tag:blogger.com,1999:blog-31210942475593733602024-02-07T21:50:43.266-05:00OmnicomicA spiffy spot for the geek lot.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.comBlogger9960125tag:blogger.com,1999:blog-3121094247559373360.post-50020148709399428212020-07-23T12:44:00.000-04:002020-07-23T12:44:00.620-04:00Review - The New Slaves #1 (@NigelCarrington)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn4sz5a0ofUDtLtPlvFY2t1A3Sth_hTv_qPXwWNptJvgARTi2J7pKV9FXoSg27eM8WLjO5Tq6PGeM7c_0ifC3_YA2cYhLYO2GBG7Pl2JShRfwBCirAlKJTpQkQ51QO_RBrZHvE3wCvq-M/s1600/thenewslaves1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn4sz5a0ofUDtLtPlvFY2t1A3Sth_hTv_qPXwWNptJvgARTi2J7pKV9FXoSg27eM8WLjO5Tq6PGeM7c_0ifC3_YA2cYhLYO2GBG7Pl2JShRfwBCirAlKJTpQkQ51QO_RBrZHvE3wCvq-M/s320/thenewslaves1.jpg" width="215" /></a></div><br />
"When I was a child, my parents told me that "hate" is like a cancer."<br />
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The world (the US in particular) is fond of passing legislation that addresses problems while not really doing much to enforce said legislation. Because of that, systemic problems championed as being handled by the legislation fester, offering great fodder for subversion as in <i>The New Slaves #1</I> from Starr Skill Comics. The issue is written by Nigel Carrington and Joe Janowicz, illustrated by Carrington, colored by Ebhotha Omotuyi and lettered by Kerry Jon Baptiste.<br />
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While investigating a series of strange “appearances and disappearances” of people in his community of Rochester, NY, Derrick Minor--a Jamaican born police officer--finds his family's first night at their new home interrupted by an intruder who knocks Derrick unconscious. The next day, Derrick regains consciousness in an alternate world; a world where all the plantation slave owners are black and all the slaves are white. The family becomes trapped and separated in this new world. As the police officer searches for his missing family Minor tries to find a way back home, yet no one believes who he is or where he comes from.<br />
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The underlying premise of the issue is actually very strong and extremely culturally relevant at the moment. Carrington and Janowicz have taken the centuries old narrative about slavery and flipped it in a way to draw attention to turn the tables on the current interpretation of it that many people have. That being said, there are some points in the plot that feel somewhat disjointed and ask the reader to do a lot of mental gymnastics to follow from one point to the other. Derrick Minor is introduced as a sufficiently strong leading character (and the narrative is funneled through him), yet it's confusing as to how he actually ends up where he does. The writing duo also narrates pretty much the entire issue for the reader, telling them what's happening as opposed to showing them which is somewhat detrimental to character (and plot) development.<br />
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Carrington also handles the artwork in the issue, relying on an approach that does interesting things with perspective. There are quite a few panels where the characters are rendered via angles that provides the reader with different viewpoints of the action. Derrick Minor is illustrated with an emphasis on a more muscular physique that's typically expected of a leading character. Carrington also draws all the faces similarly despite the character being focused on which brings a sense of uniformity to the characters; this is good from a thematic standpoint, but from an artistic standpoint none of the characters really stand out from one another as they should. Omotuyi's colors are simple enough, effective in creating a visual difference in the new world so the reader has a better sense of what's happening.<br />
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<i>The New Slaves #1</i> is a very poignant concept that many people would do well to consider. Derrick Minor is thrust into a new world that's like nothing he's ever known before and how he reacts to it is fascinating. The script by Carrington and Janowicz leans into the premise with good intentions, although the execution feels a bit clumsy at times. Carrington's artwork presents the action in a way that's pretty easy to follow. <i>The New Slaves #1</i> tackles a big problem in present-day society by rethinking the past.<br />
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<i>The New Slaves #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-83491537296792142732020-07-22T12:22:00.003-04:002020-07-27T14:54:33.865-04:00Review - Ibrahim Coyle (@BraleStudios)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCX8hpVjE55MwZeCceR1c4jPeHgWNpGmCbo6AVPId8YJajgl19Ou-Do1DjY-ssFNzBZKkr9r0tMdGDNiTnuI5KH-jeDiB5G4a68TTmF18BBRjB85d0nPgsuT5NRJxY-uswAJu7r_9HIfM/s1600/ibrahimcoyle1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1132" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCX8hpVjE55MwZeCceR1c4jPeHgWNpGmCbo6AVPId8YJajgl19Ou-Do1DjY-ssFNzBZKkr9r0tMdGDNiTnuI5KH-jeDiB5G4a68TTmF18BBRjB85d0nPgsuT5NRJxY-uswAJu7r_9HIfM/s320/ibrahimcoyle1.jpg" width="226" /></a></div><br />
"Like, halt! In the name of the law, you're like, so arrested! Everything you say, like none of that stuff goes! Give up and we'll shoot you!"<br />
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The one thing a lot of PIs tend to have in common is a general disregard for the lives around them in terms of how they may inadvertently affect them. In <i>Ibrahim Coyle #1</I> from Brale Comics, the main character really runs with that description. The issue is written by written by Nikola Pavlović and Filip Stanković (translated by Ivan Veljković) and illustrated by Filip Stanković.<br />
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Ibrahim Coyle is just your regular con-man and a self-proclaimed PI, secret agent or whatever the client needs, as long as there's some cash on him.<br />
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The writing duo of Pavlović and Stanković have created a seriously scattershot main character who careens through life from one seeming disaster to the next. In fact, much of the first issue spent attempting to keep up with the almost dizzying array of conflicts that Ibrahim Coyle finds himself in. There's very much a frenetic pace that carries the first issue as Pavlović and Stanković refuse to let the reader catch up. As a character, Coyle has his share of devil-may-care attitude that helps buoy the overall brashness of the issue. All of the above being said, there are some moments in the issue that Pavlović and Stanković could possibly clarify a bit more in terms of overarching universe details, but it's assumed that future issues address some of these concepts.<br />
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Stanković's art style places an extraordinary emphasis on the world "style." Ibrahim Coyle is rendered with sketch lines, yet still manages to be very expressive and allows the reader into his mindset with each panel. Using a standard grid format is very helpful for containing the otherwise madcap action. Stanković isn't shy about the book's boldness through the use of an explosion of colors, providing each panel its own sense of being. The contrast from panel to panel is sharpened by the bold color choices, maintaining the predominant personality of the book.<br />
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<i>Ibrahim Coyle #1</I> is a garrish first issue in all the right ways. The main character is adamant in his somewhat selfish approach to life, providing the issue with ample sense of swagger. The script and pacing by Pavlović and Stanković is bombastic and doesn't let up. Stanković provides the issue with an extremely unique and gregarious art style that matches the personality of the lead character brilliantly. <I>Ibrahim Coyle #1</I> is pretty slick in its presentation and relentless in its approach.<br />
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The issue is available now via <a href="https://www.comixology.com/Ibrahim-Coyle-1/digital-comic/797372?ref=c2VyaWVzL3ZpZXcvZGVza3RvcC9ncmlkTGlzdC9Jc3N1ZXM" target="_blank">Comixology</a>.<br />
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omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-91398530446029324682020-07-21T12:09:00.000-04:002020-07-21T12:09:01.083-04:00Review - Almost #1<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCVjvnr4s_3LmkMznFEk5y4z13LQzndmt62zJXgrKeeULD6lE3a_02l3r83N3sYomR3mflKN5bg_KgOpSO2cnaBnAUXZgHwsFmKZrPV2t9jjDyZUPh-KJPGMcEwmVUyTh4grMFFyoVSus/s1600/almost1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1036" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCVjvnr4s_3LmkMznFEk5y4z13LQzndmt62zJXgrKeeULD6lE3a_02l3r83N3sYomR3mflKN5bg_KgOpSO2cnaBnAUXZgHwsFmKZrPV2t9jjDyZUPh-KJPGMcEwmVUyTh4grMFFyoVSus/s320/almost1.jpg" width="207" /></a></div><br />
"Well, don't stop now!"<br />
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There are a myriad of obstacles in making one's way through life. In <i>Almost #1</I> from <a href="https://www.instagram.com/timepiecepress/" target="_blank">Timepiece Press</a>, one such obstacle happens to be not quite becoming what's expected. The issue is written and illustrated by Todd Jakubisin.<br />
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<i>Almost #1</i> about a [gender neutral] caterpillar who hasn’t fully developed into a butterfly like the rest of their friends and family. With a gift from a balloon twister at The Great Galactic Traveling Circus, the almost butterfly takes off for new horizons, helping a pack of crawling clouds find their place in the sky along the way.<br />
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There's a certain charm to <i>Almost #1</i>, primarily in the innocence that Jakubisin imbues into the caterpillar. There's very much a sense of belonging that comes with being surrounded others like you, but in the case of caterpillars when everyone else becomes a butterfly and you don't there's an immediate sense of loneliness. Jakubisin captures this sense well while at the same time providing a variety of characters who both support the caterpillar and take advantage of its position. For instance, if you've ever wondered what the personality of a cloud is, then your answer her is that they're pretty much jerks. There's a sense of incompleteness at the end of the issue which does tie into the narrative quite well and hopefully Jakubisin has more in store for the lead caterpillar.<br />
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The art style is a perfect match for the themes of the issue. Jakubisin relies on a style that's a throwback to another era and evokes the same atmosphere as Chad Moldenhauer's artwork on the relatively recent <i>Cuphead</i>. Even the gutters are aged in a way that allows the reader to feel as if they've stumbled upon artwork that's been lost to time. The caterpillar is extremely expressive all things considered and Jakubisin uses its facial expressions to really convince the reader of the prevailing sentiment at that particular point in time. The colors are predominantly muted throughout the issue, providing an additional level of antique sensibilities.<br />
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<i>Almost #1</i> is a book that's very innocent in its approach. The main character is struggling to find a way to keep up with others who have moved on, bringing the reader along for the journey. Jakubisin's script relatively light on detail yet still very lighthearted. The artwork is whimsical in a way that maintains a veneer of childish innocence. <i>Almost #1</i> is an intriguing first issue that is surprisingly complex in its overarching themes.<br />
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<i>Almost #1</i> is slated for release soon.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com1tag:blogger.com,1999:blog-3121094247559373360.post-76161081289541867802020-06-03T12:30:00.000-04:002020-06-03T12:30:01.535-04:00Review - Killswitch (@ActionLabDanger)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKh0khBHDmIlfn-SB-Sz7NOKQW5wZRSD9O_YyDq2hmZVVEDbSBnWxdXLC38-kAXuhvVX52nQCNsEEYiDv4FhigzWaNg1zOseh97omzHwNguG65zYVQ7rHjoBisT0ZSOf7gUJzQAza6hKg/s1600/killswitchtpb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1036" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKh0khBHDmIlfn-SB-Sz7NOKQW5wZRSD9O_YyDq2hmZVVEDbSBnWxdXLC38-kAXuhvVX52nQCNsEEYiDv4FhigzWaNg1zOseh97omzHwNguG65zYVQ7rHjoBisT0ZSOf7gUJzQAza6hKg/s320/killswitchtpb.jpg" width="207" /></a></div><br />
"Our society values some more than others."<br />
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It's alarming to think that the future will be anything like the past. In <i>Killswitch TPB</i> from Action Lab Danger Zone, the future is--in fact--just as scary as some of the worst parts of the past. The book is written by Jeffrey and Susan Bridges, illustrated by Walter Geovani, colored by Brittany Peer and lettered by Simon Bowland.<br />
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In a future where clairvoyant Augurs are used for their powers but feared, held captive, and persecuted, a disaffected military major is shocked into action by the grim realities of the Augurs’ treatment. She puts her life and career on the line to help them attempt a daring escape from captivity.<br />
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There's certainly a sense of the familiar in the script by the Bridges, namely in their approach to the society that both relies and fears the Augurs. Major Marcela Regula is a woman who struggles to reconcile doing the "right thing" with what is perceived as right. The Bridges do an excellent job of exploring the depths of Major Regula as a character and all of those around her, aiding the reader in determining their personalities. There's also an undercurrent of propaganda throughout the issue that the writers use in a way to further bolster the characters. There's often a sense of betrayal when the real truth comes out to the public and the Bridges use that to their advantage well.<br />
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Geovani's linework is fairly straightforward in its approach. The characters are rendered with basic linework that places emphasis on their facial details more so than their physiques. Geovani does manage to imbue the issue with a sense of the future in the character and atmosphere designs though. The panels are very cleanly arranged throughout the issue and draw the reader's attention to the action with the help of the black gutters. Peer's colors lean on darker hues on every page, giving the book a sense of something galactic.<br />
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<i>Killswitch</I> is a somewhat new take on the familiar concepts of duty and morality. Major Regula struggles with accepting the status quo and even goes so far as to buck it in her own way. The script by the Bridges is well-thought out and rife with allegory, providing a window into current events. Geovani's artwork is a good match for the book's tone and themes, providing an appropriate sense of futuristic fantasy. <i>Killswitch</I> is a sobering reminder that things are not always as they seem.<br />
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<i>Killswitch</I> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-38495759570718207722020-05-29T12:45:00.000-04:002020-05-29T12:45:06.417-04:00Review - Curiosities From Another World (@CuriousPComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ26XEWvseqzUrBGtvxG7xV6WkLJayd3svWqEAHi-foXcZ9HfKlFJVfCA05IppID_rnrvnlFGxFvQ6G20rZLsSw6lsuYZIoW_bO3N8fz_-epn9gsVCPJwArozVNdk3oY0jr14zm01o8HY/s1600/cfaw1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1068" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ26XEWvseqzUrBGtvxG7xV6WkLJayd3svWqEAHi-foXcZ9HfKlFJVfCA05IppID_rnrvnlFGxFvQ6G20rZLsSw6lsuYZIoW_bO3N8fz_-epn9gsVCPJwArozVNdk3oY0jr14zm01o8HY/s320/cfaw1.jpg" width="213" /></a></div><br />
"Step right up everyone! Be amazed by real life magic!"<br />
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The future is always one step away and usually it's pretty predictable when it's that close. When it's a bit farther off and another world entirely, well, things are a little more difficult to predict. In <i>Curiosities From Another World</I> from Curious Press Comics, a strange world is explored through the eyes of various inhabitants of it. "Escapism" is written by Ryan Bis, illustrated by Crizam, colored by Kat Brown and lettered by Matías Zanetti. "Optimal" is written by Bis, illustrated by Nathan Olson and lettered by Zanetti. "Paralysis" is written by Bis, illustrated by Cristian Sauret, colored by Iwan Yoko Triyono and lettered by Mauro antella. "Heroes" is written by Bis, illustrated by Sauret and Nazareno Acuña, colored by Triyono and lettered by Mantella. "Endure" is written by Bis, illustrated by Sabrina Deigert and lettered by Zanetti. "Ascension" is written by Bis and illustrated by Renan Balmonte. "Epilogue" is written by Bis, illustrated by Elijah Isaiah Johnson and lettered by Zanetti.<br />
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Android body snatchers. Government oppression. Fatal disease. Six individuals take control of their lives and defy the odds before their city descends into chaos.<br />
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Bis is the writer for all of the stories in the anthology and it helps to give The Hive a sense of uniformity throughout. Each of the stories offers a different take on the same dystopian future where the government is in charge and individuals are fighting all manner of oppression. Bis imbues each character with a strong sense of agency where each of them are motivated by different things to seek out their true desires. For example, in "Optimal" Bis writes about a character seeking to escape her reality and the cost that comes with replacing reality with fantasy. Each of the stories are somewhat philosophical in that regard leaning on the notion that humans crave routine, yet are usually looking for ways to break free from it at times.<br />
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The artwork throughout the issue varied and helps define each story as it's own portion of The Hive. Crizam ("Escapism"), Olson ("Optimal") and Balmonte ("Ascension") all offer art styles that feel the most like a traditional comic book, using strong linework to define the characters and their worlds. Suaret ("Paralysis") and Acuña ("Heroes") use a style that feels a bit more CGI, providing a sense of futurism in their tales. Deigert ("Endure") blends the traditional and CGI styles together that's effective when it comes to the various lighting throughout the city. The colors throughout the book are varied yet strong, providing a good glimpse at how different parts of the city look to different characters.<br />
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<i>Curiosities From Another World</I> is a very ambitious anthology that ties things together by a shared world as opposed to just a shared theme. There's definitely a lot of overlap across the stories in terms of what they're setting out to accomplish. The scripts by Bis are solid and straightforward, weaving together players in a world that can feel disparate at times because of its size. The artwork covers a variety of styles and provides a good visual break as the anthology unfolds. <i>Curiosities From Another World</I> leans heavily into a future where characters are confronted by the grim realities of a world beyond their control, yet they still manage to find ways to break out of the monotony. <br />
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<i>Curiosities From Another World</I> is <a href="https://www.comixology.com/Curiosities-from-Another-World-Vol-1/digital-comic/861594" target="_blank">available now</a>.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-29265949019481673432020-05-27T12:45:00.000-04:002020-05-27T12:45:00.914-04:00Review - The World My Arena #1<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWwxQnIGi7D1_EmRjIrEUkyihXunNNPM3CiYkJF9aLnmKj_3JPVeHDAFpVIFvREt_ViaGprAcI005K5-G2nvb7hSI1VS4At3-07AV_VlV2mYzVHPRUqLZT3SGt-NFoW-XjjTYiiqbuBog/s1600/twia1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWwxQnIGi7D1_EmRjIrEUkyihXunNNPM3CiYkJF9aLnmKj_3JPVeHDAFpVIFvREt_ViaGprAcI005K5-G2nvb7hSI1VS4At3-07AV_VlV2mYzVHPRUqLZT3SGt-NFoW-XjjTYiiqbuBog/s320/twia1.png" width="320" /></a></div><br />
"It hurts...so bad..."<br />
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Dealing with people is part of life, despite the fact that it's not always easy. There are some who are content with constantly putting down others around them. In <i>The World My Arena #1</i>, Nathan is one such character forced to contend with an array of obstacles. The issue is written and illustrated by Kang Jing.<br />
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A low self-esteem teenager who is despised by nearly everyone in his life, Nathan struggles to find his place and purpose in the world. A world filled with mockery, dissing, abuse and misery that seemingly drives him to the brink of death. Life has other plans for him though, as the chanced encounter with martial arts begins the unexpected upturn in his life. But in a world that has been unkind to him, his morals will be challenged at every turn. <br />
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Jing does an excellent job of conveying to the reader how bad things are for Nathan at school where he's constantly bullied because of his size. It's a theme that is relatable to so many people and Jing weaves it into the threads of the plot rather effortlessly. The entire first issue establishes Nathan's plight, both at home where he's raising his little sister and at school where's the butt of ridicule. By the end of the first issue, the reader knows exactly who Nathan is and what he's up against, but there's not really a clear direction after that. The series has moved past the first issue where things unfold a bit, although it would've been more impactful if the first issue established at least a direction for how Nathan would escape his current plight.<br />
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Jing relies on heavy black and white inks for the issue--something that achieves a great effect. Each panel feels very meticulously planned out, affording the reader a true sense of what a day in the life of Nathan's world is like. The lack of color is a double-edged sword though, primarily because the effects of Nathan's torment aren't as visually striking without reds, blacks and blues. The panels are very neatly arranged, providing a sense of order that reflects the routine beatings Nathan is subjected to. The main characters all seem a little beefy for high schoolers, but Jing uses that to the advantage of the story in reinforcing the notion of fighting and combatants.<br />
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<i>The World My Arena #1</I> is a figurative title for a book about an individual fighting against something just about every day. Nathan is struggling with physical and mental conflicts, both of which will likely come to a head in future issues. Jing's script is pretty rough in terms of what happens to Nathan, but it will make him stronger for it. Jing's artwork is fairly simple yet effectively showing the reader that ins and outs of his struggles. <i>The World My Arena</i> is a promising first issue that starts laying the groundwork for what could be an interesting series.<br />
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<i>The World My Arena #1</i> is <a href="https://artofkj.storenvy.com/" target="_blank">available now</a>.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-46189345408373138042020-03-30T12:25:00.000-04:002020-03-30T12:25:04.929-04:00Review - The Boys: Dear Becky #1 (@DynamiteComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcaXWeSjGgZHOsTHEd47Q-zGQ3TBJ_MaQklo6U_AKGESKy79aVJgvObKmIR5u5HwITmDHaWOSdcdhKwsTqDczxBcAc8XweSWJlc46TKlGo-XLDmchCCyyHyp_1ooi2XU3WIuHvdd4V5w/s1600/theboysdearbecky1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcaXWeSjGgZHOsTHEd47Q-zGQ3TBJ_MaQklo6U_AKGESKy79aVJgvObKmIR5u5HwITmDHaWOSdcdhKwsTqDczxBcAc8XweSWJlc46TKlGo-XLDmchCCyyHyp_1ooi2XU3WIuHvdd4V5w/s320/theboysdearbecky1.jpeg" width="213" /></a></div><br />
"Because I think maybe you're not gone, love."<br />
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Superheroes are "in" as they say. There was a time when the concept of an anti-superhero was more appealing and in <i>The Boys: Dear Becky #1</i>, Dynamite Comics revisits those headier days. The issue is written by Garth Ennis, illustrated by Russ Braun, colored by Tony Aviña and lettered by Simon Bowland.<br />
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Twelve years after the events of The Boys, Hughie finds himself back home in Scotland where he intends to finally marry Annie in the company of friends and family. But the sudden appearance of a peculiar document sends our hero into a tailspin and threatens to bring the events of his nightmarish past crashing down on him in the worst possible way. There was one story about The Boys that Hughie never knew. Now, whether he likes it or not, he's going to.<br />
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Ennis hasn't revisited his characters with earnest for a decade, yet despite the gap in time everything feels like he hasn't missed a beat. The issue takes place twelve years after the end of the original run and Ennis sets the stage for Hughie and Annie to enjoy their lives together. Hughie is the focus of the issue as Ellis filters a modern worldview through Hughie's eyes as a means of contextualizing the sheer incorrectness of the property in general. The fact that it's a sequel of sorts does allow Ennis to revisit events of the past as flashback, which both gives readers a look at some favorite characters from the property while also shedding more light on Billy Butcher's wife. The dialogue is every bit as coarse and crass as you'd expect from the property with Ennis imbuing the characters with plenty of swagger.<br />
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Braun's illustrations aptly capture the looks of the familiar players, although Hughie is clearly older. Each of the main players who make an appearance look familiar to fans of the franchise as Braun ensures they each have their trademark looks. Considering most of the issue takes place inside a pub, Braun still manages to provide the right atmosphere for the book that brings it in line with other books in the franchise. The panels are clean and stack rather neatly atop one another as they fan out, affording Braun the opportunity to show various perspectives throughout the issue. Aviña colors are effective at lighting the issue based on the location and mood, moving from a dimly lit bar to a bathroom at night.<br />
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<i>The Boys: Dear Becky #1</i> is an entertaining return to characters who make a name for themselves by being people who are generally not very enjoyable to be around. Hughie is at a place where he felt the past was in the past, but the miniseries shows that might not be the case. Ennis' return to the franchise is well done and feels like he hasn't missed a beat. Braun's illustrations appropriately capture looks of the characters and gives the reader plenty of familiarity. <i>The Boys: Dear Becky #1</i> practically picks up where the previous series left off.<br />
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<i>The Boys: Dear Becky #1</i> is available April 1.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-57557397505421552512020-03-25T12:51:00.000-04:002020-03-25T12:51:02.998-04:00Review - Killing Red Sonja #1 (@DynamiteComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS59FkCnA0qLL-_f7bwTT7fBbWm7zbjScoDt1-5KFeXLDvFN8Q3Cf_efFdPFt3CtW2-ETHsM75Xj06d9Evf7i9nxkv72_z9T-7byjpcJiBAgGO1ipb7_m1TUKLokGae-QSZ8Q5bUwr4Zk/s1600/killingredsonja1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS59FkCnA0qLL-_f7bwTT7fBbWm7zbjScoDt1-5KFeXLDvFN8Q3Cf_efFdPFt3CtW2-ETHsM75Xj06d9Evf7i9nxkv72_z9T-7byjpcJiBAgGO1ipb7_m1TUKLokGae-QSZ8Q5bUwr4Zk/s320/killingredsonja1.jpeg" width="213" /></a></div><br />
"You won't be scared of Sonja the Red when we find her, will you, Josef?"<br />
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A lot goes into running a kingdom, the least of which should be a plot of revenge. In <i>Killing Red Sonja #1</i> from Dynamite Comics, revenge is what compels the main character to do what he does. The issue is written by Mark Russell and Bryce Ingman, illustrated by Craig Rousseau, colored by Dearbhla Kelly and lettered by Hassan Otsmane-Elhaou.<br />
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In order to become queen, Sonja The Red had to defeat an evil emperor. But that emperor had a son. And that son will do ANYTHING to exact his revenge...even if it means embracing horrible magics he does not understand.<br />
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There's a very deliberate pacing to the script by Russell and Ingman which allows the story some time to breathe. Cyril is a newfound emperor thrust into the role, yet already with a singular focus on avenging his father's death at the hands of the aforementioned Red Sonja and providing the basis for the plot. The writing duo use the spectre of Red Sonja as a pervasive, terrifying undertone of sorts throughout the issue, effectively building up the tension without including her at all to be honest. It's inevitable that Red Sonja will be underestimated by Cyril to some extent, although Russell and Ingman provide varying points of view from the other characters through different degrees of dialogue. These points of view are great at giving Cyril different approaches in how to deal with Red Sonja when they encounter one another while at the same time providing more characterization for Red Sonja herself.<br />
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Rousseau's art style is an interesting choice for the book considering it's something of a modern take on a "historic" character. The roughness of the linework adds some of the older sensibilities to the book as Rousseau defines the characters with thick, bold lines. There's also some blockiness to the art approach that gives all the characters an additional weight, underscoring the pageantry affiliated with their medieval garb. The majority of the issue contains the linework from running too roughshod with cleaner panels and creating a very nice flow. Kelly's colors are relatively lighter throughout the issue and reinforcing the sense of old.<br />
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<i>Killing Red Sonja #1</i> is about as ambitious a title for a Red Sonja book can be and it remains to be seen whether or not the characters will live up to the title. Cyril is the main character in the issue as he seeks out Red Sonja. Russell and Ingman offer a script that's well-plotted and engaging, building up tension towards a larger battle. Rousseau's artwork is a surprisingly good fit for the book considering it looks a bit more of a modern approach than one would expect for the property. <i>Killing Red Sonja #1</i> is a relatively new take on the character that will likely continue to attempt to plumb new depths with a very familiar franchise.<br />
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<i>Killing Red Sonja #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-66718700070334443542020-03-23T12:50:00.000-04:002020-03-23T12:50:01.864-04:00Review - Judge Dredd: False Witness #1 (@IDWPublishing)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyshKfKq1VwJdFAMqbS3QaXm5I4OCD5g1_a0jDMCNSJTlI9Gm-ZqgREYrr3sS7dazX7IA_9ZfbGLaAJJrewiB4-yeJpej5jLeEgmDlZo10lwUVdrAIJI31nved4hNEO6azbHzrL3TkgsQ/s1600/jdfalsewitness1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1055" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyshKfKq1VwJdFAMqbS3QaXm5I4OCD5g1_a0jDMCNSJTlI9Gm-ZqgREYrr3sS7dazX7IA_9ZfbGLaAJJrewiB4-yeJpej5jLeEgmDlZo10lwUVdrAIJI31nved4hNEO6azbHzrL3TkgsQ/s320/jdfalsewitness1.jpeg" width="210" /></a></div><br />
"Fascism is a byproduct of a society without imagination."<br />
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Judge Dredd is probably the most effective Judge Mega City One has on its payroll. In <i>Judge Dredd: False Witness #1</i> from IDW Publishing, that effectiveness is put to the test. The issue is written by Brandon Easton, illustrated by Kei Zama, colored by Eva de la Cruz and lettered by Shawn Lee.<br />
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Justice Academy drop-out Mathias Lincoln has built a comfortable life working as a courier for Mega-City One's most elite citizens. But after he uncovers a horrific conspiracy stretching from the Cursed Earth to the city's seats of power, Mathias also finds himself pursued by legendary lawman Judge Dredd!<br />
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The sheer staying power of a character like Judge Dredd is pretty awe-inspiring and for Easton to make him somewhat a secondary character in the issue is refreshing. Most of the issue is focused on Mathias Lincoln, but the fact that he has familiarity with the Justice Academy offers a nice twist on the traditional Judge Dredd formula. Easton uses Mathias to get a new perspective on the difficulties that come with living in Mega City One, providing readers with some fresh perspective on the setting and franchise as a whole. The dialogue throughout the issue is heavy on the narration and social commentary--both of which are used rather deftly by Easton. It's also nice to see Judge Dredd "lose" every once in a while; he'll most definitely continue in his quest to mete out justice, but for the time being Easton infuses the miniseries with a sense of the unknown and unexpected.<br />
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There's a grittiness to Zama's illustrative style that's very adept at conveying to the reader the dredges of Mega City One as well as it inhabitants. The pages depict an extremely overcrowded Mega City One, rife with citizens looking to navigate the tight line between peaceful protests and unlawful gatherings. Zama goes heavy on his version of Judge Dredd, capturing the bulkiness of the massive, square-jawed Judge, providing plenty of visual contrast with the smaller citizens he comes face-to-face with. While many of the panels are relatively straight and neat, Zama breaks through those borders on occasion, primarily to again show the reader how imposing of a force Judge Dredd is. The colors by de la Cruz are very bold, relying heavily on reds and blues for much of the issue (and very on-brand for Judge Dredd).<br />
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<i>Judge Dredd: False Witness #1</i> sets into motion events in Mega City One that provide context for the setting outside of what's seen primarily through the eyes of the Judges. Mathias brings with him an intimate knowledge of how the Judges think, which provides some new avenues to explore for the property. Easton's plot is methodic in its approach and feels new. The artwork by Zama is dense, crowding each panel with an overwhelming sense of no available space. <i>Judge Dredd: False Witness #1</i> is a fresh look at a familiar character, done by making the aforementioned familiar character a secondary character of sorts.<br />
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<i>Judge Dredd: False Witness #1</i> is available March 25.<br />
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omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-87605407930544515852020-03-20T12:24:00.000-04:002020-03-20T12:24:09.352-04:00Review - Wicked Things #1 (@boomstudios)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BLzeOy4cOvSlrjFEcpDQFFbKQX1X-OAzsVBDVjjzVYw6e2FqC_rVtjn_DAcFvuOB3F9wka8NxI9XJ5qlwRmdmgnapFZOCfOe_JXkMN0UOzgjuvD6hnQrnaS3w-Ez7CB9kkfUwOz3kD4/s1600/wickedthings1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="781" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BLzeOy4cOvSlrjFEcpDQFFbKQX1X-OAzsVBDVjjzVYw6e2FqC_rVtjn_DAcFvuOB3F9wka8NxI9XJ5qlwRmdmgnapFZOCfOe_JXkMN0UOzgjuvD6hnQrnaS3w-Ez7CB9kkfUwOz3kD4/s320/wickedthings1.jpeg" width="208" /></a></div><br />
"Well, it says here you're nominated."<br />
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Being a teenage detective brings with it quite a bit of responsibility. Part of that responsibility sometimes involves proving your own innocence as in <i>Wicked Things #1</i> from BOOM! Studios. The issue is written by John Allison, illustrated by Max Spain, colored by Whitney Cogar and lettered by Jim Campbell.<br />
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Nineteen year old Charlotte Grote has her whole life ahead of her; headed straight to Oxford and a future as a real detective-until she's framed for murder! Given the choice between going to jail basically forever or joining the police, Lottie decides to hit the beat, all while trying to find the real murderer. Lottie may have been running rings about the police since her 9th birthday, but she's never been on this side of the security tape. Could the future of law enforcement be 5'2' with an extremely strong bangs game? Yes. Very yes.<br />
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From the jump, Allison portrays Charlotte as a very talented detective whose word choice has a way of getting her in trouble. To that effect, the dialogue by Allison is very snappy and fast-talking, offering characters who are very well-defined by what they say (or don't say). Much of the first issue is spent establishing Charlotte's character as savvy and sharp, providing a great character for channeling the narrative through. The issue ends in a way that's somewhat unpredictable, although Allison uses is to his advantage to further the plot and Charlotte's character. The plot also does a great job of embracing the teen detective genre while also poking fun at it, giving the reader a story that doesn't take itself too seriously.<br />
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Spain's artistic approach is perfect for establishing the book's mood and atmosphere. The book has a Saturday morning cartoon feel to it that embellishes the character designs with an airy sensibility, affording Spain the opportunity to present the art in a kid-friendly way. Spain does an excellent job of making the characters feel dynamic and purposefully exaggerated in a way that gives the book even more of a comic sensibility. The clean panel layout makes reading it a breeze and Spain's character designs are purposeful caricatures of stereotypical teen detectives. Cogar's colors are bright and cheery, buoying the otherwise more dramatic events with a sense of bombast.<br />
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<i>Wicked Things #1</i> is a very strong first issue that's made so by the strength of its main character. Charlotte has always fancied herself a more than capable teenage detective and when she finally receives praise for just the thing, she's forced to prove it as well. Allison's script raises the stakes personally for Charlotte and provides a very entertaining read. Spain's illustrations are very clean with expressive characters purposefully over the top for good measure. <i>Wicked Things #1</i> brings with it plenty of enjoyment amidst the sassy teenage detectives its following.<br />
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<i>Wicked Things #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-74975230107702378802020-03-18T12:41:00.000-04:002020-03-18T12:41:05.079-04:00Review - Spy Island #1 (@DarkHorseComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsDUEV3jFGWMaLNMPvd_6h4rXzEum89aLyASCq3KT4xt_oo7zxNcs6hvpvS_bTjEVNAzP9vgp3miu6QKGIoAZrDrOCQklraDW5AutAu9UHtJa-gTvI2ZM1xu3v_Lqs7n1E3Ca5eCLXek/s1600/spyisland1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsDUEV3jFGWMaLNMPvd_6h4rXzEum89aLyASCq3KT4xt_oo7zxNcs6hvpvS_bTjEVNAzP9vgp3miu6QKGIoAZrDrOCQklraDW5AutAu9UHtJa-gTvI2ZM1xu3v_Lqs7n1E3Ca5eCLXek/s320/spyisland1.jpeg" width="208" /></a></div><br />
"Salt water does have one downside...it takes forever to drown someone."<br />
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The Bermuda Triangle has always been a source of mystery and fear. There's plenty to its mystique that makes for fascinating stories and <i>Spy Island #1</i> from Dark Horse Comics embraces that aura. The issue is written by Chelsea Cain, illustrated by Elise McCall (supplemental art by Lia Miternique and Stella Greenvoss), colored by Rachelle Rosenberg and lettered by Joe Caramagna.<br />
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Super spy Nora Freud (no relation) has a plum assignment. She's stationed on a tropical island. Her mission? Keep an eye on things. Her problem? The island is on the lip of the Bermuda Triangle, where anything can happen. Her other problem?This particular island is a den of intrigue, populated by spies, tourists, and evil villains set on global domination.<br />
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For a good majority of the issue Cain introduces the reader to Nora Freud, a sharp-tongued spy seemingly bored with the monotony of being a spy. Setting the story in the Bermuda Triangle adds an additional layer of complexity to the story in that it provides quite a few unexpected twists on the traditional spy story. Nora's dialogue is very entertaining with Cain using it as a means of conveying to the reader the tone the book is going for: very tongue-in-cheek. Considering Cain opens the story with an assassination the book could easily get dark quick and it does to an extent, although Nora's levity helps keep things very light. The overarching story also seeks to work in some of the more supernatural elements of the Bermuda Triangle and Cain's ending to the first issue shows its not shy about getting weird.<br />
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McCall's illustrations trap the book in a certain era in a way, mostly because the style is a throwback to newspaper comic strips in a way. The linework provides well-defined characters, all of whom are rendered with an attention to excessive beauty befitting of typical spy-centric books. The characters' wardrobe is a throwback to the 70s, filling out an atmosphere of a different era where things were much more free-wheeling in terms of society. McCall organizes the artwork with meticulously planned panels, relying on a traditional grid layout for keeping the readers' eyes moving in the right direction. Rosenberg's colors are bright and vivid as well, further alleviating the story of any excess of seriousness.<br />
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<i>Spy Island #1</I> is a nonchalant look at the life of a spy, buoyed by an equally nonchalant spy. Nora is a very entertaining lead character, completely comfortable in her abilities as a spy/assassin and really unphased by any new developments that crop up. Cain's narrative is lighthearted in its approach, providing ample moments of humor and amusing situations. McCall's artwork is a great match for the tone of the book, while the supplemental artwork by Miternique and Greenvoss further set the tone properly. <i>Spy Island #1</i> is a really slick first issue that offers a new take on the spy genre, working in some killer mermaids along the way.<br />
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<i>Spy Island #1</i> is available April 1.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-7437389529361245372020-03-13T12:34:00.000-04:002020-03-13T12:34:04.566-04:00Review - Stealth #1 (@imagecomics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_D2T5l3lJG9ZeNshPunS43hcJ7IUpwaRCa8SgKWxec7OaLPl0Wzdrgioz5rlmfhyphenhyphenYsr7garLWhDpw945F2Jy1Bnlnh1Dmd-U59gHJZxS7G1_NiynfBam65QxjaPqsm8CZA2EpKtZPN_0/s1600/stealth1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="585" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_D2T5l3lJG9ZeNshPunS43hcJ7IUpwaRCa8SgKWxec7OaLPl0Wzdrgioz5rlmfhyphenhyphenYsr7garLWhDpw945F2Jy1Bnlnh1Dmd-U59gHJZxS7G1_NiynfBam65QxjaPqsm8CZA2EpKtZPN_0/s320/stealth1.jpg" width="208" /></a></div><br />
"Detroit mocks all attempts to save it."<br />
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Detroit as a city has certainly seen better days. For a myriad of reasons though, the city continues to be left behind and in <i>Stealth #1</i> from Image Comics it's a city looking for a hero, but not necessarily the one it used to have. The issue is written by Mike Costa, illustrated by Nate Bellegarde, colored by Tamra Bonvillain and lettered by Sal Cipriano.<br />
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For decades, Stealth has waged war on crime in Detroit, but now he’s taken his pursuit of justice too far. Only reporter Tony Barber knows that behind Stealth’s reckless behavior is an older man battling Alzheimer’s—his father. A father unwilling to accept that he’s no longer the hero this city needs…with enemies all too eager to force his retirement.<br />
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Costa anchors <I>Stealth #1</i> in a very real setting--a decaying Detroit and the effect it has on the people within it. Tony's father is a great example of a character who is struggling to hang onto the past at the expense of the present and Tony is the one who ultimately bears responsibility for his father's care. Costa's script is brutally honest when reconciling the two arcs, as the characters impactfully deliver their lines in a sobering way. There's no need to sugarcoat anything in a story like this as Costa is quite elegantly making a case as to cities being left behind and the supposed remedies taken to alleviate their being behind. The characters in the story are also very believable as well, adding a sense of humanity to the book that really helps deliver the message with more gravitas.<br />
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Bellegarde's approach on art is very well done, in that it effortlessly captures the demoralizing atmosphere a city like Detroit embodies. The city itself is drawn quite plainly with Costa rendering interiors sparsely furnished and without much in the way of embellishments. The characters reflect very clean linework that gives the book a sense of reality and making it more relatable to the reader. Bellegarde even manages to makes the character of Stealth feel somewhat realistic, eschewing a seemingly impractical costume for one that makes more sense considering the setting of the book. Bonvillain's colors are largely darker and help to add to the relatively depressing tone of the setting.<br />
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<i>Stealth #1</I> is an appeal to a world where cities aren't left behind by society at large--told through the prism of a family struggling with their lives. Tony's father's mental decline is a great parallel for the decline of Detroit as a whole, offering a way for a reader who isn't in Detroit (or a similarly affected area) to better understand its plight. Costa's script is fundamental in its approach yet dense in its symbolism. Bellegarde's illustrations are the right fit for the book as they encapsulate a city under siege from capitalism and a lack of social support. <i>Stealth #1</i> is more than a capes and tights book--it's a statement about how greed leaves behind the people who need help the most.<br />
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<i>Stealth #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-63773192036646497792020-03-11T12:21:00.000-04:002020-03-11T12:21:04.210-04:00Review - Dryad #1 (@OniPress)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGkwKRP5AazsZ_912t9R_LthezxJnunMyOAP40QbJu5mS1V-4XWH_FHruyoGkczPKAB6IHCMHDAlqo1fVluiMU08UeG9tz57v5GdAONF9RpLSWZGcBlAliXv_fiutUtMd1BlNWbPTUDU/s1600/drayad1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1040" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGkwKRP5AazsZ_912t9R_LthezxJnunMyOAP40QbJu5mS1V-4XWH_FHruyoGkczPKAB6IHCMHDAlqo1fVluiMU08UeG9tz57v5GdAONF9RpLSWZGcBlAliXv_fiutUtMd1BlNWbPTUDU/s320/drayad1.jpeg" width="208" /></a></div><br />
"This is the place. Just like they said."<br />
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A human and an elf walk into a bar...and walk out a family. In <i>Dryad #1</I> from Oni Press, the two main characters are looking to teach their children how to deal with a history that's long been lost. The issue is written by Kurtis J. Wiebe and illustrated by Justin Osterling.<br />
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An elf and a human find solace in the sleepy forest settlement of Frostbrook where they plant their roots. But thirteen years later, their twins, Griffon and Rana are inexplicably drawn to an ancient door and discover more than they bargained for, inadvertently turning their world upside down. Now, they'll have to answer for their parents' mistakes and find that the past has a way of finding you, no matter where you hide.<br />
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The concept of a family in high fantasy is an interesting one to explore and Wiebe chooses to focus on all of the family dynamics. The two main characters are a human and an elf who are married and have two kids, both of whom serve as the catalyst for the series going forward. Wiebe spends most of the issue establishing the family in all its familial glory, setting up each member to be an integral part of the overarching plot Wiebe's dialogue is generally pretty happy-go-lucky throughout the issue, underscoring the importance of being surrounded by loved ones. There's not really much in the way of setting up the big bad other than a few references throughout the issue and the expected final page splash, yet WIebe still succeeds in keeping the book interesting.<br />
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Osterling's artistic style gives the characters life through strong and bold outlines; of particular note is the clothes the characters are wearing which sufficiently ground them in the comic about magic and elves. Characters are often centered in the panels to draw the reader's eye towards them and many of the panels' perspectives follow this layout. The panels are arranged very tidily and provide a great sense of order to the book, making it easy to read. Osterling does a great job of capturing the serenity of Frostbrook, both as a means of establishing the atmosphere and as a means of reinforcing the sleepy lives the characters find. The colors are rich and vibrant, capturing the verdant greens of a forest village and the inky blacks of a mysterious cave.<br />
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<i>Dryad #1</i> is a family-focused take on the world of magic and monsters. The interactions amongst the core characters is very strong and provides a solid foundation for the remainder of the series to unfold. Wiebe's script is well-plotted and does an excellent job portraying the home life of a Frostwood family. Osterling's illustrations suit the script appropriately as it conveys the dangers of magic that resurfaces after initially being considered lost. <i>Dryad #1</i> is a pretty fun first issue that will offer a great glimpse at a young family balancing schedules and magic.<br />
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<i>Dryad #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-18238538083439512952020-03-09T12:11:00.000-04:002020-03-09T12:11:16.110-04:00Review - No One's Ros #1 (@thevaultcomics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibv3Lvkvs_KysvuoiTs_prxX3vuf982nY2qzK2t9x5tJgeNEZbVY6Qf0u4jYQjp9oYLLt-ANGU1Ahwj6TRqhRay6l6VDQ36YwhlgFBKfCaNTx_xUjOOI92X4E4Q9hpp8aNHIuW_nk2r0A/s1600/noonesrose1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1215" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibv3Lvkvs_KysvuoiTs_prxX3vuf982nY2qzK2t9x5tJgeNEZbVY6Qf0u4jYQjp9oYLLt-ANGU1Ahwj6TRqhRay6l6VDQ36YwhlgFBKfCaNTx_xUjOOI92X4E4Q9hpp8aNHIuW_nk2r0A/s320/noonesrose1.jpeg" width="210" /></a></div><br />
"For so long, we failed Earth and we failed ourselves."<br />
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Earth is currently on an almost irreversible path towards ruin. In books like <i>No One's Rose #1</I> from Vault Comics, there's a fiction that could become reality soon enough. The issue is written by Zac Thompson and Emily Horn, illustrated by Alberto Alburquerque, colored by Raúl Angulo and lettered by Otsmane-Elhaou.<br />
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Centuries after the fall of the Anthropocene, the last vestiges of human civilization are housed in a massive domed city powered by renewable energy, known as The Green Zone. Inside lives teenager Tenn Gavrilo, a brilliant bio-engineer who could rebuild the planet. But there's one problem: her resentful brother Seren is eager to dismantle the precarious Utopia.<br />
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The premise behind <I>No One's Rose #1</I> isn't necessarily original per se, but Thompson and Horn do a great job of giving the book a sense of uniqueness. Tenn and Seren are siblings who are leading different lives within Utopia and it's their contrast that drives the narrative through the issue. Thompson and Horn give the reader a lot of time which each of their thoughts on a variety of matters and reading as their thoughts slowly diverge from one another as siblings is pretty fascinating. In fact, Thompson and Horn know that their relationship is what's really going to drive the series and are smart to focus so much on them. The issue's pacing is done in a way that offers a steady crescendo to the end of the issue that finds the two main characters in the midst of something both somewhat planned, but also unexpected.<br />
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The art style by Alburquerque relies on an approach that blends together an appreciation for nature without a civilization. Each of the characters is drawn with an eye towards the future, in that the costume designs feel sufficiently post-apocalyptic with a more modern look. The linework is relatively scant and Alburquerque allows the characters to bleed past the panel borders into the empty gutters for more effect. There's a good amount of effort put into giving the characters well-defined physiques that Alburquerque relies on to further embellish the atmosphere of the book. Angulo's colors are rich and vibrant, providing a means of grounding the book in a sense of nature.<br />
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<i>No One's Rose #1</I> is very much a commentary on climate change and the delicate balance between humanity and nature. Tenn and Seren are two different points of view when it comes to dealing with the current situation and the fact that their views are somewhat diametrically opposed to one another makes for a fascinating story. The script by Thompson and Horn is buoyed by the strong characters carrying the action throughout the issue. Alburquerque's artwork is a good match for the book's tone as it presents the apocalypse with a more organic approach. <i>No One's Rose #1</I> is a very strong start to a series that seeks to explore the (at times) parasitic relationship between humanity and nature.<br />
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<i>No One's Rose #1</i> is available March 25.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-87265814589893577572020-03-06T12:33:00.000-05:002020-03-06T12:33:05.366-05:00Review - Mercy #1 (@imagecomics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirNOWmH41UISUV7AzTfVo-lkH4ELgHvoISJqjZTZAvVZoUi20fhkbihO61JDXp0T2_KMrsNltgI9eTOy6SlV_TUwsVOUsO7dyI5UEJT2TDaDD5fuozzYxlCpryv5OhXh7GS_9_pJz69xY/s1600/mercy1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirNOWmH41UISUV7AzTfVo-lkH4ELgHvoISJqjZTZAvVZoUi20fhkbihO61JDXp0T2_KMrsNltgI9eTOy6SlV_TUwsVOUsO7dyI5UEJT2TDaDD5fuozzYxlCpryv5OhXh7GS_9_pJz69xY/s320/mercy1.jpeg" width="208" /></a></div><br />
"Is that...snow? So soon?"<br />
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Life in olden times was pretty tough. A lot of that had to do with an uncertainty surrounding unexplained events and such events in <I>Mercy #1</I> from Image Comics make for a great story. The issue is written and illustrated by Mirka Andolfo (color assists by Gianluca Papi) and lettered by Fabio Amelia.<br />
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When the placid mining village of Woodsburgh is disturbed by a series of brutal murders, the settlement is in turmoil. And as the first snow covers the chaos in a white blanket, a mysterious woman in black arrives, eliciting a totally different kind of unrest. But who is Lady Hellaine, really? And what’s her secret agenda?<br />
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Andolfo is very much focused on establishing the world the players find themselves in with <i>Mercy #1</I>. Lady Hellaine is probably the most mysterious of the characters and Andolfo channels a lot of the eeriness through her personality and general demeanor. The reader gets the sense that there's very much something strange about Woodsburgh, WA--in particular, Lady Swanson is a woman struggling to make peace with the terrible events of her past. Both of the leading ladies are stark contrasts to one another, but Andolfo uses that to the advantage of the book in providing what are essentially representations of both good and evil. There's a pervasive sense of horrible dread throughout the issue that serves the story well, allowing Andolfo to keep a somewhat uneasy tension running throughout the issue.<br />
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Andolfo also handles the artwork on the book and her renderings are very stylized. Andolfo emphasizes the characters with very thin and angular linework that gives the reader the impression that this is a well-thought world. Andolfo manages to blend together a sense of Victorian fashion in a world that is peppered with small towns and even smaller communities. The older setting lends itself well to the sense of terror in that it infuses the issue with a further sense of dread as a result of the seemingly detached nature of the civilization included. The colors are darker, with Andolfo and Papi doing well in contrasting the night in the village with the white snow.<br />
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There are a lot of comparisons of the book to <i>Penny Dreadful</I> and rightfully so--the underlying horror of the story is presented in that style. The characters throughout the issue are well-conceived and mesh well with one another. Andolfo's script is methodical and in-depth, providing ample context for the story as it unfolds further. Andolfo's artwork is a very attractive match to the script as it provides a perfect level of dread for the events to unfold. <i>Mercy #1</I> is a book that may be short on its namesake, but long on plenty of other horrors.<br />
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<i>Mercy #1</I> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-82305852291188725492020-03-02T12:31:00.000-05:002020-03-02T12:31:04.178-05:00Review - Unprofessional: Anything by Sanity #1<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9FEBo0c7gilgcGyKKcUrjmNhMmO2sPY3Kt3SyofhRH9PlckCm1qxIsD2MZ3QsDqKVs3ScJecgeODTC83Dk-H9vAAjGNh_7EFhxdpZqtam00psmCPz_qfVEW0C_gJq-6YQSRov2Fjpxk/s1600/Sample-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1566" data-original-width="1032" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9FEBo0c7gilgcGyKKcUrjmNhMmO2sPY3Kt3SyofhRH9PlckCm1qxIsD2MZ3QsDqKVs3ScJecgeODTC83Dk-H9vAAjGNh_7EFhxdpZqtam00psmCPz_qfVEW0C_gJq-6YQSRov2Fjpxk/s320/Sample-1.jpg" width="210" /></a></div><br />
"Haven't you learned yet? No means...a bullet in ya!"<br />
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Finding work is never an easy task. In <i>Unprofessional: Anything by Sanity #1</i>, the job may end up killing you. The issue is written and illustrated by Josh Greathouse.<br />
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Unprofessional is the story of two mercenaries taking on a job to protect an aquatic Alien prince as he tries to save his species from being farmed out as a hallucinatory drug source. The mercenary job is a setup situation for the protagonists to be framed for the prince’s death and make sure he can’t speak on behalf of his species’ rights. Unable to survive outside of water, the prince and his species need to attach themselves to human hosts to breathe. When frightened, the aliens release a toxin that acts as a hallucinogenic drug to their host they are attached to--enjoyable to some, but a death sentence to our hero.<br />
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There's a certain playfulness in Greathouse's script that lends itself well to the characters involved. Victoria and Borka are a pair of mercenaries for hire whose latest job involves protecting alien royalty, but when that job goes slightly sideways Victoria is faced with learning more about the universe than she originally bargained for. Greathouse does have a relatively new idea in the issue, leveraging the buddy cop dynamic for Victoria and her new alien friend. Greathouse paces the issue well enough, setting up the characters and plot well without inundating the reader with details through telling them. The banter between the two main characters is light and does a good job of demonstrating a tried and true friendship between the two of them. <br />
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Greathouse also handles the artwork in the issue, relying on a style that feels somewhat futuristic in its approach. The contrast between Victoria and Borka is stark yet effective in that it convinces the reader that they duo complement one another well in their travels. Greathouse uses long, thin panels through most of the issue in a way that elongates the action and makes things feel slightly grander. The linework is simple and clean--a tactic that does well in helping the book flow visually. Greathouse's colors are sort of a muted bright palette which imbue the issue with a sense of mercenary without being overtly blood red.<br />
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<i>Unprofessional: Anything by Sanity #1</i> is a pretty slick and lighthearted take on mercenaries and aliens. Victoria and Borka are comfortable with their station in life and can be a little picky about the jobs they take, but the latest job is proving more challenging than previously thought. Greathouse's script is pretty straightforward and informative. The artwork is equally as simple yet convincing in making the reader believe that space is a truly vast place. <i>Unprofessional: Anything by Sanity #1</i> is a pretty fun first issue that doesn't take itself too seriously.<br />
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<i>Unprofessional: Anything by Sanity #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-11246217682106959632020-02-28T19:50:00.000-05:002020-02-28T19:50:05.129-05:00Review - Dies Irae #1 (@MonumentousMatt)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcIbt2tqD2JI4lqmJaFdbT78bG06i1tK90akk9fQNpnYbdjQ2Y3t264W4PpS8KO8_zt7glhrYM1W8n-adRBYxsKdA1lu_g0dlNbPUde4qqb-5ODEw3X3Le57VG1VQvOXcdbAPb6Ebbb4/s1600/Dies_Irae_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcIbt2tqD2JI4lqmJaFdbT78bG06i1tK90akk9fQNpnYbdjQ2Y3t264W4PpS8KO8_zt7glhrYM1W8n-adRBYxsKdA1lu_g0dlNbPUde4qqb-5ODEw3X3Le57VG1VQvOXcdbAPb6Ebbb4/s320/Dies_Irae_01.jpg" width="208" /></a></div><br />
Silence is golden, but it's also a powerful storytelling device. In <i>Dies Irae #1</i>, the silence of a lonely world provides plenty of opportunity to save it. The issue is written and illustrated by Matthew Rucker.<br />
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In an arctic post-rapture apocalypse, where the last remaining humans can do nothing but hide to survive, one person discovers the key to fighting back against the denizens of heaven and hell.<br />
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Rucker doesn't use any dialogue at all in the comic, instead relying on the action to carry the story. There's a quiet elegance in how Rucker portrays the lead character: a mysterious masked woman with a penchant for seeing parts of the universe via a third eye. A lot of the issue is really up for interpretation on the part of the reader and the issue is rife with religious undertones. The sword that the hero brandishes strongly resembles a cross and it's implied that she uses it in her quest against an army of demons. Rucker doesn't really explain much else about the world, such as a small group of survivors the main character stumbles across; for example who they are, are there others, etc. Rucker doesn't necessarily need to focus on the the entire world as there's a lot of density in the overarching tale, although the panel does seem like something of a throwaway panel.<br />
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The issue excels in portraying the action to the reader, courtesy of Rucker's clean illustrations. The main character is rendered to almost look like a robot of sorts and it's a surprising twist when her true identity is revealed later in the issue. The enemies the protagonist squares off against are illustrated with a nod to various religious symbols and icons known throughout history. It was smart of Rucker to keep the panels clean and conformed to a standard grid as it keeps the action flowing. The colors are predominantly stark white, which fits in nicely with the arctic landscape being described as well as a symbol of purity of good.<br />
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<i>Dies Irae #1</I> manages to cram a lot expository in a book with only illustrations. The main character is on what's clearly an important mission in the grand scheme of things as the opponents crossing paths with them vary in terms of their appearance and abilities. Rucker's tale is quick-moving and emphasizes persistence. Rucker's illustrations are very straightforward and clean, effectively showing the reader the entirety of the world and its adversaries. <i>Dies Irae #1</i> is a solid read that offers the loneliness of a post-apocalyptic world through its lack of dialogue.<br />
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<i>Dies Irae #1</i> is available via <a href="https://www.comixology.com/DIES-IRAE-1/digital-comic/845122?ref=c2VhcmNoL2luZGV4L2Rlc2t0b3Avc2xpZGVyTGlzdC9pdGVtU2xpZGVy" target="_blank">comixology</a> now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-73545263233499462122020-02-26T12:20:00.000-05:002020-02-26T12:20:05.519-05:00Review - Enenra #1 (@Aaron_Wrob)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjleYqvf5urdcyV4OBDUaqMycQYue3OIAtU2vL1DQKk2x467ZgcT1hHT6acTWIErbDaIahrwa73ikMkqkBrtJzVzk0qlTi-wV-607f11croCcMwFlbVrEz2D0fval17C9gMyoPnkBCnJYM/s1600/enenra1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1095" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjleYqvf5urdcyV4OBDUaqMycQYue3OIAtU2vL1DQKk2x467ZgcT1hHT6acTWIErbDaIahrwa73ikMkqkBrtJzVzk0qlTi-wV-607f11croCcMwFlbVrEz2D0fval17C9gMyoPnkBCnJYM/s320/enenra1.jpg" width="219" /></a></div><br />
"So much has happened since the outbreak..."<br />
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There's certainly no dearth of apocalypse tales and <i>Enenra #1</i> from Markosia Comics is very much cut from the same cloth as many of the other takes on the doomsday scenario. The issue is written by Aaron Wroblewski and illustrated by Ezequiel Rubio.<br />
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Flight BA432 arrives into Heathrow airspace. Despite all attempts at communication failing, the airliner is allowed to land, much to the horror of everyone involved. As liaison officer between the British government and the ECDC, Doctor Richard Marron is contacted. His team, together with Jessica Holmes from the Epidemic Intelligence and Response, cautiously gain entry to the aircraft. What they find is horrifying. Just what happened on-board Flight BA432?<br />
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Wroblewski seems to acknowledge from the outset that <i>Enenra #1</I> is derivative in some ways as yet another entrant in the outbreak survival apocalypse genre. The set-up is pretty classic in that regard, right down to a wandering character with a dog struggling to survive against both internal and external factors. Where Wroblewski allows the book to feel slightly different is in the extremely tense pacing throughout the issue as the landing of a passenger airplane is detailed. Wroblewski understands that there's a growing tension in the minutia of an act seemingly so boring as landing a plane and by providing a readers a seat in the control tower that tension can be dramatized exponentially. The dialogue feels very believable yet capable of effectively conveying to the reader a timeline of the events as they unfold.<br />
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Providing the visuals for the book are Rubio's scratchy illustrations, replete with heavy cross-hatching and shadows. Rubio's style affords the book a visual density to it that pairs nicely with the overarching taut atmosphere throughout the issue. Still, there are some points where the approach adversely affects the book, in that there are some panels that are different to discern exactly what's going on or who's involved in that particular panel. It's not a knock on Rubio's style as it's still rendered well--it's just that some scenes feel a little too dark. Stil, the monochromatic approach does wonders for engendering a burgeoning sense of horror as Rubio visually explores the state of the plane both before and after it lands.<br />
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<i>Enenra #1</i> is a well-paced and (purposefully) terse first issue in terms of plot. Dr. Marron and company are faced with something they've never encountered before and will likely test their mettle in plenty of ways as they learn more about it. Wroblewski's script is meticulous in delivering the foundation of the tale to the reader. Rubio's artwork is the perfect match for the book as it underscores the brooding sense of doom awaiting the characters. <i>Enenra #1</I> is very much a solid start to a new horror comic series.<br />
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<i>Enenra #1</i> is available April 1.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-28182938558688329402020-02-24T12:10:00.000-05:002020-02-24T12:10:01.176-05:00Review - Hidden Society #1 (@DarkHorseComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgASyuXi86qzM32tlBU558IQqvMDSP-j3igOZpfJAtioKvepOx5cTnsQtJUnKhEhpZzHXOAV0AeT9u8OxxZErjuKBYOi5RdNWARJnU9XPwZt8BOPijcuz88qiw1dH4mEP0O8oe0t-MsRo8/s1600/hiddensociety1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgASyuXi86qzM32tlBU558IQqvMDSP-j3igOZpfJAtioKvepOx5cTnsQtJUnKhEhpZzHXOAV0AeT9u8OxxZErjuKBYOi5RdNWARJnU9XPwZt8BOPijcuz88qiw1dH4mEP0O8oe0t-MsRo8/s320/hiddensociety1.jpeg" width="208" /></a></div><br />
"This is why waiting is always the hardest part in life..."<br />
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Magic is either an illusion or an ability rooted in some energy source. In <i>Hidden Society #1</i> from Dark Horse Comics, it's a little bit of both. The issue is written by Rafael Scavone, illustrated by Rafael Albuquerque, colored by Marcelo Costa and lettered by Bernardo Brice.<br />
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Hidden from ordinary eyes, there is a world alongside our own full of deities, demons, and danger--where magic wins out over science and dark secrets lie in wait. Ulloo, the last wizard from the Hidden Society, enlists the aid of a blind girl and her demon, a young magician, and a cursed bounty hunter in order to stop a group of nihilist warlocks from waking the Society's greatest nemesis: a primeval force that, unchecked, will scorch the planet bare of all life.<br />
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The concept of a hidden world rife with magic is always a tantalizing one and Scavone uses it as a backdrop for <i>Hidden Society #1</I>. In fact, the first issue is something of a whiplash introduction to all the new characters the reader is supposed to care about, yet Scavone has difficulty in convincing the reader why these characters will be important other than just spending time focusing on them. The characters are each pretty interesting for their own reasons and Scavone knows the dynamic shared amongst them could offer a big payoff when it's all said and done. A lot of Scavone's dialogue is pretty simplistic in terms of the characters speaking the lines, but there's trouble finding a sense of coherence in the overarching story. The solicit seems to inform the reader more about what to expect than the story itself and by the end of the issue there are still a lot of unanswered questions about where the plot wants to go with itself. <br />
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Albuquerque's artwork is extremely slick as each of the character's personalities shine through their facial expressions and body language. Albuquerque clearly had a lot of fun rendering the characters with an attention to creativity, from the smarmy target Rickey at the beginning to the goat/bat hybrid Orcus. The different appearances is achieved through Albuquerque's use of thin, character defining lines that affords them finer detail and presentation. There are overlaid panels on just about all the pages as Albuquerque focuses on a larger anchor point for that scene in the background while giving the reader the other action in the aforementioned panels. Costa's colors are grounded in reality, veering into the more colorful when the magic in the issue becomes more pronounced.<br />
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<i>Hidden Society #1</i> offers a glimpse into a secret society of sorts that aims to bring together individuals of various magical prowess into a team for some unknown reason. Each of the characters are unique in their own way, although there's really little details as to why they're brought together or what they draw their power from. Scavone is looking to introduce readers to a new universe and cast of characters, although both of the former tend to be presented in a very formulaic, by-the-numbers way. Albuquerque's artwork is very appropriate for capturing the suaveness the book aspires to achieve through it's plot. <i>Hidden Society #1</i> could be a lot of fun if some of the plot details and pacing are sorted out in future issues.<br />
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<i>Hidden Society #1</i> is available February 26.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-86964196762185261842020-02-21T12:35:00.000-05:002020-02-21T12:35:07.875-05:00Review - On the Stump #1 (@imagecomics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpurVGfqQpapUOV7h-ijfSp1KUqZJRLo3fPPP3AzXg0yr1TXN-YsBvaRnxi2VJD0vVQ-E4CfYaCvjpuoTg-cKcNQhlKq4wDDIKjRkWkCECOlhKdHMI290XAQ9ZKndxWs8vAotqNmiDU4Q/s1600/onthestump1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpurVGfqQpapUOV7h-ijfSp1KUqZJRLo3fPPP3AzXg0yr1TXN-YsBvaRnxi2VJD0vVQ-E4CfYaCvjpuoTg-cKcNQhlKq4wDDIKjRkWkCECOlhKdHMI290XAQ9ZKndxWs8vAotqNmiDU4Q/s320/onthestump1.jpeg" width="208" /></a></div><br />
"It's allll over folks!"<br />
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There are those who feel America's take on democracy is under attack from both inside and outside forces. Whether or not that's true remains to be seen, but in <i>On the Stump #1</i> from Image Comics that concept is reimagined. The issue is written by Chuck Brown, illustrated by Prenzy and lettered by Clayton Cowles.<br />
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The campaign trail is paved with blood and broken bones. History diverged in 1868 when a pivotal presidential debate turned violent. Today, elections are decided by highly publicized hand-to-hand combat in arenas called Stumps. Unfortunately, the violence doesn't end in the ring, and powerful people can still get away with murder. Senator Jack Hammer and FBI Agent Anna Bell Lister are teaming up to bring it all down. <br />
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What works so well with Brown's approach is that he's bringing action to the words that are thrown at one another when it comes to politics. Brown's (and everyone's really) take that the political climate nowadays is extraordinarily bitter and ill-willed allows the issue to be infused with the right amount of anger to be played out in the ring. And the concept of literally fighting for legislation is astounding--Brown holds nothing back in following along with some of the more renowned members of Congress as fighters in the ring. The dialogue is relatively terse throughout the issue, although that doesn't prevent Brown from leveraging it to great effect in getting his point across.<br />
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Prenzy's artistic approach is very gritty and harsh, both of which are appropriate considering the violence throughout the issue. And speaking of violence, Prenzy showcases all the characters in various states of fighting duress, refusing to play it safe as far as what's shown on the page. All of the characters have an oversized stature to them that makes them believable as fighters--a sharp contrast to the mostly weak and feeble members of Congress presently. The panels are arranged quite frenetically, assisting the issue's overall pacing and presentation in a way that makes it feel energetic. The colors are sienna-tinged and accelerate the somewhat dystopian feel of the setting.<br />
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It's no surprise that the campaign trail at this point is pretty acrimonious and <i>On the Stump #1</I> elevates it to another level entirely. The intrigue surrounding the plot is fascinating against the backdrop of members of Congress fighting one another for passing legislation. Brown has crafted a devilishly simple take on bringing physicality to the online mudslinging and still managed to weave in scandal. Prenzy doesn't shy away from ensuring that the reader feels every punch thrown in all its legislative glory. <i>On the Stump #1</I> is emphatic in its embrace of embodying violence found in words when it comes to elections and legislation.<br />
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<i>On the Stump #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-17494250409754257882020-02-19T12:51:00.000-05:002020-02-19T12:51:08.535-05:00Review - Finger Guns #1 (@thevaultcomics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeBfQM448frLqSWRyNrZxDbOoJGlEyiR1L9WHEViIlpH-LNAa9CAD_fBY5Mib2KMzRJCxDrJb8zMudHfstbERponLAoENTjnYoJaUA7I7Dm9yeD5jbDj5l9Xa6CnbgKodZtWWB5DeZKlA/s1600/fingerguns1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1054" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeBfQM448frLqSWRyNrZxDbOoJGlEyiR1L9WHEViIlpH-LNAa9CAD_fBY5Mib2KMzRJCxDrJb8zMudHfstbERponLAoENTjnYoJaUA7I7Dm9yeD5jbDj5l9Xa6CnbgKodZtWWB5DeZKlA/s320/fingerguns1.jpeg" width="210" /></a></div><br />
"You know that's not going to change anything."<br />
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There's a point in everyone's life where they feel that no matter what they do, things aren't going to work out in their favor. In the case of teenagers in <i>Finger Guns #1</i> from Vault Comics, that point is seemingly every day. The issue is written by Justin Richards, illustrated by Val Halvorson, colored by Rebecca Nalty and lettered by Taylor Esposito.<br />
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Two troubled teenagers discover they can manipulate emotions by firing finger guns. There will be laughs. There will be tears. There will be uncomfortable teen feelings and angst. Oh yeah... and chaos. So much chaos.<br />
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Richards knows (seemingly all too well) how hard life as a teenager can be and both Wes and Sadie are shining examples of difficult home lives that encourage delusions of grandeur. The premise of the title is centered around finding an escape from the day-to-day for the two lead characters; a premise encapsulated perfectly on the first page and then cemented later in the issue. Richards gives Wes and Sadie and out of sorts in their "finger guns" which serve as a physical manifestation of their desire to be able to effect change on a very basic level. What's particularly jarring about the book is how much Richards infuses the characters with a sense of loneliness that's all too recognizable for many. There's an additional comfort for both of the main characters in each other and their complementing powers, with Richards setting the two of them up as counterbalancing forces that unite to form something greater. <br />
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Showcasing the roller coaster that is teenage emotion is Halvorson's artwork which is emphatic in its delivery. Everything is drawn with heavy, black lines that visually weighs the artwork down in a way that seems to be a literal presentation of the emotions shared by the characters. Despite the density of emotion throughout, Halvorson still gives the characters a sense of optimism in the form of expressive faces and body language that seems to offer a way out for the characters. Halvorson largely keeps the panels arranged relatively neatly, save for a few instances where she crosses borders to deliver a more striking visual depending on the situation. Nalty's colors are very rich and slightly off-kilter in terms of being realistic, providing a sense of otherworldliness to the action.<br />
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Buried deep within <i>Finger Guns #1</i> is a treasure trove of teenage angst. Wes and Sadie are two teenagers struggling to find something solid as an anchor point in their life, learning that the other is like them in certain ways that provides some measure of solace. Richards' script is simple enough in its dialogue, yet there's an abundance of deeper meaning to be found in the conversations between Wes and Sadie. Halvorson's artwork is an admirable take on their plights as teenagers, effortlessly capturing their struggle. <i>Finger Guns #1</I> poses quite the existential questions about being able to create change and how it can provide some sense of relief to those who think they have no control over their own lives.<br />
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<i>Finger Guns #1</i> is available February 26.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-30229118192261310232020-02-14T12:46:00.000-05:002020-02-14T12:46:05.401-05:00Review - Alienated #1 (@boomstudios)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEics2JKWVzoNPG9yClIjNl542bmJ2MPEa4HtJazeHatCAXinuKcNBbvUjYsDKFiNjPQZ5G_96IFw5HvYaQ3dkNdkkZAkwdbgDvm9Npaa2wWQyUepWZbZkw4pYXj5yG8rx4EVSyve2wcfzw/s1600/alienated1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEics2JKWVzoNPG9yClIjNl542bmJ2MPEa4HtJazeHatCAXinuKcNBbvUjYsDKFiNjPQZ5G_96IFw5HvYaQ3dkNdkkZAkwdbgDvm9Npaa2wWQyUepWZbZkw4pYXj5yG8rx4EVSyve2wcfzw/s320/alienated1.jpeg" width="208" /></a></div><br />
"Better anonymous than unappreciated."<br />
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Life in high school is hard enough without having to deal with strange alien visitors affecting the minds of the students. In <i>Alienated #1</i> from BOOM! Studios, three students learn that such an event makes things much more difficult. The issue is written by Simon Spurrier, illustrated by Chris Wildgoose, colored by André May and lettered by Jim Campbell.<br />
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Three teenagers, each an outcast in their own way, stumble upon an unearthly entity as it's born. As they bond over this shared secret and the creature's incredible abilities, it becomes clear to the teenagers that their cute little pet is a super-predator in the making - and it's in need of prey. Guided by the best intentions at first, the teens' decisions soon become corrupted by adolescent desires, small town jealousies, and internal rivalries, sending them into a catastrophic spiral of their own making.<br />
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Spurrier relies on a very steady cadence for the issue, both in terms of introducing the characters and establishing to overarching narrative for the issue (and seires). Each of the three main characters (Samuel, Samantha and Samir) are all outcasts in their own ways and they're united by their shared experience in the forest that acts as a catalyst for strange psychic phenomenon. Spurrier leans on their shared alienation as a means of exploring the larger subject of feeling like an outcast, using dialogue representative of their thoughts as a means of narrating the events of the issue. There's also a steady subplot of a bully that's used to unify the three even further, providing Spurrier ample opportunity to amplify their loneliness. Spurrier ends the issue with a sufficient cliffhanger, clearly setting the direction for the remainder of the series to go slightly off the rails in terms of weirdness.<br />
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The artwork by Wildgooes is very much in a comic style befitting of the overall approach of the book. Each of the characters are given very distinct appearances that help differentiate them--both from one another and from the other students in the school. The empty gutters draw more attention to the action happening in the panels, further accentuated by the black outlines of the panels themselves. The colors by May are vibrant throughout the issue, helping to establish scenes such as the halls of the high school and the forest at sunset. Campbell does an excellent job on the lettering as well, effectively affording each character their own thoughts that are clearly defined by various color schemes.<br />
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<i>Alienated #1</i> is a fascinating first issue that capitalizes on the title in more ways than one. Samuel, Samantha and Samir are all outcasts in their own way, brought together unexpectedly by unforeseen events and a mysterious visitor. Spurrier's script does a great job of defining each character and giving them common threads to share amongst the three of them, shown especially well by their shared internal dialogue. Wildgoose's artwork effortlessly captures a day in the life of a high school student and all the misadventures they often find themselves in. <i>Alienated #1</I> is a very fun take on the concept of feeling isolated in high school, allowing those to find solace in a shared experience with others.<br />
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<i>Alienated #1</i> is available now.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-73103019096381363012020-02-12T12:40:00.000-05:002020-02-12T12:40:02.638-05:00Review - Letters from Midia (@aesderelict)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJXuSIxJk7bGtoE9LVCWNRRalvd23cZarZFG0I_T_ty-lhhblynympBBOs5SIeiM9Y1Ivtwmj1nxHu29yGctJR2L9SNwYu4bvaGIGtnwFTosMi4YiOCBziorUu_cZaHRmzt2bfzbRI2o/s1600/lettersfrommidia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="324" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJXuSIxJk7bGtoE9LVCWNRRalvd23cZarZFG0I_T_ty-lhhblynympBBOs5SIeiM9Y1Ivtwmj1nxHu29yGctJR2L9SNwYu4bvaGIGtnwFTosMi4YiOCBziorUu_cZaHRmzt2bfzbRI2o/s320/lettersfrommidia.jpg" width="207" /></a></div><br />
Love is a powerful driving force. In <i>Letters from Midia</I>, love drives a knight to fight a variety of challengers en route to a princess in a castle. The graphic novel is written and illustrated by Boluwatife Oriowo.<br />
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A lone knight wanders through a distant land. Through strange environments, malicious mages and savage beasts, he cuts a path through the world on a hunt unrelenting. A missing princess is sequestered away in a dark cage. Stripped of her voice and entrapped by cruel kidnappers and wicked machinations, she writes in an effort to ensure that her story is told. The knight fights to close the gap between the two, taking on a world of insurmountable obstacles. However with each threat he overcomes, he finds not the princess, but still more Letters from Midia.<br />
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There's a rather long introduction to the premise behind <i>Letters from Midia</i> as Oriowo seeks to establish the book's timeline and cycle. Establishing those parameters is done very cleanly and methodically, affording the reader an introduction to the characters before getting a sense of the overarching premise behind the book. From there, Oriowo steadily increases the pace (and variety) of the knight's encounters, presenting new challenges to overcome in his quest to find the princess who perpetually seems to be in another (figurative) castle. Each of those challenges is very much an homage to high fantasy, ranging from simple goblins to avion arch-mages to giant slime. There's a certain cadence to Oriowo's approach as well in that there are ebbs and flows of action and dialogue throughout the issue that balance one another out well.<br />
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Oriowo also handles the artwork in the book and it feels a lot like <i>The Legend of Zelda</i> cartoon from way back in the day. The knight is illustrated with a sufficient level of stature that affords him credibility in his quest to find the princess. Oriowo also gives the book a general all-ages appeal in its style--save for a few moments where blood is lightly splattered across the panels. The panels are very organized and give the book a sense of order as the knight traverses the kingdom. The color palette is very simplistic as he relies on the major colors throughout the issue, yet there still manages to be enough pop off the page and give the challengers unique appearances.<br />
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<i>Letters from Midia</i> is about an extremely persistent knight chasing down love letters as he fights all manner of opponent. There's something to appreciate about his perseverance and the way he works through it all is admirable. Oriowo is very apparent in the approach to <i>Letters to Midia</i> positioning it as an open love letter to a variety of creators and properties before. Oriowo's illustrative style is very lighthearted and cartoony, drawing inspiration from Saturday morning cartoons. <i>Letters from Midia</i> is a very enjoyable read as it capitalizes on human persistence to tell a love story.<br />
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<i>Letters from Midia</i> is available via <a href="https://www.amazon.com/Letters-Midia-Boluwatife-Oriowo-ebook/dp/B07XTLY3KZ" target="_blank">Amazon</a>.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-27686001412749976482020-02-10T12:48:00.000-05:002020-02-10T12:48:08.811-05:00Review - Tartarus #1 (@ImageComics)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDbqGv7PigF7F65JpXhdcGfcSr79EnhOI7M4XlA-ipi3VcmnOPyqCaKL2F7wRnx19bjxBFf6Yp25k0T7k_Y9OpNADHDN5JFfsWZ8t-djwZanmprxFebQgPIKQgU3cJilM6kvwzTtHywbs/s1600/tartarus1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDbqGv7PigF7F65JpXhdcGfcSr79EnhOI7M4XlA-ipi3VcmnOPyqCaKL2F7wRnx19bjxBFf6Yp25k0T7k_Y9OpNADHDN5JFfsWZ8t-djwZanmprxFebQgPIKQgU3cJilM6kvwzTtHywbs/s320/tartarus1.jpeg" width="208" /></a></div><br />
"As above, so below...stars in your belly, stars in the sky..."<br />
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Prison has a way of redefining people and relationships. There are some who figuratively are kings and queens on the outside, only to fall into nothingness on the inside. There are others though who maintain their "regal" status even when imprisoned and <i>Tartarus #1</I> from Image Comics is a great example. The issue is written by Johnnie Christmas, illustrated by Jack T. Cole and lettered by Jim Campbell.<br />
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Promising young cadet Tilde is framed for crimes against the empire after discovering her mother was the ruthless warlord of the deadly colony Tartarus, a vital player in the galactic war. Now, Tilde's only way home may be to reclaim her mother's dark crown.<br />
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Christmas packs a lot into the first issue and with good reason. Breaking the issue up into the two halves is extremely effective at showing both sides of a familial coin, with Christmas focusing on Surka in the first half and Tilde in the second. The entire first half of the book is devastatingly effective at conveying to the reader how dangerous Surka truly is through an extended prison break. Christmas characterizes Surka as cunning, commanding and dangerous not by having another character wax poetically about her exploits; rather, he shows the reader her abilities en route to the end of the first half of the issue. This sets up the second half very cleanly, providing a contrast for Tilde while at the same time hinting that her development might hew fairly close to her mother's.<br />
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The density of each panel is a testament to Cole's ability to keep the reader's eyes engaged on everything all at once. Cole gives the first part of the book a sense of claustrophobia that resonates with being in prison through overcrowded group shots and perspectives. There's also a nod to a more futuristic design style through Cole's character designs and settings, both of which fit perfectly within any preconceived notion of a futuristic prison planet. Cole contains the chaos through very clean panel arrangements, confining each individual shot in its own box that doesn't spill over to the next. The artwork is awash in paler colors like pinks, blues and yellows to give the book another sense of otherworldliness.<br />
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In a way, <i>Tartarus #1</i> is an exercise in extremes. Tilde is a character poised to be more like her mother than she initially thinks, but getting to that point required learning more about Surka for context. Christmas' script is primarily about defining two characters invariably linked to one another by blood and that relationship drives a lot of the narrative. Cole's artwork is a fitting match to the script as it effortlessly encapsulates the atmosphere. <i>Tartarus #1</I> has a lot of positive things going for it as it seeks to explore the relationship between a mother and daughter--however unconventional that relationship may be.<br />
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<i>Tartarus #1</i> is available February 12.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0tag:blogger.com,1999:blog-3121094247559373360.post-88536895247170377192020-02-05T12:05:00.000-05:002020-02-05T12:05:01.138-05:00Review - Undone by Blood #1 (@AfterShockComix)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9CJ37LKUvERjPF7uA9pln-x8Qn_WCBBe4HkgICEON8cNTS2WNROtbhvr2K0FvCwE1cQ-OX98VThNGwL6RffVoXpnt2MlaP_SIqrWhs6BZZEXTwb_KHTIxEk9ZT0GejS6vaQIUo0x3Eo/s1600/undonebyblood1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9CJ37LKUvERjPF7uA9pln-x8Qn_WCBBe4HkgICEON8cNTS2WNROtbhvr2K0FvCwE1cQ-OX98VThNGwL6RffVoXpnt2MlaP_SIqrWhs6BZZEXTwb_KHTIxEk9ZT0GejS6vaQIUo0x3Eo/s320/undonebyblood1.jpeg" width="208" /></a></div><br />
"From the moment he set out that morning, Sol knew in his gut that something felt off."<br />
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People need closure. That closure takes on different shapes and in <i>Undone by Blood #1</I> from After Shock Comics, that closure comes with a side of mystery. The issue is written by Zac B. Thompson and Lonnie Nadler, illustrated by Sami Kivela, colored by Jason Wordie and lettered by Hassan Otsmane-Elhaou.<br />
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In the early 1970s, Ethel Grady Lane returns to her hometown of Sweetheart, Arizona with one thing on her mind: killing the man who murdered her family. But first, she'll have to find him. As Ethel navigates the eccentric town and its inhabitants, she learns that the quaint veneer hides a brewing darkness. She has no choice but to descend into a ring of depravity and violence, with her only ally an Old West novel that follows famed gunslinger Solomon Eaton. As both stories unfold simultaneously, a love of fiction informs choices in reality, for better or worse. <br />
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It'd be really easy to compare <i>Undone by Blood #1</I> to <i>True Grit</i> as there are elements shared between the two that Thompson and Nadler tap into. This is further embellished by the apparent time jumps in the book between the 1970s and (presumably) the 1870s, but the disparity isn't really a time-jump so much as a way for the writers to further characterize Ethel. Ethel is fiercely determined to understand more about a murder that happened a year prior and her grit resolve is buoyed by that of Sol's in her book. Moving back and forth between both stories helps to lend a sense of timelessness to the themes running through the issue. Thompson and Nadler do a really good job of teasing out Ethel's journey as well, emphasizing her impulsiveness and how it affects her decision-making.<br />
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Kivela's artwork feels very appropriate in both eras it seeks to represent to the reader. The way characters are illustrated relies on distinguished, black lines that give the physiques a sense of weight in the panels, contrasting sharply with the simpler backgrounds. Kivela manages to show the toll emotional events take on individuals often results in similar appearances, as both Ethel and Sol share facial expressions in reaction to similar events. The pages are very busy in terms of panel layout with Kivela throwing a dizzying array of panels at the reader. Wordie's colors help establish the different eras, with the Sol era awash in a desert-hued pink and Ethel's in more of a 70s sepia tinge.<br />
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<i>Undone by Blood #1</i> takes an interesting narrative approach by comparing Ethel's story to that of Sol's. There's enough threads in the first issue for both sagas that readers can definitely feel invested in what's happening and looking forward to learning more. Thompson and Nadler aren't exactly treading new ground when it comes to plot points, but the way the deftly weave fiction and and Ethel's reality is very clever. Kivela's artwork is grimy in many ways, most of which work really well for the context of the story. <i>Undone by Blood #1</i> offers a fascinating take on revenge and the harm people put themselves in to gain some satisfaction from vengeance.<br />
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<i>Undone by Blood #1</i> is available February 12.omnicomichttp://www.blogger.com/profile/09543691347267565389noreply@blogger.com0