Void Rivals #26: Let’s Get A Move On

Void Rivals #26 picks up with the emergence of the Quintessons, showcasing the Zertonians’ and Aggorians’ perspectives on the incoming conflict, specifically as it pertains to their own factions. As the tides of war begin to rise, the Quintessons reveal their ground troops, the Sharkticons, a ruthless force that seemingly acts as an endless cannon fodder for the already limited resources of the beings living on the Sacred Ring. Determined to assist his father and his people, Darak jumps into the action, already having some idea of what this enemy looks like after encountering them earlier in the series.

Comic books are no strangers to wacky and variable covers, and they are often criticized for featuring artwork that depicts actions that do not even happen in the issue or the series. Void Rivals #26’s cover does, in fact, feature an event that occurs in the story; however, it is very oddly designed for what should be the main selling point for most readers. The cover shows a myriad of Sharkticons pouring out of a ship, followed by a panel break that showcases a Zertoinian firing an arrow. This almost feels like it was meant to be an interior page, as typical covers do not feature multiple panels, especially panel breaks. There is no doubt that the art itself is excellent, but it is an odd choice to include a panel break and secondary action on an otherwise concise and attention-grabbing cover.

One thing Robert Kirkman excels at is character work, particularly in the way he writes situational dialogue. He is also excellent at world-building and playing the long game. Unfortunately, while both strengths are on display in this issue, so are some of the shortcomings that come with focusing heavily on immediate, moment-to-moment action. The first third of the issue follows Darak moving through space, conversing with his android gauntlet, and slowly expositing his prior experience with the Quintessons. This exposition is delivered in a manner that feels very in line with Kirkman’s previous work and reads wonderfully; however, devoting an entire third of the book to this purpose feels like wasted space in some ways. By the end of the issue, which is also the second part of this story arc, the war itself has barely begun, and it seems as though the characters have no more answers than they did at the start.

Much of the issue progresses in this fashion, showcasing the different factions of the Sacred Ring interacting with their enemy and laying the groundwork for the stances they will take moving forward. All of this reads well, but it does not feel like much happens within the context of a single issue, especially when compared to other monthly series. Yes, Kirkman is playing the long game, but the slow burn almost feels too slow at times, and the extensive world-building, even on a minor scale, seems to replace what should be a more cohesive and self-contained plot.

The absolute best part of this issue is the art by Andrei Bressan, whom many readers may recognize from his work on several G.I. Joe books. Because this is a story centered on war, bringing in an artist from the G.I. Joe series feels both apt and appropriate. There is a tremendous amount of action on these pages, and Bressan does a wonderful job making all of it pop and look gorgeous.