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Bitter Root #1-3 Review

Writers: David Walker and Chuck Brown

Artist: Sanford Greene

Colorist: Rico Renzi and Sanford Greene

Letterer: Clayton Cowles

 

“One of the greatest horrors we face is racism”

 

Bitter Root follows the Sangerye family of demon hunters during the Harlem Renaissance of the 1920s. Despite it’s heavy topic, the comic does not feel heavy in tone. The story opens up with the central team of Sangerye’s practicing various parts of their craft. We see through their work that have a tenuous relationship with the few members of law enforcement that are aware of their supernatural activities. They have been fighting local Jinoo, humans who have morphed into dangerous creatures when their souls have been corrupted. The Sangerye’s are used to battling simple Jinoo, but something bigger is coming and along with it a major threat to the family. The comic features great pacing and seamless transitions to various parts of the story. We see several other characters who have an interest in the Sangerye’s but who are working to an end that is yet unclear.

 

Sanford Greene’s distinct art style is uniquely suited to this type of story. It is gritty in a way that speaks well to the horror genre but the overall feel is light enough that you can follow the story with a sense of excitement as though you are adventuring along with the characters. His splash pages are particularly magnificent which lend to lingering over the art to it soak in. The main covers of each issue connect to provide one large panel featuring the Sangyere Family.

 

And don’t skip the back matter of each issue. In addition to a character design feature from Sanford, there is a short essay of historical relevance to the story by cultural studies professor John Jennings. Jennings has an impressive list of works to his credit including the art for the Eisner award winning graphic adaptation of Octavia Butler’s Kindred.  

 

 

 

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The Green Lantern #3 Review

Writer: Grant Morrison

Artist: Liam Sharp

Colorist: Steve Oliff

Letterer: Tom Ozrechowski

Variant Cover: Jae Lee and June Chung

 

When DC’s The Green Lantern series was announced, writer Grant Morrison described his pitch as a more grounded take on the character. Hal Jordan is a space cop and this 12 issue series would be treated as a police procedural, one that focused on the day to day rather than the apocalyptic storylines that the corps has been known to deal with. Naturally that means the third issue features Hal Jordan trying to arrest God.

 

No, not that God. Just an alien that happens to look like the God from the Old Testament. The Earth has been put on the black market and along with characters like Steppenwolf from the planet Apokolips, this Shephard is an interested buyer. No one is buying the Earth if Hal has anything to say about it.

 

This issue is another fantastic entry in this must-read series. Morrison continues to buck against the decompressed storytelling that has become the norm in comics. Each issue is meant to serve as a near self-contained story that adds to an overarching storyline told throughout the 12 issue series. Meaning that any reader can grab any issue off the shelf and hop in without feeling lost or feeling like they were cheated out of a full story.

 

While facing off with God may not sound like typical police procedural fare, Morrison has done a great job making the series feel like a grounded take on the character while keeping the surroundings and plot lines as strange as one would expect from a Morrison sci-fi comic. It strays far from feeling like a typical superhero comic. This is classic British science fiction comic book storytelling. Think old school 2000 AD rather than DC Comics.

 

Issue 3 is filled with high concept science-fiction goodness. It somehow manages to be politically relevant without issues feeling forced or out of place. The creatures from Dhor that play a prominent role in the issue are Randian caricatures, showing the result of an amoral society built around a rampant free market. There’s a ncie allusion to our society’s apathy towards an increasingly dismal looking future on planet Earth. And the ending and next issue might promise some comment on police brutality.

Liam Sharp is the perfect artist for this book. His work is again something out of 2000 AD mag. Every panel is so intricately detailed that one can spend chunks of time picking out new favorite details. Sharp’s work on this series has been some of the best in comics right now. You can tell he is leaving everything on the page.

 

Green Lantern #3 is a stand out issue of an excellent comic series and is a must read for any fan of the medium. Check it out and grab issues #1 and 2 to catch up on one of the most rewarding series in comics coming out right now!

 

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Conan the Barbarian #1

Writer: Jason Aaron

Penciler: Mahmud Asrar

Colorist: Matthew Wilson

Letterer: VC’s Travis Lanham

Cover: Esad Ribic

 

By Crom, Conan is back, and at Marvel no less! This month you’re going to notice that Marvel is going all in on Conan. Marvel’s launching two new ongoings with Conan the Barbarian and Savage Sword of Conan done by Gerry Duggan and Ron Garney, an Age of Conan mini-series done by friend of the store Tini Howard and Kate Niemczyk, and a full month of Conan True Believers! For those new to the character that may seem like a lot, but Conan was once a Marvel Comics staple. With Marvel celebrating its 80th anniversary, bringing Conan back to the fold feels right.

 

Now I will fully admit that my Conan credentials may seem light. My dad was a big Conan fan. I remember reading through some late 70’s Conan as a kid, but I always preferred Thor. I was, however enthralled by the Arnold Schwarzenegger Conan movies. In those movies, Arnold succeeded in making Conan larger than life and while a bit silly at times, the sense of adventure always kept me coming back for more. Besides, the sequel had Grace Jones as a badass warrior and Wilt Chamberlain…nuff said. Despite my eternal disappointment that Conan the Destroyer’s ending teaser was never followed through, I had never been motivated to check out the comics until now.

 

It was writer Jason Aaron’s enthusiasm for the source material that got me excited to give Conan a try. When the series was announced, he tweeted a photo of his bookshelf filled to the brim with Conan novels and comic collections. Since his Thor is one of the best comics coming out right now, I knew I had to give Conan a try. This issue did not disappoint.

 

Aaron’s love for the character radiates off of the pages. The book opens with a beautiful two page spread with art from the original Marvel era of Conan. It was nice to see the homage, but Aaron makes sure to deliver his take on the character. Similar to his Thor run, we aren’t seeing a story from just one period of Conan’s life. The Life and Death of Conan starts off while Conan is still just an adventurer but threads into his life as King Conan of Aquilonia. Aaron delivers a fast-paced and bloody first issue, filled with the brawls, and pulpy dialogue you’d expect from a Conan story.

 

Mahmud Asrar’s art more than keeps up with the pace of the story. Conan is the statuesque and legendary figure of myth, but the art remains kinetic and energetic. Matthew Wilson sticks with a heavy red and brown color palette helping set the tone, underscore the violence, and build the world.

 

This issue was a great start to the series, perfect for long-time Conan fans and new readers. I’m excited to see the rest of the new Conan line. If you’ve been jonesing for a fun fantasy romp, don’t miss this issue.

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Batman #50 (SPOILERS)

Writer: Tom King
Artist: Mikel Janin and Other Special Guests
Colorist: June Chung
Letterer: Clayton Cowles
Publisher: DC

Thanks to the New York Times, a reviewer spoiled the ending to one of the most anticipated
comic book issues of our time four days ahead of its release. The bleeping headline spoiled it!
Many fans, and Tom King, understandably expressed their anger on Twitter.
Alas though, here we are. The seminal issue of King’s Batman run is on stands today, with
many shops hosting special events to celebrate the much-anticipated wedding of Batman and
Catwoman. And since America’s finest news source already ruined the twist ending for
countless readers, I’ll also be diving deep into spoiler territory here. At least I have the decency
not to do so in the headline.
The wedding of the century didn’t happen.
After months of build-up and presenting the possibility that Batman might actually find
happiness once and for all, King crushed everyone’s hopes by having Cat leave him at the altar
(or in this case, the rooftop).
It was a sobering, gut-wrenching conclusion to one of the most fascinating storylines in the
character’s nearly 80-year history. Was it a bad move to destroy the hopes of many readers out
there? Maybe, but I would still argue that King, Mikel Janin and the long list of guest artists like
Mitch Gerads, Joëlle Jones, Tim Sale and even Frank Miller delivered a pretty remarkable comic
with this issue.
Coinciding with the more cerebral tone of King’s entire run, Batman #50 delivers plenty of great
emotional scenes, my favorite being when Bruce asks Alfred to be his witness at the wedding
and the two share a heartfelt father and son embrace. Likewise, King delivers some rather
poetic prose to coincide with splash pages by the various guest artists. There are just some
genuinely beautiful moments throughout this issue, which will move readers regardless of how
they feel about the ending.
Ultimately, it’s a very King ending. Part of me does wish he had committed to something so bold
and unconventional, but at the same time I am excited to see where the story will go from here.
The ending also paves the way for the new Joëlle Jones Catwoman series, which debuts today.
Perhaps the Bat will always be broken, as Bane puts it here. Yet if King’s run does go a hundred
issues as planned, then there are still plenty of possibilities and potential storylines.

If you’d like to continue this discussion, hit me up on Twitter at @kwschaef, and be sure to pick
up the Ultimate Comics Nick Derrington exclusive cover.

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Crime Wave Hits Ultimate Comics!

Last night, June 10th, all three Ultimate Comics physical store locations in North Carolina were broken into and burglarized. Over $20,000 worth of comic books, toys and merchandise were stolen, glass display cases smashed, and the store’s windows were broken for entry.

Luckily, no one was hurt, and the stores themselves are boarded up, being cleaned, and will be open today. Obviously if you have any information on the situation please contact owner Alan Gill at: alan@nccomicon.com.  All info will be considered confidential, but to anonymously report any information, please use the contact form at: https://www.ultimatecomics.com/contact/

So now, what? Now Ultimate Comics needs a little help from it’s friends. If you’re in the position to help we simply ask you to consider maybe picking up an extra book, trying a new title, or simply stopping in to show your support. If you can’t stop in or maybe live too far away, please consider pre-ordering our Batman #50 store exclusive by Nick Derington you can purchase here: https://www.ultimatecomics.com/batman-50-exclusive-covers/. This is a gorgeous collector’s item and great a way to help Ultimate Comics get back on our feet after this devastating hit.

And whether you’re a comic’s pro, news outlet, fellow store, or a fan like us, every re-tweet, share, or shout-out helps too! Let people know they can support Ultimate Comics by grabbing a copy of one of the year’s hottest comic books, stopping by or giving us a shout online!

And we would be remiss to say that even though this is a tragedy, one that we’re really only beginning to assess…how “comic book” is it that we were “struck by a crime wave?”

Thank you in advance, Ulti-friends!

More details and updates as soon as we have them, thank you for your ongoing support!

– Ultimate Comics Staff

 

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Venom #1

Writer: Donny Cates
Penciler: Ryan Stegman
Inker: J.P. Mayer
Colorist: Frank Martin
Letterer: Clayton Cowles

So, if you haven’t heard Marvel just rebooted…again. Get ready to see a lot of Marvel number
ones in the coming months, including Doctor Strange, Deadpool, The Immortal Hulk and the
recently launched Avengers title by Jason Aaron and Ed McGuinness.

Regardless of your feelings toward this reboot/relaunch/whatever-you- want-to- call-it, the new
Venom title is one you don’t want to miss. In conjunction with the thirtieth anniversary of the
iconic Spider-Man nemesis’ first appearance, the new Venom comic is both a love-letter and the
start of a brand new story.

As Eddie Brock struggles to control his alternate ego while holding down his reporter job, he
soon encounters a mysterious ex-military operative. Here, Eddie learns new details about the
origins of the Venom symbiote, details that could change everything and bring about powerful
new enemies.

Despite my skepticism about the whole Marvel relaunch, I was intrigued by this title solely
because of the creative team. Donny Cates has become one of my favorite comic writers over
the last year, with horror titles like Redneck and Babyteeth. Since joining Marvel, he’s not only
been able to provide fantastically entertaining revamps of Doctor Strange and Thanos, but also
give these books a darker and edgier aesthetic.

The same is true of Venom. Cates and the brilliant Ryan Stegman deliver a tour de force in this
comic, combining supernatural horror with a character-driven narrative. This first issue sets up
an exploration of the legacy of Venom, from Eddie Brock to Flash Thompson to other possible
hosts. As Eddie wrestles with his inner-demons and encounters new foes, the storytelling is a
culmination of internal conflicts and bombastic action sequences. Coupled with the griminess
and cinematic touch of Frank Martin’s colors, this is one to dazzle both longtime Venom fans
and newer readers.

Time will tell if the Sony-produced Venom movie in October will thrive or flop, but regardless
Marvel fans have this gem to indulge in.

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Hawkman Found #1

Writer: Jeff Lemire
Penciler: Bryan Hitch
Inker: Kevin Nowlan
Colorists: Alex Sinclair and Jeremiah Skipper
Letterer: Clayton Cowles
Publisher: DC Comics

Metal continues to be one of the most bombastic and wildly imaginative crossover events in
DC’s history. At times it can be difficult to follow and connect it to the main DCU, but
nevertheless Scott Snyder and every other creator involved have done a great job expanding
the DC multiverse.

The latest tie-in issue is Hawkman Found, which provides a nice setup for the next issue in the
main Metal series. Hawkman’s death at the hands of Barbatos has been a major focal point
throughout Metal, but here the spotlight shifts directly to Carter Hall as he tries to escape the
sort of limbo state he’s been trapped in for so long. If you read the recent Metal tie-in Batman:
Lost, there are definite parallels between that book and this one.

It’s always a treat to see Jeff Lemire write a DC comic. Though he’s been delivering fantastic
indie titles like Black Hammer and Descender, this issue brings readers back to his stellar
Green Arrow run a few years ago. Though this issue is a mini spinoff, Lemire is able to
effectively explore the character of Hawkman with the space he does have. I’m also stoked for
his upcoming DC series The Terrifics, which he’s described as a love-letter to Lee and Kirby’s
Fantastic Four.

The real highlight of this issue though is Bryan Hitch’s art. In just one issue Hitch captures the
mythic, Conan-like elements of Hawkman. Plus, there are some great battle scenes between
Carter and a race of monstrous humanoid birds. Coupled with the gorgeous colors by Alex
Sinclair, Hitch’s art gives this comic a strong blend of surrealism and cinematic action
sequences. If you’re enjoying Metal, definitely pick this one up.

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Darkhawk #51

Writers: Chris Sims, Chad Bowers
Artist: Kev Walker
Colorist: Java Tartaglia
Letterer: VC’s Travis Lanham
Publisher: Marvel

As part of Marvel’s Legacy reboot, the company has put together a series of one-shots for its
more obscure, B-list characters. Silver Sable, Master of Kung Fu and now Darkhawk are all part
of this initiative. The idea is that if these books sell a fair amount and garner enough interest
among readers, Marvel will consider giving these characters ongoing titles. My hope is that
sales for Darkhawk #51 will skyrocket, as this title would make for a great cosmic superhero
series.

Chris Powell became Darkhawk years ago when he discovered an amulet in an old amusement
park. This event turned him into a being of immense power who used his gifts to fight crime.
Now however, it’s been a long time since Powell merged with his superhero alter-ego, and he
currently leads a more simple life as a cop. Yet when a tip leads him to the same amusement
park where he first discovered the gem, what he discovers there may just change his plans for
his future.

Writers Chris Sims and Chad Bowers do a great job introducing Darkhawk to readers who are
unfamiliar with the character, and also providing plenty of reasons for why this comic should be
an ongoing. As a one-shot it makes you want to dig deeper into the character’s mythos and hunt
down classic issues, but it also leaves plenty doors open for the story to continue.
Likewise, Kev Walker’s art is a delight, delivering the tone and aesthetic of a classic Saturday
morning superhero cartoon. I’ve only read a handful of Nova stories, but it has a similar feel to
that book stylistically. The colors are bright and engaging, providing the feel of a sweeping
space opera.

I’m really hoping enough people will like this book to want to see it continue, and regardless of
whether or not it does get greenlit as an ongoing it’s still a great collector’s item to have. Sims
and Bowers are regular guests at both NC Comicon shows, so get your copy of Darkhawk #51
now so you can get it signed at Oak City in March!

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Doomsday Clock #1

Writer: Geoff Johns
Artist: Gary Frank
Colorist: Brad Anderson
Letterer: Rob Leigh
Publisher: DC Comics

It’s finally here. Ever since the mouth-dropping twist at the end of the Rebirth one-shot, DC fans
have been waiting to see how exactly Watchmen would merge with the main DC universe. The
answer will be explored throughout Doomsday Clock, which is a 12-issue series written by Geoff
Johns and drawn by Gary Frank.

The last major revelation was that Dr. Manhattan had tampered with the space-time continuum
and created the New 52 timeline. Doomsday Clock starts off in the Watchmen universe, taking
place about eight years after the events of the iconic Alan Moore and Dave Gibbons story. I’ll go
ahead and say that if you haven’t read Watchmen in a while, you may want to refresh yourself
before going into this book.

That said, this first issue offers a lot of potential for the series as a whole. Beyond being a love-
letter to the source material, it provides an interesting look at this world as it inches closer and
closer to annihilation. We see a character from the original story posing as Rorschach,
Ozymandias apparently seeking to redeem himself and Dr. Manhattan is still missing.
Meanwhile, all hell has broken loose across the globe.

The only tie to the main DC universe comes at the end of the issue, but we still have 11 more
issues to get the answers we’ve yearned for for the last year and a half. After the fairly
underwhelming crossover The Button earlier this year, this book is a worthy follow up to both
Rebirth and Watchmen. Geoff Johns returns to comics writing with a bang, and with art by the
amazing Gary Frank this is one of the biggest collector’s items of the year.

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Deadman #1

Title: Deadman
Written, Drawn and Colored by Neal Adams
Letterer: Clem Robins
Publisher: DC

 It’s a pretty big deal to have a comic in 2017 written and illustrated by the legendary Neal Adams. The man who helped revitalize characters like Batman and Green Arrow in the 1970s alongside writer Denny O’Neil is back with a bang. His newest work brings back one of the weirdest and most interesting characters in the DC universe.

Not unlike the equally psychedelic Mister Miracle book by Tom King and Mitch Gerads, Deadman #1 is about our hero coming back from the dead and the mystery surrounding his assassination. In order to discover the full truth of what happened to him and the connection to the League of Assassins, Boston Brand will need the help of Batman, Zatanna and Doctor Fate.

Back when Deadman was first created in the 1960s by Arnold Drake and Carmine Infantino, Adams played an instrumental role in popularizing the character. The first arc he contributed to as a penciler also dealt with Brand coming back from the dead, so it’s only fitting that he’s helming the new reboot.

It goes without saying that this is a gorgeous book from start to finish. Adams’ bombastic and wildly surreal style coincides perfectly with the story’s supernatural elements. Not only that, but it’s a compelling narrative as well. Even if you haven’t read the last Deadman miniseries, Adams does a nice job making this one an easy jumping-on-point, with little ties to anything else going on in the DC universe right now. Now if Warner Bros. and DC could just get Guillermo del Toro to make a Deadman movie I’ll be really happy.