X-O Manowar #2 Review

Writer: Dennis Hopeless

Artist: Emilio Laiso

Rating: 7 of 8

X-O Manowar #2

It can be hard to change. When you're so used to doing things a certain way for so long, it's very likely you're going to be fairly resistant to changing. When your usual approach just doesn't work, it might be a good idea to try a new one - no matter how hard it might be to take that chance.

It's a problem Aric (X-O Manowar) has to deal with, as he does his best to end the Ukrainian civil war without any more bloodshed. It's not the usual conflict you'd see a superhero dealing with and the issue's all the better for it. Compared to the usual conflicts, it's a lot more complex. Troy Whitaker even explains just how much harder it is to end, asking him what he's going to do after quelling the conflict.

 

 Will he stick around and take charge to make sure things go smoothly? Or will he jet off, despite the very real risk the conflict could start again? These are some very pressing questions that he doesn't quite have the answer to and the one he does provide could just make things a whole lot worse. Similar to Nolan's Dark Knight trilogy, it gives you the idea of the price of inaction and a very clear picture of how taking action can create an equally powerful reaction.

Hopeless also does a good job in providing Aric with an enemy as cunning as he is cruel. It's a dynamic reminiscent of Superman and Lex Luthor, where the hero has to face a foe whose lack of brain more than makes up for their lack of brawn (compared to them). Laiso's art is mostly fine, though he does create some standout moments, like a flame embroiled Manowar, a fist clench (above) that says everything without dialogue and an ending that leaves you hungry for more...

Overall, a very good return for the latest Manowar series, one that I highly recommend you check out as soon as you can. You'll be glad you did.

Sea of Sorrows #1 Review

Writer: Rich Douek

Artist: Alex Cormack

8 of 8

Sea of Sorrows #1

There's nothing quite like the unknown - which is probably why so many of us have ventured into it's depths. No matter what horrors it might hold, we're entranced by the uncertainty bubbling underneath. For some, it might be about learning what's out there, while for others, it could be about experiencing something completely new. Whatever the reason, you'll find few things quite as compelling - or terrifying.

But the unknown takes many forms, be they stars, jungle - or sea. It's hard to know which road to walk down, though for the crew of Sea of Sorrows, the answer is very clear. For most of them, it's just about lining their pockets - though for Nick Shoals, it holds a very different allure. For him, he can't wait to return - not for the gold, but for a bit of quiet, away from a war torn past.

Through him, Douek and Cormack explore a very human horror, of a soldier weighed down by the guilt of what he did in war. For me, it's almost more compelling than the unearthly horror that lurks below. Right now, I'm not sure whether that's something to be afraid of, or, like many things, it simply is and there's nothing be worried about. Perhaps that's what's so alluring about the sea - you're not sure whether it's something to be afraid of, or entranced by.

Thanks to Cormack's art, I can definitely understand why Shoals is so eager to return. There's a different kind of fear to be found there, with creatures that could just as easily kill you as swim on right past you. Then there's the inky blackness, so dark it feels like you're swimming in darkness itself. There's a life Cormack gives it that makes it feel like it's almost alive - and in some ways, it is.

Overall, it's just a really good debut, that shows a lot of promise for the rest of the series. If you can, I'd definitely recommend you chance these depths - you'll be glad you did.

 

Punchline #1 Review

 Writers: James Tynion IV and 

Sam Johns

Artist: Mirka Andolfo

Rating: 6 of 8

Punchline #1

To every great joke, you need an equally great setup - but you must never forget about the punchline. Tynion and Johns certainly keep that in mind as they return to the former's recent breakout creation, Punchline. Though the Joker was, understandably, the focus of The Joker War, here it's shifted to his (current) deranged partner.

Even though, for a longtime, he's been a classic villain, even the classics get a little tiring if you play them too many times, so someone new like Punchline can be pretty refreshing. Despite coming from a similar world of deranged villainy, she succeeds in standing out from her counterpart in a few different ways.

Unlike him, she has a definitive origin, something that clearly made her who she is today. Unlike Harley Quinn, it's less a crush and more an obsession, one that only grows as time goes on. It's like she admires him and what he has to say about the city, but curses it for refusing to listen.

She even criticizes him for focusing so much of what he does on Batman, saying ''But when you tell a joke to one person, instead of a whole city, how can we learn from you?'' But the story isn't all about Punchline, as we only find out more about her by Cullen Row listening to her podcast. One that details her research into the Clown Prince and her growing obsession.

If you don't recognize Cullen's name, I can't blame you as, unlike other parts of Batman's supporting cast, he hasn't appeared in anything for a long time. That looks set to change, though, as, with Punchline's upcoming trial, he and his sister Harper (Bluebird) make their return - though with decidedly different roles.

It's that divide that could make for a remarkably tense conflict, especially with Cullen's new 'friend'. The art's mostly unremarkable, though a scene with a notably 'dead' reservoir is a stirring one, as is the following page's brief visit to Arkham Asylum, one filled with both a sense of fear and, with Punchline, adventure.

Overall, it's a pretty good issue and, though I'm not exactly sure what the future holds for the young villain, I'm more than happy to see it unfold. If there's one thing I'd criticize, it's that the story ends just when the fuse is lit, but not when the keg goes off. Hopefully it won't be too long until we get to see it. Who's Joker? I don't really know. Who's Punchline? I can't wait to find out.

Origins #1 Review

Script Writer: Clay McLeod Chapman

Artist: Jakub Rebelka

Rating: 6 of 8

Origins #1

What makes the end of the world so compelling? Is it the idea that everything we know is gone forever... or that it isn't? A part of me thinks it isn't actually the end that compels us, but what lays beyond it. The idea of a changed world, so very different to our own.

In these starkly different dystopias, it's not always about what you've lost, but what you gain and hold onto. That's certainly the case for Chloe, who pushes through this ever dangerous world not for herself, but for David, her young companion. She's known him since he was a baby, maybe even longer - and that's the part that's most intriguing.

Though Chapman crafts a good story, it's Rebelka's art that really makes the story shine. Throughout, nearly everything's ensnared by plants, giving a great sense of time. It's almost like the world's stood still and with it, nature's taking over. Though this kind of imagery's familiar, it's nevertheless effective and gives you the feeling of an untold story, one you'd love to see unfold.

Jakub's art is a great example of sequential art done well and, in an early sequence (above), gives the issue a good flow. He also creates some rather striking images - like a worried Chloe, silver hair covering an eye; or the garb she and David wear, which evoke a real sense of adventure.

Overall, it's a good debut and, though not quite as good as some other post-apocalyptic tales, it's still makes for a satisfying read. If there's one thing I'd criticize, it's that I think the image of Chloe holding a baby David aloft would've made for a better ending.