The Deadliest Bouquet Trade Paperback Review

 

Writer & Letterer: Erica Schultz

Artist: Carola Borelli

Colorists: Gab Contreras & Tom Chu

Cover Artists: Adriana Melo & Cris Peter

Publisher: Image

Price: April 12, 2023

Release Date: $16.99

 

Poppy awakens early in the morning, the day after Valentine's Day. She picks up her ringing phone on her bedside table. Her sister Rose tells her that their mother died. She's just found Jasmine’s bloody body on the floor of her flower shop. What happens next? Let’s dig into The Deadliest Bouquet trade paperback and find out!

 

Story

Poppy flies from California to New Jersey to comfort her sister. That evening, their remaining sister Violet arrives from Europe. While the police discuss the evidence—and a tattoo on Jasmine Hawthorne's hand—the sisters try to cope with their loss. Instead, childhood issues arise. They nearly come to blows, and Rose throws a knife to prevent Violent Vi from storming out. Poppy's husband arrives, accompanied by children Aster and Holly. As an attorney, Derek Winterberry wants to help. But Poppy wants him and the children to stay at the hotel. Her mother's death brings back memories of her abusive father and how he died.

 

Their obsessive mother trained them in self-defense. Like Gamora and Nebula, competition and family dynamics drove them apart. Poppy tried to remake her life by marrying Derek and moving across the United States. While she’s raising two fun-loving children, Poppy’s secretive nature leads to constant arguments with Derek. Violet left home even earlier, and her violent life remains a secret. As in the parable of the Prodigal Son, Rose remained at home to assist her mother in the Hawthorne flower shop. She blames Poppy and Violet for abandoning her, forcing her to play caregiver to their troubled mother.

 

The Deadliest Bouquet trade paperback also introduces us to Police Detective Bayani and Officer Gutierrez. Their investigation into Jasmine’s death will raise questions about an unresolved murder twenty years ago, as both bullets came from a Nazi pistol. While I wish I'd seen more of these two, Erica Schultz keeps her sights on Poppy, Rose, and Violet. She interweaves present-day discussions and fights with poignant and painful flashbacks that show why the girls grew up as damaged--and yet as strong--as they've become. It's a talky book, but the drama never seemed overdone. The story speaks to essential truths regarding family dynamics and behaviors that lead to dysfunctional ones. Plus, while these three little girls never went to the Police Academy, they've mastered enough self-defense techniques to work for Charles Townsend. They display those many times in The Deadliest Bouquet Paperback.

 

Art

While the story is set in 1992--during the years in which the British comedy Keeping Up Appearances aired--Rose and Violet look nothing like Hyacinth Bucket's sisters. They may have the same names, but Violet's slim features and flowing hair resemble a supermodel. She's also got a supermodel's prima donna temperament and outlook. Rose's hairstyle kept reminding me of Wilma Flintstone, the woman Lister and Cat (aboard the Jupiter Mining Corporation’s Red Dwarf) called The Most Desirable Woman Who Ever Lived. Poppy resembles your typical Got It Together mom, even if that gradually proves untrue.

 

The rest of Carola Borelli's characters are attractive if drawn with less verve and personality. The exception is Jasmine Hawthorn, who often appears slightly unhinged and appears in flashbacks. The family house reminded me of the Halliwell sisters' Victorian San Francisco home on TV's Charmed. The home's interiors--and glimpses of New Jersey--always appealed. Overall, the art suggests an Archie comic or a daily newspaper strip.

 

Gab Contreras & Tom Chu paint The Deadliest Bouquet Trade Paperback with bright and bold colors. Their broad palettes combine well, and the characters stand out. Shadows and highlights lend realism. Indoor lights glow. Numerous flashbacks, while faded, are equally attractive. One could argue the differences between Contreras' first three issues and Chu's #4 and 5, but they're minor.

 

Apart from an abandoned subplot and an abrupt ending, my main complaint is with Erica Schultz's lettering. Her uppercase lettering may be too small for easy reading in print. I like how she embeds sound effects like Sniff and Koff into her dialogue balloons and how she suggests intonation with bold letters. Still, I wish she had not frequently faded the already-small lettering for lowered voices. What should have proven a triumph--matching offscreen dialogue with a flower and matching border color in rectangular dialogue balloons—kept confusing me. The yellow flowers belonged to Rose, yet I kept linking them with Violet's hair. I also wished she had made the red poppy orange, symbolic of Poppy’s adoptive state. (I kept confusing flowers with sisters as I wrote this. Hopefully, I stated all this correctly). Still, I had no trouble linking the orange shield with Detective Bayani, and Shultz’s frequent sound effects enhanced her story.

 

Final Thoughts

Family secrets and dysfunctional relationships lead to tragedy for the three sisters in The Deadliest Bouquet Trade Paperback. Erica Schultz and company deliver a buoyant story filled with likable and relatable characters that—while probing and truthful—never loses momentum to sink into a pool of misery.

 

Rating 8/10

 

To view more cover art from the series see my review at Comic Book Dispatch.

Star Wars Yoda #6 Review

 

Writer: Jody Houser

Artist: Luke Ross

Colorist: Nolan Woodard

Letterer: VC’s Joe Caramagna

Cover Artists: Phil Noto; Lee Garbett with Marte Gracia; Takashi Okazaki;

Publisher: Marvel

Price: $3.99

Release Date: April 19, 2023

 

The Force showed Wookie Padawan Krrsish visions of Trandoshans attacking Wookies. One was Gheyr, his fellow initiate. Master Dooku interpreted these as a warning. On a padawan field trip to Corvair II, the Wookie takes the Trandoshan aside. Their conversation becomes an argument. They exchange blows. Krrsish draws his lightsaber and attacks. Will visions from the Force lead to tragedy? Let's leap into Star Wars Yoda #6 and find out!

 

Story

Gheyr insists she would never attack him, let alone turn to the Dark Side. Krrsish refuses to listen. When Jak’zin, the Tiger-like Togorian, intervenes, the Wookie attacks him too. While Yoda arrives in time to end the fight, this doesn't resolve the conflict.

 

The conflict between Krrsish and Gheyr in Star Wars Yoda #6 explores the rift opening within the Jedi Order. Yoda’s concern for his former padawan Dooku—who works in the murky world of politics and worries unduly about the future--prompted him to reassign Dooku to the Jedi Academy in issue #4. Yoda and Dooku taught Krrsishl. Yet the Wookie relied on Dooku’s advice. From a certain point of view, Krrsish and Gheyr pay the price for Yoda trying to save his friend.

 

 

In the absence of overt signs, I assumed this three-issue story arc transpired over a brief amount of time. Yet after Yoda brings the younglings back to Coruscant, he claims he spoke years ago with Krrsish about this matter and thought the Wookie had put it behind him. Is Yoda referring to the conversation in issue #5, in which Krrsish didn't tell Yoda about his visions? Or another conversation years before events in Yoda #4 that took place before the Force showed Krrsish these dark visions?

 

In any case, the duel has tragic results for the participants. Dooku and Yoda's reactions also resonate. Yoda’s takeaway reminds me that, while anyone can instruct, the best teachers care about their students and never stop learning.

 

Art

Luke Ross' first page of Star Wars Yoda #6 reveals the planet's tranquil beauty, the students honing their control of the Force, Krrsish’s rage, and Yoda’s realization that something on Corvair II is very wrong. After this impressive start, the art falters. Faces remain highly detailed. Minimal penciling suggests grass, plants, and backgrounds. Direction lines imply movement. Often background scenery fades away, and silhouettes stand in for characters. Nor does Ross reveal Jak’zin’s injury. The Togorian covers it immediately. Krrsish’s lightsaber sliced through a tree! Yet on Coruscant, clothing covers Jak'zin's arm, or he holds it. It seems the Force is strong with this one's arm.

 

Nolan Woodard paints Corvair II in purples and pinks. He shades and highlights clothing without delving unduly into gray. Blank backgrounds receive eye-catching colors. Yet some panels—such as when he paints Gheyr’s body and clothing green, or Krrsish entirely blue—resembled initial color holds. After the highly detailed tropical beauty of Alaris Prime in issue #5, I expected more from the Jedi students' field trip. While the Coruscant imagery returns to near-past efforts, the minimal foregrounds and backgrounds of Corvair II robbed me of willing disbelief in these fantasy worlds. That probably explains why Gheyr and Yoda didn’t quite seem to inhabit the practice yard by the yellow-striped tree at the Jedi Academy. 

 

 

 

No blue block letters locate scenes in space and time in Star Wars Yoda #6. Thankfully, uppercase letters in spherical dialogue balloons still make for easy reading. Krrsish’s growls and roars burst from white balloons like exploding TIE Fighters. Lightsabers hiss like Gheyr, hum like Aunt Beru’s blender, and whoosh like Luke Skywalker’s speeder. On the final page, blue letters in white balloons lacking arrows suggest someone shares Yoda’s thoughts and wishes to speak with him.

 

Final Thoughts

A battle between students highlights a growing rift in the Jedi Order. Star Wars Yoda #6 reveals the legendary Jedi Master's concern for others, how hard he works for the institution he loves, and how harshly he judges himself.

 

Rating 7.4/10  

To preview interior art see my review at Comic Book Dispatch.

All Eight Eyes #1 Review

 

Writer: Steve Fox

Artist: Piotr Kowalski

Colorist: Brad Simpson

Letterer: Hassan Otsmane-Elhaou

Cover Artists: Piotr Kowalski and Brad Simpson

Publisher: Dark Horse

Price: $3.99

Release Date: April 19, 2023

 

When his roomie throws him out after four months of nonpayment of rent, Vin wanders through the park in the early morning hours. He spies a homeless man hammering another man in the head. The homeless man grabs him and pulls him over. Vin sees a giant spider lying beside the corpse. What happens next? Let's brave a look inside All Eight Eyes #1 and find out!

 

Story

Vin had thought to report the man. Now all he wants to do is get away. But the homeless man chases him and bashes him with his hammer. The dog licks him. He jerks awake. The dog backs off and growls. The man crouches before him and thrusts his hammer in his face. "Don't scare my dog," he says.

 

A patch on the man's jacket reads Reynolds. Once again, he shows Vin the spider. He shares how his discovery has changed his life. He shows Vin his journal, in which he's recorded his adventures. Most people never see this menace, he claims. If Vin sticks to well-trodden areas, he'll likely never see one again. He advises Vin to forget about the spiders if he can.

 

All Eight Eyes #1 shines a light on the homeless community in the United States. As Kim Stanley Robinson does in his novel Green Earth, Steve Foxe posits that some vagrants might contribute more to the public good than their more socially acceptable neighbors. He also reminds us how easy it is to merely see what we expect to find. His story asks: How much more might we discover if we broadened our vision and explored more of our world?

 

 

Art

Piotr Kowalski draws interiors with incredible detail, imbues his characters with personality, and packs outdoor scenery with realism. Brick walls reveal cracks and surface imperfections. Clothing show texture, creases, and shadows. Like Vin and Reynolds, the spider-warrior’s dog overcomes his breed’s bad rep to become a sympathetic character.

 

Kowalski limits panels to individual pages rather than working across pages horizontally. Even pages with big reveals sport several panels. My only quibble was Reynolds’ journal. He shows it to Vin, who holds it while they talk. Then we never see it again. Did Vin take Reynolds' journal or not? At least we can read two pages of his adventures at the end of All Eight Eyes #1.

 

The hall of Vin's former apartment reveals color differences in peeling wallpaper and shadows cast on walls and floor by an inadequate overhead light. Vehicle headlights illumine darkened streets beneath the violet sky. The green of grass, shrubs, and foliage contrasts with Reynolds and Vin's earth tones in the early morning light. When Reynolds' dog licks Vin awake, he sees brown brick walls that show color differences, highlights, and shadows. While Kowalski draws lines beneath each character, Brad Simpson shades the area to deepen shadows. His coloring is never harsh or garish, and he uses gray sparingly. Intriguingly, he colors the spiders purple, blue, green, and yellow. It's not as psychedelic as James Stokoe’s coloring in Orphan and Five Beasts, but it reminds me that Vin’s seeing something that shocks him.

 

Hassan Otsmane-Elhaou uses uppercase letters in spherical white dialogue balloons. Inflection makes words grow bold. Rectangular narrative boxes overlay scenes of spider infestation as Reynolds relates his adventures. Sound effects include the dog's growls, the giant spider landing on a brick floor, and the Whoosh of erupting fire. Words combine with art to help us see sound in All Eight Eyes #1.

 

Final Thoughts

Grounded in cultural relevance and monster lore, All Eight Eyes #1 is a fast-paced, thought-provoking read that may make you look at the world differently. The beautiful art, additional story pages, and journal entries make this lovingly detailed comic a must-buy for all but the most ardent arachnophiles.

 

Rating 9/10

 

To preview interior art see my review at Comic Book Dispatch. 

Creepshow TP Vol 1 Review Part 2

 

Creepshow Volume 1 Review

Writers: Chris Burnham, Paul Dini, Steve Langford, David Lapham, Maria Lapham, Steve Foxe, L Marlow Francavilla, Francesco Francavilla, Ariela Kristantina, Kyle Starks, Henry Barajas, Steve Orlando, Clay McLeod Chapman

Artists: John McCrea, David Lapham, Erica Henderson, Francesco Francavilla, Jorge Corona, Fran Galán, Dani, Marianna Ignazzi, Anwita Citriya

Colorists: Adriano Lucas, Mike Spicer, Trish Mulvihill, John Francois Beaulieu, Brad Simpson, Fabiana Mascolo, Jordie Bellaire

Letterer: Pat Brosseau

Cover Artists: Chris Burnham & Adriano Lucas

Publisher: Image Comics

Price: $14.99

Release Date: March 22, 2023

 

The Bridge

Writer: Ariela Kristantina

Artist: Jorge Corona

Colorist: Jean-Francois Beaulieu

 

When Alexis visits a Malaysian island with her friends, her boyfriend breaks off their relationship via cell phone. Incensed, she doesn't wait for her friend to translate their guide's warning. She crosses a bridge and discovers an ancient temple surrounded by Banyan trees. Her friend translates the caretaker's warning, but Alexis storms past him too. What she finds inside the temple will haunt her forever. I like how Alexis’ fixation on social media blinds her to reality. Jorge Corona’s art and Jean-Francois Beaulieu’s soft, appealing colors conjure an exotic landscape reminiscent of 1974’s The Man With The Golden Gun and The Phantom movie of 1996. Fans of Clive Barker's stories, and European comics like Leo’s Aldébaran and Christin and Mézières’ Valerian and Laureline series, should check this one out.

 

Come Out, Come Out, Wherever You Are

Writer: Kyle Starks

Artist: Fran Galán

 

A yellow-orange glow suffuses panels as Nancy remembers exploring the woods with her childhood friends. They find bodies drained of blood, but no one heeds their warnings. So, the kids decide to clear out the local vampire nest. The art and limited color palette give this story an all-ages appeal. While I missed the story's logic, I enjoyed the meditations on adulthood and giving into fear. Mix Stand By Me, Buffy the Vampire Slayer, garnish with Night of the Living Dead and serve.

 

La Mascara Del La Muerte

Writer: Henry Barajas

Artist: Dani

Colorist: Brad Simpson

 

When rising star Lupe Lopez loses a Luche Libre bout, she steals her father’s mask from her grandma and returns to the ring. Too late, she discovers it retains the same power that ended her father's career. Dani’s blotchy, smudgy style art suggests backgrounds. Characters and proportions sometimes look out of skew. It’s almost as if she draws the negative spaces rather than the positive ones. Simpson's vibrant coloring gives her intriguing style energy and a heightened sense of reality. Sadly, this story in Creepshow Volume 1 seemed familiar and predictable. Still, Venom and Carnage fans will like how the mask manifests its power.

 

 

Thirst Trap

Writer: Steve Orlando

Artist: Marianna Ignazzi

Colorist: Fabiana Mascolo

 

Parker does a deal with a demon. In return for taking regular selfies with his cell phone, he gets his youth back and doesn’t age. But what happens if he loses his phone? Ignazzi’s art gives this story scope and Mascolo’s coloring atmosphere. Still, the scene that tripped me up only had limited coloring. I had to flip back and forth several times to understand Steve Orlando's story better and find clues as to who did what and when. Still, aspects of the story spoke to me, and I liked most of the art.

 

Husk

Writer: Clay McLeod Chapman

Artist: Anwita Citriya

Colorist: Jordie Bellaire

 

Sally’s parents value traditional Southern heritage in their lavish plantation home. Her mother trains her in etiquette, dancing, and deportment. Yet, as her rite of passage nears, Sally believes she doesn't belong. The art ranges from adequate to impressive. Bellaire's limited coloring schemes changed with each panel. Citriya hints at Sally’s struggle for identity with her bedroom decor, while other panels hint at her origin. Still, I needed more backstory to prepare me for the shocking reveal at the debutante ball. As exciting as it is, the revelation lacked emotional resonance.

 

Final Thoughts

Like a candy haul after a long night’s Trick Or Treating, Creepshow Volume 1 is a mixed bag of scary sweets. Some stories I’d happily give away. Others I will treasure. My favorites were The Gorgahmorahh Tree, Creator’s Rites, and The Bridge. You'll discover your favorites when you delve into this horror anthology.

 

Rating 8/10

 

To preview interior art from the story Take One, and see more cover art, see my review at Comic Book Dispatch.

Creepshow TP Vol 1 Review: Part 1

 

Creepshow Volume 1 Review

Writers: Chris Burnham, Paul Dini, Steve Langford, David Lapham, Maria Lapham, Steve Foxe, L Marlow Francavilla, Francesco Francavilla, Ariela Kristantina, Kyle Starks, Henry Barajas, Steve Orlando, Clay McLeod Chapman

Artists: John McCrea, David Lapham, Erica Henderson, Francesco Francavilla, Jorge Corona, Fran Galán, Dani, Marianna Ignazzi, Anwita Citriya

Colorists: Adriano Lucas, Mike Spicer, Trish Mulvihill, John Francois Beaulieu, Brad Simpson, Fabiana Mascolo, Jordie Bellaire

Letterer: Pat Brosseau

Cover Artists: Chris Burnham & Adriano Lucas

Publisher: Image Comics

Price: $14.99

Release Date: March 22, 2023

 

The 1982 Creepshow movie ripped through cinemas with stories written by Horror master Steven King. The movie spawned two sequels, a comic book novelization, and the TV series Tales From The Darkside. After owning the ‘80s, Creepshow refused to die, returning with a web series, a streaming TV series, and Scholastic tie-in books. It's even returned to comics courtesy of the good folks at Image. Are you ready for ten new terrifying tales? Then let’s dig into Creepshow Volume 1 and brave what we find inside!

 

Take One

Writer & Artist: Chris Burnham

Colorist: Adriano Lucas

 

When three Trick Or Treaters ignore written instructions—and memories of draconian punishments awarded by the former owner of a shuttered house—they discover that Death still has its sting. Burnham’s story reminds us of society’s current trend away from traditional Trick Or Treating, and the ending highlights the sometimes twisted ethics of horror stories. Detailed penciling, tilted camera angles, silhouettes, textured coloring, and excellent shading and light sources give this comic a film noir appeal. The over-the-top violence and gore make Take One a fitting companion to Spawn: Unwanted Violence. Strangely, the morning after welcomes an October sun. Did the boys get their dates mixed up? Was that why we saw no other Trick Or Treaters on those dark streets?

 

 

Shingo

Writers: Paul Dini & Stephen Langford

Artist: John McCrea

Colorist: Mike Spicer

 

A daughter’s birthday party becomes the latest battleground for separated parents. Shingo asks: when parents refuse to get along, how does this affect their children? The circular nature of the story suggests how parents can initiate a cycle of dysfunction and abuse that lingers for generations. Its lighter, humorous tone allows readers to recover from the last story's graphic excess. The art’s more Golden Age than Modern and reminds me of the EC horror comics that the United States Senate called a Comic Book Menace in 1954.

 

The Gorgahmorahh Tree

Writers: David Lapham & Maria Lapham

Artist: David Lapham

Colorist: Trish Mulvihill

 

Dysfunctional families enrich the soil in which horror stories grow. The way Lapham draws people in The Gorgahmorahh Tree reminds me of his 90s Harbinger run. Each panel compels as Lapham contrasts the majestic, ancient tree with Daphne’s cluttered, disordered home. How much of what occurs is real? How much does Daphne imagine? This third story in Creepshow Volume 1 evokes classic episodes of The Avengers, Night Gallery, and Doctor Who. It also reminded me of Patrick Ness' novel A Monster Calls and the 2016 movie. An unreliable narrator, a tortured daughter, and mesmerizing art turn an old gardener's adage on its head in this unique take on an oft-told story.

 

Creator’s Rites

Writer: Steve Foxe

Artist: Erica Henderson

 

Creator’s Rites tackles elder abuse: a subject most don't want to face. Compare the years it takes to become a doctor or nurse with the weeks of preparation (perhaps via the Internet) to work in a nursing home. We may never become luminaries in the comic world, but if we live long enough, we’ll all need help meeting our basic needs. Do Henderson's Old School TV animation style and vibrant coloring blunt the edges of Foxe’s story or make them sharper? Seemingly ripped from the final days of Stan Lee, Creator’s Rites cuts deep.

 

Hair

Writer: L. Marlow Francavilla & Francesco Francavilla

Artist: Francesco Francavilla

 

Jimmy feels more kinship with wild animals than civilized people. The barber doesn't hurt anyone, but Jimmy’s actions aid the animals in the forest outside town. The character reminded me of activist Nick Van Owen (played by Vince Vaughn) in The Lost World: Jurassic Park. Scenes of town life evoke the Andy Griffith Show and Groundhog Day, with no newcomers saying "Heavy" or asking for a Pepsi Free. Francavilla's carefree, heavy inks and limited palette--greens, yellows, and oranges—give Hair a faded appearance. Hair combines a love of nature with a yearning for a simple life in a mood piece that—while not surprising--lingers. 

 

To read this review in its entirety, and preview art from Take One, see my review at Comic Book Dispatch.

Star Wars: Return of the Jedi—Ewoks #1 Review

 

Writer: Alyssa Wong

Artists: Lee Garbett & Java Tartaglia; Paulina Ganucheau; Kyle Hotz & Rachelle Rosenberg; Caspar Wijngaard

Letterer: Joe Caramagna

Cover Artists: Ryan Brown; Lee Garbett & Laura Martin; Peach Momoko; Chrissie Zullo; Kyle Hotz & Rachelle Rosenberg

Publisher: Marvel

Price: $4.99

Release Date: April 12, 2023

 

C-3PO and R2-D2 told the Ewoks stories about Han Solo, Princess Leia, and Luke Skywalker in Return of the Jedi. These stories helped the Ewoks understand their guests and invite them into their tribe. What stories might the Ewoks tell each other to entertain their young and strengthen their sense of community? Let's climb into their village among the trees with Star Wars: Return of the Jedi—Ewoks #1 and find out!

 

Campfire Sequence I

In Alyssa Wong's framing story, the Ewoks gather around a communal fire. Their shaman Logray, wearing a bird skull on his head, raises his bone-topped spear and looks at the infants sitting together. These younglings, known as woklings, have yet to receive their hoods. So the first story of the evening is known as the Woklings’ Tale.

 

Artists Lee Garbett & Java Tartaglia evoke the appeal of the Ewoks' tree village in this prelude story. As Endor's blue sky darkens, torches and fires cast a warm yellow glow among the trees. The Ewoks wobble along their rope-and-board bridges, and a parent picks up a wokling when it stumbles. While Wong doesn't translate the Ewoks' speech or suggest music throughout this issue, letterer Joe Caramagna helps us hear the bonfire with a sound effect.

 

 

 

 

Wokling’s Tale

One morning, parents watch as a wokling leaves home to play. They envision members of a malicious green species abducting her. The youngling meets a horned pony. She shares the snacks she packed, and the friends explore the forest. When they meet a green youngling, she greets the wokling and the pony warmly. Could it be that not all Greenies are as despicable as Greedo?

 

While Wong’s first story in Star Wars: Return of the Jedi—Ewoks #1 suggests My Little Pony, artist Paulina Ganucheau’s children's book style reminds me of Dr. Seuss. Sunshine filters through the trees as the youngling packs her snacks in a basket and pulls the strap over her shoulder. The wokling’s parents imagine Grinches menacing their child with wooden clubs. Faces and movements express thoughts and emotions in the Woklings’ Tale. Inset panels reveal the Ewoks' reactions as the leader relates a story intended for those whose hearts are not three sizes too small.

 

Campfire Sequence II

Another Ewok arises. His movements suggest that his story will differ from Logray's, but he must tell it. This Ewok, Paploo, aided Han Solo and the rebels by stealing a speeder bike. His inspired action caused Imperial troopers to leap on their speeder bikes in pursuit, which helped the strike team enter the generator building in Return of the Jedi. 

 

 

 

 

Paploo’s Tale

The shaman portrayed the forest as a safe and happy realm. As a scout, Paploo knows its dangers. In Star Wars: Return of the Jedi—Ewoks #1, he shares a tale inspired by his experience. Paploo wanders through plants and trees. He's always on his guard. Suddenly, a monster appeared. It growled through enormous fangs. Claws--as large as an Ewok hut--grasped at him. It pursued him through the forest!

 

Artist Kyle Hotz portrays this story in stunning Black & White. His style reminds me of a nightmare journey through Tolkien's sickened Mirkwood and the enormous beasts in Kong: Skull Island. Whether or not colorist Rachelle Rosenberg enhances Hotz's inking with shades of gray to give it incredible depth and mood, she helps Paploo stand out by making his hood vibrant red. More red seeps into the haunting Black & White panels as this story races to its conclusion. This allusion to Red Riding Hood reminds us that Grimm's Fairy Tales were more horrific than their Disney adaptations, and children often delight in being scared.

 

 

Campfire Sequence III

Logray's reaction to Paploo’s story demonstrates his concern that his tribe never displease the forest spirits. The way artists Lee Garbett & Java Tartaglia introduce the evening's final tale suggests the magic woven by powerful storytellers.

 

 

 

 

Peekpa’s Tale

Remember how the Ewoks strung rope between trees in Return of the Jedi? The Ewok Peekpa separates an Imperial from his speeder bike in this third tale in Star Wars: Return of the Jedi—Ewoks #1. Afterward, the Ewok gathers parts from the wreckage and clubs the injured rider. Aided by her friends, Peekpa uses these parts to construct something with which she will pursue her dreams.

 

Artist Caspar Wijngaard fills panels with childlike drawings and soft colors that convey speed, the fury of fire and explosions, and the majesty of the surrounding trees. Silhouettes enhance action while downplaying violence. Throughout, Peekpa remains a wide-eyed innocent, amazed by everything around her, and anxious for discovery.

 

Joe Caramagna helps us hear the racing speeder bike, the snap of the rope, the consequent explosion, and much more in a story that celebrates the power of wonder, invention, and discovery.

 

Campfire Sequence III

A youngling tries to sleep in the last two pages of Star Wars: Return of the Jedi—Ewoks #1. When she cannot, she climbs from her hammock. A few simple items—from the Wokling’s Tale and Return of the Jedi--help her confront the terror Paploo’s tale instilled and ease her mind. 

 

 

 

 

Final Thoughts

Silent five-minute reads like this make rereads effortless and fun. I found Hotz and Rosenberg's black, white, and red panels rich in detail and nuance. Peekpa reminded me of Luke Skywalker and Saru in Star Trek Discovery. Aspects of Paploo and Peekpa's tales reminded me of Alan Dean Foster's novel Splinter Of The Mind's Eye. You'll likely find other joys and associations as you savor this all-ages special.

 

Star Wars: Return of the Jedi—Ewoks #1 reminds us that the inhabitants of Endor were much more than teddy bears with spears. As in the film, they represent an ordinary person confronting a more powerful foe. Like David challenging Goliath, or the thirteen colonies taking on the British Empire, bravery and determination can help anyone achieve victory. Perhaps that explains why, forty years on, the Ewoks still speak to Star Wars fans.

 

Rating 8/10

 

To preview interior art see my review at Comic Book Dispatch.

Space Job #3 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: April 12, 2023

 

After First Officer Danny Sheridan’s death, Admiral Newman assigned the S.S. George H.W. Bush to join the battle in the Bungo Straits. Captain Olivier left the space station, hoping to escape the system before the Clooney's rendezvous to transfer his cargo. But he’s still waiting for his desk to arrive and needs a scientific pretext to remain in the system. Can Captain Olivier get his new desk, continue his cargo run, and keep his crew out of a warzone? Let’s beam aboard the S.S. George H.W. Bush with Space Job #3 and find out!

 

Story

The Chief Medical Officer is depressed. Her husband, Helm Officer Rick MacIntyre, no longer seems interested in her. When Ensign Masht asks her about the First Officer’s status, she welcomes the distraction. Naturally, all she can say is that he's dead, and no, that won't change.

 

When Midshipman Rhee finds a comet, Operations Officer Travis Biggins doesn't know how to react. What exactly do they have to learn by studying a comet? At least Captain Olivier's happy, as he's got a reason to stick around now. But he doesn't like to use the translator, and the pilot delivering his desk speaks Spanish. Negotiating with the pilot takes Travis' mind off his dilemma over remaining in the Navy or resigning to become a drug rep.

 

Despite the abundance of wacky humor, I could relate to everyone in Space Job #3. I learned the history of human space exploration from the alien possessing Rick MacIntyre. Understanding what drove this expansion helped me understand the dynamics underlying this series. After the previous issue’s backstory, Captain Olivier has grown on me. How can you not admire someone who resolutely works the system to accomplish his goals? I’m still connecting names with characters from TV shows, movies, and the history of space exploration. I hope we learn the Medical Officer's name before the series ends.

 

Art

We see Neil Armstrong's lunar module and the ultimate result of his Giant Leap For Mankind. A battle involving astronauts seems straight out of Moonraker, and a fleet of ships reminded me of the mural in Houston’s Johnson Space Center cafeteria. Alvaro Sarraseca portrays characters consistently, and panels express what each is feeling. I didn’t need to see Captain Olivier on the toilet again, and Sarraseca could have provided more visual interest to some interior scenes. Still, the Bush's bridge resembles the revamped Enterprise on Star Trek Strange New Worlds, and the way Olivier talks to the Clooney's captain via hologram reminds me of the production department's original plans for the canceled Star Trek: Phase II.

 

Colors fill the void between stars in Space Job #3. Colorful ships transport cargo, and the Bush resembles a minnow approaching the glowing, jellyfish-like comet. Overhead lighting and viewscreens give the bridge drama and depth. The green light on a communications panel highlights Captain Olivier's features. Shadows play across Travis Biggins' face and uniform, helping us sympathize with the Operation Officer's relationship and career dilemmas.

 

Easy-to-read uppercase letters inhabit white dialogue balloons. Voices from the com units inhabit balloons crossed by four X-like hash marks. Lightning bolt arrows link the hologram of the Clooney's captain to his dialogue balloons. Mathematical symbols for Greater Than and Less Than reveal the incomprehensible foreign language spoken by the pilot delivering Captain Olivier's desk. Conversations laid over space scenes inhabit rectangular yellow narrative boxes. The occasional stressed letter grows bold when a crewmember points out that Captain Olivier mispronounces his (or her) name. Once or twice, dialogue balloons could provide better flow. The uppercase letters on the final page—telling us the story will continue—remind me of a fraternity's Greek letters.

 

Final Thoughts

Despite an overwhelming number of moving parts, everything comes together in Space Job #3 to propel this series forward. Characters work toward accomplishing their goals and making their lives count. A series that started as merely wacky fun takes on a greater scope. As always, gorgeous art provides a feast for those eyeing the final frontier.

 

Rating 9.4/10

 

To preview interior art see my review at Comic Book Dispatch