MILES MORALES: SPIDER-MAN #19 hits your local comic book store on April 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: FALLOUT FROM ISSUE #300!
The climactic events of issue #300 have FOREVER CHANGED Miles Morales! But a SPIDER-MAN’s job is never done. And in fact, learning to live with the consequences of his actions might be the greatest job of Miles’ life. Who will survive? What has the battle cost him? And what does the future look like for Miles Morales: Spider-Man?!
The issue is by writer Cody Ziglar and artist Federico Vicentini, with colors by Bryan Valenza, and letters by Cory Petit. The main cover is by Vicentini and Richard Isanove.
Check out our MILES MORALES: SPIDER-MAN #19 preview below:
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SPECTACULAR SPIDER-MEN #2 hits your local comic book store on April 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: “ARACHNOBATICS” CONTINUES!
Surprising anyone who knows Peter Parker (but probably not those who know Miles Morales), the Spider-Men have been keeping up their weekly meetup at the Coffee Bean! Sadly, that hasn’t given them any insight into the machinations of the Jackal!!! And what do all these mysterious interludes add up to?
The issue is by writer Greg Weisman and artist Humberto Ramos, with inks by Victor Olazaba, colors by Edgar Delgado, and letters by Joe Caramagna. The main cover is by Ramos and Delgado.
Check out our SPECTACULAR SPIDER-MEN #2 preview below:
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The third and final issue of Mirka Andolpho’s imaginative pop music and religion-inspired series Blasfamous is almost here via DSTLRY. To mark the occasion, DSTLRY Comics will be debuting 3 new variant covers: a 1/10 from Nicoletta Baldari (Spider-Man), a 1/25 from Derrick Chew, and a 1/50 from Yanick Paquette (Wonder Woman, Swamp Thing).
The new, exciting series from international superstar Mirka Andolfo (SWEET PAPRIKA, MERCY, UNNATURAL, HARLEY QUINN, PUNCHLINE).
In this final issue, pop icon Clelia faces a crisis after uncovering rival Dorothy’s identity. Broken physically and spiritually, she and Father Lev battle against forces of… goodness? As Clelia’s world teeters, the righteousness of maintaining the status quo is threatened! Offering an intense exploration of personal and societal values in the glamorous yet ruthless pop industry, Blasfamous comes to a breathtaking, intense climax!
Cover C – Nicoletta BaldariCover D – Derrick ChewCover E – Yanick Paquette
FOC is on 5/12, with the release date landing on 6/26, so be sure to head to your local comic shop or DSTLRY’s home page to order a copy!
Ultimate Spider-Man #3 came out last week, and I sat down with MFR editor Zac Owens to discuss the issue!
About the story: PETER PARKER’S NEW LIFE GETS EVEN MORE COMPLICATED… Spider-Man sizes up the new hero Green Goblin! As they team up to fight a new super villain, secrets about the corporations running North America are revealed… And you’ll never guess who discovers Spider-Man’s secret identity!
The series is by writer Jonathan Hickman, artist Marco Checchetto, colorist Matthew Wilson, and letterer Cory Petit.
Warning: Spoilers Ahead
Anthony Composto: Zac, you’re our resident Hickman fanboy here at MFR. How is Ultimate Spider-Man stacking up against your favorite Hickman runs so far?
Zac Owens: Honestly, I feel like a fraud, having only read House of X/Powers of X of his X-Titles. But compared to what little I know of that, plus my comprehensive knowledge of his incredible Fantastic Four run, his psychedelic run on S.H.I.E.L.D., and of course the entire arc he created with Avengers, The Ultimates, and Secret War, this feels… different? It’s one of those things where I almost don’t even want to “stack it up” against any of his other works, because it feels like it occupies a whole other space. Which is even cooler to me, because he led into this whole thing with Ultimate Invasion and Ultimate Universe, which are very “Hickmany” books. So this change of tone is obviously incredibly deliberate. I’m loving the light-hearted feel here.
Anthony: Yea, I love how much fun Hickman and Checchetto are having with this book. We have all the moments between Peter and his daughter, or between Ben and Jonah, and then you have pages like where Spider-Man is bored out of his mind on a stakeout. Do you think we’re being lulled into a false sense of comfort, though? Are we going to have the rug pulled out from under us soon?
Zac: I think that’s entirely possible. For one thing, my theory is that with this Ultimate Universe, Hickman is doing the opposite of what they did in 1610. (Sorry for the shameless plug, I couldn’t help it.) Instead of making comics that are aiming towards a younger audience, 6160 is gearing itself towards a more mature demographic. Momoko’s X-Men, which is subtle and deeply haunting, is a great example. Hill and Caselli’s Black Panther is about terrorism and political war games. Ultimate Spider-Man sticks out like a sore thumb, and yet it’s the one series so far that’s actually penned by the architect of this new universe. I don’t know what it will be, but something is brewing on the horizon. That’s my guess, at least.
Anthony: Well, speaking of things brewing on the horizon, we get a lot of hints to the Maker’s Council in this issue, reminding us that there is a larger, overarching story happening in this new Ultimate Universe. I’m interested in that story, but I also really like the idea of Ultimate Spider-Man being in its own little pocket where I can enjoy its story each month without having to read a bunch of other titles and tie-ins. Is that a concern for you with these new Ultimate titles, that the greater threat of the Maker is going to disrupt the flow of the individual stories?
Zac: Aaaaaah! You’re killing me here. I’m very much in the other camp. I love the Maker, I loved the worldbuilding that happened in Ultimate Invasion and Ultimate Universe. I want all of that stuff to start affecting everything. I want it all to feel like one big story.
Anthony: I think I’m just burned out on big crossovers where you have to read a bunch of tie-in issues to get the full picture.
Zac: Yeah, I get that.
Anthony: I’d like to read an intimate story about Spider-Man and his family for a little while longer before he gets dragged into Tony Stark’s war.
On the topic of Spidey’s family, as of this issue, May is still the only member of the Parker household who knows Peter’s secret. Do you think they need to keep this going for a while to maintain some dramatic irony, or do you want MJ and Richard to find out soon?
Zac: I don’t know? I think there’s lots of room for storytelling to take place in Peter trying to figure out how or if he should tell them. But then again, that all feels a little “been there, done that.” So you know what? I’ve convinced myself. Yes, I would like them to rip the band-aid off. I think it would be more interesting to see MJ grappling with the news, and all of its implications, than to see Peter agonize over his secret.
Anthony: Yea, we’ve had decades of stories concerning Peter (and a million other heroes) trying to conceal a secret identity. If they bypassed that sooner than later, I’d welcome the change. This isn’t the Spider-Man origin story that we’re used to, but there’s still a clear love and reverence for the source material here. I geeked out on page three when Peter is trying out different suit styles, and they’re variations on classic Spider-Man costumes. I’m glad they landed on the iconic red and blue, but do you think they should have taken more liberties with the suit for this new universe?
Zac: See, this is absolutely your domain, my friend. I know some classic Spider-Man stories, but I am not familiar enough with the webslinger to recognize all those references. I don’t usually care too much about suit designs, but I did like the black suit a lot. The black suit era is one I’ve actually read, and I thought it was interesting to see the costume re-introduced, but in a world where it doesn’t have the same baggage. In a way, it was like a secret Hickman and Checchetto had with the reader. Like it was foreshadowing a dark twist long before it happened.
Anthony: The black suit holds a very special place in my Millenial heart. I loved seeing it for a second, but again, I’m glad the final Spider-Man design is faithful to the classic design.
I also really dig the variations to Green Goblin and Bullseye’s costumes. They’re familiar, yet modern. Something as small as a mouth covering takes Bullseye’s iconic suit from goofy to intimidating. It’s just scarier that you can’t see his eyes or any part of his face. What are your thoughts on the costume variations we’ve seen so far?
Zac: I think costume designs, in my mind, come down to what they have to add to the story. You mentioned this to me before, that you noticed there are more designs in this universe that fully cover each person’s face. And that makes a ton of sense. This is a more realistic version of 616, they would be thinking about things like that. Similarly, the Iron Man-esque Goblin suit, while I definitely prefer the classic look esthetically, adds a lot of layers to what’s going on. Where did he get this tech? Did Osborn work with Howard Stark? Did Oscorp steal the tech? One way or another, this creative team is flagging to us that the Starks and the Osborns have a connection in this world.
That was a whole thing. Next time you ask me a question like that, I’m just going to say “Yep.”
Anthony: I have the same questions! How was Harry able to control Peter’s suit? How is it proprietary to Oscorp if Tony stole it out of the Maker’s vault? I need to know, Hickman!!
So what do you think the deal is with this Green Goblin? I think it would be a really interesting turn in this universe if Spider-Man’s iconic archenemy was truly changed into an ally.
Zac: Yep.
Anthony: You’re the worst.
Zac: Just kidding. We both know I can’t help myself.
Well, I think we’re not going to have a cut-and-dry answer to that question. I hope that Green Goblin turns out to be enough of a layered character, that we get people on both sides of the conversation. Some who trust him and some who don’t. First impressions, do you trust him?
Anthony: All of my instincts (Or should I say my Spider-Sense? No, I should not.) keep me from trusting an Osborn in a goblin suit. But my more critical brain really hopes for a fresh and interesting take on this dynamic, even if it ultimately ends with the Goblin as a villain.
I want to talk about the art, because it’s some of the best work Marvel is putting out right now. With all respect to Hickman and Petit, I have to say that I feel like Checchetto and Wilson are the MVPs of this title. I’ve wanted these guys on a Spider-Man book since they did Daredevil together, and they’re exceeding my greatest expectations. The action sequences are full of energy, but I’m in love with their small character moments, like the aforementioned stakeout scene, or the scene between Peter, Ben, and Jonah. I feel like these moments are even harder for artists to pull of than action, because you have to nail the characters and the tone of the scene and keep your readers’ interest without the aid of superheroics, which Checchetto is able to do through sympathetic faces and Wilson can do with bright, yet soft color choices. Do you have a favorite, “small” moment from this issue?
Zac: Checchetto and Wilson are superb. I think my favorite small moment is when Peter asks Ben and Jonah about the map on their wall, and they get all shifty about answering the question. It’s a funny moment, but it also suggests that we might be in for an espionage story on top of the action-packed stuff we’re used to. I’m excited to see more of what Ben and Jonah get up to.
Anthony: Yes! Give me a Front Line spinoff series (assuming that’s what Ben and Jonah name their company). Great moment. The action sequences are pretty great too, though. I keep coming back to the page turn where Spider-Man punches out Bullseye. There’s so much power and momentum throughout the whole fight, culminating in that awesome moment. Did that hit you the same way it hit me?
Zac: Well, I ducked in my chair while I was reading, so yeah! I think there’s this awesome wind up that happens in the page before. The biggest panel you have in that previous page is really zoomed out, so there’s a ton of dead space. And then the next page, it’s Spidey sending Bullseye flying in our direction, like he’s bursting out of the art. So. Freaking. Good.
Anthony: SO freaking good. And, of course, Petit rounds out the art team with his lettering, which complements the work perfectly and keeps those fight sequences moving along at a fast pace.
The smaller, lowercase lettering is something that’s set the Ultimate comics apart from the mainstream Marvel comics for years. How do you feel about the Ultimate lettering style?
Zac: I like it, because it leaves more room for a letterer to work. Even simply having the choice of putting something in all-caps. I love the rhythm and versatility Petit shows in this issue. Yes, the Ultimate-style lettering is subdued and small, but Petit’s sound effects are not at all. Everything from the giant but see-through “CRASH” letters of a crane hitting the ground (you hear the noise, so deafening that it almost seems hollow) to the colorful lettering of Green Goblin’s suit blasts. And I love that little “THWIP” that shows up, so small on the page, when Spider-Man is trying to nab one of Bullseyes’ cards. It feels so cheeky.
Anthony:Ultimate Spider-Man has genuinely become my favorite monthly title that Marvel is currently putting out. I still have a million questions about this new universe, and about the ramifications of Peter not being bit by that spider as a teenager (what happened to Gwen??), but I’m not even sure I need the answers. I’m just happy to be along for this ride.
Zac: It is such a fun ride. This creative team is killing it, and I think that with people as amazing at their jobs as Hickman, Checchetto, Wilson, and Petit, things are only going to get better from here!
EDGE OF SPIDER-VERSE #3 hits your local comic book store on April 10th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: INTRODUCING STAR-SPIDER! Your neighborhood can be a few blocks long, or it can be the size of an entire space station. STAR-SPIDER slings through the stars in her Silk ship helping those in need, thwipping through alien cityscapes. Don’t miss the coolest new Spider-hero to grace the comics page!
Also in this issue, WEB-WEAVER RETURNS! One of the coolest new characters of the Spider-Verse is back! Kicking butt, taking names and looking good while doing it!
The issue features two stories, one by writer Justina Ireland and artist Peter M. Woods, and the other by writer Steve Foxe, artist Kei Zama, and colorist Antonio Fabela. Joe Caramagna lettered both stories, and the main cover is by Chad Hardin.
Check out our EDGE OF SPIDER-VERSE #3 preview below:
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Batman #146 is another chapter in Chip Zdarsky and Jorge Jimenez’s run that provides more insight into the machinations of Zur-En-Arhh, as well as those of a new player with ties to Bruce, Dr. Captio. Zdarsky, Jimenez, colorist Tomeu Morey, and letterer Clayton Cowles get to work showing a Gotham protected by Zur-En-Arhh in the main story, while artist Michele Bandini and colorist Alex Sinclair work together with Zdarsky and Cowles to provide some much needed exposition in the backup story that kicks the issue off.
The backup starts with Dr. Captio, a character from Zdarsky and Carmine Di Giandomenico’s own Batman: The Knight, telling a story of how Joker had already known about the Failsafe body. The doctor explains how he’s used Joker, and how that has led Bruce to where he is now.
Returning to the main story, Bruce is locked in Blackgate while Zur is out in Gotham, protecting the city with Damian Wayne. The Batfamily is suspicious of Zur, even calling Superman, Wonder Woman, and The Flash in order to form a plan against him. After the arrival of Punchline in the prison, Batman attempts to break out, while Superman has a talk with Zur.
WRITING
Zdarsky takes on writing both of this issue’s stories and has them flow together seamlessly. Where the backup ends, the main story begins without skipping a beat. The first part of the issue is told from the perspective of Dr. Daniel Captio, an academic that Bruce Wayne requested the help of on his initial journey to become Batman. Zdarsky calls back to his own work with this, and uses his previous story as a crutch to help set up Captio’s involvement in this one. The explanations for Captio’s influence are well thought out, with Zdarsky respecting his own continuity, as well as the work of previous writers. He uses some of what Grant Morrison did with Zur-En-Arhh, as well as Scott Snyder’s famous Joker stories in order to really layer this setup. Coming back to the character of Captio was smart, with his dedicated issue in Batman: The Knight easily explaining his actions here. He’s woven into the story in a clever way that’s sure to leave the reader eager to see what his endgame is.
The Joker Infiltrating the Batcave
Bruce’s journey in the prison is the most intriguing part of the issue. His breakout is a spectacle to behold and provides some moments of Batman at his best. In this portion of the issue, he instills fear in the hearts of those looking to stop him, while also acting as a symbol for the people of Gotham, reassuring them and showing them that they should never give up. Zdarsky has a great voice for the character that doubles down on the idea that Batman is just as much a symbol of hope as he is a hardened purveyor of fear.
The events occurring outside of the prison are somewhat less interesting, with an unsettling aspect being the involvement of Damian Wayne. Having him in a story where Batman has been replaced makes sense, but it leaves you to wonder if him going on with Zur is a betrayal in the making, or if the character is fooled by Zur’s façade, masquerading as Bruce. The rest of the family doesn’t seem as easily convinced, however. All these pieces in play instills the confidence that he can bring it all together and stick the landing on it.
ART
The issue features two artists, with Jorge Jimenez covering the bulk of it, and Michele Bandini drawing the opening story. Bandini sets the tone for the entire issue, taking the reader through some of Joker’s most famous moments. As this portion of the issue is mostly told through text boxes, Bandini had freedom in his art, instead of to follow a speaking character. Every page drawn expands on Zdarsky’s words in a way that tells us more with less. Text can be mostly absent on the page, but Bandini still gets the point of the story across visually through these gorgeous pieces. A memorable page is one where Bandini draws Batman and Joker as one person who’s cut down the middle. Joker’s haunting grin contrasts Batman’s frustrated scowl, and it really sinks in just how much power these two have based on that page alone. That, and each panel excellently matches what’s being narrated to us in its own striking way.
The Joker meets a worried Penguin
Jorge Jimenez proves time and time again to be one of the best Batman artists DC has. Every panel is incredibly detailed, with the force of Batman’s actions and blows made apparent. Not only that, but he captures the insane faces of Joker and Punchline eerily well. He cements the atmosphere of the story with each panel, making the reader feel as though all hope is lost, while also giving us something to fight for. This is especially felt in a panel with a determined Bruce Wayne jumping off the side of a tower in order to take back what’s his. Jimenez also makes the Failsafe robot housing Zur’s consciousness looks sleek and unnatural. The proportions of the robot are unsettling and gives off a sinister feeling from the slender machine.
COLORING
Alex Sinclair colors Bandini’s work, and he immediately makes his presence known by tinting each panel in the opening page a specific color that fits the tone of each referenced story. In Joker’s late night meeting with Cobblepot, you can catch the green and purple of Joker’s suit that’s mostly covered by shadow. It’s eerie, and we feel the same fear and confusion as Penguin does in that moment because of it. This really amplifies the presence of a character that you otherwise can’t see very well. Fast forward a few pages, and you have Sinclair coloring an explosion that beautifully lights Batman and a white, pink, and green clad Joker. Everything stands out.
Tomeu Morey is responsible for coloring Jimenez’s art, and he also uses lighting to his advantage. The spotlights from Failsafe’s Batwing cover the streets on one page, making each character affected by it lighter to match that. Later in the issue, during the prison break scene, he also does a great job of differentiating each character there, making them recognizable. Zur himself is covered in this purple tint that shades the rest of his otherwise black and grey robotic body well. In a late night talk with Superman that happens in the issue, Zur is in the shadows, harder to see, while Superman is perfectly visible, lights shining in the sky behind him. This would be normal for a regular Batman and Superman meeting, but with it not being Bruce, you can see the bat-like figure in a darker light than he otherwise would be.
LETTERING
Clayton Cowles letters the issue, and he gives each character their own personality in the textboxes and speech bubbles. For Captio, he just has a uniform box with a grey line down the side of it that really makes the reader feel as though there’s more than meets the eye with him. Batman’s internal monologue boxes look torn and flakey, signifying that his mind isn’t fully his own, and that he’s not safe there. What’s really impressive are Zur’s speech bubbles. They’re these purple, emotionless, robotic boxes with stiff letters. The box itself makes the words seem staticky, and that adds to Zur’s personality that everyone on this issue has worked so hard to define.
CONCLUSION
Batman #146 provides a deeper look into the mind of Zur-En-Arhh as well as Captio, with an interesting ending for Bruce as well. The state of affairs of Gotham and the characters in it are left in an interesting spot with a battle against Zur feeling imminent. If things keep going the way they are, Zur-En-Arrh could prove to be a bigger threat than anyone could’ve guessed.
Zac: This is not our typical format at Monkeys Fighting Robots, but my lovely Editor-in-Chief Anthony Composto and I thought we would give something a go. We’re here to talk about the new issue of Dark Horse Comics’ The Goon, “Them That Don’t Stay Dead” Part 1. Anthony, you actually got me into The Goon. Have I ever properly thanked you for that?
Anthony: No, and I’ve held a grudge over that for a long while. But, now that you’ve called me “lovely” in print, I think I’ll let it go.
Zac: For those unfamiliar with this world, what would you say people need to know before diving into this chapter?
Anthony: That’s the beauty of The Goon: I don’t think you need to know anything. Pretty much any new story arc is a great jumping-on point. This issue picks up where the last volume left off, but Powell fills you in on whatever you need to know and keeps the train running. So, new readers, dive right on in, and if you like what you see, you’ve got 25 years worth of material to catch up on.
(And if you really need some background, all you need to know is that the Goon is a gangster who fights monsters with his friend Franky—a foulmouthed little weirdo with an affinity for stabbing his enemies in their eyeballs.)
Writing
Zac: Okay, so starting this conversation off real simply: what did you think of the plot of this issue?
Anthony: This is exactly what I want from a Goon story: a fairly simple, straightforward plot with more of an emphasis on the characters. We get some action, some mystery, and some heart that takes you by surprise (I always love when The Goon makes you feel something). We pick up the Duck Boy story, which made me very happy, and it takes a super interesting turn. In many ways, this issue felt like a marriage between the original Dark Horse run and the more recent Albatross run—did you get that impression?
Zac: I’ve got to be honest, in my reading of The Goon, I don’t think I ever became aware of the different runs that were going on. I binged all of those great “A Bunch of Old Crap” omnibuses they came out with. But I can definitely see how there are different eras of The Goon that seem to be colliding.
I’ve got to say, the first two pages of this issue are stunning. They’re mostly silent, except for one line of dialogue, and they just drip with a sense of mood.
Anthony: Powell is one of the greatest visual storytellers in comics; I will stand by that. His dialogue is hysterical and his narration is always spot-on, but when I look back on all the Goon that I’ve read, the most memorable moments for me are purely visual.
Also, I love that in those moody, fairly serious first two pages, we still get a great background gag with the “Fine Premium Opium” billboard.
Zac: “For the discerning gentleman.” Just so funny. Powell is one of those people, almost like Chip Zdarsky, who just fills his panels with amazing little jokes. He really rewards you for taking the time to notice all of the details.
I also love so much of how Eric Powell does satire. This isn’t something that you read and go “Oh, I wonder what he’s trying to say?” Powell holds nothing back, but he also isn’t witty or deep in his commentary. He has these dumb looking characters wearing hats that say “Make ‘Merica Stupid + Mean” while they talk about wanting to have relations with sheep. It’s almost like he’s saying that these political beliefs are as dumb to him as advocating for sheep shagging.
Anthony: It’s “almost” like he’s saying that??
Zac: Okay, okay, you’re right. “Almost” isn’t the right word to use there.
Anthony: He’s very much definitely saying that, haha. Powell is very outspoken in his comics, or on his social media, or pretty much anywhere he has a platform, and I also love how blunt his commentary typically is. The people he’s targeting don’t deserve nuance (also they might not get it if Powell did go the subtle route).
Zac: It’s like he’s saying, “this is the only language you’ll understand, the glaringly obvious.”
Anthony: But I also love how, as direct as he can be in his satire, Powell can absolutely do subtlety and depth. He just reserves it for his characters. There’s so much left unsaid between Goon and the unnamed lady he meets in this issue, which also harkens back to old storylines to reward longtime readers.
Zac: Yes! Powell’s versatility is incredible. I still remember the first page to the “Chinatown” story arc being a page that just said “This ain’t funny.” There are so many joyfully stupid jokes in TheGoon, but they’re all offset by Powell’s subtle, eloquent, and often heart wrenching storytelling. In this issue in particular, he is constantly going in and out of being poetic and using low brow humor, which is probably best displayed by the first caption we see: “As the Goon has spent many a day slamming his fists into the orbital sockets of frightful monstrosities, it may be of no surprise to you to see him pummeling a bunch of schlubby vampires.” It’s just so good.
Anthony: And I think that versatility is why this series has endured. The Goon isn’t a straight comedy book, nor is it a straight crime noir, nor is it a straight horror story. It’s all of these things and more, and Powell is always keeping you on your toes so you never know what to expect. I mean, the freakin’ Duck Kid turned into an archenemy figure—who saw that coming?
Zac: I saw that coming from a mile away. (I did not, dear reader, but there’s no reason for Anthony to know that.)
Art
Zac: I feel like Powell’s art feels less painted – less textured – than usual. But I think it really works for this issue. There are moments where Powell really dives back into that textured look to highlight important details and turning points in the plot. What do you think, is this all in my head?
Anthony: It’s not in your head at all. If you look at The Goon over the years, you can see Powell experimenting with different styles and techniques all the time. I love when he started incorporating uninked pencils into his work; it adds such a unique quality to the book. I think that’s another piece of how the series has remained fresh and interesting 25 years later.
Zac: Those first couple of pages are just so brilliant, too. I can’t quite put my finger on why they work so well. Maybe it’s that Powell focuses us in on all of the right details? It feels so cinematic.
Anthony: There’s definitely an economical use of panels, but I think even moreso, Powell understands how to keep the story flowing. If you look at the first few panels of that second page, the momentum of the woman’s foot pushes you directly from the first panel to the second, and then back down to the third panel below. There’s an brilliance to that which works on a subconscious level.
Zac: Oof. Yep, I see that. Such good details you pointed out there.
I think the same thing that’s true of the writing is true of the art. You get these moments that are cartoonish and over the top – like the blathering “HARRUMPH” ralliers – that lead right into images that work so well because they hold themselves back – like Vinnie Nosferatu and his vampire henchmen interrupting the rally. It’s a simple image of them just standing there, looking more annoyed than threatening. And then the next panel is even better, because it shows someone standing in the background as the vampires attack. Almost like Powell is making the decision for us that we should avert our eyes.
Anthony: And then, in the very next panel, we see Franky defecating on someone’s head, making us wish that we had heeded the warning to avert our eyes.
Lettering
Zac: What would you say is your favorite lettering choice in this issue? I think I know mine. I definitely don’t want to give any context spoilers for this one, but there’s that one piercing “BLAM!” that shows up right near the end of the issue. Something about the lettering matching the silhouette in the panel just makes that story beat sing.
Anthony: That “BLAM!” definitely stood out to me; it’s very reminiscent of a moment from “Occasion of Revenge” that sticks in my memory.
Zac: I’m learning through this issue and through our talk that I’m overdue for a Goon reread.
Anthony: Maybe it’s a cop-out, but my favorite lettering choice might be the choice to lack lettering in the very first panel. We see the woman crashing through a window (again, her momentum leading us into the next panel), but there’s no giant “SMASH!” that accompanies it. I love Powell letting his art speak for itself.
Zac: You’re so right. There’s a missing sound effect there, but it gives that moment space to breathe.
Anthony: I’m actually kind of surprised there’s any dialogue in that sequence at all; can you think of a reason why he chose to include that small bit?
Zac: I’m not sure, but in some ways it feels like that first line almost acts as a starting pistol. Page one, panel two, and we’re already in the thick of the action. There’s an efficiency to the storytelling there, where it might otherwise have taken us another couple of panels to be sure the woman is being chased by those henchmen, rather than running away with them. With that one line, we’re immediately up to speed in a single panel.
Powell’s dialogue in this issue is interesting to me. There isn’t a ton of rhythm or cadence to how it’s parsed out – there aren’t many tiers or connectors used when it’s one person talking – but I think that really works for these characters. They feel like the kinds of people who would almost breathlessly word vomit everything that they have to say. There’s a specific moment where the Duck Kid goes on a rant in answer to a question, and I just love that Powell chose not to break up that section at all.
Anthony: I think what really makes this work to even greater comic effect is that, in those moments of word vomit, he chooses to use big words or complex sentence structures. It’s like Powell is trolling us as readers.
Zac: “Trolling” to those who aren’t familiar, is a term that refers to an ancient form of seduction. Powell is a master at it.
Anthony: You’re like a real-life Franky, you know that?
Zac: That may be the kindest thing you’ve ever said to me.
Anthony: Anyway, normally those big blocks of text can really slow down a comic, but I think because Powell understands “flow” like we’ve mentioned, he can afford to mix in some bigger text blocks for effect.
Verdict
Zac: I, for one, am not happy at all. Sure, this is a brilliant comic. But it’s part one of four? Only four?? That’s really my only complaint about this. I love Eric Powell. I love The Goon. This latest issue is just a reminder of all the things that roped me into this world in the first place. I can’t wait to read more.
Anthony: It’s classic Goon and I’m so jazzed this series is back. You’re welcome, by the way, for introducing you to this horribly beautiful world.
Zac: I’ll have to repay you sometime. Maybe with a knife to the eye?
The Goon: Those Who Don’t Stay Dead #1 is out from Dark Horse Comics now, at a comic shop near you. You definitely want to check this one out!
VENOM #32 hits your local comic book store on April 3rd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: “FLESH AND BLOOD” PART 3! BACK TO THE FUTURE!
In the greatest depths of space and at the end of existence, within the flowering fauna of the symbiotic GARDEN OF TIME, some carnivorous new species has blossomed. Something bloodred, with thorns…and an appetite!
The issue is by writer Al Ewing and artist Ken Lashley, with colors by Romulo Fajardo Jr., and letters by Clayton Cowles. The main cover is by CAFU.
Snyder and Francavilla’s WHITE BOAT Series Sets Sail with Exclusive Vinyl Soundtrack by Noel Heroux
Contact your local comic shop to make sure you receive this exclusive collectible
DSTLRY, the next-generation comics publisher and physical-digital collectibles company that redefines creator-owned comic books for consumers worldwide, is thrilled to announce an exciting addition to the WHITE BOAT universe. This Summer, the chilling series crafted by Scott Snyder and Francesco Francavilla will be enhanced by an atmospheric soundtrack from Noel Heroux, the New York-based indie rock powerhouse behind Hooray for Earth and Mass Gothic.
The first outing of this sprawling accompaniment sets sail in a premium 7-inch vinyl, signed by Heroux, Snyder, and Francavilla available via your local comic shop. This 7-inch release marks a first-of-its-kind venture for DSTLRY, blending the immersive worlds of comics and music.
Crafting an “oceanic noise terror soundtrack,” Heroux’s work perfectly captures the essence of WHITE BOAT, providing fans with a multi-sensory experience that elevates the tale’s Lovecraftian maritime horror. The soundtrack, debuting first in a premium 7-inch vinyl format, offers a unique collectible for fans. Each limited-edition vinyl is signed by Heroux, Snyder, and Francavilla, making it a must-have for collectors and enthusiasts alike.
Debuting this May, WHITE BOAT revolves around a titular mega-yacht that the super-rich use to traverse the globe—floating islands where your every desire can be fulfilled. And getting invited on board should be a dream come true…that is until the crew traps and transports you to a remote island where secret cults have existed for millennia, working on something called “The Human Project.” Does the White Boat ship you to paradise or sink you into hell on earth?
WHITE BOAT reunites Scott Snyder, the visionary writer who redefined comic book dread with Wytches and introduced Batman into a terrifying, cerebral era, with modern noir master Francesco Francavilla for a white-knuckle descent into Lovecraftian maritime madness. DSTLRY Founding Editor and frequent Snyder collaborator Will Dennis joins as editor. Noel Heroux, with over two decades of experience as a national recording artist, including work under the esteemed Sub Pop Records label, brings his vast musical expertise to the WHITE BOAT project.
Fans are encouraged to contact their local comic shops to secure their copy of the 7-inch WHITE BOAT Vinyl, signed by the creative trio behind this innovative project. This release not only celebrates the launch of the WHITE BOAT comic series but also marks a significant moment in the fusion of comic book storytelling and musical exploration. Issue #1 of WHITE BOAT hits stores this May with the 7-inch releasing in June.
Hit up your Local Comic Shop to preorder your signed vinyl before FOC this weekend!
For more information on WHITE BOAT and to stay updated on DSTLRY’s upcoming releases and projects, visit www.dstlry.co and follow DSTLRY on social media at @DSTLRY_Media.
Dawnrunner #1 by writer Ram V, artist Evan Cagle, colorist Dave Stewart, and letterer Aditya Bidikar tells the story of a world ridden with kaiju. The Tetza arrived one day through a portal, and are as big as they are indestructible. The human race threw everything they had at them, but the best way to keep them out was to build a giant wall. Now, to hunt them down, giant mechs named Iron Kings have been created.
The story follows Anita Marr, a famous Iron King pilot who takes no pride in the glorification of this war against the Tetza that’s being fought. The battles are filmed and shown to the people by Andro Lestern of the Cordonware Corporation. Anita gets to the base, and is greeted by another Iron King pilot named Xander who decides to poke fun at her. She puts him in his place, and it’s clear that he’s just upset that he’s not as famous or important as her. After a Tetza that’s been tracked for a while finally emerges, Anita is sent in to fight it, piloting a new Iron King prototype named Dawnrunner. Her connection to the Iron King, however, may be more than she anticipated it to be.
First look at Moshaus One
Ram V expertly displays his worldbuilding skills here. The world the story takes place in feels well thought out, and is explained to you in bite sized chunks that keeps anything from getting too confusing. The issue has this great pacing that makes it easy to follow, but doesn’t shy away from introducing a lot at once in a delicate and impressive manner. We see the world through the eyes of Anita, but V doesn’t have this book conventionally narrated. There’s no internal monologue; instead, the story is mostly told through dialogue. The only time it isn’t is when the history of this world is explained to the reader in the issue’s opening pages.
While Anita is the protagonist that the reader is invested in, we’re cycled through multiple points of view. Anita poses the questions that V wants us to be asking ourselves. She isn’t in awe of all this as many of the others around her are. She wonders why fighting off these invaders is now done for sport, and why more don’t realize a war is going on. Are we to root for the Iron Kings? Or do we share Anita’s wonder of why a spectacle has been made out of this?
V does an excellent job of structuring this issue. The writer is a master of subtext, and does a wonderful and consistent job of saying more with less. Every line either deepens our understanding of a character or works to further our perception of the story. It subtly lays out how you should feel about each party involved, while also being heavy handed in explaining how you should feel towards the seemingly less important characters.
Anita Marr’s Introduction
Evan Cagle assists V by providing incredibly detailed looks at each of these characters. Every muscle on a person’s face is well defined, and the intention with each word spoken is clear. From Xander’s cockiness to Anita’s retrospective manner, it’s told to us through the looks on their faces. There’s so much depth behind each character’s eyes that Cagle transfers from script to page. It’s laid out well for us. Not just to mention that, but the designs of this world are nothing to sneeze at either. The suits that the Iron King pilots are fitted with, as well as the facilities around the city, seem detailed and carry personalities of their own. Cagle has a great understanding of the story told with an exact vision for how it should look.
The designs for the Tetza themselves are also very well done. While we only see one in this issue, we get a good idea of what these hulking and reptilic beasts are capable of, and how they’ve been causing problems for as long as they have. In response to the Tetza, however, we also have these beautifully designed mechs in the forms of the Iron Kings. Dawnrunner itself looks intricate and gargantuan. It’s an incredibly flexible mech with hidden blades, and who knows what other kinds of surprises. Everything drawn carries unique purpose and personality.
The world of Dawnrunner would be nowhere near as well defined as it is without Dave Stewart’s coloring complimenting Cagle’s art. The warmth of a sunrise engulfs the beginning of the issue, and the passage of time is clear throughout the issue. As Lestern walks with a colleague named Murali, the sun gleams through the skylights in a way that shines on a confident, egotistical Lestern as he exits. This also leaves Murali, as well as his cautionary words, ignored in a dimmer light.
The Dawnrunner itself has colors mimicking Anita’s own costume, and the speeding backgrounds with flat colors assist in giving us a good idea of just how arduous these battles against the Tetza are. Near the end of the issue, we’re transported to a new location along with Anita. The page transitions wonderfully from the green color initially surrounding her to the red skies of the new and unknown area.
Aditya Bidikar gets intelligently creative with the lettering as well. When a sports radio gives its daily broadcast, the channel number is attached to the panel. In flat-colored panels sprinkled throughout the beginning of this issue, we also have these passages that detail the world and its history as though we ourselves are reading it from their records personally. Near the end of the issue, faded text bubbles also creatively show us how a character isn’t listening, with their mind elsewhere entirely.
With many questions unanswered, this is a great start to this story. There’s plenty of action, worldbuilding, and beautiful art to keep anyone entertained. Dawnrunner #1 sets the stage for what is bound to be the most enthralling mech vs. kaiju story of the year.
