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Expanding a bit upon a doomed character’s final, exhausted march towards revenge and oblivion would have given that scene’s final twist that much more of a punch, and the fact that the Sydney Carton moment gets a full two pages grates as a result. This issue of Fatale is an exception to that rule, pleasantly enough. Most of the time you wish that everyone involved in a new comic had spent their time doing anything else, like murdering their fanbase while chugging drain cleaner. It’s not often that one reads a new comic and wishes that it could have been longer. Look around: there’s nobody left, and no one is coming.īy Ed Brubaker, Sean Phillips, Dave Stewart
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But so what, the team says: why not just find a way to trace the tiny moments from panel to panel, and when that won’t work, layer them in hot pinks and candied orange and pump the discord louder? Embrace the acquired taste of a comic like this-one with machine-gun gorillas, old Frederick Forsyth plots, cyborg patriots, and a woman in vinyl who fights with teased-up hair and 8-inch bangs-and go weird. (You used to get them out of an inker, but Marvel’s absurd business strategy of double-shipping comics has effectively turned the single inker into an archaic concept.) Page to page, panel to panel, there hasn’t been a single issue of Winter Soldier yet that lacks some bit of visually incongruent weirdness, be it as minor as constant hairstyle and costume changes, or as major as in the panels where it appears all of the human characters have abandoned their physical cages, leaving behind flattened sheets of buckling skin. That’s the lucky conundrum: Butch Guice has been given no time whatsoever to get anywhere close to completion, making for a comic that’s mostly dependent on colorist Bettie Breitweiser to create the unified visual aesthetic that you usually get out of a penciler. There’s nothing about this that isn’t positively wonderful, and that’s no mean feat when the art is this fucked up.
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Of course, maybe you don’t like Garth Ennis-that’s okay! Some people just want to be sad, and left alone to die in fires, and sometimes you have to tie them to a chair and light them on fire while you read your Garth Ennis comics, and that’s why we have the internet in the first place because that way we can find out all of those people’s names and then we can write them down on a sheet of paper for later when the time is right for cooking up some sweet hobo dinner, which is when you put whatever random food you can find in a ball of raw ground beef that gets wrapped in aluminum foil and thrown into the coals of a fire that you started with a human body.īy Ed Brubaker, Butch Guice, Stefano Gaudiano, Tom Palmer, Bettie Breitweiser On top of that, the issue opens with a delightful Jordi Bernet sex scene drawn by Goran Parlov, which is a wonderful thing for him to do as Jordi Bernet was stuck drawing that god awful Jonah Hex comic for so long that the sight of the man’s delightful line often meant you had fucked up and bought a Jonah Hex comic again, despite knowing that you were never going to like it because it was always terrible. There we see Nick Fury, some Nazi, and Ward Littell another guy kill so many people that you can’t help but like them more than you have ever liked anybody. It’s been remarked that this is the most Ennis-y Ennis comic ever made, which will only prove true if someone with a deformity (mental or physical) shows up for ridicule, but thanks to this issue’s against-all-odds mega-slaughter sequence, we’re a little bit closer. Thought we'd open up with some pure octane Eat More Bikes from Nathan Bulmer.īy Garth Ennis, Goran Parlov, Lee Loughridge Features Nope, No Need To Call That Brinks Truck