In issue one, Donny Cates created a new Kree villain named Vox and destroyed almost every Inhuman across the galaxy, as well as New Arctilan, and now Black Bolt’s pissed and out for revenge! Who joins our Silent King on his avenging quest? And, can things get any worse for Blackagar Boltagon? Let’s jump in and find out!
WRITTEN BY: Donny Cates
ART BY: Ariel Olivetti
COLORS: Jordi Bellaire
LETTERS: Clayton Cowles
WARNING SPOILERS AHEAD!!!
DEATH OF THE INHUMANS SPOILERS TOO!
”Those who claimed to have been there and survived would name him Black Bolt the Cruel. The Merciless.”
Summary
Blackagar Boltagon is beyond pissed. His family and friends have died and he’s practically all alone. So, he designs a plan to take down the Kree Empire at Hala fast and quick and sends Karnak to deliver their surrender. However, Karnak was actually asking for the Kree’s surrender instead.
While Vox begins to beat the snot out of Karnak, Black Bolt enters screaming at the top of his lungs destroying everyone and everything in his path, except for Vox. Somehow, he manages to capture Karnak and use him as a hostage to escape. The issue ends with Vox turning the tables on the Midnight King and doing something absolutely shocking and unthinkable!
The Black Eulogy
Cates’ telling of Black Bolt screaming out every last name of the thousands of Inhumans that died was not only amazing but so heartfelt and beautifully done. Great job by Cates hitting the emotional heart strings of the readers throughout this issue. In addition, as a fan of the Inhumans, it’s tough to see characters I care about die so easily and horrifically. Therefore, seeing the Silent King destroy the Kree that way was simply poetic justice. Cates totally nailed the feeling of a loving King who has lost everything he cared so deeply for in this world.
Come on Man!!!
Lockjaw is dead. I’m sorry but that one hurts. He wasn’t just a dog to Black Bolt; he was a friend, a brother in arms, a son, a compatriot, and even a soulmate. Killing Lockjaw was literally killing a piece of Black Bolt. My hope is that Cates didn’t actually kill him and he somehow escaped OR time travel mumbo jumbo… or SOMETHING!!! He’s a teleporting dog. So, maybe he just teleported away? But that one hit home Cates.
My little boys, six and four, love Lockjaw so much and now I have to tell them he’s dead. That one’s gonna hurt, Cates. Speaking of Lockjaw, Cates writes that Black Bolt said everyone’s name except for one. Was that name Lockjaw?
The Art
Ariel Olivetti’s art was very impressive throughout the issue and completely set the tone of darkness, depression, and war. With little dialogue, it fell on Olivetti to shoulder so much of the vehemence, rage, and sorrow of the remaining characters, especially Blackagar Boltagon, which she did masterfully. Jordi Bellaire’s darker color choices helped set the mood and Clayton Cowles letters were definitely eloquent and had a royal depiction to them. Great job art team!
Should you buy this issue?
Absolutely! As disappointed as I was to find out that one of my favorite heroes died (Lockjaw), Cates showed Black Bolt’s magnificent vengeance in such an prodigious way. In addition, Olivetti did a fantastic job illustrating the scenes and feelings of the characters due to the little, and well placed, dialogue throughout the issue. Together, Cates and Olivetti made this one of the best comics of the week. And my goodness, the ending was incredibly shocking! Stop now and read the ending! I’m warning you. Just read it and message me if your jaw DOESN’T drop.
Should you add this to your pull list?
Yes! After that ending, why wouldn’t you want to see what happens next issue? Vox slits Black Bolt’s throat! The entire time, I thought Cates was setting readers up to have Karnak die. Instead, he turns the tables on everyone as we watch Black Bolt die… possibly. I say “possibly” because the cover of the next issue has Black Bolt on it. But, covers don’t always match the issue.
Either way, the writing is on point for the second straight issue and the art is gorgeous again. This series continues to be great, creative, and shocking storytelling by Cates with beautiful page turning art by Olivetti. Why wouldn’t this be on your pull list? Add it now!
What did you guys think of DEATH OF THE INHUMANS #2? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, just click HERE!
Ta-Nehisi Coates kicks off CAPTAIN AMERICA #2 with a down an out Steve Rodgers; one that’s ashamed, untrustworthy, and unauthorized to operate for the country he admires and loves. So, who will help Cap stop the Power Elite before it’s too late? Let’s find out!
STORY BY: Ta-Nehisi Coates and Leinil Francis Yu
INKS: Gerry Alanguilan and Leinil Francis Yu
COLORS: Sunny Gho
LETTERS: Joe Caramagna
WARNING SPOILERS AHEAD!!!
CAPTAIN AMERICA SPOILERS TOO!
Summary
Coates opens the issue by giving readers a quick trip down memory lane of our fearless patriot Captain America, as well as what makes our real American Hero tick. Next, readers jump to Chicago where the World Mayoral Conference is being held and a group of rogue, cyborg, American soldiers decide to make a statement by shooting up the conference and killing anyone in their path.
Well, Cap won’t stand for this, especially thugs dressed like American heroes. So, he lays the smackdown on these cybernetic creeps only to be scolded by Thunderbolt Ross for poking his head in the government’s business. Coates ends the issue showing readers that Steve Rogers is heading to Wakanda! We’ll have to read the next issue to find out why.
Issue 2 Was Needed
This is precisely where Cap needs to be in the story. After the events that led to SECRET EMPIRE, how could anyone trust him? After everything his face and his identical double did, who can blame the country’s uneasy belief in their once faithful hero?
Coates spends the entire issue hammering this idea home to the readers to get them up to speed before he moves on to tell HIS story. I enjoyed Nick Spencer’s run tremendously, but Coates has an uphill battle to move forward and away from past events.
Mark Waid didn’t have this problem because his stories between Spencer and now Coates’ involved time travel. So, readers didn’t have to see the direct aftermath of the events involving “Evil Hydra Dictator” Captain America.
Coates is taking Steve Rogers back to his roots, and this issue sets up how the world views our Captain right now. I’m more curious as to where he’s taking our hero from here. I’m excited to find out more about the “bargain” Steve made. Was it with the Cosmic Cube to come back? And, I’m excited about this new deal with Wakanda. The end of the issue seems more like the story Coates wants to tell.
But, Was It Too Much?
My problem with the issue is we are two issues into Coates’ run, and the story has yet to progress. Yes, I just said above that it was needed and that Coates had an uphill battle to get the character back to where he once was. However, the only “real” direction we received in this issue, as well as the last issue, was in the last two pages. I’m still not entirely sure who he made the first bargain with. Is it the Cosmic Cube? Is it the one Russian woman from issue 1? Are they the same person? And, why is Cap going to Wakanda?
Also, on the summary page, it mentions the name “Power Elite.” I don’t remember anywhere in this issue or last issue anyone using the name or phrase. Were the cyborg guys the Power Elite? Or, is the Russian group from the previous issue the Power Elite? I’m assuming the cyborg guys were the Power Elite, but I’m not entirely sure. Coates’ focus was so strong on placing the mood and tone around Cap that he left readers confused on the direction of the story, where it’s going, and why. My point is: issue 3 better move this story along fast and furious, or I feel people will start to drop off the series.
The Art
Leinil Francis Yu draws people so well, his realistic detail and line design for characters faces are impressive. Plus, his Cap is practically perfect. I love the classic leather look with the oversized boots that Yu makes look like their flapping around as Cap fights. And, I love the overextended gloves and the scaly leather look of his suit. Yu puts so much detail into his Captain America making him genuinely stunning to look at.
Also, take notice of the fight scenes with Captain America. Every time he moves fast and quick, the background goes away to focus solely on his movements while placing his shield at the center of the reader’s viewpoint. Yu makes Captain America the focus of each fight by blacking out the villains and supporting characters to draw the reader’s attention exactly where it needs to be.
Should you buy this issue?
The issue wasn’t bad, but it did nothing new for the story. I feel like you could skip right over this issue and the last by saying “people don’t trust Cap and he’s looking for his redemption quest.” Done!
Should you add this to your pull list?
Every new writer/ creative team needs at least an entire arc to see where they are going and what they plan on doing. That said; I’m in for the first arc. I feel like we should be farther along in Coates’ story by now. Who knows, maybe this creative team will grab us all in issue 3? I sure hope so!
What did you guys think of CAPTAIN AMERICA #2? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, just click HERE!
Last issue of Cosmic Ghost Rider seemed like the most insane comic book imaginable, but writer Donny Cates goes even bigger and crazier in issue two!
Do the words Galactus and Space Sharks mean anything to you? Let’s find out!
WRITTEN BY: Donny Cates
PENCILS BY: Dylan Burnett
COLORS: Antonio Fabela
LETTERS: Clayton Cowles
WARNING SPOILERS AHEAD!!!
Summary
The Cosmic Ghost Rider takes baby Thanos to a bar on Markus-Centauri while he waits for Galactus to devour the planet. Once Galactus shows up and destroys a bunch of Space Sharks, he mind melds with the Rider and realizes that he’s got to end the baby’s life immediately before he grows up to become the Mad Titan.
Having a change of heart, Frank decides to fight off Galactus and raise the baby as his own son instead. This triggers Uatu to show up, speak his piece, and watch a new version of the Guardians of the Galaxy come to stop Castle in his tracks.
Thoughts
Donny Cates is quickly becoming a legend. Someone gave this guy the keys to the Ferrari and he’s allowed to drive it wherever the heck he wants. And you know what? I’m totally ok with that right now!
The beginning was a bit rough. I thought Cates was overplaying his hand when he took baby Thanos into the bar. It seemed silly and unnecessary. As odd as this is to say, taking a baby to a bar felt done before. After Galactus shows up, Cates decided to go up to the buffet line and throw everything on his plate. The readers are definitely leaving this issue feeling stuffed.
The amount of craziness in this issue was so much fun and definitely made it worth the price of admission. However, the only part that felt out of character for me was Uatu. For a guy whose supposed to “watch” stuff, he did a lot of talking. Something about Uatu just didn’t sit well with me after reading it.
The Art
Let’s start with the cover art by Geoff Shaw and Antonio Fabela. Holy crap that was detailed, bright, and jaw dropping. Any rando, filthy casual, comic fan who walks into a shop would rip this bad boy off the wall solely from the cover alone. Not to mention, Dylan Burnett’s art is so much better this issue than last issue.
Maybe it’s because he isn’t drawing as many human faces as last issue? But from about page 7 on, all the characters were practically aliens or cosmic beings, which appears to be Burnett’s playground. I especially love his Galactus, as well as Fabela’s deep purples and lightning that surround the devourer of worlds. It seems the more cosmically epic the situation, the better Burnett’s art becomes.
Should you buy this issue?
If you like crazy, out of this world, Marvel Comics nonsense, this issue is for you. Cates is literally allowed to use every toy in the toy box… and I mean EVERY TOY! Readers are given Frank Castle as the Cosmic Ghost Rider, baby Thanos, Galactus, Uatu the Watcher, and now New Guardians of the Galaxy that appear to have a Duck Juggernaut, a female Captain America-Marvel, some version of Rocket Racoon, Jubilee, and Cable! Why would anyone not want to read this? This issue was Epic!
Should you add this to your pull list?
Definitely! The art was much better than last issue and the creativity of Cates is currently top notch. Who knows where this thing is going from here but I feel like Marvel fans have no choice but to follow this series through. The ramifications this series could have for the Marvel Universe could be huge. Don’t you want to be apart of that journey? Plus, readers will have to tune in if they want to see where this things ends! Just say this phrase out loud: Frank Castle is going to raise Thanos as his son. What the poop is that?!
What did you guys think of COSMIC GHOST RIDER #2? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, just click HERE!
The Handmaid’s Tale season 2 finale was about as nerve-wracking as an episode of TV can be. Elizabeth Moss as June has a way of dramatically pausing during very tense scenes, generally during an escape of one kind or another, and she paused plenty in “The Word.”
“The Word” brought Emily and Commander Lawrence’s story to a startling conclusion. Emily’s escape wasn’t as shocking, though, as the way she carried it off. Having stolen a knife she intended to use on Cmdr. Lawrence to avoid the “ceremony,” Emily appears to have made short work of one of The Handmaid’s Tale’s most popular characters.
Aunt Lydia may be mean, but she’s also one of the most intriguing characters on the show. Ann Dowd’s portrayal of this complicated character has been excellent, so I hope that Aunt Lydia recovers from her assault. That said, she definitely had it coming.
The Handmaid’s Tale Season 2 Finale: “The Word” – Thou Shalt Not Read
Having a discussion about how they both should’ve treated Eden better, Rita and June look through Eden’s belongings. Rita eventually leaves, and June is left alone to look through a final bundle of clothing. Amidst the plain grey clothes, though, June finds a bible. This seems like a curiosity at first, after all women are prohibited from reading and writing in Gilead.
Evidence that Eden wasn’t only reading but also writing presents itself when June opens the bible and finds the pages inside covered with Eden’s writing. Not only was the young woman reading and writing, she was studying the bible.
On a bit of a rebellious tear since Serena allowed June to nurse Holly/Nicole, June pushes the boundaries of her reawakened familiarity with Serena. Finding Serena in the potting shed, June shows Serena Eden’s bible and asks her how Nicole will be able to learn God’s word without being able to read it.
Serena ends the conversation by yelling at June to get out, but June just nails Serena with that disapproving mom look she does so well. June leaves quietly, but judgmentally, and Serena is left holding the dead girl’s bible.
The Handmaid’s Tale Season 2 Finale: “The Word” – “I always liked Mom better.”
Back inside the house, we see Eden’s father apologizing to Nick for Eden’s transgressions. And, showing just how inhumane people have become under Gilead’s current regime, June learns that Eden’s father was the person who turned Eden and Isaac in. June gives Eden’s father a questioning look but manages to keep her cool until the father-of-the-year nominee leaves. Man! She has that disapproving mom look down pat! After Eden’s dear old dad leaves, June asks Fred what he’s going to do when they come for his daughter.
After ensuring the door is closed, Fred returns and tells June to mind her tongue, giving her a strong slap across the face to highlight his point. June’s had enough though. After recovering from the slap, she returns the favour, giving Fred a whack across the face he won’t soon forget. Fred grabs the disobedient handmaid by the face and pushes her into a sofa while taking a bit of poetic license with Proverbs 22:14, “The mouth of a woman is a deep pit. He that falls therein will suffer.”
The original passage refers only to “strange” or “adulterous” women, and says that he whom God despises will fall into said pit, but Fred lumps all women in together. Maybe he’s quoting the New Gilead Translation. Either way, Fred’s little bible lesson doesn’t seem to have had the desired effect. A typically defiant June glares back at Fred, teeth bared.
The Handmaid’s Tale Season 2 Finale: “The Word” – “Quick! Meet your daughter before her fake mother comes back!”
A rare tender moment shows June introducing Nick to their daughter. Nick and June cuddle their daughter and tell each other they love each other. Happily ever after, right? …right?
The Handmaid’s Tale Season 2 Finale: “The Word” – “At least she got to jump off the high diving board one more time!”
Taking a walk down by the river, June, Janine, Emily, and Alma visit the hanging corpses of Eden and Isaac. Janine is being typically romantic and positive, and June is being typically pragmatic. They disagree on the current state of affairs, but they do agree that Eden was brave. Emily mentions that tonight she and Cmdr. Lawrence will perform the “ceremony” for the first time. The handmaids commiserate, and eventually Emily mentions having dreams about her son, his seventh birthday is approaching. Emily, being typically melodramatic, says she’s glad she got to come back from the colonies and see June.
The Handmaid’s Tale Season 2 Finale: “The Word” – “So…literacy’s cool, huh?”
At a meeting of the neighbourhood wives, Serena and Mrs. Putnam talk about Isaac and Eden’s tragic deaths, and Serena manages to steer the conversation toward a discussion about the future of female literacy in Gilead. Although neither woman is able to say it out loud, their subtext says it all: they’re both concerned about their daughters’ futures under the Gilead regime. Serena and Mrs. Putnam mention a few neighbourhood wives sympathetic to their cause, both agreeing that they would like to hear the other wives’ opinions.
The Handmaid’s Tale Season 2 Finale: “The Word” – The Stab-emony
Preparing for the ceremony, Emily makes her way from her room to the living room. On her way, though, she plucks a dirty steak knife out of the sink and conceals it in her sleeve. She takes up her place by the fire and waits. Luckily for Cmdr. Lawrence, though, he wants nothing to do with Emily. He tells her he’s not going to do that with her and sends Emily to her room.
The Handmaid’s Tale Season 2 Finale: “The Word” – “They’ve all left, haven’t they?”
Standing with her fellow wives in the commanders’ council chambers, Serena requests that the commanders make an amendment to the law that would allow girls and women to read and write. Serena has quite a bit of support from the other wives until she makes a bold move: she reads from Eden’s bible, specifically John 1:1 which makes mention of the word of God. One by one, the wives leave Serena standing at her pulpit until she’s all alone.
After Serena’s bold move, the wives hang around outside of the men’s council chamber. Mrs. Putnam tells Serena she shouldn’t have read in public. Serena quotes a Canadian minister to her friend, though, “Be bold and mighty forces will come to your aid.”
A typically paternal Fred meets the wives outside the chambers. He thanks them all for coming and taking interest in their work. The other wives leave but Serena stays with Fred. She tells her husband that she did what she did to set an example for their daughter. Fred responds that she has: two goons haul Serena away while she screams and pleads with her husband to stop them. He grabs the bible out of her hands and does nothing.
The Handmaid’s Tale Season 2 Finale: “The Word” – “I prefer my Aunt Lydias well done.”
Push anybody far enough and they’ll retaliate. “The Word” featured a lot of women laying it all on the line. June demands that Serena do what she can to improve her daughter’s lot in life, Serena openly defies the law, June slaps Fred, Emily decides to kill Cmdr. Lawrence, and this next scene.
Pleased as punch that Cmdr. Lawrence gave Emily’s performance of the ceremony a “splendid” review, Aunt Lydia tries to give Emily a nice pat on the back for a job well done. Aunt Lydia’s love, though, is pretty tough: her pat on the back starts off with an implication that Emily has been living a blessed life of rare opportunity as a handmaid and finishes up by implying that Emily is a perverted degenerate.
Aunt Lydia, frustrated by Emily’s silence, says, in her own moment of having taken enough, “It’s like I cut out your tongue.” I’d say it was right about then, when Aunt Lydia passive-aggressively referred to Emily’s mutilation, that Emily decided to stab her.
Whatever the reason for it, Emily stabs Aunt Lydia in the neck, pushes her down the stairs, and kicks her in the ribs a good six or seven times. “Uh…it was an accident?” Cmdr. Lawrence’s Martha finds Emily standing over the bloodied Aunt Lydia and calls for an ambulance. I hope that abusive monster is OK.
Alexis Bledel’s performance, alone in her room after assaulting Aunt Lydia, showed off Bledel’s great emotional control. Her subtle changes in expression run the emotional gamut from elation to dread.
The Handmaid’s Tale Season 2 Finale: “The Word” – “There’s something different about you, Serena, but I can’t put my finger on it…”
A shaken Serena returns home with Fred. June asks after Serena but, when she doesn’t reply, Fred says they had a “difficult day” but ensures June that everything will be well from now on. Oh! Good! He places Serena’s wedding band on the bedside table and goes to get her some tea. What a nice guy!
June asks Serena what happened, and Serena removes the bandage from her left hand, revealing a missing pinky finger. Serena assures June that she tried, and the two share another rare tender moment sitting on the bed holding hands.
The Handmaid’s Tale Season 2 Finale: “The Word” – “Think about it.”
Fred and June share a less tender moment in the kitchen as Fred prepares tea for Serena. He offers June the chance to stay at the house and get more visits with her daughter Hannah if only she’s obedient. June replies with a curt “go f*ck yourself,” but Fred tells her to think about it.
Back at Cmdr. Lawrence’s house Emily waits in her room. The commander comes in and grabs her by the arm, hauling Emily off to his car. Crazy Mrs. Lawrence sends Emily off with a less-than-reassuring “It was nice knowing you!”
As Cmdr. Lawrence’s futuristic car takes them to wherever they’re going, he asks Emily if she likes music. When she doesn’t respond, he puts on Annie Lennox and starts chair dancing. After about a verse, Emily asks Lawrence to turn the music off. He does, saying she must not like music.
The Handmaid’s Tale Season 2 Finale: “The Word” – “Only you can prevent handmaid fires.”
June looks out the nursery window and sees a house fire across the street. Rita runs in and tells June that June has to take Holly/Nicole, get her shoes, and leave now. A number of Marthas have formed a plan to smuggle June and her baby out of Gilead, but she has to leave immediately. So begins the sequence of dramatic pauses.
June returns to her room, grabs her red sweater, pauses, and picks her baby up from Rita. June thanks Rita who tells her to meet a Martha at the fence in the back. June leaves the nursery and pauses again, looking meaningfully through a window at Nick. The two beleaguered new parents share a silent goodbye through the glass, and June heads for the back door. She keeps out of sight of the armed guards and even manages to avoid Serena’s gaze while stealthily creeping by the potting shed.
The Handmaid’s Tale Season 2 Finale: “The Word” – Nolite le Bastardes Carborundorum
From his office, Fred notices the sirens across the street. He calls for Nick but gets no reply. When questioned, Rita provides Fred no help at all, choosing instead to stand there staring at him. Fred checks the nursery to find the baby gone, and searching June’s room he finds nothing but the words “Nolite le bastardes carborundorum” carved into the wall. Callback!!
An enraged Fred orders Nick to organize a search team, but Nick tells Fred to stay inside. When Fred protests, Nick grabs Fred by the shoulder and shows Fred his hand is on his gun, ready to draw. Fred takes the hint when Nick tells him that it’s too dangerous outside.
The Handmaid’s Tale Season 2 Finale: “The Word” – Like A Baby Thief in The Night
June spots the Martha that will help her and her baby escape, but gets stopped by Serena. Serena begs June to give her baby back, but June’s greater wisdom prevails. June tells Serena that she can get the baby girl out of Gilead, and that she knows how much Serena loves Nicole. June says that Serena knows that the baby can’t be allowed to grow up in Gilead and face the same hardships they’re currently facing. Serena asks to hold Nicole one more time to say goodbye, and June lets her. SO MANY PAUSES!!
Serena finally hands the baby off to June who offers Serena her blessings, and June starts a relay from Martha to Martha across neighbouring lawns. She runs past tennis courts, swimming pools, and through fields, eventually arriving at an intersection near an overpass. The final Martha in the relay instructs June to wait there.
The Handmaid’s Tale Season 2 Finale: “The Word” – Hannah
Kneeling in the long grass by the side of the road, June has a flashback of herself lying on a bed with a 3-year-old Hannah as June sings “I’ll Be Your Mirror” by the Velvet Underground and Nico to her daughter. The flashback ends, and June shows the photo she has of Hannah to her baby, introducing her to the baby as her sister Hannah. June says, “Maybe you’ll meet her one day,” and then changes her mind, “You’re going to meet her one day.” She kisses her baby on the forehead a number of times, and then folds the photo in among the baby’s blankets.
Shortly after this exchange, a car pulls up and flashes its high-beams. June climbs out of the weeds and sees Cmdr. Lawrence and Emily climbing out of the car. June calls out to Emily, the two embrace, and Emily asks what’s happening. Cmdr. Lawrence replies that he’s getting himself in “deep shit,” and June provides a less obscure answer, “You’re getting out of Gilead.”
As an armoured van pulls up, Emily clambers into the back, and Cmdr. Lawrence instructs them to have a good life and not get caught. June takes the mother of all dramatic pauses and eventually hands her baby to Emily. June tells Emily to call the baby “Nicole” and tell her that June loves her. June slams the door, gives the van two loud raps on the back, and it speeds away leaving June standing in the road alone.
June watches the van drive off, sheds a few tears, and puts up her hood. “Burning Down the House” by Talking Heads plays as June stares on defiantly, then turns and walks away.
The Handmaid’s Tale Season 2 Finale: “The Word” – Final Thoughts
As I said before, this was a nerve-wracking episode. More than once, I found myself yelling “Just go!” at the TV, especially during the episode’s final moments. Although some viewers might feel that June’s decision to stay in Gilead was a bit of a shark jump, I think that, having seen what June has of Gilead’s brutal treatment of women and girls, she didn’t feel that she could leave Hannah to fend for herself.
In terms of next season, I wonder if June will return to the Waterfords or just ramble around hiding from the authorities, eventually attempting to rescue and escape with Hannah. Either way, I’ll definitely be watching.
There were some amazing performances in this episode. As already mentioned, Alexis Bledel as Emily did a great job, but so did Elizabeth Moss as June, Yvonne Strahovski as Serena, and Joseph Fiennes as Fred. I also thought Ever Carradine did a great job as Mrs. Putnam in this episode, as the know-it-all supportive friend who backs down as soon as things get difficult.
This was a great episode that capped off a great season. Many fans of Atwood’s novel, myself included, were skeptical about how this season would play out, but with a strong beginning, amazing performances throughout, and a heart-breaker finale, I’d say that the good people at Hulu nailed it.
Writer Cullen Bunn and artist Mark Torres joined forces for a chilling new horror series Cold Spots, published by Image Comics.
About the series – Psychological terror, the undead, and a supernaturally bitter cold come together in this spine-tingling new series. Ten years ago, Dan Kerr turned his back on his wife and unborn daughter. Now, both mother and child have gone missing, and Dan must face cosmic terrors to find them again. He soon finds that ghosts stir when his estranged daughter is near. And as the dead grow restless, the cold deepens…
Cold Spots #1 hits your local comic book store on August 22. Bunn and Torres spoke with Monkeys Fighting Robots for a behind-the-scenes look at what makes up a horror comic book.
MFR: With a book like Cold Spots, how much world-building is involved?
CULLEN: Initially, not a lot. This is a story that is set in “the real world” for the most part. I wanted it to feel real for the readers. The locale of the story required a little “small town building” I suppose. I wanted readers to get the impression that this town has a history of which we’re only scratching the surface. Now, the world of Cold Spots eventually goes through some drastic changes, and that requires a little more planning.
MFR: Mark, on the second page you introduce your version of ghosts. Did you go through multiple versions and what emotions are you trying to evoke with your design?
MARK: Not really. Even at the earliest, we were discussing the project; I already had an idea how to possibly depict the ghosts, and make ‘em hopefully unique to what’s come before. Cullen suggested they be hazy apparitions, shadowy faced, with pinpoint eyes of ghastly light…then I added in the vibe of these entities almost existing inbetween frames of an old Viewmaster. Afterimages.
MFR: One of the elements of a horror film that gives me chills is the musical score. Who would you have produce score for Cold Spots and why?
CULLEN: Well, Mark scored a soundtrack to the comic, so I’d be remiss if I didn’t mention it. Of course, I listened to that while writing the book!
MARK: Music is (probably) the only external influence I deliberately partake while creating. Hans Zimmer, Trent Reznor+Atticus Rose, James Maynard Keenan & Chino Moreno would be awesome to have for a Cold Spots OST. For now, you guys would just have to tolerate my noises.
MFR: Cullen, with the lack of music, how do you build tension in a comic book?
CULLEN: It’s all about pacing. A slow, steady build-up. I am very methodical and deliberate with the revelations of supernatural and horror. I want to build the sense of dread. And then–when the horror strikes–the pace shifts into high gear. Then, it slows again, but the reader is (hopefully) ill at ease, realizing the peace is temporary at best.
MFR: Mark, how do you build tension with your art?
MARK: When I read scripts, particularly for Cold Spots, I take note of the instances that elicit various emotional synapses in me. Those guide me in orchestrating the art breakdown…same with composing music…Where to go slow/fast, soft/hard, light/heavy, up/down, left/right. I avoid over-analyzing cause I think it loses the raw impact, especially for a genre like horror.
MFR: Cullen, social commentary is a big part of the horror genre. Over your career, how has the good and the bad of the current state of the world influenced your writing?
CULLEN: I don’t often sit down to write a story like this with the intent of bringing social commentary into the tale. Now, there have been plenty of readers who have said I am trying to hit them over the head with my beliefs or with my politics. To that, I say that every writer brings something to the story. What’s going on in the world around you will almost certainly be an influence. But every reader brings something to the story, too, and their own perceptions of the tale will be influenced by the world around them. Sometimes, it paints the story in a way that is completely different than I had in mind. That’s the beauty of a book like this. You’re collaborating with your fellow creators, but you’re collaborating with the reader, too.
MFR: Cullen, with independent comics, the first issue is so important to hook a reader. Have you developed a formula of what needs to be in a first issue? Follow up, has the trade paperback changed how you write story arcs?
CULLEN: There’s no set formula for me with the first issue, other than trying to write the best issue I can. The trade paperback changes things to some degree. I tend to plan very long stories. I don’t approach any book with the short game in mind. Sometimes that gets me into trouble. With Cold Spots, though, I designed the tale to be told in short, easily digestible bites.
MFR: Mark, can you talk about the color palette you use for Cold Spots, especially the cover? Is there any hidden meaning?
MARK: My brain has a tendency to swerve by default. I felt going with a very unconventional palette would be key in creating the correct atmosphere for Cold Spots. There’ll be parts that seem standard…and others that are (hopefully) unexpected. Again, letting the emotions drive the work, versus the analytical. Not only with the 1st, but my approach here is akin to album covers & paperback novels. More symbolic than bombastic, hinting what’s beneath. Can’t really explain further as I’d want folks to enjoy the mystery, and come back to the cover after reading the very last page thinking….”Oh, so that’s why!”
MFR: How hard is it to create a main character that readers can connect with, and is Dan Kerr on a “hero’s journey?”
CULLEN: Dan is a character who might be tough for readers to connect with at first. He’s not a nice guy at all. I think if the readers are going to relate to him, they’ll relate through his faults and flaws. He’s absolutely on a “hero’s journey” though… maybe even better classified as a father’s journey.
MFR: Closing out the questions. What’s the horror film that scared you as a kid and why?
MARK: This is a trick question…right? I was fed horror films (in Betamax format!) as a child. My parents could’ve named me Damien. This’ll be like choosing between The Grady Twins (from The Shining).
CULLEN: Really, really scared me? Well, I can tell you that the television spots for Kubrick’s THE SHINING were unwatchable for me. Something about the scene of Danny running through the frozen maze absolutely terrified me. Hmm. The frozen element was right there all along.
MFR: Thank you for your time gentlemen.
MARK: Gratitude as well for having us and Cold Spots. We hope everyone enjoys the book as much as we do creating it. Cheers!
CULLEN: Yeah! What Mark said! Thanks for taking the time to chat with us!
What did you think of the interview, are you going to add Cold Spots to your pull list? Comment below, and thank you for reading.
An Over-Sized Anniversary Issue for Red Hood and the Outlaws #25 hits your local comic book store on August 8, with a battle we can’t wait to see, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.
The five pages below look to set up an emotionally charged, action-packed issue. The first page alone is beautiful with the vibrant green tones, the infamous red highlights to the Robin mask, and the silence of being underwater.
Scott Lobdell handles the writing in issue 25, with art by Dexter Soy, Ryan Winn, Phil Hester, Ande Parks, and Trevor Hairsine.
About Red Hood and the Outlaws #25: Batman versus Red Hood for the right to fight in Gotham—grab your ringside seat for the battle 25 years in the making! Jason Todd broke a promise to his mentor, and must now confront an angry and betrayed Batman. That means a good time for readers, but probably not so much for Jason: it’s likely going to take more than the Outlaws’ help in order for the Red Hood to avoid wearing an orange jumper in prison.
Check out the preview below:
Who’s your all-time favorite, Robin? Comment below.
Seven To Eternity comes back from it’s break in a big way with issue #10. Rick Remender and Jerome Opeña take us back to the Land of Zhal.
***SPOILERS LIE AHEAD***
Adam Osidis and the Mud King continue their trek following a monumental betrayal by our main hero to his allies. It’s great to have Seven To Eternity back, which wastes no time reminding us that we’ve barely scratched the surface of all the cool stuff this world has to offer.
Not only is the story compelling, but the concept of spending enough time with your enemy that they become a friend says so much more than just a plot device. Adam Osidis’ character arc has been a challenging and surprising one, including some intriguing challenges of self.
Remender has himself another perfectly crafted main character that’s damaged goods. It’s hard to predict what Osidis is going to do at any given moment, it makes for an anxious, thrilling experience.
Seven To Eternity‘s antagonist is also a masterfully crafted character study. He’s as complex as they come, readers will go back and forth on their feelings for him every other issue. The Mud King is a sci-fi Negan with a much larger impact on the world around him.
Jerome Opeña fills this world with characters and creatures that all have such visual depth. Every new addition is a beautifully designed model, layered with creative clothing and weaponry, living in an environment that’s completely fleshed out. It’s so easy to get lost in the world of Seven To Eternity‘s art every single issue.
Our new steampunk-Hydra-balloon-town and it’s soldiers are incredibly fun to look at. Opeña is doing career work filling out the world spilling out of Rick Remender’s head.
Seven To Eternity is a must-read sci-fi comic. Whether you come for the spectacular art or masterful storytelling, you’ll leave satisfied with both. Every inch of this world oozes creativity and grandiose, it’s a delightful masterpiece.
Al Ewing ended his outstanding last issue of Immortal Hulk by introducing Walter Langkowski A.K.A. Sasquatch into the story, but why is he searching for Bruce Banner? Langkowski better be careful because most people that go looking for the Hulk turn up dead.
WRITTEN BY: Al Ewing
PENCILS BY: Joe Bennett
INKS: Ruy Jose
COLORS: Paul Mounts
LETTERS: Cory Petit
WARNING SPOILERS AHEAD!!!
IMMORTAL HULK SPOILERS TOO!
Summary
Walter Langkowski A.K.A. Sasquatch met up with Jacqueline McGee to help with her story on the Hulk and as a type of liaison with the Canadian Government/Alpha Flight. There search for the Hulk led them to a South Dakota bar where Walter gets stabbed in the back trying to break up a fight.
After rushing him to the hospital, he’s pronounced dead… until the sun goes down. Banner arrives in disguise at the hospital to warn the reporter and the hospital to evacuate. It’s at that time that Walter, who was pronounced dead, emerges as Sasquatch from the table scaring the bejesus out of the doctors. Holy Guacamole, where is this going next?
Banner Bites
There is a ton to unpack from this issue so let me look at just a few delicious nuggets starting with Bruce Banner going to Penn State for a semester. As a PA native, Ewing scores points by having Banner a member of that fine university for at least a semester.
Next, Ewing explains the purple pants! Banner wanted to be more like Einstein so he bought 10 identical suits and researched the color purple, deducing “it’s going into style.” Was it needed? No, but it’s hilarious and the little additions that make this book one of the best in comics right now. Lastly, if Langkowski is telling the truth, Banner sounded like an obnoxious $&@!, which probably led to the Hulk in the first place.
Langkowski’s Backstory
Ewing‘s explanation as to why Department H chose to look into funding Langkowski’s research makes total sense. Department H thought Walter’s strength outmatched Banner’s normally so his gamma monster would outmatch the Hulk. Plus, Langkowski’s laid back attitude would be easier to control. And whether it’s new or old continuity, I love Ewing‘s idea of a dark dimensional demon named Tanaraq taking over Walter at one point making him more of a rampaging monster than the Canadian Government thought.
The Art
Joe Bennett and Ruy Jose’s art is amazing as usual. Their knack for detail and texture adds a sense of realism and weight to all of their characters and their environment. As always, Bennett and Jose’s dynamic art style grabs the readers attention, throws them into the story immediately, and brings the page to life. Bennett shines with his intricate detail to the characters facial expressions, smoothness of lines, and realistic placement of shadows that make the page pop. The panels are easy to follow and Cory Petits lettering guides readers through the issue safely. Nice work team!
Should you buy this issue?
Heck yeah! You get a backstory of the Hulk through the perspective of Walter Langkowski WHILE getting a backstory of Sasquatch at the same time. Ewing gives extra insight into how Hulk maneuvers from town to town, a clue that gamma radiation appears to be emitting anger sensations, and a small tidbit of what drives Jacqueline to want to chase down the Hulk so badly. Readers get all of this as well as Bennett and Jose’s amazing art that’s just next level. You got to pick this issue up.
Should you add this to your pull list?
No doubt! Since Ewing, Bennett, Jose have been doing IMMORTALHULK,the story has been excellent and the art has been so impressive. They haven’t had a single down issue yet. Call your comic shop and add this to your pull list right now!
What did you guys think of IMMORTAL HULK #4? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, just click HERE!
The recent Green Lanterns arc has come to a screeching halt.
The Green Lanterns are under attack on two fronts. The first threat comes from deep space in the form of an intergalactic fleet lead by a superbeing named Eon. They begin attacking worlds protected by Green Lanterns and go as far as murdering the space cops. The Lanterns of Earth come to assist, which leads to the second threat. The Green Lanterns’ rings have been working against their wearers. They refuse to send out distress beacons, send Green Lanterns across the galaxy, and have begun to whisper to the wearers to mistrust each other. The Lanterns need help now more than ever. Who will save the corps?
**Some Spoilers Below**
Story:
Right from the beginning, the story feels off. Despite the last issue ending on Mogo, with the Green Lanterns trying to contain a superstorm, they’re now in space fighting Eon. They continue to fight to protect a planet whose Green Lantern was murdered, while the Guardians investigate the ring disturbance. The Guardians try to approach the central power battery, the source of the green light, but it pushes them back. With the Green Lanterns under fire and the Guardians without a clue, there’s not much hope for the heroes. That is until they get back up from the greatest of all the Green Lanterns, Hal Jordan.
Hal Jordan’s appearance only affects the issue by inspiring the other Green Lanterns to keep fighting. While that is fine and dandy for the fight scenes, it doesn’t progress the mysteries that are laid out. We are in the third issue of the arc, and we have learned little about Eon and his army, The Ravagers, and nothing about the ring corruption. While this threat is cool, I’m confident that many readers would like to learn WHY the rings are against their wearers. Hopefully, we will see more development in this story going forward.
Art:
When it comes to art, it has taken a step up from the previous issues. Marco Santucci has taken over illustrating duties for the arc, and it’s an improvement. He can flex his creative muscles, giving us grand space battles and impressive lantern constructs. Hi-Fi contributes with his masterful colorwork, giving the universe of the Green Lanterns life. This was a nice step up from the last issue, and I hope it goes up from here.
Conclusion:
Despite the improved art, I can’t recommend this comic to anyone. Somehow it feels as if we skipped a chapter yet stay in the exact place we left off the last issue. Whether Dan Jurgens wants to follow the war between Eon and the Green Lanterns or the corrupted rings, we need more development. As of right now, this intergalactic story feels lost in space.
Nightwing #47 by Ben Percy, Chris Mooneyham, Nick Filardi and Klaus Janson packs an impressive amount of action and emotion in a beautifully illustrated and taut narrative.
Dick Grayson may want to consider a new career in cyber-security because the major tech upgrades coming to Blüdhaven mean deadly danger for everyone in the city. Nightwing battles the mysterious tech mogul Willem Cloke, who it turns out is just a front man for the real threat—the organization known only as the Dark Web! Time to change those passwords, Blüdhaven!
Nightwing #47 Written by: Benjamin Percy Art by: Chris Mooneyham Inks by: Klaus Janson Colors by: Nick Filardi Letters by: Carlos Mangual
Writing
Nightwing #47 starts with a brawl, and the narrative pace remains relentless the whole time. Dick Grayson fights so much and so fast in this issue, it’ll remind you of the ‘burly brawl‘ in The Matrix Reloaded. Ben Percy also writes one hell of an inner voice for Dick, as the bulk of the issue puts the reader inside Nightwing’s thoughts. It’s a great way to showcase how unique and important Grayson is as a character even though he is a huge part of the Bat-family.
This story arc, ‘Bleeding Edge’ has also been a strong one plotwise. Having Blüdhaven become what Percy himself called recently a “smart city” is a great way to make the city more unique in the DCU landscape, just like’s its hero. The growing ‘Dark Web’ conspiracy also hints at a larger story being told, one with ramifications not just for Blüdhaven but the whole of the DCU.
Art
This comic was a pleasure to look at. The art by Mooneyham, Janson, and Filardi is able to be both crispy and gritty. Maybe it’s the John Romita Jr variant cover (check it out below) that does it, but the pages have a strong JRJR feel to them. The fight scenes are brutal, yet told with efficiency and energetic line work. The frequent use of black panel borders also highlights the vibrant colors.
For such a text-heavy issue, the word balloons and narration boxes are also well placed and easy to read. This is smooth work by Carlos Mangual.
Conclusion
Nightwing #47 is exactly what you want in a monthly comic. An action-packed, driven narrative with great character moments illustrated energetically and visually appealing.
Variant cover by John Romita Jr., Danny Miki and Tomeu Morey
