Bloodline Daughter Of Blade #1

 

Bloodline Daughter of Blade #1 is a fun opening installment of a new series. Think of Bloodline as a black Buffy, and you won't be far off. Like Buffy, she's just learning about her powers, and wondering how she fits in. But after a vampire attack on her and her mother, the latter informs her that she knows all about vampires.

"What? Mom! How could you know this might happen, and not tell me?"

This sets up an interesting dynamic as the story unfolds. There's also her friends at school who don't understand why she's suddenly dropping out of her extracurricular activities, and a new girl in town who will play an important role in Bloodline Daughter of Blade #2. The series also provides links to Black Panther, Blade, and perhaps even Dracula, so that's a lot to look forward to.

The coloring is fun--much of it in purples and pinks. While a little on the smaller side, the lettering is easy to read. This is a long read for a #1, but not overly talky. 

I haven't reviewed either the first or second issue. There's a lot I'm still learning about in the wonderful world of comics. But I'm keeping my eye on this series, and suggest you check it out. After all, you can never get enough of great vampire stories, can you?

For interior art, see the preview at Comic Book Dispatch.

Masters of the Universe Masterverse #2 Review

 

Masters of the Universe Masterverse #2 Review

Writer: Tim Seeley

Letterer: Deron Bennett

 

Framing Story

Artist: Eddie Nunez

Colorist: Rico Renzi

 

East Of Eternos

Artist: E. J. Su

Colorist: Michael Wiggam

 

Man-At-Arms-For-Hire

Artist: Victor Santos

 

Cover Artists: Eddie Nunez with Rico Renzi; E. J. Su; Victor Santos

Publisher: Dark Horse

Price: $3.99

Release Date: March 15, 2023

 

Absolute power corrupts absolutely. So Zodak, the Cosmic Enforcer, contends. Should Adam continue to wield the sword of power? Is he worthy? Let’s gaze into our multiverse portals at Masters of the Universe Masterverse #2 and find out!

 

FRAMING STORY

Story

Zodak contends that Adam has it easy. The Sorceress gave him the sword of power and guided him in its use. Thus, he must look to other versions of Prince Adam—other realities—before being convinced that Adam will not tip the cosmic balance between good and evil. Unlike the last issue, this two-page story suggests that Zodak not only weighs Adam's worthiness to wield power but also that of the Sorceress. I wonder: is Zodak on the level?

 

Art

The Sorceress, clad in her Falcon attire, stands upon a rocky outcrop and gazes at portals that float in space. She looks up at Zodak, seated like Thanos upon his hovering throne. In addition to his clawed feet, he also bears a gun. He raises the latter when proclaiming his intention to test Adam. Vibrant coloring enlivens this cosmic scene. While paying homage to the 1980s Filmation TV series, all the white stars shining in space and the intense purple void that gradually shifts from ultraviolet to magenta surpass the original animators’ capabilities.

 

 

EAST OF ETERNOS

Story

King Randor's Vizier, his blue-skinned brother Keldor, advised that a sword of power might aid Randor in conquering all of Eternos. Haughty general Prince Adam demands respect from Captain Duncan as they sail in search of this fabled artifact. He brings the thief Jitsu as a guide to the mythical isle of Grayskull. But those aboard ship--and ningyo fish that leap above the waves--are not alone in these uncharted waters.

 

Art

The Dreadnought Marlena Glenn sails upon rough, brown waters. Streaks of light pierce brown swirling clouds. A trace of red, low to the horizon, contrasts with the sea, sky, and the warship. The figurehead of a roaring Battlecat adorns the bow. Wind pushes the beige sails hung from three masts into convex shapes. Prince Adam, clad in plate armor, stands on the deck. He writes on parchment with a feather quill. Surrounding him--and beneath his feet--the wood gleams. Do the sailors scrub and oil all the woodwork daily to reveal such natural luster and grain?

 

As the story continues, colors grow more vibrant. Keldor’s intense blue skin outshines all else in Adam’s memories of the throne room. Pointed blue ears remind us of the Na’vi in Avatar, but the men's postures suggest Loki advising Odin or Wormtongue and Theodin. In the present, Captain Duncan attends Prince Adam, adorned in his traditional blue helmet and yellow. The few light rays piercing the clouds illumine Jitsu, clothed in red and gold. He wears a thick gold gauntlet like Thanos. Prince Adam and Jitsu emerge as larger-than-life gods among men.

 

Like the two stories in the previous issue, this first tale in Masters of the Universe Masterverse #2 reminds us of another popular Fantasy genre. After the Michael Moorcock/Robert E. Howard Swords & Sorcery tale, and the MAD Magazine spoof of issue #1, readers enjoy a Sinbad or Jason of the Argonauts-style legend. Superior art fuses with vibrant color in this beautifully told story.

 

 

 

MAN-AT-ARMS-FOR-HIRE

Story

Our narrator Duncan is no longer Man-At-Arms. Now he operates as a private eye. His assistant, the beautiful Ms. Powers, was once known as Evil-Lyn. Now she aids him in his cases. Darkness has fallen upon Castle Grayskull since Prince Adam disappeared while fighting Skeletor. Now King Randor has also disappeared. Orko blames himself for this latest mishap and hopes Duncan can find the king and return Randor to the throne. Duncan agrees to take the case, assuming Orko can pay his fee.

 

Art

Stark Black and White imagery remind us of the 1980s B&W indie revival. Lines and dots provide shading. Generous inking surround characters, form silhouettes, and shape backgrounds. Excellent composition and dramatic panel angles evoke classic Film Noir. A touch of humor shines light upon this dark tale. At times, scenes of High Fantasy blend with Judge Dredd-style imagery. After the rich color of Prince Adam's sea adventure, this striking B&W story blew me away. Dashiell Hammet and Raymond Chandler would be proud.

 

Final Thoughts

After a Filmation-style framing story, Masters of the Universe Masterverse #2 brings us a magical Ray Harryhausen sea adventure and a classic film noir detective story. Easy-to-read lettering, gorgeous art, and engaging stories make this issue a Must Read. Once again, Tim Seeley and company reveal the richness of Eternia and its characters in diverse and compelling ways.

 

Rating 9.6/10

To preview the Framing Story and East Of Eternos see my review at Comic Book Dispatch

Mary Jane & Black Cat #4 Review

 

Mary Jane & Black Cat #4 Review

Writer: Jed MacKay

Artist: Vincenzo Carratù

Colorist: Brian Reber

Letterer: VC’s Ariana Maher

Cover Artists: Paulo Sequeira & Rachelle Rosenberg; Alex Ross; Russell Dauterman

Publisher: Marvel

Price: 3.99

Release Date: March 8, 2023

 

Mourning Marvel’s Dark Web crossover? Then you’re in luck! While the Amazing Spider-Man series strides boldly into the future, time-travel back to see how Peter's two favorite gals escaped Limbo. Black Cat’s secrets interfered with Mary Jane’s powers, allowing a monster to capture them. What happened next to Peter Parker’s two favorite gals? Let’s descend into Mary Jane & Black Cat #4 and find out!

 

Story

Tasked by Belasco with retrieving the Soulsword, the gals hired S’ym as a guide. They know the demon will betray them if he gets the chance, but if they don't give Limbo's former ruler his beloved sword, Belasco won't regain the power to send them home. Mary Jane also gets mad at Black Cat for keeping her relationship with Peter a secret. Friends don't keep secrets from each other, right?

 

After the Dungeons & Dragons-style investigations and battles in the previous issue, Mary Jane & Black Cat #4 takes place in one geographical location, involves a fight with one monster, and covers one conversation. Still, Jed MacKay shares some profound insights on how relationships work, how we often hamper them, and the empowering nature of honesty. I liked how Black Cat's thoughts reveal her anxiety and doubts and how those complement her conversation with MJ. I also enjoyed how the relationship between the gals and their demonic tour guide evolves. An intriguing quandary near the cliffhanger ending left me wondering how MacKay will wrap up this hellacious miniseries. 

 

 

 

 

Art

Due to MacKay's story structure, Vincenzo Carratù and Brian Reber provide less-varied art in Mary Jane & Black Cat #4. Instead, we get panels and pages of our heroines fighting the monster guarding the Soulsword and dangling upside-down as they negotiate this impasse in their relationship. Like the Watcher in the Water guarding the entrance to the Mines of Moria, it grasps Mary Jane, Black Cat, and S’ym in its tentacles. "Tell your friend you’re sorry, Black Cat!” we cry. “And say it in Elvish!”

 

When Mary Jane ascended to the fullness of her powers, she reminded me of Marvel heroines like Medusa and Phoenix. It also made an interesting comparison with Sara Pichelli, Elisabetta D'Amico, and Matthew Wilson's Scarlet Witch. I appreciate how Carratù and Brian Reber capture our heroines in loving detail: expressive features combine with sleek proportions and fluid movements, and their hair sweeps through the air like in a shampoo commercial. S’ym brightens up the gloomy caverns, and not just with his glowing pink skin. Even the monster's eyes show hints of curiosity and fear. I almost wonder if it intends to harm or merely wants to play. Inside the Dark Tower, power sparks off a very hellish-looking Soulsword.

 

Ariana Maher devilishly differentiates the dialogue in Mary Jane & Black Cat #4. She shares Black Cat's thoughts in white uppercase letters in black narrative boxes. Dialogue balloons get red outlines to show strong emotion. Yet more intense dialogue makes the bubbles straighten and grow sharp edges. The monster's cries are bold, uneven immense letters. Sound effects help us hear its cries and feel the monster's concussive force. When she comes into the fullness of her power, I like how Ariana shows Mary Jane's dialogue as puffy clouds outlined in red. The new dialogue balloons contrast nicely with her luminous, spiky appearance. 

 

 

 

 

Final Thoughts

Mary Jane & Black Cat #4 may be all too short, but it glows with profound insights that could unlock the potential inside each of us. Who knows what we could all become—and how we might transform our world--if only we could trust each other?

 

Rating: 8.6/10

 

To view the preview at see my review at Comic Book Dispatch

Space Job #2 Review

 

Space Job #2 Review

Writer: David A. Goodman

Artist: Alvaro Sarraseca

Colorist: Jordi Escuin Llorach

Letterer: Mauro Mantella

Cover Artist: Alvaro Sarraseca

Publisher: Dark Horse

Price: 3.99

Release Date: March 8, 2023

 

Captain Olivier accepts cargo runs to keep out of battles. His Operations Officer wants to leave the service and become a drug rep. The Chief Medical Officer worries her marriage is falling apart. And will anyone ever fix that exploding chair on the bridge? Let’s shuttle over to Space Job #2 and find out!

 

Story

The admiral keeps trying to assign Captain Olivier to the Bungo Straits. Olivier hedges that newly minted First Officer Sheridan might pull through. The Chief Medical Officer can only shake her head when he calls her for an update on Sheridan's status. Poor Danny is dead, the victim of the exploding chair. Why doesn't Olivier get that? Strangely, she misses the connection between her husband's obsession with an alien artifact and his sudden lack of interest in her.

 

Why does the ship need a First Officer to complete a cargo run but not to join a battle squadron? Why would Helm Officer Rick MacIntyre tell Captain Olivier he bonded psychically with an alien entity yet not tell his wife? How could a crew be so dysfunctional? Well, consider who sits in the big chair. (The one that doesn't explode). Whatever you do, don't spread any rumors about Captain Olivier taking an extended detour to pick up a desk he won on eBay because that's not the case!

 

Art

Like a minnow swimming through space, the S.S. George H.W. Bush jets away from the space station Danny Sheridan once called home. Captain Olivier could use a haircut. He would benefit from more gym sessions. The Chief Medical Officer's features and body language convey her concern for her marriage. They also hint at her growing attraction to Operations Officer Travis Biggins. I wish artist Alvaro Sarraseca had distinguished the male members of the bridge crew more. I preferred how he visualized memories in the previous issue to Space Job #2's abrupt flashbacks. But I loved the box of Space Nuts cereal, and the scene when Rick MacIntyre found the alien entity reminded me of a scene in Galaxy Quest.

 

Colorist Jordi Escuin Llorach casts small shadows to suggest overhead lighting. Uniforms reveal texture, highlights, and shading. Light plays upon crew faces, altering skin color and revealing contours. Spaceship engines glow with radiance (even when the Chief Engineer has shut them down). Llorach makes panels, instruments, and monitors glow with radiant color in Space Job #2. But that's nothing compared to the kaleidoscope of color we glimpse through viewports or see in exterior shots of the S.S. George H.W. Bush.

 

Mauro Mantella makes uppercase letters more expressive in this second issue. Larger and smaller words, bold and italicized letters, sing an aria filled with emotion and intonation. Big White letters on colored panels identify locations, times, and officers. Sound effects help us hear Captain Olivier's plate break when it hits the floor and feel the explosion when the ship's former captain loses his life. I wonder about his missions and if he was a better officer than Olivier.

 

Final Thoughts

After a head-scratcher start, Space Job #2 gets this series moving. Don't expect anything in this story to make sense: half the fun is that it doesn't. Quirky, oddball humor enhances thoughtful character portrayals and an intriguing mystery. Captain Olivier may never command a starship on the Paramount+ network, but the luminous art evokes all the grandeur of TV shows like Discovery, Strange New Worlds, and Picard.

 

Rating 8.8/10

 

To view the preview art see my review at Comic Book Dispatch.

Assassin's Apprentice #4 Review

 

Assassin’s Apprentice #4 Review

Writers: Robin Hobb & Jody Houser

Artist: Ryan Kelly

Colorist: Jordie Bellaire

Letterer: Hassan Otsmane-Elhaou

Cover Artist: Anna Steinbauer

Publisher: Dark Horse

Price: $3.99

Release Date: March 8, 2023

 

A man awakens a boy in the middle of the night. His face is a map of wrinkles. He offers to teach him if the boy wishes to be a loyal servant to the king. The boy agrees without knowing what the man will teach him. What happens next? Let's delve into Assassin's Apprentice #4 and find out!

 

Story

Young Fitz lives in King Shrewd’s castle. He works for Burrich, the stablemaster. Fitz wears the royal seal, but the bastard wields no power. Old Chade offers to teach Fitz his trade. One proviso: Fitz must keep their lessons secret. Fitz has learned to keep his thoughts and feelings to himself. Chade expects the boy to question and make his own choices in life. But Fitz doesn't like the idea of killing people, and his growing penchant for questioning authority could get him into trouble.

 

Half of Robin Hobb's novel has passed in Assassin's Apprentice #4. While Jody Houser packs more narrative and dialogue into this issue than in her usual less-is-more scripts, I wish she had prefaced this issue with all that's occurred up to this point. A new reader has to piece this together on the fly and misses much, such as Fitz's journey to the castle and his magical talent.

 

Art

Ryan Kelly's detailed drawing breathes Robin Hobb’s 1990 Fantasy novel to life. We follow Fitz through a medieval castle filled with the royal family and their servants. While the occasional close-up may obscure background details, he lavishes backgrounds with wood and stone architecture and dresses rooms with tools and furniture. Aristocrats dressed in their finery stand before windows or canopy beds. Like Howl's Moving Castle, Chade's quarters need a good cleaning. When Burrich mentions Fitz’s father, Ryan brings the stablemaster’s thoughts to life within a stable filled with horses, hay, tools, lanterns, and saddles. Because of his efforts, we believe that Fitz is a young boy wishing to prove himself, who honors authority and values loyalty.

 

In Assassin’s Apprentice #4, Jordie Bellaire colors Ryan Kelly's page borders a smoky gray and individual panel edges beige. Her subdued color palette reminds us that light can be scarce in a castle or stable, particularly at night. She paints people and rooms blue in low lighting and adds purple for shading. Fires fill rooms with yellow and orange radiance (but they don't talk to Fitz, unlike Howl's fire demon Calcifer). When a character refers to someone not physically present, she employs a single color. There is magic in this world. Although writer Jody Houser doesn't explain it, Jordie shows it as intricate streaks of yellow. Thus, she enhances this comic's classic Prince Valiant vibe.

 

Letterer Hassan Otsmane-Elhaou relays the narrative with typewriter-style lettering on scraps of torn beige parchment. He presents dialogue in easy-to-read uppercase lettering classic dialogue balloons. He may not go as Old School to reveal thoughts as puffy clouds, but his pleasing font grows bold to express intonation.

 

Final Thoughts

It's been ten-to-fifteen years since I read Robin Hobb’s classic novel. Thanks to The Assassin’s Apprentice #4, I soon got a pleasant sense of Déjà (Thoris) Vu. It also reminded me of Steven Brust’s novels about Vlad Taltos, an assassin and crime lord who one day decides to change his life for the better. While I’ve read all his Taltos books several times, I've never returned to The Assassin's Apprentice or read Robin Hobb's eight follow-ups. Perhaps that time has finally come.

 

With its emphasis on learning and character, The Assassin's Apprentice #4 transports us to a Fantasy world populated by fully-rounded characters who wield magic as readily as swords. Avoid those who would mock you or heap scorn upon comic book adaptations. The wise reader will benefit from reading this issue. I may not be an assassin, but that's my creed.

 

Rating: 9.2/10

 

To view the gorgeous preview art see my review at Comic Book Dispatch

Spawn Unwanted Violence #2 Review

 

Spawn Unwanted Violence #2 Review

Writer: Todd McFarlane

Artist: Mike Del Mundo

Colorist: Mike Del Mundo & Marco D’Alfanso

Letterer: Andworld Design & Tom Orzechowski

Cover Artist: Mike Del Mundo

Publisher: Image

Price: 4.99

Release Date: February 22, 2023

 

A police horse injures a black girl. Spawn defies police orders to clear the scene. Meanwhile, the Freak hunts for clues to the deaths of children. Will virtue and truth emerge, or will chaos reign on Earth? Let’s dive into Spawn Unwanted Violence #2 and find out!

 

Story

In the first of these two interwoven stories, the Spawn causes the authorities no end of grief. The police wish to clear the scene. Spawn's televised passive resistance sparks protests nationwide. As the forces of Law and Order grow increasingly frustrated, their efforts become more and more extreme. They can't relent. They can't back down. Yet Spawn is an unmovable force. One of their attempts may remind readers of a humorous scene in Kenneth Branaugh’s Thor movie. A later move reminded me of the tragedy underlying the Bruce Willis movie The Siege. When does common sense give way to madness? The reader wonders as this story plays out.

 

Meanwhile, Freak searches for answers. The animated mummy ignores the law as he pilfers secret files and interrogates a government employee. Are agents of Heaven and Hell behind the poisoning and deaths of children? Sadly, no introduction or helpful footnotes help readers understand the scope of Freak's investigation in Spawn Unwanted Violence #2.

 

Art

Upper-and-lower case letters in black narrative boxes guide us through Spawn’s story. The narrator's voice seems intrigued and even amused by how events escalate. Lights spear through the early morning darkness, creating a colorful haze. What's so interesting is how light and color play upon the participants. At times, richly colored panels suggest a comic painted rather than drawn. At others, light suffuses scenes, leaving characters and objects flat. Bold upper-case letters in white dialogue balloons indicate intonation. Shouts make letters grow and turn red. Sound effects—when they arrive—merge with the art. They slice through the panel like a knife or fill the background with large, colorful letters. The mixture of styles and techniques in this issue reminds me of C.O.W.L., another Image series that muses how superheroes and traditional authorities sometimes clash as they attempt to keep the peace in troubled inner-city neighborhoods.

 

Compared with the luminous and atmospheric art of the first plot, we follow more traditional horror art as the Freak pursues his investigation. Darkness surrounds the skeletal detective; little light and limited colors paint rooms and corridors. Scrawls suggest wisps of hair. Are the circles on his skull injuries that never healed? The mummy uses pins and string to connect photographs and documents. Black upper-case letters in yellow dialogue balloons are unevenly spaced and don't quite line up. His posture and movements suggest dogged determination. Yet when—as Anakin Skywalker might say—he opts for aggressive interrogation—his swift movements stun, shock. There are reasons never to venture down dark alleys: the Freak is one.

 

Final Thoughts

At times, the Spawn narrative seemed excessive. The Freak story seemed overly violent, not directly related to Spawn’s actions, and poorly explained. Yet long after I read it, the two strands in Spawn Unwanted Violence #2 played through my mind as they merged, each building upon and emphasizing the other.

 

Clad in the robes of Black Lives Matter, this issue speaks to the mystery of government. We invest power in others for our protection. Yet we are shocked when they chose legalities over common sense and The Rule Of Law over safeguarding people. If only there were easy answers in the constant battle to reforming, maintaining, and preserving fair government for all.

 

Moody, atmospheric, haunting: Spawn Unwanted Violence #2 will live with you long after you read it.

 

Rating: 8.5/10

 

To view the virgin art for this cover see my review at Comic Book Dispatch

Star Wars #32 Review

 

Star Wars #32 Review

Writer: Charles Soule

Artist: Madibek Musabekov

Colorist: Rachelle Rosenberg

Letterer: VC’s Clayton Cowles

Cover Artists: Stephen Segovia and Rain Beredo; John Tyler Christopher; Peach Momoko; Luke Ross and Nolan Woodard; and Chris Sprouse, Karl Story, and Neeraj Menon

Publisher: Marvel

Price: $3.99

Release Date: March 1, 2023

 

Luke Skywalker, Princess Leia Organa, Chewbacca, Lando Calrissian, Lobot, and Amilyn Holdo are captives! Captain Blythe insists that they make their home among the Kezarat. Luke believes an ancient Jedi text—left aboard a ship ravaged by the Nihil Kill-droids—is necessary to rebuild the order. Can Luke reclaim the sacred Jedi writings? Can our heroes persuade Captain Blythe to help them try to return to the Rebel Alliance? Now climb aboard your ships, and may the force be with you as we launch into Star Wars #32 and find out!

 

Story

The Kezarat Colony is no Assyrian Empire, but this ragtag fugitive fleet has survived by capturing newcomers and dispersing them among their population. According to Blythe, all News waste time trying to escape No-Space. Yet Chewbacca, aided by suave, debonair Lando, convinces him to let them try. Blythe even lends them a wreck—assuming they can repair it—to attempt their scheme. Still, he takes a hostage while the rest make their desperate attempt.

 

After navigating road closures and traffic during a seventeen-hour drive, thanks to the storms that recently hit California, I can understand our heroes' determination to return home. Amid my exhaustion, Soule’s dialogue in Star Wars #32 tripped me up at times. I had to stop and concentrate on those sentences to understand the characters' intent. Still, I liked Lando’s assertion that Chewbacca’s modifications are why Han Solo’s “piece of junk” can make point five past lightspeed. Lando's growing relationship with Amilyn Holdo also appealed. But the selling point is the adventure in the second half, which reminded me of the Archie Goodwin's Star Wars comics I found on convenience store spinner racks a long time ago and in a galaxy far, far away from today’s storm-wracked California.

 

 

Art

Musabekov’s character depictions seem farther from their big-screen counterparts in Star Wars #32. Lando better resembles Donald Glover than Billy Dee Williams, and an even younger Luke brought to mind wonder-boy Doctor Zee sans the glasses he sported in Galactica 1980. On the other hand, our lovable cyborg Lobot seems closer to his appearance in The Empire Strikes Back, and the shadows that obscure Captain Blythe’s features give the cyclops a sinister appeal. Distressed walls, open crates, scattered tools, and snaking cables give rooms, corridors, and busy hanger bays incredible realism. Silhouettes lend small panels an extra punch, and the Kill-droids resemble Tony Stark’s desperate efforts to escape his captors in Afghanistan.

 

Star-filled space better resembles the Guardians of the Galaxy movies due to the coloring of Rachelle Rosenberg. Shadows fall on characters more naturally than in the previous issue. She keeps us focused on foreground conversation without obscuring Lando, Lobot, and Chewie’s eye-catching antics far, far away. Perhaps a few panels suffer from overexposure, but the way she brightens our heroes amid their spacewalks (and space fights) is a wonder to behold. Luke's lightsaber also cuts a brilliant swath through fight scenes that will leave readers on the edge of their seats.

 

Star Wars #32 is no five-minute read, but Clayton Cowles’ appealing font and large, uppercase letters consign eyestrain to Detention Block AA-23. Sound effects prove exuberant without distracting, and Chewbacca’s Shyriiwook grows large and bold, sometimes even breaking free of his white dialogue balloons. It seems Cowles has learned the wisdom of letting our enthusiastic Wookie win.

 

 

Final Thoughts

Can a Marvel comic ever capture the magic of George Lucas' original trilogy? As always, readers must make up their minds. Having joined their ranks with Star Wars #26, I find my interest growing with each issue. While our heroes don't have an easy time of it in Star Wars #32, their easily-relatable dilemma and their struggles to return home make this issue as much a triumph as finishing the Kessel Run in less than twelve parsecs.

 

Rating: 8.8/10

 

To view preview pages see my review at Comic Book Dispatch.

Scorched #15 Review

 

Scorched #15 Review

Writers: Sean Lewis & Todd McFarlane

Artist: Stephen Segovia

Colorist: Ulises Arreola

Letterer: Andworld Design

Publisher: Image

Price: 2.99

Release Date: February 22, 2023

 

Necro and Margaret Love have escaped Hell. Now they seek allies to bring their war to Earth. Will the tenuous unity of The Scorched hold against this new threat? Let’s dive into Scorched #15 and find out!

 

Story

Once Chenglei of the Sung Dynasty, now he is Mandarin. He deals death to his ghoulish servants for the slightest displeasure. Necro and Margaret Love face his wrath calmly, unbothered by his rage. They need the power he can summon, but woe to them if they double-cross him!

 

At the Black Fortress, Soul Crusher strives to forge peace between Medieval and Gunslinger, but the latter wants out. The group has not delivered on its promises. Like Black Widow approached Bruce Banner in the Avengers movie, She-Spawn may have secured Gunslinger’s participation, but now he wants out. It would seem that The Scorched was also a brilliant dream that faltered when Earth needed its heroes most.

 

Why isn’t Spawn here? Could he even keep them together? 

 

Art

Like Darth Maul, Mandarin grasps the pommel of a weapon with a fearsome blade at either end. He reminds me of Megatron from Michael Bay’s Transformers movies. Adorned solely in a red cape, this Terminator has shed his Arnold Schwarzenegger skin. Medieval stands proud in red-and-blue plate mail, even though he could fly away from Gunslinger with his white-feathered wings. A fusion of Soloman Kane and the guitarist Slash, Gunslinger's top hat and overcoat cover leather armor adorned with spikes, chains, and skulls. His glowing green eyes and fiery dark maw hold one entranced.

 

Segovia's art is detailed and refined in Scorched #15. It doesn't shout its presence. Yet it fills panels and pages with edged weapons, ripples of fabric, and shadows of skulls. Dust and dirt fly when our heroes clash. Closeups show reflections on armor, and background crosshatching lends depth. Arreola’s colors are never less than vibrant, and light sources add mood to dark interiors. The mauve sky and lavender, snow-covered hills suggest Castle Black stands at the boundary between our world and the next.

 

Upper-case lettering in narrative boxes and dialogue balloons has a large, easy-reading font. Gunslinger's white balloon is surrounded by gray. Instead of an arrow, a cross link Medieval to his dialogue balloon. Standard-issue yellow words on brown boxes ground us with the narrator's commentary, a hallmark of the Spawn series. Bold black and large red letters speak to each character's fury. This issue lacks sound effects, but you never feel their absence.

 

Final Thoughts

Jaw-dropping art and sumptuous color accompany a story bursting with intrigue and fury. The thunder of footsteps crashes through this issue, warning the reader of the approaching army. As the forces of evil ascend, The Scorched begins to fracture. More grounding in previous events would have helped add scope and meaning to this all-too-brief story. Full of sound and fury, The Scorched #15 impresses. It struts and crashes. If only it informed.

 

Rating: 7.5

 

To see both covers, see my review at Comic Book Dispatch.