The Magic Order #1 from Mark Millar, Oliver Coipel, and Dave Stewart launches the Millarworld/Netflix collaboration with excellent world-building, GORGEOUS art, and breakneck pacing.
The Magic Order #1 Written by: Mark Millar Art by: Oliver Coipel Colors by: Dave Stewart Letters by: Peter Doherty
We live in a world where we’ve never seen a monster, and The Magic Order is the reason we sleep safely in our beds. Magic meets the mob in THE MAGIC ORDER, as five families of magicians—sworn to protect our world for generations—must battle an enemy who’s picking them off one by one. By day, they live among us as our neighbors, friends, and co-workers, but by night, they are the sorcerers, magicians, and wizards that protect us from the forces of darkness…unless the darkness gets them first.
Writing
The Magic Order, like most of Mark Millar’s books, explodes with conceptual energy right from the beginning. That storytelling drive, combined with excellent pacing and pitch-perfect dialog makes for one of the best #1 issues Millarword (Millar’s label) has produced. This comic is not only able to create a fully realized world in one issue, it also introduces multiple characters with enough detail to make the reader care about all of them. And all of this is done with little to no exposition. By the time you finish reading it, you really do want to know about the Moonstone family, it’s past and it’s future.
Art
Undoubtedly Oliver Coipel and Dave Stewart are modern masters of sequential art. But their work here together might just be a career high. This is one crisp and excellently visually paced comic. It looks beautiful, elegant even. With a sharp, good-looking and well-produced images and layouts. But don’t let that fool you, as this is one fucked up story being told and the visuals can be as shocking and gory as they are beautiful. It’s really something to be taken in and poured over.
Conclusion
Debut issues don’t get much better than The Magic Order #1. It’s a fantastic concept; excellently written and beautifully illustrated. If this is the kind of stuff Millarworld/Netflix is producing, then we have some great comics and properties to look forward to.
Hulu’s The Handmaid’s Tale’s most recent episode entitled “Women’s Work” gave further evidence to the old adage that all good things must come to an end. No, the immensely popular Hulu original series has not been canceled, but Serena and June’s convivial working relationship probably has. With Fred back behind the big desk, Serena and June shuffle back to their previous roles as wife and mother, respectively.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – He’s baaaaack
His injuries sustained during the bombing at the Rachel and Leah Center on the mend, Fred returns home. To call Fred’s reception at the front door warm would probably be pushing the linguistic norms of that word, but at least Eden presented him with a gift.
At the market June tells the other handmaids of her commander’s return, and the other women commiserate. Janine is handling her new assignment as a handmaid pretty well, “It’s just the Ceremony, no blowjobs,” she says cheerfully. Emily, on the other hand, is having a more difficult time hiding in plain sight. She reminds Janine that there’s nothing good about getting raped.
A siren indicating that a baby is critically ill breaks up the chatter, and the handmaids all kneel and pray. Someone mentions that they think the sick baby belongs to the Putnam’s, Janine’s previous family, and June tries to keep Janine calm.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – June’s Changing Tune
On their way home, June admits that she knows that the sick baby is indeed the one that Janine had for the Putnams. June tries to keep her friend calm, but doesn’t succeed. Janine rants that she wants to see her daughter, and June tells her that’s impossible. Janine tells her friend that she sounds just like one of them and a frustrated June is left to walk home alone.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – “He is a she…”
Serena tells June that the Putnams’ baby, Angela, is not responding to treatment. But, she says, she doesn’t believe that the clinical team is exploring every available option. June asks if Janine could be allowed to see the Putnams’ baby one more time. Serena tells June that she’ll see what she can do, and also that she’ll attempt to enlist the commander’s help in saving the baby, after all Fred has definitely bent the rules in the past.
When Serena mentions the fact that the best neo-natologist in the world lives in Gilead, Fred asks his name. Serena tells Fred that the person she’s referring to is a woman, a “Martha” no less. Fred forbids the woman’s involvement and tells his wife that they must do God’s will.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – God’s Will Open for Interpretation
A somewhat empowered Serena interprets God’s will in her own way and calls the specialist in. After examining the baby, the former doctor says there’s little she can do. She recommends unhooking the Putnams’ baby from all of the machines she’s attached to and helping her feel safe and loved. Unfortunately, love seems a bit difficult for Mrs. Putnam. Thankfully, with a little convincing from her husband, Mrs. Putnam allows Janine to visit the baby.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – “Yellow?! I hate yellow!!”
Eden is working hard to please whomever she can. Nick, understandably, continues to keep her at arm’s length, but gets very upset when his new bride rearranges the contents of his trunk. He finds the stack of handmaids’ letters, which he managed to save from being burnt by June, sitting on a nightstand and demands to know if Eden read them. She says no, and Nick tells her quite harshly not to touch his things.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – Commander Spanky
Unfortunately, Fred finds out about his wife’s less than loyal actions concerning the former neo-natologist. He also finds out that Serena has been drafting orders under his name and that June has been editing them. He calls Serena and June into his office and questions them both. Serena and June both admit their actions, and, without missing a beat, Fred picks up his trusty bible and reads a selection conveniently stating that men have the right to punish women for their misdeeds. He removes his belt, Serena assumes the position, and Fred lets loose with some serious corporal punishment.
Later June goes to Serena’s room to try to console her but only gets a faltering yet stern “Go to your room,” in return.
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – It’s Crazy But It’s True…
At the hospital, June and Aunt Lydia wait with Janine for any news on Angela’s recovery. The outlook is negative, and June suggests that Janine go and kiss her baby goodbye. Luckily, the Putnams are feeling unusually generous — or desperate — and allow Janine access to her daughter.
The next day, Aunt Lydia wakes to the sound of Janine’s softly singing voice. Viewers prepare for a grisly scene showing Janine singing to the corpse of an infant but get a pleasant surprise when we see Janine’s baby very much alive, thriving in fact. Aunt Lydia wakes the Putnams and declares the outcome a miracle. Credits roll over Janine’s sweet motherly voice singing Dusty Springfield’s big hit, “I Only Want to Be With You.”
The Handmaid’s Tale Season 2, Episode 8: “Women’s Work” – Final Thoughts
As season two of The Handmaid’s Tale approaches its end, the stakes are getting pretty high. June and Serena’s relationship enters a new phase, but it’s not clear how Serena will react to the changing power balance in her home. One thing seems sure, though, none of what has happened seems to be getting June any closer to seeing her captive daughter Hannah.
Where June had a kind of control over Fred earlier on in the season, that seems to be eroding. June seemed defiant as she walked to Fred’s office but that determined look passed quite quickly. Rather than getting an invitation to play Scrabble, Fred tells June to rest.
I thought Madeline Brewer’s performance as Janine was excellent in this episode. Although she routinely delivers great performances, others’ performances often overshadow Brewer’s simply because she has less screen time. With “Women’s Work’s” focus on Janine’s story, though, viewers got a full sense of Brewer’s deft work at walking the fine line between maternal vigilance and insanity. I know that this particular story arc will likely have a stark conclusion, but I’m happy that Janine at least got to hold her baby one more time.
Are we about to lose the Guardians of the Galaxy? Maybe. Are we going to be able to handle that? Probably not.
So, with that, Marvel recently indicated that the GoTG will be ‘no more’ and that out of the ashes of Infinity Wars, a new team will carry the mantle of interplanetary defenders in the, Asgardians of the Galaxy.
“I didn’t approach this as a group that would replace the Guardians,” Said Series Writer Cullen Bunn. “The team, by its very nature, is quite different than Star-Lord and company. They have a completely different vibe and style and approach to the challenges they face.”
Bunn and artist Matteo Lolli will spearhead the project that will tab Thor’s sister, Angela, Valkyrie, Thunderstrike, Skurge, Throg and Destroyer (armor), as the AoTG, with one more ‘secret’ character to be revealed later.
“These characters have not worked together often, and never in this way,” Bunn proclaimed. “The team is just starting to find its footing. Some of the characters get along better than others. Some of the Asgardians are less trustworthy than others, and that will lead to some interesting interactions. Some of the team members are unsure of the motivation for bringing the group together in the first place. Others don’t seem to belong at all. Watching this team come together and seeing how very different members of the group interact will be a big part of this book’s fun.”
Asgardians of the Galaxy #1 releases in September.
What do you think of this new team? How do you feel about the end of GoTG? Tell us in the comments section below.
Click HERE for the official release from Marvel, including a Q&A with Bunn.
[Johns’] publishing projects will include a new pop-up slate of comic books under the banner of “The Killing Zone” focusing on new and lesser known DC characters and titles. Johns will also be writing a Shazam! comic book series scheduled to be out in the fall. In addition, he will continue to write the commercial and critical hit “Doomsday Clock,” a comic book series illustrated by Gary Frank that collides the DC universe with the Watchmen universe, as well as the upcoming “Three Jokers,” illustrated by Jason Fabok.
Johns last wrote the character in the pages of his New 52 Justice League run. His story has been collected in a standalone graphic novel.
“I took on a role at DCE because I love the characters and this universe more than anything. But, I want to spend my days writing and on set. I’m thrilled to get back to a more hands-on creative role. It’s a dream job on dream projects, reaching even deeper into DC’s vast pantheon of characters,” said Johns. “I’m also excited to continue to work with the amazing team at DCE and my colleagues at Warner Bros.”
A new series coming in fall 2018! Billy Batson and his surrogate family; Mary Bromfield, Freddy Freeman, Darla Dudley, Eugen Choi and Pedro Pena unlock the mysteries of the Rock of Eternity and delve into the secret worlds of magic to discover their ultimate destiny!
Mad Ghost is Geoff Johns’ new production company within Warner Bros./DC Entertainment.
No artist has been announced for the series. Keep it tuned to Monkeys Fighting Robots as more information becomes available.
While the first episode of Succession was effective in setting the series up for success, this weeks episode felt like the polar opposite.
What was so striking about the newest show to join HBO is how well written it seemed and the chemistry between each cast members appeared to be fantastic. Where did the show go wrong?
Jessie Armstrong (the shows creator) had appeared to be setting up the season for just an onslaught of family bickering, backstabbing, and even a bit of debauchery. It had seemed to me that Succession (which airs Sunday nights at 10 pm) was destined for future success.
Instead, last night’s second episode was the perfect combination of tedium and melodramatics.
Jeremy Strong, photo credit: Peter Kramer/HBO
The narrative behind Succession’s second episode centered around Logan (Brian Cox) and how each child wanted to handle his illness. For those who missed the first episode, Logan fell ill during the chopper ride home and was rushed to a hospital.
As time ticks away, the board members are pestering the children for a plan of succession (in the event of his passing). Without a plan, the value of Wayster Royco would plummet rapidly. Greg (Nicholas Braun) still isn’t sure where his place is in the family. Kendall (Jeremy Strong) is desperately trying to get his siblings to support his plan of being the acting CEO.
Eventually, the family grows tired of his pleas and agrees to their brother’s idea. Just as he is taking a moment to reflect on the events of the day, the general counsel Gerri Kellman (J. Smith-Cameron) gives Kendall some shocking news.
To say the writing in last night’s episode was uninspired would be an understatement. It appeared as if Succession’s second episode had parts of it ripped from a soap opera. Most of the story-line in Sunday night’s episode was extremely predictable and didn’t reflect what Armstrong had crafted last week.
Nothing was going to alter what was going on with Logan so spare me the banter questioning the medical team. The intrigue of Succession comes from each member of Logan’s family being manipulative. Based on last weeks episode, the Roy’s should have been less somber and more cutthroat.
Kieran Culkin and J. Smith Cameron, photo credit: Peter Kramer/HBO
The chemistry in last night’s episode of Succession was non-existent for about 99% of the episode. Most of the time we were subjected to discussions about flowers, doctors, slippers, and smelling a sweater. It appeared as if they were going through the motions. The only notable exception to this would be Kiernan Culkin who is the most charismatic cast member through two episodes.
While Succession was a disappointment last night, folks should sit tight with this show and let’s see how it all plays out. Not every episode is going to be a winner, but let’s hope that this isn’t a sign of things to come.
Geoff Johns will be stepping down as President and Chief Creative Officer of DC Entertainment in order to “focus on creative matters full time,” which includes writing and producing 2020’s Green Lantern Corps film.
According to a DC press release, as part of an exclusive writer/producer deal with Warner Bros, Johns is launching Mad Ghost Productions “to create content across multiple divisions of the Studio, including films, television and comic books, based on current DC properties as well as new and reimagined IP.”
Under this new deal, one of Johns’ first film projects will be Warner Bros. Pictures’ “Green Lantern Corps,” based on his New York Timesbestselling series that saw an impressive nine-year run…
Johns will write and be a producer on the film. Additionally, he co-wrote and executive produced “Aquaman,” which releases worldwide December 21, and is writing and executive producing the second installment of the “Wonder Woman” franchise with director Patty Jenkins, releasing in November 2019.
“I took on a role at DCE because I love the characters and this universe more than anything. But, I want to spend my days writing and on set. I’m thrilled to get back to a more hands-on creative role. It’s a dream job on dream projects, reaching even deeper into DC’s vast pantheon of characters,” said Johns. “I’m also excited to continue to work with the amazing team at DCE and my colleagues at Warner Bros.”
“Geoff is a super talented writer and truly embedded in the DC Universe and its characters,” said Toby Emmerich, Chairman, Warner Bros. Pictures Group. “We’re thrilled that he’s returning to his passion and his roots as a writer and producer. And, it’s even better that he’s staying in our Warner Bros. family. We look forward to working with him on ‘Green Lantern’ and other projects going forward.”
“Geoff is one of DC Comics’ most prolific writers, and we can’t wait to see what he does next now that he will be dedicating 100 percent of his time to telling the best DC stories possible across all media,” said DiDio and Lee. “The new publishing projects we are working on together will be instant fan-favorites.”
Jim Lee will expand his role to include the Chief Creative Officer title and responsibilities, while continuing to act as co-Publisher alongside Dan DiDio.
These announcements were made today by Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, who is serving as DC’s interim head.
Sherri Chung is a musician and singer responsible for some of the amazing music heard across many of the shows on the CW including Supergirl, Legends of Tomorrow, and Riverdale.
If you watch enough TV on the CW, then you’re likely familiar with the name Blake Neely. The composer spearheads A LOT of CW shows (as well as shows on other networks). However, behind every great leader is a right-hand-man or woman or two. Helping to create the soundscapes of the CW-verse is Sherri Chung, a wildly talented musician.
“I was always kind of writing in my head.”
Sherri Chung’s career started in 2009 and is only just getting started as she takes on more and more roles within the CW stable of shows. As a part of Riverdale, Sherri’s role expands even more. Monkeys Fighting Robots spoke to Sherri about her career, how she arrived at Riverdale and where she’s going next.
Classical music was the starting point for young Sherri “Before the age of 12 I was studying classical piano. I was involved in a lot of church groups, musical groups, and music camps where I really studied a lot about music theory and conducting.”
But creative energy existed somewhere, even if she didn’t wholly understand it just yet “I was always kind of writing in my head.”
“That’s what I want to do!”
Like all callings, all Sherri needed was a spark to get things started “I didn’t really know much about movie scoring until about that age of 12. Then I saw this movie with this really amazing score by Michael Kamen, Robin Hood: Prince of Thieves. I was so moved by the score.”
“That’s what I want to do!” Sherri says with an exuberance only a memory like that can create.
However, there was still a lot of work to do. “But I had no idea how to do that or how it was going to happen.”
The truth about any passionate endeavor is that, to get good at it, you have to do it. A lot. And study. “I did undergrad in composition and theory then moved out to LA, to do the graduate program at USC for film scoring.”
“That’s where I got a taste for the pace of TV; the production schedule and the demands of that.”
With knowledge in hand, now comes application and experience “I worked on FamilyGuy and AmericanDad. I was an assistant to Walter Murphy … it was a really awesome learning experience. While I was doing that I was working on a lot of films, short films, and jingles which I really love to write actually.”
Sherri’s work with Walter Murphy expanded into a more prominent role “I was able to start orchestrating for those shows, for Walter. I worked with him for about seven years and was orchestrating for the majority of that time.”
And there is no greater teacher than experience “That’s where I got a taste for the pace of TV; the production schedule and the demands of that.”
“It’s a big departure from the fictional narrative of the shows.”
Here, Sherri meets Blake and the rest is super-history “I started with Blake when he was doing the Supergirl pilot. Blake gave me a call and said ‘hey I want you to be a part of what I’m doing.’”
From one super-verse to the next “Another superhero show Blake started that year was Legends of Tomorrow, so I worked on that as well.”
Sherri work on the CW is focused on Riverdale now while she also works with Blake on Blindspot for NBC. But with both shows taking a summer break, what’s coming next “I worked on a documentary, a two-parter, that’s coming out this summer. It’s a big departure from the fictional narrative of the shows.”
“There are so many of the iconic names …”
Taking another step away from the TV and film scoring world “I’m actually working on an album this summer.”
As a pianist who sings and scores TV shows, what’s the album going to sound like? “The style that I have is kind of a cabaret-ish jazz …” She laughs. “We’ll see … I’m going on a sort of artist’s retreat, diving deep, and coming up for air with hopefully some good songs.”
Without fail, I ask every composer to share the name of a composer working today that they admire “There are so many of the iconic names like John Williams and James Newton Howard. Dario Marianelli is the one I’ll pick. He does these beautiful piano scores. He did the one for Atonement and the score he did for Pride and Prejudice. His work is so beautiful and moving.”
“Being an artist of any kind means you draw upon life.”
– Sherri Chung
Bloodshot Salvation #10 starts “The Book of Revelations” story arc, and throws Ray two thousand years into the future to 4001.
While Bloodshot navigates the future to pay his debt to Baron Samedi, Magic reunites with their daughter Jesse in the present, now mysteriously older. They don’t have much time to rejoice, however, because Project Rising Spirit isn’t quite dead, and they want their “property” back.
You might think that Jeff Lemire has been writing a badass, violent action comic about an unstoppable killing machine. You’d be wrong. Well, you’d be right, but you’d also be missing the point. He’s writing a comic about parenthood masquerading as a badass, violent action comic, about two people who would do anything to protect their daughter.
Jesse and Magic are Bloodshot’s titular salvation. This whole series has been about him trying to protect them and hold on to what they’ve got. “Book of Revelations” takes that one step further. It’s splitting the story into two timelines, and now both Ray and Magic have to do their part to protect Jesse in different ways. Lemire is actually telling a very sweet story in Bloodshot Salvation, beneath all the blood.
And he’s doing it in a way that’ll make even the toughest comic reader say, “that’s fucking metal.”
Admittedly, not a ton happens in this issue. It’s a lot of setup for what’s to come in this arc. But if what we do get is any indication, “The Book of Revelations” is going to be wild.
Doug Braithwaite on art is a notable departure from Renato Guedes’ work on the previous arc. Whereas Guedes’ art bordered on photorealism, Braithwaite’s is much more traditional comic book. And yet, Braithwaite still draws everything with a tremendous attention to detail, especially the characters. Most of their faces hold a lot of detail, making them look somewhat beaten down and rough. This works very well for a character like Bloodshot in contrast to young Jesse, who Braithwaite draws in a much cleaner, more innocent way.
Jordie Bellaire’s coloring prowess is once again on display here. (When is it not?) Her work sets the tone for not only each scene, but each setting. One look at each page and you know the feeling that the creative team wants to convey, and that’s the mark of good coloring.
Bloodshot Salvation only has two issues left, and that will end Lemire’s seminal run on the character. Issue #10 is not a bad jumping on point if you still want to get on this train before it leaves for good.
The great thing about a medium like webcomics is it can be used for anything, and any story, and that’s precisely what our interviewee of the day has done with Champs. Mharz joins us today from the Philippines to talk about her webcomic, which follows a lesbian boxer as she pursues a fellow ring fighter who’s won her heart.
CHAMPS – Mharz
Dunstan: Let’s start with the obvious – what got you into art in general, and webcomics specifically?
Mharz: I’ve enjoyed drawing ever since I was a kid. My initial dream was to become an animator. I love to create cool characters just like I see in the animes I watch. When I got to work in animation, I realized that creating a full season anime will take forever if you’re just one person and that’s where I found out about webcomics so I gave it a shot and I ended up totally enjoying creating webcomics.
Dunstan: A lot of webcomics are autobiographical, fantasy or slice-of-life. What inspired you to draw a comic about boxing?
Mharz: I am very fascinated with strong women. I really don’t like females being portrayed as weak damsels. Also, most sports/fighting comics have male leads, and even if females get the lead, they are mostly portrayed as a “fanservice” (you know what I mean), so I thought wouldn’t it be cool if females engage in a tough sport like MMA and they have all the spotlight? No fanservice just strong girls proving their skills and also being sweet and fluffy to the person and things they love. So that’s how I ended up thinking of CHAMPS.
Dunstan: What’s your process for CHAMPS like, from idea to posting the final page?
Mharz: I usually write the plots first in the good ‘ol fashioned notebook. Then I make thumbnails/storyboards of the pages. Writing usually takes the longest because I consider myself a more art-oriented creator so writing pretty much consumes way too much brain power for me. Once the thumbnails are finished, I can finally coop myself in and focus on drawing the actual pages. I usually do it per chapter and build an insane amount of buffer so I can post consistently even if I don’t work on it for months.
Dunstan: Has finding an audience been difficult, or have you managed to find your niche?
Mharz: It’s always been a struggle for me. I’ve been working with webcomics for four years now and gaining audience for me is a very slow crawl. I’d be the first one to admit, that my marketing skills is pretty much lackluster. Sadly, there’s only so much I can without getting in a pinch financially and without getting burnt out. I just try my best and keep going and hope that someone with a lot of clout will give me a chance.
Dunstan: Why a webcomic rather than a traditional graphic novel?
Mharz: For someone like me who doesn’t know anyone big in the industry, webcomics gave me the opportunity to be able to share my ideas and stories to people. Especially people across the globe. Also I don’t have the resources and financial support to be able to do it the traditional graphic novel way.
Dunstan: Representation is a hot topic in media right now. What does it mean to you, regarding writing lesbian representation and Filipino characters?
Mharz: I certainly can’t remember the last thing I read with a Filipino woman as a central character. I’m honestly not sure if you’ll stumble upon a work that has a Filipino character unless the writer is Filipino themselves. Locally, there are tons for sure, but internationally, it’s gonna be unlikely. I do want to share our culture to the people outside the country. We have so many cool things here like food and such and hopefully, through Tala I can. Writing lesbian story is something that makes me happy. I am actually more attracted to women than men, and I love reading romance stories about two women.
Dunstan: How can readers and interested folks support you?
Thanks so much to Mharz for her time! This is the second in the series of webcartoonist #PrideMonth interviews – check out the first interview with Melissa Capriglione of Falconhyrste here.
This issue of Green Lanterns lays out a mystery that shows off Jessica’s grown skill.
The last story arc for the Green Lanterns was arguably the series’ best arc. Jessica Cruz was able to face her demons in a nightmare world with Simon. They are trials and tribulations have made both characters stronger, as well as end the threat of the all too dangerous Singularity Jain. This was also the finale to Tim Seeley’s time on the book, which he had been covering since issue 33. Issue 50 will see a new team lead by Dan Jurgens, but we have one more adventure before that. So what story does guest writer Aaron Gillespie want to give our Green Lanterns?
**Some Spoilers Below**
Story:
We find our hero, Jessica Cruz standing amidst a destroyed city block on an alien planet. She has no idea how she got there, but a fellow Green Lantern places her under arrest. She took part in the destruction of the block and has stirred the Corps enough to have them all come after her. Realizing there is more to the story, Jessica manages to escape and begins to investigate what had transpired before her blackout.
This story is a bizarre version of The Fugitive in space. The significant difference, however, is that it’s clear she is guilty, but we don’t know why. We get a few hints throughout, but the thick of it is Jess on the run. Halfway through, she has to leave her ring behind and, surprisingly, she is incredibly resourceful. It is interesting to see her get out of situations without her ring, as we only have seen her with it. It’s fun and almost makes me forget that we get very few answers. We’ll be getting the truth next issue, but after seeing Jessica go through so much, you’d hope to learn something. Sadly we don’t, but thankfully we won’t have to wait long.
Art:
While I might have had a problem with the story, the art was top notch. Ronan Cliquet is the illustrator of the issue, and he did a fantastic job. The designs of the aliens that Jessica encounter are creative and interesting to look at. The constructs are also a highlight thanks to the wonderful detail they are given. This fantastic art from Cliquet is wrapped up neatly with the masterful colors of Ulises Arreola Palomera. This team worked their magic on this story, and it looks great.
Conclusion:
This is one of those stories you need both to truly enjoy. Showing off how much Jessica has grown is fun to see, but it sacrificed learning more of what happened. There could have been an equal balance of the investigation and our rookie being amazing. The art makes it look great, but there’s sense of something missing that will eat at you.
