The Last Barbarians #3

Let’s talk exposition

Words by Brian Haberlin with Hannah Wall
Art by Brian Haberlin
Colours by Geirrod Van Dyke
Lettering by Francis Takenaga

Once you’re three issues into a series really you’re looking for answers to some of the questions raised by early on. Some mysteries have been introduced and it’s time to expand on what we know so far. This is the case with this issue as we start to learn more about the quest Sylver has ended up on, who she is working with and perhaps for along with who and what is the strange kid that they have ended up with. There’s also some inisights into Slyver’s life of tragedy. The real key is making sure that all these elements are balanced with plot but also that the answers are part of natural exposition.

So often we get random information dumps in comics to give that exposition. A sort of ‘hey let’s have a somewhat stilted conversation and throw information at each other’ information dump. I am glad to say that this is not the case here. This issue is a really good example of how to exposit without it coming across as shoehorned in. Yes, there are conversations but there’s also a few twists as to is having those conversations and why. It keeps things interesting and makes the exposition far more natural and interesting as a result.

For example remember Wax and Wayne? The slightly inept duo from last issue? They seemed to be there purely for comic relief. Whilst they certainly lend a fun lighter air to proceedings there’s a bit more to their role than that. They link back to the person hwo wants the child and whom has a surprising connection to Sylver. It’s something I genuinely did not see coming. This is the kind of exposition that is fun and interesting and gives a twist to the plot as well.

Then we have the mysterious child. Kids who are more than they appear are a very common fantasy trope. Indeed the whole plot relating to rescuing the kid and travelling them with them for a mysterious client whose motives are unclear is something we have seen across both fantasy and science fiction. Therefore this is a solid choice for this series which does combine some of the sci-fi elements with fantasy. The key is to keep things interesting by explaining some of the mystery but keeping the child cloaked in some mystery.

The choice here to make the child a dangerous vessel is a good one. Again it’s an oft used fantasy trope but what makes this interesting is the way that the reveal plays out. There’s a genuine bit of tension as we don’t quite know if our heroes are going to get away unscathed. Yes we get information about how this is not ordinary child but a vessel but we get that as his eyes glow red and we wonder if things are about to get more dangerous. There is a real sense of danger wrapped up with this exposition which means that the exposition serves a real purpose within that as the other characters impress on Slyver how important it is to keep the vessel calm.

I enjoyed this delve into exposition. Nothing here felt forced. The exposition fitted neatly into the action that took place. There’s plenty of questions, indeed there’s even more raised now and I sense there will be some more twists and turns along the way but three issues in and the plot has developed. The stakes have been raised and the tension still continues. You start to wonder how much Slyver is in over her head. Hopefully she’ll find her own answers soon.

Trading Options: Star Trek Lower Decks

Let’s talk about boldly going

Boldly go and read this

Publisher: IDW
Writer Ryan North
Artist Chris Fenoglio
Lettering by Johanna Nattalie & Jake Wood

Those of you who are new may not have read my reviews extolling the virtues of Star Trek Lower Decks the comic. Now the trade is out I’m here to praise it all over again. It’s honestly the best Star Trek tie in licensed comic I’ve read. Sire IDW have done a great job expanding out the world of Star Trek creating a legacy of stories if you will but whilst I enjoy them none have felt quite like a continuation of a show than this.

I suppose one thing that Lower Decks has as an advantage is that it’s an animated show which naturally would suit comic book art as a medium for telling new stories yet it takes that and runs with it. The writing is pitch perfect, the art is pitch perfect and the lettering is pitch perfect. People talk about an immersive experience but honestly reading this is like watching an episode of the show (maybe two episodes could have been a two parter).

If you are unfamiliar with Lower Decks as a show then yes its animated Star Trek but not like the animated series. It’s modern animation which actually portrays human movements effectively (not like the animated series). It’s also more of comedy, a workplace comedy essentially (only actually funny and with a huge amount of heart and Star Trek ideals). It follows the adventures of the USS Cerritos a California class starship that specialises in second contact (you know after the important first contact someone has to follow up and do the mundane stuff). We follow mostly the lower decks crew those ensigns who take care of the everyday running of the ship as situations ensue with shenanigans.

This trade works by taking the essence of an episode; bridge crew have the big mission, the lower decks crew are doing something else as some point they intersect and runs with it. The bridge crew are doing a second contact mission which predictably goes a bit wrong. For the lower decks crew have that classic holodeck goes wrong story. This is a great choice and a perfect fit as Boimler, Mariner, Rutherford and Tendi find themselves interacting with a sentient version of Dracula in a take on the classic TNG episode ‘Elementary Dear Data’ with a twist.

Ryan North writing really gets what a good Lower Decks plot should be. There needs to be fun, twists, humour and copious amounts of references to previous Star Trek episodes and concepts. Part of the fun in the reread value is going through and managing to pick out all the references and feeling rather smug about it all. There are of course lists provided so you can check how well you did.

Yet the references never overwhelm the plot. The sentient Dracula hologram is one of the best new characters you’ll see in. Star Trek comic. He’s interesting, gives our heroes a friend and a foe and ends up… well to say more would be spoilers. The bridge crew plot also has copious references as Captain Freeman, Shax and Doctor T’Ana find themselves in trouble with the Qvanti as second contact doesn’t go as planned.

The plot is absolutely what you’d want from a Lower Decks episode. Full of humour and references as well as a plot that maintains interest. I don’t want to say much because of spoilers. Suffice to say it is so true to the show.

What’s also true to the show is the art. Chris Fenoglio does a brilliant job of capturing the art style of the show. Visually the characters, the ship it’s all exactly like the show and when the source material is animated and is such a distinct style it is important to get that right. That’s exactly what he does. You feel you are seeing what you want and expect. It means too that new characters, like Dracula, with their designs just fit nicely and naturally into the world of Lower Decks.

That’s not only true of the character designs but also the composition of panels. It’s not easy to capture the movement of an animated show in just still art but here that movement has been nailed. The art feels dynamic, you could be watching the show. There are so many nice touches that just evoke everything I love about the style of the animation. That’s not easy to do but it’s absolutely successful here.

Plus there are also some really nice references in the art itself. These visual references just reinforce the whole homage aspect but it’s a loving and interesting homage.

I’ve not even mentioned the lettering which also is excellent. In the show we don’t see the dialogue so it’s important that it’s not obtrusive. It isn’t and again just works.

If you love Star Trek then this trade is for you. It’s visually appealing with solid lettering and a fun plot with humour, heart and references. Anyone who enjoys Lower Decks will enjoy this as it does feel like another episode, a bonus one if you will. I really enjoyed both reading and rereading. It’s well worth your time and effort to pick up. If you read only one Star Trek comic this year make is so this one.

Black Cloak #4

Let’s talk about backstory

Publisher: Image Comics
Written by Kelly Thompson
Art by Meredith McClaren
Letters by Becca Carey

Throughout Black Cloak the primary driving force has been Phaedra’s past. Even the central mystery of who killed Fray is directly linked into Phaedra’s backstory since she and Frey had history. As the murder mystery has played out and leads have been followed more of Phaedra’s backstory has been revealed, and it has played into the current mystery through many of the twists and turns as the mystery has deepened. Black Cloak has woven the backstory into all the issues so far but this issue really feels like it digs into the core of things – why Phaedra didn’t marry Frey.

We’ve had hints throughout the previous three issues. We’ve had flashbacks before. The art sets them apart from the main narrative, helping give them a sense of memory. We’ve seen the early days of the relationship but here we finally see the end of it. There’s something to be said of the fact that this relationship hits so hard. We’ve only known Frey as an alive being through flashbacks, but those flashbacks have really built him up. The further we go into the mystery of who killed him the more real he becomes. It retrospectively makes his death all the more sad.

That’s also true of the mermaids. Here we get some wonderful art as Phaedra and Pax have to try and get some answers. It’s a dangerous undertaking but worth it in the end. It also fleshes out the mermaids themselves. Let’s not forget that the first issue opened with the death of a mermaid. The first death we saw was a mermaid. Sure they eat people but one was a victim too. The alien nature of the mermaids would make them difficult to empathise with but time is taken to give them some history and backstory as well.

Really though the main focus is on Phaedra’s backstory. We have worked a few things out prior to the reveal here. Hints of Phaedra’s parenthood being less than acceptable have been sprinkled throughout several issues up to this point. We could make some logical assumptions about what it is. I like that it isn’t front and centre, that it is something we the reader can work out through the information we’re given.

What I also like is that clearly Phaedra did love Frey. That she would have married him had things been different. That this is the case does not in any way detract from her current love and relationship. Her past love is in the past and she has been lucky enough to find a strong relationship in her present. It doesn’t matter that her present love is female it’s just as valid as her relationship with Frey. There was history between her and Frey, they grew up together and though it was not chosen there was affection there. In the present though she has made a choice and is happy, she managed to find something good after making a heartbreaking choice.

This is why backstory can be so interesting and useful. It can illuminate the present in different ways. We see Phaedra’s present relationship having beeen aware of her past history. It adds some emotional tension and depth we might not have had otherwise. It is a well written relationship anyway but the backstory gives it another dimension from Phaedra’s side. We can see how different this present relationship is to her past. The ghosts of the past are there even though this relationship carries the weight of being a free choice. External forces are used in fiction to give tension to relationships but this feels like a more unique way of doing it.

Of course there’s more going on than simply backstory but this was a great example of how to use the backstory in the main plot and how to use it to add to the emotional core. It feels like we’re still no closer to the actual murder being solved but it does feel like we are further along with understanding Phaedra. Her backstory has been key and it does feel as if might be the key to solving the crime. This issue reall shows how important that backstory is.

Time Before Time #22

Let’s talk long form storytelling

Writers: Rory McConille & Declan Shalvey
Artist: Jorge Coelho
Colourist: Chris O’Halloran
Letterer: Hassan Otsmane-Elhaou

There comes a point when you are reading a long running ongoing where the world has taken on a life of its own. When you need to really read everything before but your reward is that it opens up in front of you and you get that ‘Ooooo’ moment. Time travel stories following multiple threads often have this built in but they don’t always pay off. With Time Before Time it pays off in spades. This issue is a really perfect illustration of that. It harks all the way back to threads that have been part of the world since the first issue. Of course there’s other stuff going on as well, and some excellent character stuff at that, overall it’s a very satisfying read.

We have a few plots going on. The least of these is Sebastian and Tatsuo and though there’s some development there it’s pretty light and it seems like we’re just ticking along. Nadia is the second plot. She’s being interrogated by her mother post the reveal of Kevin. We’ve seen the last few issues how Nadia has struggled with her family, how she can’t make the connection with them, despite being related and spending her formative years with them. This all comes to a head as we see Nadia for the first time really make a choice about what she considers family to be. Being reunited with her family was the driving force throughout the early arcs and now we’re seeing that deconstructed. Again it really pays off to have followed the story so far, to see that development.

Really though the real meat of this issue lies with Kevin and his encounter with Stan. If you recall we first met him as a spoilt kid in the 80’s having been relocated. Then we met him again as an older adult and he meets up with Tatsuo and here, here he is very different, completely snapped with some crazy ideas and poor Kevin is in trouble. Yet, despite the fact he has clearly gone a bit mad we also know there’s a history there. As we know being relocated through time does not always mean a happy ending. There’s more insight into what happened to Stan this issue too as we get a flashback into the 1990s and seeing how things started going wrong. All of this of course links right back to how we were introduced to this world.

It’s not common for a book to make me want to go back and re-read all previous twenty one issues but honestly this does. That’s what makes Time Before Time a book that you know will have some longevity. It’s a book which rewards the reader over and over again.

The narrative threads run through back to the first issue. We’ve had a few artist changes since then but there’s still been continuity in style. Yes, Nadia and Kevin look a bit different this issue to how they did in their first appearances but you still know its them. Each art style has been distinct but it’s not gone so different as to be jarring. That’s also been very much a strength with Time Before Time all the way through and really helps support that long form storytelling. The scenes of Nadia and her mother and her sister this issue art wise match up with the art we saw way back in earlier issue flashbacks to when Nadia had to leave her mother and sister, a relative lifetime ago.

One of the reasons for this continuity is the colouring. Chris O’Halloran has been colouring this book since the first issue. That colour palette has been adapted and changed according to setting but is always consistent. Like Kevin and the grey blues of himself and his clothing in whatever period he is in. This helps with continuty. The designs may change a bit but the characters colouring remains the same. Often we underestimate colouring with art but honestly this colouring has helped with the nature of the long form story and that should be pointed out.

Something else that has remained consistent is the lettering. Again we don’t often point it out but lettering is how we hear character’s voices, read their thoughts. The lettering has been the same since the first issue (Hassan Otsmane-Elhaou) which again gives a huge boost to continuty. It’s not something easily noticed but it just shows the care attention, time and effort that has gone into investing in this world, these characters and ideas. The lettering consistency means when Nadia speaks this issue we’re in no doubt it’s the same Nadia as twenty one issues ago because it’s the same Nadia we’re hearing via the lettering.

All this is to say that yes this was a good issue. The reason it’s such a good issue is that is shows some of the awesome ways reader investment can pay off. I am invested. There’s tension, I am worried about these characters (Kevin! That ending!) yet at the same time the reason it means so much to me is because of what’s gone before, that this treats me as a thoughtful reader and rewards my investment. That’s the power of long form storytelling in comics. Time Before Time epitomises everything great about it and does it so well.

Review: X-O Manowar: Unconquered #2

Dacian versus Romans part future

Publisher: Valiant
Writers: Becky Cloonan and Michael W. Conrad
Artist: Liam Sharp & Letterer: Troy Peteri

Previously on X-O Manowar Aric was in trouble as space Romans began their assault as they are determined to steal the X-O armour. Shanhara is low on power and can’t assist Aric as she normally would. So you can probably figure out where this leads. If you were thinking that Aric was going too end up being captured then yes, you are correct. This of course means that we get more insight into said space Romans, where they came from, what they are up to and who the next foe Aric is going to come up against is.

Before I get too into things I do want to talk about what is an age old X-O trope – Aric has to prove himself without his armour. At this point I think we’ve seen this happen in every X-O run. It’s a well worn trope at this point and as a result I am not surprised to see it again here. The way it plays out is pretty predictable given that Shanhara was not operating at her peak last issue. I think it plays out well enough, though I would have preferred if we hadn’t gone down such a route so quickly because there are plenty of other interesting ideas going on.

The space Romans are quite an interesting shadowy foe. Taking a classic X-O villain and giving them a space twist is something more new and original. These are still clearly Romans and the use of a character who is almost an oracle is another way of underlining who they are and linking the back to the historical Romans. Aric might be glad to face an old familiar foe but it also feels like there’s a bit of a twist to these characters. I hope so anyway, as at the moment there is an element of the cliche about them although at the same time that works well for both ease of reading and plot. Plus it makes it easier to cheer for Aric who still has that arrogant air. Really it’s not an X-O book if there aren’t moments you want to slap Aric.

The art maintains the feel of a strange world. If you didn’t like the art of the first issue then you’re not going to be persuaded by this one. The almost painting like style is something that you will either like or not. Although at times the style doesn’t show a lot of detail in other ways it does. The visions are really nicely realised in a very trippy way. There’s one small panel of a knocked over wine goblet that combined with the narration is very effective. The image stuck with me.

There are some other memorable panels but I don’t want to mention too much for spoilers. Overall the panel choices are very good. They give scope to the space scenes and work as well for the more interesting narrative moments. The colour palette retains continuity with the first issue and again the use of the darker colours for the space Romans helps give an air of menace with the brighter colours of X-O giving a nice contrast, even if it isn’t subtle.

This was a decent second issue. Giving a bit more depth to the space Romans which is needed to keep them interesting. They feel like a real threat which again gives everything more tension. We don’t get as much of the relationship between Aric and Shanhara which is a shame since what we do get is really good. You can really feel the bond between them. Which again lends some emotional heft into the overall tension. This issue builds on everything from issue one. There’s tension, a good emotional core and art with a great distinct style. This is a solid continuation of the X-O legend so far.

Review: Black Cloak #3

Publisher: Image Comics
Written by Kelly Thompson
Art by Meredith McClaren
Letters by Becca Carey

Issue #3 of Black Cloak takes us deeper both into the world, into the plot and most interestingly into the partnership of Phaedra and Pax. We learn a lot this issue but the overall answers are still out there. It’s a satisfying and well paced read that has some great little character insights along the way. As issue threes go this is very successful weaving classic crime tropes with the fantasy world of Kiros.

Although we’ve seen Phaedra and Pax working together this feels like the issue where we finally get the feeling of them as partners. You know those scenes you get in crime dramas or crime films where one of the characters is down and their partner comes along to cajole them? That’s what we see here. There’s a definite poignancy to the way that Pax prods Phaedra to open up. He recognises she’s got a lot going on but has the concern of a friend as well as a work partner. A quiet moment at a food outlet that could be anywhere were it not run by a fantasy creature. It’s the touches like this that really ground Black Cloak and make it relatable to our own world.

I also enjoyed the art in the scene, the use of design and colour drawing parallels with a Japanese city or town, again it brings a recognisable sheen to a fantasy world. There are of course more fantastical elements as well such as the tree where Phaedra and Frey hung out as children. There’s a great page to show Phaedra and Pax flying to the secret past hiding place. Oh and Pax has fairy wings which somehow just work as part of the character design and don’t feel tacked on. The trees provide an interesting contrast with the area of the city known as The Trees.

Just as there’s contrast in the setting the work provides a contrast to the fact Pax has a homelife – a wife and child. It’s nice to get these insights into Pax as the majority of the focus has been on Phaedra (which completely makes sense). It’s a short scene but it says so much about Pax, highlighting the contrast between he and Phaedra. You can see how their differences can complement each other and why Pax cares. Again the character touches are lovely and the fact Pax’s young daughter hated crawling compared to flying is again a nice touch underlining the differences and similarities.

There’s also plot development. There’s two strands. There’d Phaedra and Pax investigating the message left by Frey and there’s the intrigues in the palace with regards to Phaedra surviving the attack on her life that has raised questions of it’s own The underlying plot development is that there’s people with power, dangerous people, and there’s conspiracy afoot. Again it’s a rather classic trope, right down to Phaedra and Pax speaking to a friend of Frey’s who won’t talk because of those scary powers that be but again it feels fresh in this setting with these little twists.

It is also nice to hear from Frey. He’s been dead two issues now and hasn’t been much more than a corpse of clues with a touch of flashback memory but here at last we get to see him as he was alive and speaking his own words. It still leaves unanswered questions but also makes him more than just a murder victim Phaedra knew in her childhood. We see Frey as his own person rather than just part of Phaedra’s story which is important because we do need to care about him in his own right.

I really enjoyed this issue. It’s a very satisfying read on a character level above all but never neglects the plot. The art is still fun and vibrant really helping set the tone. That tone is also light in parts, there’s humour in amongst the serious moments. I love the banter we get between Pax and Phaedra long with the heartfelt words. It’s a sold mix of tropes, character, plot and art. The pacing is excellent packing so much in without being rushed. A very successful third issue indeed.

Review: The Last Barbarians #2

Words by Brian Haberlin with Hannah Wall
Art by Brian Haberlin
Colours by Geirrod Van Dyke
Lettering by Francis Takenaga

This second issue is as packed as the first, perhaps more so. The world expands and the plot gets thicker. There’s some real twists and turns and a cliffhanger ending. Really it’s a very solid second issue all around. It’s what you want from a second issue. I enjoyed it possibly more than the first issue.

When last we left Sylv and her brother she had been hired by the mysterious Falk, who was a dodgy character but as Sylv needs the money she didn’t really have a lot of choice. We get some nice little world building as Slyv and her brother waiy for the mysteriously dodgy Falk. We have soldiers heading back from mysterious troubles, and the dead ones did not die well. Also they have really cool looking yellow and black striped hoods. Amerax is a new character briefly introduced who clearly knew Slyv and Shadow back in the day. Fingers crossed we see more of him.

Those little details really add to the whole political tapestry of this world. As Sylv and Shadow cross the sea we get more sense of the geography too. This is a bigger world than we first saw containing many of the classic tropes of layout of fantasy land. Of course this being a fantasy sea the fish are literally flying. I also very much appreciated Sylv’s seasickness, it’s a nice character detail. This is a world with seas, a city, a north and populated by strange creatures.

The design of the creatures is as always fun. As well as the soldiers’ dinosaur-like strange creature pulling their wagon there’s the flying fish and a strange creature in the city, a bear horse pig with hands? Either way these creature details help with the world building. The city provides more of the world. There’s a magic shop filled with strange objects for starters. One of which, a wish ball, seems like it could important later.

We also have the plot that also develops. The child that Flak alternately claims is his grandson and grandnephew is clearly neither. He’s also wanted by a few different people it seems for reasons that might possibly be related to magic. Again an innocent child people need to rescue from well bad people is a classic trope but it’s being explored in a fun way here. There’s a lot of questions about this mysterious child and Sylv ends the issue in as much trouble as ever.

This was a fun ride. It feels very much like a classic fantasy tale playing around with different tropes and it’s really working on that level. Sylv is a fun protagonist and we did get some interesting character insight from magic to sea sickness. The development with Shadow/Victor was unexpected but appreciated and not one but two new pairs of antagonists.

If you enjoyed the first issue you’ll really enjoy the second too.

Review: Time Before Time #21

Writers: Rory McConille & Declan Shalvey
Artist: Jorge Coelho
Colourist: Chris O’Halloran
Letterer: Hassan Otsmane-Elhaou

People often talk about page turners. Well Time Before Time has always been something of a page turner for me. That’s especially true this issue. The tension! The action! The politics! The ending! There is so much in this I dare anyone to try and put it down for more than a minute. Things this issue did not let up and goodness. What I love is that amongst the tension and action there’s still decent character moments and little bits of world building.

There are two strands to this. The first is Sebastian and Tatsuo (yes, you read that right he is back) and the second is Nadia and Kevin. In that sense it reminds me of earlier issues where we’ve had both characters on separate paths. Much as I love to see them together it’s also interesting when they are apart. Here they are separated by many centuries and of course Nadia has no idea that Tatsuo isn’t dead. Nor did we until the end of the last issue.

It’s great to see Tatsuo back, although he’s still got the rad sickness he’s okay for now, but his days are still more numbered than they were before. Surprisingly I was also glad to see Sebastian back. He’s been a good protagonist and not without sympathy. We’ve not seen him interact with his quarry yet but here he is talking with Tatsuo. Actually seeing them talk is an unexpected pleasure of this issue. Their interactions are layered with things that we as long time readers know but which of course they are totally unaware. Which is very rewarding to read.

The other strand also rewards long time readers. In the distant past Kevin has been revealed and in a city full of people who went there to escape the robot induced apocalypse, so needless to say this is not good. He and Nadia must make a quick get away, not helped by Jettie, Nadia’s very anti-robot younger sister. The mixing of the family drama and the sudden reveal of Kevin really pays off the last couple of issues. For a time Nadia has struggled to connect with her family whilst maintaining her close relationship with Kevin, in a way chosen family. Here those two things combine in a very explosive way.

There is plenty of action this issue and my favourite sequence is the chase scene with Nadia, Kevin and their pursuers. Futuristic hoverbikes, the speed and the tension of them trying to avoid capture. You get such a strong sense of the speed of the movement, it really feels dynamic and exciting. Added to that is the lettering of the voice of the news which details lies about Kevin and their escape. It’s good art, writing and lettering all working together to make a solid and interesting sequence.

It’s not the only one either as we get some really interesting action as Sebastian has to fight off some rivals who want to take Tatsuo and claim the reward. Sebastian fights them off wth his usual style. You forget how dangerous he really can be. The onomatopoeia really plays well as we see Sebastian shooting his way out. The action there is a nice contrast to the earlier quieter moments of the two talking and reluctantly start to understand each other.

I’ve barely scratched the surface of everything that happens this issue. Nadia’s mother faces issues as it’s revealed that Nadia has been hanging out with a robot expanding the politics of the world. Then there’s that ending as another character, completely unexpected, is reintroduced. Bit of a cliffhanger. There is such good work on display throughout this issue which is a real page turner as I’ve said. Time Before Time readers will definitely appreciate this one.

Review: X-O Manowar: Unconquered #1

Don’t lose your head

Writer: Becky Cloonan and Michael W. Conrad
Artist: Liam Sharp

Yes, Valiant is back with another book, this time they’re relaunching X-O Manowar. I really enjoyed the last run of X-O. I liked the relationship between Aric and Shanhara. I thought it brought a nice, modern, groundedness to Aric. Having him interact with ordinary people, in an ordinary neighbourhood, underlined his humanity in a way we hadn’t seen before. This new run however does not do any of that. This takes him back to his roots as a prophetic space travelling character fighting Romans. Not that there’s anything wrong with that. It’s been as aspect of the character since the very early days of his conception so it makes sense to explore that and a new run seems like a good time.

As a long time reader of X-O Manowar I knew exactly what was going on and why. I am trying to imagine what a new reader might make of this. It’s really hard for me to judge as I am so familiar with X-O’s backstory. This does feel a little more difficult for a new reader to get into than the last run as it plays with a more philosophical take on X-O than the previous run. Tonally it feels closer to Matt Kindt’s epic run of several years ago. It’s very much in that vein.

For those of you not familiar with the history of X-O Manowar here’s a brief history. Interestingly, he is one of the few characters whose 90’s background is pretty close to his 2012 incarnation (except there was more rape and beheading in the 90’s because it was the 90’s). X-O Manowar is Aric of Dacia. He is a Visigoth hanging around in the early 5th century killing Romans, as they are his mortal enemies for reasons. He would have been lost to the mists of time and history had he not been captured as a slave by the alien race the Vine. Toiling aboard their ship in deep space time passes on Earth but not as quickly for Aric. He ends up bonding with, and stealing, the sentient and powerful armour Shanhara. Now going by X-O Manowar he battles the Vine as he finds himself returning to a very different Earth than the one he left behind centuries ago.

If you’re thinking that sounds a bit like Thor meets Iron Man with Captain America then you would be close but Aric is more than that. He’s also something of a dick. I dare anyone to read the entire run of X-O and not come out of it wanting to slap Aric several times. In a way that’s what makes him a good character, he’s flawed but he tries. He wallows in self pity but still gets the job done. He’s not always easy to like and frankly if it wasn’t for Shanhara he would be both dead and probably less likeable.

This issue absolutely nails the relationship between Aric and Shanhara. It’s my favourite aspect of this new take on the character. Shanhara is the one who cares for Aric, who sees who he can be and pushes him on. Here they are in space and they only have each other. No matter how melancholy Aric gets Shanhara is there as both a physical and emotional support. That’s what really makes the armour special, the fact that it is an entity, alive and a being bonded to the wearer.

That and the power the armour hold is why so many are after capturing or killing Aric and taking Shanhara. The pair have fought off various attempts before. The attempt in this latest run comes from, and I don’t think this is too much of a spoiler, an old Earth enemy reimagined for space. I guessed it was space Romans very early on but it’s always nice to get confirmation. It lends a sort of almost supernatural air to things. The art is coloured with blacks, whites, greys and purples which invokes, intentionally or not, that other Valiant hero Shadowman which is probably why I get the supernatural vibe.

The art overall feels like it has a mysterious, almost magical, feeling. It feels slightly blurred, giving a painting like impression. There’s a clear departure here from the art of the previous run that was much more in keeping with the usual Valiant house style. This art feels more experimental, reflecting the strange space setting with bold use of colours. There’s the blacks, white and greys in some panels with liberal use of reds and oranges in others, the ones that focus on Aric. The planet that Aric and Shanhara land on is white, cold and generally inhospitable. The art underlines the bleakness of the situation and Aric’s general mood.

In fact the mood generally is well expressed with both the colouring and the choice of panels, some of which are small and keep things tight, contrasting with larger panels that give more scope. There’s diagonal panels giving glimpses of Aric’s past and panels which break up larger images. It flows nicely and does work well to reflect the different moods and feelings of the characters, especially Aric. There’s also solid designs of alien creatures, which is always a bonus.

This book was delayed from last year and was the wait worth it? Well mostly yes. It’s not my favourite X-O but we are only one issue in. There’s been some really strong X-O Manowar books stretching right back to 2012 and Robert Vendetti’s run. This is a solid take on the character and one that holds a lot of potential. It’s drawing on some of the classic X-O history and tropes and very much understands both those things. I’m looking forward to more and hopeful of what we’ll see in future issues.

Review: Phantom Road #1

Writer: Jeff Lemire
Artist: Gabriel H. Walta
Colourist: Jordie Bellaire
Lettering & Design: Steve Wands
Editor: Greg Lockard
Publisher: Image Comics

Back in 2019 Jeff Lemire and Gabriel H. Walta collaborated on a book for TKO named Sentient, and this may come as a shock but like most things Jeff Lemire everyone at Bigger Than Capes liked Sentient a lot. So another comic from the duo was pretty hard to resist.

Phantom Road #1 has an immediately different aesthetic to Lemire and Walta’s previous work together, presenting us with a long haul truck driver by the name of Dom, the lonely highway, and some supernatural goings on.

The opening pages of the issue introduce us to Dom, and give us a little insight into his life, both on the road and at home, before he encounters the aftermath of a car accident caused by a piece of strange debris on the road.

The only character we really get a feel of in this issue is Dom, and although we don’t get a full picture of who he is just yet we get a good look at his work life and a little glimpse into his less than perfect home life. Off the bat he isn’t the most relatable person, but in keeping with Jeff Lemire’s usual character work, Dom feels well rounded and understandable even if you can’t necessarily imagine what it’s like to be him. Our second protagonist is a little bit more of a mystery at this point and I look forward to learning more about her and seeing how the dynamic between her and Dom develops.

Gabriel H. Walta’s artwork in this issue is very in keeping with his previous work; gritty, detailed and slightly on the cartoonish side. The character designs are relatively straight forward and down to Earth, but each feels individual and considered in their design. Walta’s use of facial expressions are simple and exaggerated but they do a great job of conveying emotion particularly the panic and shock towards the end of the issue.

Jordie Bellaire’s colouring adds a great amount to Walta’s already impressive artwork. The changing colour palette between different locations gives a great feeling of movement within the world and shifts the energy between each place shown. 

This first issue doesn’t give too much away, and honestly I was surprised when I reached the end of the issue, I was just sure there was going to be more of it and perhaps more importantly, I wanted more of it. It’s an intriguing start to the series and I’m looking forward to seeing what lies ahead.