Well with DC deciding to throw their two biggest books at us at the same time, I guess someone decided that it would be funny to do the same with Power Rangers! How do these major comics stack up, and what about the climax of X-O Manowar's fun space adventures?
Bloodborne #2
Writer: Ales Kot / Artist: Piotr Kowalski / Colors: Brad Simpson / Letters: Aditya Bidkikar
Continuing from last month's excitement, the second installment of this video-game spinoff retains the first issue's surprises with Bloodborne's lore and dives a bit deeper into it, with the story taking full advantage of having a character that isn't meant to just be a projection of the audience. Sure, as a player of the game I am familiar with many of the questions that the Hunter is asking, but at the same time, there is a tragedy and honest confusion within the dialogue of the Hunter that it allows them to become their own character.
The strength of the book is arguably the strength that the game had: the world. Bloodborne has such a rich world with which to work in and the comic is really investigating the various aspects of that world and continues to introduce the key players and concepts. We get smaller glimpses at the horrifying truth behind Yharnam that anyone who has played the game is already more than aware of, but we also get an idea of why this may be happening. It all centers around the young child that the Hunter found and is, apparently, trying to bring them to some place in the Forbidden Woods. I believe I know why, but, that doesn't at all mean I know what'll happen.
It's clear in this issue that the events of the main story have not yet happened, given the state of some characters as well as how some events are shaping up; however, that does not mean it doesn't reveal aspects of the game that you find out only at the end of what is just the second issue. This does, though, help further paint the mystery of Bloodborne and what's actually going on, especially with the final splash page.
The art and colors are also on point, magnificently capturing some of the tighter and more gruesome elements of Bloodborne's combat while perfectly capturing the design and look of several key characters and locations from the game. I do like that the Hunter's outfit is constantly tinged with red, giving the easy implication that this is their official hunting gear and might be their only gear available to fight the beastly scourge. The final page is absolutely haunting and very stunning if you're a fan of the game, and it all comes down to the artwork.
While 2018 hasn't featured too many new series yet, this is taking the cake by far as my favorite new series of the year. I'm stoked to see what comes next!
The strength of the book is arguably the strength that the game had: the world. Bloodborne has such a rich world with which to work in and the comic is really investigating the various aspects of that world and continues to introduce the key players and concepts. We get smaller glimpses at the horrifying truth behind Yharnam that anyone who has played the game is already more than aware of, but we also get an idea of why this may be happening. It all centers around the young child that the Hunter found and is, apparently, trying to bring them to some place in the Forbidden Woods. I believe I know why, but, that doesn't at all mean I know what'll happen.
It's clear in this issue that the events of the main story have not yet happened, given the state of some characters as well as how some events are shaping up; however, that does not mean it doesn't reveal aspects of the game that you find out only at the end of what is just the second issue. This does, though, help further paint the mystery of Bloodborne and what's actually going on, especially with the final splash page.
The art and colors are also on point, magnificently capturing some of the tighter and more gruesome elements of Bloodborne's combat while perfectly capturing the design and look of several key characters and locations from the game. I do like that the Hunter's outfit is constantly tinged with red, giving the easy implication that this is their official hunting gear and might be their only gear available to fight the beastly scourge. The final page is absolutely haunting and very stunning if you're a fan of the game, and it all comes down to the artwork.
While 2018 hasn't featured too many new series yet, this is taking the cake by far as my favorite new series of the year. I'm stoked to see what comes next!
Dark Nights: Metal #6
Writer: Scott Snyder & James Tynion IV / Artists: Greg Capullo, Mikel Janin, & Raul Fernandez / Inks: Jonathan Glapion / Colors: FCO Plascencia, June Chung, & Brad Anderson / Letters: Steve Wands
It is over! I'd be lying if I said I don't feel like Frodo at the end of The Lord of the Rings: The Return of the King. A burden has been lifted, and now I don't have to worry about trying to comprehend just what the heck Snyder and Capullo have planned for us in another issue of Metal.
This story has been weird, and this final issue captures that, with dozens of ideas that were either not really foreshadowed or I just forgot. This issue is basically one giant battle scene with a lot of memorable moments, but a lot of it just doesn't have any weight to it. The story is so insane that even when I decide not to take it seriously, it still doesn't make any sense.
I'm not sure why that is, either. The stakes are obviously high; they're super high, with the fate of the multiverse coming down to one final battle. But, it didn't seem to have that scope. We never saw what was going on with other Earths, or how other factions of the multiverse were being negatively afflicted. Again, I think Metal would have been far more effective as a story that just affected the main DC universe; that way, it adds a solid amount of stakes and is something that we can say we've seen before so we understand the ramifications of what is going on.
The best part of the comic is, of course, the art. Capullo brings his A-Game here for the grand finale of what appears to be he and Mr. Snyder's dream epic come to life, and he really pours it all here. They do switch it up for the epilogue a bit and having that shift in art helped transition the tone along as well.
Overall, I'm not really going to miss Metal, but I do appreciate what it attempted to do. This was a "Crisis" level event that has HUMONGOUS consequences abound so long as DC decides to remember this event happened and doesn't just drop it like Future's End or Convergence. I'm glad I got to read it, but, I'm not sure I'd want to come back to it anytime soon.
This story has been weird, and this final issue captures that, with dozens of ideas that were either not really foreshadowed or I just forgot. This issue is basically one giant battle scene with a lot of memorable moments, but a lot of it just doesn't have any weight to it. The story is so insane that even when I decide not to take it seriously, it still doesn't make any sense.
I'm not sure why that is, either. The stakes are obviously high; they're super high, with the fate of the multiverse coming down to one final battle. But, it didn't seem to have that scope. We never saw what was going on with other Earths, or how other factions of the multiverse were being negatively afflicted. Again, I think Metal would have been far more effective as a story that just affected the main DC universe; that way, it adds a solid amount of stakes and is something that we can say we've seen before so we understand the ramifications of what is going on.
The best part of the comic is, of course, the art. Capullo brings his A-Game here for the grand finale of what appears to be he and Mr. Snyder's dream epic come to life, and he really pours it all here. They do switch it up for the epilogue a bit and having that shift in art helped transition the tone along as well.
Overall, I'm not really going to miss Metal, but I do appreciate what it attempted to do. This was a "Crisis" level event that has HUMONGOUS consequences abound so long as DC decides to remember this event happened and doesn't just drop it like Future's End or Convergence. I'm glad I got to read it, but, I'm not sure I'd want to come back to it anytime soon.
Detective Comics #973
Writer: James Tynion IV / Artists: Javier Fernandez, Eddy Barrows, Eber Ferreira / Colors: John Kalisz & Adriano Lucas / Letters: Sal Cipriano
Gotta love that my boy Tim Drake is getting all the spotlight nowadays. Of course, it's a story about him about to wage war against Batwoman, but it's not like this hasn't been built up since last October or anything. Not to mention that Batwoman is also poised to take some pretty drastic measures, and we get a huge revelation about what may happen in the future regarding her and Batman that would definitely send a young Tim over the edge.
Unfortunately, as this is the final arc, this issue does seem a bit slow. It's mostly Tim and Ulysses, who I keep forgetting is a character, and how Ulysses treats Tim like they're in a relationship only one of them is actually on board with. It's actually a bit creepy how much he wants to steal Tim away from Batman, but, for what? To rule the world? To defeat the Colony? It's left a bit unclear.
The art in this issue, as you can see by the credits, goes through several different hands but the only noticeable change was when we saw Barrows take over, and it was very well done since it represented a tone and period shift in the comic. Barrows has always been great about carrying the heavier duty stuff for Detective Comics and his work here is much appreciated. I've also got to give major props for Kalisz and Lucas for matching the art with the coloring; while it did get a bit droll at times when it's just Tim and Ulysses, we're otherwise treated to good coloring to allow characters to stand out against remedial backgrounds.
Unfortunately, as this is the final arc, this issue does seem a bit slow. It's mostly Tim and Ulysses, who I keep forgetting is a character, and how Ulysses treats Tim like they're in a relationship only one of them is actually on board with. It's actually a bit creepy how much he wants to steal Tim away from Batman, but, for what? To rule the world? To defeat the Colony? It's left a bit unclear.
The art in this issue, as you can see by the credits, goes through several different hands but the only noticeable change was when we saw Barrows take over, and it was very well done since it represented a tone and period shift in the comic. Barrows has always been great about carrying the heavier duty stuff for Detective Comics and his work here is much appreciated. I've also got to give major props for Kalisz and Lucas for matching the art with the coloring; while it did get a bit droll at times when it's just Tim and Ulysses, we're otherwise treated to good coloring to allow characters to stand out against remedial backgrounds.
Doomsday Clock #4
Writer: Geoff Johns / Artist: Gary Frank / Colors: Brad Anderson / Letters: Steve Wands
Remember how Doomsday Clock was an event that was supposed to give us all the answers to what's been going on with the Watchmen and how Dr. Manhattan was going to confront Superman over the fate of the DC Universe? Yeah, we're a third of the way through and so far the only things that have happened are the Watchmen arriving on the DCU and minor hijinks ensuing.
Taken as a standalone story, as a supplement to Watchmen, this is a solid story. It's a rather touching tale about the new Rorschach being mentored by a surprising member of the Minutemen. I think if we were just getting a straight up sequel to Watchmen and not having it deal with the main DC Universe, this would've been a stellar issue, telling the haunting story of a master and an apprentice that were never meant to meet, but somehow made it work.
Instead, we're constantly reminded that we are in the main DCU, and we're not getting anywhere with the actual story about Dr. Manhattan versus Superman. Spoilers: Ozymandias only shows up in the form of flashbacks here, so we still don't know what's going on after the Comedian miraculously returned from the dead.
I think I'd be more frustrated with the comic if it weren't drawn so well. Gary Frank continues to deliver art at a master level. He's proven to be a master of handling artwork within a nine-panel grid, keeping each panel intimate and well-lit, providing excellent tone per page so we aren't confused as to what is going on. Brad Anderson's best work of the time is also in this comic.
There is a ton of effort being poured into this comic, and maybe by the end, once we forget what this story was originally hyped to be, I'll be able to appreciate it way more, but for now, I'm just left confused as to what the point of it all is?
Taken as a standalone story, as a supplement to Watchmen, this is a solid story. It's a rather touching tale about the new Rorschach being mentored by a surprising member of the Minutemen. I think if we were just getting a straight up sequel to Watchmen and not having it deal with the main DC Universe, this would've been a stellar issue, telling the haunting story of a master and an apprentice that were never meant to meet, but somehow made it work.
Instead, we're constantly reminded that we are in the main DCU, and we're not getting anywhere with the actual story about Dr. Manhattan versus Superman. Spoilers: Ozymandias only shows up in the form of flashbacks here, so we still don't know what's going on after the Comedian miraculously returned from the dead.
I think I'd be more frustrated with the comic if it weren't drawn so well. Gary Frank continues to deliver art at a master level. He's proven to be a master of handling artwork within a nine-panel grid, keeping each panel intimate and well-lit, providing excellent tone per page so we aren't confused as to what is going on. Brad Anderson's best work of the time is also in this comic.
There is a ton of effort being poured into this comic, and maybe by the end, once we forget what this story was originally hyped to be, I'll be able to appreciate it way more, but for now, I'm just left confused as to what the point of it all is?
Mighty Morphin' Power Rangers #25
Writer: Kyle Higgins / Artist: Danielle di Nicuolo / Inks: Simona di Gianfelce / Colors: Walter Baimonte / Letters: Ed Dukeshire
I was hooked by the first page. Not even kidding. I was sold on what was going on, why it was happening, everything. Honestly, there was no better way to show what sort of scale this story was going to be told in than how this comic opens up.
Beyond that, this is an excellent start to the arc, showing us just how villainous and wise Lord Drakkon can be, even in our universe. The Rangers also get some good development and the climax of the story is harrowing, a brilliant action scene that just keeps pouring it on and really got me excited to see what was going to happen next, or what could happen next.
At first, the simplistic art style that di Nicuolo brought to the table was a bit head-scratching to me, since you expect major events or storylines like this to have grander art, but I think it wound up working for the better. Since we weren't at such an epic scale throughout the comic, di Nicuolo's art was allowed to give the characters a ton more personality, and it still stuck to their core designs. The latest iteration of the "Power Rangers" comics have really done well, no matter the art style, to keep to their true designs and this is no exception.
The color work for "Power Rangers" has never been an issue, and this continues here. Each color stands out on its own in a unique way and never blends with a background. It adds a new level of depth to each Ranger's outfits and seriously enhances the experience.
Beyond that, this is an excellent start to the arc, showing us just how villainous and wise Lord Drakkon can be, even in our universe. The Rangers also get some good development and the climax of the story is harrowing, a brilliant action scene that just keeps pouring it on and really got me excited to see what was going to happen next, or what could happen next.
At first, the simplistic art style that di Nicuolo brought to the table was a bit head-scratching to me, since you expect major events or storylines like this to have grander art, but I think it wound up working for the better. Since we weren't at such an epic scale throughout the comic, di Nicuolo's art was allowed to give the characters a ton more personality, and it still stuck to their core designs. The latest iteration of the "Power Rangers" comics have really done well, no matter the art style, to keep to their true designs and this is no exception.
The color work for "Power Rangers" has never been an issue, and this continues here. Each color stands out on its own in a unique way and never blends with a background. It adds a new level of depth to each Ranger's outfits and seriously enhances the experience.
Moon Knight #193
Writer: Max Bemis / Artist: Jacen Burrows / Colors: Guillermo Ortego / Letters: Mat Lopes
Well...cover's a lie. Marc never goes hunting in the jungle like it looks like it would've. That probably would've been more exciting than what we got. I think this issue of Moon Knight, the finale to the first arc, is a good indicator of my feelings on this run so far: cool, to a point. It was cool to finally see Marc and the Sun King finally throw down, but, then we got some cheese like his daughter praying or his alternate selves realizing that they fight for the girl in a weird, psychedelic moment that comes right the heck out of nowhere.
I like the opening parts of the book best, showing Marc suffering on the island while being mostly disconnected, for some reason, from Khonshu. Maybe that was explained last issue, but I had so many books to read this week that there's no way I'm going to remember something like that. He and Marlene also have a nice moment, although it's written a little...weird.
I haven't been the biggest supporter of Burrows's art, and Ortego's colors here are good, I guess. It's all pretty average artwork, nothing like the last few runs of Moon Knight. Moon Knight usually gets lucky and has incredible artwork, so, perhaps we've just been spoiled in the past.
I like the opening parts of the book best, showing Marc suffering on the island while being mostly disconnected, for some reason, from Khonshu. Maybe that was explained last issue, but I had so many books to read this week that there's no way I'm going to remember something like that. He and Marlene also have a nice moment, although it's written a little...weird.
I haven't been the biggest supporter of Burrows's art, and Ortego's colors here are good, I guess. It's all pretty average artwork, nothing like the last few runs of Moon Knight. Moon Knight usually gets lucky and has incredible artwork, so, perhaps we've just been spoiled in the past.
The Flash #43
Writer: Joshua Williamson / Artist: Carmine di Giandomenico / Colors: Ivan Plascencia / Letters: Steve Wands
At first during a point of this comic, I thought, "Oh, man, is the arc done already?" Shows what I know that I forgot I read next month's solicitations!
Indeed, the "Perfect Storm" arc continues on and I'm enjoying every bit of it, so the more the merrier, if you ask me. Whereas the last issue seemed to be painting Barry in this golden light, this time we get that stripped away and he's humbled quite a bit, since Grodd, and Barry, come to realize that his greatest strength and weakness is his family. It's good and consistent with the idea of the "Flash family," something that's been missing since the New 52 began and we're getting little hints about here and there.
Grodd is also proving to be the greatest threat to this rendition of the Flash so far, and I'm thoroughly enjoying what Joshua Williamson is bringing to the table regarding his voice and antagonism toward Barry. It's almost as if Grodd were the secret final boss all along, as this arc does feel like the culmination of disparate elements scattered throughout the arc: Godspeed, a Speed Force storm, Barry struggling with how he handles other speedsters, and Barry's inability to just defeat an enemy.
di Giandomenico has a welcomed return to the book here, and with a lot of speedsters running about this issue, we get him at his finest on this book. He's always at his best with that kinetic kind of energy, like with crackling lightning or things moving constantly at quick speeds. And it wouldn't be great art like that if there weren't great colors to back it up, and Plascencia continues the hotstreak.
Indeed, the "Perfect Storm" arc continues on and I'm enjoying every bit of it, so the more the merrier, if you ask me. Whereas the last issue seemed to be painting Barry in this golden light, this time we get that stripped away and he's humbled quite a bit, since Grodd, and Barry, come to realize that his greatest strength and weakness is his family. It's good and consistent with the idea of the "Flash family," something that's been missing since the New 52 began and we're getting little hints about here and there.
Grodd is also proving to be the greatest threat to this rendition of the Flash so far, and I'm thoroughly enjoying what Joshua Williamson is bringing to the table regarding his voice and antagonism toward Barry. It's almost as if Grodd were the secret final boss all along, as this arc does feel like the culmination of disparate elements scattered throughout the arc: Godspeed, a Speed Force storm, Barry struggling with how he handles other speedsters, and Barry's inability to just defeat an enemy.
di Giandomenico has a welcomed return to the book here, and with a lot of speedsters running about this issue, we get him at his finest on this book. He's always at his best with that kinetic kind of energy, like with crackling lightning or things moving constantly at quick speeds. And it wouldn't be great art like that if there weren't great colors to back it up, and Plascencia continues the hotstreak.
X-O Manowar #13
Writer: Matt Kindt / Artist: Ryan Bodenheim / Colors:Andrew Dalhouse / Letters: Dave Sharpe
I know I've been flip-flopping on Bodenheim's artwork here, and it's strange to say that this issue, the third one he's in, should be the one that I'm absolutely torn on. First I disliked it, then I liked it, and now? Well, I like half of it.
His art worked very well in the flashback scenes, as we finally (FINALLY) get to see the reasons why Aric left Earth in the first place and, yeah, it's definitely some pretty bad stuff. We also get resolution on what's going on with some of his people and his lover back on Earth. Definitely not something to stick around with, and it gives us a reason why he's so down and out in the first issue as well as Diviniy #0. Bodenheim's art works here to convey the emotion at play between all the characters involved; since nothing is really moving or needs some sort of scale, he's allowed to play with expressions and does so very well.
However, when we cut back to the fighting, the simplistic design of the bounty hunters once again comes back to haunt them and they really just seem more silly than anything else. I enjoyed the fight for what it is, but I think it should've been handed over to a different artist, like Giorello or Juan Jose Ryp. It needed that flourish and flare to it that Bodenheim, unfortunately, could not deliver.
Still, as it stands, this was a heartwarming and touching end to the chronicles of an off-world Aric of Dacia. I'll miss people calling him "Aric of Urth" and all that, but, it'll be interesting to see how much of his adventures carry over to what's going on back home, on Earth. There's apparently some serious drama left on the table with his ex, so, can't wait to see how that shakes up.
For what it was, this part of X-O Manowar's story has been little short of an epic and I think if you're curious about the Valiant Universe at all it is a great place to start. There hasn't been any other comic like it on the stands, and has continued to impress me with its rich story month after month.
His art worked very well in the flashback scenes, as we finally (FINALLY) get to see the reasons why Aric left Earth in the first place and, yeah, it's definitely some pretty bad stuff. We also get resolution on what's going on with some of his people and his lover back on Earth. Definitely not something to stick around with, and it gives us a reason why he's so down and out in the first issue as well as Diviniy #0. Bodenheim's art works here to convey the emotion at play between all the characters involved; since nothing is really moving or needs some sort of scale, he's allowed to play with expressions and does so very well.
However, when we cut back to the fighting, the simplistic design of the bounty hunters once again comes back to haunt them and they really just seem more silly than anything else. I enjoyed the fight for what it is, but I think it should've been handed over to a different artist, like Giorello or Juan Jose Ryp. It needed that flourish and flare to it that Bodenheim, unfortunately, could not deliver.
Still, as it stands, this was a heartwarming and touching end to the chronicles of an off-world Aric of Dacia. I'll miss people calling him "Aric of Urth" and all that, but, it'll be interesting to see how much of his adventures carry over to what's going on back home, on Earth. There's apparently some serious drama left on the table with his ex, so, can't wait to see how that shakes up.
For what it was, this part of X-O Manowar's story has been little short of an epic and I think if you're curious about the Valiant Universe at all it is a great place to start. There hasn't been any other comic like it on the stands, and has continued to impress me with its rich story month after month.
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