Bloodline: Daughter of Blade #4 Review

 

Writer: Danny Lore

Artist: Karen S. Darboe

Colorist: Cris Peter

Letterer: Joe Sabino

Cover Artists: Karen S. Darboe & Cris Peter; Betsy Cola; David Mack; Joshua “Sway” Swaby

Publisher: Marvel

Price: $3.99

Release Date: May 17, 2023

 

The teen years can be rough. But no one's life has changed more radically than Brielle's. Thankfully, her father has entered her life and explained her dhampir heritage. Can Blade help her hone her newfound powers to become a legendary monster hunter like him? Grab your wooden stakes, leap into Bloodline: Daughter of Blade #4 with me, and let’s find out!

 

Story

Who hasn’t lost someone important to them and wanted them back? In Brielle’s case, it’s a father she’s never known. Suddenly he’s there for her when she needs him most. He trains her to use her new powers and gives her presents. (Well, warrior presents). She can even hug him, and he'll hug back. Now she's got a real family like everyone else. Only she hasn't. Someone abducted her mom!

 

Blade plays the responsible dad and sends her to school the next day. Her friends Jay and Rebecca are there for her, but New Girl Whitney provokes her. Catfight! Meanwhile, Blade’s got his knives out at a cemetery. He may have more experience than Brielle, but neither fight goes according to plan in Bloodline: Daughter of Blade #4.

 

I had trouble understanding the events following Brielle and Whitney's fight. One aspect concerns Whitney. The second is how the school enforces the principal's decision. There's also a mention of cloning. Huh? Tell me more about how that works, please! Still, the biggest mystery is why Blade—a dhampir or Daywalker—wears his Sunglasses At Night.

 

What’s that? So he can keep track of the visions in his eyes? Thanks for that, Corey Hart!

 

 

 

 

Art

Karen S. Darboe certainly likes her inks. Instead of drawing fully-realized backgrounds, she often delivers black splatter. Some panels remind me of watching an inker apply inks mixed with varying amounts of water to paper at a recent convention. The effect suggests shadows, dirt, and smoke. She often centers smaller panels on pages. I found this distracting on one page, as Brielle’s black boot frames the left side of the page, and Whitney’s yellow tennis shoe stands out on the right. Still, showcasing the latter allowed her to capitalize on it in the bathroom scene.

 

Jay and Rebecca are Brielle's friends and her primary support group. Yet their features always look a little blurry to me. Likewise, Blade and Brielle's battles often blur, as if vampires and monster hunters move too fast to capture. Still, I liked how Darboe shows Brielle's emotions in the opening scenes as twinkling stars, an ellipsis, and a dragonfly. I also enjoyed how she shows Brielle's reflection in Blade's sunglasses.

 

 

 

The coloring in Bloodline: Daughter of Blade #4 is fiery, feisty, and fun. You’ll see that immediately with Brielle’s purple and pink hair. Cris Peter paints scenes and characters in appealing colors and disguises all-too-many blank backgrounds with a textured color wash that seems like a colorist's response to an artist's love of ink blotting and spattering. Perhaps the white tears on Brielle's dark face aren't realistic, but they communicate.

 

Joe Sabino’s uppercase black lettering in white dialogue balloons is easy to read and follow. He displays Brielle's thoughts in pinky-purple narrative boxes that contrast with the black lettering. I particularly enjoyed how he expresses Brielle's shock at the damaged, blood-splattered kitchen.

 

As with the story, I didn't understand the art in a few panels in Bloodline: Daughter of Blade #4. These chiefly involved Blade. I don't want to throw out any spoilers, but twice he screams (or yells—sorry, Real Vampire Hunters don't scream). I'm not sure why. Was Blade in pain or merely trying to distract Deacon Frost?

 

 

 

Final Thoughts

Bloodline: Daughter of Blade #4 delivers a teen-friendly story of family, empowerment, and the supernatural in an appealing, all-ages package. With a new Blade series hitting comic shops this July, there’s never been a better time to discover the world of Marvel’s night-stalking Daywalker.

 

Rating 8/10

 

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

Monarch #4 Review

 

Writer: Rodney Barnes

Artist: Alex Lins

Colorists: Luis Nct & Mar Silvestre Galotto

Letterer: Marshall Dillon

Cover Artists: Alex Lins & Luis Nct; Chris Visions

Publisher: Image

Price: 3.99

Release Date: May 10, 2023

 

Kurt’s mother walked out on him. His father found solace in alcohol. So where does that leave Kurt? And how are Travon and Daysha faring amid the alien invasion of Earth? Let’s leap into Monarch #4 and find out!

 

Story

Kurt’s never fit in anywhere. Other kids at school—and on social media—seem happy. Yet he doesn't desire that. Anger sustains and drives him. With aliens destroying society, he can’t afford to weaken. He can't trust friendship. He can't give in to sadness. He needs to protect himself, which means protecting his anger.

 

Although he was integral to their plans, the aliens now realize Travon has turned against them. He races toward the school, focused on saving Daysha. In the previous two issues, writer Rodney Barnes defined Travon more by his relationship with Miss Wilamae and Marli, his foster mother, and sister. Now he neither mentions nor mourns them. I wish I’d seen more of Travon’s relationship with Daysha. Perhaps then I'd understand why he's turning his back on his kin--an entire species--solely for her.

 

I like how Barnes interweaves story strands involving Travon and those he left behind at his school. While he begins in the past with Kurt, I never confused flashbacks with scenes currently taking place in Monarch #4.

 

 

Art

Alex Lins grounds us in Kurt's home life. Kurt occasionally emerges from panels that show his neighborhood, how he dresses, and his expression and body language as he moves through his house. The boy cooks and dines alone. Left to his own devices, he discovers his father's weapons. As he sits on the front porch, his father’s features hide in shadow, only emerging when a tear trickles down his face.

 

Unlike the last issue, Monarch #4 feels newly born. While we recognize Travon covered in alien technology and the giant walkers, the art looks invigorated, and the panels are fleshed out. More than any previous issue, this seems more a tale for adults than designed for children. In addition to the walk-through of Kurt's home, I especially liked Travon’s battle with the walkers, a view inside the alien ship, and the new weapons it produces to bring Travon down.

 

 

 

 

We see Kurt's home in greens and browns. Travon's battle with the walkers leaps off the page with blues, yellows, oranges, and reds. Unlike the invading aliens, few of Travon’s panels show pink anymore. This issue seemed more nuanced colorwise than its predecessors. I especially liked a panel that shows Travon in shadow, emerging as a silhouette amid fiery destruction. Amoeba-like tech covers his dark body, and his glasses are colored orange. He may not be a liquid metal T-1000, but Travon looks badass thanks to artist Alex Lins and colorists Luis Nct and Mar Silvestre Galotto.

 

Marshall Dillon relates Kurt's story in orange narrative boxes. The first time I read Monarch #4, I would have appreciated time/place/person markers: I got a page into Travon's story before I realized that I was no longer reading Kurt's thoughts. While green narrative boxes showcase Travon's thoughts, I was tired after my Free Comic Book Day revels and didn't notice the switchover. But then, who doesn't read comics at the end of a long day? Isn't that when we need them most?

 

That said, Marshall Dillon does a fine job relating thoughts and dialogue. Despite several large—or even one-page—panels, Barnes and Lins pack nearly 120 panels into 22 pages. We encounter narrative boxes, uppercase lettering in dialogue balloons, and sound effects in most of them. Thanks to Barnes' concise writing, he and Dillon deliver a story that doesn't bog down in unnecessary dialogue or exposition.

 

Final Thoughts

Amid a Wellsian tale of planetary invasion, this series has highlighted problems such as inner-city poverty, gangs, and the foster child system. Filled with compelling art, Monarch #4 asks why people act out their pain by hurting others. And why can't we, as a society, reduce the frequency of such acts? In an era when mass shootings regularly dominate the news, these may prove the most difficult to answer.

 

Rating 9.5/10

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

 

 

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.