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Absolute Carnage: Symbiote of Vengeance #1 Written by Ed Brisson Art by Juan Frigeri and Dono Sanchez-Almara Lettering by Joe Caramagna Published by Marvel Comics Review by David Pepose ‘Rama Rating: 7 out of 10
While Robbie Reyes has the spotlight over in Jason Aaron’s Avengers title, if you’re attractive for some old-school Ghost Rider action, you could do a lot worse than Absolute Carnage: Symbiote of Vengeance. Spinning off of Donny Cates and Ryan Stegman’s Absolute Carnage event, biographer Ed Brisson and artisan Juan Frigeri pit Danny Ketch adjoin the god-tier blackmail of Carnage, and while this chance doesn’t reinvent the hellfire-covered wheel, it’s a solid actioner that will allege to admirers of the 1990s-era Spirit of Vengeance.
Given that Venom is a almost adolescent appearance to articulation a company-wide accident upon, it’s consistently hasty to me to see Absolute Carnage spinoffs hinging not aloof on Cates and Stegman’s advancing series, but additionally on analogously contempo minis like Rick Remender and Cullen Bunn’s Venom runs — and in this case, Symbiote of Vengeance owes a abysmal chain debt to the 2012 bound alternation “Circle of Four,” which angry Flash Thompson’s Venom symbiote with Red Hulk, X-23, and an all-new Ghost Rider.
Still with me? Because that abandoned Spirit of Vengeance is ultimately the capital disciplinarian of this one-shot, as Alejandra Jones’ chance with the Venom symbiote has placed her beeline in the crosshairs of Cletus Kasady in the affection of Nicaragua. And with Johnny Blaze trapped in the abyss as the new baron of Hell, it leaves ‘90s figure Danny Ketch to chase to Central America in adjustment to stop the aggressive Spider-Man villain. There’s a lot of affective chain genitalia that biographer Ed Brisson has to alter in adjustment to facilitate this adequately aboveboard conflict, so it’s to his acclaim that the accomplished activity reads as calmly as it does — you accept Alejandra’s abjure about her own accomplished misdeeds, you get Danny’s misgivings about accomplishing the Devil’s bidding, and through it all, it feels like Carnage himself is accepting a admirable old time.
That said, alike with an broadcast storyline with 30 pages, Brisson isn’t able to key in too abundant about what makes Ghost Rider himself special, in allotment because he has to accord nods to Remender, Bunn and Jason Aaron’s assignment — there are a lot of callbacks aback to 2011 and 2012 series, and while Brisson gets the basics of Ghost Rider’s abstraction (a motorcycle covered in hellfire, the Penance Stare, a arguable accord with the Devil, etc.), ultimately this chance is aloof a beat-’em-up adjoin Carnage. The breeze and pacing of the activity works able-bodied acknowledgment to the added folio count, but one could additionally bung in a appearance like Moon Knight or Daredevil or Blade, and not get too abundant altered from what we’re seeing here.
But to be honest, I don’t actually accountability Brisson for that — there’s alone so abundant animation a appearance like Carnage has with added characters in the Marvel Universe, so a lot of his absence reactions appear beyond analogously in the added amalgamation books, like Absolute Carnage vs. Deadpool, for example. For some readers, they are activity to be blessed abundant either seeing a aberration of the capital Absolute Carnage series, or aloof to see a Ghost Rider benumbed a motorcycle again.
And to be honest, abundant of this book is a nice advertise for artisan Juan Frigeri — he’s got an angular, cartoony appearance that feels in that academy of Iban Coello and R.B. Silva, but he actually plays up the skulls and symbiotes nicely. While I don’t apperceive if his accurate appearance is activity to set the accepted for Ghost Rider belief bottomward the pike, his activity choreography works well, and he actually plays up the burst pages that Brisson gives him and knocks them out of the park. Colorist Dono Sanchez-Almara additionally deserves a lot of acclaim for befitting the art active and abounding of accuracy — while there’s a bit added of a superhero accent than necessarily a aphotic abnormal accent like you ability apprehend from a Ghost Rider story, this is agreeable assignment that’s fun to read.
At the end of the day, that ability be all you can ask for, abnormally back the artistic aggregation already had to comedy six degrees of break to accomplish Absolute Carnage: Symbiote of Vengeance assignment in the aboriginal place. Given that Brisson will be demography the caster for the advancing Ghost Rider alternation abutting ages with artisan Aaron Kuder, I’m not abiding this amalgamation feels adumbrative of what we’re activity to see with the Spirit of Vengeance’s own abandoned adventures — to be honest, it wouldn’t shock me if this amalgamation was meant to accord the apprentice alternation a bit added runway, benumbed on the heels of the mega-popular Absolute Carnage accident in adjustment to bolster added sales afore final adjustment cutoff. Whether this was that affected a move or not, Absolute Carnage: Symbiote of Vengeance will actually address to admirers of both Ghost Rider and Carnage, and as far as amalgamation comics generally go, that’s achievement enough.
Trees: Three Fates #1 Written by Warren Ellis Art by Jason Howard and Dee Cunniffe Lettering by Fonografiks Published by Image Comics Review by Justin Partridge ‘Rama Rating: 8 out of 10
11 years ago, massive conflicting monoliths fell from the sky and landed at accidental credibility about the planet. Last night, a barbarous annihilation happened in the adumbration of one of those monoliths, or “Trees,” as the active Earth has appear to alarm them.
While that logline ability complete adequately simple, Trees: Three Fates #1 mines a abundant accord of affection and lived in worldbuilding out of it. Returning to his creator-owned universe, Warren Ellis takes a abundant added pared-down access with this third volume. Replacing the geopolitical astriction and globe-hopping of In Adumbration and Two Forests, Three Fates is actual abundant a simple, basic annihilation mystery. Aloof one that happens to booty abode in an batty future, in a boondocks area assets are doled out sparingly in abutting adjacency to a Tree than any boondocks in the world.
Original alternation artisan Jason Howard additionally allotment with the Three Fates. Joined now by colorist Dee Cunniffe, who adapts actual able-bodied to the title’s mossy, angry tone, Howard additionally shines with the downshift in scale. Walking us abysmal into the close apparatus of Toska, Russia, Howard neatly lays out the cartography and asperous and tumble cast, aided in affectionate by Cunniffe’s rustic tones. While it may not accept the aforementioned calibration or political bite as the antecedent volumes, Trees: Three Fates #1 is a solid acknowledgment for the Image hit.
While longtime readers will admit the acceptation of the baby Russian village, Toska is a acceptable “clean slate” for new readers. Aperture with a austere algid attainable anamnesis to the day the Trees came, Warren Ellis introduces both his awkward ambience and sharp, apathetic advocate in one fell swoop. Klara, Toska’s alone police, saw the Tree ballast itself to the apple 11 years ago, aloof a few anxiety from her advanced aperture and it’s kept her anchored there herself anytime since.
From there Ellis gets to the absolute meat of the story. Cutting succinctly to “Today” with an eerily, attractive angle of the accomplished boondocks from a bird’s-eye appearance with the Tree looming over all, Ellis’ introduces this volume’s “problem” — the burst anatomy of a drifter at the abject of the Tree. Both engagingly simple and focused, the script, like Klara, sets to acquisition affirmation and interviewing witnesses. Ellis has accurate a abiding duke at this affectionate of procedural storytelling, but Three Fates takes a added grounded, easygoing access to it. Alike aural the science-fiction apple he congenital up in the antecedent volumes.
Meaning that Toska is a abode the approaching hasn’t absolutely accomplished yet. Though Klara’s aggregation includes a barbarian apprentice (the aforementioned archetypal we’ve apparent in antecedent volumes), electricity is deficient because a dupe slept on one of the solar panels and Klara’s analysis is adjourned afore she can activate due to their boondocks doctor missing a train. These are little details, but they actually add up for the baby boondocks astriction and alarming Ellis is aiming for with this new opening. By marrying his ample calibration worldbuilding to the conventions of a “countryside mystery,” Ellis finds a actually nice antithesis amid the two.
And artists Jason Howard and Dee Cunniffe bang home that antithesis acknowledgment to their own common booty on the ambience of this new volume. Presenting a worn-in, rural set of exteriors and interiors, Howard’s sketchy, thickly active pages advertise the abreast of Toska and its citizens. Cunniffe doubles bottomward on that mood, appearance the accomplished activity with bedfast grey-tones and deep, bleared greens. And like Ellis, the brace mix the tech able-bodied with the abundant attributes of the town. They do so by abacus a absolute bite to the robot’s (nicknamed Boris) addition into the story. Suddenly the activity is a little added driven, the band art of the robot’s movement is bluff and staged with aerial angled panels to advance added speed. Think a decidedly abundant BBC ball that aloof happens to co-star a apprentice and bashful conflicting brace and you’ll get a faculty of Howard and Cunniffe’s assignment on Trees: Three Fates.
Mixing a Henning Mankell-esque murder-mystery with eco-based burghal science fiction ability not complete like the best pairing, but Trees: Three Fates #1 actually makes a abundant case for more. Armed with the droll, yet agreeable pen of Ellis and the tonally complete artwork of Howard and Cunniffe, Three Fates #1 stands as an attainable and affluent acknowledgment for the series. One that can hopefully draw added readers into the weird, agrarian apple of Trees and Ellis’ riffs on authoritarian genres.
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