It's been said for awhile now that the end is fast approaching for both the gods inside The Wicked + The Divine and the book itself, but with only two issues remaining, this has never been more true. As the final battle with Minerva and the revelations of the previous issues come to a head, there is a lot to unpack right now. Laura and the other gods have banded together and set themselves up for their final confrontation. All there is left to do now is save the world and potentially kill themselves in the process.
Their peaceful life in Austin ended in a conflagration, and the Bowmans have found themselves on the run once again. Out of options, and with Bartlett's survival hanging in the balance, the family makes their way to a place where even vampires fear to go. Issue nineteen begins a new chapter in Donny Cates and Lisandro Estherren's supernatural/western saga that promises to be as gripping as it is game-changing.
A quick recap from the last issue: Mal has been captured by Boss Moon, and the rest of the crew are on the run from the homicidal cult. So, we're basically on par of the usual level of shenanigans when it comes to this crew. Moving on to the present. Things pick up immediately from there, with the Serenity crew (with the addition of Chang-Benitez) still on the run, but an accidental fuel cell mishap saves the day. Elsewhere, Mal and Boss Moon trade barbs and blows.
Wolfgang Amadeus Mozart famously began composing music when he was only five years old. What was life like for him, being a musical genius at such a young age? What was it like for his family, having to put up with a five-year-old musical genius? That’s the premise of Young Mozart, a series of newspaper-style comic strips based on the composer’s early years.
For untold generations, the Moonstone family has protected the world from the unseen forces of darkness. But who will protect them, and the other members of The Magic Order when they become the targets of a powerful sorcerer assassin? In the collected edition of Netflix's first comic book publication, writer Mark Millar and artist Olivier Coipel create a compelling family drama against the backdrop of an expertly constructed urban fantasy.
Alien. Is there a more perfect name for the juggernaut of science fiction horror? The name conveys exactly what you need to know while remaining about as simplistic as you can get. I love the original Alien film. The Xenomorph remains my personal favorite design for an alien entity, and Sigourney Weaver's Ellen Ripley is one of the most iconic female leads ever put to screen. As far as Alien's extended lore is concerned, it can be quite a mixed bag. A colleague of mine has been raving to me about the quality of William Gibson's Alien 3, but it seems for every victory there's an Aliens: Colonial Marines. With a bit of eager trepidation, I decided to pick up Aliens: Dead Orbit by James Stokoe and try my luck.
A quick recap: The last time we visited Invisible Kingdom, Vess (the new None) had stumbled upon some possibly shady dealings between Mother Proxima (the mother superior of sorts to the ascetic nunhood) and Lux (i.e., space Amazon). Elsewhere, Captain Grix had also stumbled upon a piece of that mystery; apparently, Lux has been sending large monetary transactions to someone. It's not very hard to put two and two together.
Well, Angel #0 is pretty much a surprise, with BOOM! Studios keeping things under wraps until about a week ago with their announcement. For readers of BOOM!’s Buffy reboot, you’d probably have caught sight of a particularly familiar handsome face peeking at the action in the last panel of Buffy #4. And that’s really how Angel #0 starts out, with the last few moments of Buffy #4 being seen from Angel’s perspective and his thoughts about how his past has led to his present state. If you’re concerned that Angel’s reboot has been scrubbed of Catholic guilt and self-flagellation, you really shouldn’t worry; once a brooder, always a frownier brooder.
The Second Golden Age of Television has brought us great serialized entertainment, but there will always be a special place for fantastic standalone episodes. This week's episode of American Gods, “Donar the Great,” demonstrates their importance. Adapting American Gods into a TV show allows for the source material's mythology to expand and develop concepts that are only touched on in the book. Thor's story is briefly mentioned in the book, but what was originally a few passing lines now takes on a whole new meaning. I expect nothing less from an episode directed by Rachel Talalay.