crazy is that Kendall had him beat and Logan knew it. This is why he lost his mind when the note was delivered to him while he prepared for the reception. However, Kendall made it all too easy giving him leverage over him following the car accident which killed the server who was driving somewhere to get more drugs. It appears that the events before and after the takeover attempt made the patriarch of the Roy family realize just how dangerous he could be.

Hiam Abbass and Brian Cox, photo credit: Colin Hutton/HBO

Shiv (Sarah Snook) and Tom (Matthew Macfadyen) do end up getting married, but that isn’t without its entanglements. Shiv is beginning to realize that Tom is not putting on some act and is this nice which results in her feeling incredibly guilty about her fling with her old friend who works on the campaign. She comes clean about the affair while Tom starts talking about the significant incident on their cruise liner which Shiv uses to her advantage. They forgive each other and Tom start exhibiting Roy family traits and kicks Nate out of the reception even asking him to pour his wine back into the bottle. Shiv has always been ruthless but is she mellowing out while Tom is getting fired up about the littlest of things.

Kieran Culkin and Alan Ruck, photo credit: Colin Hutton/HBO

Roman (Kiernan Culkin) and Connor (Alan Ruck) are slowly moving into the limelight which in season one was dominated by Kendall. Culkin’s character is responsible for pressuring a satellite launch which resulted in a massive explosion costing the company millions. Logan isn’t aware of it just yet, but that sort of thing will likely cost Roman his current position. Connor announced to run for president on his… let’s just say “unique” platform which will probably either make him a laughing stock or land him in the White House (who could tell these days). While I’ve certainly enjoyed each of their character arcs in season one, it’s apparent that they will be a more significant factor in season two.

Stewy (Arian Moayed) and Sandy (Larry Pine) have to be steamed about Kendall backing out of their bid to takeover Waystar. Both actors were undoubtedly fantastic, but it is crystal clear that Adam Mckay and Jesse Armstrong need to make Moayed a regular on the show. Stewy bring so much levity to Succession and adds a much-needed element of sleaze.

Overall, Succession in its first season slowly built towards this beautiful menagerie of hilarity, debauchery, and ruthlessness making the show a smash hit. The only downside is having to wait for the new season to arrive. Utilize this break between seasons one and two to binge watch it and get caught up before season two comes.

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FANTASTIC FOUR #1 – Dan Slott And Sara Pichelli Knock It Out Of The Park

Matthew Sardo

A Fantastic Four comic book is finally back on the shelves this Wednesday at your local comic book store, and Dan Slott and Sara Pichelli set up an emotional rollercoaster for you.

The Steve Ditko tribute at the beginning of the book feels appropriate and extra special setting up a sober, celebratory mood for the book.

“Signal In The Sky”

Writer: Dan Slott
Artist: Sara Pichelli with Elisabeth D’Amico’s inks
Color Artist: Marte Gracia
Letters: Joe Caramagna

The main story from Fantastic Four #1 is “Signal In The Sky,” and it’s a therapy session for anyone who has missed the Fantastic Four since the series was canceled more than three years ago. Johnny Storm and Ben Grimm are at an emotional crossroad with the loss of Reed, Sue, Franklin, and Valeria. Johnny and Ben play the roles of hope and despair. Slott must have been listening at all those conventions he spoke at because he understood what the fans need. Some of the dialogue is corny at times, but it has raw emotion attached.

Pichelli is a top artist at Marvel, but it is her understanding of shape and form that separates her from the pack. As Slott verbalized our feelings, Pichelli put us in the panels. Every body type is represented in Fantastic Four #1, and it brought you closer to the characters and the story.

Sidebar – Pichelli’s detail in hairstyles is insane, and more importantly, it was consistent. Johnny Storm looks like he has a fresh blow dry and style every panel. Elisabeth D’Amico’s inks and Marte Gracia colors are substantial factors in the beautiful hair for all.

Gracia’s color palette is perfect with the vibrant primary colors that harken back to the Jack Kirby days. The color scheme of the book is what pushes the theme of adventures, and hope and optimism.

As a Mets fan, it has been a horrible year, but Joe Caramagna lettering had me singing “Meet the Mets” for the rest of the day.

Overall, it was everything a Fantastic Four fan could ask for in a book, with a cliffhanger at the end that has you excited for issue two.

“Our Day Of Doom And Victory”

Writer: Dan Slott
Artist: Simone Bianchi
Color Artist: Marco Russo
Letters: Joe Caramagna

You cannot have the Fantastic Four without Doctor Doom, and Slott, with the help of Simone Bianchi, resurrects the legend with “Our Day Of Doom And Victory.” The short story quickly recaps where Doom has been and pushes him forward with a new understanding of the character for the readers.

Bianchi has a style that is somewhat muddled, but this works out well for a villainous tale. Marco Russo’s dark color palette builds tension, until the final page explosion.

After “Signal In The Sky,” you want to read more Fantastic Four and “Our Day Of Doom And Victory” fits perfectly within the book as a backup tale.

“What The Pop?!”

Writer: Dan Slott
Artist: Skottie Young
Color Artist: Jeremy Treece
Letters: Joe Caramagna

“What The Pop?!” correctly closes out the issue with one page. It acknowledges the stupidity of nerd rage while consoling the rational readers.

Fantastic Four #1 is a well-written book with spectacular art that begs for a second issue immediately. The creative team connects with the reader and takes them on a journey, that’s the magic of comics.

After you read Fantastic Four #1 let me know what you think in the comments below.

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BLOODSHOT SALVATION #12 Review: Jeff Lemire’s Valiant Farewell

Anthony Composto - EIC

Bloodshot Salvation #12 is out this week, putting an end to this beautiful and action-packed story, and an end to Jeff Lemire’s seminal run on Bloodshot.

Bloodshot is still in 4002 A.D. while Omen has captured his daughter back in the present day. Will Ray make it back in time to save her? And will he finally have his salvation?

Lemire has been writing Bloodshot for over three years and three titles. Through each one, one theme has persisted: redemption. Can Ray Garrison, a man turned into a killing machine, a man who can’t remember the last time he wasn’t somebody’s puppet, go back to having a normal life? Can he be free of his past?

Salvation #12 isn’t the end of Bloodshot’s story. It doesn’t wrap everything up with a nice little bow. But that’s what makes this series – and most of Lemire’s work – so special. It recognizes that life is messy and not always fulfilling. It feels real, despite all of the super soldiers, time travel, and over-the-top comic book violence. But on top of that gritty realism lies hope. And on that note, I’ll say no more about the plot and allow you to enjoy this conclusion on your own.

Doug Braithwaite’s art fits the aforementioned grit. This is a full-on action comic, full of blood, gore, and explosions, and Braithwaite brings the intensity to match it. It’s brutal and raw; there’s a double page splash in here that will make your jaw drop. Despite the deep, internal conflict that Lemire is writing about, Braithwaite (and every other artist that has worked on this book) doesn’t let you forget that Bloodshot is first and foremost a war comic.

And on that note, huge props to Simon Bowland on lettering. In an issue like this, pacing is everything. You want to create a fast-paced experience for the reader, and Bowland’s lettering does just that. His layout guides your eyes through action sequences in quick, fluid strokes.

Finally, Jordie Bellaire’s colors are exactly what you expect them to be at this point in her career: outstanding. She captures the tone and intensity of a scene so well that you know exactly how you’re supposed to feel as soon as you turn the page. It’s her work on the last few pages, however, that steal the show, helping end this seminal run on the perfect note.

I had not only never read a Bloodshot comic before Bloodshot Reborn, I had never read a Valiant comic period. Jeff Lemire introduced me to this universe, and although he’s saying goodbye, I’m here to stay. This has been a saga full of action and drama, of gore and sadness, and of hope. It was a wild ride, and one well worth taking.

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Warner Brothers Reveals A Supergirl Movie Is In The Works

Jonathan Bruce

August 6, 2018

Stop the press, look up in the sky! Can it be true?

Yes, Supergirl is coming back to the big screen.

According to Deadline, a Supergirl film is in the works at Warner Brothers. While still early in development, the movie is moving forward. There is yet no producer attached to the movie. Whether or not Superman will appear in the film is unknown.

The report reveals that Oren Uziel is writing the screenplay. Uziel has credits including 22 Jump Street, Mortal Kombat, and The Cloverfield Paradox. Currently, he’s working on the script for Sonic the Hedgehog.

For now, Supergirl can be seen in the CW television series starring Melissa Benoist.

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