Tag Archives: alex sinclair

Search for Hu banner ad

Preview: Avengers #50

Avengers #50

(W) Jason Aaron, Christopher Ruocchio (A) Aaron Kuder, More (CA) Ed McGuinness
RATED T+
In Shops: Dec 01, 2021
SRP: $9.99

COMMEMORATING LEGACY #750!
Supersize extravaganza of Earth’s mightiest action and surprises!
Witness the jaw-dropping conclusion of “World War She-Hulk!” Learn the true purpose of the prehistoric Avengers! Uncover the shocking secret of the Iron Inquisitor! Behold the most powerful collection of super-psychopaths that any Earth has ever seen! Watch the Avengers recruit some shocking new members! And follow the Ghost Rider on a quest for vengeance across the Multiverse that will spark an all-new era in Avengers history!
Plus: A bonus story featuring Thor by Christopher Ruocchio and Steve McNiven!

Avengers #50

Aquamen Protect the Seven Seas Starting February 2022

Spinning out of Aquaman: The Becoming and Black Manta is Aquamen, a new ongoing comic book series. Aquamen is by the creative team of Chuck Brown, Brandon Thomas, Sami Basri, and Adriano Lucas. It comes to shelves in February 2022!

When a suicide bomber in Middle America is revealed as an Atlantean sleeper agent seemingly gone rogue, the Aquamen—Arthur Curry and Jackson Hyde—are on the case. But it soon becomes clear that the tragedy was not just a single bad actor, but the beginnings of a much larger and more dangerous chain reaction…and the heart of an explosive Atlantean conspiracy! If Arthur’s not careful, the secrets he’s keeping—from Mera, Tula, Tempest, Atlantis, the surface, and even Jackson—could cause a rift from which the Aquamen might never recover!

Aquamen #1, written by Chuck Brown and Brandon Thomas with art by Sami Basri and Adriano Lucas, launches on February 22! The debut issue of the ongoing new series will have a cover by Travis Moore, card stock variant covers by both Kael Ngu and Nick Robles, and a 1:25 ratio variant cover by Jim Lee and Alex Sinclair. Additionally, fans will be able to purchase a Black History Month variant cover by Alexis Franklin.

Also in February 2022, the final issue of Black Manta will be a can’t-miss issue leading directly into the Aquamen launch! It’s villain versus villain as Black Manta fights to stop Devil Ray, whose eyes are set on Atlantis but whose ambitions might very well bring about the end of the world. Will Manta finally be able to own his roots, his power, and his flaws to save Atlantis…and himself?

Black Manta #6, written by Chuck Brown with art by Valentine de Landro, a cover by David Talaski and a card stock variant cover by Sanford Greene, arrives in comic shops on February 8—two weeks before Aquamen #1 arrives!

And the final issue of Aquaman: The Becoming leads directly into the Aquamen launch as well! Alongside family old and new, Jackson Hyde races to stop the next big undersea terrorist attack—and this time, Mera’s the target! But if he hopes to overcome his greatest enemy yet and protect the people he loves most, he’ll have to stop waiting for someone to give him permission to lead. It’s time for Jackson to reach out and take the mantle of Aquaman!

Aquaman: The Becoming #6, written by Brandon Thomas with pencils by Diego Olortegui, inks by Wade von Grawbadger, color by Adriano Lucas, a cover by David Talaski and a card stock variant cover by Khary Randolph, arrives in comic shops on February 15—one week before Aquamen #1!

Jace Fox Heads to New York City in February in I Am Batman #6

The fallout from Fear State begins next year as Jace Fox and his family leave Gotham for a new home base. I Am Batman #6, written by John Ridley, shifts the series permanently to New York. I Am Batman #6 marks the first time an ongoing Batman title will be based in New York City since issue #47 of Detective Comics in January 1941. Gotham City makes its official debut in the DC Universe later that same year, in Batman #4 and Detective Comics #48.

From his first appearance in DC’s Future State event, to developing his history and mission in The Next Batman: Second Son, to joining Batman and his allies in defeating The Scarecrow and The Magistrate in Fear State, Jace Fox has become a rich addition to the Bat-family at the hands of Ridley.

On sale February 8, 2022, I Am Batman #6 (“Empire State of Mind”) features art by Ken Lashley, colors by Rex Lokus, and letters by Troy Peteri. The book features a main cover by Olivier Coipel and Alex Sinclair, with a primary variant by Francesco Mattina. Fans can also pre-order the book with a special 1:25 ratio variant cover by Khary Randolph and Emilio Lopez, as well as a special Black History Month variant cover by Alexis Franklin.

To see exactly what drives Jace and his family to move to New York, make sure to also check out I Am Batman #5, available in stores and on participating digital platforms on Tuesday, January 11. 2022.

Review: Venom #1

Venom #1

After an “epic” run, it’s always interesting to see the direction a new creative team takes a character and series. Venom has had a hell of a run these past few years putting the character front and center in events like “King in Black” and shaking up Eddie Brock’s life by introducing his son. It’s been a hell of a recent run for the character. So, what’s next? A new creative team plots the course and kicks things off with Venom #1, an issue packed with concepts and ideas that feel like a bit of a mix of so much of what we’ve seen.

Writers Al Ewing and Ram V. team up for Venom #1 and the result is a time-spanning adventure that shakes things up for Eddie and Dylan in so many ways. There’s so much packed in the issue feels like it’s almost too-much but balances a fine line that it doesn’t quite cross.

Eddie is now the new “King in Black”, controlling the symbiotes and guiding them to something. His new role has him disappearing for extended periods of time with his mind literally elsewhere… in space. That leaves Dylan on his own and getting into trouble in school as he’s basically home alone. Venom too is wandering around as Eddie must adjust to his new role and the symbiote is left on Earth to figure out what’s next. There’s also something ominous coming with dire warnings for Eddie and everyone he knows. It’s an epic story that spans time and space and feels much like the much heralded Hulk run Ewing recently completed. The concepts are grand, different, and build off what has come before while plotting a new direction. There’s ramifications of recent events mixed a bit with Venom’s time in space, and some teases of the generally forgettable “The End” series of one-shot comics.

Bryan Hitch handles the art with ink by Andrew Currie, color by Alex Sinclair, and lettering by Clayton Cowles. I’m not usually a fan of Hitch’s art but this debut issue stands out. Hitch brings his own style but at the same time keeps things a bit “classic” in a way too. The characters feel a bit like a mix of the previous art with Hitch’s work. The colors are great with a mix of eye-popping space and darker, more ominous moments on Earth. The lettering as well is key giving each symbiote more of a personality in a way. The art isn’t one that jumps out at you but there’s some solid moments that feel rather superhero heroic and others that really nail the tone of the story.

Venom #1 is an interesting start. There’s some grand concepts and ideas that could be interesting to see how they play out. What’s great is the issue does an excellent job of building off recent events while also charting its own path. It’s both solid for new readers and long time fans as well.

Story: Al Ewing, Ram V. Art: Bryan Hitch
Ink: Andrew Currie Color: Alex Sinclair Letterer: Clayton Cowles
Story: 8.15 Art: 8.0 Overall: 8.1 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindleZeus ComicsTFAW

Kurt Busiek Releases New Arrowsmith, Astro City, and More in 2022

Kurt Busiek, the bestselling writer of Avengers, Superman, Thunderbolts, Iron Man, JLA, and more, is returning to Image in a big way in 2022, with new entries in fan-favorite series, including Astro City, Arrowsmith and others, plus new creations and more, as he brings his creator-owned work to Image Comics as his primary publisher.

First up, Busiek and superstar artist Carlos Pacheco bring fans the much-anticipated return of Arrowsmith in Arrowsmith: Behind Enemy Lines. This six issue miniseries launches from Image Comics in January 2022—followed in February by an oversized, fully re-mastered hardcover collected edition of the original series.

In March, Arrowsmith will be joined by the return of Astro City, Busiek’s collaboration with Brent Anderson, Alex Ross, and Alex Sinclair, first with an Astro City one-shot special introducing new characters and setting the stage for upcoming dangers for the city and the world, plus new collected editions that will make the entire Astro City backlist available again.

Longtime fans will also be treated to a new urban-fantasy graphic novel, The Gods on Sunday Morning, from the whole Astro City team, after which they begin a new ongoing run on the acclaimed series.

Also in the works is Free Agents, a new series launch from Busiek with co-writer Fabian Nicieza and artist Stephen Mooney and the return of Autumnlands from Busiek with Benjamin Dewey and Jordie Bellaire, all planned for late 2022.

In addition to all the exciting new content from the mind of Busiek, there will also be re-releases of his popular backlist gems like Shockrockets and Superstar: As Seen on TV, both with Stuart Immonen, Wade von Grawbadger, and Jeromy Cox, and The Wizard’s Tale with David Wenzel.

In the upcoming Arrowsmith: Behind Enemy Lines, it’s World War I—but a war of wizards and dragons as much as bullets and barbed wire. Young airman Fletcher Arrowsmith plunges back into the heat of war—and finds himself behind enemy lines, facing a threat that could doom the Allied Powers. Old friends and new favorites will appear, and the world of Arrowsmith will be deepened, as previously-secret history and machinations are revealed.

For the re-mastered hardcover, Arrowsmith: So Smart In Their Fine Uniforms ,readers are introduced to young Fletcher Arrowsmith who learns the true cost of war in an alternate history where dragons and magic spells are as much a part of World War I as bullets and barbed wire. This edition, deluxe-sized and in hardcover for the first time, will present the art as Pacheco originally intended, and will feature ancillary material about the creation and history of Arrowsmith.

Arrowsmith: Behind Enemy Lines #1 will be available at comic book shops on Wednesday, January 19:

  • CVR A Pacheco Fonteriz Villarubia – Diamond Code NOV210009
  • CVR B Johnson – Diamond Code NOV210010
  • CVR C Jones – Diamond Code NOV210011
  • CVR D Chaykin – Diamond Code NOV210012
  • CVR E blank cover – Diamond Code NOV210013
  • CVR F 1:25 copy incentive Walta – Diamond Code NOV210014
  • CVR G 1:50 copy incentive Jones virgin – Diamond Code NOV210015

Arrowsmith: So Smart In Their Fine Uniforms (Diamond Code: NOV210098, ISBN: 978-1-5343-2206-6) will be available on Wednesday, February 23 and in bookstores on Tuesday, March 1. It can be pre-ordered at your local comic book shop or independent bookstore or via Amazon, Barnes & Noble, Books-a-Million, and Indigo.

Review: I Am Batman #1

John Ridley continues to give us a different take on Batman as Jace dons the cowl to fill the gap Batman has left.

Story: John Ridley
Art: Olivier Coipel
Color: Alex Sinclair
Letterer: Troy Peteri

Get your copy now! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

comiXology
Kindle
Zeus Comics
TFAW


This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site

Review: Superman and the Authority #3

Superman And The Authority #3

The shape of Grant Morrison’s storyline becomes clearer in the penultimate issue of Superman and the Authority #3 with the team going on their first mission and a larger (and very old school) foe rears its ugly head even as the recruitment drive continues. Yes, the final member of The Authority is Lightray aka Lia Nelson from Earth-9 aka the Tangent Comics universe giving the book a continued 1990s/early 2000s feel a la the original team. This extends to Travel Foreman and Alex Sinclair’s visuals in an early sequence where the team must rescue June Moone aka the Enchantress from her old nemesis Dzamor that features edgy, energy-filled art work and a delicate Sandman-esque script from Morrison, whose Superman uses cleverness not punching to win the day. However, this art goes bye bye and is replaced by the sleek, modern stylings of Mikel Janin and Alex Sinclair for the inter-team banter and battles to come.

Superman and the Authority #3 really builds off the previous issue’s character-driven focus to put team members which we already care about in intense situations with Grant Morrison splitting the team up in smaller groups except for their leader, Superman, who gets to go mano a mano in his situation. As mentioned in the last paragraph, Superman’s cleverness, not his waning super strength gets a workout in this issue until the final few pages, and the Authority lineup covers up his weaknesses while also acting like variables in equations. For example, Enchantress has no upper limit to her magical abilities when she merges June Moone and Enchantress as one, Manchester Black’s psychic skills and general bad attitude come in handy rescuing and merging said technologies, and Apollo’s solar powered strength slots in nicely for Superman’s old abilities. Plus he treats Superman with the most respect and deference with the exception of Steel, who has a personal relationship with him through her uncle.

Even if this Authority team doesn’t have a multi-adventure/arc future mapped out for them, the interpersonal dynamic that Morrison and Janin craft for the team through dialogue, facial expressions, and body language make for an entertaining time. Manchester Black plays the role of punching bag, (*groans*) devil’s advocate, and general wise-ass, and his continued being cut down to size is more memorable than the bigger plot. Six months from now, I won’t care what the Big Bad was up to (I do admire Grant Morrison’s nod to history and Mikel Janin’s body horror design choice.), but I will remember that Old Man Superman praised the activist-minded nature of late millennial/Generation Z and showed how shallow the “old is good, new is bad” paradigm of books like Kingdom Come were in a two panel exchange with Black. This Superman doesn’t have a no-killing policy because of the Comics Code Authority or Mark Waid, but because death ultimately prevents restorative justice, which is what he seems to be aiming for with this new team.

Yes, that’s the actual Round Table

Superman and the Authority #3 is titled “Grimdark”, and it fits the active violence of the story as well as the literal darkness enshrouding Lightray at her crash pad where Apollo and Enchantress try to snag her. Lightray gets an abbreviated version of the solo sub-stories that Steel, Midnighter and Apollo, and Enchantress got in the previous, and Jordie Bellaire’s palette does a lot of the heavy lifting as she goes from being the first child born on Mars to an influencer type figure and then hiding in the dark talking to a mysterious figure. Bellaire uses a dark red panel for her birth because she was the child of an affair then uses a bright palette for her superhero identity and then turning to utter darkness until Apollo pops in with his whole solar deal. The brightness doesn’t let up as Apollo ends up in physical combat with Lightray’s “body guard”. Introducing a new cast member this late in the game is a risky, but Morrison, Janin, and Bellaire roll the dice and resurrect a wild card character that brings an element of sadness, vulnerability, and pure potential. I’m excited to see the role Lightray plays in Superman and the Authority‘s endgame.

For the most part, Superman and the Authority #3 avoids the “middle chapter” issue in serialized comics as Grant Morrison, Mikel Janin, and Jordie Bellaire bring out the team’s opponent, show an aging Superman using his mind instead of his powers and playing the role of strategist instead of tank, and give a glimpse of the actual Authority team in action. It hits that sweet spot between light and darkness kind of like June Moone/Enchantress and her fun new look. (Her attempts at flirting with Apollo are pretty pathetic though.)

Story: Grant Morrison  Art: Mikel JaninTravel Foreman
Colors: Jordie Bellaire, Alex Sinclair Letters: Steve Wands
Story: 8.0 Art: 8.7 Overall: 8.3 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindleZeus ComicsTFAW

Review: I Am Batman #1

I Am Batman #1

John Ridley is one of the best storytellers out there today. Television, movies, and comics, it doesn’t matter, whatever he creates will entertain and make you think. His work in comics is no different with stories that suck you in and can be enjoyed on a surface level or take you deep into thought. For DC, Ridley has been plotting the path of Jace Fox as he takes his steps to become the next Batman. We’ve seen a possible future in “Future State” where Jace is one of Gotham’s protectors. The Next Batman: Second Son had Ridley diving deeper into Jace’s past and his motivations. I Am Batman continues that journey as Jace puts on his own spin to the Batman suit, an origin and debut in I Am Batman #1.

I Am Batman #1 has Jace taking to the streets of Gotham, a city taking steps to a fascist future. The Magistrate is all around and masks are being cracked down on. The issue plants the flag as to what this Batman is going to be like. We not only get a look at his take on the suit and relationship with his partner in crime, but also how he’ll handle his on street theatrics. This isn’t a Batman with a fancy car or plane, it’s a Batman who sticks to motorcycles and where he can be seen. The point is to make sure the people now Batman is here. And that’s maybe the only issue with the comic. There’s comments about Batman being missing for years but that doesn’t quite jive with the other Batman books, especially since there’s mention of a “fear bomb” attack tying into the current story Fear State. It does mention that Batman is believed to be dead, which does fit but there’s some dialogue that doesn’t quite make sense.

It’s the details that Ridley delivers that really stands out. We get a lot about Jace’s dual life. There’s also an explanation of his Batsuit. It all comes together to help create a richer start that entertains and feels like a fleshed out world.

Olivier Coipel‘s art is fantastic. Along with Alex Sinclair on coloring and lettering by Troy Peteri, this feels like the best visual take of Jace’s journey. There’s numerous striking moments with great action sequences. There’s also a clear choice to forgo the over the top entrances keeping things a bit more grounded. Jace’s take on Batman is different and that extends to the visuals. There’s a brutal beauty to how he handles things with a focus less on the toys and more on the physical confrontation.

I Am Batman #1 is as solid as it’s expected to be. The issue is a fantastic start to the series that plants a flag as to what this Batman is going to be like and how he’ll be different. There’s a tone and style to the narrative and visuals that makes the series stand out on its own as opposed to an extension of the rest of the Bat-titles. This is an issue to pick up and series to keep an eye on, especially if all of the issues are going to be this good.

Story: John Ridley Art: Olivier Coipel
Color: Alex Sinclair Letterer: Troy Peteri
Story: 8.45 Art: 8.45 Overall: 8.45 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindleZeus ComicsTFAW

Review: Superman and the Authority #2

Superman and the Authority #2

Superman and Manchester Black assemble the new Authority squad in Superman and the Authority #2, and the issue goes about the ol’ recruitment drive issue in a creative way while still leaving time for plenty of interactions between the Man of Steel and his predominantly fans turned teammates. Grant Morrison structures this comic in a really engaging way collaborating four artists and four colorists to tell a frame story featuring Superman, Manchester Black, and their new teammates (Mikel Janin and Jordie Bellaire), a Natasha “Steel” Irons solo adventure (Fico Ossio and Sebastian Cheng), an Apollo and Midnighter team-up (Evan Cagle and Dave Stewart), and a June Moone aka Enchantress spookfest (Travel Foreman and Alex Sinclair). Each of these small units of story allow Morrison and the artists to play in different genres and flesh out each member of The Authority while building to a bigger whole.

The Grant Morrison-penned banter between Manchester Black and Superman along with the clean lines of Janin and strong colors tie together the disparate art styles and sub-stories of Superman and the Authority #2. This older Superman is vulnerable and self-aware about it taking Black’s snipes about his power set reduction in stride while quipping about being “a samurai in autumn” and not caring if he has to take a spaceship (That’s quite cool) everywhere instead of flying. He also is straight up revered by his teammates with Natasha Irons joining the team simply because he’s on it, and Midnighter using the Authority team membership as his anniversary present for Apollo, who breaks his usual reticence and gushes about how Superman was an inspiration to him. (Even if he’s a bit more violent than the Man of Steel.) June Moone gets the last story, and the team doesn’t really interact with her that much, but almost silently, Superman’s silhouette acts as a figure of hope in the middle of the utter hopelessness of the Hilltop Sanitorium.

Natasha Irons gets the first short story, and Morrison, Ossio, and Cheng craft a story that in a previous age might be called cyberpunk. Basically, her and her uncle, John Henry Irons’ Metropolis headquarters has been overrun by sentient Internet beings endangering their operations as well as their city and the whole world. Grant Morrison and Fico Ossio take a literal approach to the enemies they fight, such as trolls, “eternal edgelords”, and of course, plain ol’ misinformation that continues to take the world especially in a world ravaged by the COVID-19 pandemic. (If you’re reading this review and haven’t been vaccinated, please get the vaccine.) Sebastian Cheng’s garish color palette as Irons battles the racist, sexist slime of the Internet feels like you’re in the middle of a flame war, and Ossio overwhelms the page with figures. However, Steel is no damsel in distress and uses her empathy and intelligence to deal with the threat and prove that she’s a worthy successor to Superman as hero of Metropolis and will fill the tech role (Think Angela Spica in the original Authority) well.

As a known Midnighter fan, of course, the second sub-story from Grant Morrison, Cagle, and Stewart is my favorite as Midnighter and Apollo bicker like an old married couple while trying to save some psychic kids that are being trafficked in a very high tech, body horror kind of way. Evan Cagle and Dave Stewart’s art showcases the dark badass nature of Midnighter with sweeping shadows and minimalist imagery in panels like guns falling or bloods dripping to just show how in control of the situation he is. However, there’s a bit of the hiccup in the action, and this gives Apollo a chance to play hero and then murder children with his yellow glow getting a little sadder. The atomic sheen that Stewart gives Apollo gives Morrison a chance to do some political commentary via Superman and Manchester Black about “idealistic liberals” and basically how a Democrat was responsible for dropping the only atom bombs in history. It’s a fitting observation as leftists and progressives become increasingly disgruntled with a party that won’t do squat while it has control of the legislative and executive departments and negotiates with a party that was responsible for and tolerated a right wing insurrection. Personally, Midnighter and Apollo have a fun, flirtatious dynamic, but their good intentions (Saving Middle Eastern children) turned downright genocidal is a spot-on metaphor for American foreign policy as well as the failure of “liberal” ideals.

Finally, the June Moone story is for fans of Grant Morrison’s work on Arkham Asylum and is a little bit like a less gory, easier to follow Nameless. Travel Foreman and Alex Sinclair’s visuals are suitably atmospheric with plenty of dark shadows and corridors plus a mainly monochromatic palette with hints of red. It’s a Lovecraftian psychodrama as June Moone’s boyfriend has been having an affair with the Enchantress and wants to unleash her tonight with the help of an elder, purple god. After the science fiction and superheroics of the majority of Superman and the Authority #2, Morrison, Foreman, and Sinclair capture hopelessness in a house with the door held slightly ajar in the end. Out of the Authority team members, Enchantress is the least traditionally heroic, but every Authority squad needs a shaman or wizard type figure, and she’s a powerhouse on that account. But first the team will have to play Orpheus to her Eurydice.

Superman and the Authority #2 is a master class in how to assemble a superhero team in the space of a single issue. Grant Morrison, Mikel Janin, Fico Ossio, Evan Cagle, and Travel Foreman seamlessly combine multi-genre short stories with a thematically rich overarching narrative of an aging Superman and a chaotic Manchester Black trying to do this superhero thing the right way. (No genocides, please!) I can’t wait to see this merry band fight through Hell, and Apollo fangirl over (hot dad) Superman some more!

Story: Grant Morrison Art: Mikel Janin, Fico Ossio, Evan Cagle, Travel Foreman
Colors: Jordie Bellaire, Sebastian Cheng, Dave Stewart, Alex Sinclair Letters: Steve Wands
Story: 8.6 Art: 9.2 Overall: 8.9 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindleZeus ComicsTFAW

Venom #1 Kicks Off a New Epic Era in October

Hot off the heels of Venom #200 and Extreme Carnage, this October will see the start of one of the most ambitious series in symbiote history: Venom #1! Al Ewing and Ram V have teamed up to craft a mind-bending and gut-wrenching tale of symbiosis the likes of which the Marvel Universe has never seen. Rounding out this symbiote hivemind will be legendary artist Bryan Hitch joined by Andrew Currie on inks and Alex Sinclair on colors, bringing his rich and detailed style to the Venomverse. The future of Venom lies in the hands of this mastermind team, and you won’t believe what lies ahead!

Check out Bryan Hitch’s main cover now and pick up Venom #1 when it hits stands on October 13th!

Venom #1
Almost American
« Older Entries