As one DC weekly series ends, another begins. And in an extra-large extra week of comics, one can only rely on one thing to pull them through all of the insanity: Gorgeous artwork.
Bloodborne #4
Writer: Ales Kot / Artist: Piotr Kowalski / Colors: Brad Simpson / Letters: Aditya Bidikar
The nightmare ends (?) with this issue of the surprise-hit Bloodborne. I've been a big fan of each issue that's come out and for my money, this one sends it off on an incredibly high note. It's not perfect by any means, but it manages to capture the heart and fear of anyone who played the original game. This issue is brimming with mystery, dread, and best of all, terror. Bloodborne relied on visual horror a lot of the time, but there are so many more times where existential dread or a sense of unease fell over the player just based on the environment they were in. This issue doesn't skimp on that at all.
Instead, it uses the new and old, the familiar and unfamiliar (even to people who have played the game) to entrance the reader. It's scares are legitimately frightening, and that's got everything to do with the excellent pacing of the comic as well as the incredible art on display. Piotr Kowalski delivers the best scare of the comic and it's one of the best scares I've seen in a horror comic. I worried at the start of the comic that this adaptation wouldn't be able to capture the horror of Bloodborne but this issue alone proves me devastatingly wrong.
I can't wait for the next part of this series to continue. I hope we pick up with another Hunter, since the story for this one ends on a great and ambiguous note that's true to the nature of the series. This is everything I wanted from a Bloodborne comic and is the best series I've read that premiered in 2018, and might be my favorite comic of the year so far.
Doomsday Clock #6
Writer: Geoff Johns / Artist: Gary Frank / Colors: Brad Anderson / Letters: Rob Leigh
It's ironic that just when I start forgetting this comic exists that it should put out its best comic yet. I was getting pretty down on the slow-moving plot of Doomsday Clock, how it would only deal with the Watchmen characters and their lack of interaction with players in the DCU, but this issue changed that drastically. One of the first scenes sets the stage for that quite wonderfully, picking up right where the last issue left and thankfully answering one of the lingering mysteries.
This book is also paced pretty well, finally making use of its oversized space to fit in as much as it can. As a result, when things begin to reach the climax of the story, everything is tense. Given the dark nature of the story that Johns has captured from the original Watchmen, things do get pretty harrowing and its unclear if certain characters are going to make it out alive or not.
There are a whole crop of new plot threads coming to light that are very intriguing or are eeriely remniscent of things we've seen. The stuff with Johnny Thunder is awesome, seeing Veidt hang out with a certain JLA member was the stuff we've been waiting for, and Black Adam's plot, to me, seems to have echoes of what went down in 52.
And I don't know what you want me to say about Gary Frank's art. It sucks that it's coming to us every other month now, but it's absolutely amazing. Every character is drawn with exceptional detail and he nails each of their principle designs with professional mastery. This remains to be arguably the best looking DC Comic on the shelves right now, even if it comes at the pace of a snail.
I also wanted to throw one final thing out there, just to have something to eventually point back to: I get the weird feeling that Dr. Manhattan is actually walking around as the Comedian. The real Comedian is dead and Jon has taken the form of the Comedian and is for some reason posing as him, possibly to prove a point. There's a certain string of panels that leads me to think of that where the Comedian performs some superhuman act. I could be reading it wrong, but I think this would explain how he knew where Veidt was so fast in Issue 2 and would explain why nobody has been able to find Dr. Manhattan since they arrived.
Green Arrow: Annual #2
Writers: Julie & Shawna Benson / Artist: Carmen Carnero / Colors: Trish Mulvihill / Letters: Deron Benett
The lead writers for the incredible CW show The 100 have finally arrived for their run on Green Arrow after doing a little diddy over on Batgirl, and this issue is the perfect bridge for them to jump characters, as Oliver and Barbs are the two focal characters of this entire comic and the Benson sisters do an incredible job balancing both and nail their modern voices down. Giving the two an extra-long issue to figure out how they wanted to handle Oliver's character was an excellent decision and whoever gave this Annual to them should get a pat on the back.
This was just an all-around fun story, highlighting just how effective a super-hero Green Arrow is in an alien invasion where the threat comes from Brainiac of all people. It also goes to show the range that GA has when dealing with threats: within the span of a few panels on the same page he transitions from roughing it up with Brick to taking on one of Brainiac's drone that even the Justice League, Titans, Teen Titans, and Suicide Squad struggled against. All with a bow and arrow...and a sick goatee. But the Benson sisters do well to highlight the human element, as he deliberately goes back to ensure the safety of a family before heading off on a high-priority mission.
Carmen Carnero does great with the action here, and the designs of all the characters. GA has his typical "Rebirth" look where Oliver has his old style but the youth in his face, but there are some good moments where the classic design pops up and it doesn't break up the action or feel of the comic in any way. There are some spectacular spreads throughout the issue, too, like when Oliver stumbles across some unconscious JLA members and, again, highlights his skills in battle and shows why, once upon a time, he was a premier member of the Justice League.
If the Benson sisters can keep this up (of course they can, have you seen how good The 100 is?) then the future is bright for Green Arrow. They've got the strongest start on the book since Lemire and Sorrentino back in 2013 (though not AS good...Green Arrow #17 remains one of my all-time favorite comics) and with great artists under their belt I think they can certainly bring the Emerald Archer back in the limelight.
Harbinger Wars II #1
Writer: Matt Kindt / Artist: Tomas Giorello / Colors: Diego Rodriguez / Letters: Dave Sharpe
I hope Tomas Giorello being on a major event comic is a sign that he's ready to catapult up to the big leagues because man does this guy deserve it. His artwork has never disappointed and just continues to astound me. This isn't an action-packed comic, but some of his panels are just absolutely stunning. Plus each character looks absolutely fantastic, and he and colorist Diego Rodriguez do well to capture them in their natural environments with classic looks. For pity's sake, they're able to give Ninjak his full design and color while still bathing him in shadow and making him look like a ninja.
Comics of this scale, of a scale that involves all the major players of a superhero team and world, need to have art that is of this quality if they are going to stand out and pronounce themselves as important. Yes, we've had Giorello's art before with events that are not technically so important; but, then again, he helped launch X-O Manowar and Ninja-K, two of Valiant's best books. Him being on Harbinger Wars II shows they have a real faith in him moving forward.
The story isn't quite as good as the art, though if that were the case this would be the best event comic to come out in a very long time. Most of this issue is set up for those that have only been reading books that involve the Unity characters like X-O and Ninjak, or that have been reading Bloodshot exclusive stuff, which is probably what most people are doing. Unlike the last Harbinger Wars, this comic involves the Psiots (basically Valiant's less-politically-charged equivalent to the X-Men) as well as members of Unity (minus the Eternal Warrior). But this one draws a much fainter line between hero and villain:
Livewire has gone rogue and knocked out the power across the United States. Unlike most comics where the superheroes immediately team up to unite against it, this time they're much more reluctant because, in their own series, they've considered doing similar things. And there's definitely this sense of "I'm not fighting for you, I'm fighting alongside you" that we get from Aric and Ninjak. Throughout all of it is the intrigue latent within Peter Stanchek (the most powerful Psiot that's not named Toyo Harada) and how he is awakening Psiots all across the country. It's certainly an interesting plot point and I think the real interesting dynamic is going to be when he encounters someone like Ninjak or Aric, as they raise a good point: as good as it is for these kids to have their powers, these are still kids that have flaring tempers and could pose a danger if not checked. Now, obviously, the situation is a bit tenser because nobody trusts anybody in the Valiant Universe, so we have ourselves an interesting power dyanmic at play.
Justice League: No Justice #4
Writers: Scott Snyder, Joshua Williamson, James Tynion IV / Artist: Francis Manapul / Colors: Hi-Fi / Letters: AndWorld Design
Franics Manapul is back BAY-BAY and boy does it show. This comic is arguably the best looking of the bunch as we get to see a whole lot of everyone here and it's just one hot mess of intense action. And while I don't exactly know what the heck is going on, it sure looks pretty, so that makes me like 20% more invested in the events. There are a bunch of interesting character dynamics at play, from Martian Manhunter consoling Green Arrow to Green Arrow getting to get some action in alongside Hal Jordan to Green Arrow continuing to deal with Amanda Waller...
Huh, this comic has a surprising amount of Green Arrow in it. GOOD.
Now, like I said, it's pretty uncelar what needs to go down in order to save the world: pretty sure they basically need to trick the giant Omega Titans that they want to kill each other and have to invert their own universal emotions (or whatver it's called) back on each other. It's a whole lot of mumbo-jumbo by the end that results in: trick the space gods! Which is cool, because this is what makes superhero comics fun. Lots of tricks are pulled out of lots of hats, and in the end, it's just fun, and that's what matters.
What we're left with at the end of these fours weeks is a fun, messy story that sets up the next era for the Justice League, and I'd be lying if I said I weren't excited. This comic teased the League having an expanded roster, unlike how it's been for the last seven years, which is great. We also got to have Green Arrow in the limelight for a lot of it, and I'm never going to complain about that. Also Manapul's art throughout, even when it came in small bursts, was to die for.
Marvel 2-in-1 #6
Writer: Chip Zdarsky / Artist: Jim Cheung / Inks: Walden Wong / Colors: Frank Martin / Letters: VC's Joe Caramagna
My God this week was good with art. JIM CHEUNG ladies and gentleman. If my favorite book of the week were judged strictly on art there wouldn't even be a competition. He crushes it with this issue, which is filled with cosmic bombast and battles on an epic scale. It was wise to keep him held off until this issue after his break since Issue 2. Everything just looked amazing in terms of scale and design, and it was definitely with Frank Martin's excellent coloring that things came together. I've always loved how the two collaborated to bring life to Iron Doom's designs and colors and it comes back strong here. Walden Wong's touches also help a lot to give the characters definition when need be, like the slower moments (few as there are).
Zdarsky turns in probably the best finale he could've given this opening struggle of the comic. It's true to our three Earth-616 characters in every way and he just kills it in terms of Dr. Doom's characterization. Every twist in turn in the comic felt so natural to him and it was awesome to behold. I also really enjoyed the dynamic between he and this Earth's Reed Richards as he tried to find a way for the two to just work things out for once, especially in the face of what Dr. Doom could eventually become (and, unknowingly to that Reed, DID become).
I am a bit let down that Zdarsky was not chosen to write the upcoming return of the Fantastic Four, but the fact that he'll be continuing with this story has me hopeful. This is my favorite Marvel comic out right now and I hope it continues this upward turn. If Zdarsky can keep it up with his voice and overall tone, then I think we have nothing to worry about.
Spider-Gwen #32
Writer: Jason Latour / Artist: Robbi Rodriguez / Colors: Rico Renzi / Letters: VC's Clayton Cowles
If it weren't obvious at this point that Spider-Gwen was coming to an end then the sign's of it's closure are written all over the wall in this one. This sees the resolution to three major character arcs that have been present since the book began in 2015 even before Secret Wars put it on pause. While Gwen's characterization comes off a bit brooding and boorish at times, the Mary Janes really step it up this comic and show why they've been such an emotional core to the comic for so long.
Having Gwen's secret in the open for everyone to know also helps bring about some closure to the book because it kind of means it's all or nothing for the comic at this point. Gwen has to do whatever she can however she's able to before the law eventually catches up to her. Basically, she needs to go out on her own terms, and it's interesting to see how she copes with this given how she's still bonded to the ever-danger and ever-present power of the Venom symbiote.
Rodriguez's art is a bit tame at the start of the book, and some of the designs and looks he gives the girls feels a bit off compared to the rest of the series, but when Gwen confronts Murdock things pick right back up to normal and it's cruising like normal from there. I swear that he and Rico Renzi also return to some of the original background styles they'd use in the book's early days, and given what was going down in the story, I was totally down for it. It worked well and overall the art continues to fit the tone and feel of the comic. What more can you ask for?
The Man of Steel #1
Writer: Brian Michael Bendis / Pencils: Ivan Reis, Jason Fabok / Inks: Joe Prado, Jay Fabok / Colors: Alex Sinclair / Letters: Cory Petit
Brian Michael Bendis's first official foray into DC Comics has finally arrived! Starring: Rogol Zaar, Firefly, and Superman! Kind of an odd cast, but, whatever.
Nah, obviously there are more characters involved, including a few new faces, like firewoman Melody Moore, who will no doubt have an important role in the story going forward, seeing as how she is a BMB creation (I think, I don't recognize her name from previous Superman lore). But Bendis does well to give us each character's voice and motivation, like the probable villain Rogol Zaar, who doesn't seem to be all evil, but rather all misguided. He's blinded by ambition, but possibly open to reason, which is kind of unique amongst Superman's villain gallery with traits similar to him.
Speaking of, Bendis does a really good job to capture Superman and Clark Kent's mannerisms throughout the comic. Clark is a stuttering, but smart, reporter while Superman is just brimming with confidence and quips throughout. It's pretty awesome and it's a strong start for Bendis's coming run on the character. The story is mostly setting up the mystery of what's going on in Metropolis and how such a major fire could get started with so few people having a lead, including Superman, and sets up a mystery as to why Superman's family is conspicuously absent.
Having someone like Ivan Reis draw the first issue was also a remarkable choice. He's an incredible artist and gets things going strong here. He's paired with an excellent colorist, too, in Alex Sinclair, who brings great highlights to many character's features and costumes. Joe Prado also shows stellar work with his inking in the arson scene, giving everything an extra layer of shadow. I should also mention Jason Fabok does the art in the final two pages and it's a jarring change, but it's not bad by any means. Although now I wonder if this is gonna be a thing, that each artist for the coming issue handles the art for the final two pages? We'll have to see.
Warframe #5
Writers: Matt Hawkings, Ryan Cady, Cam Rogers & Ryan Mole / Artist: Studio Hive / Letters: Troy Peteri
Seeing as how I read every other issue of this comic due to short availability at my LCS I can't really tell you what the story is other than it maybe is gonna get a continuation and there is some weirdly paced fighting in this comic. I'm not really sure what the deal is with all the characters or why one of the Tennos can talk, but, whatever.
All I know is that Studio Hive kills it on the art and that's basically been the highlight of the comic throughout the run anyway. About halfway through the comic I gave up trying to follow what was going on, since that wasn't gonna happen, and just looked at the pretty pictures. I think that was the wise move, to be honest.
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