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It was a solid issue with some really well done misdirection. The plot didnt further, but they do a big future plot reveal in the Tosin mini story. Only one panel had dialogue for Tchalla that doesn't sound like him at all. The art in the second half was way better and should be a regular artist in the next arc.
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The 13th Amendment's fatal flaw created modern-day convict slavery

http://www.yahoo.com/news/13th-amendments-fatal-flaw-created-132619308.html
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Here are a couple of reviews. The fun starts tomorrow as we get a taste of how Ridley handles T'Challa and Ororo; Black Panther and the X-Men; Wakanda and Arakko. Be here true believers.

‘Black Panther’ #3 finds its legacy #200 crown a bit heavy
John Ridley and Juann Cabal continue ‘The Long Shadow’ in Black Panther #3.
Robert Reed

Black Panther #3 sees John Ridley and Juann Cabal joined by Ibrahim Moustafa, Juni Ba, Germán Peralta, and Jesus Aburtov for a 40 page issue as the title reaches its Legacy numbering of #200 (I’ll get into where that number comes from at the end). Despite this being a centennial issue and Black Panther being the first Black superhero at Marvel to reach this numbering, Black Panther #3 feels much more in line with the first two issues in this volume rather than an extravagant anniversary issue.

The issue begins with the next chapter of “The Long Shadow,” picking up right where Black Panther #2 left off as T’Challa and Omolola face off with the masked assassins. Juann Cabal’s artwork shines here as our heroes use a combination of acrobatics, jiu-jitsu, and technology to take down their would-be assailants. Cabal handles all with aplomb, including some moments within the fight itself that may hint at the larger story. Color artist Matt Milla also adds some fun details, like T’Challa’s eyes glowing green like a cat’s. After the attack, T’Challa realizes he may be the actual target of the ambushes on his agents and chooses to go off the grid, and departs Earth for Mars, now terraformed and ruled by Storm and the X-Men.

During the travel, writer John Ridley takes an opportunity to have T’Challa open up a bit more about his own emotions, something he’s reluctant to do as king. He asks Omolola whether or not Jhai was happy given his station as one of T’Challa’s secret agents. It’s a nice scene that touches on T’Challa’s compassion without getting melodramatic. At the same time, some of Ridley’s dialogue for T’Challa still feels a little off. Lines like “Yeaaah, no.” feel a bit casual for a man raised to be royalty, but fortunately these moments aren’t too distracting.

Upon arrival on Mars, Black Panther #3 changes artists, bringing in Ibrahim Moustafa. Moustafa’s lines are thicker than Cabal’s and uses more crosshatching, giving these pages a different feel to the ones done by Cabal. The change works well, as though there’s some time focused on the relationship between T’Challa and Storm, though it’s actually the relationship between T’Challa and the Wakandan mutant Nezhno Abidemi (aka Gentle) that gets more pages. Gentle’s past has often seen him shunned by his fellow Wakandans, and Ridley makes use of that history and Gentle’s appearance in the finale of the previous volume of Black Panther to make for an emotional interaction between a king and his former subject.



While this story works as the third issue of John Ridley and Juann Cabal’s first arc, this being the 200th issue of Black Panther does make the story feel a bit underwhelming, especially as there doesn’t seem to be a large narrative reveal. Fans who are looking for a standout moment in an issue like this are likely going to be disappointed.

Counteracting that potential disappointment, Black Panther #3 is supplemented by two 10-page stories. The first, by writer/artist Juni Ba and colorist Chris O’Halloran focuses on a young T’Challa saving the goddess Bast from an ailment and meeting a trickster spirit. Ba’s art and writing are expressive and humorous, giving the story a nice departure in tone from the rest of the issue. The story’s supernatural feel evokes some of the strangeness common to Jack Kirby’s work in the 1970s volume of Black Panther, honoring the past while delivering something new.



The final story in the issue is perhaps the most publicized as Ridley and letterer Joe Sabino are joined by Germán Peralta and Jesus Aburtov, the art team behind two of T’Challa’s most recent crossovers to introduce a new Wakandan hero in Tosin. Tosin’s story is laid out in his own narrative captions, a stark contrast to the way T’Challa has been presented in Ridley’s work. Ridley founds Tosin’s viewpoint in some of the worldbuilding laid forth by other creators, allowing for the new character to fit nicely into the story without seeming alien. Additionally, the events of this backup clearly take place after the main story and tease future developments in “The Long Shadow” story arc.



The Verdict

While perhaps not what some readers would hope for in a milestone issue, Black Panther #3 makes for a solid read. While some of the dialogue feels a bit informal for a king, John Ridley’s take on T’Challa nails the dynamic that makes Black Panther such a great character. The artwork by Juann Cabal, Ibrahim Moustafa, and Matt Milla bring to life the main story while Juni Ba, Chris O’Halloran, Germán Peralta and Jesus Aburtov give readers two backups that are sure to leave an impression.

A Brief Note on the Legacy Numbering

In 2017, Marvel Comics introduced “Legacy” numbering to their issues, treating disconnected volumes centered around characters as a single continuous title. These numbers briefly replaced the the numbering of the issues, so the nineteenth issue of Black Panther (2016) was labeled as issue #166, but these legacy numberings are now currently featured under the issue’s numbering. For the character of Black Panther, the legacy numbering combines the following titles:

Black Panther (1977) #1-15
Black Panther (1998) #1-62
Black Panther (2005) #1-41
Black Panther (2009) #1-12
Black Panther: The Man Without Fear (2010) #513-523
Black Panther: The Most Dangerous Man Alive (2011) #524-529
Black Panther (2016) #1-18, #166-172
Black Panther (2018) #1-25
Black Panther (2021) #1-3

Readers will note this numbering omits Black Panther’s first solo series, which was published as Jungle Action (1972) #6-24 as well as the four issue miniseries Black Panther (1988), which is most frequently known as Black Panther Vol. 2. At the same time, it includes the issues in which Black Panther briefly took over Daredevil: The Man Without Fear. There was an issue, Black Panther: The Most Dangerous Man Alive #523.1, which is not counted, but that makes sense given that the point-one publishing initiative was made to be an “extra” issue. Daredevil’s legacy numbering does not include these issues featuring Black Panther.

Black Panther #3 rates 8 out of 10

+John Ridley makes good use of the character histories to create emotion in the narrative.
+Juni Ba and Chris O'Halloran's story is a delightful read.
+The artwork across the three stories is strong.
-Some of Ridley's dialogue for T'Challa feels a bit casual.
-The issue doesn't quite live up to the occasion of its legacy numbering.

While perhaps not what some readers would hope for in a milestone issue, Black Panther #3 makes for a solid read.
Reader Rating1 Vote 8.2

https://aiptcomics.com/2022/01/24/black-panther-3-review-2/




ADVANCED REVIEW: ‘Black Panther,’ Issue #3
by Collier "CJ" Jennings



Black Panther #3 is written by John Ridley, illustrated by Juann Cabal & Ibrahim Moustafa, colored by Matt Milla, and lettered & designed by VC’s Joe Sabino. It’s published by Marvel Comics. Part 3 of “The Long Shadow” finds T’Challa and Wakandan sleeper agent Omalola attacked by the same mysterious assassins who have been killing Wakanda’s spies. To get off the grid, T’Challa and Omalola travel to Mars, now known as the mutant planet Arrako and ruled by T’Challa’s former wife Storm. Meanwhile, Shuri attempts to balance Wakanda’s newly formed democracy and the hunt for the mysterious assassins.

This issue also serves as the 200th issue of Black Panther since his first solo series in 1977, and it’s rather wild to think about how far T’Challa’s comes as a character. From his first appearance in Fantastic Four #52 to being the subject of a critically acclaimed blockbuster and even headlining animated series and video games, the Panther’s become just as much of a fixture in pop culture as Spider-Man, Superman, or Batman. To celebrate, the issue contains two bonus stories: one stretching back into the early days of T’Challa’s past, and one hinting at the future that awaits Wakanda.

“A Tall Tale of Tricks” is written & illustrated by Juni Ba and colored by Chris O’Halloran; “The Wakandan” is written by Ridley, illustrated by Germán Peralta, and colored by Jesus Aburtov. “A Tall Tale of Tricks” finds T’Challa traveling to the land of the Djinne to complete an errand on behalf of the trickster god Say-Say. “The Wakandan” introduces Tosin Oduye, a native of Wakanda who breaks away from the city of Wakanda, but returns when the mysterious assassins launch an attack on the captiol. Peralta has previously illustrated Black Panther before during the King in Black story and showcases the history of Wakanda from people on the streets of the golden city, Birnin Zana, and the Black Panther’s battle with Erik Killmonger. Ridley’s script reveals how Tosin has grown disillusioned with Wakanda, but also how he plans to fix it, which may play into future issues of Black Panther.

“A Tall Tale of Tricks” plays out like an African fable. No surprise there, since Ba is working on a graphic novel at TKO Studios titled Djeliya that draws inspiration from West African myth. His art is a visual feast. Bast takes the form of a pure white panther, prowling within a massive void of black and purple. And when T’Challa travels to the land of the Djinne, the art depicts him literally falling through Bast’s body, breaking through one panel and landing in the next. The Panther is also sporting an outfit that incorporates elements of gold and black, which serves as a homage to the costume he wore in Christopher Priest’s character-defining run.

The main story itself features a battle between T’Challa, Omalola, and a group of assassins, which Cabal draws with fluid grace and a lethal result. Sabino’s lettering even gets incorporated into the fight as an assassin blows his brains out. The resounding “SPLAT” looks less like a “Splat” and more like a bloodstain. Moustafa takes over when T’Challa travels to Arrako and illustrates a heartwarming conversation between T’Challa and Ororo. Even though they aren’t married anymore, Ridley understands that the two have history and draws upon it. And Milla’s colors showcase what a paradise Arrako has become., with lush green forests and massive mountains standing out against the arid red skies of Mars.

Black Panther #3 celebrates the past, present, and future of Wakanda’s king courtesy of a collection of all-star creators. I look forward to seeing what role Tosin plays in Ridley’s run, as well as the identity of these mystery assassins and their vendetta against Wakanda.

Black Panther #3 will be available wherever comics are sold on January 26, 2021.

Black Panther #3 gets 4.5 out of 5

Black Panther #3 celebrates the past, present, and future of Wakanda’s king courtesy of a collection of all-star creators. I look forward to seeing what role Tosin plays in Ridley’s run, as well as the identity of these mystery assassins and their vendetta against Wakanda.

https://butwhythopodcast.com/2022/01/24/advanced-review-black-panther-issue-3/
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Hudlin TV / Dean Devlin launching new SYFY original series 'The Ark'
« Last post by Emperorjones on Yesterday at 12:48:03 am »
'Stargate' & 'Independence Day' creator Dean Devlin launching new SYFY original series 'The Ark'

http://www.yahoo.com/entertainment/stargate-independence-day-creator-dean-180108700.html
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Meet Adamma and Adanne Ebo, the Twin Filmmakers Behind Sundance Stunner ‘Honk For Jesus, Save Your Soul’

http://www.yahoo.com/entertainment/meet-adamma-adanne-ebo-twin-161508827.html
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