PREDATOR KILLS THE MARVEL UNIVERSE #5 hits your local comic book store on December 31st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: The Predators launched their bloody war with surprise and success – and now Earth’s survivors have mounted their defense, which includes specially outfitted Iron Man armor, a vibranium arsenal, a weapon called Predator X and a whole lot of heart. Will our planet be reduced to a hunting reserve? Find out in this final, epic showdown!
The issue is by writer Benjamin Percy and artist Marcelo Ferreira, with inks by Jay Leisten, colors by Frank D’Armata, and letters by Clayton Cowles. The main cover is by Leinil Francis Yu and Matt Milla.
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MARVEL ZOMBIES: RED BAND #4 hits your local comic book store on December 31st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: WHOSE SIDE ARE YOU ON? No – not in the fight between zombies and humans – the humans are doomed! Far bigger than that, are you with zombie Iron Man or zombie Captain America? That’s right, zombie-kind has broken out in a Civil War as our alternate “death story” of the Marvel Universe reaches the new millennium! Meanwhile, for those few left living, some new heroes join the fight!
The issue is by writers Ethan S. Parker & Griffin Sheridan and artist Jan Bazaldua, with colors by Erick Arciniega, and letters by Travis Lanham. The main cover is by Greg Land and Rachelle Rosenberg.
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1776 #2 hits your local comic book store on December 24th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: CAN THE FUTURE BE SAVED?!
From a prison outside of time itself, MORGAN LE FAY has new and dangerous designs for the Marvel Universe, hell-bent on a world without the United States…and a world without THE AVENGERS! But her skills will be out to the test against DOCTOR STRANGE and a small team of heroes he’s sent through time to stop her. With every step having untold consequences in the present, do they risk doing more harm than good?
The issue is by writer J. Michael Straczynski and artist Sean Damien Hill, with inks by Jay Leisten & Oren Junior, colors by Alex Sinclair, and letters by Joe Caramagna. The main cover is by Pete Woods.
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SPIDER-MAN ’94 #4 hits your local comic book store on December 24th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: KRAVEN UNLEASHED! What hidden connection does Kraven have to MORLUN? Will Peter be able to recover in time to save his loved ones? PLUS, you’ll have to see it to believe it: the most twisted totemic beasts the world has ever seen!
The issue is by writer J.M. DeMatteis and artist Jim Towe, with colors by Jim Campbell, and letters by Joe Caramagna. The main cover is by Nick Bradshaw and Rachelle Rosenberg.
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From acclaimed concept artist Ben Mauro (Elysium, Halo: Infinite) comes an ambitious piece of illustrated science fiction storytelling in Huxley: The Oracle. Featuring The additional artistic talents of Steve Chinhsuan Wang (Gears of War 5) and Nikolas Gekko (Destiny 2, Halo: Infinite), The Oracle throws its readers headfirst into a distant future full of cloned super soldiers and A.I. overlords, made enticing thanks to an incredible presentation. With sharp prose writing and absolute top-tier digital art, Huxley: The Oracle is a wondrous piece of modern sci-fi.
“Discover FURY-7, a scorching desert planet, abandoned by humanity in the aftermath of a devastating nuclear holocaust. The Oracles―an empire of powerful, sacred machines―now control the planet’s resources, with genetically engineered human clones to serve their needs. The most advanced of these clones are the Ronins; elite enforcers tasked with maintaining order in Machine City. Among them, Max―a hero from the original HUXLEY graphic novels―discovers a conspiracy that threatens to upend the empire and his own understanding of the world.”
Writing & Plot
Huxley: The Oracle takes place before the events of the original Huxley story, and follows Max and his team of genetically modified clone soldiers called Ronin as they go on a mission into the bowels of the planet Fury-7. In the process they encounter strange machine beings and discover a mind-altering secret even their A.I. overlords may be unaware of. This book is a pretty different beast than what we usually talk about over here at MFR. Where the first Huxley story was a pretty standard comic series/graphic novel, The Oracle is effectively an illustrated narrative. Whereas a comic uses sequential art and words intertwined to form a story, this book uses straight images accompanied by prose to convey its tale. Think of this as a high caliber illustrated storybook, only filled with robots and lasers rather than simple fables. Ben Mauro’s universe he has created in Huxley has its DNA written all over it, with nods to other great science fiction stories in almost every facet of its storytelling. Ultimately, it’s Mauro’s method of storytelling that helps make the book feel so new and alien. His prose writing here is intentionally minimalist and sparse, but there are flashes of genuine style to his words. His environmental and action descriptors perfectly accompany the imagery we see on the page, making the book feel much more organic. The overall events of The Oracle are relatively bog-standard in terms of science fiction storytelling. What Mauro does to make this story feel so special specifically with his approach to the story is how much this book feels like a puzzle piece. There’s so much promise and mystery within the pages of The Oracle that it helps make the entire experience feel so singularly alien. Granted, some of these mysteries are explained in the original Huxley graphic novel, but this still feels distinct. Within this book, Mauro’s writing is the perfect complement to the stunning visual work.
Art Direction
Speaking of visual direction, Mauro is joined by artists Steve Chinhsuan Wang and Nikolas Gekko to craft the impeccable art of Huxley: The Oracle. This is yet another new landscape for MFR, as no one involved in this book is a part of the traditional comic book industry. All of these creators come from the concept art side of the film and video game industry, with resumes including franchises like Gears of War, Halo, and Destiny (which incidentally are all games I have a lot of time in). As such, The Oracle looks more like a book of digital screenshots rather than a sequential storybook. The quality of the art in this volume is staggering, with the digital rendering being of the absolute utmost quality. Every armored surface is pitted with age and combat wear, every piece of machinery wildly complex and detailed. The color range of this book is pretty limited, mostly revolving around desert sands and dimly illuminated labyrinthian corridors. This works in the book’s favor though, as every page pulls readers into the inescapable mysteries of this worn future. It’s easy to see the sort of visual elements that are borrowed from other universes in The Oracle, and they make sense given the backgrounds that each artist comes from. There are elements of Dune, The Matrix, Warhammer 40,000, and other science fiction universe to be found here. It’s a specific feeling that many modern sci-fi fans will feel right at home in. Another factor that has to be considered when looking at this book’s visuals is its actual physical presentation. The Oracle comes as a 10.5 x 11.5 artist edition style hardcover, with a wide style that specifically focuses on the landscape-styles focus on the large visual pieces. It’s rare that the physical copy of the book is actually a factor when examining a story like this, but with The Oracle the dimensions and presentation of this hardcover are a huge boon in its favor.
Verdict
Huxley: The Oracle is a fascinating and stunning addition to Ben Mauro’s growing science fiction universe. His prose work that accompanies the visuals adds a flavor and context to the events in the story that is interesting to read without ever bogging down the experience. The art by Steve Chinhsuan Wang and Nikolas Gekko is jaw-droppingly impressive, and is some of the coolest visual work done in an illustrated sci-fi book in recent memory. Be sure to check out Ben Mauro’s Huxley universe and The Oracle, available now!
THOR #5 hits your local comic book store on December 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: ENTER THE SERPENT!
The Sons of the Serpent want the man called Thor dead. And they have a name: Sigurd Jarlson. But the man called Thor has a name too…the name of their leader. And that name…is Blake. Somewhere in the city, a man with a hammer faces his enemy…
The issue is by writer Al Ewing and artist Pasqual Ferry, with colors by Matt Hollingsworth, and letters by Joe Sabino. The main cover is by Alex Ross.
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AVENGERS #33 hits your local comic book store on December 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: DAWN OF THE TWILIGHT COURT!
As KANG and MYRDDIN battle with the Avengers across space and time, the TWILIGHT COURT fight for the survival of ALL! Learn the origin of the Impossible City as the ASHEN COMBINE return! Next month, a CELEBRATION: AVENGERS #800!
The issue is by writer Jed MacKay and artist Javier Pina, with colors by Federico Blee, and letters by Cory Petit. The main cover is by CAFU and David Curiel.
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Eric Powell’s THE GOON: BUNCH OF OLD CRAP OMNIBUS Volume 6 will hit stores Summer 2026, courtesy of Dark Horse Comics, under Powell’s own Albatross Funnybooks imprint.
Volume 6 of the omnibus series will collect three Goon tales for the first time: A Ragged Return to Lonely Street, written and illustrated by award-winning cartoonist Eric Powell; The Deceit of a Cro-Magnon Dandy, written by Powell and Tom Sniegoski, and illustrated by Brett Parson; Fishy Men, Witchy Women & Bitter Beer, written by Roger Langridge, illustrated by Mike Norton, and colored by Marissa Louise; and more.
THE GOON: BUNCH OF OLD CRAP OMNIBUS Volume 6 will be available in bookstores on August 11, 2026 and in comics shops on August 12, 2026.
About the collection: Nameless Town is a tough place. So tough that the only one thing standing between you and that thing that crawled out of the sewer and ate your old neighbor lady before trying to shake you down for the cash in your pockets is a mob boss known as the Goon and his psychotic counter part that goes by Franky.
After strange journeys abroad, the Goon and Franky return to Nameless Town to find that a horde of unsavory characters has filled the void left in their absence. Our reluctant hero has his work cut out for him as he faces off against the likes of Seti the Southside Mummy, Vinny Nosferatu, and a Cro-Magnon mobster in a pinstriped suit who wants his blood.
And if you want more Goon coverage, check out the conversation we had here at MFR when The Goon: Them That Don’t Stay Dead #1 dropped last year!
Are you picking up THE GOON: OMNIBUS OF OLD CRAP Omnibus 6? What is your favorite Goon storyline? Sound off in the comments!
Acclaimed concept artist and visionary world-builder Ben Mauro is celebrating the global release of HUXLEY: The Oracle, the prequel to the post-apocalyptic graphic novel hit HUXLEY, now available worldwide, including the US and Canada. Published by Read-Only Memory, an imprint of Thames & Hudson, this richly illustrated art book offers fans an origin story steeped in war, rebellion, and the early seeds of empire-wide upheaval.
Following the best-selling graphic novel, which has already sold out its first print run in the UK, The Oracle is on the way to do the same. This 160-page hardcover volume features detailed artwork throughout, alongside black-and-white development sketches and a cover gallery.
With more than 100 full-color illustrations by an all-star lineup, Steve Chinhsuan Wang (Gears of War 5), Nikolas Gekko (Destiny 2, Halo Infinite), and Mauro himself, alongside exclusive storyboards by Syama Pedersen (Astartes), The Oracle delivers a powerful fusion of storytelling and visual design.
HUXLEY: The Oracle is available for purchase in-store and online in two formats: a Standard Edition (MSRP: $50) and a Deluxe Slipcased Edition (MSRP: $105), with fewer than 60 copies currently left for sale, including a signed print and premium foil-stamped packaging.
“Return to FURY-7, a scorched planet ruled by machine emperors known as Oracles, in this new entry in the HUXLEY saga. These AIs control the world’s resources and command cloned human enforcers called Ronins. Among them, Max – seen earlier in the original series – uncovers a conspiracy that could shake the empire. Featuring both returning and new characters, the story expands HUXLEY’s intricate lore with hundreds of pages of Ben Mauro’s detailed artwork, offering a new chapter of sci-fi adventure, conflict, and richly imagined worldbuilding.”
Ben Mauro is a luminary in the world of concept art and visual design whose exceptional talent and visionary work have left an indelible mark on the entertainment industry. He has contributed to a myriad of high-profile projects across film, video games, and beyond, with his portfolio boasting involvement in blockbuster hits such as Elysium, Chappie, Valerian, Lucy, The Amazing Spider-Man 2, and the iconic The Hobbit Trilogy. His innovative designs and imaginative concepts have brought to life worlds that captivate and enchant audiences globally for over 16 years, working with directors Peter Jackson, Guillermo Del Toro, Luc Besson, and Neill Blomkamp to help bring their visionary films to life. Beyond the silver screen, Mauro’s creative talents have been instrumental in shaping the visual and thematic foundations of critically acclaimed video games in the billion-dollar Call of Duty and Halo franchises. His ability to weave narrative and design together has resulted in immersive experiences that push the boundaries of digital storytelling. His personal IP, HUXLEY®, showcases his prowess as a storyteller and creator, blending captivating visuals with compelling narratives.
From Gou Tanabe, the mangaka behind adaptations of At the Mountains of Madness and The Shadow Over Innsmouth comes his latest adaptation of a seminal cosmic horror classic with H.P. Lovecraft’s The Shadow Out of Time. With his latest work, Tanabe continues to give a lesson in both adapting classics to comic form, as well as showing what makes cosmic horror tick. With a thoughtful reimagining of Lovecraft’s original writing and absolutely stellar visual work, this is yet another must read in Tanabe’s library of Lovecraft adaptations.
“Professor Peaslee of Miskatonic University has been acting very strange—could he be out of his mind? No…his mind is out of him!”
Writing & Plot
Cosmic horror is no stranger to the comics universe, but notable adaptations of Lovecraft’s work are few and far between. Gou Tanabe’s skill in adapting The Shadow Out of Time lies not just in his artistic skill, but in how he selects what parts of Lovecraft’s prose to write and which parts only to show in pencil. Despite this adaptation being a one-to-one comics recreation of a prose story, there are plenty of wordless sequences where we only see ancient precipices and moments of wonder or terror across characters’ faces. Tanabe manages to make Lovecraft’s own words fit perfectly within the pages, creating an experience that feels just as much like a timeless piece of horror literature as it does a modern day comic book. For those unfamiliar, The Shadow Out of Time is story of a University professor passing out one day in class and waking up with no memory or care for his current life, and instead focuses entirely on learning new subjects and exploring the world. After five years, the professor’s old personality returns with no recollection of the last five years, and then goes on a journey to find out hat happened to him – and what the source of his nightmarish visions may be. Lovecraft’s protagonists are rarely directly in the sights of the cosmic entities they encounter. More often, they’re just hapless bystanders in the wake of events and creatures vastly beyond human imagination or existence. Tanabe’s Shadow Out of Time maintains this concept by keeping Professor Peaslee focused on the mystery he is a victim of and mostly out of harms way, with the big reveals coming off more as twisted visions of wonder rather than being the prey of monsters. Shadow Out of Time is one of Lovecraft’s best stories that doesn’t usually get as much love as some of his other, more popular works. Tanabe does an incredible job of pacing out this almost 100 year old horror story into a visual format.
Art Direction
Tanabe’s great feat in adapting The Shadow Out of Time of course lies in his visual style and his sense of sequential direction. His imaginative, heavily detailed pencils manage to craft stories that bring the unimaginable cosmic horrors of Lovecraft’s mind to life in ways that still feel in line with the story’s original intent. Tanabe draws the ancient ruins and extradimensional entities of Lovecraft’s mind using the original author’s own words as a blueprint, while still maintaining a singular and unmistakable visual style. The sense of terror and foreboding Tanabe builds with his careful direction makes for a comic experience that stands not only as a great adaptation, but as a genuinely fantastic horror read. There are sequences in Shadow Out of Time where Tanabe uses long passages of Lovecraft’s original prose, but splits them up along the panels. He hides paragraphs of description in the environment so they both stay thematic and become a part of the visual experience itself. Tanabe will layer Lovecraft’s prose over trees or on top of shadows, making for a singular experience of reading this horror story in a visual format. Normally a huge detractor for cosmic horror, and one of the reasons why this genre is difficult to pull off outside of prose writing, is because it’s s genre entirely about the unknowable or unimaginable. Once you can *see* the objects or beings of terror, it takes the tension away. Tanabe manages to keep this feeling at bay not just by modeling his visions after Lovecraft’s exact wording, but by maintaining the mystery of the story throughout the entire manga. Tanabe’s focus on Peaslee’s investigations and the stunningly detailed drawings of ancient texts and ruins keeps this story feeling like a supernatural mystery rather than outright horror. His interpretations of Lovecraft’s entities are just as strange and monstrous as you could guess, with a sense of classical sci-fi mixed with modern artistic approaches making up their design. Overall, Tanabe’s vision of this Lovecraft story is right on par with the rest of his adaptations, with this being one of the best visualizations of the cosmic horror icon’s work ever put to page.
Verdict
Gou Tanabe’s adaptation of H.P. Lovecraft’s The Shadow Out of Time is a stunning work of cosmic horror in the comics medium. Tanabe succeeds in crafting this story – and other pieces in Lovecraft’s library – as a comic due to his understanding of how cosmic horror should tick and applying all of the mystery and foreboding these stories require on the page. His choices in where to apply Lovecraft’s words and where to turn them purely into images, and the overall quality of his visual work, makes this adaptation and all of his others some of the best horror stories in the comics medium. Be sure to grab this volume when it hits shelves on December 23rd!
