The Southern Cross has gone off its course, and Alex has found out why – but she has enemies she’ll need to fight before helping the Captain.
Ales Kot’s Los Angeles is a place of demons, monsters and magic. They walk among the people, a thin veil keeping them hidden from the human population. Wolf #3 lifts that veil so we have a peek underneath.
The Southern Cross has nearly reached Titan, and finally Alex seems to have understood what is going on – thanks to certain drug-induced hallucinations.
Ales Kot brings Wolf #2 to the shelves and it is a book that looks to hook the reader into its universe. Time for some good ol’ character building.
It’s really something wonderful and sadly all too rare in comic books: it uses the genre to tell a story and get across a point that really wouldn’t work as well in other media. It’s not just a story in a comic book, it’s a story using a comic book to its fullest potential
Wolf #1 is an intriguing book. Hard boiled noir meets gothic horror. There’s a lot going on but it is never overwhelming. Ales Kot is a more than capable storyteller, while the team of Matt Taylor and Lee Loughridge bring the City of Angels to life.
Aboard the Southern Cross, Alex thinks she saw Erin in the gravity drive, and that she spoke to her. But the Captain tries to rationalise everything.
So the story of issue 12 plays out in a rather logical turn of events: Marcus turns up with head of decapitated son, Father is a bit miffed, face painted brother riding a motorbike and carrying a knife throwing maniac give chase and violence ensues. This is all very Deadly Class.
A dark and nasty chapter to the canon. The creative team have pulled together to put on a masterclass in how comic books should be made.
Aboard the Southern Cross, Alex saw a ghost – so she runs to the Captain, who seems to have a rational explanation. But Erin is still nowhere to be found.