Masters of the Universe: Masterverse #1

 

Cover A by Eddie Nunez

He-Man and the Masters of the Universe enlivened the 1980s with a memorable cast of characters through comics, a TV series, a children’s toy line, and a live-action big-screen movie. Does Dark Horse Comics’ new series honor the rich heritage of this fabulous franchise? Let’s leap into Masters of the Universe Masterverse #1 and find out!

 

Masters of the Universe Masterverse #1 Review

FRAMING STORY

Writer: Tim Seeley

Artist: Eddie Nunez

Colorist: Rico Renzi

Letterer: Deron Bennett

 

Story

In this two-page opener, He-Man defends Castle Grayskull against the latest attack by Skeletor’s forces. New to his power, he regrets that he must relinquish it and resume his duties as Prince Adam. This incident causes Zodac, the Cosmic Enforcer, to doubt Adam's worthiness. He shares his concern with Sorceress Teela-Na, wearing her Falcon headdress from the TV series.

 

This story evokes the look of the TV series, introduces the characters, and raises the stakes for Adam's future as He-Man. I didn't understand the logic behind looking at Adam's counterparts to judge whether he was worthy. Isn't the point of a multiverse that an individual will make different decisions in each? Their choices and actions shape their characters in different ways, leaving some heroes, and others villains, as in Star Trek’s Mirror Mirror stories.

 

Art

Expressive and appealing characters battle, talk, and channel vibrant power. Mirror-like portals reveal scenes in alternative universes. Backgrounds ground the scenes well. Minimal shading and a single silhouette combine with vibrant and graduated colors.

 

Beige narrative boxes set the scene. Only Skeletor’s words and dialogue balloon differ from the other characters’ uppercase lettering in spherical white orbs. Dynamic sound effects give this Filmation-like world an added punch.

 

Cover B by Kelley Jones

 

 

CURSE OF CASTLE GRAYSKULL

Writer: Tim Seeley

Artist: Kelley Jones

Colorist: Brennan Wagner

Letterer: Deron Bennett

 

Story

A wizard has cast Castle Grayskull into darkness. Everyone who lived nearby has fled. On a mission to the border villages, Skeletor’s forces attack Prince Adam, Captain Teela, and Court Jester Orko. Adam runs into the forest to draw the attackers away. Monsters attack him in the castle vicinity. Yet he doesn't call upon the Sword Of Power. When he finally does so, we understand why.

 

Initially, I found it hard to relate to the hunted Adam of this Mordor-like land. Yet this nine-page story in Masters of the Universe Masterverse #1 passed all too soon, finishing with a mind-blowing Moorcockian reveal. This version of Adam may not resemble the hero from the TV series, but the ending showcases his maturity and bravery. Although not present, Teela emerges as a cold, calculating soldier.

 

Art

The buildings, interiors, antagonists, skeletons, and statues remind me of a Mike Mignola story. These scenes bring to mind Robert E. Howard’s tales of Conan battling monsters in cemeteries, dungeons, and labyrinths. Kelley Jones’ inking, crosshatching, and stippling lend texture and mood to Adam and his surroundings. Sadly, two key panels failed to communicate the artist's intent.

 

Brennan Wagner’s vibrant colors prevent scenes of stunning penciling and inking from becoming impenetrable. Because so much of the color palette hails from the purple-to-pink area of the color wheel, Orko’s appearance fails to cast us out of this Hellboy-like world. Sources of light, when they appear, are both sinister and joyous.

 

Tim Seeley gives us plenty of narrative boxes in Curse of Castle Grayskull, saving most of the dialogue for the final pages. Deron Bennett helps us hear Orko’s voice by adding red musical notes to the hovering court jester’s white dialogue balloons. Sound effects are even more energetic and creative than in the first story.

 

Cover C by Sergio Aragonés

 

 

HE-MAN THE LOST

Writer: Tim Seeley

Art: Sergio Aragonés

Colorist: Rico Renzi

Letterer: Deron Bennett

 

Story

After a series of great wars that have reduced the land to the Stone Age, Skeletor assembles a sword that makes him unconquerable. When Eternia’s heroes cry out in despair, a Sorceress adorned with a snake headdress travels the land in search of a champion. She bestows powerful weapons upon a bored young man. Can he use her gifts—relics of a technologically superior society—to restore peace to Eternia?

 

After the somber, brooding Curse of Castle Grayskull, this eight-page story in Masters of the Universe Masterverse #1 lightens the reader’s mood with comic relief. Skeletor shows off his wit and maturity with memorable lines like “See ya, suckers” and “Suck a fart, Eternia!” He-Man may not win the day by his wits, but he shows bravery through his willingness to stand up to a powerful foe and settle for a peaceful resolution.

 

Art

Artist Sergio Aragonés delivers the energetic and dynamic sketching devoted Groo fan expects. He crams panels full of heroes and villains, animals and magical creatures, and a host of armed and armored vehicles. Rico Renzi’s colors seem more muted, and he adds grey to suggest depth. He also colors the sorceress green, as she appeared in the first mini-comic that preceded the TV series. Letterer Deron Bennett makes his sound effects suitably cartoony, and Skeletor’s italicized words appear in shaky dialogue balloons, adding even more energy to scenes that most definitely do not suck.

 

Final Thoughts

Dark Horse Comics’ Masters of the Universe Masterverse #1 recalls the innocence and wonder of the 1980s comics and movies. By exploring two alternative versions of Eternia, this issue celebrates the qualities of a true hero. A vibrant final page wraps up the framing story and excites us with glimpses of future stories.

 

Rating: 8.5/10

 

To see the preview art, see my review at The Comic Book Dispatch

Unbreakable Red Sonja #3 Review

 

 

Unbreakable Red Sonja #3 Review

Writer: Jim Zub

Artists: Giovanni Valletta & Adrian M. Garcia

Colorists: Francesco Segala & Agnese Pozza

Letterer: Carlos M. Mangual

Publisher: Dynamite

Price: 3.99

Release Date: February 8, 2023

 

Although I haven't read many Red Sonja comics recently, I'm fond of the Hyborean flame-haired She-Devil. So when the opportunity came up to review Unbreakable Red Sonja #3, I welcomed the chance to revisit one of my favorite heroines. Can Dynamite's latest installment equal the excitement I felt pulling Marvel's Red Sonja comics off the spinner racks back in my youth? Let's leap into Unbreakable Red Sonja #3 and find out!

 

 

 

Story

After a three-page prologue about a woman trying to channel the power in a magical artifact, we find Red Sonja and a red-haired girl riding a horse through the desert. They’re fleeing a monster—what the narrator c a terrifying, spectral creature--and Sonja is bleeding. When she falls from the horse, the girl cannot control it. So their unfaithful steed abandons them in the barren hill country.

 

I enjoyed the interplay between Red Sonja and the girl in writer Jim Zub’s story. First, the girl cares for Sonja, then Sonja mentors the girl. Unlike Prince Tarn in the 1985 Red Sonja movie, the girl sees little hope for a bright future. Sonja instructs her in weapons use, and when the passion and rage rise to the fore, she counsels the girl to master them to gain a tactical advantage. Thus, the girl proves a worthy partner when danger arrives. 

 

 

 

I must admit: on two occasions, Jim took me out of the story. First, Red Sonja refers to someone sneaking up on her with murderous intent as assassination. While Sonja may have occasionally acted as a queen, the word seems out-of-keeping with a warrior maiden whose heart calls her to the life of a wandering sword-for-hire. The second time was one of the rare instances involving sound effects. While I've never fought using knives or swords, I felt Jim's use of FWIP FWIP belonged more to Marvel's Spidey-verse than Robert E. Howard's Hyborean age.

 

 

 

Art

The penciling and inking seem detailed and refined in the prologue. Then it seemed to relax after the first page covering Red Sonja and the girl. Features seem more simply drawn, yet Red Sonja and the girl often look more pleasing. Stippling and cross-hatching add shading and depth. When the two reach an ancient city, the penciling seems to grow sharper and refined before returning to the more relaxed approach that dominates this issue. It's not a drastic transition between the two styles, but it is noticeable.

 

Only at one point did the illustrators pull me out of the story. Red Sonja sees a symbol within a circle on an old building in Lhasiri. The narrator states that this symbol is also on the guards' armor. Yet the artist drew empty circles on the armor.

 

 

 

Francesco Segala and Agnese Pozza enhance Giovanni Valletta and Adrian M. Garcia's art with lush green forests, beige and tan wastelands, and of course, the protagonists' flame-red hair. Sunset casts fire into the sky, and the land reflects its burning. Art and coloring merge in the final sequence to remind me of the eerie atmosphere in a Hellboy comic drawn in Mike Mignola's inimitable style.

 

Conversations appear in spherical dialogue balloons. Carlos M. Manual frequently emphasizes uppercase words with larger bold lettering. The narrator's voice reminds me of Akiro, the wise old wizard in Arnold Schwarzenegger’s excellent first Conan movie, who eventually became the Shadizar court advisor in the less-excellent sequel. His words appear on scraps of yellowed parchment, vellum, or whatever passes for paper in Robert E. Howard's Hyborean age.

 

 

 

Final Thoughts

Noticeable differences in art merge with vibrant color in Unbreakable Red Sonja #3. Despite a few distractions, I found it easy to follow the action, and the cliffhanger ending left me hungry for more. Filled with relatable characters and atmospheric all-ages art, this latest installment in the fable franchise proves worth pulling off comic shelves or convenience store spinner racks.

 

Rating 8/10

 

P.S. To preview the interior art for Unbreakable Red Sonja #3, check out my review at The Comic Book Dispatch

The Art of Vampirella

 

Lately, I've been sharing Vampirella art on Twitter. I like the ambiguity of the character. Yes, she's a vampire. Yes, she drinks blood. But she's a superhero. Like Spider-Man, she's got great power, and she uses it to go after the bad guys.

Okay, she's not Spider-Man. Forget I said that.

 

Anyway, Vampirella's been on my mind lately, for whatever reason. And it's fun to share great art. Twitter seems like an effective forum for that. Through the use of hashtags, people all over the world can also enjoy beautiful Vampirella art, whether or not they see the wisdom of following me at @DavidDunham_DC.

 

 

This volume from Dynamite Comics is stupendous. Weighing in at 250 pages, you get loads of Vampirella art. Plus, they throw in a little of the character's publishing history as well.

 

As Paddington would say, it's very good value indeed.

And yes, I know, Vampirella is not Paddington Bear. No hard stares, please!

Dragon Dave

Star Wars: Darth Vader #31 Review

Darth Vader #31 Cover by Rahzzah

 

This review originally published on The Comic Book Dispatch.

Darth Vader #31 Review

Writer: Greg Pak

Artist: Ibraim Roberson

Colorist: Federico Blee

Letterer: VC’s Joe Caramagna

Publisher: Marvel

Price: 3.99

Release Date: February 8. 2023

 

Dormé, Rabé, Saché and Eirtaé once served Queen Padme on Naboo. Now they help Darth Vader rescue Sabé from rebel leader Jul Tambor. Can these former royal handmaidens free their friend without falling under Vader’s influence? Let's dive into Darth Vader #31 and find out.

 

 

Story

Plagued by memories of their final meeting on Mustafar, Darth Vader wishes Padmé had helped him overthrow Palpatine and rule the Empire. So on the planet Brentaal, separated from Sabé, Vader strives to win her friends' loyalty. As he once reasoned with her, he shares his wisdom with them and uses them to battle Jul Tambor’s droid forces. All the while, he argues how much they could accomplish together. Fraught skirmishes lead to an explosive final battle until evil writer Greg Pak leaves the reader on tenterhooks. 

 

 

All this reminds me of how hard Anakin worked for Padmé to forge the life he wanted in Revenge of the Sith. As Vader argues with her friends, battles Jul Tambor’s forces, and strives to rescue Sabé, I wonder if he now sees her as his life partner. Vader's determination makes me remember how Palpatine manipulated the Jedi Order and an entire democratic republic into a war that killed billions and still rages on. 

 

Had Padmé stood beside him, could he have overthrown Palpatine and forged a government that would prevent events such as the blockade of Naboo in The Phantom Menace and the current rebellion led by Jul Tambor, the grandson of the Techno Union leader Anakin killed on Mustafar?

 

Sabé’s friends remind me of Luke in Return of the Jedi as they refuse to be swayed by Vader’s arguments. But how can they not doubt their preconceptions when he makes so much sense? Might Sabé--won over by Vader's arguments--become the partner that Padmé couldn’t? Or has Vader used Jedi mind tricks to make her his puppet? Perhaps regular readers can better answer those questions than I can, having started this series with Darth Vader #31.

 

 

Art

Volcanic fire warms Anakin and Padmé’s features as he reasons with her on the planet Mustafar. Her features soften until she melts in his arms. Words encased in a red rectangle within black panels reveal Vader’s heartbreak that their final meeting ended differently. Unlike at the end of Revenge of the Sith, we see Vader rage within his armor as he realizes he has lost Padmé forever.

 

 

On the planet Brentaal, Vader marches from his shuttle down a verdant hill, the handmaidens and a droid arrayed around him. Hints of pink tinge the cloudy sky to suggest the danger to come. A small building surrounded by speeder bikes reminds us of the much larger Massassi Temple on Yavin 4, from which a smaller fighting force overthrew Grand Moff Tarkin and Darth Vader’s Death Star. 

 

Inside, Vader reasons with the women as he once did Padmé. A bald Umbaran--reminiscent of Count Dooku’s apprentice Asajj Ventress from TV's Clone Wars--aids him. Her gravelly voice echoes off textured metal, angled surfaces, and dark wall areas illumined by glowing instruments. Holograms bring Vader and the Umbaran’s arguments to life.

 

 

Explosions transform walls into debris-spewing infernos that reflect their radiance on people and interior surfaces. Blaster fire temporarily illumines the smoky haze of battle and pales before the intensity of Vader's lightsaber. We often view the four handmaidens in off-angle panels, making us wonder if they can resist Vader’s influence.  

 

Darth Vader #31 40th Anniversary Return of the Jedi Cover by Chris Sprouse

 

Jul Tambor’s green skin, bronze armor, and blue clothes and cape reinforce his commanding presence. The rebel leader unleashes panels filled with more dangers and energy than in any scene in Revenge of the Sith. Yet nothing threatens Vader’s power in Darth Vader #31. Everything—his words in black dialogue balloons, his gestures that direct the Force, and every sweep of his lightsaber—emphasizes his overwhelming power and authority. 

 

Darth Vader #31 Black History Month Cover by Mateus Manhanini

 

Final Thoughts

This issue will test everything you thought you knew about Star Wars. No bad acting, unbelievable special effects, or humorous “Roger rogers” will distract you from Vader’s persuasive arguments or the intense battle sequences. Atmospheric and detailed art visualize this gripping battle of wills that could change the future of the Star Wars universe. Darth Vader #31 reminds us of the allure of leaders who promise to end the unfairness and create a better, more equitable world.

 

Rating 9.5/10

Space Job #1 Review

Space Job #1 Cover by Alvaro Sarraseca

 

This review originally published on The Comic Book Dispatch.

Space Job #1 Review

Writer: David A. Goodman

Artist: Alvaro Sarraseca

Colorist: Jordi Escuin Llorach

Letterer: Mauro Mantella

Publisher: Dark Horse

Price: 3.99

Release Date: February 8, 2023

 

After working on a space station for five years, assistant chef Danny Sheridan receives orders to transfer to the S.S. George H.W. Bush. Will serving as First Officer aboard a spaceship prove as satisfying and rewarding as he dreams? Come aboard Space Job #1 with me and find out!

 

Story

We share Danny's anticipation as he watches his new ship approach. It may look no more impressive than Commander Quark's garbage scow, but Danny can't wait to join the crew. Nor can he wait to flex his new power. Rank hath its privileges, after all. If he doesn't like what he finds there, he'll make reforms!

 

Who doesn't enjoy watching someone realize their dreams? Sadly, the story abruptly shifts gears. A few pages pass before we find our feet. We follow Operations Officer Travis Biggins, who believes he should have become First Officer. Captain Olivier reprimands him for things Travis believes are not his fault. The beautiful Chief Medical Officer doesn’t return his feelings. Unlike Danny, he doubts the space service will deliver on its promises.

 

By the end of the story, the reader may share Travis' doubts about the worth of spending more time aboard the S.S. George H.W. Bush. There’s certainly something going on here, but what? Writer David A. Goodman laces his subtle storytelling with deadpan humor. There’s also a mystery to explore. But will the reader care if the crew doesn’t? The cover art speaks volumes about the general atmosphere aboard this crazy ship.

 

Art

I appreciated Letterer Mauro Mantella's large upper-case font. Even when characters lower their voices, the font doesn't shrink much. Mauro reveals characters' thoughts through colored narrative boxes, and dialogue with pleasingly spherical balloons. I wished Mauro had provided more sound effects and stressed the occasional intonation with bold lettering.

 

Exterior space scenes evoke the awe of 2001: A Space Odyssey. The interior of the S.S. George H.W. Bush reminds me of life aboard the U.S.S. Enterprise in the TV shows Discovery and Strange New Worlds. Artist Alvaro Sarraseca conveys Danny’s enthusiasm and Travis’ resolution among this ill-trained and disconnected crew. Characters’ thoughts rise like holograms to help us see imagined situations.

 

Colorist Jordi Escuin Llorach gives space and planets color and interest. Shading and darker colors add depth to characters and interiors without descending into muddy grays. The lighting—both in space and inside the station and ship—also impresses. Life aboard the S.S. George H.W. Bush may not be glamorous, but Jordi’s lighting and coloring make me want to serve aboard her. That is, assuming I could put up with the oafish Captain Olivier and had more faith in Frank, the Chief Engineer.

 

Final Thoughts

Nice touches abound in Space Job #1. A few include colorful Star Trek-style uniforms with a NASA-like logo, and names reminiscent of characters on Babylon 5 and Star Trek Enterprise. Fans of The Office may feel well served by Space Job #1, but readers who yearn to boldly go may end up feeling Lost In Space.

 

Hopefully, the next issue will address seeming inconsistencies, water the seeds of mystery planted in Space Job #1, and include a consignment of dilithium crystals to propel the series to warp speed.

 

Rating: 7.5/10

 

To see the preview art for this issue, see my review at The Comic Book Dispatch

 

Monarch #1 Review

 

Monarch #1 Cover A by Alex Lins

This review previously published on The Comic Book Dispatch

Monarch #1 Review

Writer: Rodney Barnes

Artist: Alex Lins

Colorists: Luis Nct & Mar Silvestre Galiotto

Letterer: Marshall Dillon

Publisher: Image

Price: 3.99

Release Date: February 8, 2023

 

Travon is one of the lucky ones: an orphan who found a loving home with kindly Miss Wilamae and his new sister Marli in Compton, California. Fellow orphan Zion terrorizes Travon every day, unwilling to let him forget that Travon’s gain comes at the expense of his missing out on school and the foster system. When a strange cloud settles over the Los Angeles area, changing their world forever, can the two set aside their differences and face the future together? Let’s dive into Monarch #1 and find out!

 

Story

Movies like Independence Day and Battle: Los Angeles, and TV series like V and “Falling Skies, have accustomed us to the idea of alien motherships raining death and destruction upon the City of Angels. But it's not a familiar pretext that determines whether a reader will enjoy a particular story, but what the storyteller does with it.

 

Writer Rodney Barnes holds our interest by focusing tight on Travon. We see the world through his young eyes. Travon found his place by working hard at school, looking after his young adoptive sister, prizing his friends, and returning his foster mother’s affection. His nemesis Zion, unable to do these things, blames Travon because the system failed him.

 

Rodney also makes this oft-told tale unique through story structure. First, we see the aliens attack his school. Then he backpedals to Travon’s life before the attack. Finally, he ends with Travon scavenging for food and resources. He overlays this 2^nd Act/1^st Act/Final Act structure with narration from a seemingly older, wiser Travon. It’s a difficult juggling act to pull off successfully, but the reader never feels lost. By the end, we see how Travon’s journey has prepared him for life in this alien-dominated world.

 

Art

Alex Lins employs a relaxed style. Characters are drawn realistically and convey emotion well. Shadows and the occasional silhouette add substance and drama. Action lines accentuate character motion and explosive force. Trees sway in the breeze, and papers flutter to the ground. While he apes a child’s style, Alex makes every panel count. Standouts include Travon gazing out the window through his reflection at the vast, angry cloud hanging over his city and the cloud reflected on the lenses of Travon’s glasses.

 

Luis Nct, assisted by Mar Silvestre Galiotto, colors Travon’s world in soft, muted tones. Pastels color the outside world, while earth tones warm rooms in Travon's home and school. Colors clash during acts of graphic violence but never sensationalize. Luis and Mar's limited color palette aids Alex's homey drawings to suggest that Travon relates his story with the few art materials available.

 

While Marshal Matt Dillon upheld the law on TV's Gunsmoke, letterer Marshall Dillon corrals our attention with his easy-to-read upper-case lettering. Colored narrative boxes and pleasingly spherical dialogue balloons help us follow Travon’s flight from aliens, return the love of his family, stand up to his nemesis Zion, and take responsibility for his friends. Marshall stresses the occasional word with bold lettering. His font never shrinks when characters lower their voices but grows for shouts. Sound effects, while rare and subdued, get your attention.

 

Final Thoughts

This coming-of-age story covering the trials of inner-city foster children reminds us of the need to let go of injuries and rejection to embrace the possibilities life offers. Through a multi-layered storytelling approach, Monarch #1 transforms a familiar premise into a beautiful and unique reminder about the fulfilling and freeing power of acceptance and love.

 

Rating: 9.5/10

To see the preview art for this issue, see My Review at The Comic Book Dispatch

Minor Threats #4 Review

Minor Threats #4 Cover by Scott Hepburn

 

This review previously appeared on The Comic Book Dispatch

 

Minor Threats #4 Review

Writers: Patton Oswalt & Jordan Blum

Artist: Scott Hepburn

Colorist: Ian Herring

Letterer: Nate Piekos of Blambot

Publisher: Dark Horse

Price: 4.99

Release Date: February 1, 2023

 

The death of Kid Dusk, sidekick to premier crime-fighter the Insomniac, turns life in Twilight City on its head. Lesser criminals unite to take down the Stickman, the murderer who sees the city as a stage in which he orchestrates a symphony of poetic slaughter and destruction. Meanwhile, the Insomniac’s fellow superheroes—collectively known as the Continuum--turn the city into a police state. Over-the-top violence and haunting pathos fill the final chapter of this brash new series.

 

Story

Writers Patton Oswalt and Jordan Blum remind us that a code of morality and loyalty must exist among criminals. Otherwise, there would be no need for law enforcement, as the villains would end up destroying each other. That proves the case here, as betrayal by one member has led to the Minor Threat’s capture by the Stickman. With their very bodies booby-trapped, the supervillain sends them on a mission. Can the Minor Threats avoid getting blown up, turn the tables on the Stickman, and halt the Continuum’s Reign of Order?

 

Oswalt and Blum keep the spotlight on the Minor Threats in this issue, with the Continuum mostly relegated to the background. Even Insomniac, the superhero whom grief has turned psychotic, only makes an appearance at the end. While the opening reminiscences may make reader suspect who betrayed them, the revelation nonetheless comes as a surprise to the team.

 

There’s a healthy dose of black comedy in this final issue. This Golden Age Heroes Gone Wrong story feels like the 1960s Batman TV series filmed not for family-friendly laughs, but in the style of The Watchmen. What makes this story even more shocking is the breathless pace of this four issue series, which all takes place within one day.

 

Art

Readers will find the storybook quality to Scott Hepburn’s art jarring yet whimsical. Ian Herring’s strong colors enhance Hepburn’s portrayal of a classic superhero world turned toxic. The brutal action and graphic violence in Minor Threats #4 is likely many times more outrageous than anything members of the Senate Subcommittee to Investigate Juvenile Delinquency ever saw in 1954.

 

Is it ironic that the Minor Threats continually refer to the Code that supposedly guides them? Is it a strange that these villains seem more dedicated to following their Code than their superhero counterparts? Is it weird that the Dream Cavern, the Insomniac hidden lair, is filled with mushrooms, and a large fish tank reminiscent of James Bond megalomaniacs like Doctor No and Karl Stromberg?

 

Much to muse upon, and delight in, can be found in Hepburn and Herring’s art.

 

Final Thoughts

Minor Threats #4 delivers a brash and bracing story filled with whimsy and humor. The dark satire, filled with inventive over-the-top plot elements, will keep Mature readers delighted from beginning to end. Readers seeking kinder, gentler, stories—along with crusading book burners and social reformers—should look elsewhere for their next superhero fix.

 

Rating: 8.5/10

 

To view the preview pages, visit my review on The Comic Book Dispatch

Star Wars: Sana Starros Review #1

 

Star Wars Sana Starros #1 Cover A by Ken Lashley

 

Note: This review was previously published on website The Comic Book Dispatch

 

Star Wars: Sana Starros #1 Review

Writer: Justina Ireland

Art: Pere Perez

Color Artist: Jay David Ramos

Letterer: VC’s Travis Lanham

Publisher: Marvel

Price: 4.99

Release Date: February 1, 2023

 

When everything in your life’s going wrong, it’s tempting to go home. That’s what Sana Starros chooses, when a perilous heist on an Imperial world fails to deliver on her expectations. Yet despite the beauty of her homeworld, there are signs that this visit with her family will prove less restful than she had hoped.

 

Story

Writer Justina Ireland launches us into this cosmic romp from the very first page, and has you chuckling by the second. Her smart, witty banter lightens the tone, yet doesn’t distract from the action as Sana battles Imperial Stormtroopers. Sana’s return to her homeworld brings more exciting action, and a comforting reunion with her family. Yet subtle clues hints that the lives of Sana’s family members—her grandmother, aunt, and cousin—are every bit as complicated as her own.

 

Ireland delivers up plenty of dialogue, yet the writing never seems wordy. Not only does she help us understand and empathize with the characters, but we’re falling in love with them as well. When trouble comes—as it always does in the Star Wars universe—we’re instantly rooting for Sana and her family. Hey, I even want to know more about her wrinkled friend Jand, a fellow thief who prizes things Sana readily dismisses.

 

The size of letterer Travis Lanham’s uppercase font never taxes the eyes. His restrained use of bold letters helps us hear the character’s intonations. Colorful sound effects enhance the action. Even when they call attention to themselves, they celebrate the action gloriously.

 

Art

The penciling and inking of Pere Perez help imbue the comic with the big screen cosmic scenes the Star Wars films are known for. Characters are drawn believably, and the filled-in backgrounds and excellent use of shadows give this book a cinematic look. Even on the rare instances that a panel focuses solely on a character’s head, the background is filled with texture that reminds us of the film’s lived-in quality. 

 

When the story moves to Sana’s homeworld, Perez reveals a planet that we want to know more about. His portrayal of Sana’s family home suggests a very unconventional upbringing for Sana, without spelling out exactly why the “home” looks the way it does. Like writer Justina Ireland, Perez’s art makes me want to know more about the everyday lives of this fun and caring family.

 

None of this takes away from the coloring of Jay David Ramos, which is excellent throughout. His soft, rich palette gives this issue a warm, comfortable feeling. Space glows with distant, burning stars, and light sources and direction bring warmth to the characters. Even blaster bursts display color and richness. 

 

And when Ireland needs to fortify the action and drama with a little backstory, Ramos imbues those scenes with a softer tonality, while still providing depth and appeal.

 

Final Thoughts

Sana Starros #1 may not be a perfect comic. No matter how well writer Justina Ireland paves the way, when Sana gets into trouble, she opts for an over-used plot device to escape and turn the table on her attackers. Secondly, one character also comes off as two-dimensional. Lastly, sound effects such as BAP BAP and PEW PEW struck me as inadequate expressions of blaster-fire.

 

Yet these seem minor quibbles for a story filled with a rich cast of characters, exciting action, and jaw-dropping beauty. The way the story opens at the end suggests the infinite possibilities this series could deliver. Sana Starros #1 is a beautiful, heartwarming comic that celebrates diversity and the mythic storytelling of the beloved Star Wars franchise. Don’t miss it!

 

Rating: 9.5/10

 

P.S. If you'd like to see the preview art, head over to my review of Star Wars: Sana Starros #1 at The Comic Book Dispatch. Thanks for reading.