THE CAT AND THE SPIDER!
Erik Killmonger came to New York for revenge. But now everything is crumbling around him. Ulysses Klaw - the man he came to kill - has disappeared. Wilson Fisk, Killmonger's new employer, has set the deadliest assassin in the city on his trail. And now, Erik's band of killing comrades is inches from the Black Widow's fangs. The hourglass is running out, and Killmonger has nowhere left to turn.
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Through hauntingly beautiful storytelling and truly excellent art, all the hope and promise of who N'Jadaka could have been washes away with swaths of bright red blood. Read Full Review
Juan Ferreyras art is amazing. There are some awesome panels in this issue and the fight sequence towards the end of the issue is one of the best Ive seen in a while. A great issue. Read Full Review
Bryan Hill's shift from peaceful times to brutal, horrific action plays perfectly off of Juan and Eduardo Ferreyra's artwork in this penultimate issue to the story of the rise of Erik Killmonger. Read Full Review
This series and the relationships within it might benefit from a longer run, but Hill does a solid job of utilizing honesty over circumstance as a tool for substantiating the connections Killmonger chooses to make. Read Full Review
Some shocking violence and back-stabbing galore punctuate this, the penultimate issue ofKillmonger. The action is fantastic, and although the motives are a bit suspect, it's still a highly enjoyable ride. Read Full Review
Bottom Line: A mostly good looking, well meaning narrative that doesn't even begin to reach its potential. To call it "a hot mess" would be an insult to all the hot mess comics that paved the way for terrible comics that are still better than this one. Read Full Review
Killmonger #4 is a watershed moment for this character and marks one of the saddest villain origin stories I've ever read. Comparatively the only project I can think of recently that comes close would be Todd Philips and Joaquin Phoenix's take on Joker.
It's almost as if Erik is destined to become the villain. By the end of the issue, the character's path is pretty much confirmed. Erik Killmonger is portrayed in his calmest state since the start of the series. He's still not a good guy but you can clearly see the fork in the road for the character.
The book centers around Erik and Knight as they confront King. Erick wants to figure out an escape plan for them all but Knight doesn't see reasoning with King as an optio more
This title's plot is simplistic, but I think to hold that too harshly against it, a la BNP's Oz Longworth, is to heave a pretty nice baby out with the bathwater. Killmonger is a "style over substance" story, like a good Luc Besson movie. Its mission is to orchestrate spectacular moments, and it does that with superlative skill, even if the plot & character work tying them together is a bit cut-n-paste generic.
I dearly love the "rising tide of blood" design premise in the last act.
Killmonger is betrayed by Knight, in what had to be the most telegraphed twist ever. At least they didn't try to keep that farce of a romance going. I just don't understand what they point of most of this series was. We get an issue to see Killmonger do what we all know this was leading to. The rest of the series is just an aside. Still, this issue was a little bit better. If only for the art and action sequences.
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