Author Archives: Ashley Leckwold

Dragon Con 2016: One Last Time with Team “March”

For the third year in a row, the team behind the critically acclaimed and award winning March trilogy came to Dragon Con to discuss the book and the real life inspirations behind it. This year was particularly auspicious since not only was it following the release of the third and final volume, but it was also artist Nate Powell’s first ever Dragon Con. A drop in the bucket compared to co-writer Andrew Aydin’s nineteen, but it was still a welcome sight to see the entire team Aydin, Powell and Representative John Lewis together at the con for the very first time.

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A big theme at the start of the panel was happiness and relief. The series has been in the works since about 2009 and to have all three volumes out and to be so well received has been nothing short of “euphoric” according to Aydin. There was a great amount of pressure the two felt to get not just the story of Lewis right, but of everyone else involved in the Civil Rights Movement. Powell especially talked about the devil of the details in some of the more extremely well documented events such as the March on Washington and the Selma to Montgomery marches and how doing right by the people who were there means getting the details of what they were wearing that day right.

As for Lewis, he is extremely happy with having the third book finally be out and was practically kissing it when it was in hand. He credits Aydin and Powell so much with getting the story out there into the world, calling them his “young brothers” and praising their ability to “make the words dance and sing.”

A lot of what has come up for March in these panels over the past three years is how resonant the story still is in our current social and political climate. That was purposeful according to the team, with the idea that the book would not only tell a story that Lewis feels responsible to tell as the last living member of the Big Six, but as a guide for the future of the movement. Lewis still absolutely believes in nonviolence and that if it can be done right in America, maybe we can be a model for the rest of the world. As for Aydin’s view on tackling the weight of that history, it boils down to seven words: “Follow your heart, and follow John Lewis.”

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With the story of March expanding past Lewis’ life in later volumes, the team took a focus on bringing up two major parts that don’t get brought up in history books a lot: the political maneuvering that happened behind the scenes and the importance of the women who were on the front lines. The political maneuvering was something of a challenge for Aydin and Powell, who were trying to effectively portray it in a graphic format. It did lead to particular artistic choices though, with Powell taking pride in a panel in Book Three where he drew the cords of the phones spoken on during the Mississippi Freedom Summer as a twisted spider-web of maneuvering and intrigue.

When it comes to the women, Book Three focuses particularly on activists Annie Cooper, Amelia Boynton and Fannie Lou Hamer, who Lewis names as “the soul of the Mississippi movement” in the book and whose televised testimony at the Convention’s Credentials Committee in 1964 was famously cut off by an emergency press conference by President Johnson specifically to divert the press away from her words. When asked about writing about Hamer and the other women involved during the movement, Lewis was point blank on the why. “Women did a lot of the dirty work and never get the credit.”

As the panel came to a conclusion, Lewis did a lot to emphasize his faith in today’s youth for carrying the movement forward in ways they weren’t able to back then and even giving credit to his younger colleagues in the House for being able to use Periscope and Twitter to broadcast their gun violence sit in earlier this year when the CSPAN cameras were cut off. Towards the end, he told the story of going to another convention where a second-grade girl asked him a very simple question: “Representative Lewis, how are you so awesome?”

By the end of the panel, I was asking myself the same question.

Dragon Con 2016: Team “Motor Crush” Hosts Panel, Talks Bad Bitches on Bikes

img_1757If you were at Dragon Con this year, you might have been wondering just who that lovely looking lady with the nail studded cricket bat on your badge was. The answer to that is Domino Swift, the protagonist of the upcoming Image Comics series Motor Crush! While Domino was all over roughly 77,000 badges this past Labor Day weekend, an even smaller number got an early look into Motor Crush on Saturday afternoon when the panel took place.

Fans of the Batgirl of Burnside will immediately recognize the creative team behind Motor Crush. Cameron Stewart, Brenden Fletcher, and Babs Tarr are continuing their work as a unit with this new book that’s being released on December 7. In fact, this book has been in the works for some time, with the three of them starting to talk about revamping an old pitch Fletcher had done for Oni Press back in the early 2000s around the time issue 3 or 4 of Batgirl had come out.

In fact, the team admitted that one of the reasons they had started work on Motor Crush around then is that they were told that Batgirl might only run six issues due to impending cancellation. We know now that isn’t what happened, but the team did decide to walk away from Batgirl to work on this series. No hard feelings between them and DC though. They’re proud of their work on the series (even if Frankie didn’t get to be Oracle) and had nothing but nice things to say about DC editor Mark Doyle.

As for Motor Crush though, we’re about to see a whole different animal from Stewart, Fletcher, and Tarr. Described as “Bad Bitches, the comic” by Tarr, the story follows up and coming Domino in a world where motorcycle racing is the primary form of entertainment. However, at night, she’s running a great risk to herself, her family and her career by competing in illegal and violent street races for something known as Crush, a “machine narcotic” used to boost engines in races. At the start of the series, one driver has already died in a crash from it. So the main question of the series becomes why is Domino competing for it?

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Fletcher, Stewart and Tarr hope to answer that question over the course of the series, which should run for at least 15 issues, if not more! The series is much more cohesive between the three of them, with Tarr contributing a lot more to the plot as well as doing her own colors while Stewart has been confirmed as the letterer for the series along with layouts. Tarr is also taking a more traditional route with the art this time, using a mix of traditional and digital art for the series along with hand lettering sound effects. She says being able to ink traditionally has helped her a lot in her creative process by allowing her to not spend all day on her computer noodling with one particular line.

What’s this more cohesive process between the three of them been like? “We argue a lot,” Stewart responded, only half-jokingly.

Still, that arguing must be paying off. As a special treat to the attendees of the panel, the three gave away copies of the #0 issue, which is technically the ashcan of the first half of #1. The setting of Nova Honda, which was inspired by both the good and bad parts of Rio de Janeiro and the colors of Miami, is lush and colorful and what little we get to see of the characters so far, they’re a delightful and intriguing bunch. The Willow Smith influence on the way Domino carries herself is especially felt.

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As for the series itself, not only will it deliver set up in the first arc, but the first five issues will include a prologue to Fletcher’s other Image series Isola, which is also being helmed by Gotham Academy co-creator Karl Kerschl. Fletcher describes the series as being very Miyazaki-esque and violent, but in a different way from violence of Motor Crush.It’s brutal to your heart and less to your face,” he said on the panel.

I’ve been intrigued by Motor Crush since its announcement, but the Motor Crush takeover of Dragon Con has definitely had me wanting more of the world of Nova Honda. Between the enthusiasm from the creators and the first ten-page bite given to us, I cannot wait to have more of this high energy, bad bitches on bikes book in my life.

As for the badges, I don’t know who was more excited: Tarr for seeing her art everywhere or me telling strangers about Tarr and Motor Crush.

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Motor Crush comes out December 7 and can be pre-ordered through your local comic shop. (Definitely get on that because as he said on the panel, Stewart is trying to buy a house.)

Review: The Wicked + The Divine #22

TheWickedAndTheDivine_22-1Well, you can’t say that this arc of The Wicked + The Divine hasn’t been wild from start to finish. Because the ending is somehow even wilder than the start.

For those worried about Amaterasu being a coward by running away in the previous issue… Well, “fearful” might be a better term for it after seeing two grown adults get vaporized, but Ammy actually runs off to get the next best grown-up: Cassandra. Which is an accurate description of Cassandra Igarashi, but from her response of “It’s worse than I thought,” that’s not exactly a duty she wants.

These moments between Cassandra and Amaterasu bring me back to #15, where most of the issue was conflict between the two over the issue of appropriation vs. appreciation. One that happened to take place over Hiroshima because flying gods and such. It’s nice to see that Cass and Ammy have at least reached a place of mutual respect with each other, since Ammy immediately ran to Cass when she knew she was out of her depth in regards to Ananke and the god fight happening outside of her window. It also makes me sad how simplistic the discourse around Amaterasu was after that issue, boiling her down to her more problematic elements instead of her whole character. It’s easy to imagine she’ll be called a coward for running to find Cassandra instead of throwing herself in front of Minerva when Ananke came knocking, but knowing to find someone who could be level-headed enough to actually diffuse the situation and getting everyone to focus? Not cowardly at all. And when it was successful? I’ve never been so happy to be proven wrong about how Cassandra would be perceived by her peers.

Plus, the lighting in the scene where Ammy finds Cass is beautiful. I feel like I’m running out of nice things to say about Matt Wilson’s coloring every months because he always finds new ways to impress me. This issue especially has so much soft neon glow and fire reds that it’s sort of beautiful in its chaos.

The issue doesn’t have much in the way of giant fight scenes since most of that was taken care of in 21. However, it does have one climactic fight that includes a nickname I laughed for a straight minute over and ends in a literal explosion like any good arc ending for The Wicked + The Divine. However, this particular explosion has a very ‘Youth Gone Wild’/”No Gods, No Masters” sort of implication. Or maybe “Gods with No Masters” is a better phrase there. Either way, we got ourselves a situation where these kids either saved themselves or doomed us all. Knowing Kieron Gillen’s usual writing, probably the latter. I could still be right about us being all doomed by the hubris of Gods.

At least Woden may have some semblance of a spine now? Only time will tell.

With bringing “Rising Action” to a close, The Wicked + The Divine #22 brings forth another solid issue with great character moments with Cassandra, Woden, and Persephone and the biggest status quo shakeup the comic has seen yet. As the comic heads into its “Imperial Phase,” it should be interesting to see how all the pieces begin to settle come November.

The Gods are running out of time. Let’s get nuts.

Story: Kieron Gillen Art: Jamie McKelvie and Matthew Wilson
Story: 8.5 Art: 9.0 Overall: 8.75

Image Comics provided Graphic Policy with a FREE copy for review

Review: Lumberjanes #29

Lumberjanes_029_A_MainDiane is back at Miss Quinzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types, which means of course the greek mythology shenanigans from the book’s first arc are following her. This time? Gorgons.

Or one gorgon, rather. One that turned the entire Zodiac Cabin minus Diane into stone.

However, the greek mythos doesn’t really seem to be the main focus of this issue. A lot of the underlying themes actually tie back to family, both blood and found. The Roanokes plus Barney are their own family for sure and will do anything for each other, including putting trust in the goddess who tried to kill them earlier in the summer, but it’s very different back outside of camp. Diane, of course, has a family of Greek gods. Notoriously difficult to begin with. However, we also get hints at what family is like for our other Lumberjanes. Mostly in a really sweet exchange between Mal and Ripley, where they share the ups and downs of coming from a really big family versus being the only child of a single parent. There’s also some hints about Molly’s family, which has been a sore subject for her across the span of the comic, but seems to really be coming into play now without answering any questions just yet. This is part of the reason why Lumberjanes is such an important comic in this current market. Not just for being a fun all-ages adventure comic when there’s such a dearth of those, but for normalizing topics such as different family structures and that not all kids come from good ones.

The creative team of Shannon Watters, Kat Leyh, and Carey Pietsch have really begun to hit their stride as a unit lately and it really shows in this issue. Pietsch especially seems to be more comfortable with the world now. Her art has become more fluid and she’s even adding in nice little details, like the shag on Mal’s undercut and Jen reading a book titled “Expecting the Unexpected: At Peace with the Abnormal.” She even has ways of differentiating Jo and Diane’s similar facial structures, which could be a bit of a trip up in the first arc when she was introduced. Not to mention her face full of waffle sticks might just be my personal favorite panel of the entire issue.

I think what I’m saying is Diane could be becoming my new favorite character.

With the start of a new adventure with old characters, Lumberjanes #29 brings the fun of the first arc of the book while still keeping up with the ways the stories and the characters have progressed since then. Pietsch’s art gets better with every issue she’s at the helm combined with Watters and Leyh’s emotional storytelling. Lumberjanes is continuously a joy, even when the characters hit hard times, and it makes me excited to see where they go next. Hopefully not into stone!

Story: Shannon Watters and Kat Leyh Art: Carey Pietsch and Maarta Laiho
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

Review: Heartthrob #3

large-DCDL008454So Callie Boudreau pulls off her biggest heist yet, stealing money from her old job and making sure it goes back to the people they scammed it from. She then lives happily ever after on an island with Mercer, never to be heard from again as she lives out the rest of her good five years. The end.

Well, that would be the easy way, right? It nearly plays out like that too. Heartthrob doesn’t want to be a book that takes the easy way though.

The book opens with two federal agents investigating the Archway robbery, which unfolds over the next few pages as we see how Callie managed to successfully lift $400,000 in cash and get away with it. Hint: it involves Otto strong arming a bunch of security guards, ‘The Chain,’ and Callie punching her ex. That last part might doom her, but for now, two federal agents don’t believe a sweet girl with a heart transplant could do something like this. Sexism is weird.

Once again, Christopher Sebela does a great job of portraying Callie as a likeable character, especially as she’s starting to fall deeper down the hole of crime. She could have easily gotten the happy ending with staying on an island with Mercer, knowing that the money she gave back is being used for good and that Archway went down due to her actions, but she’s starting to become addicted to it. Between this and her fight with Mercer, we start to see the seeds being planted for the jump ahead pages that have ended each issue. The question is though is this Mercer’s influence or all Callie?

Robert Wilson IV and Nick Filardi kill it on art again, especially in the fight scenes with Otto and Callie, but the real bright spot is the scene where Scout outdrives the police. Scout recites about how she is slipstream, immaterial and ethereal, and the art makes it into reality. The streams of red from the taillights of her car and the police cars as they chase around the block are a nice touch, adding dimension to an already exciting scene. In terms of character design and expression though, I’m a real fan of the look Wilson gave Callie as “Anne Nymus.” It’s not flattering, but it really doesn’t have to be.

Heartthrob #3 gets into the real meat of the story now that the introductions to the concept and Callie’s life of crime are out of the way. The team delivers spectacularly on making this crime comic about a woman and her ghost boyfriend believable and enjoyable, especially when the small fissures in their foundation are beginning to form.

Story: Christopher Sebela Art: Robert Wilson IV and Nick Filardi
Story: 8.0 Art: 9.0 Overall: 8.5 Recommendation: Read

Oni Press provided Graphic Policy with a FREE copy for review

Review: Pretty Deadly #10

PrettyDeadly_10-1A young man dies. A war ends. The moon waxes full. And where does it all land? Well, it turns out that this ending is neither good nor bad. It just is.

Pretty Deadly #10 opens with Ginny at war with herself after being run through by Fear and War. Bones Bunny narrates to Butterfly as she comes to, watching from a distance in The World Garden. War does not keep Ginny down for long though. He just makes her angry.

Where the past couple of issues of Pretty Deadly have been all about action, this issue is about resolution. About necessary ends and times of peace. It’s easily the most emotional issue of the series so far, especially when we return to Verine and Clara by Sarah’s bedside. While it won’t last forever, the way Kelly Sue Deconnick writes this time of peace is moving and serene in a strange way. Like this is a well earned rest at the end of a hard road.

Emma Ríos and Jordie Bellaire knock it out of the park on art again, this time with less focus on brutality and more on ghostly images. The way the human reapers are drawn, dark and celestial against the soft moonlight or daylight of the trenches, is especially stark and lovely. Not as much though as when the Reaper of Courage stands with Fear and Grace to deliver Sarah to The World Garden as the sun rises. That might just be the most beautiful scene yet.

At the end of the book, Deconnick talks about how one must embrace their fear in order to be brave, and that seems like the overall arc of this particular story. It especially comes through in this issue, with the extra nail being a young nurse declaring “God bless the cowards” as she recovers the bodies of our fallen heroes. Pretty Deadly has always been a book about facing fears, but #10 is a reminder that courage does not exist without fear and to have the former, you must embrace the latter.

Between the beautiful art and the bittersweetly serene story, Pretty Deadly #10 is a masterful conclusion to a brutal and emotional arc. This final chapter of “The Bear” shows just how far the story has come and evolved, how the story has come to stand on it’s own in individual issues, and makes me even more excited for where the story will go when we meet up with Clara in the early days of Hollywood in the third arc.

Story: Kelly Sue Deconnick Art: Emma Ríos and Jordie Bellaire
Story: 9.0 Art: 10 Overall: 9.5 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: Lumberjanes/Gotham Academy #1

LJGothamAcademy_001_A_MainLumberjanes and Gotham Academy are two series that launched around the same time that practically go hand in hand. While the settings and tone can sometimes be drastically different, the two series excel at being adventure books that readers of all ages and genders can enjoy.

So what about the recently released first issue of the crossover then? Is it like peanut butter and chocolate?

Well, not yet. But it could be.

Lumberjanes/Gotham Academy opens with a reason to bring the two series together. At the Academy, Olive is late turning in a paper to Professor MacPherson, but finds her to be missing from her office with only an old birthday party invitation the Detective Club finds to go on. Meanwhile, something happens to Rosie, which puts Jen in the position to go and find her in the woods. Of course, where Jen goes, the Lumberjanes follow and this sets them up perfectly to find the Detective Club looking for MacPherson.

It’s very easy to tell that this series is starting off on Lumberjanes rules. The Gotham Academy kids come to them and whatever terror is in the woods, it might be more related to what the Lumberjane scouts experience at camp. Maybe. Even the art feels a bit more like the usual styles Lumberjanes readers have come accustomed to with Rosemary Valero-O’Connell’s soft lines and Whitney Cogar’s bright forest-y colors. I wish there was a bit more variation on Valero-O’Connell’s interpretation of the Lumberjanes, but it’s certainly interesting to see her take on the Detective Club after Karl Kerscl and Mingjue Helen Chen’s art over at Gotham Academy. As for writer Chynna Clugston Flores, it seems like she has a bit more of a grip on the Lumberjanes so far, but time will tell once it gets rolling how her take on the Detective Club pays off.

Most of this first issue is set up, so there’s not a lot of moments between the Detective Club and Lumberjanes, which is a bit of a disappointment. However, there are great small moments like April proving why she’s the Pungeon Master, Pomeline being frightened by Bubbles, and Ripley and Maps having an instant bond, surprising exactly no one. The most intriguing part though is the set up for Jen to find out about Olive’s powers, which ends the issue. Curiouser and curiouser…

While it is mostly building the foundation for the rest of the story, Lumberjanes/Gotham Academy #1 is certainly an interesting set-up that leaves the reader curious as to what will happen next. A lot of the issue felt like it was playing by the rules of the Lumberjanes Scout Guide, which will hopefully get a bit of a shakeup by the next issue as the Scouts get to know the Club a bit more. Either way, this should hopefully turn out to be fun. Weird ghouls and all.

Story: Chynna Clugston Flores Art: Rosemary Valero-O’Connell, Maddi Gonzalez, Whitney Cogar
Story: 7.0 Art: 7.0 Overall: 7.0 Recommendation: Read

Boom! Studios provided Graphic Policy with a FREE copy for review

Review: The Wicked + The Divine #20

TheWickedAndTheDivine_20-1This particular issue of the ‘Rising Action’ arc of The Wicked + The Divine isn’t very heavy on the action, but I haven’t been this upset over an issue of straight talking since Woden revealed how evil he is in #14.

Persephone meets Cassandra in the garden where the life of Laura ended and reveals to her why she’s alive in the first place. Because there is no one else she trusts with the knowledge, and there is no one else who remembers her as Laura. Not just Laura who witnessed the death of Lucifer, but Laura the fangirl. The evolution of the relationship of Cassandra and Laura over the course of the series from “I don’t like [her]. But I do trust her” to now where Persephone allows Cassandra to feel her first miracle has been a slow and quiet one, but beautiful to witness all the same.

Through Persephone, Cassandra is shown the truth of the events the night Laura was “killed” as well as the true nature of Baphomet. Without spoiling the reveal of how Baphomet ascended, there’s something to be said about how this series deals with chosen names versus given names. Persephone has actively rejected being called Laura, while Cassandra still uses the name she gave herself pre-Godhood and Baphomet has two given names he’s rejected because he’s a nerd.

The subtitle of this issue is “The Mess We’re In.” While that is accurate, another subtitle could have easily been “Baphomet is not the lying jackass you thought he was.” Granted, he’s still a jackass, but the issue reveals the backstory behind every action of his that’s happened since issue 11. Of course, try telling that to the rest of the gods. Mark my words, Cassandra is going to live up to her name if she ends up trying to tell the truth to the rest of the Pantheon.

Most of this issue takes place in flashback, which once again allows colorist Matthew Wilson to shine. In vibrant pinks and blues, the story of Persephone in Hell is done in a way that reminds of that discordant feeling of looking at something meant to be viewed by red and blue 3D glasses. Even in the underground where everything is supposed to be darkness, this color scheme shifts perfectly along with it. It gives such a perfect sense of view and unreality that the usual color palette wouldn’t have since this is all from Persephone’s perspective. Along with that, there’s the subtle way Jamie McKelvie changes Persephone’s outfit with each frame of her in the Underground that might take a second read to catch.

By the end of the issue, Persephone issues her ultimatum to Cass and the Norns: join them in Valhalla to save Minerva or don’t, because they’ve already started either way. It’s hard to say right now if it’s on purpose, but Kieron Gillen very much gave Persephone the “35 minutes ago” moment of the series here.

While not high on the action, The Wicked + The Divine #20 is a gorgeously colored issue that spills plot revelations that mean huge things for the rest of the story. The question now is will those plot revelations be believed going into the final battle of this arc? Hard to say, but it there is now an extra sense of dread in the air now that Persephone has spilled the secrets to another living soul. Of course, she does this to a woman named Cassandra. For all I know, we’re all doomed by the hubris of Gods.

Story: Kieron Gillen Art: Jamie McKelvie and Matthew Wilson
Story: 8.0 Art: 9.0 Overall: 8.5 Recommendation: Read

Image Comics provided Graphic Policy with a FREE copy for review

Review: Talk Dirty To Me

AD.TALKDIRTY.CVR72ASex is such a weird topic to talk about. Not the “who is doing what with whom” aspect of it, but rather how society approaches topics surrounding sex. Issues of consent, masturbation, sexuality spectrums, sex work, and a whole host of other topics often get left behind, leaving people to struggle with processing it later in life. Sometimes unsuccessfully.

Talk Dirty To Me by Luke Howard is a book about one of those unsuccessful moments, where the views on sex of the main character are tied up in how she’s currently processing her life.

The book follows Emma Barns, a young woman who has moved to a new city from St. Louis with her husband. Not really sure what direction to take her life, Emma ends up applying to work at a phone sex hotline unbeknownst to him. Which leads to a lot of internal thoughts about her relationship with sex and how it plays into the kind of person she is now.

Emma’s story is probably one that will be familiar to a lot of readers of a particular age range, especially women. Discovering pornography through erotic manga and hentai fan art, discouraged from masturbation at a young age without her elders ever explaining what it actually was, her friends in high school encouraging her to perform oral sex on a boy she was interested in only to turn around and call her a slut after she did so, and processing her emotions towards that via over the top fantasy. While the story is nowhere near a one for one of my own, I hadn’t been so affected by a book talking about sex so honestly since reading Sex Criminals for the first time. The scene where Emma imagines talking about her future book about being a phone sex operator to Terry Gross and the gamut of late night hosts was especially relatable.

However, the book isn’t just immersed in Emma’s fantasies and her past, but rather how it all culminates in a cruel reality where Emma’s struggles with sex play directly into her struggles with a future uncertainty. The way Howard writes this compare and contrast is stark and heartbreaking, but again, all too familiar. Instead of being the bold woman who uses being a phone sex operator to come to terms with her sexuality and launch her future, she ends up being on the receiving end of one man’s addiction and breakdown, which causes her to retreat further back into her shell and stay afraid of the risks. It never feels shameful of sex work, but rather how this one particular character realizes that she may not be cut out for it for a myriad of reasons.

Howard’s art for the book walks that border between minimalistic and surreal, with no borders between panels, the linework and color being done only in pinks and blues, and no real designation of when the book trips from reality to fantasy. It feels natural, like a story being relayed back from the person who lived through it, all mushed together that even the fictions seem real and that the thought processes were all spoken aloud. The way Howard uses the pinks and blues to tell the story is especially beautiful and vibrant to the point it can sometimes be easy to forget that there are only two colors involved in the entire story.

Talk Dirty to Me is a story that even with the minimal colors and surreal art feels painfully real. Between the very honest and real way Emma correlates her relationship with sex with how she moves through life and how Howard uses the art to convey that, Talk Dirty to Me is resonant, even with how quickly the book reads.

Story: Luke Howard Art: Luke Howard
Story: 9.0 Art: 8.5 Overall: 8.75 Recommendation: Buy

Review: Another Castle #3

ACASTLE-#3-MARKETING_PREVIEW-1Man, just when I thought I had Another Castle figured out, it does something else that makes me appreciate it more.

Misty manages to escape the Dark Treasury, but has to use the Jumping Stone that Zuurd needed to do so. Naturally, Zuurd is upset and ends up withdrawing her help from Misty, dressing her down for her selfish way of thinking. This leaves Misty with Plan B: pay Mrs. Vasilisc enough for Thrawgg to fall and find another king to take over Grimoire after Badlug is killed. Of course, it never goes that easy.

This is the first issue that doesn’t peek in on Beldora and instead focuses on Misty learning the ropes of being a diplomat as she has to focus on finding a way to take Badlug out of power and save Pete from dying at the hands of the Thrawgg. It sort of speaks to the way that women are constantly working behind the scenes of men to bring forth results, but probably with more demonic underlings working against them. Misty still struggles with this diplomacy angle though because not only does she anger the rightful king Robin, who immediately dismisses her, but she also opens “a whole underworld of trouble” when she fights the King’s Guard to save a young girl and her sister.

Meanwhile, Pete is off on his quest, totally oblivious to Misty’s struggles in Grimoire as the monsters along the way are actually being super nice to him. This is where most of the issue’s humor lies and while Andrew Wheeler’s writing is massively entertaining here with how oblivious our handsome prince is, the absurdity of it all is punched up by Paulina Ganucheau’s art as she draws big and buffy scary monsters in adorable domestic situations. If you’re not wanting Ganucheau to create a comic series about giant and buff pastel demons running a bakery after reading this issue, I’m not sure I’d want to know you.

Well, the oblivious nature can only be so cute for so long as the issue leaves off on a cliffhanger of Pete believing Golga is the Thrawgg. Eep!

While there is still plenty of action to be had, Another Castle #3 takes the unexpected route of trying to push Misty out of her comfort zone and to deal with consequences of her actions as she tries to work undercover to save Pete and Grimoire. It’s rough for her, but ultimately makes for a fulfilling issue that keeps the intrigue up going into issue #4. Plus, cute demons who make cupcakes and collect clocks never hurt.

Story: Andrew Wheeler Art: Paulina Ganucheau
Story: 9.0 Art: 9.5 Overall: 9.25 Recommendation: Buy

Oni Press provided Graphic Policy with a FREE copy for review

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