THE O.Z. #2 (of 3) — A Rollercoaster Ride Of A Must Read

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If you backed the Kickstarter campaign, the digital copy of THE O.Z. #2 (of 3) hit your inbox last week. The book is written by David Pepose, with art by Ruben Rojas, Whitney Cogar drops the color, and you will read DC Hopkins’ letter work. According to Pepose, you will be able to buy the book from davidpepose.com once the hard copies arrive from the printer.

About THE O.Z.:
Decades ago, when a young girl defeated the Wicked Witch of the West, she said farewell to the magical land of Oz… but unwittingly plunged the country in a vicious power vacuum leading to years of brutal civil war. But a generation later, the name of Dorothy Gale lives on in her granddaughter, an Iraq war veteran grappling with disillusionment and PTSD — yet when a tornado strikes Dorothy’s quiet Kansas town, this former soldier finds herself in the war-torn battlefield known only as The O.Z. Forced to navigate warring factions led by the Tin Soldier, the Scarecrow, and the Courageous Lion, Dorothy must come to terms with her legacy and her past if she ever hopes to bring peace to the Occupied Zone.

WRITING
The first two issues are oversized with solid breaks, which makes THE O.Z. #2 read like chapters three and four of the story. The first issue introduces all the characters and main plot points. Now, Dorothy is in the thick of the war, and the tension and stakes continue to build.

Pepose exceptionally writes the story’s pacing; as soon as you think the story starts to slow down, you get jerked in another direction. The changing of locations adds to the feverish pace, and in a world like OZ, the color palette is different every four pages. Then Pepose keeps raising the stakes of the story. It’s like a rollercoaster that continues to climb but never drops. Your heart gets tighter and tighter, desperately wanting the fall. Then you realize that this is only issue two, and the drop isn’t coming.

I can’t decide if Pepose is an amazing mixologist that takes familiar ingredients to create a new fantastic drink, or an early 90s hip-hop artist sampling all the different genres to create a unique sound and an epic album. All the concepts in this book are familiar, and we’ve seen them many times before, but THE O.Z. feels right. The land of OZ was always just a few steps away from straight-up scary. The story elements of a war-torn OZ and a broken hero’s journey work so well that I am begging for the third issue.

ART
Rojas has a ginormous task at hand as the book is always moving with action, different sets, dragons, and the all-powerful OZ. Rojas’ vision for the all-powerful OZ looks beautiful and intimidating. It could be my favorite part of the issue. Also, the emotional range that Rojas draws into a dog is ridiculous. His skills are top-notch.

The panel layout and storytelling elements of Rojas’ work are next level. The book’s pace is fierce due in part because how Rojas directs your eye throughout a page. You see the emotion and the action because Rojas wants you to, and the traveling line of sight also lends to the rollercoaster feeling you have at the end of the book because he brought you on this journey.

COLORS
Cogar’s color palette is brilliant. I felt emotion, action, and desperation. The flashback sequences have a beautiful, melancholic feel to them. You instantly know it is not the present and the moment’s mood. There is a page with a bazooka, and the colors frame and highlight the action. The choice of red and yellow puts the moment right in your face. Then there is a page where the reader looks up at the sky; Cogar’s color choices and Rojas’ art create an infinite depth. The depth allows you to get lost in the book. From desert to snow, from forest to underwater, Cogar created a unique color experience for each location.

LETTERS
Hopkins’ letter work in this issue is prideful. The detail and the minor tweaks are all there, and it looks like he’s having fun with every explosion. The BABOOOOOOOM above displays Hopkins’ craftmanship in a nutshell. He used multiple fonts, and you feel like Hopkins laid each letter on the page until it felt right. With all the onomatopoeias in the book, and there are many, Hopkins worked well with Cogar’s color palette. The sound effects look like part of the book, not a Photoshop afterthought.

OVERALL
THE O.Z. #2 (of 3) is the sum of its parts; the writing is solid, the art is spectacular, the colors are fresh, and the lettering is epic, which translates into a must-read book. I don’t know how the creative team will close out the series, but I’m excited to read the next chapter.

Read the first 11 pages of THE O.Z. #2 (of 3) below:

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Review: THE KILL LOCK: THE ARTISAN WRAITH #2 – The Immortal Psychopath

By

Justin Munday

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Writer & artist Livio Ramondelli returns with the second issue of his long-awaited sequel-series in The Kill Lock: The Artisan Wraith #2. With letters by Shawn Lee, this outstanding chapter is the absolutely insane return we’ve all been waiting for. With a tense, explosive story and ever-captivating visuals, this may very well be my favorite single comic of the year thus far.

“The Resolve Class: The unique class composed of bots from different backgrounds with one shared feature-a specialty in problem-solving. (Or assassination, as some prefer to call it.) And it’s up to the Resolve, the Lurk, and a small team to solve the greatest problem in the galaxy-the Artisan Wraith, an unbeatable mind in an unbreakable body, currently serving as ruler of a planet of criminals. What could go wrong?”

Writing & Plot

Livio Ramondelli reminds us with every issue just how great a storyteller he is, and his work here in The Kill Lock: The Artisan Wraith #2 is no different. We finally get to see the cast of the original Kill Lock, now presented in their titular, imposing form. The comic’s opening has an almost Suicide Squad feel to it, with the hunters from the first issue building a team to bring down the terrifyingly powerful Artisan Wraith. This builds up to an insane fight sequence and some compelling emotional storytelling near the end. Ramondelli paces this comic perfectly, with every moment feeling earned and impactful.

There’s always a slight feeling of apprehension when a comic artist also decides to write their own story. Not every artist can handle dialogue and plot the way they can handle penciling and blocking. Ramondelli though, much like Jeff Lemire or Daniel Warren Johnson, is every bit a writer as he is an artist – which is saying quite a lot. Every important character has traits and small arcs that make them stand out. The dialogue is naturalistic and sharp. Every conversation has a form of weight that makes them each memorable for different reasons. Ramondelli’s plot, structure, and dialogue sensibilities are absolutely top-notch, making this chapter a tense and exciting joy to read.

Art Direction

Most of what makes Livio Ramondelli’s work so effective in The Kill Lock: The Artisan Wraith #2 is how he utilizes his brand of visual storytelling. His stark depictions of these sentient machines in this used future sci-fi environment are striking and stunning. Breathtaking vistas and views of the galaxy are met by the rusty insides of worn ships or the stone bulwarks of ancient, abandoned moon bases. These gorgeous and haunting depictions are equaled by Ramondelli’s visual character work. I mention this in every review I’ve written for The Kill Lock and don’t think I’ll ever stop. Ramondelli’s ability to design and draw these robots with blank, unmoving faces and imbue them which such personality and emotion will forever be one of the most incredible feats of comic storytelling I’ve come across. The kinetic power and explosive force of the big fight sequence in this issue will make for no doubt one of the most memorable action scenes in comics for some time.

Much of what makes this work likely has to do with how he frames each character within the panel. He manages to layout pages and direct them in a manner that perfectly encloses and captures the tone for each scene perfectly. It’s the kind of approach that’s so effective because it disappears into the story since the reader is so invested. The lettering from Shawn Lee is consistently effective in its delivery of the reading experience. The small changes he makes in the word balloons based on who’s talking is a clever enough effect, but the real treat as always is his royal/medieval-esque font for The Wraith. Visually, this comic is as much a marvel as all the others, punctuated by an incredible action sequence and thoughtful character moments.

Verdict

The Kill Lock: The Artisan Wraith #2 is a stunning and explosive 2nd chapter to this sequel series. Livio Ramondelli’s storytelling ability both in terms of writing and visual direction is truly outstanding. His perfectly-paced plot, memorable characters, and stunning art style make this potentially the most powerful issue of the whole Kill Lock saga thus far. Be sure to grab this comic when it hits shelves on April 13th!

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Review: Sex, Death, and Pizza in SUICIDE SQUAD: BLAZE #2

By

Zac Owens

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I’ve tried to write this review about 100 times already. The fact is, Suicide Squad: Blaze is so unlike anything else, there just aren’t words to do it any justice. At times, it’s an existential search for meaning. Other times, it’s a raunchy romp about kinky sex and metahuman boners. But, at all times, it’s a mesmerizing story that’s as beautiful as it is disgusting. Writer Simon Spurrier, artist Aaron Campbell, colorist Jordie Bellaire, and letterer Aditya Bidikar take us on a wild ride with a bunch of suicidal criminals that have the powers of gods in Suicide Squad: Blaze #2.

About Suicide Squad: Blaze #2:

The inmates who volunteered for the Blaze program are discovering fascinating things about their newfound powers-and about the best ways to torment their Suicide Squad watchdogs. Are they discovering anything about their core mission of stopping the cannibalistic metahuman who’s terrorizing the planet and who, uh…might have just defeated Superman…? Well, slightly less so. But they’re all going to be dead in three months. Or a lot less. Let them have fun, eh?

Writing

This issue begins by telling us what it’s not. The first few pages, narrated by our disillusioned protagonist, takes us through some familiar territory. We see Superman crash landing in Kansas as a baby then being raised by the Kents. Right when you think this story is taking a lighter tone, Spurrier gives us a wake up call. “Oh grow up, you unbelievable cartoon. Go fight the bogeyman and stop pretending to think,” Waller practically spits at the Man of Steel. These aren’t your mom and pop’s comics, Spurrier’s saying. The next scene, a superpowered sex scene between two terribly codependent people, is interrupted by moments of brutal yet somehow beautiful violence. Spurrier writes all of this from the perspective of Van Zandt – our protagonist who’s got the power of invisible arms. (Yes, you read that right.) Van Zandt is cynical about life, yet fascinated by it at the same time. He’s self-aware and self-destructive. With bloody action sequences, quiet quips, and lots of honest soul-searching, Spurrier presents a script that’s crackling with life.

Art

Campbell and Bellaire work so brilliantly in tandem with one another that it’s hard to see where one’s work ends and the other’s begins. Campbell’s linework seems to use bright oranges and greens just as much as it uses blacks. Bellaire’s colors bring shape to moments and characters, while also willfully obscuring details. The normal, run-of-the-mill discussions between our characters are shown with a more traditional approach. Campbell’s lines are clear and Bellaire’s colors stay relatively simple. But when the characters begin using their powers, the page becomes a mass of warring light. Campbell allows us to see small details that surface from the vibrant battles, while zeroing us in on the faces of these suicidal criminals between each bout. Bellaire pulls us right back in with sizzling greens, purples, and reds – which are all working to overcome one another. Campbell and Bellaire do a fantastic job of giving us a combination of realistic and comic book style combat. You come out the other end, unsure about what just happened and still reeling from the glory of the lightshow.

Lettering

Bidikar brings so much character to this script. For one thing, the dialogue and captions are written in one of two formats: either as your typical all-caps lettering, or in a lower case font that’s several font sizes smaller. With this, Bidikar has you hearing characters say things under their breath to each other, or even to themselves. Later, we see Captain Boomerang get more and more drunk as time goes on. His word balloons start out by having a wobbly edge to them. As he gets more intoxicated, the balloons begin to have small white dots around them too. You feel as though Boomerang’s words have begun to come out as a vapor. The white dots remind you of the spittle that’s probably spewing out of his mouth. Throughout this book, Bidikar is constantly changing things up, somehow finding ways to highlight all the most important parts of this chaotic, rollicking adventure.

Verdict

Suicide Squad: Blaze is more than just superhero satire. Sure, it spends plenty of time poking fun at the trappings of your typical comic. But it also rises above all that – and sometimes gleefully sinks below it – to really discuss what it feels like to chase relevancy. This creative team is doing something there aren’t sufficient words for. They’re here to make you laugh, cry, and maybe piss your pants. Don’t miss Suicide Squad: Blaze #2, out from DC Comics today, at a comic shop near you!

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How To Review A Comic Book

By

Matthew Sardo

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April 12, 2022

The art of reviewing a comic book is hard work, and most reviewers are not professionally trained. However, with the invention of the blog and social media — everyone can be a critic, which is amazing and god awful. Over the past seven years of running Monkeys Fighting Robots, the Editor in Chief and I have developed a five-star system for reviewing books.

5.0 = A near-perfect comic; one of the year’s best. You’ll remember this issue for a long time.

4.0–4.9 = An excellent book that’s well worth your money. It has memorable moments, stunning art, and a fundamental understanding of how comics work.

3.0–3.9 = A pretty good, middle-of-the-road comic. Maybe not worth your money unless you’re a big fan of the series/character.

2.0–2.9 = Meh, it’s okay. Below average. Not terrible, but ultimately forgettable.

1.0–1.9 = It’s bad. Maybe it has one or two redeeming qualities, but the bad outweighs the good. It’s not worth your time, let alone your money.

0.0–0.9 = A terrible, horrible, no good, very bad comic. Not worth your time, let alone your money. You probably shouldn’t bother reviewing the book if this is your score.

I would add one caveat that the rating or grade you give a review should be consistent with your previous reviews. A five-star review should mean something and not be given out at the drop of a hat. Create a list of five comics you believe are perfect, and then judge all other comics against them. But, again, reviewing comics books is an art form, so everything is fluid.

So now that you’ve established a baseline for reviewing a book make sure to review every aspect of the comic, and definitely DO NOT RECAP THE STORY. Talk about the writing and how it made you feel. Make sure to question and break down the pacing of the story. Your review is about a comic book, so the bulk of your review should be about the artwork, panel layout, colors, and letter work. The cover is an essential aspect of a comic too. Did the cover make you want to pick it up off the shelf?

Talk about your favorite page or panel to take your review to the next level. It should be easy to write about, and your reader will notice and feel your passion. Talking about your favorite page will help you focus on panel layout, colors, and how your eye led throughout the page. It should all lead to the question, what does this mean? That question will then lead you back to the book’s writing, and hopefully, you will expand on that section of your review.

A comic book is a fantastic piece of artwork that invokes an emotional response, talk about how the book made you feel! In future installments, I will talk about how to critique the specific elements of a comic book.

How To Review A Comic Book — Example Review Grade

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Review: THE SANDMAN UNIVERSE: NIGHTMARE COUNTRY #1 – The Corinthian’s New Groove

By

Justin Munday

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Writer James Tynion IV (Something Is Killing The Children, Batman Detective Comics) returns to DC and brings along artist Lisandro Estherren for a new window into an old world with The Sandman Universe: Nightmare Country #1. With guest art from Yanick Paquette, colors from Patricio Delpeche, and letters by Simon Bowland, this opening chapter is a wonderfully macabre start to this new story in the Sandman mythos. With a smart, tense, and darkly humorous script and unique standout visuals, this comic is a must for both old Sandman fans and newcomers alike.

“Sometimes, nightmares walk the Earth. Every night when you sleep, the Lord of Dreams chooses the path you’ll follow…into a sylvan Elysium, or down the hallways of your darkest fears. And sometimes, if it is Dream’s will, those nightmares escape those halls, and go out into the world. But it is not a choice he makes lightly. Today the Corinthian walks the Earth again. The most feared of all Dream’s nightmares, his ravenous mouths have made him a legend among serial killers. Letting the Corinthian out among mortals is the most dangerous thing Dream could possibly do. But he has no choice-because there is another nightmare walking the Earth, one that must be hunted…and this monster is one that Dream, lord of all nightmares, did not make.”

Writing & Plot

It’s safe to say that James Tynion IV has a signature style of horror writing. He brings that style to bear and mixes it with some old Vertigo ingredients for his script in Nightmare Country #1. His work here mixes his foreboding horror sensibilities and signature dark humor with poignant reflections on living in this timeline as a millennial – another detail he’s very good at. He then sprinkles in bits of poeticism that even Neil Gaiman himself would be proud of. This comic nails the goal of feeling like a Sandman book while also being something totally new and exciting. The way Tynion hints at coming terrors and conflicts while still always keeping the tension in the present is constantly compelling. There is an unceasing dreamlike quality to the whole comic. Every character conversation and small moment that we *know* isn’t part of a dream/nightmare still very well feels like it could be. Again, this is that Sandman quality making itself known throughout the book. Despite this the comic never feels unclear. Everything feels pointed and purposeful – and I’m sure we’ll find out why in the coming chapters. Like Si Spurrier and G. Willow Wilson in their Dreaming runs, Tynion adds his voice to Gaiman’s mythology with a comic that is totally loyal to the concept and thematic core of that original universe – but still feels wholly unique unto itself.

Art Direction

Tynion tends to get his horror scripts visually told by wonderfully unique artists, and Nightmare Country #1 is no exception. Much like Werther Dell’Edera in Something Is Killing The Children, Lisandro Estherren’s art in this comic gives this story a singular style that perfectly captures its uncanny tone. Estherren utilizes his wavering, sort of rough-hewn penciling to great effect. His characters always seem like they’re caught in a dreamy haze (which they kind of are). His visual interpretations of nightmare creatures are striking and unnerving, and are sure to stick in the reader’s mind long after they’ve closed the book. His visual approach is one that feels like it belongs among some of that old Sandman work. He fits in to a modern day camp of artists who bring the same sort of uncanny style to comics that Kelley Jones and P. Craig Russell did to classic Sandman, but here in a new light. Estherren’s direction and blocking add more to both the tense nightmarish sequences and the dreamy, uncertain pacing of the comic as a whole. Yanick Paquette’s portion as guest artist is as stunning as you’d imagine, but it also sticks out a bit much. Still, it does nothing to stop the overall stellar visual flow of the comic.

Patricio Delpeche’s colors make up much of that hazy, dreamlike-feel of this issue. His murky watercolors give off an unnerving feeling and cast the book in a dim pallor that really completes the comic’s tone. Simon Bowland returns to The Sandman Universe on letters, and unsurprisingly he’s as brilliant as ever. He utilizes numerous fonts for different characters, replicating the work of Todd Klein in the original Sandman while keeping his own style intact and fresh. Visually, this comic is a great atmospheric treat that crafts a timeless Vertigo-esque quality for the reading experience.

Verdict

The Sandman Universe: Nightmare Country #1 is a creepy and stylish new chapter in the legacy of this beloved world. James Tynion IV returns to DC to craft new nightmares in his signature brand of poignant, eerie, and darkly funny horror and he absolutely nails it. The visuals from Lisandro Estherren and Patricio Delpeche are rife with memorable visual terrors in a style that feels like it picks up where the more gruesome classic Sandman issues left off. This is a must-read for both Sandman fans and complete newcomers. Be sure to grab this comic when it hits shelves on April 12th!

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Review: BATMAN/CATWOMAN #11 is a Ball of Timelines

By

Zac Owens

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DC Comics’ Batman/Catwoman has been a complex series. The creative team — writer Tom King, artist Clay Mann, colorist Tomeu Morey, and letterer Clayton Cowles — have generally had an incredible knack for making the story (which happens over three distinct timelines) clear. While Batman/Catwoman #11 still manages to be clear in its storytelling, despite introducing another timeline (or two?) to the narrative, its intricacies make it hard for any of the emotional beats to land.