#deron bennet

[geekcavepodcast]

Moxxi Headlines in New Borderlands Comic Book

Dark Horse, in collaboration with Gearbox Entertainment, has announced a new comic book set in the Borderlands universe. Borderlands: Moxxi's Mysterious Memento is written by Amy Chu, illustrated by Mike Norton, colored by Heather Breckel, and lettered by Deron Bennet.

"Former celebrity and current badass Siren Amara misses the fame and excitement of her glory days. Nowadays, common stooges don’t know who they’re messing with—though they’ll soon find out. In order to reclaim the highs of her former heroics, she needs a gig. Luckily, Moxxi needs help recovering a mysterious artifact!" (Dark Horse)

Borderlands: Moxxi's Mysterious Memento #1 (of 4) goes on sale on Novebmer 13, 2024.

(Image via Dark Horse - Cover of Borderlands: Moxxi's Mysterious Memento #1)

[thebuhonerodazorrow]

Wall-E #0

Trabajando para desenterrarte

BOOM Kids!

[dccomicsnews]

Review: Harley Quinn #1

Review: Harley Quinn #1

Review: HARLEY QUINN #1   [Editor’s Note: This review may contain spoilers] Writer: Stephanie Phillips Artist: Riley Rossmo Colours: Ivan Plascencia Letters: Deron Bennett   Reviewed By: Derek McNeil   Summary Harley Quinn #1: Ahem! You better read this closely, ’cause we’ve got a red-hot relaunch on our hands here—and I should know! Harley Quinn here to let everyone know that I got a brand-new…

[thecomicon]

The Acceptance And Rejection Of Death Itself: Reviewing ‘The Many Deaths Of Laila Starr’ #5

The Acceptance And Rejection Of Death Itself: Reviewing ‘The Many Deaths Of Laila Starr’ #5

More often than not there are many people out there that when someone mentions comic books, their first thought is superheroes or at least something adjacent with lots of action. They might think about character beats or depth, but just like most of the live-action adaptations, there is a lot of action to be seen. Sometimes it can be easy for many to overlook a comic or story that is more…

[graphicpolicy]

Preview: Jim Henson's Tale Of Sand SC

Jim Henson's Tale Of Sand SC preview. Tale of Sand follows scruffy everyman, Mac, who wakes up in an unfamiliar town, and is chased across the desert of the American Southwest by all manners of man and beast of unimaginable proportions. #comics #comicbooks

Jim Henson’s Tale Of Sand SC

Publisher: Archaia, an imprint of BOOM! Studios Writers:  Jim Henson, Jerry Juhl  Artist: Ramon Perez Colorist: Ian Herring Letterer: Deron Bennet Cover Artist: Ramon Perez Price: $24.99

Tale of Sand is an Eisner Award-winning original graphic novel adaptation of an unproduced, feature-length screenplay written by Jim Henson and his frequent writing partner, Jerry…

[comicsnoble]

From Batman #6 by Tom King (writer), Ivan Reis (pencils), Joe Prado (inks), Oclair Albert (inks), Scott Hanna (inks), Marcelo Maiolo (inks), Deron Bennett (color).

[thevalkyriesonline]

A Dark Interlude #2: Comic Book Review

A Dark Interlude #2: Comic Book Review Creative team @RyanOSullivan, @andreamutti9, @VPopov_Artworks, @deronbennett and published by @thevaultcomics "A Dark Interlude #2 pulls no punches and isn't afraid to throw you into the action and drag you between worlds"

A Dark Interlude #2: Comic Book Review Check out out Issue 1 review here! Writer: Ryan O’Sullivan Pencils/Inks: Andrea Mutti Colours: Vladimir Popov Letters: Deron Bennett (Andworld Design) Publisher: Vault Comics   An Interlude, Darkly There’s no such thing as a sophomore slump here. A Dark Interlude #1 made its way into my top picks of 2020 and claimed the top spot all for itself (you can read…

[mgmaz]

Thoughts on Mystik U Book 1

Written Alisa Kwitney llustrated by Mike Norton Colored by Jordie Bellaire  Lettered by Deron Bennet

“Mystik U” is a new entry in DC’s prestige format, a series of diverse books and potentially the rumored OGN-centric line curated by Mark Doyle, after “Supergirl: Being Super.” The three-issue, 48-page miniseries, will be published bimonthly and cost $5.99. These extra pages give Alex Kwitney and artist Mike Norton room to tell this story with a slice of life pace as Zatana explores her new environment and makes friends. The pace is probably the best aspect of this issue. Kwitney segments the issue into “chapters” but the issue could be further sub dived as cast splits off into groups and their threads weave in and out. This threading makes introducing and developing the cast not feel rushed or overly broad.

Much like the Mariko Tamaki book, writer Alisa Kwitney takes things in a young adult direction. The creative team is a telling a story of Zatana Zatara’s mystical college education after accidentally opening a portal and sending her father to some hell dimension. That’s maybe a little bit worse than accidentally unleashing boa constrictor on your oafish cousin. These are titles that are supposed to tell evergreen kinds of stories, and act as an easily referred to entry point to new readers. Kwitney efficiently positions “U” to be a solid origin story of sorts for Zatana and her class of DC mystics that include a young Sargon the Sorcerer, June Moone-The Enchantress, Sebastian Faust, and a new character named Pia Morales. Even with a prologue that makes it existing in the mainstream DCU somewhat nebulous, it should be the kind of story that can fit into the larger canon for the characters and to quote another wizard “why on earth should that mean that it is not real?”

...

In an interview for the series, Kwitney talked about how college is a “theater where people go to improvise themselves.” That performative aspect comes through in her elliptic structure to the issue that sees Zatana make friends with her roommates Pia and June Moone-Enchantress, scavenger hunt with Lost Boys cosplayer Sebastian Faust, and have run-ins with a magic slime monster that looks like a Shuma-Gorath. It’s here that the 48-page issues come in handy as it gives the core cast plenty of moments to shine as something a bit more than their character and genre archetypes. Artist Mike Norton and colorist Jordie Bellaire have plenty of room to show these episodic moments and the variety of reactions they elicit. Norton shows a surprising amount of variety in how he draws eyes. Norton’s costume design articulates the improvised motif by keeping familiar elements of everyone’s iconography but with a causal, functional, twist. These characters aren’t the great heroes and villains they will be, but they’re getting there.

Read Full Review HERE on @multiversitycomics

[comicweek]

‘BLAM’ - Thoughts on Batwoman #16

Written by Marguerite Bennet Illustrated by Fernando Blanco Colored by John Rauch Lettered by Deron Bennett

I’m a little late to the party on this one, but I’ve been a mixture of depressed and busy which makes for working through things critically a chore. Originally this was just going to be about the ‘BLAM’ page and why it’s such an effective piece of comics craft and storytelling, however, that quality only comes out due to the context of the issue use of a chase sequence. Which is why I’ve tried to condense the overall chase into the photo gallery above. So here are some overall thoughts on one of the better issues this run of the series has put forth.

‘The Fall of the House of Kane’ has been a homecoming for Kate Kane as it closes the chapter that started with ‘The Many Arms of Death.’ Her travels have articulated her mission statement as Batwoman, to be the breaker of cyclical trauma, and enlightened her to move past her wanderlust for lost time. Stopping Alice and the Many Arms of Death’s plot to poison Gotham City with a colony of plagued bats in Batwoman #15 was a very superheroic and clean means of this self actualization. Batwoman #16 presents a much tougher task, a choice between interlocking families and cycles that puts her in conflict with the symbol that sobered her up and changed her life, the Batman. Coming home always involves some measure of measuring against what you were previously, and the Batman can be a harsh mirror. In Batwoman #16, Marguerite Bennett, Fernando Blanco, and John Rauch, create a dialectic between Batwoman and Batman that allows for the expression of Kate’s growth in contrast to strict Bat-ideology.

With the Many Arms defeated, the question becomes what to do with Beth Kane. For Batman, it is simple, she belongs in Arkham Asylum. Bruce’s obsessive need to preform actively reenact and punish his parents killers has blinded him from seeing how his actions as Batman and the institutions he employs have become a self-perpetuating traumatic cycle. Arkham Asylum hasn’t been a place for functional mental health work in ages, if it ever was one. Kate, now that she has stopped the Many Arms and actualized, sees things from a different perspective. Throughout the issues, Fernando Blanco draws Batwoman and Batman in ways that emphasize their differing physical position to represent their disconnect on how to proceed.  The design in the opening pages emphasizes how they both look at the problem(Beth) from different angles, with panels often showing them to be mirrored. Staging this issue and their conflict as a chase sequence further emphasizes the dialog, or lack thereof, between them as they both run to solve the problem.

Bennett and Blanco make good use of Batman as a guest star in this issue by trading on the characters built in symbolic value, both provided by the reader and from the Batwoman book overall. As a guest star, the narrative isn’t about him allowing him to act more as a reflection of what Kate could be and has acted like as she tries to save Beth from him. Batman speaks maybe 100-150 words in the entire issue, their dialectic is expressed as much by their actions as dialog. Blanco does an excellent job recontextualizing normally heroic iconography of the Dark Knight flying through the air with his grapnel or stalking in the shadows as he hunts for Beth and makes these actions appear monstrous. Or maybe this just reveals what was inherent to these images from the start and it’s.

 The problem of what to do with Beth Kane is presented as a complicated. Her decision isn’t a complicated one, revealed by page 6. Kate Kane chooses family, just like she did in issue #14 or in Detective Comics #974. But there’s the rub, which family does she choose? With Batman’s involvement it isn’t a binary choice between blood and found families. Marguerite Bennett has given Batwoman one of those Bat-Choices™, the “hard-call” only Batman is allowed to make that results in some ethically dubious action and often ends with him angering his family (be it Bat or League) by prioritizing the mission and his code over understanding and healthy communication. Unlike Batman, however, she is trying to make him understand and listen to her reason, and maybe respect it.

Fighting is like dancing, a conversation between bodies, put in sequence to tell their own story or enrich the one currently being told. Which is why staging Batwoman and Batman’s dispute as a chase is an effective means of representing their conversation, or lack thereof. If it takes two to tango, a chase is a one sided conversation as Kate shifts between pleading with Batman and fleeing from him with Beth. Blanco makes the most of the chase sequence in terms of design crafting pages that effortlessly flow panel to panel following a mixture of Kate on a bike and Batman toed behind her. Colorist John Rauch deserves recognition for how they use the color palette to enhance the storytelling. Once they go down the rabbit hole, backgrounds become dominated by two primary each associated with either Batwoman(red) or Batman(blue) – yes his suit is primarily grey now but the blue bat was a thing for a good while. This emphasis on color dominance helps to narrate who is “winning” this family feud in a given moment. As Batman stalks Beth through the interior of the Kane Industries building, everything becomes dominated by the pale blue. Only after breaking through into the foyer and playing her trap card does red come to take prominence. Eventually as their quarrel subsides, the background becomes a balance of blue and red as the cousins come to something of an understanding.

Family fights suck. Nobody wins if such a thing state really exists. You weaponize personal knowledge and in the end it’s all M.A.D.. Kate may declare victory and she achieved her goal of halting her cousin, but it wasn’t pretty. She triggered her cousin with the sound of that gun shot. The person who’s supposed to stop repetition weaponized the sound of the thing that started this eternal cycle. Of course she feels bad about it, that she’s disgraced both her family and the bat symbol she wears. Interestingly the textual and their visual signifiers aren’t paired together and instead mismatches in another moment recognizing the complicated, interlocking, nature of this dispute. The tone of Bennett’s writing also changes, this isn’t the knowingly sadomasochistic streak in Kate coming out, but something more mournful. This issue does a good job of working within its own emotional silo while adding extra-emotional weight to Kate’s decision to join the Colony in Detective #974.

Fernando Blanco and John Rauch’s work on the BLAM page itself is beautiful. I wish Bennett and letterer Deron Bennett had reworked the script or changed the placement of the monologue boxes once they saw how the page design had gone. The boxes get in the way of the BLAM, a beautiful moment of graphic pop art, and to a degree overstate what’s going. The BLAM and Batman’s shocked response is all you really need to understand what just occurred.

With Batman stopped, Kate changes tactic and tries speaking to Bruce for a change. She finally gets him to stop and listen to her reason for stopping him from taking Beth. Alice’s return is in part due to her own misplaced priorities; the search for lost time and her mission stopped her from visiting her sister. In an issue that uses Batman as a dark mirror of what Kate could be come, alone, driven, and monstrous in their desire to enforce their justice upon the world. This sequence does a good job of emphasizing the best of Batman, the family, and how Kate has grown. Kate’s plea for family is a recognition of Morrison’s first truth of Batman: He was Never Alone.

I’ve seen some interesting takes on the “you’ll never be Batwoman again” line. It’s a blustery melodramatic line that fits the tenor of cape comics and rings kind of hollow at first blush. As Detective #975 and Kate’s general presence has shown, Bruce can’t just strip that from her. She isn’t one of his Robins. She is in line with the various Batgirls of the family that take up the symbol due to and modify it to mean something more. There is a reading, that feels more right in the context of this series and Tynion’s final arc on Detective, that these actions will eventually cause some sort of transformation into something more/different from Batwoman. She does choose to join the Colony shortly after. Of course that idea of evolution into something more is incompatible within this realm of comics, Batwoman as a design and Kate as probably the most recognizable LGBTQ character in DC comics makes that kind of permanent change untenable.(Although the idea of a Nomad inspired Batwoman makes me chuckle.)

So yeah, some thoughts on Batwoman #16. Curious to see where and how this final two shot with Renee Montoya.

[current-mcr-news]

gerardway: Far Sector Issue 1— In Stores Now! This is a big one for Young Animal. Years in the making and finally here. @DCcomics let us play around with the Green Lantern concept and what the creative team has come up with is something very special. Very early on I had the seed for an idea, a way we could do Green Lantern at Young Animal. Around the time I was playing with that concept, my friend Ian told me to check out The Inheritance Trilogy by N.K. Jemisin, and I just loved the writing. I felt like we had found our writer, then I also found out she had won the Hugo Award consecutive years in a row, so I was worried she wouldn’t want to play around in comics. But we reached out to her and pitched her the very loose seed of an idea, and she climbed on board. She took to comics immediately, naturally understanding the language, and should took the very small seed of an idea and grew it into this epic thing. She completely made it her own and elevated it. Shawn Martinbrough helped out early on with some concepts of Jo, and ultimately Jamal Campbell went and did further development, again making it his own, and he climbed on board to do the art for the series. And what you have is a very new take on Green Lantern, and a real sci-fi epic murder mystery.  It’s rich and complex, the writing is fantastic, the art is gorgeous, and the lettering, by Deron Bennet, is inventive. Please check it out— I think you’ll be very happy with this series, which is a maxi series, because N.K. had a lot of story to tell and was inspired. And I’m honored to put this book out through Young Animal. I’ll be checking in every issue along the way, making posts and letting you know when they hit the stands. It’s going to be a fun ride. There are 3 covers for this first issue. The main cover by Jamal, and two variants, one by Shawn Martinbrough, and one by Jamie McKelvie, and they all came out great. #farsector #dcyounganimal #dccomics #greenlantern #nkjemisin

[comickergirl]

I’m dying a slow death, not being able to talk about the Tom Taylor/Yasmine Putri Supergirl story to any of my IRL comic buddies, so you know what THAT means: A LIST. A SPOILER-Y LIST.

(If you have any intention of picking up the DC Nuclear Winter Special, STOP. STOP RIGHT HERE. GO NO FURTHER. Because SPOILERS.)

Now. ONWARD:

A list of Cool Stuff from “Last Daughters”

First and foremost, the title; Taylor mentioned on twitter that it’s a big ol’ spoiler for the ending, and it very much is. And it’s a perfect title. Because the ending is perfect. 

I...basically love everything I’ve ever read by Taylor, and he doesn’t disappoint here. It’s eight pages, but it’s PACKED. It’s warm, and touching, and hopeful, and RAAAAAAAD. We’ll talk more on that in a moment.

(If you dig the mother/daughter stuff here, I recommend All-New Wolverine. It’s not a mother/daughter book, but it is a sister book, so it’s like. Them Good Found Family Feelz but A WHOLE COMIC SERIES about it.)

Speaking of: LITERAL FOUND FAMILY.

I just really like that Older!Kara adopts a kiddo. So happy. :D

Not greeeeeat circumstances but it ends well.

LIKE. REALLY WELL.

Complete subversion of the typical Last Son/Daughter thing in Super comics; Kara decides to do differently than her folks.

AND IT’S SO GOOOOOOD.

They’re all smushed in the pod together but they’re TOGETHER and Kara won’t leave the fate of her daughter to strangers because she’s LIVED THAT* and hnnnng feeeeeelings.

*Not to imply that her life with her adoptive parents in various continuities was bad but like. There’s obvious trauma, in being jettisoned from an exploding planet alone. 

“You face the unknown. But I will be beside you. You are mine. My responsibility. My child.”

*cries*

Now to switch over to the art.

THE ART.

Apparently this is Yasmine Putri’s first time on sequentials and she nails it.

Also shout out to Tom Derenick on layouts and Deron Bennet’s lettering. WHOLE TEAM BRINGS THEIR A GAME. 

Putri handles art and colors and the palette switch, once the sunlight comes into play, is excellent. From the dire rusty reds and browns to the soft blues of Kara’s costume and the icy/snowy Fortress. 

AND OLDER!KARA LOOKS RAD AS HECK?

I’m not the first to remark on it but she’s absolutely rocking a Carol Danvers look.

Love the Kryptonian tattoos, specifically the ‘hope’ on her knuckles. NICE.

And there’s a panel; you have to turn it upside down to really see it, but Kara and Lucy are kinda smushed in the pod and Kara’s smile is just: A+

I’m sure there’s more but I’ll wrap this up before I ramble any further: IT’S JUST EIGHT PAGES IN A SEASONAL ANTHOLOGY BUT BOY OH BOY, IT GORGEOUSLY DRAWN AND EXPERTLY WRITTEN. 14/10 would love a spin-off series of Kara and her Kiddo.

ALSO GENERAL NOTE: The whole anthology is really good and I don’t often recommend these oversized books because they’re rarely worth the larger price tag but THIS ONE IS. In addition to this really awesome story, there’s a great Batman story, a J’onn J’onzz story masquerading as a pretty great Superman One Million story, and a great Firestorm story as well. (And others! But those were some of my favs.)

[booksandtea]

ARC Comic Review: Fearscape #1 by Ryan O'Sullivan

ARC Comic Review: Fearscape #1 by Ryan O’Sullivan

Fearscape #1 by Ryan O’Sullivan, illustrated by Andrea Mutti, Vladimir Popov, and Deron Bennet Series: Fearscape #1 Genre: Horror | Graphic Novel Length: 26 pages Published on 26th September 2018 by Vault Comics Purchase: Purchase from your local comic store Ryan O’Sullivan: Website | Twitter | Goodreads Andrea Mutti: Website | Twitter Vladimir Popov: Twitter Deron Bennet: Website | Twitter Purchased for…

[thebuhonerodazorrow]

Wall-E #7

Afuera de aquí Parte 3

BOOM Kids!

[dccomicsnews]

Review: Justice League Odyssey #2

[Editor’s Note: This review may contain spoilers]

Writer: Joshua Williamson

Artist: Stjepan Sejic

Letters: Deron Bennet

  Summary

Darkseid wants some sort of alliance!?  No way!  But before our heroes can take Darkseid down, he disappears and they discover an ancient alien temple that seems to be devoted to worshiping… Starfire?!  What cosmic forces are at play here and could Darkseid be right?!…

[thecomicon]

Review: 'The Many Deaths of Laila Starr' #4 Is The Beginning Of The End

Review: ‘The Many Deaths of Laila Starr’ #4 Is The Beginning Of The End

Death is one of the constant certainties of human existence. Through the entirety of our time in this world, humans of every society and belief system have at some point wished they could confront some perceived entity of death, whatever form it took. To ask it one question, “Why?” Darius Shah gets that chance in The Many Deaths of Laila Starr #4. As Ram V, Filipe Andrade, Inês Amaro, and Deron…

[graphicpolicy]

Preview: Fearscape #5

Fearscape #5 preview. A fake man in a fake land...this is the story of the wrong person answering the call to adventure, and the doom that followed. #comics #comicbooks

Fearscape #5

Writing: Ryan O’Sullivan Cover: Andrea Mutti & Vladimir Popov Pencils/Inks: Andrea Mutti Colours: Vladimir Popov Lettering: Deron Bennet of Andworld Design Publisher: Vault Comics Price: $3.99 Pages: 32

From Ryan O’Sullivan, Andrea Mutti, Vladimir Popov, and Deron Bennet comes FEARSCAPE. The Fearscape is a world beyond our own, populated by the manifestations of our greatest fears.…