From writer Sean Lewis and artist Jonathan Marks Barravecchia comes the final chapter of this powerful epic on war and colonialism in Bear Pirate Viking Queen #1. This penultimate issue subverts the expectations set by the prior chapters to drive home the thematic point in a memorable and intentional anticlimax. With more thoughtful scripting and more staggering visual work from Barravecchia, this issue rounds off one of the most unique and unforgettable comics of this year.
“As the Viking and Queen finally go to war, the Bear’s true purpose emerges.”
Writing & Plot
Sean Lewis has been making a statement with every issue of this mini-series, and Bear Pirate Viking Queen #3 serves as the final word on this story of imperialism. As the Viking and the Queen square off in a battle of conquerors, the story’s true main character is revealed. The titular Bear leaves the two monsters to their vengeance, while he returns to the victims of both Viking and British conquest. While it may come off as anticlimax, the message here is what makes this comic stand tall. The Pirate, the Viking, the Queen, and all of their quests for power and bloodshed are unimportant compared to the people who fall victim to their unceasing war. The survivors who continue living as themselves – despite being enslaved by monsters from across the sea – are the ultimate victors, as long as they keep living and remembering who they are while the empires who took them fight and burn. Lewis leaves behind the storm and bloodshed to bring us an ending that is both melancholic and hopeful – a stunning and unforgettable ending to an equally unique mini-series.
Art Direction
Jonathan Marks Barravecchia has made himself one of the best comics artists of this year with only three issues of Bear Pirate Viking Queen, and his best work may be here in the final chapter. The busy, chaotic page layouts and clashing imagery from prior issues give way to one dominated largely by splash pages. BPVQ has structurally always felt like the comic book equivalent of going through a hurricane, with Barravecchia’s art battering the reader with a deluge of striking imagery in complicated panel overlays and sequential direction. As such, this final issue feels like the equivalent of sailing out of a storm into the sunlight. Barravecchia’s work here sees him crafting incredible splash pages of unique character and setting design. The reader is taken on a journey, through the eyes of the Bear visualizing the lands and gods of their original home. The latter two-thirds of this comic feel like a dream, with Barravecchia’s compositions presenting us with gorgeous watercolor depictions that will make you hang on the page. His work here cements the comic’s themes of hope and perseverance even in the darkest of circumstances, and it’s some of the best visual work in comics in recent years.
Verdict
Bear Pirate Viking Queen #3 is a beautiful and surprising end to one of the best comics of 2024 so far. Sean Lewis subverts expectations by literally leading us away from the chaos to redirect attention to the victims of this story of unending conquest, resulting in a brilliantly executed anti-climax. Jonathan Marks Barravecchia’s art takes his already incredible visual work to new heights, offering full splash pages and subtle pacing to bring this mini-series to a memorable close. Be sure to grab this issue when it hits shelves on July 3rd!
There is a tendency in media to make reboots all gritty and serious with an adult edge, as if trying to justify their existence (see the excellent Battlestar Galactica TV series, for example, or the Scooby Apocalypse comic book series). Arguably, however, Dick Tracy was always dark and serious with spontaneous outbreaks of humor and ridiculousness, especially later in cartoonist Chester Gould’s career. Therefore, the new ongoing series from Mad Cave Studios can fit the modern tones of the comic book into the series without having to reject the principles of its founding narratives.
Dick Tracy issue #2 re-introduces a new set of characters to the readers and places them more specifically within history. Whereas the first issue had a more generic, early 20th century setting, a number of sequences in this second issue distinctly place the action after the Second World War. These references, and disturbing dream sequences, feed into the characterization of the main cast, but also the city setting itself. There is a pronounced air of distrust between characters, and a sense of re-traumatization evident in more than one cast member. The aftereffects of the war hangs heavy over the characters and this is represented by the constant threat of violence.
Dick Tracy #2 Alternative Cover art Credit: Mad Cave Studios
In issue two, the plot begins to thicken as Dick Tracy continues to investigate the murder of Emil Trueheart at The Green Eye with the assistance of the victims daughter, Tess. Their main lead, Mumbles, isn’t saying very much (that they can understand), but he clearly knows something. Meanwhile, Pat Patton is searching for the truth about what happened to his brother on a seedy rebuilding project and comes face to face with someone he knows to be a traitor to the country.
The two story threads begin to come together, and there is the ultimate tragedy for one character as a gang war looms on the horizon with our favorite detective holding court at the center of it all.
Alex Segura and Michael Moreci expertly reintroduce well known characters into the comic in a way that makes them new and interesting but also familiar and comforting, which is no easy task. In the same way that Mumbles appearance in issue one was exciting and intriguing for long time fans of the property, so too are the appearances of familiar faces such as Pat Patton and old wrinkles himself, Pruneface. Elements of their original characters are still there, embedded in their personalities and their actions, but these are new takes with new motivations and goals. For example, Pat Patton is yet to become a member of the police force, but his inherent investigatory skills are still there, and the driving force behind his story.
One of the beauties of this reboot is the way that the characters have been reinvented and brought to life on the page. It’s like revisiting friends you haven’t seen in ten years: their lives are different and exciting, having branched off into new, unexplored territory but, deep down, they have the same personality traits that you’ve always loved. The writers have done an excellent job with these 60 plus year old characters.
Dick Tracy #2 Interior art Credit: Mad Cave Studios
Any fans of Dick Tracy will know Pruneface the minute he turns up on the page. He doesn’t look like the Pruneface from Chest Gould’s run on the comic strip, or even like the character played by R.G. Armstrong in the 1990’s movie, but he is still distinctive enough to be recognizable. And non-fans of the franchise, who wouldn’t know him from Adam, will still get the impression that he is an important figure in the story. This is because Geraldo Borges knows how to frame a character’s reveal on the page. With Pruneface, it starts with a wide panel of action: Patton struggling with some goons. The next panel, equal in size and shape, has taken a step back and moved behind Patton to show the view over his shoulder. On the far left of the panel, positioned between the figures of two of the goons, is a man cast in shadow, ominous and clearly significant. Finally, two panels, half the size as the previous ones, each with a close up: one of Pruneface and then of Patton. Pruneface is a man, worn out and despondent, and the facial features that give him his name, adds to the impression of this tired old man. It is, however, Patton’s reaction that tells the reader that Pruneface is a significant player in the narrative, a man with a past that will somehow become relevant. Patton stares in shock, Borges giving the reader a close up on his face so that we can see his reaction clearly.
But it is the words in the panels that are the biggest clue here. “I should have known,” Patton says from off-panel in Pruneface’s close up, and then again but bolder, louder, with more shock in his own closeup. Jim Campbell emphasizes the words and in turn heightens the emotion by changing the size and boldness of the text. The first speech is like a whispered exclamation, a confession Patton is making to himself, but the second speech is an accusation and acknowledgment, screamed at the man Patton clearly knows.
I have focused on this one scene to highlight the craft of the visuals, to demonstrate how much creative design goes into a single page. This level of storytelling happens again and again throughout the pages of the comic. The attention to detail makes this a fascinating comic to read. Each page is a cornucopia of visual treats, often providing clues to elements of the narrative, like the police procedural it is. Tracy’s dream sequence and the burst of violence towards the end of this issue is superbly visualized and is where Mark Englert’s colors really shine. The violence of the sequences are brought out with the stark blood red that dominates the panels. This is contrasted with the muted yellows and oranges in the panels but very little other color remains. The dreams of the central character are soaked in violence and this is reflected in the violent scene later in the book. The matching color scheme makes the reader draw a connection between these two moments, linking Tracy’s memories of fighting in the war with the violence he faces on the streets of the City.
Dick Tracy #2 Interior art Credit: Mad Cave Studios
I am slightly biased when it comes to this comic because I love Chester Gould’s creation so much. I have read and re-read some of Tracy’s adventures over and over again. Just the announcement of this comic was exciting for me because there is nowhere near enough Dick Tracy comics out there, and a few of the previous outings that do exist haven’t been to my liking. Whether it was the style of the artwork or the narrative decisions made, there was something lacking from them. This new comic from Mad Cave Studios, however, is exactly the kind of Dick Tracy comic I have been wanting. It takes the characters and the themes of Gould’s original stories and gives them a modern twist, visually and narratively. This has more in common with the comic prequels for the 1990’s movie, drawn by Kyle Baker, and is less like the Mark Allred written reboot brawn by Rich Tommaso. It is also set in a very specific time frame allowing the creators to tie in with real world events and the history of the comic strip. The 1940s were the high watermark for Gould’s run on the newspaper strip, so setting the comic in that period is an acknowledgment to the greatness that came before.
In conclusion, I would say that the following two things are true: existing Dick Tracy fans will love this and people who have never read a Dick Tracy comic will also love this. It is an intriguing, exciting, superbly visualized crime/adventure comic. What more do you need to know?
Ilias Kyriazis’ graphic novel WHAT WE WISHED FOR hits stores next week, but thanks to the fine folks at Humanoids, Monkeys Fighting Robots has an exclusive four-page excerpt for you!
About the issue: On the night a mysterious comet passes overhead, a group of kids encounter a supernatural being who promises to grant them one wish each. As they contemplate their wishes, they take too long and the comet passes without a trace until 35 years later, when the comet returns…and their wishes begin to come true!
But what seemed like their deepest desires in childhood come back to haunt them in the most unexpected and for some, deadliest, of ways. Now, they must face the consequences of their childhood dreams before those very dreams turn into disastrous nightmares.
“WHAT WE WISHED FOR is very personal to me. It’s a story I had in my mind ever since I first started thinking about the passage of time and the possibility of not all my dreams coming true,” said Kyriazis. “It took me years to feel ready but it’s time to reach out with my comics and attempt to connect with everyone who feels the same.”
Kyriazis also called the book “A twist on a classic superhero trope,” and added “Sometimes righteousness is just anger and sometimes people are looking for a ‘villain’ they’re ‘justified’ to attack.”
Kyriazis is a cartoonist based out of Athens, Greece who has drawn comics for DC Comics, Image, IDW, Dark Horse, and more. WHAT WE WISHED FOR is his first solo graphic novel with Humanoids, having previously co-created Chronophage with Tim Seeley.
Check out our WHAT WE WISHED FOR preview below:
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SPACE USAGI: DEATH AND HONOR hits your local comic book store on July 17th, but thanks to Dark Horse Comics, Monkeys Fighting Robots has an exclusive ten-page preview for you!
The trade paperback includes issues #1-3 of Space Usagi: Death and Honor (originally published in 1992, now in color), and the never-before-collected Space Usagi: Yokai Hunter one-shot.
About the series: The rabbit ronin’s classic adventure in space–now in color and with a bonus issue-long story!
Featuring Stan Sakai’s emotive artwork and expert lettering, with colors by Emi Fujii. With a new introduction from Stan Sakai, and also collecting the Space Usagi: Yokai Hunter one-shot comic!
As the general of Lord Shirohoshi’s space fleet, it’s Usagi’s responsibility to keep the lord and his heir safe. Now tasked with the education and protection of the lord’s heir, Usagi must remain vigilant at all times to protect the heir from a murderous plot and an unexpected betrayal.
The series is by writer, artist, and letterer Stan Sakai, and colorist Emi Fujii.
Check out our SPACE USAGI: DEATH AND HONOR preview below:
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DEADPOOL #4 hits your local comic book store on July 3rd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: DEADPOOL V.S. DEATH GRIP! The showdown you’ve been waiting for! But first, a training montage for Deadpool’s newest recruit!
The issue is by writer Cody Ziglar and artists Rogê Antônio & Eric Gapstur, with Jonas Trindade’s inks on Antônio’s pencils. Colors are by Guru-eFX, and letters are by Joe Sabino. The main cover is by Taurin Clarke.
Check out our DEADPOOL #4 preview below:
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G.O.D.S. recently wrapped up its run, and it is a rich, exciting, and character-driven look at a brand new corner of the Marvel Universe.
The eight-issue series is by writer Jonathan Hickman and artist Valerio Schiti, with colors by Marte Gracia (and additional colors by Fer Sifuentes-Sujo on the final issue), letters by Travis Lanham, and covers by Mateus Manhanini.
G.O.D.S. follows Wyn, the immortal avatar of The-Powers-That-Be, and Aiko, a Centivar of The-Natural-Order-of-Things (and Wyn’s former flame), as they navigate mysteries at the crossroads of magic and science. Along the way, we also meet some of their cohorts, such as Dimitri, an envoy of The-Natural-Order-of-Things and Wyn’s companion, and Mia, Aiko’s protégé.
Aiko and Wyn
In typical Hickman fashion, G.O.D.S. isn’t a “normal” narrative like you’d expect from a Marvel comic book. There is a plot structure that drives the series forward, but it’s more about character exploration and building out this new cosmology of the Marvel Universe. The-Powers-That-Be and The-Natural-Order-of-Things are introduced as two forces that shape existence (the former driven by magic, and the latter by science), joining the ranks of beings like Eternity and the Living Tribunal. Their agents on Earth work in an uneasy alliance with one another for the betterment of all existence, while rubbing shoulders with Doctor Strange and other familiar faces.
It’s a high concept, philosophical read—one which explores how the concepts of “good” and “evil” matter on a cosmic scale—but it’s also a fairly accessible and fun read. Even though Hickman packs this series with a lot to chew on conceptually, he also keeps the characters at the forefront. Prioritizing characterization over the philosophy turns out to be G.O.D.S.‘ biggest strength. Even though Wyn, Aiko, and Dimitri are immortal beings whose roles have driven them to be a bit detached and cold, they still feel like real people. They still make you laugh, and you still root for them (even if they themselves probably wouldn’t feel like they’re worth rooting for). There are giant cosmic consequences at stake throughout this series, but your concern as a reader always seems to be more for these characters that you’re meeting for the first time. This also makes all of the high concept questions about the nature of existence that much easier to digest. Instead of parsing through abstract philosophical questions, you have names and faces that you’re emotionally attached to, and you get to work through the questions alongside them.
In addition to Hickman’s dialogue, Schiti’s artwork seals the deal on connecting readers to these new characters. There is so much charm and wit in how he draws Wyn or Dimitri that you can’t help but immediately be in their corner. There does tend to be a quite a bit of exposition in the dialogue throughout G.O.D.S., but Schiti nails small character moments, like Wyn rubbing his face in exhaustion or booping Dimitri’s nose in a condescending way, that the exposition feels natural instead of disruptive. He also balances out these small moments with big, epic scenes of cosmic chaos. We’re seeing new locations and new creatures throughout this series, and Schiti does a stellar job of captivating our attention and curiosity. Some things are horrifying in their true form, whereas others are magnificent in their beauty, but nothing is ever boring.
We see perhaps the perfect blending of Schiti’s talents in issue #5, where Wyn recruits Mia to help him check out a shady medical clinic dealing in some occult business. There’s a wide range of character acting on display in this issue, culminating in a gut-punch ending that is sold entirely in the look on the characters’ faces as Wyn delivers some bad news. On top of that, Schiti mixes the common settings of apartments and clinics in this issue with magical wonders and eldritch horrors. When the veil is ultimately pulled back on the clinic, you feel a fascinating mix of shock, fear, and fascination.
Gracia’s colors are, of course, the other ingredient in captivating readers’ attention and curiosity. When dealing with cosmic stories, like those in Thor, Doctor Strange, or now G.O.D.S., the colors have to reflect an otherworldly sense of wonder, and Gracia’s work does just that. Moreover, the characters in this series straddle the line between Earth and the cosmos, so the colors have to strike a balance between reality and that otherworldly sense of wonder. There is a scene in one issue where Aiko must travel from the heart of New York City to see the Living Tribunal. The transition from more muted, mundane colors at home, to hazy, ethereal greens and blues initially as she travels, and finally to bright and striking purples and golds after she arrives is masterfully done.
As stated, the dialogue throughout G.O.D.S. can be a bit heavy on exposition. Thankfully, Lanham’s lettering, in tandem with the artwork, keeps it from feeling like a chore to read. He breaks up the text blocks into easy to absorb chunks, and lays out word balloons to navigate you through the pages with ease. Hickman is putting out a lot of new information regarding the world surrounding The-Powers-That-Be and The-Natural-Order-of-Things, and the exposition is a necessary byproduct of that. Luckily, Marvel brought in a deft hand in Lanham to help readers take it all in with ease.
G.O.D.S.‘ biggest downside is that there isn’t more of it. There’s a ton of story packed into these eight issues, but with questions yet unanswered, you’ll be left itching for more once you reach the final page. It’s not an easy thing to take a universe with a history as storied as Marvel’s and carve something new into it, but Hickman, Schiti, Gracia, and Lanham have managed to do it with grace. Here’s hoping we get to see these characters again soon.
Absolute Power: Ground Zero #1 is an anthology one-shot from DC Comics written by Mark Waid, Nicole Maines, Chip Zdarsky, and Joshua Williamson, and lettered by Steve Wands. The issue is drawn by Skylar Patridge, V Ken Marion, and Gleb Melnikov, with colors from Patricio Delpeche and Melnikov.
The issue features three stories, the first of which follows Dreamer and the Suicide Squad hunting down Jay Nakamura for Amanda Waller. It’s unsure why Waller wants Jay, but she says that she has a way to leverage him. Dreamer is obviously reluctant in doing this as she’s being blackmailed herself, and wants to take Waller down. The second story features Waller capturing John Starr, the Time Commander, and using him to rebuild something that she needs to fully enact her plans. The third story features Waller conditioning the new Brainiac Queen in order for her to utilize her properly in the coming days. All three stories feature Waller getting ready for her big final play, leading into DC’s big summer event, Absolute Power.
Amanda Waller briefs Dreamer
WRITING
The first story is written by Maines and Waid, and it picks up after the ending of Suicide Squad: DreamTeam, with Dreamer plotting on how to take down Waller. Having portrayed Nia Nal in the live action DC TV shows, it’s clear that Maines has a strong voice for the character. What really shines in this story is how Maines highlights Nia’s reluctance to work with Waller. She shows how Dreamer is only doing this because Waller is holding Nia’s family hostage, and how she hates her. It’s the point in the issue where the stakes feel the highest because of that.
Waid and Maines write a ruthless Waller, but not a reckless one. She’s cold and methodical, using whatever she can to push her own agenda forward. Dreamer is the best character they could’ve put in this position. She’s still fairly new to the page, and so she’s without that baggage and history that most of the other characters in this universe have. This story helps in strengthening her personality and really gets you invested in her through that.
The second story is written by Waid and Zdarsky, and they dive into what Zdarsky had written in recent issues of Batman. The small problem is that Batman provided a satisfying enough ending already to the “Failsafe” storyline. To return to that here makes you wonder why. The goal of the story is to undo the destruction of Failsafe, but in doing so, it cheapens the conclusion Zdarsky had already written for the characters in the pages of Batman.
They use Time Commander as a narrator, and the strength in that is the same as the first story’s strength. John Starr isn’t a new character, but he’s been away long enough for his perspective to feel new and fresh. He’s as confused as we are, and something that all three writers do here is use a character the reader may not know much about in order to tell us as little of what Waller is planning as possible. They notice that she keeps things secret, but they don’t know what. They also know their place, so they’re too scared to push it. We know only what Zdarsky and Waid want us to.
The final story comes from Williamson alone, and it’s the strongest in showing the lengths Waller would go to in order to enact her plans. Williamson writes a more emotional Waller, but it’s unclear whether that’s all part of her act or not. The story keeps you guessing, but provides a meaningful and surprisingly emotionally charged explanation as to why the Brainiac Queen joins Waller. Williamson finishes the story with all of the pieces ready to go now in the main event, and it ends on a note that makes the reader want to see what comes next.
Jay Nakamura on the run
ART
Starting with Patridge’s work on the first story, she comes out of the gate swinging. Not only does she immediately capture the tone of the story through facial expressions and hasty actions, but she also adds more of an emotional core to the story. You can see how Dreamer is horrified by what Waller wants to do, but she plays along. You can see the horror and determination in Jay’s face as he runs from Waller’s people. It’s all there. There’s this one great panel (seen above) where Jay is running, but the background behind him turns into the image of his mother being thrown out of a window. The glass shards turn into him as he continues to run. Attention to detail is key here, and what we have really amplifies the stakes.
Next is art from Marion in the second story. His work is incredibly detailed and expressive here, specifically the action. There’s a page that shows a flashback of a fight between Batman and Failsafe. The implied motion of it is really strong and shows both characters putting their all into their respective blows. Another example of really great detail is when we’re shown the inside of the robot while it’s hooked up to a separate machine. Every last detail and part of the machine is shown, making it feel less hollow later when shown in full force. The art here just really added a great perspective to the characters.
Finally, there’s Melnikov. Having drawn Superman before, nothing feels out of place. He’s already gotten his feel for the character and his supporting cast down, and uses that well here in showing them and Metropolis. This story is from the perspective of Waller in an artificial world, but with the Brainiac Queen around, there’s a very innocent feeling attached to it. The art makes you feel like you’re at home where you’re supposed to be, it makes you comfortable. When returned to the real world, the art and feel once again becomes cold and strategic. It’s a well done shift.
Jay Nakamura in Waller’s sights
COLORS
The colors in the first two stories are both done by Depelche. He uses lighting and shading to hide advantage in both stories. In the first, Jay is shown fully lit up most of the time with Nia always covered in a light shadow, showing that she’s unhappy with what she has to do. The issue starts with Waller’s back turned to the reader, fully shaded as though she’s a silhouette. This immediately introduces us to her as the person we know the least about. The only time Jay is really covered is when Waller initially captures him and right before Dreamer leaves his cell.
In the second story, purple is one of the main colors showcased. A purple glowing hourglass is the main power source for Starr’s powers, and so everyone has to be constantly shaded in the glow of it. It’s done well, but it mostly only appears when John is by himself. Anywhere else the colors feel cold and foreign, especially when around Waller’s people. Something interesting though is that the purple also returns when Starr is with Waller, especially after she gets what she wants. It’s not out of his control, and it fills the room.
Melnikov takes over on colors for the third story that he draws himself, and most of what was said about his art applies here too. It feels very warm and inviting, only drastically shifting to a more menacing and dramatic set of colors when Superman arrives. Waller is creating this experience, so doing this helps to present him as an enemy. His head is shaded with only the red of his heat vision showing. From the perspective of Waller and the Brainiac Queen, he’s this evil enemy sent to bring nothing but pain and suffering.
LETTERS
The lettering is all done by Wands. The introductions to each story really stood out as interesting here. They show up as calculated and mechanical, showing that each story in this one-shot is simply just a means to an end for Waller. It’s what she needs to do to prepare. The text boxes are well placed and never distract from any of what we’re seeing, which is especially noticeable in the second story. The purple of John’s bubbles blend into his powers, and are placed along the glow of them as it’s shown in action.
In the final story, The letters for Failsafe are back and his text boxes are different from how they usually are. Still mechanical, but they now feel more sinister. The boxes are connected through these static lines, and there are spiked breaks in the boxes that help to imagine the cold and technical voice coming from him. Interestingly, Brainiac Queen has normal bubbles. She’s not all machine; she’s what Waller helped mold her into. She’s a reflection of that, and wouldn’t be shown speaking as a robot, but as a person. it’s a great contrast.
CONCLUSION
Absolute Power: Ground Zero #1 gives us some insight to where the story will go, and does a good job of getting us ready for the event. The teams on this issue show very meticulously what the powers in play are, even if it does go back on previous stories in order to do that. This is a very Waller-centric issue, and can only mean that what to expect going forward is a Waller-centered event. It’s time for her plan to be enacted, and she’s going to enjoy it.
SPECTACULAR SPIDER-MEN #4 hits your local comic book store on June 26th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: The world comes crashing down around Peter and Miles. Someone has just ticked off the wrong Spider-Men. The gloves have come off, and people are going to get hurt.
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 #4 preview below:
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COLD HARD CASH #5 hits the internet June 25th, but thanks to Comixology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the issue: Martha and her colleagues are on the brink of discovering the stolen funds if they can only survive the final confrontation and walk away with the money… and their lives!
The series is by writer Gary Phillips and artist Adriana Melo, with colors by John Kalisz, and letters by Tom Napolitano.
Issue #5 is the conclusion to COLD HARD CASH, which itself is a spinoff of Phillips’ crime novels High Hand and Shooter’s Point.
Check out the COLD HARD CASH #5 preview below:
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Eric Powell, Lucky Yates, and Gideon Kendall’s Lester of the Lesser Gods hardcover is available for preorder today, and thanks to Dark Horse Comics, Monkeys Fighting Robots has your exclusive first-look at the collection’s new cover, as well as a five-page preview of the upcoming issue #2!
About the series: Eric Powell (The Goon) and comedian and voice actor Lucky Yates (Archer) combine twisted comedic talents to bring you Lester of the Lesser Gods. Originally created as an unproduced animated short by Powell a decade ago, the concept was revived when the two writers were looking for a comic project to work on.
Lester, the larping bastard son of the Odin, wanders the post-apocalyptic wasteland after thwarting Satan’s attempt to bring about the end of days. But can this hero of the downtrodden survive the battle arena of Will Frye the Technomancer Guy?
Lesser of the Lesser Gods is currently coming out through Dark Horse Comics; issue #2 releases this month on June 26th, with the series finale slated for August 7th. The hardcover collection will include all three issues of Lesser of the Lesser Gods, as well as the original one-shot, a sketchbook section, and a cover gallery.
Check out Powell’s new cover for the LESTER OF THE LESSER GODS collection right here:
And read on for the first 5 pages of LESTER OF THE LESSER GODS #2 below:
About issue #2: This episode… SIDE QUEST! Lester and his battle companion, Kathy Stroyer, are pulled away from their assault on the empire of Will Frye the Technomancer Guy to raid a mountain fortress where their automaton pal, Duck Bot, is held captive.
Are you reading Lester of the Lesser Gods from Dark Horse? Sound off in the comments!
