Star Signs #1 Review

 

Star Signs #1 Review

Writer: Saladin Ahmed

Artist: Megan Levens

Colorist: Kelly Fitzpatrick

Letterer: Shawn Lee

Cover Artists: Megan Levens & Kelly Fitzpatrick; Colleen Doran

Publisher: Image

Price: $3.99

Release Date: May 3, 2023

 

A woman stands on a snowy hilltop. While others peer through telescopes, she gazes at the sky. Then she slams down another woman’s laptop and dismisses the Lieutenant and his troops. After the others depart, she climbs the hill with another man, who asks if she’s ready to become more than she’s ever been. No, we’re not seeing Jane Foster, Darcy, and Erik Selvig. No, it's not an MCU movie. So, who are these people, and what’s about to happen? Let’s break out our astrological charts, study Star Signs #1, and see what we can divine!

 

Story

Instead of New Mexico, the action takes place in Northwest Canada. Tatiana and Mister Duke witness a unique conjunction of the stars. More than anyone else, she understands how much he’s sacrificed. All his plans will finally achieve fruition. Together they will watch the stars die.

 

Unlike in Robert Charles Wilson's novel Spin, only constellations relating to the zodiac vanish in Star Signs #1. Yet life goes on. For Lebanese caterer Rana Fawaaz, it's not a fulfilling one. While her father travels the world, playing his oud with famous musicians, she smokes a joint and dreads serving “rich art world jerks who are going to yell at her.”

 

Still, now she dreams of glittering fire. When she awakens, she remembers the stars that vanished. Today, when Rana grows angry or irritated, a startling metamorphosis will occur.

 

It’s too soon to say how this series will compare with Jon Tsuei and Audrey Mok’s comic series Sera and the Royal Stars, let alone Stan Lee and Stuart Moore's Zodiac Legacy novels. Still, Star Signs #1 has its charms. I like how her roommate Tyler records people's feelings about the stars' disappearance before the media and the internet tell him how to remember it. I also like the cameo from one of the most legendary bands in rock music history. Ultimately, I'm left wondering how new new-found power relates to the cliffhanger ending. 

 

 

 

Art

Clad in her insulated pants and parka, Tatiana leaves her short-cropped hair uncovered. She strides purposely, stares intently, and snaps orders. She never draws the gun from her holster, yet people obey her instantly. She affords the Lieutenant a knowing smile as she says, "We can take care of ourselves." Yet when Mister Duke appears, her gaze softens, and her expression grows subservient, even reverent.

 

Wearing an extralarge knitted hat over his long hair, Rana's roommate Tyler is relaxed and unpretentious. He believes he's doing important work. Rana's father smiles and overflows with effervescent joy. I enjoyed comparing glimpses of his fellow musicians with photos of these legendary rockers. Sadly, only Rana—the central character in this issue—lacks appeal as she struggles to cope with her life.

 

Artist Megan Levens brings us the pristine beauty of a snowy mountaintop, the sky showing through the window-filled walls of a modern airport, Rana and Tyler's homey apartment, the sterile confines of a commercial kitchen, and an austere art gallery. Yet it falls to Rana to inform us that she lives in New York City.

 

All the snow drifting through the green, blue, and purple sky gives these opening pages a three-dimensional appeal. The first page showing the zodiac seemed simplistic, but the coloring in the double-page spread showing the missing constellations invokes awe. Throughout Star Signs #1, Kelly Fitzpatrick contributes bright and attractive colors. Walls receive texturing, marijuana smoke resembles billowing clouds, and characters wear eye-catching clothes. What little we see of NYC in the early evening appeals. Rana's transformation reminds us of her dreams.

 

Letterer Shawn Lee delivers big, black, uppercase letters in white dialogue balloons and rectangular narrative boxes. Big white lettering locates us in time and space. Perhaps the lack of sound effects gives the colorful dialogue in the final panel more punch. But my favorite lettering moment in this easy-to-read comic comes when Rana's unwinding after work. As she puffs away, the classic lyrics of David Bowie drift through the smoke-filled apartment. I wonder if his song inspired writer Saladin Ahmed's new series.

 

Final Thoughts

Are you feeling overwhelmed today? The strong characters, appealing art, and intriguing premise of Star Signs #1 will converge to bring you joy. Despite the slow-paced introduction, you will look forward to seeing how Tatiana and Rana's lives align and how they adapt to the changes destined to rock their worlds.

 

Rating 8.5/10

 

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

Blood Tree #4 Review

 

Writer: Peter J. Tomasi

Artist: Maxim Simic

Colorist: John Kalisz

Letterer: Rob Leigh

Cover Artists: Christian Alamy & Brad Anderson

Publisher: Image

Price: $3.99

Release Date: May 3, 2023

 

New York detectives Dario Azzaro and Maria Diaz are hunting a serial killer. The killer's M.O.? He kills killers, and then he kills their families too. Family members without a criminal record receive additional attention. He attaches handmade feather wings to their backs and hangs them in a tree. Acting on Father Duffy’s suggestion, the detectives have centered their investigation on Catholic churches in the Bronx. After someone reported a man killing birds with a slingshot, they nearly captured him at Van Cortlandt Park. So, are they any closer to finding this twisted servant of the Almighty? Let’s delve into Blood Tree #4 and find out!

 

Story

Dario Azzaro and Maria Diaz have visited dozens of Catholic churches in the Bronx, searching for an angelic ceiling mural that inspired their killer. Although Diaz ribs Azzaro about his age, childhood memories led him to discover the mural that inspired the Blood Tree. Issue #4 opens where the last one ended, with the detectives searching Owen Fincher's apartment.

 

They study a tree painted on one wall, with victims' names written on its limbs. Scraps of paper that resemble tombstone etchings reveal more names. Azzaro turns off the lights to find glowing crosses on the ceiling. Angels hanging on strings also glow. Their search yields files on murderers and their families, which prompts the mayor to order the police to place hundreds of people in protective custody.

 

The following morning, they discover another winged body hanging naked in the suspension cables on Brooklyn Bridge. But the spark that lights Blood Tree #4's fuse concerns Dario Azzaro. A revelation makes him question who he is and what makes him tick.

 

There's much to like—and yes, dislike—in this issue. Dario regularly refers to classic songs, and the detectives often visit scenic locales. I also like how Owen Fincher sees himself as protecting the innocent before their tainted blood—or that of their descendants—inevitably leads them to hurt others. On the other hand, this issue's angel only ends up hanging dramatically from the cables due to chance—he could have easily been found on the bridge or in the river. Still, the biggest win for this issue is the revelation that blows up Dario's life. Although his dedication to his job previously irritated his wife, I liked how she reacted to the situation.

 

Art

Artist Maxim Simic works page by page rather than across multiple pages. His drawings have a charming hand-drawn appeal. They convey characters' emotions, movements, buildings, parks, and vehicles equally well. While a small percentage of panels dispense with backgrounds, most offer convincing settings. I loved the scenes in Owen Fincher's apartment and the Brooklyn Bridge and how Simic relays Azzaro’s phone conversation with Fincher. Yet later, amid a meltdown in his car, I couldn’t tell what Detective Azzaro was breaking.

 

Colorist John Kalisz contributes a pleasing combination of hues to each panel. They convey highlights and shadows. Most backgrounds—especially those left blank—are richly textured. Beautiful colors fill the sky as the sun rises over the angel hanging on Brooklyn Bridge. The crosses and angels glow with heavenly light in Owen Fincher's darkened apartment.

 

While on the small side, black uppercase letters fill white dialogue balloons. In earlier issues, I thought they could have been larger. They're probably appropriate here. In Blood Tree #4, writer Peter J. Tomasi gives us twenty-five story pages, and artist Maxim Simic averages over five panels per page. Most of those panels—perhaps 80-90%--feature at least one dialogue balloon or sound effect. Many have several balloons. Although letterer Rob Leigh uses narrative boxes, they're solely to convey location. Whether talking or shouting, the characters converse in the present. No narrative boxes comment on past events. No balloons relate thoughts. Tomasi and Leigh dish out plenty to read in this issue while leaving us hungry for more.

 

Final Thoughts

Their hunt for the angel killer has tested Dario Azzaro and Maria Diaz. A discovery this time out makes Detective Azzaro’s investigation incredibly personal. If Tomasi’s story and Maxim's art invited you to this party, but you hoped for something to kick it into high gear, Blood Tree #4’s the issue you’ve been waiting for.

 

Rating 9.2/10

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

Star Wars #34 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; Chris Sprouse; Karl Story & Neeraj Menon; Leinil Francis Yu & Romulo Fajardo Jr.; Phil Noto

Publisher: Marvel

Price: $3.99

Release Date: May 3, 2023

 

Luke Skywalker helped his friends—and members of the Kezarat colony--escape No Space. Fixing the prosthetic hand munched by the Killdroids proved easy enough, but repairing his lightsaber has proven more difficult. His Jedi book suggests a possible solution: a new Kyber crystal. Where might he find one? And will his Rebel friends let him leave? Strap in as we launch into Star Wars #34 and find out!

 

Story

Even at its best, Luke’s new lightsaber never worked as reliably as the one he lost in The Empire Strikes Back. Nor did it help him connect with the Force like the one Obi-Wan gave him. The ancient text talks about young Jedi making pilgrimages to Ilum, where they built their lightsabers and found crystals to power them. With the planet now an Imperial stronghold, Luke needs to find another source and a Kyber crystal that will strengthen his connection to the Force.

 

After their grueling adventure in No Space, Princess Leia thinks he needs rest. Or, to quote C-3PO, “No more adventures,” at least for a while. She also views his piloting skills as more important to the Alliance than wielding a lightsaber and his connection to the Force. He must address both issues before she okays a personal mission.

 

 

 

 

Star Wars #34 takes Luke to Christophis, the crystal planet where his father, Obi-Wan, and Ahsoka Tano battled Count Dooku’s droid army in The Clone Wars movie. His adventure there will have ties to the development of the Death Star and how Luke later saves Leia and the Alliance in The Last Jedi. The rousing adventure features a scene reminiscent of Kirk's time on Delta Vega in the 2009 Star Trek movie.

 

Perhaps most importantly, it introduces a vibrant new character to the Star Wars universe. (First appearance, peeps!) Luke gets a little too judgmental with her, and the slow pace of this issue may annoy some readers. But none of the conversations struck me as excessive. While he'd prefer to take the crystal and run, Luke's learning things that Obi-Wan and Yoda never taught him.

 

 

 

 

Art

Despite some large panels, artist Madibek Musabekov averages five per page in this twenty-page tale. While everything stays level aboard the Alliance ship Home One, once a very young-looking Luke heads off to Christophis, scenes often rotate a few degrees off-center. Madibek contrasts camera angles to introduce new settings and characters. I’m not wild about the diagonal two-page layouts, but they provide for wide, cinematic panels. And while I like the cantina Luke visits, I wish Madibek had filled it with all the life and energy of Mos Eisley's. People and objects emerge from pages rich in detail in Star Wars #34, with No Space wasted.

 

While Christophis differs from Cybertron, my mind harkened back to writer Brian Ruckley’s recent Transformers series. Well, both boast rich histories and hold many secrets. The only thing I'm left wondering about is the belt or harness around the bartender's head.

 

 

 

 

Colorist Rachelle Rosenberg imbues faces with warmth and vitality. Interior lighting gives interiors like Luke's quarters on Home One and the cantina drama. I'm unsure how Gretta's fluorescent green hair turns purple in shadow, but Christophis is a blue-and-purple world. Besides, who doesn’t love purple? Somehow, the only light on this planet emanates from the crystalline landscape and buildings. A stylish landspeeder hurtles across this brooding land, with only its headlights, a crackling lightsaber, and the crystal ground to reveal our hero's quest. Thankfully, none of Musabekov’s art drowns amid excessive grays.

    

As always, Clayton Cowles's black uppercase lettering in spherical dialogue balloons remains pleasing to the eye. He announces location changes with big upper and lowercase blue letters in rectangular black narrative boxes. His sound effects appear frequently but are not overused (except perhaps when Luke eats the fried spider). This time out, R2-D2’s blue and red sounds helped me understand him, and I liked how Clayton helped me hear Luke's malfunctioning lightsaber. The way he shows Gretta's shout is understated but cool.

 

 

 

 

Final Thoughts

In Star Wars #34, Luke Skywalker embarks on a supremely personal journey: to piece together all it means to be a Jedi from the scraps of information available to him. Charles Soule's story harkens back to early Star Wars stories by novelists like Alan Dean Foster and comic luminaries Roy Thomas and Archie Goodwin while fitting squarely into today's cinematic universe.

 

Rating 9/10

 

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

Betsy Braddock: Captain Britain #3 Review

 

Writer: Tini Howard

Artist: Vasco Georgiev

Colorist: Erick Arciniega

Letterer: Ariana Maher

Cover Artists: Erica d’Urso & Matthew Wilson; Aka

Publisher: Marvel

Price: $3.99

Release Date: March 29, 2023

 

While Rachel Summers searches the multiverse for signs of Morgan Le Fay, Betsy Braddock babysits her niece so Brian and Meggan can attend a West End musical. But instead of a quiet evening with Rachel, her brother calls for help fighting a Fury in Piccadilly Circus. Can Betsy prevent a slaughter of theatergoers? Let’s teleport into Betsy Braddock: Captain Britain #3 and find out!

 

Story

Abandoning Rachel to solo adventures in babysitting, Betsy travels to London. Amid the smoking rubble, the Fury announces it’s the nation’s new defender. Its first order of business? After placing mutants and witches in protective custody, it plans to apprehend Brian Braddock, protector of Avalon (also known as Otherworld), and Krakoa.

 

There are a few things that I didn’t get, such as a reporter’s statement about Ambassador Reuben Brousseau and how he fares later. Nor did I appreciate yet another issue without Britannica Rex. (Hey, a T-Rex Captain Britain: what could be cooler than that?) But this story delivers on so many levels that the good far outweighs the bad.

 

Along with the battle of Piccadilly, Tini Howard relates the history of the Furies and their Everforge. Morgan Le Fay wields her magic. Betsy checks in with Pete Wilson and Faiza Hussain. But really, the best part of Betsy Braddock: Captain Britain #3 is how hard Betsy and Rachel work at their relationship, even while Morgan Le Fay cooks up another next-level threat to gain unrestricted control of Britain's magic. 

 

Art

Vasco Georgiev takes us to the Braddock family kitchen, where even as Brian tries to talk her into coming with them, Betsy tries different tricks to sneak a spoonful of food into Maggie's mouth. We witness Betsy’s concern for Rachel’s excessive chronoskimming in the mansion's monitor-filled control center. We see Brian take up his sword and fight the red-and-blue Fury hurling threats and cars across Piccadilly Circus. We also visit Pete Wisdom's posh restaurant and Morgan Le Fay's medieval headquarters.

 

 

 

 

While I've mentioned Ariana Maher's tiny lettering before, what impressed me in this issue was how much dialogue she delivered. Vasco rarely devotes a single page to one scene, and each page averages four panels or more. He never works across multiple pages, so readers of later trades and hardcovers won't lose anything to guttering. As Ariana packs narrative boxes and dialogue balloons with lowercase lettering into each tiny panel, Vasco hits back with incredibly detailed art. He rarely shows a character against a blank background or fills space with direction lines. Whether large or small, nearly every one of his ninety-four panels delivers a fully realized scene in Betsy Braddock: Captain Britain #3.

 

While the Braddocks and Pete Wisdom are partial to checkerboard floors, Erick Arciniega loads up his palette with full spectrum color. I'm no more a fan of Rachel's flaming head than of Michael Jackson's burning hair, but Betsy's long purple tresses blend well with her Union Jack costume. The red, blue, and black Captain Furious takes center stage in London's smoking West End district as a green-and-gold-clad Meggan wields arcs of energy in the hazy red sky. Even after the battle, as the sun sinks into the rubble-strewn streets and Rachel and her warwolf puppy step through a red portal in a nearby park, nothing is lost to the invading darkness.

 

Final Thoughts

Filled with witchcraft, Fairie, mutants, and robots with dreams of greatness, Betsy Braddock: Captain Britain #3 delivers an interesting and exciting day in the life of Britain's courageous and caring defender. While short on mega-powered villains and world-ending threats, readers can expect a three-paragraph introduction, a report from The Reflector (the UK’s most trusted news source), a datafile, and twenty pages of story and art that impress, even when magnified at 150-200%. It's a substantial read that focuses on family, celebrates diversity, and contrasts what heroes and villains care about. Even without a T-Rex Captain Britain,  expert Marvelites and mutant newbies should enjoy this National Treasure.

 

Rating 9.6/10

 

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

Indigo Children #2 Review

 

Writers: Curt Pires & Rockwell White

Artist: Alex Diotto

Colorist: Dee Cunniffe

Letterer: Hassan Otsmane-Elhaou

Cover Artists: Alex Diotto & Dee Cunniffe; Martin Simmonds

Publisher: Image

Price: $3.99

Release Date: April 26, 2023

 

In the beginning, he saw Mars. People lived and worked in domes and rounded buildings. Aircraft flew through red skies over tranquil blue lakes. Every night Fred watches people walk along elevated walkways that slope up and down, curving like ribbons throughout their city. Then a mushroom cloud forms and fiery destruction envelopes him. What happens when Fred awakens? Let’s tune into Indigo Children #2 and find out!

 

Story

After clients accept Fred’s proposal, the architect celebrates that evening. Over the voices of other patrons, the conversations on the dance floor, and the singer's lyrics pouring through the bar's speakers, a coworker or friend compares his visionary designs to savant Raymond Babbitt in the 1988 film Rain Man.

 

The next day Fred speaks with his psychiatrist about his anxiety and paranoia. The medication she prescribes makes it harder for him to think clearly, but she encourages him to take it regardless. After suffering from troubling visions throughout the day—perhaps from his past—he decides to flush his pills down the toilet. Like journalist Donovan Price in issue #1, this decision will propel his life in a radically different direction.

 

As I followed Fred's life in present-day Chicago, Indigo Children #2 felt more like a linked story in an anthology than the next chapter in a series. I  vaguely recognized Alexei when he appeared. Aside from Fred, writers Curt Pires and Rockwell White give no character names in this twenty-seven-page installment. Another glimpse of the last issue's opening scene—with four kids levitating beside Egypt's mighty Sphinx—pairs with Alexei, Fred, and two other people who arrive with Alexei. I had to reread the first issue to realize that the latter two were Donovan Price and Nikki, the Russian man who helped Donovan locate Alexei in The Town That Is Not A Town. 

 

 

 

 

Art

 

Fred's recurring dream reminded me of my visit to Epcot in Florida. I don't know how the theme park has changed since my visit a dozen years ago or how it compares with Walt Disney's original vision of a livable futuristic city. Artist Alex Diotto and colorist Dee Cunniffe give the Martian city a futuristic, organic appeal that contrasts with Fred's spartan apartment and Chicago's highrises.

 

As Fred's abilities emerge, white dots or stars sparkle near his head. The first time we see this is in the bar when it's hard to distinguish them from the colorful interior lighting. That's also where Fred spots the man he believes is following him in Indigo Children #2. The man wears a hoodie and drinks something resembling an Icee with an olive attached via a toothpick.

 

Fred's abilities manifest as blueprints, with white lines on blue fields. He also glimpses memories from his childhood. Unlike his multicolored present, these are also colored blue. By the time the men with guns--and the soldiers in combat attire--appear, it's safe to say the color that dominates Dee Cunniffe’s palette is blue. I don't know if it's his coloring or Alex Diotto’s artwork, but I found it hard not to associate the latter half of this issue with The Old Guard series by Rucka and Fernandez.

 

Hassan Otsmane-Elhaou makes Indigo Children #2 easy to read. Black uppercase letters in white dialogue balloons shift to white letters on blue in Fred's blueprint visions. Hassan uses bold and increases font size to show intonation. He underlines commands or borders the dialogue balloons with red to show shouts. He shows Alexei's dialogue as white letters on purple clouds. (Or should I say indigo?) Sound effects—seen at night and with minimal interior lighting—appear drawn with a white pen. Big-ass white letters in the upper lefthand corner of panels differentiate current events from flashbacks.

 

Final Thoughts

Indigo Children #2 introduces readers to another person with extraordinary abilities who remembers his previous life on Mars. Pursed by government conspiracies and paramilitary organizations, can all four Indigo Children help Earth escape the fate of its nearest planetary neighbor? I, for one, hope to avoid brainwashing or accidental death until this series concludes.

 

Rating 8.6/10

 

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

W0rldtr33 #1 Review

 

Writer: James Tynion IV

Artist: Fernando Blanco

Colorist: Jordie Bellaire

Letterer: Aditya Bidikar

Cover Artists: Fernando Blanco; David Aja; Jenny Frison; Bill Sienkiewicz; Zu Orzu; Alvaro Martinez Bueno

Publisher: Image Comics

Price: $3.99

Release Date: April 26, 2023

 

A naked, tattooed blonde reaches into a computer case. Ignoring a dead man on the floor, she sits on the bed and opens a laptop. She watches a video of a young man using his cell phone to distract an older couple as he kills them. What new world is the young man speaking of, and why does the naked woman smile as she watches him? Let's jump into W0rldtr33 #1 and find out!

 

Story

Ellison and his girlfriend Fausta drive along a narrow mountain road. She urges him to keep his mind on the twisting asphalt ribbon and not look at him so much as they talk. He's worried about his brother Gibson’s internet use. Both have watched videos designed to shock and provoke, but Ellison believes his brother is immersing himself in something that could ruin his life. Fausta teases Ellison, calling him and his brother Edgelords. But then she looks at what Gibson has posted on social media and realizes Ellison was right to worry.

 

Meanwhile, Gabriel watches TV in his sleek, modern apartment. A report on Gibson’s actions prompts Gabriel to contact people he hasn’t seen in years. Once they worked together as software developers. They created something called W0rldtr33. While it gave the team members nightmares, Gabriel believes it might now be humanity’s only hope.

 

 

 

 

Art

W0rldtr33 #1 begins with an audacious first page. It's divided into twelve panels. Each conveys essential information about this silent scene. They introduce the dead man, the woman who killed him, and show her setting down her gun as she digs through his computer bag. She seems emotionless, yet she closes the man's eyes before she accesses his computer. A subtle hint of the story yet to come is that one row of three panels shows a glaring layout irregularity. More pages with tiny panels follow. She watches an online video of someone approaching a house, killing an old gentleman on the front porch, then walking inside and killing his wife. Fernando Blanco packs each of these scenes with photographic realism.

 

Jordie Bellaire casts the first scene in a pink glow, suggesting a motel room. The laptop casts a green tint on the naked woman's features. The killer shows the couple his cell phone, which shoots red and blue across their faces. Although the woman's coloring makes her look like a cartoon character imposed on a faded photograph, the scarlet blood spilling from her—and her husband--is shocking. Ellison and Fausta’s conversations begin with a gorgeous shot of his Prius navigating a wooded mountain pass. The car’s orange paint glows almost too much. Inside, Ellison’s face looks washed out. Unlike him, Fausta’s face shows more color and realism. Sadly, most of these panels in this scene only show green windows, reminiscent of a film set, and the special effects crew forgot to draw in the background scenery. The topics discussed--and the lack of backgrounds--made me wonder if I wanted to read further.

 

Gray dominates Gabriel's apartment. His long white hair falls onto his dark striped shirt and dark pants. Outside his modern apartment, nearby buildings blend with the overcast sky. The only color in his world comes from his TV, computer monitors, and memory. After you finish reading W0rldtr33 #1, return the opening quote by Harlan Ellison. It may address some of Jordie's coloring choices, particularly the final scene's lighting.

 

 

 

 

As W0rldtr33 #1's story pursues disturbing themes, I appreciated Aditya Bidikar’s easy-to-read-and-follow lettering. Bold words suggested inflection. Uppercase letters inhabited spherical dialogue balloons. (The only exception is Gabriel's memory when dialogue balloons are yellow). Big white letters introduce each character's scenes. Bidikar’s sound effects help us hear the computer accessing the internet and the (somewhat) naked woman's rumbling motorcycle. Gunfire seems more stylized than intended to help us feel the sound of the gun reports and the bullets striking their victims.

 

Final Thoughts

W0rldtr33 #1 tackles the increasing intrusion of Artificial Intelligence and our desensitizing addiction to violent entertainment in a mature manner. Visually arresting and thought-provoking, fans of Blade Runner and Terminator movies, and readers who still revere Isaac Asimov and Harlan Ellison, should not miss this powerful debut.

 

Rating 9.7/10

 

For more cover art see my review at Comic Book Dispatch.

The Scorched #17 Review

 

Writers: Sean Lewis & Todd McFarlane

Artist: Stephen Segovia

Colorist: Ulises Arreola

Letterer: Andworld Design

Cover Artists: Mark Brooks; Francesco Tomaselli

Publisher: Image

Price: 2.99

Release Date: April 26, 2023

 

As Space Shuttle Frontier returns to Earth, the flight crew notices fire in the skies over Europe. They report: "There's a shape to it." What happens when Frontier enters Earth’s atmosphere? What’s causing this atmospheric disturbance? Let’s descend into Scorched #17 and find out!

 

Story

On Omega Island, Monolith tells She-Spawn, Medieval, and Redeemer that Gaia has marked Earth for destruction. She-Spawn cries out when Frontier hits one of several lines of fire. Monolith tells her that this is just the beginning. Unlike them, he has seen this happen to other worlds. He doesn't want it to happen again.

 

Like Monolith, Urizen also views events on a cosmic scale. He sends Necro, Margaret Love, and Mandarin—these children who had thought to order him about—to spread a pandemic. Then, they hit the survivors with a monstrous plague. Forget about Gaia—can anyone on Earth survive with Urizen spearheading the apocalypse?

 

Either Sean Lewis and Todd McFarlane introduced characters and events more clearly this time or my growing familiarity with this series is granting me keener insight. Perhaps fewer team members—and the lack of pages devoted to infighting between the Scorched and Urizen’s group—also helped me better understand the story, the players, and the stakes in Scorched #17.

 

Art

Stephen Segovia’s heroes and villains remain bigger and bolder than life in The Scorched #17. The exception was Mandarin Spawn, who seemed thinner and less threatening. Has servitude under Urizen drained him? Among his fellows, Necro seemed the most powerful. His red eyes, and the electricity sparking across his metal features, never reminded me more of The Terminator.

 

After the damaged thermal tiles that caused the Space Shuttle Columbia disaster, I shared She-Spawn's heartbreak at Frontier's destruction. Segovia made that moment all too real. While Medieval and Redeemer seem immensely cool--and Monolith dominates every panel, single-page, and double-page spread--she's the most relatable of the Scorched.

 

I also liked the hungry space monsters Gaia created and how they compare with the plague Necro, Margaret Love, and Mandarin unleash on the pandemic survivors.

 

Shadows and highlights play across Monolith’s boulder-like muscles. Ulises Arreola enhances lines and inking to increase the depth and texture of our heroes' suits. The intricate embossing of Medieval Spawn's plate armor stands out. Lights dot apartment blocks in cities aflame, reminding us that people still cling to life. Perhaps Arreola could have added more nuance to the interior walls glimpsed beyond Urizen, but Segovia left them blank.

 

While many comics feature small lettering that shrinks to express feelings and intonations, Andworld Design treats readers of all ages (and eyesight capabilities) to big uppercase letters. He provides adequate spacing between letters, words, and lines of text. Yellow words in brown narration boxes lead us through these cataclysmic events. Colored letters, colored balloon outlines, and the shape of each linking arrow suggest each character's emotions. Amid all the destruction, Andworld Design reserves sound effects for an otherwise quiet scene showing who Urizen worships.

 

Final Thoughts

Scorched #17 hits readers hard with memories of the 2003 Columbia disaster, our recent Covid-19 experience and tribulations prophesied in St. John’s Book Of Revelation. Audacious and energizing, this team book will remind you how Image revolutionized comics in the '90s.

 

Rating 9.3/10

 

For more cover art see my review at Comic Book Dispatch.