Bitch Planet #6 Written by Kelly Sue DeConnick Art by Taki Soma Cover by Valentine De Landro Colors by Kelly Fitzpatrick Letters by Clayton Cowles Published by Image Comics on January 6, 2016
It’s been four months wait since we last got a Bitch Planet fix. Despite that length of time, issue #6 does not disappoint. In fact, it amplifies the sound and fury of issue #5, offering ironic contrast to the characters of the present narrative by flashing back to the time of their innocence before the Protectorate squashed their dreams of building a better world. Guest artist Taki Soma brings a delicacy of line to the story, emphasizing that hope is a thing with feathers, but also hollow, fragile bones.
Issue #6 relates Meiko Maki’s backstory and kicks off with a stark content warning for sexual assault. I revisit it here since I will be talking about the events of the issue,...
It’s been four months wait since we last got a Bitch Planet fix. Despite that length of time, issue #6 does not disappoint. In fact, it amplifies the sound and fury of issue #5, offering ironic contrast to the characters of the present narrative by flashing back to the time of their innocence before the Protectorate squashed their dreams of building a better world. Guest artist Taki Soma brings a delicacy of line to the story, emphasizing that hope is a thing with feathers, but also hollow, fragile bones.
Issue #6 relates Meiko Maki’s backstory and kicks off with a stark content warning for sexual assault. I revisit it here since I will be talking about the events of the issue,...
- 1/6/2016
- by Erin Perry
- SoundOnSight
In Cell by Cell, I look deeply into the panels of an issue, appreciating and analyzing the story and artistic composition.
Pages 9-10 Overview
With the turn of a page, the issue takes us back to the conversation between Father Josephson and Makoto “Mack” Maki. Gone are the assistant and the video screen. Tonally this scene is more intimate and more subdued. Emphasis has to be on the emotional shifts, and they are subtle. Maki keeps his internal thoughts and emotions tightly guarded, and Valentine De Landro has to subtly show them and cannot risk distraction.
These pages show a literary communion. Josephson’s goal, by sharing drinks, is to bring them together in service of his plans for the Aco team and the financial betterment of the Duemila conference. However, at every panel break, we see the tension of the communion. Maki doesn’t want to be involved, and...
Pages 9-10 Overview
With the turn of a page, the issue takes us back to the conversation between Father Josephson and Makoto “Mack” Maki. Gone are the assistant and the video screen. Tonally this scene is more intimate and more subdued. Emphasis has to be on the emotional shifts, and they are subtle. Maki keeps his internal thoughts and emotions tightly guarded, and Valentine De Landro has to subtly show them and cannot risk distraction.
These pages show a literary communion. Josephson’s goal, by sharing drinks, is to bring them together in service of his plans for the Aco team and the financial betterment of the Duemila conference. However, at every panel break, we see the tension of the communion. Maki doesn’t want to be involved, and...
- 11/9/2015
- by Erin Perry
- SoundOnSight
In Cell by Cell, I look deeply into the panels of an issue, appreciating and analyzing the story and artistic composition.
Page 3-4
We step back from the screen to see who is watching: Father Josephson. He has a conversation with his wife before meeting with Makoto Maki who will later be revealed as Meiko’s father.
Of note on this two-page spread is the color transition repeated in the background of most panels. Blue on top, pink on bottom. The gradient is tempered with a gray to make it more subtle, but the connotative effect reinforces the hegemonic power divide that is the backbone of the series. Blue, the color of boys, on top of pink, the color of girls. Men are in power, even in the background color.
Cell 1 continues world-building the Feed. The meteorologist, a pretty, big-busted woman in a strapless pink dress, predicts record-breaking heat...
Page 3-4
We step back from the screen to see who is watching: Father Josephson. He has a conversation with his wife before meeting with Makoto Maki who will later be revealed as Meiko’s father.
Of note on this two-page spread is the color transition repeated in the background of most panels. Blue on top, pink on bottom. The gradient is tempered with a gray to make it more subtle, but the connotative effect reinforces the hegemonic power divide that is the backbone of the series. Blue, the color of boys, on top of pink, the color of girls. Men are in power, even in the background color.
Cell 1 continues world-building the Feed. The meteorologist, a pretty, big-busted woman in a strapless pink dress, predicts record-breaking heat...
- 10/26/2015
- by Erin Perry
- SoundOnSight
14th Mumbai Film Festival (Mff) announced its complete lineup today in a press conference. Mff will be held from October 18th to 25th at the National Centre for the Performing Arts (Ncpa) and Inox, Nariman Point, Liberty Cinemas, Marine Lines as the main festival venues and Cinemax, Andheri and Cinemax Sion as the satellite venues. Click here to watch trailers and highlights from the festival.
Here is the complete list of films to be screened during the festival (October 18-25)
International Competition for the First Feature Films of Directors
1. From Tuesday To Tuesday (De Martes A Martes)
Dir.: Gustavo Fernandez Triviño (Argentina / 2012 / Col. / 111′)
2. The Last Elvis (El Último Elvis)
Dir.: Armando Bo (Argentina / 2012 / Col. / 91′)
3. The Sapphires
Dir.: Wayne Blair (Australia / 2012 / Col. / 103′)
4. The Wall (Die Wand)
Dir.: Julian Pölsler (Austria-Germany / 2012 / Col. / 108′)
5. Teddy Bear (10 timer til Paradis)
Dir.: Mads Matthiesen (Denmark / 2012 / Col. / 93′)
6. Augustine
Dir.: Alice Winccour (France / 2012 / Col.
Here is the complete list of films to be screened during the festival (October 18-25)
International Competition for the First Feature Films of Directors
1. From Tuesday To Tuesday (De Martes A Martes)
Dir.: Gustavo Fernandez Triviño (Argentina / 2012 / Col. / 111′)
2. The Last Elvis (El Último Elvis)
Dir.: Armando Bo (Argentina / 2012 / Col. / 91′)
3. The Sapphires
Dir.: Wayne Blair (Australia / 2012 / Col. / 103′)
4. The Wall (Die Wand)
Dir.: Julian Pölsler (Austria-Germany / 2012 / Col. / 108′)
5. Teddy Bear (10 timer til Paradis)
Dir.: Mads Matthiesen (Denmark / 2012 / Col. / 93′)
6. Augustine
Dir.: Alice Winccour (France / 2012 / Col.
- 9/24/2012
- by NewsDesk
- DearCinema.com
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