Review: Lobster Johnson: Metal Monsters of Midtown #2

Review of Lobster Johnson - Metal Monsters of Midtown #2

Lobster Johnson Metal Monsters of Midtown #2In the second installment of Lobster Johnson: Metal Monsters of Midtown, the Lobster continues to dive – this time, literally – into the mystery behind the recent scourge of giant robot attacks on Manhattan. His search takes him underwater, off the city docks, where he discovers a freshly sunken automobile. What he finds therein further perplexes matters: an emaciated, bug-eyed corpse, clearly human, but with ghastly facial deformities.

Following this discovery, we are reacquainted with Frieda Aliyev, the “ritzy dame” who is somehow connected to the earth-shaking events of late. Upon being identified by one of the Lobster’s crew, she attempts suicide, but is saved at the last second by Johnson. Back at her apartment, Frieda comes clean, revealing an intimate association with the corpse found earlier that evening. She recounts her husband Emin’s chance happening upon an ancient Hyperborean worksite while spelunking in China. B.P.R.D. fans will quickly notice the site’s resemblance to the one that, years later, spells disaster for Munich in The Warning story arc (in which the Lobster plays a spectral role). Emin’s encounter endows him with the genius — and mania — of those ancient engineers, inspiring him to construct the titanium terrors that are now wreaking havoc on the city.

It turns out Emin was not working alone, rather, he brought in two partners to share in his maniacal enterprise. With one robot down and two to go, Frieda offers a suggestion of how the Lobster can defeat the remaining mechanical monstrosities. Moments later, their conversation is interrupted with a “KRASH!” that sets things up for the story’s concluding chapter.

Lobster Johnson: Metal Monsters of Midtown #2, Dark Horse Comics, released June 29, 2016, written by Mike Mignola and John Arcudi, art by Tonci Zonjic, colors by Dave Stewart, letters by Clem Robins, cover by Tonci Zonjic, $3.50.

Review by James Florence

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