VENOM #34 hits your local comic book store on June 5th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: BLOOD HUNT TIE-IN: LEE PRICE RETURNS!
The CAPTIVE is loose! And the vampiric super-foe thirsts for one thing – VENOM! And the Captive isn’t the only problem – the dead now walk an Earth smothered in eternal night. Vampires infest New York City, and LEE PRICE, one-time host to the Venom symbiote, rises from the grave! And he has unfinished business with his old partner.
The issue is by writer Al Ewing and artist Juan Ferreyra, with letters by Clayton Cowles. The main cover is by CAFU.
Check out our VENOM #34 preview below:
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SHE’S RUNNING ON FUMES #5 hits the internet June 4th, but thanks to Comixology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the issue: With Dad, the cash and cocaine all being high speed chased, Patti’s back with a vengeance, expecting Mom to pay in full.
SHE’S RUNNING ON FUMES #5 is by writer Dennis Hopeless and artist Tyler Jenkins, with colors by Hilary Jenkins, and letters by Hassan Otsmane-Elhaou. The series is edited by Heather Antos.
Check out the SHE’S RUNNING ON FUMES #5 preview below:
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The first image we see in Image Comics’ Houses of the Unholy is that of a pentagram. It’s shown in a brilliant red that makes it looks like it’s been carved into the flesh of the book. It’s a fitting first image. Writer Ed Brubaker, artist Sean Phillips, and colorist Jacob Phillips — the unbeatable team behind works like Cruel Summer, Pulp, and Where the Body Was — are telling a story about wounds that won’t heal. This creative team steeps their narrative in actual history, making their themes and questions all the more poignant.
About Houses of the Unholy:
An FBI agent from the cult crime beat and a woman with a past linked to the Satanic Panic are drawn into a terrifying hunt for an insane killer hiding in the shadows of the underworld. Can you ever escape your past, or are all your bad decisions just more ghosts to haunt you, wherever you go?
Writing
Brubaker, in his newsletters, has described his fascination with the Satanic Panic of the 80’s. Houses of the Unholy, in many ways, feels like his answer to the proverbial question, “What is it you find so interesting about that time?” His answer is thorough, thought-provoking, and moving. Because, while the Satanic Panic may largely be something that’s been left in the past, we can still see its fingerprints today. And when the world seems to be falling apart, it can be hard to not feel like you’re living through “The End of Days.”
Our main character, Natalie Burns, was five years old when the Satanic Panic swept through her school. She, along with five other classmates, testified to being forced into demonic rituals by her teachers. When Brubaker reintroduces us to her, she’s thirty five years older, and she knows that her and her classmates’ testimonies — along with the demon-filled memories that plague her at night — are all fabrications, the result of an impressionable mind being caught in the middle of a strange cultural moment. Brubaker shows us her guilt about the fallout of her testimony in his usual subtle way. It’s in her tough exterior, in the nonchalant way that she relays traumatic memories, and in her reliance on pot to quiet the noise in her head.
Thanks to Natalie, this isn’t just a history lesson. Brubaker’s ability to weave in historical details is incredible, but it’s not the point. Natalie is running from her past and disillusioned by her present. She can’t trust her own memories and seems unsure of what the truth even is anymore. She’s been burned by the church, by her parents, by her school, and by a culture that wants to punish her for things she did as a child. She carries those things with her, more as open wounds than as scars. Brubaker doesn’t want us to just know about the Satanic Panic. He wants us to feel its effects, and see just how relatable Natalie’s story really is.
Art
At times, Houses of the Unholy can be deeply disturbing. We see images of women being covered in blood, as part of some sadistic ritual, but these moments are surprisingly scarce. Sean Phillips, save for a few exceptions, relegates most of the dark ritualistic imagery to the periphery. We see the shadow of a monster, cast along the walls of a tunnel. We see a cultist and a demon in the background of a panel, as figments of Natalie’s imagination. We see symbols, silhouettes, and shadows. After all, the Satanic Panic was full of uncertainty, fabrication, and confusion. Phillips’ choice to avoid bringing any of those scenes or images into center stage masterfully maintains that ambiguous atmosphere.
Those aren’t the only details Phillips chooses to obscure. One particularly tragic moment happens mostly off-panel, with only a fragment of the scene shown to let us know what’s happened. It’s enough. In fact, avoiding depicting the whole thing not only hammers in the quiet tragedy of the moment, but it speaks to Natalie’s attempt to forget it happened. On one page, however, the fragment of the scene reappears like a specter, hovering over the panel from out of nowhere. Natalie looks up at it with tired eyes. Try as she might, Phillips shows us, Natalie cannot escape her past.
Coloring
Not only is Jacob Phillips fantastic at inviting you into the atmosphere of a scene, but his bold color choices enhance the story beats brilliantly. All of the flashbacks to Natalie’s childhood are shown in shades of red and white. It’s as though the glow of Hell itself lights these pages. Or maybe it’s that Natalie can’t help but see these moments through the lens of her own blood-soaked soul. Either way, these scenes appear as garish reminders of horrible memories. And we can see just how much Natalie’s past affects her, as the same red hues creep slowly but surely into her present day.
Elsewhere, Phillips sets scenes so effectively it’s hard not to feel like you’re in the room with the characters. You can smell the dank air of a basement, colored in cold greys and blues. You can feel the cool breeze of the night air as you stand out in a parking lot, watching the sun go down in a pinkish twilight. Phillips’ colors aren’t simply a part of the things you’re reading on a page: They’re an invitation into the world of the story. They’re there to be felt, rather than read.
Lettering
Sean Phillips’ lettering in Houses of the Unholy is mostly typical of his work with Brubaker. It’s clear, ordered, and uses a lot of the same visual cues from their other works. You see the straight edged word balloons of people gruffly shouting, the small font in the middle of a large balloon of someone saying something under their breath, as well as the caption boxes with hand drawn edges. But Phillips also lets loose a little more than usual. Car crashes and sirens get big, sweeping sound effects, written with block letters that have scribbled outlines to them. And every chapter is punctuated by a flashback, which always begins with an all black panel that has a title written in white block letters. It gives the whole story the feel of a true crime series. Phillips lettering, as always, perfectly adds to the feeling and tone of the narrative.
Verdict
It’s hard not to call every new project from Brubaker, Phillips, and Phillips their best. But that’s because this creative team is constantly growing, putting out better and better material. Each new graphic novel feels more vulnerable, poignant, and layered than their last. Houses of the Unholy follows this trend perfectly. It’s not only an effectively told story, but it’s also just as ambiguous and troubling as the cultural moment from which it springs. Houses of the Unholy is out from Image Comics on August 27th at a comic shop near you. It’s sure to be another massive hit, so get your copy while you can!
STAR WARS: JANGO FETT #3 hits your local comic book store on May 29th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: JANGO VS. AURRA SING! The heavyweight BOUNTY HUNTER battle that will shake the galaxy! Who is the mysterious figure behind the heist that is igniting a war? Prepare for a new twist when an unexpected alliance is revealed!
The issue is by writer Ethan Sacks and artist Luke Ross, with colors by Nolan Woodard, and letters by Joe Caramagna. The main cover is by Leinil Francis Yu and Woodard.
Check out our STAR WARS: JANGO FETT #3 preview below:
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EDGE OF SPIDER-VERSE #4 hits your local comic book store on May 29th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: Witness the comic-book debut of the SPIDER-WOMAN from the smash hit ACROSS THE SPIDER-VERSE MOVIE! That’s right, the Jessica Drew that stole that great movie is coming to the comics with a story from NILAH MAGRUDER and MARCUS WILLIAMS working with the filmmakers! And if that’s not enough, witness the true birth of the Spider-Society setting up the next SPIDER-VERSE storytelling epic!
The issue features three stories from across the Spider-Verse. The first story featuring Jessica Drew is by writer Nilah Magruder and artists Marcus Williams & Eric Gapstur, with colors by Raúl Angulo & Marcus Williams. The second story featuring Spider-Rex is by writer Karla Pacheco and artist Pere Pérez, with inks by Wade Von Grawbadger, and colors by Brian Reber. The final story featuring Araña is by writer Alex Segura and artist Salvador Larroca, with colors by Guru-eFX. All three stories are lettered by Joe Caramagna, and the cover is by Chad Hardin & Andrew Dalhouse.
Check out our EDGE OF SPIDER-VERSE #4 preview below:
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NAMOR #2 is coming to your local comic book store August 21st, but thanks to Marvel Comics, Monkeys Fighting Robots has the exclusive first look at the issue!
About the issue: THE WAR OF THE SEVEN KINGS RAGES!
Barbarian hordes have gathered on the sunless plains of Attumacht Deep, 28,000 feet below the waves. They howl with bloodlust, ready to scour every inch of ocean to find the most hated traitor in all the seas. But that won’t be necessary now. Here comes Namor, the Sub-Mariner, fallen king of Atlantis…to swim the Crimson Swim.
The issue is by writer Jason Aaron and artists Alex Lins & Paul Davidson. The main cover is by Alexander Lozano.
Aaron describes this NAMOR series as “very much a dark exploration of one of the truest antiheroes, while also serving as a roadmap and a redefinition of the entire undersea world,” and teases “some faces from Namor’s past, plus a bunch of new friends and foes.” We see one of these new faces on the cover of issue #2: Kailani, a character from Namor’s past who is one of his rivals in the War of Seven Kings.
Get your first look at Lozano’s NAMOR #2 cover here:
Are you adding NAMOR to your pull list? Sound off in the comments!
SPIDER-GWEN: THE GHOST-SPIDER #1 hits your local comic book store on May 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive six-page preview for you!
About the issue: TRAPPED IN THE 616…FOR GOOD!
Welcome to New York! Gwen truly becomes a Ghost-Spider when she moves full time to the universe where Gwen Stacy died years ago. But why did she leave Earth-65? Why aren’t the other spiders supposed to know she’s here? Why isn’t she supposed to suit up? And who will get hurt when she does?
The issue is by writer Stephanie Phillips and artist Federica Mancin, with colors by Matt Milla, and letters by Ariana Maher. The main cover is by Mark Brooks and Nolan Woodard.
Check out our SPIDER-GWEN: THE GHOST-SPIDER #1 preview below:
Are you picking up SPIDER-GWEN: THE GHOST-SPIDER #1 next week? Sound off in the comments!
Action Comics #1065 is the third official part in DC’s “House of Brainiac” event. Again written by Joshua Williamson, this issue also features artists Rafa Sandoval, Miguel Mendonça, and Mirko Colak, with colors by Alejandro Sánchez and Mike Spicer, accompanied by lettering from Dave Sharpe.
This issue follows Superman and Lobo as they attempt to fight off the Czarnian army and enter Brainiac’s ship. They decide to change the playing field to make sure Brainiac doesn’t get too far. Once there, however, Lobo is given an offer he might not be able to refuse. Back on the ship, Supergirl and Superboy stage a breakout inside Brainiac’s ship while Brainiac himself works with Lex Luthor on a mystery project. Brainiac searches for his son, Vril Dox, in the backup story and finally discloses a part of his plan.
Brainiac works on a device with Lex Luthor
WRITING
Something about Williamson’s work that’s sure to entice readers is how the writer always knows exactly what choice each character would make in any given scenario. He puts almost all of the characters through the wringer in this one, but the way they react to what’s being thrown in front of them is always natural. Superman’s entire life basically fell apart within the span of a minute in the beginning of the event, so he’s rightfully angry here, and takes that out on the Czarnian army because he knows they can take it. Lobo is hotheaded and is almost offended when Clark asks to retreat from the fight. Every character reacts appropriately to the news they’re given, and that strengthens the overall narrative of the issue by never leaving the reader wondering if a character they love would really do that. Everyone’s got a clear goal here with beliefs that are apparent through their actions.
The really interesting part of the issue lies in the story back on Brainiac’s ship. Supergirl and Superboy stage a breakout with Parasite and Livewire, and watching all these opposing personalities fight against each other while knowing they need to work together is a really strong way of moving the plot forward. Not only that, but it shows development in both Parasite and Livewire. During the rest of the run, they’ve typically been nothing but nuisances. Now? They help the two supers fight to get out. They don’t have a really noble reason, but it’s a step forward down the right path that’s nice to see Williamson take with these characters. It’s something fresh that’s bound to provide some interesting story opportunities moving forward.
Onto the backup story, Williamson takes an unexpected turn by letting the narrator actually be Brainiac’s son, Vril Dox. He’s clearly resentful towards his father, and it even feels like he hates him. The two share a tense relationship throughout the story. Brainiac clearly needs his son for something, but he wants absolutely nothing to do with his father. It’s an interesting dynamic told through the perspective of someone other than Brainiac for once, and it’s relieving to see an outside protective on him and his plans when he’s alone. You’re not just stuck in his head, but now in the head of someone who genuinely does hate him without Superman’s morals. He’s sure to be a welcome addition to the story moving forward.
Superman and Lobo take on the Czarnian army
ART
Sandoval is responsible for the parts of the issue featuring Superman and Lobo. The artist is always an expert at capturing the urgency of a situation, as well as the rage and conviction in a character’s face when it gets down to it. Everyone is clearly doing what they’re doing with a purpose, and it’s one that’s felt in every panel. He also really helps in giving each Czarnian their own personality. They don’t all feel like carbon copies of Lobo, but really their own people. Every character has different mannerisms that helps to differentiate them, and that’s especially apparent in the group shots. Each one of them is performing a different action with a different look on their face that they continue to do as time goes on, almost becoming a signature for them.
Mendonça covers the portions of the issue that take place on Brainiac’s ship. He creates some really unsettling designs in this in the form of these genetically enhanced wolves that Brainiac has circling and guarding his ship. They’re haunting to look at the second they appear on the page, and Mendonça really sells that. He plays around with a few existing designs as well. Parasite and Livewire look great in their prison clothes, especially when they’re helping Superboy and Supergirl blast some Brainiacs. He also brings some new life to the ship in the form of some areas that we haven’t really seen before: Armories, long hallways, and science labs all feature in his pages and each is just as compelling to study as the last.
Colak draws the backup story of the issue, and the way he has Vril Dox and Brainiac play off each other adds to their already interesting dynamic. He often fully displays Vril Dox, with Brainiac never really being able to be caught at a good angle. This lends itself well to the story told from Vril’s perspective. In fact, Brainiac is only really shown when he’s meant to look menacing. That, and on one page where he seems to be in pain and vulnerable. Only then is he fully visible. Vril is only able to see his father when he’s vulnerable or when he’s stern and threatening, and never anything in between. Him only seeing Brainiac in those ways tells a lot about the character and how he was brought up, and gives the reader a reason to understand why he’s so fearful of him moving forward.
Superman lets loose
COLORING
Sánchez covers the coloring for both Sandoval and Mendonça in this issue. He does a great job of lighting the various environments. With Superman and Lobo in space, he has every explosion glow off of the character’s faces. Back on Brainiac’s ship, Livewire’s blasts shine off of her as well as those around her. The most beautiful part of the issue is Brainiac’s ship. There are a few panels where the ship is on full display, and it looks electric. The purple glow in the mouth and the dots in the eyes that mirror those on Brainiac’s head make it look horrifying. The light also covers the rest of the metallic head, the colors mixing to create something really pleasant to look at. Something interesting about the ship this issue is that it almost never looks the same twice, as if it’s growing, and the colors grow and change with it. He’s also incredibly aware of the angles, and lights things accordingly. The ship is shown from multiple directions, and the lighting changes dependent on that.
Spicer covers Colak’s backup story, and he really helps in the point made earlier about hardly seeing Brainiac in this encounter. The area the two are in isn’t necessarily well lit, but Vril’s face is still the usual shade of green while Brainiac’s is often completely dark. He doesn’t hide from the light, but the story is focused on Vril and so that’s where the light shines. Brainiac’s face is always half colored and shaded with these dark eyes that only turn a bright purple while he’s vulnerable, almost signaling a malfunction in his system. Everyone worked together really well on this backup story to sell this narrative of detachment between the two.
LETTERING
Sharpe covers the whole issue, and works as consistently as he has through the rest of this event. Brainiac’s bubbles are still uniquely shaped, but so are the Czarnians’. Lobo’s bubble has always been these messy circles, but it’s the same for the other Czarnians. Theirs almost seem even wavier, maybe signaling that while Lobo is far from refined, he’s lived in a world without these characters while they’ve continued to only really be surrounded by each other. Another interesting change lies in Vril Dox in the backup story of the issue. His bubbles are the opposite of his father’s. While Brainiac’s are black with green text, Dox has these smoother bubbles with a green background and black text. He’s the opposite of his father, but also doesn’t contain that pounding, uncontainable thirst of knowledge that his father displays in his bubbles.
CONCLUSION
Overall, this entire issue is really well put together. The teams involved all work hard to make sure their work plays off the other’s, and that’s especially apparent in the issue’s backup story. Each separate person in this process dedicates something to each page, and the collaboration is seamless here. Consistency has reigned supreme in every part of this event so far, and this issue is no exception.
During a Saturday afternoon panel at C2E2, Boom! Studios’ Anthony Mauro was joined by writer James Tynion IV (Something Is Killing The Children, The Nice House On The Lake), artist Michael Dialynas (ZAWA The Belly Of The Beast, WYND, TMNT), and artist Werther Dell’Era (Something Is Killing The Children) to celebrate a decade of Tynion at the publisher.
Tynion initially approached Boom! Studios 10 years ago with a pitch for The Woods on the advice of Scott Snyder (Batman, Wytches, Nocterra). That initial pitch for a four-issue miniseries about a high-schooler who is transported into the middle of an alien forest ballooned into a 36-issue series — a running theme of Tynion’s run with the publisher.
“I’m not known for my brevity,” Tynion joked. “I like long series.”
“Once I find the audience, that just means it’s like, ‘Hey, we can make this however long it needs to be.’ Sometimes, that means it should be longer.”
There was much more than reminiscing, however, as the panel dropped several juicy hints for what fans of Tynion’s work can expect on the horizon. Here’s what we learned.
Something Is Killing The Children getting back to basics — and to Netflix?
Tynion and Dell’Era’s hit horror series Something Is Killing The Children is celebrating its 5-year anniversary this year. The series’ next issue will make it Tynion’s longest-running creator-owned series — which is, all things considered, a feat in the current market and a testament to the power that word of mouth can still wield in the industry.
Still, the writer joked that he partially credits Robert Kirkman for the series’ success, as he suddenly ended The Walking Dead just before SIKTC was set to release, leaving a gaping hole in the horror comics space on comic shop shelves.
The current arc of the series is set to get “back to the original pitch of the series.” Over the course of five one-shots, main character Erica Slaughter will be placed in a variety of settings and situations that provide five “jumping-on points” and serve as a reminder after the “brutal end of the last arc” that the core of the series is Erica fighting monsters.
“In some of the issues, she’s going to be more pulled back, and it’s more focused on the people in whatever small town she’s in. Sometimes it’s more focused on her,” Tynion said. “There’s still some big story secrets that will unravel over the course of the arc.”
There’s also, however, a “sad dog issue,” Tynion warned. “Sometimes you’ve gotta write a sad dog issue.”
Tynion also hinted that things are “moving in exciting ways on the Netflix front” — but he can’t say any more about that yet.
Among other Something Is Killing The Children news:
Hello Darkness, a six-issue anthology series that will tell an Erica Slaughter in Rashomon style, where the entire town is gathered in one bar and you hear all of their different takes on an event.
Something Is Killing The Children #0 is set to release later this year, directly precedes SIKTC #1, and tells the story of what Erica was doing in the woods.
The Book of Slaughter and Book of Butcher series of oversized winter specials will be wrapped up with Book of Cutter, expanding the mythology of the series.
Finally, Something is Killing the Children Silver, previously announced at San Diego Comic Con last year, is still on the way, has a yet-to-be-named artist attached, and will tell the “most mysterious” story of the House of Slaughter. But beyond that, “I can’t really talk much about it,” Tynion said.
10th Anniversary oversize hardcovers on the way
Perhaps the panel’s biggest announcement, a Boom! Direct Reserve Kickstarter campaign will offer super deluxe edition hardcovers of Tynion’s Memetic, Something Is Killing The Children, and The Woods.
The campaign launches May 14, the date The Woods was first published, but fans can sign up now to receive a reminder when it goes live. Artist Nick Robles, who Tynion noted used to draw fan art of The Woods, is contributing a print for this collection.
“I love big, beautiful hardcover editions of my comics,” Tynion said. “If you have the deluxe Something Is Killing The Children volume, it’s going to look great on the shelf next to all of those.”
The set will also feature supplemental material including art galleries and making of and interview content.
Ryan Stegman loves body swap stories. His favorite? 17 Again.
It’s an extremely fitting factoid for anyone whose introduction to Stegman’s work was his run with writer Dan Slott on Superior Spider-Man, the infamous 2013-2014 story arc where a dying Doctor Octopus took over Peter Parker’s body for 34 issues.
But it’s also a detail that spawned Stegman’s Image Comics series The Schlub.
The creator-owned collaboration with fellow writer Kenny Porter (Superboy, The Flash), artist Tyrell Cannon (Beef Bros), colorist Mike Spicer (Beta Ray Bill), and letterer John J. Hill (Harley Quinn) follows the story of what happens when failed dentist Roger Dalton swaps bodies with Cirrus, one of his world’s greatest superheroes.
To mark the occasion of The Schlub’s trade paperback release, Stegman, Porter, and Cannon held court during a Saturday panel at C2E2, discussing their experiences building out Roger and Cirrus’ world. Here are three things we learned.
What is this again?
The initial idea for The Schlub came to Stegman during a dinner at a comic convention in which he implored Joëlle Jones and her boyfriend at the time to watch 17 Again.
“I don’t know what I like about [body swap stories] so much,” Stegman told attendees, but he really wanted to do a superhero book with that twist on it. At the time, he was finishing the Amazing Spider-Man/Venom crossover “Venom Inc,” and he had told Marvel he was going to go off to do a creator-owned series.
During this time, he said, he turned down a Mike Costa-written Venom miniseries that Mark Bagley ended up drawing, as well as Infinity Warps with Gerry Duggan. But then Marvel editor Devin Lewis pressed him to get on the phone with writer Donny Cates about working on a new Venom series with writer Donny Cates. As a result, The Schlub — initially titled “The Unbearable Roger Dalton,” or “TURD” — went on the backburner.
Not content to leave the already-written plot just sitting there, Stegman approached Porter and Cannon about completing it.
The general plot for the book, Stegman said, was that a Michael Scott type of guy who can’t get out of his own way and is hated by his family gets body-swapped with the most powerful being on the planet.
Stegman really doesn’t like dentists
The reason for why the character of Roger Dalton is a dentist is a simple one: In building a story around an unlikable character, Stegman gravitated toward the most unlikable profession that came to mind. After all, does anyone actually enjoy going to the dentist?
While Porter shared a dental horror story in which the dentist’s polishing tool exploded in his mouth and sprayed paste everywhere, the root of Stegman’s problem with dentists runs much deeper.
“They’ve definitely tried to ruin my life multiple times,” Stegman told attendees.
At age 27, he had his wisdom teeth removed after years of putting it off. But within days of having them removed, he began having recurring pain on one side of his mouth. Despite returning to the dentist who pulled the teeth, he was repeatedly told nothing seemed wrong.
After three months of pain and “being told that I was crazy,” he eventually went to a new dentist who told him he had a severe infection and that “you might lose that whole jaw.” That dentist sent him to a periodontist, who told him he needed massive surgery because his jaw was eroding from infection. “I’m losing bone in my jaw. I’m in pain all the time. This is like a 6-month ordeal,” Stegman said. “The entire process was just people messing up over and over and over.”
Thus, “I want this guy to be the worst guy in the world for The Schlub, so what would his profession be? Dentist, obviously,” Stegman said.
The ‘Marvel style’ approach shows — in the best ways
During phone conversations, the trio worked to flesh out a universe of characters built around a main character “who sucks,” Stegman said. This included Roger Dalton’s family, a “Justice-League-like” group, and more.
Much of this was done “Marvel style” — where the writer shares the plot with the artist, the artist expands the plot into a fully drawn story, and the writer fleshes out the dialogue and captions — to “let Tyrell flex,” Porter said.
Cannon responded by joking that they were too lazy to write a “real” script, but conceded that the plots he received weren’t “just a block of text.” They described panels, but the plot wasn’t fully called out panel-for-panel like a full script.
As a result of the loose scripting approach, Cannon said he leaned into taking full advantage of the comic medium rather than laying panels out like a storyboard pitch for a show — and it shows through from the story’s opening splash page, in which the reader’s first view of Roger Dalton is from looking outward from inside of a patient’s mouth.
On each ensuing page, Cannon plays with Cirrus’ body language to convey that he’s a superhero being piloted by a normal dentist, and that Roger is a normal dentist being piloted by a superhero, and neither really knows what they’re doing.
Each issue introduces new characters and situations that the body-swapped duo must navigate.
But despite not being scripted as a pitch for a show, Stegman joked that if any producers want to make it a show, he’d love to talk because, “I’m really underwater here, guys.”
[Writer’s note: In the interest of full transparency, this panel was enough to make me seek out a copy of The Schlub trade paperback at Porter’s artist alley table, and it has not been disappointing. The story is paced well and does a good job of balancing dry humor and a lighthearted tone while fleshing out its characters and the world they inhabit. And even when splash pages aren’t making dynamic use of the medium, each page still pops thanks to Cannon and Spicer’s energetic art. I highly recommend checking this book out if you want a fun superhero story outside of the familiar names from the Big Two.]
