Beginning with Laura’s exciting escape from Baal’s attempted “sacrifice” at the O2 Arena and filled with rescues, big plans, and emotional reunions, Kieron Gillen, Jamie McKelvie, and Matthew Wilson constructThe Wicked + the Divine #41 like both an exciting thriller and a love letter to the fans. And Gillen lines up so many great character development moments like a skilled pool player setting up his shots and then sinking them before concluding the game with a (freaky) eight ball of a final page.
Before digging into the big plot point, WicDiv #41 tonally is an exciting book. There are explosions gamely colored by Wilson to go with McKelvie’s big panel compositions and great sense of movement in the first five pages. Even though her Pantheon powers aren’t at 100%, Laura is straining herself to save the Norns and the talking heads and make sure Baal’s sacrifice and Minerva/Ananke’s master plan doesn’t come to fruition. She herself has a plan, it’s a little crazy, and honestly, she pulls it off for the most part in this issue.
Honestly, the highlight of WicDiv #41 is getting new Kieron Gillen penned dialogue for Luci, Inanna, and Tara in the present day. Luci’s first sentence is priceless, and Jamie McKelvie especially makes the Laura/Luci reunion memorable with a big time weak to go with Gillen’s caption box of guilt. Even though Luci was pretty messed up ethically, she, Inanna, and Tara were characters who died tragically, but represent a relatively more innocent time for WicDiv. For example, Inanna asks questions about Baal’s wellbeing because he is unaware he’s a masked murderer. Gillen has done a great job laying out the bread crumbs for these character’s return, and it pays off in this issue with the help of some great design choices from McKelvie and lyrical nine panel grids.
The nine panel grids in the Underground, which is where Laura, the Norns, and the heads of Mimir, Luci, Inanna, and Tara flee to are a wonderful visual representation of the conclusion to the romantic, doomed, and at times, abusive relationship between Baphomet and the late Morrigan. They allow for a bit of fearful symmetry when Baphomet makes his final goodbyes and also let the conversation between him and Laura about change and not being stuck in his past ways breathe a little bit.
Baphomet has grown as a person and character, and McKelvie has given him a wardrobe to match. He’s gone from douche Goth to pensive, perceptive Goth, or from young Nick Cave to slightly older Nick Cave as Gillen puts it in the backmatter. Baphomet doesn’t have to consumed by Morrigan making him a god, or sacrificing herself to resurrect him in the previous. He can move on and devote his energies to more productive things like rallying an army of talking heads to fight Minerva/Ananke.
WicDiv #41 is a sterling example of how pleasurable a story pay-off in the final arc of a comic can be. Forget guns, Kieron Gillen, Jamie McKelvie, and Matthew Wilson have put all kinds of kooky items on their proverbial story wall, and now they’re starting to go off. The machine plotline, the heads, and even Baphomet’s moping and conflicts with Morrigan in the previous all flow into the bigger picture and makes for rewarding reading. This is along with all the character reunions, Laura becoming a kind of hero, and Urdr being hopeful for once.
However, this hope could all die in a moment. But, at least, we got to hear from Luci and Inanna (And fucking Tara!) before the end so be sure to drop the needle or hit the play button on a Bowie or Prince album while reading this comic.
Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson Story: 9.5 Art: 9.0 Overall: 9.3 Recommendation: Buy
Image Comics provided Graphic Policy with a FREE copy for review
Image Comics has rolled a natural 20 withDie #2which will be fast-tracked to a second printing in order to keep up with consumer enthusiasm for the new series by New York Times bestselling creator Kieron Gillen and artist Stephanie Hans.
Die is a pitch-black fantasy where a group of adults have to deal with the returning unearthly horror they barely survived as teenage role-players. The series is perhaps best described as “Goth Jumanji”—but that only captures a sliver of what you’ll find in this series where fantasy gets all too real.
Die #2, 2nd printing (Diamond Code DEC188162), Die #3 Cover A by Hans (Diamond Code DEC180240), and Die #3 Cover B by Bartel (Diamond Code DEC180241) will all be available on Wednesday, Feb 6. The final order cutoff deadline for comics retailers is Monday, Jan 14. Fans can also subscribe to receive the series delivered by mail within the domestic U.S. on Image Direct.
(W) Kieron Gillen (A) Angel Unzueta (CA) Jamal Campbell Rated T In Shops: Jan 09, 2019 SRP: $3.99
“THE ESCAPE” PART THREE!
• LUKE, LEIA and HAN remain stranded on the isolated moon of Hubin and out of the fight against the Empire.
• Who says they even WANT to leave?
• But their hideaway may not be so secret…especially for old foes hot on the rebels’ trail.
Without further ado, these are my favorite comics of 2018. This was the year I fell back on series that I had been checking out for years and found some new faves in the worlds of newspaper comics, symbiotes, gamma irradiated beasts, and maybe even a choose your own adventure game. Marvel seriously did a 180 this year, and I went from picking zero of their comics on my last year end list to three so well done on their part, and Donny Cates and Al Ewing should receive hefty bonus checks. But, honestly, this list should show you that visual humor, character driven narratives, and weirdness are my things, and I can’t wait to read more comics in that vein in 2019.
Honorable Mentions:Sex Death Revolution (Black Mask), Runaways (Marvel), Assassinistas (IDW/Black Crown), Punks Not Dead (IDW/Black Crown), That one really good issue of Peter Parker, Spider-Man that Chip Zdarsky wrote and drew (Marvel), Gideon Falls (Image)
10.Modern Fantasy (Dark Horse)
Modern Fantasy is a miniseries about a data entry worker named Sage of the Riverlands, who secretly wants to epic hero or maybe just a curator at a cool museum, and has a penchant for smooching handsome elves. Did Rafer Roberts and Kristen Gudsnuk have access to my most secret thoughts while writing this book? In all seriousness, this comic marries millennial angst and struggles (Dead end jobs, mooching friends, annoying co-workers) with all kinds of fantasy tropes, including urban, high, and good ol’ Lovecraftian. Gudsnuk’s art is both humorous and touching and filled with background details and jokes that reward a close reading. But what makes Modern Fantasy a great comic is the awkward friend group dynamic that Roberts and Gudsnuk craft filled with drama, jokes, a touch of romance, and a final showdown with a fire demon.
9.The Wicked + the Divine (Image)
Kieron Gillen, Jamie McKelvie, and Matthew Wilson’s story of young gods and fandom hit some dark bits in 2018 and had plenty of surprises to go with the formalism and “glimpse behind the curtain” of the “Mothering Invention” arc. However, at its best, WicDiv is the story of the girl, who thought she wanted something, and then painfully realized that she didn’t really want it. That girl, of course, is Persephone whose personal journey along with McKelvie’s amazing facial expressions, Gillen’s clever quips, and Wilson’s majestic color palette keeps me returning to this series as it is about to hit its fifth year. Also, the specials were spectacularly glorious in 2018 from the illustrated prose story/murder mystery in 1923to 1373’s dark piety. Then, there was the absolute bonkers nature of The Funnies where we find out the origin of Laura’s cracked phone and the Pantheon gets to solve a Scooby Doo mystery courtesy of Kitty Curran and Larissa Zageris.
8. Nancy (Go Comics)
I’ve been doing year end comics lists for five years, and this is the first time I’ve put a newspaper strip on one. However, Olivia Jaimes’ work on Nancy is one of the most hilarious things to come out of 2018. There are her “millennial” gags (Even though Nancy and Sluggo are definitely Generation Z.) about Nancy’s overuse of the Internet or swapping streaming service passwords with Sluggo, who is also “lit”. But she also has a firm grasp on meta-gags and the uniqueness of the comics medium like playing with panel layouts, lettering styles, reusing panels, and then having Nancy make a joke about it. Nancy is truly a ray of sunshine in a dark landscape while still being sarcastic and self-deprecating as hell and shows that even the proverbial old dog of the newspaper comic can learn some new tricks.
7. “Milk Wars” (DC Comics/Young Animal)
“Milk Wars” really brought the best of DC Rebirth and Young Animal together and was the only Big Two crossover I kept up with in 2018. The series brings together the Doom Patrol, Mother Panic, Shade the Changing Girl, and Cave Carson to fight warped versions of DC Comics heroes, who are under the control of the Retconn corporation. The story is a literal metaphor for how corporations sanitize characters and go for the retread instead of taking risks with iconic characters as Wonder Woman becomes a submissive housewife in her tie-in story from Cecil Castelluci and Mirka Andolfo. “Milk Wars” shows that it’s okay to be a little weird as milk goes bad if it’s left in the bridge past its expiration day. It also features some gorgeous layouts from Aco in the crossover’s first chapter, which was co-written by Gerard Way and Steve Orlando, and he and the artists did an excellent job of melding an indie and mainstream sensibility throughout “Milk Wars”. Also, the story had a real effect on Mother Panic, Cave Carson, and Shade in their solo titles and introduced Magdalene Visaggio and Sonny Liew’s wonderful, yet depressed Eternity Girl character.
Donny Cates, Ryan Stegman, and Iban Coello’s Venom ongoing series is filled with all the fun excesses of the 1990s (Especially in the Venom Annual where James Stokoe shows him going toe to toe with Juggernaut.) and none of its toxicity. The first arc of the series is about Eddie Brock and his symbiote going to war against Knull, god of the symbiotes and a symbiote dragon. This has a terrible effect on him, and Cates carefully uses the symbiote as a metaphor for PTSD while freeing Stegman to draw unhinged heavy metal battles. And this series wasn’t just a one arc wonder as Cates, Coello, and Stegman explore the after effects of the battle with Knull on Eddie’s symbiote and have him confront his father. Plus one of the most underrated Marvel villains, Ultimate Reed Richards aka the Maker pops up for a little bit. This series work because it explores the psychological effects of the symbiote as well as the oozy, shoot-y violent bits.
Crowded is a wicked bit of satire with a side of mismatched buddy adventure from the beautiful minds of Christopher Sebela, Ro Stein, Ted Brandt, and Triona Farrell. It is about an obnoxious woman named Charlie, who has a $2 million price on her head on an app called Reapr that is basically crowdfunded murder. Luckily, there’s an app called Defendr where Charlie hires a badass, meticulous, and noble woman named Vita to protect her. Stein and Brandt fill each page with oodles of panels, but you are able to follow every action scene, conversation, or Charlie ending up at the club or a bachelorette party even if she has a price on her head. The bounty hunting drives the plot while Sebela uses the quieter moments to develop the personality and relationships of Charlie and Vita as well as some of the “professionals” hunting them. Crowded is a thrill ride, but also looks at the dark, not so altruistic side of human nature through the Internet and constant connectivity.
4. You Are Deadpool (Marvel)
Al Ewing and Salva Espin’s You Are Deadpool was some of the most fun I had reading a comic book in 2018 beginning with Kieron Gillen showing up in the “tutorial” brandishing a sandwich as a weapon. It’s a combination spoof of different eras of Marvel Comics along with a pretty damn fun and addictive Choose Your Own Adventure Game. In some cases, you don’t even read the issues in order. Ewing and Espin also take cues from some not so table top RPGs and have the moral choices that Deadpool makes effect your reading and playing experience. Having Deadpool interact with both heroes and innocent passerbies during the Silver Age, horror/kung fu/blaxploitation, the edgy 80s, and of course, the good ol’ 90s is hilarious and shows Espin’s versatility as a cartoonist.
3. Archival Quality (Oni)
Archival Quality is a spooky graphic novel by Ivy Noelle Weir and Steenz about a young woman named Cel, who gets a job as an archivist at a medical museum. The comic tenderly explores Cel’s anxiety and depression and unexpected connection with a woman named Celine, who was a patient at the sanatorium that preceded the museum. It isn’t caught up in a fast paced thriller plot, but slowly unveils the mystery while focusing on Cel’s interactions with her boss Abayomi, super rad co-worker Holly, and her declining relationship with her boyfriend Kyle. Archival Quality has real atmosphere, and Steenz creates some fantastic spaces as Cel begins to explore her workplace with its skulls and lack of cellphone service. It is a fantastic story about mental health and relationships through the mystery genre.
2. Giant Days (BOOM! Studios)
Giant Days continues to be one of life’s true blessings thanks to John Allison, Max Sarin, Liz Fleming, Julia Madrigal, and Whitney Cogar. At this point, we know the characters and their quirks are on fully display, especially when Sarin draws the title because she is a real pro at expressive eyes and touches of surrealism to break up the slice of life. 2018 was full of drama to go with the Giant Days’ comedy as Daisy broke up with her a little too footloose and fancy free girlfriend Ingrid, and Esther missed her shot at being in a relationship with Ed when he begins a romance with Nina, a girl he met while recuperating from a pub related injury. Nina being Australian is the subject of this year holiday’s special, which was a special treat drawn and written by Allison as Ed fends for himself Down Under. Giant Days shows that it’s one of the pre-eminent slice of life comics as it enters its fourth year, and Esther, Daisy, and Susan’s relationships continue to ebb and flow.
1. Immortal Hulk (Marvel)
I will preface this by saying that the Hulk is one of my least favorite Marvel characters because he’s often used as a simplistic Jekyll/Hyde metaphor. Al Ewing, Joe Bennett, Ruy Jose, Lee Garbett, Martin Simmonds, and Paul Mounts blow that up in Immortal Hulk, which resembles an intelligent horror story rather than a superhero beat ’em up. It’s a road story with Bruce Banner on the run from the monster that comes out, wrecks, and kills when the sun goes down before morphing into a government conspiracy thriller and something more malevolent towards the end. Through cutting narration, Ewing reveals exactly what is going through Banner’s head while Bennett’s art shows the often gruesome effects of his rages. I also like how Ewing humanizes the supporting players from Walter Langkowski, who is struggling with his own monstrous nature to honest reporter Jackie McGee and even his opponent the Absorbing Man.
Immortal Hulk is the best comic of 2018 because it has a compelling plot, is a searing character study of an American pop culture icon, and is an homage to Jack Kirby and Bernie Wrightson while breaking new ground. (See issue 10’s final page.)
A secret rebel base. A secret rebel fleet. A chance of victory… but now, Darth Vader has found it. There is no escape.
Star Wars Vol. 9 Hope Dies features issues #50-55 and Star Wars Annual #4 by Kieron Gillen, Cullen Bunn, Salvador Larroca, Ario Anindito, Roland Boschi, Marc Laming, Guru-eFX, Jordan Boyd, and Andres Mossa.
Get your copy in comic shops now and book stores December 24! To find a comic shop near you, visit www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.
Marvel provided Graphic Policy with FREE copies for review 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
Image Comics has announced that Die #1has been greenlit for a second printing to keep up with this week’s overwhelming consumer enthusiasm for the new series by New York Times bestselling creator Kieron Gillen and artist Stephanie Hans. Die is Gillen’s first new ongoing series at Image Comics on the tails of The Wicked + The Divine’s success and marks Hans’ debut as a co-creator and series artist.
Die is a pitch-black fantasy where a group of forty-something adults have to deal with the returning unearthly horror they barely survived as teenage role-players. If Kieron’s in a rush, he describes it as “Goth Jumanji.” That only captures a sliver of what you’ll find in the oversized debut issue—where fantasy gets all too real.
Die #1, 2nd printing (Diamond Code OCT188783), Die #2 Cover A by Hans (Diamond Code NOV180129), and Die #2 Cover B by Jana Schirmer (Diamond Code NOV180130) will be available on Wednesday, January 9th. The final order cutoff deadline for comics retailers is Monday, December 10th.
Die #1 is a strange beast. It’s part love letter to the fantasy genre, and it’s part puking revulsion and wanting to move on with your life. Kieron Gillen and Stephanie Hans’ story begins in 1991 when a teenager Sol decides to run a custom fantasy RPG for his and his friend Ash’s 16th birthday and invites Ash’s sister cyberpunk obsessed Angela and their friends Chuck, Isabelle, and Matt to play. Sol makes a big deal of how the RPG isn’t your run of the mill Dungeon and Dragons clone with the interesting gameplay mechanism of having a character roll a certain “die” depending on their personality. However, once the dice are rolled, scary unseen things happen to the party, Sol goes missing and is presumed dead, and the story jumps to the characters in their forties.
Gillen writing middle aged characters is quite a treat, and Hans’ art is both immersive and tragic. She shows some amazing depths as a cartoonist that I noticed most not in the rain swept vistas or introduction to the RPG turned real life fantasy world, but in the not so pretty faces of characters like Chuck. Up to this point in her career, Hans has drawn badass lesbian angel bounty hunters, problematic white girls dressing up like Japanese deities, Norse trickster gods, and the Father of Lies himself in Vertigo’s Lucifer, but Die #1 shows that she gets ordinary people too while still displaying amazing command of light and atmosphere. Every time a die is thrown, the page is vivisected into points of light, and the barrier between our world and the fantasy one is non-existent. People talking in shadow filled rooms is nice, but Die really reaches another gear when Hans gets to draw panel after panel of fantasy environment and put the main characters into their in-game “costumes”.
However, she doesn’t skimp on the kids in a room talking shit about a game part either, and Gillen definitely takes his time in Die #1 establishing the ensemble of characters and the mystery of the Grandmaster and this RPG world before a big time final page cliffhanger. From his work on well-crafted series like WicDiv and Journey into Mystery, he knows that giving away too much about the world and the underpinnings could lead to disinterest so Gillen leaves out much of the world-building minutia and spends time on the interactions between the main cast of characters and using the game to fill it out like Sol’s pretentious girlfriend Isabelle, who creates a way too cool for school character and chides him for not reading the Mervyn Peake novel she lent him.
Thankfully, knowledge of table top RPG and high or portal fantasy (Think Chronicles of Narnia) ephemera aren’t required for Die #1, which has a simple and accessible core centered around childhood friends who have grown apart and are trying to reconnect after experiencing a tragedy at a young age. It’s like Stand By Me 20 Years Later, but more DnD, or Stranger Things if the main young male cast plus Eleven experienced the events of the show, but no one else did. But, unlike this slowly improving TV show, Kieron Gillen and Stephanie Hans aren’t really beholden to any kind of nostalgia except for the long lasting kind of the first time you dip into an epic fantasy series, roll a D20 during your first DnD campaign, or wander around an open world fantasy RPG.
Die #1 is a book where you kind of geek out about the formerly drably dressed kids/40-somethings in full epic mode with swords, cool hair, and jewelry and then realize that they’re only in this world because they were transported by an object with the blood of their long lost friend. Kieron Gillen and Stephanie Han don’t treat the fantasy elements of Die like an adventure, but more like a mystery or something freakier. What happened to them at Ash and Sol’s 16th birthday is something so traumatic that they haven’t spoken about it in decades, and it shows even though we only get the slightest of details about what went on towards the end of the comic.
Stephanie Hans shows these unspoken moments through silent panels of people walking, rain falling, and keeps her color palette low before going a little dream world for the die throwing sequences and bright for the scenes in the fantasy world. The group of friends might exchange friendly small talk when they meet up to discuss Sol and the bloody D20, but there is a strain to their relationship that is revealed through Kieron Gillen’s caption boxes and the shadows in Hans’ art. It’s the awkwardness of meeting with people who once meant a great deal to you, but not for some time combined with the dredging of old trauma.
I’m here for Stephanie Hans’ fantasy world construction in Die and Kieron Gillen’s tempering of the joy of fantasy with the horror of loss. Die #1 makes a smart choice by presenting character dynamics in the foreground and cool, scary fantasy world-building in the background. But Hans’ memorable visuals is what will stick with me the most. Never has the casual roll of dice had so much power.
It’s crazy to think that we’ve almost reached the end of the saga of the ascended, then descended and part of a millennia cycle of goddesses killing each other fangirl, but it’s true. And Kieron Gillen, Jamie McKelvie, and Matthew Wilson are in beautiful form in The Wicked + the Divine #40 that centers around Baal’s final gig at the O2 Arena where he hopes to summon and defeat the Great Darkness with the help of some Dio-esque (RIP) hive mind shenanigans and human sacrifice. It’s a little complicated.
But WicDiv #40’s strength is that Gillen and McKelvie don’t get caught up in plot mechanics and use both the in-story and real world time gap between the rise of the Pantheon and their swan song to brilliant effect. With the exception of some diagram/specs pages, until the literally explosive end of issue climax, McKelvie and Wilson keep the visuals dialed down. The comic is presented like a handheld documentary film or more appropriately a YouTube vlog with close-up’s and awkward angles intermingled with moments of truth and self-awareness. The comic opens with fanboys, Tom and Nathan, doing an “unboxing video” for their Baal gig tickets, and you can almost hear the obnoxious tones of their voices in McKelvie’s loud facial expressions.
But the over-the-top Gen Z parody gets replaced with real emotion as the comic progresses, and you get to know them, especially Tom. He gets more self-aware and successfully reads a situation where his former crush is getting hit on by some strangers and also has a profound understanding on who Persephone/Laura is. Not a destroyer, but a human being. (And so are you.) This empathetic tone flows throughout WicDiv #40 (Except when scheming Minerva has her little long con asides while still playing the child victim.) from Baal struggling to balance the deaths of 20,000 people with the destruction of the entire universe, including his family, and inspiration in general to little fan vignettes of worshipers at Baal’s gig before they “go under”. These scenes return to WicDiv ‘s initial exploration of the relationship between fan and artist/performer although the critic (i.e. Urdr) is not present. The comic begins with the more materialistic side of fandom (expensive tickets, waiting in line) before turning to its inspirational side right before Gillen’s plot hits the big moments.
WicDiv #40 is also yet another opportunity for formal experimentation as Kieron Gillen, Jamie McKelvie, and Matthew Wilson lay out the issue in the style of a confessional running the gamut from Shakespearean soliloquy (Baal before his performance) to vlog (The aforementioned Tom and Nathan show.) with reality show and person on the street thrown in for good measure. Even if all the gods, except for Baal and Minerva, are dead or appear on the margins of the story until the very end, McKelvie and Wilson’s visual adaptation of the confessional to the comic book medium allows for quick identification with characters and their emotions plus some honest and soul searching dialogue from Gillen, including a rare look at the interaction between male bisexuality and toxic masculinity. Ultra bi fanboy Tom has conversations about this topic and identity that I had five years ago, and it’s cool to see that reflected in fiction when male bisexual characters are either coded gay or straight except for a bit of innuendo, winking at another man, or a stray line of dialogue. (See most representations of John Constantine.)
Talking heads are usually the kiss of death in comics and are either a chance for the writer to go overboard with their dialogue skills or give an artist on a tight monthly schedule a breather. However, with Jamie McKelvie’s well-documented knack for facial acting and eye for interesting details like the ever shifting, cheap blue blanket that drapes Tom while he waits for the Baal show, they’re never dull. And as the story progresses to the actual Baal gig, Matthew Wilson plays with color strength and situation going from a complex palette when fans talk about their connection to members of the Pantheon to a flat one when the mind control takes hold. The light effect he gives the worshipers is quite “eerie” and spirals the narrative into hopelessness before it takes a turn for the unexpected. And Wilson also gets to play with bold, brash colors thanks to the central role that Baal takes in the narrative.
WicDiv #40 is part jaw dropping arena show and vulnerable singer song writer gig with Kieron Gillen, Jamie McKelvie, and Matthew Wilson spending plenty of time developing and exploring the personalities of the fans of the Pantheon, and how the gods have an effect on their lives. With Minerva’s master plan subbing in for the murder mystery, it’s a throwback to the original arc where Gillen, McKelvie, and Wilson slowly revealed the gods’ personalities and action through the POV of ultimate fangirl, Laura. There are murderous Minerva asides and heartfelt Baal self and family confessions, but WicDiv #40 gives a fresh non-insider perspective on the Pantheon before things get all opening sequence of recent Zack Snyder films. (This is not a complaint.)
Story: Kieron Gillen Art: Jamie McKelvie
Colors: Matthew Wilson Letters: Clayton Cowles Story: 9.0 Art: 9.6 Overall: 9.3 Recommendation: Buy
Image Comics provided Graphic Policy with a FREE copy for review
(W) Kieron Gillen (A) Angel Unzueta (CA) Jamal Campbell
In Shops: Dec 05, 2018
“THE ESCAPE” – PART 3
• Is there romance in the air for Luke and Tula?
• Is there romance in the air for HAN AND LEIA?!
• Is there romance in the air between a bunch of stranded rebels and enormous ravenous monsters?
• No. This last one is no.
There is nothing like chase movies where the villain is in constant pursuit of the protagonist. One example has entered the zeitgeist by sparking nostalgia and pulling from the best elements of 80s movies, Stranger Things. The show made adults who grew up in the 1980s feel like the decade they grew up in was something to be proud of and be able to enjoy again. I was one of them and saw that usually most movies and tv shows made fun of the time (primarily because of horrible aesthetics).
Despite the obvious story elements, it brought back the chase story in a way that still excites and intrigues viewers and makes some of us look for the 80s movies that inspired it in the first place. In the 13th issue of Über, we find Katyusha as she faces the horrors of war in all its gory cruelty and uses that familiar element.
We find Katsuya wandering the wilderness near Ukraine, defenseless and almost out of life, as she saved by an elderly couple. As she regains her consciousness, she slowly bonds with them, eventually finding out that their sons died in this war that she had been fighting for several months. Eventually Russian soldiers come looking for her, who she destroys in minutes. By issue’s end, she destroys an army that comes for her head and eventually leaves them now knowing what happened to Chirchill.
This is one of the best issues in the series that although it feels out of sorts, gives readers a peak into Katyusha’s psyche. The story by Kieron Gillen is intense, riveting, and action packed. The art by Gabriel Andrade is world class and elegant. Overall, this issue serves as a masterclass in character exploration.