Can we just start off with this? Today was a fantastic Wednesday. There was some seriously awesome stuff out today. I ended up going quite a bit outside of my normal pulls and I'm so glad I did. For the curious: SEX CRIMINALS #8 (Fraction, Zdarsky), WYTCHES #1 (Snyder, Jock, Hollingsworth) CAPTAIN MARVEL #8 (DeConnick, Takara, Loughridge), AMAZING SPIDER-MAN #8 (Slott, Gage, Camuncoli, Smith, Fabela) ROCKET RACCOON #4 (Young, Beaulieu), BATGIRL #35 (Stewart, Fletcher, Tarr, Wicks), HAWKEYE VS DEADPOOL #1 (Duggan, Lolli, Peter), and the subject for today's review the Comic Book Legal Defense Fund's LIBERTY Annual 2014 (Too many to list). Before I get down to the meat and potatoes:
Now for those sweet, sweet potatoes and meat. Today on twitter I learned about a book by Image presented by the Comic Book Legal Defense Fund. I'm a big supporter of CBLDF and I happened to hear that Kate Leth, one of my creator-crushes, had a piece in it. As my experimentations with "Lethbianism" increase, it seemed like a natural addition to my shopping cart.
The LIBERTY 2014 Annual is comprised of 14 all-ages short stories, each written and drawn by a different creative team. The stories revolved around the themes of freedom of speech and censorship. The additional pleasant surprise for me were the pair of stories, Damsel in Recess and Pinks and Blues, which spoke very directly about the issue of the gender binary (and how it should be smashed along with the rest of the patriarchy*). It was so great to see this topic discussed in my favorite medium and especially in a book designed to be accessible for all ages.
*The opinion of this author.
The wide variety of art and storytelling styles present in this issue is genuinely inspiring. I found myself feeling very much like the protagonist of Chris Eliopoulus's Black and White, dying to sit down with some paper and a pencil and get to work on my own comics. The back cover, a LUMBERJANES Pin-Up by Kate Leth, was the icing on the cake. (Lumberjanes? Kate Leth? literally nothing about this could be bad).
It's quite possible that this book gets lost in the shuffle of other books of supreme quality that came out this week, but I can't recommend it highly enough. Do yourself a favor and go buy a copy. Or 12.
Today was a great day for new #1's over at Marvel. We have the introduction of a new Thor, the Guardians 3000 team, Men of Wrath, and the subject of today's review: A new series fronted by Bucky Barnes, the Winter Soldier. James Buchanan "Bucky" Barnes, created in 1941 by Joe Simon and Jack Kirby, has seen a number of different identities over the years. First he was Captain America's plucky boy sidekick, whose death was a source of great angst for a number of years. Then the character was revived as the villainous, Soviet mind-controlled Winter Soldier in Ed Brubaker's seminal run on Captain America. After Steve Rogers' seeming death as a result of the Civil War, the Winter Soldier disappeared as Bucky took up the Captain America mantle. When Steve returned, Bucky sank back into the role of the shadowy Winter Soldier in a solo series written primarily by Brubaker. Fans hoping for more solo Winter Soldier would later be frustrated by The Winter Soldier: Bitter March, which would have been better titled Ran Shen: Bitter Disappointment. Finally, with a new series launched this month by writer Ales Kot and artist Marco Rudy, Marvel seems ready to capitalize on the light shone on the character by his appearance in the Marvel Cinematic Universe.
Bucky Barnes: The Winter Soldier drops us in on what our super spy friend has been up to since the events of Original Sin. Bucky has taken on the role of "man on the wall" from Nick Fury Sr., protecting the Earth from intergalactic and interdimensional threats before any of Earth's usual heroes knows there's a problem. Essentially, the Winter Soldier is doing what he's always done but in a place we've never seen him.
Blending the old with the new seems to be the driving force behind this book, both artistically and thematically. There is a lot of classic Winter Soldier Barnes in the writing. Ever since retrieving his memories Bucky has had a desperate need to make up for his past, using the skills he developed as an enemy to America. However, there is a lightness to the character that we don't often get to see, a little more relaxed humor than long time readers might be used to. In this outing Bucky is once again paired up with a female super-spy, though BuckyNat fans will be disappointed that the Red Room romance is not being revived. Daisy Johnson, ex-SHIELD director, has become Barnes new partner-in-crime. The pairing makes sense. Both characters are highly skilled spies with close ties to Nick Fury Sr., exiled for activities related to assassination. They should work well together, though a potential area of concern lies in Kot's avoidance of male/female team up tropes. There's no indication yet that romance is in the air, but it's something this reviewer hopes he desperately avoids (and not just because I desperately ship BuckyNat). Guys and girls should be able to have a working relationship without the romance being an implied necessity. Romantic entanglement is a dramatic device that seems played out.
There's a lot to love artistically in this book as well. One of the things that will stand out to readers of Brubaker/Guice/Epting Winter Soldier is the return of the gray, rounded captions for Bucky, a nice editorial/lettering decision to provide additional continuity. At the same time, the art overall reflects a dramatic shift from the gritty noir feel of Steve Epting and Butch Guice's time with the character. Marco Rudy replaces the clean lines and dark shadows of earlier Winter Soldier features with a much loose, impressionistic style that blends a rich, deep color palette with a design-heavy panel layout and distribution. The art is beautiful. Each page is a delight to look at, and the flow of each page encourages the reader to linger there. Unfortunately, some of that lingering is the result of having to figure out what's going on in the scene. The flow of speech balloons and panel designs sometimes contort the scene in confusing ways. Further, we never see a really clear, full-body shot of any of the major players. This does result in some confusion when moving between scenes. For example, when Namor shows up midway through the issue, I wasn't aware who Bucky was talking to until he actually said "Namor" out loud. That said, the page design and art generally are both beautiful and encouraging as the medium continues to evolve and take risks.
If I come across as harsh or overly critical, it is only because I want the book to succeed. Bold artistic choices and writing idiomatic for the characters should be allowed to shine through, without unclear design and tired tropes to distract from them.
Hey all. Here's where I finally get around to talking about last week's comics. Just in time for not getting this week's. It's going to be a bumpy summer. Last week's pulls were: ALL NEW X-MEN #26, AVENGERS #28, AVENGERS WORLD #5, SILVER SURFER, #2, AMAZING SPIDER-MAN #1, SERENITY: LEAVES ON THE WIND #4, BLACK SCIENCE #3, and a bonus copy of the 2nd printing of SEX CRIMINALS #5. I can't help but buy every printing of that book. Have you seen those covers?
Anyway, some thoughts. AMAZING SPIDER-MAN was good. Just about what I expected for the relaunch of the title. There's a lot packed in the issue and, as Kieron Gillen often does, Dan Slott has tossed several balls in the air. Catching all of them may be a challenge, but if he does we're looking at a fantastic book. I'm looking forward to reading more, especially the 1.X issues headed our way. I know many are skeptical about seeing a new take on the classic origin story, but I trust Slott to know what he's doing.
I found AVENGERS and AVENGERS WORLD to be a little lackluster this week. Hickman's writing has been hit or miss for me since he took over. Some of the stuff I've really enjoyed, but I feel as though everything since Infinity ended has been favoring cloak and dagger and obscurity over honest story telling. Both books this week seemed to skirt around really taking the stories anywhere. As AVENGERS and NEW AVENGERS begin to close in on each other, I expect we'll see some big flashy things, and I hope that I'll finally be able to make some sense of what's going on.
Of all the books I read over this last weekend, ALL NEW X-MEN had the most modern superhero comic vibe to me. There wasn't a lot of action, but there was plenty of drama. The characters all felt very real and their reactions towards each other seemed genuine and personal. Furthermore, it left me on a cliff hanger, needing to know what happens next. If there's anything that represents comic form, it's that. My one criticism is the one I always have of Bendis's writing. The man abuses the two-page spread. Seriously, next time you pick up a Bendis book count how many two page spreads there are throughout. It's astonishing.
SILVER SURFER was an impulse buy. Or rather, the folks at Vault of Midnight convinced me that I really needed to grab it. I will say that I love the art. The Allreds really have it going on. It's a modern comic, to be certain, but there is a certain cartoon quality to it that gives it a distinct retro feel. It was a lot of fun to read. I don't know a lot about the Silver Surfer, so it's hard to judge how Dan Slott is treating the character with respect to his previous incarnations. So far though, he seems like a guy I'd be interested in following. The twist in the story in this issue definitely has drawn me in and I expect Silver Surfer will end up on my pull list before long.
I remain as excited as ever about SERENITY: LEAVES ON THE WIND. Like most Firefly fans, I felt slighted with just the one season and a movie. I was thrilled to find there were comics to continue building on Joss Whedon's universe. LEAVES ON THE WIND feels right at home with the other SERENITY series, and I'm especially glad to have some content following the events of the film. I will say, however, that this book is definitely a little inside. In my opinion, you have to have pretty good knowledge of both the series and the movie to really fully understand what's going on. I've watched the series several times and the movie is one of my favorites yet I still feel a little lost at times.
BLACK SCIENCE #3... I probably won't write much. I'm trying to get caught up on it one issue at a time, so a review now is a bit late. I will say, it's a fascinating concept and by #3 I'm starting to get a really good feeling of depth to at least the main character. Looking forward to reading more.
SEX CRIMINALS... If you're not reading Sex Criminals already, another review is not going to help you. Go read Sex Criminals. Do it right now.
Wednesday again already? I swear I just did this 7 days ago. Today was really a fascinating day for me, comics-wise. I went into my LCS (Local Comic Shop, for the uninitiated) with the intent of trimming my relatively long pull list. ALL-NEW INVADERS was the first to go, but with a heavy heart. I love the Winter Soldier, I love Captain America, and I love Namor. But what I didn't love was the writing. When it came right down to it, I thought why should I spend $3.99 on a book with bad writing when I can spend $3.50, $2.99, or even $1 on a book and have a much more satisfactory experience? MIGHTY AVENGERS also got the axe. I've found its story to be winding and seemingly directionless and I thought last weeks big Ronin reveal was a huge let down. I do hope the book has fans though, it's not often you get to see an Avengers title that is composed almost entirely of people of color or women. I also felt I had to cut NEW AVENGERS. It seems to me that it's a good book (in fact I love the art), but every month I come to it thinking I will understand the story but I never do. That's on me. I jumped on too late and didn't bother to read the first 6 or so issues. I'll give it another shot in the trades.
The real high point of this week though had to be working with the staff at Vault of Midnight. Vault of Midnight is a huge store with a family feel, located on Main Street in Downtown Ann Arbor. (No, they did not pay me to write this). Nick, who is a personal friend, was more than happy to set me up with some more books he thought I would like. He did not disappoint. I ended up going back to Vault again to pick up a few more issues of one of the titles he recommended, and added two more to my pull list. Still managed to shrink the list by one I suppose.
Over all, my Vault Haul (boy that sounds vaguely poetic) consisted of the following: GUARDIANS OF THE GALAXY #14, SUPERIOR SPIDER-MAN TEAM-UP #12, SHE-HULK #1, and ORIGINAL SIN #0 from Marvel; LETTER 44 from Oni Press; and STARLIGHT #2, BLACK SCIENCE #2, ALEX + ADA #1-5, and the RAT QUEENS VOL. 1 TPB from Image.
RAT QUEENS was the real stand-out title for me. As an avid Dungeons and Dragons player and dungeon master, this fantasy masterpiece (yeah, I said it) takes a new twist on common pen-and-paper RPG tropes that is both delightfully vulgar and smart. Remember all of those bar brawls that started off your adventure when you sat around the dimly lit basement table with your D&D buddies? Well how might the story have gone differently if you decided to make a home in that town where you caused so much trouble? The adventuring party known as the Rat Queens consists of four, ethnically diverse women who include a lesbian among their number. It's possibly the most representative fantasy story I've ever seen, unless you happen to be a white male. Sorry white males, you'll have to go pick up basically any other book on the shelves if you want to see yourself as a hero. Furthermore, the diversity and depth of character represented in the first five chapters is more than I've seen in entire runs of other books. RAT QUEENS is smart, funny, mysterious, and more than a bit naughty. I highly recommend you pick it up, but be warned, it definitely earned its Mature rating.
From the back cover: "Who are the Rat Queens? They're a pack of beer-guzzling, death dealing battle maidens-for-hire and they're in the business of killing all the gods' creatures for profit. Meet Hannah the Rockabilly Elven Mage, Violet the Hipster Dwarven Fighter, Dee the Atheist Human Cleric and Betty the Hippy Smidgen Thief. This modern spin on an old school genre is a violent, monster killing epic that is like Buffy meets Tank Girl in a Lord of the Rings world on crack!"
I also thoroughly enjoyed the first five issues of ALEX + ADA. So much so that after reading the first issue, on Nick's recommendation, I ended up trekking back to Vault to pick up #2-5. ALEX + ADA is a new take on the classic "What would happen if we had Artificial Intelligence that became sentient?" It's full of the human fear and bigotry that one would expect, but this time we get to take the side of the robots in quiet rebellion. Alex, a rather lonely guy still coping with a hard break up (7 months ago? Come on man, move on) is gifted the most advanced, and expensive, android on the market by a well-meaning grandma. When he finds that she's just not quite human (duh) he wonders if she isn't capable of more. Enter sentience. I won't say more to prevent spoiling anything, but this is an excellent near-future sci-fi book worth checking out.
Wednesday means new comics so let's get right to it! Rather than the lengthy review I gave last week, I'd like to give short reports on some of my reads from this week. Today I picked up Deadpool vs. Carnage #2, Ms. Marvel #3, Superior Spider-Man #31, Thor: God of Thunder #21, Winter Soldier: The Bitter March #3, and Genesis.
Deadpool vs. Carnage was about what you would expect to see from a Deadpool title. I've enjoyed the excursions away from the Brian Poshen/Gerry Dugan main title (e.g. Deadpool Killustrated, Deadpool vs. Deadpool) and this one is no exception. Cullen Bunn is the man behind the last couple of Deadpool side-titles and has worked with the symbiotes before and he clearly has a good grasp on both characters. Carnage is also one of my favorite villains. I'm glad to see him getting more page time recently. Deadpool vs. Carnage is a fun, quick, blood-filled book that delivers what it promises.
Ms. Marvel continues to live up to the hype it began generating soon after its announcement. As Kamala tries to learn the nature of her powers she still feels like a teenager, almost worrying more about the ramifications of her late night partying than her new abilities. Kamala's relatability is one of the strongest points of the book and G. Willow Wilson does an excellent job bringing it out. I can't wait to see how this series develops. The Kamala Korps will surely be pleased with the latest installment.
Superior Spider-Man #31 is hard to talk about without massive spoilers. For those of you up on the series, #31 concludes the Goblin Nation arc and opens the way for the relaunch of Amazing Spider-Man. As much as it was a conclusion I didn't find myself particularly satisfied. While all of the surface level problems with the Goblin Nation are resolved, many of the much deeper issues resulting from the Peter/Doc Ock body switch are left almost entirely untouched. And with the first part of Amazing Spider-Man dedicated to the "Learning to Crawl" arc, I worry these problems are going to be swept under the rug. There are some really deep storytelling opportunities there for those with the stones to go for them.
Genesis was the book I felt most attached to this week. I've been hearing the hype from Alison Sampson's tumblr for months and it was great to get it in my hands and see it realized. The winding, allegorical story about a man who can make real anything he can imagines is perfectly captured by Sampson's surreal and fascinating art. It's not often that I feel like a comic book is smarter than me. Nathan Edmondson, who I know best from the recent Black Widow series, has a powerful ability to keep one spellbound and confused all at once. I definitely intend to reread Genesis several times. It's a book that I'm sure contains many more secrets and surprises for those willing to give it a deep read. I highly recommend picking this book up. Genesis is thick, filled with plenty of process art and no ads, well worth the $6.99 you'll spend to get your hands on a copy.
Hey everyone! It's New Comics Day! Today I picked up: ALL NEW X-MEN #25, MIGHTY AVENGERS #9, THE SUPERIOR FOES OF SPIDER-MAN #11, SECRET AVENGERS #2, IRON MAN #24, CAPTAIN MARVEL #2, DEADPOOL #27, AVENGERS A.I. #11, and IRON FIST: THE LIVING WEAPON #1. My first read for the week was the new IRON FIST and I was so impressed I made it the subject for this week's review. As always, I try as much as possible to keep my reviews spoiler free.
The All-New IRON FIST: THE LIVING WEAPON #1 is definitely a book that's all about contrast. Sudden style, color, and dialogue shifts dominate the pages and pull us in to Danny's world in an unexpected and delightful way. This was the lone spontaneous pick for me this week. I don't know much of anything about Danny Rand, or Iron Fist, except from select pages I've seen from the celebrated Fraction/Aja IMMORTAL IRON FIST. Grabbing it today was a matter of sheer curiosity and I wasn't disappointed.
The book definitely has some of its DNA from Fraction/Aja's run. Danny's inner monologue controls the narrative, getting through all of the exposition necessary for a #1 without dragging down the story too much. These captions are visually reminiscent of Matt Fraction's style, but the tone is much darker. The art pays homage to David Aja as well, favoring impressions over intense detail more often than not. A few times we're also treated to series of panels where Danny's face stays the same while details around him shift, something we see frequently in Aja's work on HAWKEYE.
All this aside, Kaare Kyle Andrews certainly makes the book his own. Starting with the fact that he is the writer, inker, and colorist, unusual for Marvel books these days. Doing so gives him the ability to really stretch his wings and integrate the art fully into the writing. A great example of this is in his sound effects. In several instances, simple onomatopoeia are transformed into dramatic visual elements on the page, contributing to the story rather than just explaining a sound in a silent medium.
Texture plays a major role in this book too. In the extended flashback sequences, we know we're in the past by the use of Ben-Day dot coloring, something of a rarity in modern comics. As an even greater treat, each page set in the past looks as though it has been folded and unfolded, crinkled, and beat up. No mistaking the time frame during these scenes. This is contrasted beautifully with the flat colors and crisp, clean designs of the pages set in the present.
With regard to color, Andrews makes some seriously bold choices that make the book exceptionally beautiful. His combinations of shades of red and black really pop off the page and set us up for a very gritty portrayal of Iron First. By contrasting these pages with the more muted colors of the flashback scenes we get a much sharper intensity in the present. The penultimate page, where we see how the past will come back to haunt Danny, there's a muting of the palette that bridges the gap and brings us full circle.
I would be remiss if I didn't mention Andrews' command of architecture and stunningly beautiful depictions of the moon. I hope to see plenty of wide cityscapes in this book because Andrews knows how to do it well. Some of the writing seems a little on the nose at times, but I think its difficult to avoid that in a new #1 for a well established character. I look forward to seeing where this book takes me.
There's still time yet today to get out to your local shop and pick up a copy! Don't know where your shop is? The Comic Shop Locator is here to save the day. You can also read digitally on Marvel's website or Comixology.
Pretty big day today for comics. Lots of new #1's from Marvel. I don't have time today to do an extensive review of any of my purchases, but I'm happy to list them and talk briefly about my thoughts. Today I bought: AVENGERS #27, AVENGERS ASSEMBLE #25, DEADPOOL #26, GUARDIANS OF THE GALAXY #13, HAWKEYE #18, INDESTRUCTIBLE HULK #20, NEW AVENGERS #16.Now, SATELLITE SAM #7, SERENITY: LEAVES ON THE WIND #3, SUPERIOR SPIDER-MAN #30, SUPERIOR SPIDER-MAN #11, IRON PATRIOT #1, and SILVER SURFER #1.
Today saw the end of AVENGERS ASSEMBLE. I was late to the game on this title, but I'm very sad to see it go. Kelly Sue DeConnick sent it off spectacularly, and the last page left tears in my eyes. The Trial of Jean Grey concludes today in GUARDIANS OF THE GALAXY. I thought it was an adventurous arc. Also, a great jumping off point for both series if you had previously only been reading one of the two books (as I had been). My one complaint is that Brian Michael Bendis uses two-page spreads too frequently and sometimes I get lost on the page. INDESTRUCTIBLE HULK also concluded an arc today, leaving us with the promise of a new book, HULK #1. I've been shaky on INDESTRUCTIBLE for awhile, so I think I'll hop off the train here. I am happy with how the current arc wraps up though. IRON PATRIOT has definitely caught my attention. I believe I'll start picking it up. SILVER SURFER also seemed promising, but I have little attachment to the character and a need to slim my pulls so I'm going to pass on it for now.
SATELLITE SAM has been a confusing ride for me. I think I need to reread the whole first arc to really get it, but these last two issues have been much clearer for me. SERENITY: LEAVES ON THE WIND I continue to be excited about as a series, but this issue left me a little confused. The last two pages had me wondering if I had missed something or if I had forgotten some part of the show. I'll have to confer with my fellow readers.
That's all for this week!
Hello Comic Fans!
Today I want to look at ALL NEW INVADERS #3, written by James Robinson, pencilled by Steve Pugh, colored by Guru-eFX, and published by Marvel. The cover art is by Mukesh Singh. ALL NEW INVADERS covers the modern day adventures of the World War II-era super hero team made up of Jim Hammond (the Original Human Torch), Namor: The Sub-Mariner, James "Bucky" Barnes (aka The Winter Soldier), and Captain America. Since WWII, the group had largely disbanded, with only Bucky and Captain America regularly fighting alongside one another.
I was first exposed to The Invaders through references in Ed Brubaker's run on CAPTAIN AMERICA (2005-2012). Through that volume, Captain America and Bucky Barnes became some of my favorite super heroes, and I was aching for more stories about their exploits during World War II. However, I have never been a fan of comics from the '60s and '70s (or even earlier) so I was left somewhat in a lurch. When ALL NEW INVADERS was announced I was very excited.
The first two issues of the run had a promising start, reintroducing Jim Hammond (who has been out Marvel comics since about 2005) and setting us up for the first arc. The art was flashy and explosive and the dialogue seemed crisp and put together. When I picked up comics this week, ALL NEW INVADERS jumped to the top of my queue.
I must confess that I was very disappointed with this particular issue. It begins with a flashback fight scene between Namor and Tanalth, High Pursuer of the Kree Empire, information we had suspected but hadn't yet seen. Robinson's characterization of Namor is spot on, he rants and brags unnecessarily about his battle prowess while fighting, displaying the character's well-known arrogance. After awhile though, all of the talking through the battle begins to be reminiscent of early Marvel comics. Talking heads during fight scenes is largely something modern comics have shifted away from, so it is a bit strange to see it occurring in a new series.
Unfortunately, the excessive talking doesn't just confine itself to the battle. The entire rest of the issue is filled with expository dialogue, describing in great detail the history of the principle characters. I can understand to a certain degree. This is a brand new series featuring a few characters who modern readers may not be entirely familiar with. But do we need to know that Namor used to be an Avenger and an X-Man? Or that Jim Hammond was once a West Coast Avenger? Neither of these facts enhance the story, but they take up valuable real estate on the page. Jim Hammond and Captain America spend a couple panels discussing the fact that Bucky is still a wanted man for his actions as The Winter Soldier. All of it felt like lampshade-hanging. In fact, that whole page is just a conversation explaining why they've decided to pursue action the way they have, while the good Captain and Jim share an espresso.
Meanwhile, Bucky has been set to locate Aarkus, the original Vision, an ally of The Invaders back in the day. Apparently the alien has been in hiding as a shape-shifted dog amongst the homeless. This is where it felt a little personal to me. When Robinson had to find a place for a scene involving the homeless, naturally he went to Detroit, Michigan. As a resident of southeast Michigan, I get a little sensitive when people start talking about Detroit. Yes, it's a city with problems. Yes, there are many without homes in Detroit. But the same could be said of many cities in the United States. It could even be said about New York, where 90% of Avengers stories are set anyway. It might even make sense that if Aarkus was interested in the ongoing exploits of Captain America, he could have stayed close by. But other than Hell's Kitchen, Marvel rarely shines a spotlight on any of the problems regarding low income or housing in New York. Detroit, on the other hand, makes numerous appearances as a center of poverty. This is certainly a personal bee-in-my-bonnet, but I don't like to see one of the most important cities in my home state regularly trash-talked.
After the obligatory backstory recapping of Aarkus, he shows up and agrees to help Cap and the other Invaders recover Namor from the clutches of the Kree. For all the explanation of who Aarkus was, I still didn't feel like I really knew him. I think they gave more time to explaining the principal cast, most of whom the general Marvel audience would have been better acquainted anyway. When asked if he would help, Aarkus responded "Of course, Captain America. We are brothers." Brothers they may be, but little in Robinson's dialogue helped me understand that.
Clearly I have a lot of complaints. My opinions on the book are not entirely negative though. Pugh is doing a wonderful job on the art. His panel distribution is unconventional and diverse and nearly every page bleeds to a certain extent. The huge 2-page spread where Aarkus and Bucky travel though Aarkus's "office" is beautiful and just a tiny bit surreal. Guru-eFX, whose name is all over right now, compliments both the story and and the pencilling with his coloring. Each scene has a distinct color palette which helps to distinguish between simultaneously occurring scenes on the same page.
Despite my negativity, I still have a lot of hope for this book. A classic team featuring three of my favorite characters, coming together to stop a weapon that controls gods? It's a great concept. The execution worries me though. I'm going to stick with it, and hopefully by the end of the first arc the exposition-heavy story telling will subside and we'll get more meat and potatoes dialogue.
E. Ross Ura is a writer, letterer, artist, composer, and blogger active in the Metro Detroit Area.