Ultraman: The Mystery of Ultraseven #3 pits Ultraman against Ultraseven with monsters in the middle and humanity trying to play catch up. An intense battle takes place and shows off some of the best elements of this mini-series. This class of the titans comes thanks to Kyle Higgins and Mat Groom (writing), David Tinto (art), Espen Grundetjern (color art), and VC’s Ariana Maher (lettering).
Past and present collide, with the future on the line as Ultraman takes on Ultraseven! It’s a knock-down, drag-out battle for the fate of the world with a couple of giant Kaiju thrown in for good measure. There’s no room for anyone else in this fight…right?
Writing
The cover boasting about “brother against brother” is not a false advertisement. After Shin recovers his ability to transform, he and Ultraman try to reach out to Ultraseven while he is in the battling Eleking and Giradorus. As the battle continues, Shin realizes something is definitely wrong with Ultraseven and is able to tap into the memories plaguing him. It’s this intensity of these elements coming together which results in this being such an intense issue.
Kyle Higgins and Mat Groom go deep in this issue by having Shin force Ultraman tto understand he has no choice but to take Ultraseven down. At the same time they take the time to draw a great comparison by showing how Ultraman and Shin are bonding while at the same time Ultraman is forced to face off against his own brother. It shows how a strong bond with someone can help you get you through anything, even fighting against a family member. It offers a lot of great pacing and helps to reinvigorate the reader’s enjoyment of this mini-series.
Artwork
The art by David Tinto offers some great structure with the use of panels in this issue. A prime example is the use of proper placement of panels cutting back and forth between Ultraseven’s memories of fighting monsters and Shin telepathically feeling the violent emotions of those battles. The use of more muted facial expressions than in the previous issue helps to show just how haunting these memories are. These elements combined with the highly detailed and action filled panels showing Ultraseven’s many battles makes for some incredible pages.
The color work by Espen Grundetjern helps to sell the emotional elements of these panels. The fight scenes are vibrant and intense. While at the same time, the ones where Shin is starting feel the emotion of the fights become darker and heavier. This use of color to help with the overall vibe of the comic makes the issue have much more depth.
With VC’s Ariana Maher lettering the offers to help with the individual direction of the panels. Laser blasts and monster movements are accompanied by sound effects helping give panels a sense of flow as if you were watching an episode of Ultraman or Ultraseven. Also, the use of the effect for Ultraseven’s signature weapon, the Eye Slugger feels so on point its scary.
Conclusion
Ultraman: The Mystery of Ultraseven #3 helps to reinvigorate this series and get it back on track. It accomplishes this with great action and intense drama all while fighting giant monsters. If you haven’t taken the time to experience this series, you are missing out on some phenomenal giant monster filled reading.
As the old saying goes: When in October, Halloween. Even with a growing popularity of horror in comics, October has a higher-than-normal number of new thematic releases, with Nightfall Double Feature from Vault Comics adding to the roster of new anthologies. Following on from Shock Shop and the newly revitalized Creepshow, Nightfall Double Feature encases the start of two new horror stories, each one set to chill readers to the bone.
The Cemeterians is a creepy and disturbing urban horror from writer Daniel Kraus and artist Maan House, with colors by Kurt Michael Russell and letters by Jim Campbell.
Denizen is a more classic 1970’s style demonic horror from writers Davis Andry and Tim Daniel. The artwork is by Chris Shehan, with colors by Jason Wordie and letters by Andworld Design.
Nightfall Double Feature Credit: Vault Comics
First Frights
As with any anthology, there are strengths and weaknesses, often with one story standing out above the others. In Nightfall, a large portion of the comic is engaging, exciting, and brilliantly executed. Unfortunately, the rest is best described as tedious. The difference to the usual makeup of an anthology comic is that the tedium isn’t situated in one story that could potentially reflect badly on the other, but is instead ingrained into the entire comic.
In The Cementerians, the initial introduction to the story is intriguing with a disturbing twist. It has promise and the shadow-heavy artwork by House adds a really uncomfortable atmosphere to the narrative. Campbell’s lettering produces a warm tone for the Doctor and Mother but this is subverted by the harsh, imposing sound effects. The opening scene builds up tension until an unsettling shock image. Russell’s colors change from the clinical bluey green wash of the hospital to a grotesque parody of children’s toy design, subverting the bright colors of the soft toys to create an image that makes you physically recoil.
Nightfall Double Feature Credit: Vault Comics
With such a strong start, it’s disappointing that the story fails to continue in this vein. As soon as the focus shifts to the main cast, there is a change in the narrative tone. It moves away from the cleverly controlled atmosphere and towards a tedious chest thumping contest between two (mostly) unlikable characters. The script seems to be content to characterize Alan Hogarth and Ivy Bell as a disgraced ‘mad’ scientist and an overzealous religious fanatic, hammering home this point every time they have a conversation. As the mystery at the heart of the narrative is revealed, both characters maintain their single character traits to the point that neither of them are likable. Add in the fact they reach a conclusion to part of the mystery a mere 14 pages after the reader has already made the same connection, and it becomes difficult to be engaged with the story.
There are some disturbing images in this story and House’s artwork does cover up some of the self-indulgent speeches that Hogarth and Bell make. Unfortunately, it is not enough to keep the narrative as engaging as it should be, or is promised by the opening few pages.
The saving grace for The Cemeterians is Russell’s colors. The watercolor washes that bleed into the heavy black inks give this part of the comic the atmosphere that it deserves. Any sense of horror to be gleaned from the unsettling images comes from the color work and not the forced narrative interactions between the two unlikable leads.
Nightfall Double Feature Credit: Vault Comics
A Saving Grace?
The second story in this anthology, Denizen, fairs slightly better. It too has a strong opening that is intriguing and mysterious but is much more blunt than the previous tale. There are classic horror tropes on show from panel one but the pace of the action, driven by the composition of the layouts, almost speeds the reader on too fast to notice. You take in the tropes, such as the lonely caravan, the dark forest, the unsettling sounds, but the 1970s jump scare narrative pushes you on too quickly to obsess over them. Before you know it, the darkness has retreated and you are safely in the camper van along with the happy, singing family.
It’s worth noting at this point the superb double-page spread that separates the two halves of Denizen. The blood red sky overpowering the black landscape below is a striking image, punctuated by a quote from Lord Byron. This page is reminiscent of the superb Image Comics mini-series Winnebago Graveyard from 2017. In fact, that Steve Niles/Alison Sampson narrative contained a similar family drama leading into the horror element of the tale. The main difference is that, just like The Cemeterians before it, the central cast of Denizen are less characters and more like mouth pieces to impart information, often in an unnaturally forced way.
The character exposition comes across as more palatable in Denizen because of the architectural design in the artwork. Shehan uses the space created by the elements of the camper van to great effect within the panels on the page. The shape of the windows, for example, creates additional natural panels within the frames and this enhances elements of the family dynamics. There is a distance between Maya and Helene, illustrated and punctuated by the positioning of the characters at a table, and by the windows of the van. These spaces create separate panels for the characters to inhabit. Shehan’s work takes elements of the script and gives them a strong visual presence on the page.
There is a very obvious shift in the color palettes between the blatant horror scenes and the mundane family holiday. As a technique for controlling the tension within the narrative, this works wonderfully and there is even a gradual shift between the two later in the story as the holiday slips away into horror.
At first glance, the rough, sketchy artwork provided by House in The Cemeterians might lead you to believe that the first story is the more challenging, creatively. However, it is Shehan’s structured panel layouts contrasted by the interior artwork that provides a more satisfying visual treat. There is a page of aspect-to-aspect panel transitions and several pages where the panel frames and gutters become a more integrated part of the story telling. Shehan is playful with the page designs, using a wider range of techniques to keep the story alive and kicking.
Nightfall Double Feature Credit: Vault Comics
Conclusion
Nightfall contains some intriguing elements and, as a general rule, the artwork is wonderfully executed, with the colorists and letterers producing some standout moments. The overall story for The Cemeterians is more imaginative, giving the reader something they probably haven’t seen, unfortunately this is hampered by the less approachable Scully and Mulder couple at the center of the piece. The lack of personality and chemistry between the main characters makes the comic difficult to engage with.
In contrast, Denizen has a more traditional story, told in a classic modern structure, but the compelling artwork and pacier narrative makes it more attractive. It becomes more enjoyable which in turn makes the reader want to spend time appreciating the creativity behind it.
As a package, Nightfall Double Feature, has two strong openings that fail to deliver on their promise by the final pages. Denizen proves to be a stronger element of the comic but it might not be enough in a market already saturated with new horror comics.
“All good things must come to an end… and then begin again.”
And so begins a new era of IDW’s Star Trek comics written by Collin Kelly and Jackson Lanzing, art by Ramon Rosanas, Lee Loughridge, and Clayton Cowles; this new series is an extension of the Deep Space Nine, and Next Generation, with characters from the original series and Voyager. There are even nods to the new Paramount series. Basically, it’s got the Star Trek cannon covered.
Set three years after the events of the Deep Space Nine TV finale, Captain Benjamin Sisko, war hero and emissary to the Prophets, returns from the celestial temple with a mission from the Gods. Something is wrong in the universe that even the all-powerful temporal anomalies, The Prophets, can’t stop. They need a corporeal being who can attract the best that Star Fleet has to offer. They need The Sisko.
Star Trek #1 Credit: IDW Publishing
Re-introductions
The opening of this first issue of Star Trek reminds the reader where Sisko was when last we saw him; inside the Celestial Temple. Then, the script sets up, albeit in the usual Prophet enigma-type way, what is to come in this issue while also paying homage to the original concept of the Star Trek ethos: To Go Where No One Has Gone Before.
This opening scene is an audience grabber. It instantly lets you know where you are within continuity and evokes all the feelings for characters we haven’t seen for quite a while. As a big fan of DS9, it is an inspiring moment to have the characters back and be allowed to see what happened to them after What You Leave Behind. Although, this comic series takes a different approach than the television series. It moves the central character away from the static hub of the station and gives him a spaceship and a crew. Hence the comic is called Star Trek and not Deep Space 9.
The writers, Kelly and Lanzing, have mined the vast array of Star Trek lore to crew the new Discovery class ship that Sisco will captain. There are several fan favorites from several different iterations of the show. Plus, a host of new, intriguing characters who instantly feel like regular cast members and not nameless extras to fill the bridge. It’s a testament to Kelly and Linzing’s writing that they can make the new characters full of life in the limited page space they have because a lot happens in this first issue. The narrative doesn’t hang around, so it would be easy to rely on established characters to tell the story, but every character, new and old, has a logical reason for being included.
The use of Picard is a prime example. The Next Generation captain himself even questions why Sisko has gone to see him, and the reply is simple, obvious, and rooted in the emotional histories that both of the captains share. The two-page scene is a beautiful moment, superbly written and excellently illustrated. It is pure Star Trek.
Star Trek #1 Credit: IDW Publishing
To Boldly Go
Rosanas uses fine lines to create the characters and locations within the Star Trek world. This style is reminiscent of the Gold Key Comics original Star Trek comics, drawn by Alberto Giolitti. Still, it is evident that Rosanas has studied the characters closely because they are instantly recognizable. Rosanas also has a flair for the dramatic, as witnessed by Sisko in the Wormhole and the arrival of Data. These full-page spreads contain the least amount of narrative information but provide big moments that leap out of the comic and stick in your memory. In every Star Trek movie, there is a slow, dramatic reveal of the Enterprise that takes the audience’s breath away; Rosanas manages to pull off the same emotional impact with several big reveals throughout this comic.
One aspect of the comic that adds drama and depth to the universe is the coloring. Whether it’s the subtle, swirling cosmos throughout the darkness of space or the artificial lighting within the star ships, Loughridge creates an air of wonder on each page and produces a magical contrast between the technical world of the Federation and the unexplained spaces of the universe. There is a constant visual dynamic between the mechanical and the natural, and the characters slip in between, bridging the gap.
Contrast is an excellent word to use when talking about Cowles’ lettering because his layouts for the word balloons allow moments in the script to shine by leaving panels empty of speech and then making it feel like the next panel is packed with text. This creates urgency in the speech but also awkwardness, nervousness, and strength, depending on which character is speaking.
Cowles is very good at laying out naturally flowing conversations that make it so easy for the reader to follow. He instantly gets you into the flow of the back-and-forth between characters, leading you through the scene. A prime example of this is near the beginning, as Sisko returns to the universe. The page is devoid of images, and the reader experiences only the voices, just as Sisko does. Within the first four balloons, equivalent to the first panel, the speech establishes who the characters are and from that point on, you have their voices in your head. Cowles then leads you through the empty, frame-less panels but at no point do you lose track of who is speaking. The flow is obvious and effortless to read.
Star Trek #1 Data Character Design Credit: IDW Publishing
Conclusion
Star Trek is a popular franchise at the moment, and there are numerous television series and comic books doing the rounds. Some adaptations have been more successful than others at capturing the Star Trek vision. The recent Year Five series was a blinding success, whereas the Discovery tie-ins have been less impressive. There is often a desire with franchise comics to throw as many references in as possible, and this ends up feeling like the creators are trying to prove they have done their homework. More often than not, this kind of approach to storytelling fails. However, in the case of this new Star Trek comic, each of the characters (with possibly one exception) has a reason for being there. They serve a narrative function beyond pleasing the fans. It makes sense for Sisko to visit Picard and for Data to be assigned. Of course, Beverly Crusher would want to be the medical officer on a ship with a Captain who has spent three years existing outside of the universe; after all, it might help her understand what happened to her son. The choices made by the creative team, on who to use, where to set it, etc., make perfect sense within the narrative and, as a result, make the story engrossing. At no point is the reader thrown out of the comic by an awkward reference or name-drop. It all has a glorious purpose and tells a magnificent story.
IDW has hit upon the perfect mix of nostalgia and modern storytelling in this new Star Trek series, just like Year Five before it; I can’t wait to see where this old/new crew takes us.
Sumeyye Kesgin’s VOYAGIS #1 hits your local comic book shop on November 16, but thanks to Image Comics, Monkeys Fighting Robots has a six-page preview for our readers.
About VOYAGIS #1: What if one of the VOYAGER probes was found by aliens on an uninhabitable planet laid waste by a wandering black hole? Their resources dwindling, and under the thumb of a relentless tyrant alien hero Sen’s discovery of the probe leads to adventure-and possible salvation-for her and her people. VOYAGIS is a five-issue miniseries and artist SUMEYYE KESGIN’s writing debut.
Enjoy the preview below.
What do you think? Are you going to add VOYAGIS #1 to your pull?
Rich Koslowski’s graphic novel F.A.R.M. SYSTEM hits your local bookstore on November 8th, but thanks to Top Shelf Productions, Monkeys Fighting Robots has a five-page preview for our readers.
About F.A.R.M. SYSTEM: For every hero who saves the galaxy and makes the front page, there are a dozen staffers working behind the scenes… and a hundred up-and-comers hoping to take their place. F.A.R.M. System is your ticket to the hidden world of super-powered individuals hoping to make the Big Leagues.
In the Farm System, having an incredible and unique power is only the first step. Guided by an army of agents, managers, and experts, recruits must undergo rigorous psychological evaluations, harassment and sensitivity seminars, marketing and endorsement workshops, and costume design meetings, all to boost their chances of recruitment into an A-list super-hero team.
Some recruits make “the Bigs.” Some have fleeting moments of glory, then lose it all. Some take “Blue Cowl” gigs as super-powered bodyguards for famous actors or powerful CEOs. Some flounder in the System for years, never getting “the call.” And some find success by joining teams of a… less reputable ilk.
Koslowski’s previous works include Three Geeks, The King, and Three Fingers. Enjoy the preview below.
Welcome to the Monkeys Fighting Robots Podcast, episode 182!
This week we have cartoonist Jamie Jones on the show to talk about his latest book – THE BABOON: TEMPLE OF ETERNAL LIFE. Head over to Crowdfundr to check it out. Jamie is a friend and a collaborator who loves to talk about the deeper aspects of a comic. So buckle up and enjoy the ride.
About the Monkeys Fighting Robots Podcast:
Never heard of Matt Sardo?
For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes, and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
You can reach me at matt @ monkeysfightingrobots dot com.
Thanks for checking out the podcast, have a great week, and read more comics!
Sanditon has returned for a second season, the first of two being filmed back-to-back for PBS and Britbox. The new season sees many characters return to the sea town along with some new faces.
It has been a year since the events of Sanditon’s first season and Charlotte (Rose Williams) being rejected by Sidney (Theo James). Since that time, Charlotte has learned of Sidney’s death. She returns to Sanditon, takes a position as governess, and soon finds herself with two suitors, the reclusive Alexander Colbourne (Ben Lloyd-Hughes) and a senior army officer Colonel Francis Lennox (Tom Weston-Jones).
Other residents of Sanditon also have issues involving romance. Charlotte’s younger sister, Alison (Rosie Graham), falls for a young army officer, Captain William Carter (Maxim Ays), whilst Georgiana (Crystal Clarke) needs to fend off men who want to marry her for her money.
Tom Parker (Kris Marshall) believes there’s an opportunity to make money by making an arrangement with the army to set up a permanent garrison near Sanditon. Esther (Charlotte Spencer) returns to Sanditon after suffering a miscarriage and nearly dying because of it. She seeks a cure for her infertility whilst staying on the coast.
The first season of Sanditon was a bigger hit in the US than it was in the UK. PBS saved the show, and the second season was broadcast in the US before it was released in the UK. The first season of Sanditon obviously had an appeal, and PBS was going to capitalize on that.
Sanditon was based on Jane Austen’s unfinished novel. The series used what Austen wrote as a springboard to make their own story. The unique selling point of Sanditon was being a little more subversive than previous Austen adaptations. The first episode showed Charlotte seeing two people in the middle of a sex act, although Sanditon was nowhere near as raunchy as Bridgerton. The main couple of the first season did not end up together.
The second season saw some big changes. This season had a reduced episode count, it was down to six, and the darker edges of the first season, like Clara (Lily Sacofsky) being the victim of sexual abuse, were smoothed out. There were still some darker ideas that involved coercive behavior, but they don’t appear until the tail end of the season.
The second season can be best described as a consistent period drama. Fans of the regency-set dramas will get a fix from this season of Sanditon. It had the costumes, settings, and romantic drama the target audience would want.
ThedirectionofSanditon’s second season was more traditional for an Austen adaptation. The Heywood sisters were both in the middle of love triangles. Army officers were trying to court the sisters, but they were unaware of other men who were also interested. Georgiana also had a romantic story because she might have found a perfect match, Charles Lockhart (Alexander Vlahos), the local portrait artist who shared her interest in political activism, but he needed to earn her trust.
Charlotte and Georgiana have been shown to be strong-willed women. Georgiana’s wealth meant she had the luxury to choose her partner and led a sugar boycott so slavery could be abolished. Charlotte wasn’t rich, but she was willing to stand her ground when she became a governess. She wanted to give her charges a proper education and not be taught how to find a husband.
Alison differed from her friend and sister. She had a traditionalist outlook because she went to Sanditon to find her husband. Alison was a romantic and had an idealistic view of courtship. But the reality could be harsher.
Sanditon’s second season was filled with stories. Besides the romantic plots, there were tensions between the residents and the army. Tom wanted to make a deal with the army to set up barracks, believing it would be beneficial for the town. However, there was tension because Arthur (Turlough Convery) distrusted Lennox and their motivation. Lennox’s character and the army’s actions get revealed as the season progressed.
There was a lot of action within the Denham household, and they were interlinked. Esther was desperate and looking for a way to have a baby, and Edward was looking to become Lady Denham’s heir. He was willing to use underhand methods to achieve this, and Clara returned to Sanditon pregnant with Edward’s child. There was a lot of drama since the characters had a mutual distrust for each other.
The evolution of the relationship between Esther and Clara was the most interesting in the season. They were hostile in the previous season to the point they were politely bitchy to each other. Yet their relationship grows more complicated, and Esther’s position slowly softens during the season.
There were also smaller subplots in the season. Georgiana and Lady Denham were on the opposite side of the slavery debate, and it came to a head in the fourth episode of the season. The other small subplot involved Colbourne’s niece, Augusta (Eloise Webb), who wanted to be introduced to society. Webb showed herself as a promising young performer as she played a rebellious teen (or as rebellious as someone can be in Regency England). Augusta tried to drive Charlotte away from the governess’ job before revealing what drove the youngster to these actions.
Like many British period dramas, the second season of Sanditon was a relaxing watch. It was a handsome production, with a generally likable cast and interesting characters. It was fine comfort viewing.
NEW MUTANTS #31 hits your local comic book store on October 26th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: Escapade Joins the New Mutants! Hugo and Nebula Award-winning author Charlie Jane Anders brings the breakout character of this year’s Marvel’s Voices: Pride anthology to one of the Marvel Universe’s most beloved teams! Personally recruited by Emma Frost herself, Shela Sexton reluctantly joins her fellow mutants on Krakoa in the hope that the X-Men can prevent the death of her best friend. But is Emma telling her the whole truth? Can Shela adjust to life on the island? Will the New Mutants accept her? Or is this crash course in Krakoan headed for a deadly pileup? Join Escapade and your favorite lovable mutant rapscallions in the start to a wild ride of a three-issue arc with artist Alberto Alburquerque and guest strips by Pride’s Ro Stein & Ted Brandt!
The issue is by writer Charlie Jane Anders and artists Alberto Alburquerque, Ro Stein, and Ted Brandt, with colors by Carlos Lopez and Tamra Bonvillain, and letters by Travis Lanham. The main cover is by Rafael De Latorre and David Curiel, and the book design is by Tom Muller and Jay Bowen.
Check out the NEW MUTANTS #31 preview below:
Are you reading NEW MUTANTS? Sound off in the comments!
To say the X-Men have had a rough time lately is an understatement. The team has been dealing with a battle against the Eternals and being judged over in A.X.E. Judgement Day, and are also having problems gelling as a newly formed team. X-Men #16 brings the drama to a head as Forge dives into the Vault to rescue Darwin and the team battles it’s own demons. Gerry Duggan is the writer for this issue. He’s joined by Joshua Cassara on pencils, GURU-eFX on colors and Clayton Cowles on letters.
WRITING
Gerry Duggan has been giving readers quality X-Men issues since the Krakoa era began. This current issue revolves around Forge going into the Vault to rescue Darwin and the new dynamic between the team. Duggan makes it known that Forge will do what he needs to do to get what he wants. This is evident as he makes a deal with Mr. Sinister. As Forge makes his way further into the Vault, trouble brews outside. Duggan does a nice job of portraying the sibling rivalry between the Summers brothers. Scott tries to control the situation while Alex loses his temper and does something irrational. In this moment, after Havok unleashes trouble on them, Duggan show what the team is truly capable of. Cyclops and Havok work together. Magik saves Firestar. Iceman shows why he’s an omega mutant. Duggan allows the X-Men to execute their game plan on the fly and the team actually works well together. This is just the beginning of Duggan building this new X-Men team. The future seems like it will be dramatic, fun and full of great character moments.
ART
There aren’t many names in the artist circles that are hotter than Joshua Cassara right now. Cassara’s art is visually stunning and gives us images that seem life like. In the early pages of the issue, as Forge talks with Mr. Sinister, Cassara gives us one of the most realistic images of Mr. Sinister. The line work is great in these panels and Cassara draws Sinister with his iconic devilish grin. Another key part to the art this issue are the facial expressions. This is extremely important during the fight between Cyclops and Havok. Cassara uses his talent to show the anger on the Summers’ faces as they yell at each other. As Alex does something stupid and lashes out at Scott, Cassara shows his remorse after the fact.
The colors by GURU-eFX are amazing. He takes the pencils laid down by Cassara and allows them to leap off the page. This is clear as Forge navigates the Vault. As he floats above all the buildings, GURU e-FX uses a vibrant blue below that illuminates Forge as he floats. The neon looks gorgeous in the city. GURU e-FX also gives us good looking pastel backgrounds for certain panels. As Scott and Alex bicker, the light blue and red backgrounds make the characters pop out.
The letters this issue are handled by Clayton Cowles. One thing that Cowles has always been great at is his use of sound effects. As Havok punches Cyclops, Cowles put a large “KRAK” perfectly placed between Scott and Alex. Another great example is Perro attacking Iceman. As Perro attempt to escape Iceman’s ice wall, he smashes with a powerful “SKRABOOM.” This is placed in the upper corner of the panel and the letters are scattered unevenly to show destruction.
CONCLUSION
X-Men #16 is another thrilling entry into Duggan’s run. The writing is fun and fresh with a less than ideal team dynamic. Cassara’s art absolutely slays as he draws your favorite heroes in action. X-Men #16 is available at a comic shop near you!
From writer Genevieve Valentine (Catwoman) and artists Annie Wu and Ming Doyle comes a mysterious road trip journey with a herald of death in Two Graves #1. While its storytelling style is sure to rub some the wrong way, this comic’s implicit trust in the audience to figure out what’s going on is its greatest strength. With intentionally obfuscated but lovely poeticism and an intriguing dual-artist approach, Two Graves is off to a divisive but utterly engaging start.
“Emilia and the man with the veil of smoke have set out for the ocean in a stolen truck. There’s a bloody handprint on his neck. She’s beginning to worry it’s hers. Death and the Maiden go on a road trip. Nobody gets out alive.”
Writing & Plot
Genevieve Valentine’s script for Two Graves #1 is fascinating and often beautiful, while maintaining a serious air of mystery. A woman is road-tripping through America with – what appears to be – Death (or at least someone who works for Death). Revealing anything else about the plot would be a spoiler as each individual element plays a major part in the story. The actual details of the plot come together slowly, as there are only hints provided by the character’s actions and words as to what is actually happening. This is definitely going to be a pain point for those who like their stories more obvious. However, those that appreciate an approach that goes after more of an atmospheric slow-burn will undoubtedly be charmed by what’s in this first issue. Valentine’s dialogue for Emilia feels natural and bounces perfectly off of her driver’s/helper’s more serious, deadpan delivery. It’s almost akin to the banter between Dream and Death in Sandman. Valentine then switches over to poetic narration at points, adding more to this comic’s sense of dark mystery. There’s an entire sequence where “Death” trails off recounting the myth of Persephone and, with Valentine’s gripping poeticism and the stunning visual work (more on that later), it becomes one of the most haunting and memorable scenes in a comic this year. This is a comic that demands its audience pay attention, and the more you notice the more you will get out of the story and be able to piece together what is actually happening here.
Art Direction
The dual artistic approach of Annie Wu and Ming Doyle adds additional layers to the complex narrative of Two Graves #1. Wu handles the “ordinary” aspects, like the roling countryside and small-town stops Emilia and her driver make. Emilia herself is also mostly handled by Wu, who gives her a vaguely ordinary but still recognizable design and animation style. Doyle juxtaposes this with her own darker, hatching-heavy style for our “Death” character, as well as the mythical sequence we discussed earlier. This dual-artist approach enhances the impression that something is out of place in this world, and that this mysterious smoky character doesn’t belong here. Despite this, both main characters are drawn with an equal sense of empathy. What’s tricky about this though is that “Death” doesn’t emote with his face, so Doyle relies on body language combined with Valentine’s narration to reveal his underlying emotional state. Death’s internal monologue about Persephone is handled by Doyle as a series of splash pages and almost museum-style paintings. The sequential direction stays relatively predictable but still effective throughout most of the comic, with great character-focused shots that pace out conversations between the cast brilliantly. Wu and Doyle maintain a constant sense of quiet unease between Emilia and Death that adds so much to each character. There’s an almost watercolor style to the colors in Two Graves. The palette stays generally pretty light, with even the darker scenes still using the brighter shades of respective colors (blacks appearing more purple, browns tan, etc.). This creates an almost dreamlike state throughout the comic, making the story feel all the more ethereal.
Verdict
Two Graves #1 is a wildly intriguing opening chapter for this mysterious new comic series. Genevieve Valentine creates a road trip tale buried in mythology and shrouded in foreshadowing that, while deeply compelling, is vague to the point of being slightly frustrating. It’s an issue that is absolutely playing the long game, but the crowd that will be interested in this sort of comic may be a bit small (and include me). The dueling visuals from Annie Wu and Ming Doyle are a great touch for delivering on the dual perspectives of the two lead characters, and their work adds infinitely more depth to this strange relationship. Be sure to grab this debut issue when it hits shelves on November 9th!
