‘Rick & Morty Issue #5’ Offers Plenty Of Laughs Through Its Twisted Story, Dialogue

Courtesy: Oni Press

The next chapter in the latest story arc from Oni Press’ Rick & Morty comic book series hits store shelves Wednesday and this latest chapter is quite the interesting presentation as its story shows.  The story, written by Alex Firber, picks up where the story left off in Issue #4 and will be discussed shortly.  The art – created by the team of Marc Ellerby, Andrew Dalhouse and Christopher “Crank!” Crank – adds its own touch to the presentation and will be discussed a little later.  The dialogue used to help advance the story rounds out its most important elements and will also be examined later.  Each item noted is important in its own way to the whole of Rick & Morty Issue #5.  All things considered they make this latest issue of Oni Press’ ongoing comic book adaptation of Cartoon Network’s Adult Swim series another engaging and entertaining entry in the ongoing franchise. 

Rick & Morty Issue #5, scheduled for release Wednesday in comic shops nationwide, is a presentation that fans of the ongoing series are sure to enjoy.  That is thanks in part to the twisted story at its heart.  Written by Alex Firber, the story featured in this issue finds Rick having to escape from the clutches of Glug Vronsky, who is hellbent on making Rick his friend.  Vronsky is so bent on making Rick like him that he is holding him in a prison cell of sorts.  Rick manages to escape and eventually meets back up with Morty, who is himself a prisoner, but of a different type.  He is being tortured by a pair of sadistic dentists who are ripping out his teeth.  His ability to withstand the torture leads the pair to take him to Vronsky, who uses him to try and figure out how to make Rick like him.  The whole thing is so bizarrely twisted that audiences cannot help but read the story.  Along the way, Firber adds in a sharp dig at the issue of artificial intelligence when Vronsky brings Morty an AI made version of Morty’s love interest Noelle.  The commentary about this creation creates its own share of entertainment and engagement.  Even wilder is that all of this is taking place inside a giant interstellar dog.  Yes, an interstellar dog.  It is something that audiences must read to believe.  All in all the story featured in this issue of Rick & Morty forms a strong foundation for its presentation.

The story featured in Rick & Morty Issue #5 is just part of what makes it so intriguing.  Its artwork makes for its own share of interest.  The gory display that Ellerby, Dalhouse and Crank present as Morty is being tortured is hard to look at but one can’t help but look at it, seeing his teen being pulled, still connected by nerve endings, to his mouth.  And seeing him become his own version of Rick, complete with the wild hair, is so entertaining in its own right.  Knowing Morty is Rick’s grandson, now readers get to see what Morty could look like one day thanks to the group.  The AI version of Noelle is another example of the importance of the artwork presented here.  The blank, vacant eyes, the overall cartoony look makes her look like something from perhaps one of Disney’s current crop of animated series.  The design has that look, and it makes the design so fun to see.  What’s more it shows how wild AI can be in creating its own product, so to speak.  That it looks so odd and honestly somewhat scary, helps to drive home the argument of the danger of relying too much on artificial intelligence for creative purposes.  The overall look of the art in this issue clearly plays well into its appeal and is just one more aspect of what makes the issue work.  The overall dialogue also plays into the issue’s success.

The impact of the issue’s dialogue is most audible late in the story as Morty goes absolutely crazy, imagining he is Rick.  When Vronsky tells Morty that Rick doesn’t need him anymore and that he is Rock’s friend, that sends Morty over the edge.  He goes absolutely crazy, telling Vronsky, “I’m Rick! All the hate! All the anger!”  This, as he tries to choke out Vronsky. This is a side of Morty that readers rarely see.  Yes, from time to time he does stand up to Rick but for Morty to go this mad is very rare.  Staying on the topic of Morty, his discussion with his captors about how he has survived their incredible torture is just as wild.  He explains that the survival technique – imagining the pain was happening to someone else – was taught to him by Rick, ironically.  There is just something about this moment, Morty’s casual manner of discussing the matter shows the intensity of the pain he has felt.  It makes the moment just all the more shocking. 

On yet another note, Vronsky’s commentary about AI universes being imperfect is a hard-hitting commentary about the tech that is AI.  It is a reminder that humans should not rely so much as we already do on the technology.  Even being so brief, it is a strong statement that everyone should heed.  This is just one more example of what makes this issue’s dialogue as important as the issue’s art and story.  When all three elements are considered collectively, they make Issue #5 of Rick & Morty an interesting overall new issue of the ongoing comic book series.

Rick & Morty Issue #5 is an intriguing new addition to Oni Press’ ongoing comic book series adaptation of Cartoon Network’s Adult Swim series.  Its interest comes in part through its story, which is a bizarre, twisted tale of Rick and Morty each having to escape their own captors and stopping mad tech genius Glug Vronsky.  The whole thing takes place inside a giant interstellar dog.  Yes, a dog.  The artwork used in this issue plays its own important role in the issue’s overall presentation.  The dialogue offers more biting satire about the real world, albeit briefly while also offering plenty of entertainment through lots of weird discussions.  Each item noted here is important in its own way to the whole of the issue.  All things considered they make Rick & Morty Issue #5 another interesting entry in Oni Press’ ongoing comic book series.

Rick & Morty Issue #5 is scheduled for release Wednesday through Oni Press.  More information on this and other titles from Oni Press is available at:

Website: https://onipress.com

Facebook: https://www.facebook.com/onipress

Twitter: https://twitter.com/onipress

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Boom! Studios Offers Preview For Second Issue Of New Series, ‘Ghost Lore’

Courtesy: Boom! Studios

Boom! Studios will release the second issue of its new comic book series, Ghost Lore next month.

Courtesy: Boom! Studios

The forthcoming issue, scheduled for release June 14, picks up where the debut issue left off. Harmony and her preacher father are still taking in the events of the crash that claimed the lives of Chris, Harmony’s younger brother, and their mother (who was not named in the series’ debut issue). The pair has to come to terms with the tragedy and its impact on them both mentally and emotionally, especially due to the spirits who cross their paths.

Ghostlore is written by Cullen Bunn. The series art is handled by the team of artist “Leomacs” (Basketful of Heads), colorist Jason Wordie (Abbott, Wasted Space), and letterist ED Dukeshire (Once & Future) along with guest artist Danny Luckert (The Red Mother).

The main cover for Ghostlore #2 was designed by Leomacs. The variant covers were desinged by Danny Luckert (House of Slaughter), and Javier Rodriguez (Batman: The The Brave and the Bold).

More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Boom! Studios Announces Details For ‘MMPR 30th Anniversary Anthology’

Courtesy: Boom! Studios

The Power Rangers franchise recently marked its 30th anniversary with a special, nearly hour-long special on Netflix.

Courtesy: Boom! Studios

Boom! Studios will mark the franchise’s history Aug. 30 with a new special anthology comic book featuring five Power Rangers stories. The stories were written separately by Ryan Parrott (Rogue Sun), Mat Groom (Inferno Girl Red), original Pink Ranger Amy Jo Johnson and Hotson (Titans), and Maria Ingrande Mora (Fragile Remedy) alongside Melissa Flores.

The stories featured in the new anthology include a story focusing on the Power Rangers’ friend Ernie, who runs the city’s juice bar; a story about Alpha-5’s struggle to find his own purpose; a brand-new “What If?” story involving Tommy’s powers and an alternate universe, an extra tale about Tommy and Kimberly getting married, and a closer look at the Power Rangers Academy. The last of the stories is a means to help promote Boom! Studios’ fledgling Rangers Academy comic book series.

Courtesy: Boom! Studios

Boom! Studios Editor Allyson Gronowitz talked briefly about the new, forthcoming comic book special in a prepared statement.

“This is without a doubt an oversized celebration of Power Rangers for fans, writers and artists who are true fans themselves,” Gronowitz said.

The main cover for the forthcoming 30th Anniversary special was designed by Dan Mora (Once & Future). Its variant covers were designed by Rian Gonzales (Batgirls), Jamal Campbell (Nightwing), Bon Bernardo (Mighty Morphin’ Power Rangers), Miguel Mercado (Go Go Power Rangers), and Goni Montes (Mighty Morphin’ Power Rangers).

Returning Power Ranger artists Hendry Prasetya (Mighty Morphin’ Power Rangers), Eleonora Carlini (Go Go Power Rangers), Marco Renna (Mighty Morphin’ Power Rangers), and newcomer Jo Mi-Gyeong (Eve) will lend their talents to the special presentation.

Courtesy: Boom! Studios

Courtesy: Boom! Studios

Courtesy: Boom! Studios

More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Artwork, Dialogue Are The Saving Graces For ‘Rick & Morty: Maximum Overture #1’

Courtesy: Oni Press

Oni Press this week, released a brand-new story in its Rick and Morty comic book series in the form of Rick & Morty: Maximum Overture #1.  The 30-page issue (not counting the cover and credits page) is a peculiar presentation for what may or may not be the first of more stories to come in this story arc.  The issue’s art is its primary positive, interestingly enough.  This will be addressed shortly.  While the artwork proves pivotal in keeping the issue afloat, the story proves somewhat problematic right from its outset.  It will be discussed a little later.  The dialogue featured throughout the story is both positive and negative.  It will also be examined later.  Each item noted here plays its own part to the whole of Rick & Morty: Maximum Overture #1.  All things considered they make this supposedly first of however many issues of the story arc a somewhat rough start to the potentially bigger presentation.

Rick & Morty: Maximum Overture #1, the apparent first entry in what is supposedly an ongoing story arc for Oni Press’ Rick and Morty comic book franchise, is an intriguing new offering from Oni Press.  That is because it is sadly not the strongest start for the apparent series.  Its artwork is its main saving grace.  Crafted collective by artist Jarrett Williams, colorist Leonardo Ito and letterer Christopher “Crank!” Crank, the artwork exhibited throughout this issue maintains the franchise’s familiar look and style especially in regard to the look of its titular characters.  At the same time there is something of a softer, cartoony sense established in the artwork.  That blend of leanings makes the overall look endearing to established fans of the series. 

On another note, the flashback scenes in which the issue’s villain “Concerto” recalls how he became his current evil self is another notable example of the art’s role in this issue.  The gentle use of the sepia tone effect in the flashback helps with the aesthetic impact of the issue.

The background designs presented throughout the issue are also of their own note.  The use of the shading deeper in the castle and then the lighter coloring of the final room makes for an interesting look for each room’s setting, too.  Between this aspect of the art, the other examples noted and the rest of the artwork, the overall art makes this issue of Rick & Morty at least somewhat appealing.

While the artwork exhibited in this issue of Rick & Morty makes for at least some reason for audiences to read the book, the story proves somewhat more problematic.  The story opens abruptly, with Rick and Morty waking up in the castle of Concerto, but it is not until he introduces himself to them as their captor that this is known.  Thankfully, that introduction does not take long.  The issue at hand is that there seems to be no setup in any prior issue of Rick & Morty to explain how the pair ended up in the castle.  Writer David Brockton McKinney does not take any time having Concerto offer any explanation, either.  To that end, it appears the duo just randomly wakes up in the castle.  Considering that (not to give away too much) Rick and Morty eventually escape the castle, it certainly would have helped to at least have had some background on whether Rick and Morty were captured or accidentally ended up there thanks to Rick’s technology.

What’s more, it seems like McKinney spends an inordinate amount of time emphasizing Rick’s burping and Morty’s stutter.  Yes, in other issues both aspects are there in the dialogue, but McKinney seems to utilize these elements in every other line of dialogue from the pair.  It is just over used and the result is that said overuse makes it annoying.

On yet another level, the Concerto never even gets around to just telling Rick what he has against him.  He offers lots of really funny, random back story, but the bigger question is still left open-ended.  As the story ends, a question mark is left, leaving readers wondering if there is going to be a second issue to this story.  If a second issue does happen, hopefully readers will get more background on Concerto.  Otherwise, what is presented in this issue does little service to the story.  What is here just leaves readers to know that Concerto hates Rick.  That does little to really keep readers invested in the story.  Keeping all of this in mind, the story at the center of Maximum Overture #1 simply comes across as a random, pointless tale that does little if anything for the issue’s presentation.

As much concern as the issue’s story causes for its presentation, the dialogue does present at least some positive.  This is despite the noted over use of Morty’s stuttering and Rick’s burping, which easily gets annoying very quickly.  One of the best examples of the positive in the dialogue comes from Concerto’s explanation of his back story.    Monologuing is so common place for villains and it is just as entertaining here as in so many other property’s cases.  The story that Concerto presents (at least what he does present) is so random that readers cannot help but laugh. 

On yet another note, the sarcastic lines that Rick and Morty share about Rick wanting to use the phrase “Buzz The Tower” is another funny example of the dialogue’s role in the issue.  Rick’s desire to use a witty one-liner comes across through these moments as a commentary about how so many writers use this element throughout the entertainment industry.  Seeing the dialogue on this come back up over and over again is sure to generate its own share of entertainment.  Keeping all of this in mind, the dialogue used in this issue of Rick & Morty proves just as important to the issue as its artwork.  When the two items are considered together they prove to be the issue’s saving graces.

Rick & Morty: Maximum Overture #1 is an intriguing new presentation from Oni Press’ ongoing comic book series.  Its artwork presents plenty of familiarity for readers.  That familiarity in the overall look of the book generates its own share of interest and proves pivotal to the issue considering the concerns raised through the issue’s story.  So much information is omitted in the story here.  Information that hopefully will be provided in the issue’s follow-up – if a second issue even happens.  The dialogue works with the story to make the story at least somewhat more engaging.  When it is considered along with the issue’s art, the two elements collectively become the issue’s saving graces.

More information on this and other titles from Oni Press is available at:

Website: https://onipress.com

Facebook: https://www.facebook.com/onipress

Twitter: https://twitter.com/onipress

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Penultimate Issue Of Boom! Studios’ New Limited Series Proves Largely Successful

Courtesy: Boom! Studios

Early this month, Boom! Studios launched a new five-issue miniseries titled Mosely.  The limited series focuses on its titular character as he fights to free the world from the grip of the so-called Tech Gods and free humanity from their grip.  This week, the story reached a new peak in its penultimate issue as Mosley faces the Tech God, Atum in his quest to save humanity.  The story in question in this issue is at the center of the issue’s interest.  It will be examined shortly.  The artwork presented in the 20-page-plus issue adds to the interest in its own way.  It will be examined a little later.  The bonus content (of sorts) included with the issue rounds out its most important items and will also be discussed later.  Each item noted here is important in its own way to the whole of the new issue.  All things considered they make Mosely Issue #4 another interesting chapter in Boom! Studios’ latest limited series.

Mosely Issue #4 is a largely successful addition to what is one of Boom! Studios’ latest limited series.  Its appeal comes in part through its featured story.  Here in the series’ penultimate issue, Mosely faces off against the third of the Tech Gods so-called “Triad” in an effort to save his daughter Ruby.  That is because she had been kidnapped by Atum. Readers learn through the pair’s discussion that Atum’s aim is to essentially wipe out mankind by placing every human’s consciousness into a digital realm and in turn leaving their physical bodies behind.  If that sounds familiar, it should, considering readers (and audiences in general) already saw something quite similar in the Matrix movie franchise.  Keeping that in mind, this diabolical plot is not exactly the most original, but considering that humans today are so connected already to all things electronic and digital, it is still believable to a point.

Mosely manages to defeat Atum, obviously (thanks to some help from Ruby).  The thing of it here is that it seems like Atum’s defeat happens so quickly and conveniently.  It feels like there is no real major buildup to the confrontation and Atum’s eventual defeat.  It all just feels a bit too convenient.  Of course, considering that the series runs only five issues, lead writer Rob Guillory maybe only had but so much space to use to make the story advance.  To his defense, if that was the case, then the quick outcome makes some more sense.  That Mosely is ultimately reunited with Ruby and his wife, the trio taking the next and final step to completely defeating the Tech Gods gives things a nice closure of sorts before next issue’s ultimate finale.  How Mosely has to finally put that last proverbial nail in the coffin will be left for readers to discover for themselves.  Overall, the story featured in this issue does well to help continue what started early this year while also offering new readers just as good a jumping on point.  That is especially the case since those new readers would only have three other issues to read in order to get caught up.  Keeping that in mind, the foundation formed by Issue #4 is relatively stable.

Building on that foundation is the artwork presented throughout the issue.  Crafted by the team of Sam Lofti, Jean-Francois Beaulieu, and Andrew Thomas, the issue’s art offers its own share of interest.  Mosely’s entrance scene, which shows him riding in on his rocket (of sorts), giant glowing hammer in hand, is a prime example of the importance of the art.  The use of the coloring as the rocket blasts through the sky makes for such a great contrast.  That red and orange against the darker color of the sky does so well to really put the focus on Mosely, in turn, giving him that great sort of superhero entrance.

Later as Ruby starts to literally split right in front of Atum, that single frame is even more an example of the importance of the issue’s art.  Her dissection (of sorts) is the result of Atum’s plan.  It is creepy to say the least, but there is something about the display that makes one think it would make for such a cool special effect if it were on screen.  The definition of the lines in the two halves of Ruby’s head and the way her head is shown separating from her body as part of the process makes this frame such a powerful moment in the story.  There is a certain softness in the lines and the colors that adds to that sense. 

As the battle between Mosely and Atum progresses, there is a moment at which Atum think he has defeated Mosely, but Mosely has in fact survived Atum’s attack.  Mosely’s hammer shines brightly as he takes the familiar defiant superhero stance.  The energy literally resonates from the hammer all around him as he prepares to finish off Atum once and for all.  The use of the yellows and the shading and lines used in Mosely’s design makes this single frame another powerful, lone moment.  The richness of the colors and the general design here makes it another great example of the art done right.  When it and the other moments examined here are considered with the rest of the issue’s art, the overall artistic presentation gives audiences even more to appreciate in this issue.  Together with the story, the two items collectively make this issue a solid new presentation in this brief, limited series.  They are only part of what makes the issue worth reading.  The bonus content that accompanies the issue rounds out its most important elements.

The bonus content in question comes in the form of a bonus story.  The bonus story only spans four pages, but in that limited space, it does well to help set the stage for the story that is Mosely.  The series’ other three issues each have their own bonus story, too, and collectively, they create their own unique sort of prequel with the main story, essentially giving audiences that much more story.  In doing this, there is no need for a future, separate prequel series.  The whole thing is featured together in this and the other issues, making the issue’s price all the more worth paying.  Keeping this in mind, the bonus content featured with the fourth issue of Mosely proves just as important to the overall reading experience in this issue as the issue’s primary content and the story’s artwork.  All things considered they make this new issue its own welcome addition to this limited series and ensures readers will want to pick up the series’ finale.

The brand-new fourth issue of Boom! Studios’ limited series, Mosely is an interesting entry in the short-run story.  Its appeal comes in part through its featured story.  The story makes for a relatively good jumping on point for new readers considering the setup in the opening pages.  Even as the issue’s story progresses, readers will not be left feeling out of the loop if they have not read the series’ first three issues, though it would help readers to have at least some grip on those stories first, regardless.  The artwork exhibited throughout the issue offers its own interest, what with the color balances used in each frame.  The general look established in the design of each character and background makes for its own share of appeal, too.  That includes some familiar superhero-type battle scenes and stances.  The issue’s bonus story, which helps set the stage for this limited series’ overall story, round out the issue’s most important elements.  Together with the bonus stories offered in Issues 1-3, the bonus enriches the overall story all the more.  Each item examined here is important in its own way to the whole of this issue.  All things considered they make the fourth issue of Mosely another largely successful entry in this limited series from Boom! Studios.

Mosely Issue #4 is available now through Boom! Studios.  More information on this issue and the overall story is available along with information on all of Boom! Studios titles at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Penultimate Issue Of Boom! Studios’ New Limited Series Proves Largely Successful

Courtesy: Boom! Studios
Cover Art by: Sam Lofti

Early this month, Boom! Studios launched a new five-issue miniseries titled Mosely.  The limited series focuses on its titular character as he fights to free the world from the grip of the so-called Tech Gods and free humanity from their grip.  This week, the story reached a new peak in its penultimate issue as Mosley faces the Tech God, Atum in his quest to save humanity.  The story in question in this issue is at the center of the issue’s interest.  It will be examined shortly.  The artwork presented in the 20-page-plus issue adds to the interest in its own way.  It will be examined a little later.  The bonus content (of sorts) included with the issue rounds out its most important items and will also be discussed later.  Each item noted here is important in its own way to the whole of the new issue.  All things considered they make Mosely Issue #4 another interesting chapter in Boom! Studios’ latest limited series.

Mosely Issue #4 is a largely successful addition to what is one of Boom! Studios’ latest limited series.  Its appeal comes in part through its featured story.  Here in the series’ penultimate issue, Mosely faces off against the third of the Tech Gods so-called “Triad” in an effort to save his daughter Ruby.  That is because she had been kidnapped by Atum. Readers learn through the pair’s discussion that Atum’s aim is to essentially wipe out mankind by placing every human’s consciousness into a digital realm and in turn leaving their physical bodies behind.  If that sounds familiar, it should, considering readers (and audiences in general) already saw something quite similar in the Matrix movie franchise.  Keeping that in mind, this diabolical plot is not exactly the most original, but considering that humans today are so connected already to all things electronic and digital, it is still believable to a point.

Mosely manages to defeat Atum, obviously (thanks to some help from Ruby).  The thing of it here is that it seems like Atum’s defeat happens so quickly and conveniently.  It feels like there is no real major buildup to the confrontation and Atum’s eventual defeat.  It all just feels a bit too convenient.  Of course, considering that the series runs only five issues, lead writer Rob Guillory maybe only had but so much space to use to make the story advance.  To his defense, if that was the case, then the quick outcome makes some more sense.  That Mosely is ultimately reunited with Ruby and his wife, the trio taking the next and final step to completely defeating the Tech Gods gives things a nice closure of sorts before next issue’s ultimate finale.  How Mosely has to finally put that last proverbial nail in the coffin will be left for readers to discover for themselves.  Overall, the story featured in this issue does well to help continue what started early this year while also offering new readers just as good a jumping on point.  That is especially the case since those new readers would only have three other issues to read in order to get caught up.  Keeping that in mind, the foundation formed by Issue #4 is relatively stable.

Building on that foundation is the artwork presented throughout the issue.  Crafted by the team of Sam Lofti, Jean-Francois Beaulieu, and Andrew Thomas, the issue’s art offers its own share of interest.  Mosely’s entrance scene, which shows him riding in on his rocket (of sorts), giant glowing hammer in hand, is a prime example of the importance of the art.  The use of the coloring as the rocket blasts through the sky makes for such a great contrast.  That red and orange against the darker color of the sky does so well to really put the focus on Mosely, in turn, giving him that great sort of superhero entrance.

Later as Ruby starts to literally split right in front of Atum, that single frame is even more an example of the importance of the issue’s art.  Her dissection (of sorts) is the result of Atum’s plan.  It is creepy to say the least, but there is something about the display that makes one think it would make for such a cool special effect if it were on screen.  The definition of the lines in the two halves of Ruby’s head and the way her head is shown separating from her body as part of the process makes this frame such a powerful moment in the story.  There is a certain softness in the lines and the colors that adds to that sense. 

As the battle between Mosely and Atum progresses, there is a moment at which Atum think he has defeated Mosely, but Mosely has in fact survived Atum’s attack.  Mosely’s hammer shines brightly as he takes the familiar defiant superhero stance.  The energy literally resonates from the hammer all around him as he prepares to finish off Atum once and for all.  The use of the yellows and the shading and lines used in Mosely’s design makes this single frame another powerful, lone moment.  The richness of the colors and the general design here makes it another great example of the art done right.  When it and the other moments examined here are considered with the rest of the issue’s art, the overall artistic presentation gives audiences even more to appreciate in this issue.  Together with the story, the two items collectively make this issue a solid new presentation in this brief, limited series.  They are only part of what makes the issue worth reading.  The bonus content that accompanies the issue rounds out its most important elements.

The bonus content in question comes in the form of a bonus story.  The bonus story only spans four pages, but in that limited space, it does well to help set the stage for the story that is Mosely.  The series’ other three issues each have their own bonus story, too, and collectively, they create their own unique sort of prequel with the main story, essentially giving audiences that much more story.  In doing this, there is no need for a future, separate prequel series.  The whole thing is featured together in this and the other issues, making the issue’s price all the more worth paying.  Keeping this in mind, the bonus content featured with the fourth issue of Mosely proves just as important to the overall reading experience in this issue as the issue’s primary content and the story’s artwork.  All things considered they make this new issue its own welcome addition to this limited series and ensures readers will want to pick up the series’ finale.

The brand-new fourth issue of Boom! Studios’ limited series, Mosely is an interesting entry in the short-run story.  Its appeal comes in part through its featured story.  The story makes for a relatively good jumping on point for new readers considering the setup in the opening pages.  Even as the issue’s story progresses, readers will not be left feeling out of the loop if they have not read the series’ first three issues, though it would help readers to have at least some grip on those stories first, regardless.  The artwork exhibited throughout the issue offers its own interest, what with the color balances used in each frame.  The general look established in the design of each character and background makes for its own share of appeal, too.  That includes some familiar superhero-type battle scenes and stances.  The issue’s bonus story, which helps set the stage for this limited series’ overall story, round out the issue’s most important elements.  Together with the bonus stories offered in Issues 1-3, the bonus enriches the overall story all the more.  Each item examined here is important in its own way to the whole of this issue.  All things considered they make the fourth issue of Mosely another largely successful entry in this limited series from Boom! Studios.

Mosely Issue #4 is available now through Boom! Studios.  More information on this issue and the overall story is available along with information on all of Boom! Studios titles at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Boom! Studios Announces New ‘Mighty Morphin’ Power Rangers’ Event

Courtesy: Boom! Studios

Boom! Studios will launch a new event series from its Mighty Morphin’ Power Rangers comic book series this summer.

Mighty Morphin’ Power Rangers: Darkest Hour is scheduled to launch with Mighty Morphin’ Power Rangers #111 in August, with the exact release date for the story’s first issue under consideration. Led by writer Melissa Flores (Mighty Morphin’ Power Rangers, The Dead Lucky) the Darkest Hour event follows the fallout of the Rangers’ battle involving Mistress Vile and Vessel. Mistress Vile has control of the morphin’ grid as the event opens and Dark Specter’s infections are spreading across the universe. Now the rangers are stranded and separated, forced to work with some very unexpected allies.

Courtesy: Boom! Studios

Courtesy: Boom! Studios

Taurin Clarke (Miles Morales: Spiderman) designed the main cover for Issue #111. The variant covers were designed by Bjorn Barends (Spawn), Goni Montes (Mighty Morphin’ Power Rangers), Keyla Valerio (Power Rangers Unlimited), Ariel Olivetti (BRZRKR) and Tyler Kirkham (Invincible).

More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Boom! Studios’ New ‘Mech Cadets’ Collection Will Entertain, Engage Science-Fiction Fans Of All Ages

Courtesy: Boom! Studios
Cover Art by: Brandon J. Carr

Boom! Studios’ comic book series, Mech Cadet Yu is getting a lot of renewed attention this year.  Early this month, the company announced the series was being adapted into a serial series for Netflix.  Having originally debuted in print in 2017 through Boom! Studios, the property is expected to debut on Netflix Aug. 10 in a 10-episode limited run.  The original comic book series is also available in three separate paperback volumes through Boom! Studios.   Today, Boom! Studios has resurrected the original comic book series, so to speak, with the release of the original series’ first 12 issues in the form of the 322-page anthology, Mech Cadets: Book One.  Retailing for $24.99, the collection is a wonderful presentation for a wide range of audiences who might have been otherwise unfamiliar with the title.  The appeal of this collection comes in large part through its featured story, which will be discussed shortly.  The artwork featured in this story also plays into the collection’s appeal and will be examined a little later.  The bonus content that accompanies the collection rounds out its most important elements and will also be addressed later.  Each item noted is important in its own way to the whole of the story.  All things considered they make the collection among the best of this year’s graphic novel releases.

Courtesy: Boom! Studios

Mech Cadets: Book One, the “new” collection of stories from Boom! Studios’ Mech Cadet Yu series, is a presentation that will appeal widely to anyone who is otherwise unfamiliar with the series.  This is due in no small part to its featured story.  The story featured across this 300-plus page volume is relatively simple.  It is an underdog story that finds its main character, Stanford Yu – a young janitor at the Sky Corps Academy – becoming the unlikely pilot of a mech robo and joining the battle against threats and attacks from otherworldly beings.  The story features Stanford becoming quick friends with some of the other robo pilots quickly, though his connection with one pilot, Olivia Park, does not start out so smoothly.  That is because Olivia is the daughter of the academy’s head general.  He has hammered some very clearly biased views into her, which come into play right from the story’s outset.  She treats Stanford (who is Chinese American) like he is less than her and the other cadets in the opening scene, going so far as to throw a drink at his feet, saying his place is to be a janitor and clean up others’ messes.  Series’ writer Greg Pak is to be commended here, for the incorporation of this sharp moment, which echoes the racist views of so many people against minorities throughout history.  Even in the not-too-distant future, this shows that sadly, such biases are still as prevalent as ever.  The comment comes back to haunt her however as the story progresses, which will put a smile on many readers’ faces.  What happens to her will be left for readers to discover for themselves, but it plays greatly into Olivia’s personal development, which Pak handles quite well throughout the story.  As a matter of fact, Pak handles the development of each of the characters equally well, and it is just one more aspect of the story that he handles so well throughout each of the volume’s 12 chapters.  The manner in which Pak combines the influences of so many science fiction influences – Asian and American – is just as worthy of applause.

Throughout the course of the overall story’s presentation, readers will easily note the use of young heroes in giant robots fighting monsters from another world to so many science fiction movies and television series.  The first franchise that comes to mind is Japan’s long-running Super Sentai series, which itself led to the birth of one of America’s most famous and long-running action properties in the Power Rangers.  At the same time, audiences can just as easily make comparison to the Pacific Rim movies, what with the design of the interstellar kaiju that the young heroes battle.  Considering that Mech Cadet Yu debuted in 2017, four years after Warner Brothers’ action flick Pacific Rim made its theatrical debut, one can’t help but imagine Pak took some influence from that movie, too. Additionally, audiences familiar with their literary and cinematic history will also catch a clear similarity to author Ted Hughes’ 1968 book, The Iron Giant and its 1999 cinematic adaptation (ironically, also from Warner Brothers).  In researching Boom! Studios’ new release, the comparison is not accidental, as research shows Pak did in fact take influence from said book and movie, so that would account for the connection between Stanford and Buddy (his robot) and even the very look of Buddy.  This matter will be discussed shortly. Getting back on the topic at hand, that Pak was able to take so many obvious influences and combine them into one whole here, without letting the story get away with itself (for lack of better wording) makes the story all the more engaging and entertaining.  The messages of friendship, trust, loyalty, and family all presented here ring soundly thanks to Pak’s ability to so seamlessly combine all of those influences.  The result is a story that will not only engage and entertain readers of so many ages, but also endear the story to all of those readers.

Courtesy: Boom! Studios

There is no doubt that the story featured in Mech Cadets: Book One goes a long way toward making the newly re-issued collection so enjoyable.  It is just part of what readers will appreciate from this collection.  The artwork exhibited throughout the story makes for its own appeal.  As noted already, Park took clear influence from The Iron Giant and its cinematic adaptation for the story, at least to a point.  That extent is not limited just to the story.  The look of Buddy is a rather clear lifting from the alien robot at the center of that story.  When the design of the robot is put alongside that of Buddy it becomes especially clear.  From the shape of Buddy’s eyes to his head to his general body construction, the similarity in body design is intentional.  Staying on this topic for a moment, the bonus content that accompanies the new set shows that the design for Buddy in Mech Cadets is actually quite different from Buddy in Los Robos, the predecessor for Mech Cadet Yu.  His design (and those of the other robots) actually looks more akin to something from the Ultraman franchise than The Iron Giant.  The ridged helmet, the more detailed facial structure and general body structure is completely different.  On a related note, Stanford looks more like one of the younger characters from the original Transformers (and its root Japanese series) in Los Robos whereas in Mech Cadet Yu, he looks a lot more like Ash from the long-running Pokemon franchise, what with the facial deign, hat and hair.  One thing that stays largely the same between Los Robos and Mech Cadet Yu however, is the overall definition of everything.  The use of the coloring in the backgrounds and the rough look of the characters gives the overall property an organic look that is welcome in its own unique way.  Keeping all of this and so much more related to the artwork in mind, the overall artwork used in this series does plenty to make the artwork presented here just as important to the presentation as the story.

The bonus content that accompanies the collection in its new release is just as important to the graphic novel as its primary content.  In the case of this set, the bonus content comes in the form of the original Los Robos one-off and sketches that show the designs of each character.  It is through the presentation of Los Robos that readers can see the clear stylistic difference between that one-off story and that of Mech Cadet Yu.  Another difference that readers will note is that that the general’s child was initially a boy, not a girl, in Los Robos.  Pak does not explain in his introduction here, why the general’s son became a daughter in the process.  It would be interesting to learn that detail.  Either way, the comparison that readers can make in this bonus makes for plenty of engagement and entertainment in its own right.

Courtesy: Boom! Studios

Something Pak does note in his introduction to the Los Robos one-off is that it was always his dream and that of illustrator and series co-creator Takeshi Miyazawa to turn Mech Cadet Yu into an ongoing series.  It looks like now that wish is going to happen as the original limited series will have a brand-new chapter published Aug. 9. According to information released this week by Boom! Studios, the new chapter will pick up where this collection ends.  Olivia has to learn some very hard lessons about responsibility as the pilot of the new mech robo, Hero Force 2.  The Sharg invasion is over, but new revelations that stem from the events of the invasion lead to even more concerns for the Sky Corps and its young cadets.  Knowing that Mech Cadet Yu is getting a whole new life following this collection’s release is even more of a bonus for the series’ fans.  When this and the impact of the other bonus content is considered along with the engagement and entertainment generated through the collection’s story and art, the whole makes Mech Cadets: Book One a worthwhile read for any science fiction and anime fan regardless of their familiarity with this franchise.

Mech Cadets: Book One is a great new beginning for Boom! Studios’ Mech Cadet Yu comic book series and is especially promising for anyone who might be less familiar with the franchise.  That is due in part to its featured story.  The underdog story will resonate with readers of all ages while the lessons of friendship, family, trust, and teamwork will especially resonate with younger readers.  The artwork presented throughout the story adds it own touch to the whole, what with the coloring and character designs.  The bonus content that accompanies the book adds even more to the collection through its presentation of the series’ predecessor, Los Robos.  Reading through the 10-page feature creates even more engagement through the comparisons to its story and design to those featured in Mech Cadet Yu and Mech Cadets: Book One.  The comparison generates more appreciation for both titles.  Each item examined here is important in its own way to the whole of the book.  All things considered they make Mech Cadets: Book One an enjoyable presentation for so many science-fiction and anime fans.

More information on Mech Cadets: Book One and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘The Vampire Hunter Issue #14′ Does Well Continuing Series’ Overall Story

Courtesy: Boom! Studios
Cover Art by: Skylar Patridge

The multiverse is and has been big business for the comic book industry.  Reaching as far back as the industry’s silver age, the multiverse has created countless stories especially for Marvel and DC. It has been largely at the center of Marvel’s cinematic world ever since the studio ended its initial phase with the “Infinity War” story and has continued to play a role in so many of the studio’s movies ever since then.  For DC, the multiverse will become a thing this year with the new Flash movie as DC works to reset everything created by the so-called “Snyder-verse” (and justifiably so, considering the damage Zack Snyder did to DC’s beloved comic characters). 

Considering the impact of the multiverse on the comic book world’s two biggest companies, it should come as no surprise that other comic book companies would eventually launch their own multiverses.  Enter Boom! Studios’ The Vampire Slayer series, which was launched in April 2022.  In this alternate universe series, Buffy is replaced by Willow as the bearer of the mantle after an attempt by Buffy’s friends to help her deal with the emotional and psychological strain of being the infamous hunter of all things evil.  Over the course of the series’ 13 current issues, Buffy has worked her way back to her former self so that she can once again be the series’ titular character, and in the new forthcoming Issue #14 – due in stores Wednesday – it would look to be that she is continuing to make progress.  The story in this issue also turns the attention to Spike and Buffy’s other friends as one of Spike’s old flames enters the story, which allegedly is now in its final arc.  The story will be discussed shortly.  The issue’s dialogue adds its own touch to the presentation and will be discussed a little later.  The book’s art rounds out its most important elements and will also be addressed later.  Each item noted is important in its own way to the whole of this issue’s presentation.  All things considered they make The Vampire Slayer Issue #14 an interesting new chapter in the series’ current run.

Courtesy: Boom! Studios

The Vampire Slayer Issue #14, the forthcoming latest chapter in Boom! Studios’ current entry in its Buffy The Vampire Slayer comic book adaptation franchise, is an interesting addition to the series, which launched last year.  The interest comes largely from its story.  Spanning 22 pages (not counting the cover and opening credits page), the story in this issue finds Buffy, Faith and Spike breaking into a vacant building in search of the monster “baby crab”, which has been terrorizing Sunnydale since the current series launched last year.  The crab is not the only matter of interest for the trio, as writer Sarah Gailey reveals early in the story.  Drusilla, a former love interest of Spike, happens to be in the building and captures Spike.  She tries to force Spike to reveal what he knows about Buffy and her friends, and of course her method of getting information out of him works, too, setting up the cliffhanger for Issue #15.  Drusilla and her minions find Buffy’s friends thanks to Spike’s forced confession.  The random opening to this issue’s story makes the issue a good jumping on point for readers, but then as the story progresses, it becomes clear that readers will have to have to some familiarity with the series’ overall story.  This is made clear through the mentions of the crab in the dialogue, considering it is really at the center of this story arc.  This is hardly enough to doom the story, but again, without some form of clarification for readers or even an understanding of the background set up in the series by readers themselves, the overall engagement and entertainment in this issue is decreased to a point.

While the dialogue presented in this issue does create a little bit of an issue for new readers, it also offers some high points, too.  Case in point comes right from the issue’s outset as Spike and Faith argue about whether or not he is going to go into the building as Buffy is kept busy fighting Waltirr and some of Drusilla’s other minions.  The pair’s back and forth juxtaposed with Buffy having to do the hard work herself is a classic comedy bit that has been used countless times in so many movies and TV shows of so many genres.  Even used here it creates such a great moment because of how Faith and Spike playfully bicker with each other as Buffy tries to ask for help.  Shortly after this sequence, Waltirr is choking out Buffy as she battles him, and randomly starts having a casual conversation with Spike since the pair know each other, and Waltirr is surprised to see him again.  As with the previous scene, this moment makes for its own entertainment because of the casual nature of the pair’s conversation as Waltirr is about to kill Buffy.  The irony of the situation and that conversation makes for another comical moment that makes the dialogue even more enjoyable.

Courtesy: Boom! Studios

On a different note, Drusilla’s monologue about her evil plan and her demeanor as she talks about having gotten therapy is funny, but also really shows her truly diabolical nature.  Seeing the look in her eyes (credit to the art team) as she raises the matters helps so well to raise that level from her.  It is just one more example of the role that the dialogue plays in this issue of The Vampire Slayer.  When it and the other moments noted here are considered along with the rest of the issue’s dialogue, the whole gives readers who are familiar with the series’ overarching story all the more engaging and entertaining.

The story and its dialogue collectively do a certain amount to make Issue #14 of The Vampire Slayer worth reading at least once and are just part of the overall presentation.  The issue’s art does its own share to add to the presentation.  The use of the coloring in the scene in which Drusilla first enters is a prime example of the role the art in this issue.  The look – Drusilla’s white bridal dress – and the way she holds herself is another classic style scene.  Even with villainesses, it is such an entry that has been done before in other TV shows and movies, so that familiarity and the coloring used to highlight the room and even her look works well here. 

Courtesy: Boom! Studios

On another note, the use of light and dark, the shadows and general coloring in the basement scene – in which Faith and Buffy explore the building’s basement for the crab – helps to give the room a great aged look.  It helps to accent the situation that the group has gotten itself into and in turn leads to its own form of engagement.  Back at the magic store, the scene involving the spell cast by Buffy’s friends makes for its own interest.  The way the visions play out, audiences could just as easily see them on screen thanks to the use of colors and the general approach, as if they were in a crystal ball.  It is another notable example of the role of the issue’s art that makes the art important, too.  When it and the other examples noted here are considered along with the rest of the issue’s art, the whole therein proves just as important to the issue as its story and dialogue.  All things considered they make Issue #14 of The Vampire Hunter that the series’ established audiences will find engaging and entertaining.

The Vampire Hunter Issue #14 is another successful entry in the series started early last year in the ongoing story of Buffy and her friends.  Its success is due in part through its story.  The story turns the attention from Willow, whose plight had dominated a large part of the story initially, back to Buffy and the ongoing search for the baby crab monster.  It should be noted, again, that the story here is not necessarily the best jumping on point.  Only audiences familiar with this matter – that of the crab for which everyone is searching – will fully get this chapter of the ongoing story.  The dialogue, which finds Buffy and Faith clearly talking about the search makes clear that readers must have some knowledge of the series’ previous issues in order to appreciate this aspect of the issue.  Staying on the topic of the dialogue, it does actually create some funny, light moments early on.  It also leads to a great tense cliffhanger in the issue’s final pages as Drusilla goes in search of Buffy’s friends.  The art exhibited throughout the issue plays its own role here, too, giving impressive looks to various scenes.  Each item examined here is important in its own way to the whole of the issue.  All things considered they may the issue another presentation that established fans of The Vampire Hunter will appreciate.

Courtesy: Boom! Studios

Courtesy: Boom! Studios

The Vampire Hunter Issue #14 is scheduled for release Wednesday.  More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘MMPR Issue #108′ Succeeds As A Turning Point In The Title’s Current Story Arc’

Courtesy: Boom Studios

This past October, Boom! Studios launched a new story arc for its Mighty Morphin’ Power Rangers comic book series in Issue #101.  The story arc started by doing something never previously done in the Power Rangers universe (that includes in print and on screen) by telling the story of how Rita Repulsa was imprisoned on the moon.  As it turns out, it was none other than Zordon who imprisoned her in her interstellar trash can prison, however, she did not go down without a fight, according to writer Melissa Flores, who has led the series’ creative team ever since Issue #101.  As that issue revealed, before she was put into the container, Rita ripped Zordon from his body, resulting in his soul or consciousness being imprisoned itself, in a time warp, in which he is first revealed in 1993 in the MMPR TV series.  In the stories that followed Issue #101, Zordon’s separation came increasingly into play and that story reaches a new crucial turning point Wednesday in Issue #108. 

That story is at the center of what makes this issue well worth reading.  It will be discussed shortly.  The dialogue incorporated into the story here plays its own important part in the story’s engagement and entertainment.  It will be discussed a little later.  The artwork presented throughout the story rounds out its most important elements and will also be examined later.  Each item noted here is important in its own way to the whole of Mighty Morphin’ Power Rangers Issue #108.  All things considered they make this issue just as entertaining and engaging for the comic book series’ established readers as for those who may be more fans of the TV series.

Courtesy: Boom! Studios

Issue #108 of Boom! Studios’ Mighty Morphin’ Power Rangers comic book series is a successful entry in the franchise’s current era, which effectively started in October in Issue #101.  That is due in large part to its featured story.  The story presented in this issue of Mighty Morphin’ Power Rangers reaches a new climax as Vessel” makes its way through Angel Grove admit ongoing conflict between Mistress Vile’s (Rita Repulsa’s new chosen name) forces to the Command Center and breaks in.  The being knocks out Rocky and Adam in a brief battle before confronting Zordon and revealing to him that it is him and vice versa (not to give away too much).  Vessel discusses Zordon’s past with him, leading to a turning point that is classic Power Rangers.  What happens will not be revealed here, but to give something of a hint, the conflicted villain plot element comes directly into play just like it has for three decades of Power Rangers on television.  Zordon is not killed or anything else.  That much will be said, but what happens after Vessel confronts him is taken like a cue right from so many of the property’s many TV entries.  To that end, the climax makes for a great jumping on point for fans of the TV series who perhaps otherwise might not have read any of the comic book series’ existing issues, especially considering the overall execution of the story in this issue.  There is something in how the issue’s story opens that makes it work as its own starting point just as much as a continuation of what started in Issue #101.

Courtesy: Boom! Studios

As much as the story does to keep readers engaged and entertained in Issue #108, it is just part of what makes this issue worth reading.  The dialogue that writer Melissa Flores uses in this issue helps advance the story in a big way.  The majority of the dialogue in this issue takes place between Zordon and Vessel.  It is classic good versus bad dialogue, too.  After “merging” with Zordon on some astral plane of sorts, Vessel offers Zordon untold power if he merges with his old body after telling him, “your inaction has cost far more lives” and that he “had opportunities to kill my mistress and yet you did not.”  The mistress in question is of course Rita, now Mistress Vile.  Zordon tells Vessel he did not kill Rita because he believed even she had the potential for good and that “No one is beyond redemption, not even you.”  This dichotomy of sidings is, again, such an oft-used plot device in stories of good versus evil.  Even being so commonplace in so much story writing across the board, it still works well enough here.  What’s more, Vessel’s attempt to lure Zordon into merging with him is almost biblical in a sense.  It is easy to make a comparison in this moment of dialogue – as Vessel points out that if he dies all his efforts would be for nothing since he would not be able to join the morphin’ grid – to Satan’s attempt to tempt Jesus in the wild.  Jesus tells Satan, “Get thee behind me Satan” and much in the same way, Zordon tells Vessel to get thee behind me, too, just in different fashion by telling Vessel he must make his own path after Vessel tries to forcefully merge with Zordon.  All of this conversation between Zordon and Vessel is, again, familiar, but even in being so familiar still does much to keep readers engaged since it so successfully keeps the story progressing.  To that end, the dialogue used in this chapter of the current Mighty Morphin’ Power Rangers story proves just as important to its presentation as the story itself.

The story and its dialogue are unquestionably important aspects of Issue #108’s presentation and are only part of what makes this issue worth reading.  The issue’s artwork does just as much to make the story engaging and entertaining, too.  The team of illustrator Marco Renna, colorist Francesco Segala and letterer Ed Dukeshire (and assistant to Segala, Gloria Martinelli) makes the visual aspect of the issue pleasant in its own right.  Right from the story’s opening page, the contrast of the smoke rising from Angel Grove as Mistress Vile’s ship hover over the city is a powerful opening scene.  It shows the extent of the damage that Mistress Vile and her forces have caused to the city.  What’s more, there is something about it that throws back to the footage from the old Super Sentai TV shows used for the original MMPR series.  Audiences could actually see such a scene in their minds.  The scene in which Vessel and Zordon are discussing the situation, with the multiple galaxies and stars behind them is another notable example of the power of the issue’s art.  The coloring of the galaxies and the darkness of space around them makes such a great, subtle contrast for this critical moment between Vessel and Zordon.  There is something in the coloring and design in this frame as the pair float freely that makes the moment so believable.  It helps audiences see the whole thing move as different angles are used throughout the sequence.  Between this scene, the classic look of the scene when Vessel locates the command center and so much more, the artwork used throughout this issue does just as much to make the issue engaging and entertaining as the story itself and its dialogue.  All things considered Issue #108 proves to be another strong entry in the current Mighty Morphin’ Power Rangers story arc.

Boom! Studios’ upcoming chapter of its Mighty Morphin’ Power Rangers comic book series is a strong entry in the property’s current story arc.  It is just as good of a jumping on point as it is a continuation of the current story.  It follows Vessel as it finally confronts Zordon at the command center and the two discuss Zordon’s past and present in classic science-fiction and fantasy style.  The dialogue used as Vessel and Zordon discuss the events that have transpired throughout Zordon’s quest against evil is familiar in its own right in its style and in turn helps keep the story moving quite well.  The story’s artwork offers its own visual appeal to the overall presentation what with the use of the coloring and general design.  Each item noted is important in its own way to the whole of Mighty Morphin’ Power Rangers Issue #108.  All things considered they make this latest issue enjoyable from beginning to end while also leaves readers looking well forward to the next chapter in this ongoing story arc.

Mighty Morphin’ Power Rangers Issue #108 is scheduled for release Wednesday.  More information on this and other titles from Boom! Studios is available at:

Website: https://boom-studios.com

Facebook: https://www.facebook.com/BOOMStudiosComics

Twitter: https://twitter.com/boomstudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.