Written by: Skottie Young
Art by: Jorge Corona
Colors by: Jean-Francois Beaulieu
Letters by: Nate Piekos
Cover art by: Jorge Corona, Jean-Francois Beaulieu (cover A)
Cover price: $3.99
Release date: April 15, 2026
First Impressions
I have to say I enjoyed this second issue a lot less than Lobo #1. There was potential in the first issue regarding Lobo taking the piss out of being part of an entertainment conglomerate like Warner Bros. (with DC) or Marvel (with Disney). However, in issue #2, Skottie Young goes way over the top poking fun at Marvel and Disney’s — as well as DC and Warner Bros.’ — propensity for turning art into corporate product.
Recap
In Lobo #1, Lobo does what he does best: hunting down bounties for cash and fun. One of his bounties was interrupted when all of his contracts were bought out by a conglomerate corporation that is essentially the DC equivalent of Marvel and Disney. When the Main Man showed up to demand answers, the chief executive countered with a proposal: he wanted Lobo to appear in the next great reality show, detailing his bounty hunting exploits.
Plot Synopsis
The issue begins with Lobo getting a corporate-approved makeover and going out on his first bounty. He is initially very frustrated with the lack of running room, the edits, and the corporate censoring required to ensure the bounty goes according to corporate plans. Over the course of several bounties, he gets the hang of it, but he still finds that he is beholden to the accountants and executives looking at ratings information.
The ratings take a slide when audiences report that Lobo’s exploits are not "fun" enough, so the executives decide to pit him against a well-known target: Aquaman. Lobo tracks down Aquaman and they begin a fight that lasts for quite a long time, ending in a stalemate. When it turns out the bounty on Aquaman was actually bought up by a corporate merger, the issue ends with Lobo heading back to headquarters for a little payback.
Writing
Skottie Young certainly has something to say regarding how art is productized and sanitized on behalf of corporate overlords. I think he tries to do it with his unique sense of wit and humor; however, the number of jabs at the "House of Mouse" and executives who know nothing about art tips across the line into excessive territory. It becomes more about making statements rather than actually having fun with the story. While there is certainly fun to be had, it almost takes a backseat to Skottie Young’s view on corporatized entertainment.
Art
Jorge Corona’s art style absolutely fits the tone and style of the script Skottie Young has put together. The characters are bombastic and cartoonish in a caricature kind of way. The story is filled with plenty of the Main Man's bombastic violence, gore, and action. While the style is very cartoonish, it works for the story Skottie Young is trying to tell, which is exactly what you want from an artist.
Lobo,The Main Man, is obviously the focal point of this story, and he is his big, irreverent, bombastic self from start to finish. He knows what he wants and goes after it; when something annoys him enough, he just blasts his way through it. That said, there is no real character growth here. It's simply an opportunity for Lobo to brush up against corporate life and find that it is not to his liking, which shouldn't be a surprise for anyone who understands the character.
Character Analysis
Lobo,The Main Man, is obviously the focal point of this story, and he is his big, irreverent, bombastic self from start to finish. He knows what he wants and goes after it; when something annoys him enough, he just blasts his way through it. That said, there is no real character growth here. It's simply an opportunity for Lobo to brush up against corporate life and find that it is not to his liking, which shouldn't be a surprise for anyone who understands the character.
Originality and Concept
There is nothing particularly original about Skottie Young’s script in the sense that this is just Lobo being Lobo. If you're looking for a unique twist, that is not what this comic is about. It is all about the concept: Skottie Young using Lobo to rail against the corporate machine that takes art for granted for the sake of profit and shareholders. While it is a unique take for Lobo, it remains to be seen if it is unique enough to be entertaining.
Pros and Cons
Pros:
- Jorge Corona’s artwork is the star of this comic, capturing the Main Man in all his bombastic, cartoonish glory.
- The ending is reasonably satisfying when Lobo rebels against his corporate overlords and "takes out the trash" without much consequence.
- The fight between Lobo and Aquaman has its comedic moments, particularly in their grasping for puns and verbal comebacks.
Cons:
- There is almost no character work to speak of here; this is just Lobo being Lobo.
- The jabs and thinly veiled criticisms of companies like Marvel go from interesting to excessively, almost obnoxiously, repetitive.
- While the ending is solid, the issue feels like a two-parter where you just don't want to see any more after the closing page. It feels like a double-sized issue that has overstayed its welcome.
About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.
Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter
The Scorecard
Writing Quality (Clarity & Pacing): 2/4
Art Quality (Execution & Synergy): 3/4
Value (Originality & Entertainment): 0.5/2
Final Thoughts
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Lobo #2 ends the current adventure of the Main Man as an erstwhile reality star. As you can expect, he didn't like it very much. Skottie Young’s dialogue and delivery are punchy enough, but the jabs at corporate oversight get excessive. That said, Jorge Corona saves the issue with fantastically bombastic art to match the character.
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