Review: BATMAN #146 — Fighting The Machine

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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 — 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.

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.

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A Conversation About THE GOON: THEM THAT DON’T STAY DEAD #1

By

Zac Owens

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What in the World is Going On?

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 The Goon, 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!

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Marvel Comics Exclusive Preview: VENOM #32

By

Anthony Composto - EIC

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March 28, 2024

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.

Check out our VENOM #32 preview below:

Are you reading VENOM? Sound off in the comments!

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Snyder and Francavilla’s WHITE BOAT Gets Exclusive Vinyl

By

Justin Munday

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March 27, 2024

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.

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Review: DAWNRUNNER #1 — Exploring New Connections

By

Mohamed Malla

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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.

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 — 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.

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Marvel Comics Exclusive Preview: EDGE OF SPIDER-VERSE #2

By

Anthony Composto - EIC

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March 21, 2024

marvel comics exclusive preview edge of spider-verse spider-man

EDGE OF SPIDER-VERSE #2 hits your local comic book store on March 27th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive six-page preview for you!

About the issue:
Welcome to Spider-High, the most dangerous high school on Earth. Gluemy Miller is the new kid, and things aren’t looking good for him making it through his first year there with the villainous teachers actually trying to kill him. On the bright side, he may have a shot with the cute cheerleader, but who is the mysterious and deadly SPOOKER-MAN?! CYBORG SPIDER-MAN returns! The coolest Spider-Suit from the ’90s has gone underused for TOO LONG! Don’t miss the most kick-ass Spider-Character’s star turn!

The issue is by writers Kaare Andrews and Richard Douek, artists Robert Quinn and Edgar Salazar, inker Victor Olazaba, colorists Brian Reber and Alex Sinclair, and letterer Joe Caramagna. The main cover is by Chad Hardin and Chris Sotomayor.

Check out previews of both stories in EDGE OF SPIDER-VERSE #2 below:

Are you reading EDGE OF SPIDER-VERSE? Sound off in the comments!

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Marvel Comics Exclusive Preview: DAREDEVIL #7

By

Anthony Composto - EIC

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March 21, 2024

marvel comics exclusive preview daredevil wolverine

DAREDEVIL #7 hits your local comic book store on March 27th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
THE WOLF IS AT THE DOOR!

The pulse-pounding DAREDEVIL saga from Saladin Ahmed and Aaron Kuder continues – as whatever mysterious force that has made Matt Murdock’s life a living hell for weeks has now put him and his fearless alter ego DAREDEVIL on a collision course with the one and only WOLVERINE!

The issue is by writer Saladin Ahmed and artist Aaron Kuder, with colors by Jesus Aburtov, and letters by Clayton Cowles. The main cover is by John Romita Jr., Scott Hanna, and Richard Isanove.

Check out our DAREDEVIL #7 preview below:

Are you reading DAREDEVIL? Sound off in the comments!

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Review: DAWNRUNNER #1 – Ghosts in the Machine

By

Justin Munday

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From contemporary comics auteur Ram V (These Savage Shores, The Many Deaths of Laila Starr) and artistic phenom Evan Cagle (Dark Tropic, Superman and the Authority) comes a cerebral take on kaiju stories with Dawnrunner #1. Featuring colors by Dave Stewart and lettering by Aditya Bidikar, this debut issue takes the standard tropes of Pacific Rim-style monster stories and injects a devious twist at the hands of corporate brutality. With a compelling script and staggering visual work, Dawnrunner is one of the best new titles of the year so far.

“A century ago a portal opened over Central America and the Tetza that came through changed our world. Now the world bends all its effort to making the Iron Kings–great mechs that must battle the Tetza for humanity’s continued survival in gladiatorial combat. Anita Marr is the greatest of the pilots and is chosen to pilot a new prototype that could change the tide in humanity’s favor.”

Writing & Plot

Ram V has always had a habit of injecting resonant themes into a myriad of genres, and he does it again here in Dawnrunner #1. In this future setting, Earth was invaded by a race of massive monsters called the Tetza. As humanity struggled for dominance, they discovered the best way to fight these massive beasts was by getting up to their level – mecha style. As this combat approach proved effective, corporations decided to make these battles a form of entertainment, selling both weapons and circuses to profit off of our near damnation. One company unveils a prototype, supposedly the most advanced mech yet. It’s new technological advantage proves to be an unsettling and compelling twist that absolutely sells the rest of the series. Ram V succeeds with Dawnrunner by taking a concept that feels familiar and trope-y on the outset and injecting it with some classic corporate greed and existential dread. The opening half of this issue feels like the dozens of other kaiju-fighting comics that have come out over the last few years. Even with Ram’s concise narrative voice and ear for naturalistic dialogue, Dawnrunner doesn’t read as anything particularly special on its opening. However, once the story hits its larger concepts – capitalists constantly inventing new ways to profit off of war and death – this comic really becomes something incredible. The Kaiju genre, starting with Godzilla in 1954, has always been about having a thematic focus even larger than the monsters themselves. Here in the West, we forget that aspect and lean in to the spectacle. It’s both reassuring and totally unsurprising to see Ram V leaning into the more meaningful side of the genre while still allowing for kickass action to take place.

Art Direction

Dawnrunner #1 may also be the best looking kaiju comic of the last few years thanks to the phenomenal visual work of Evan Cagle. His fluid animations, expressive character work, and hyper-detailed environmental and biomechanical design makes for a comic issue you won’t stop just staring at. Cagle emulates a sort of multi-dimensional look with his pencils, thanks to how he handles shading. He showcases indirect lighting and shadow with intense hatching, and this is usually seen in the background of most panels. With the characters in the foreground having very little shading by comparison, he’s able to craft a sense of scale and distance that’s difficult to accomplish in a 2D medium. Cagle’s design work adds to both the sense of scale and alien-like aspects of this world. His approach is comparable to the work of Katsuhiro Atomo’s on Akira, Hiroya Oku with Gantz, and even reminds me of Nick Dragotta of East of West fame. Cagle carries the story along at a careful pace, allowing for the plot to simmer and intensify and the action to hit with a hammer when it finally arrives. Industry veteran Dave Stewart give life to Cagle’s pencils with phenomenal effect. Stewart’s tonal approach gives the whole comic a sort of uncanniness, with his hues adding an eerie sci-fi horror element to this broken future. His work adds a menacing tone to every interaction, from the sanitized office spaces of CEO’s, to the unforgiving jungles and decaying technologies of this Earth to be. His colorwork on the monster in this issue sticks out as well, with a pale, flat pink selling the impression that this beast doesn’t belong on this world. Aditya Bidikar once again delivers solid lettering, with his SFX work feeling like an artistic exclamation point over an environment that looks as though it has shunned art to make war. Dawnrunner is a staggering comic issue in terms of visual storytelling.

Verdict

Dawnrunner#1 is well on track to be the best comic book of its kind. Ram V delivers a script that takes the familiar kaiju-fighting tropes and blends them with a sharp political edge mixed with a cerebral sci-fi/horror twist. The visuals from Evan Cagle and Dave Stewart are nothing short of astounding, with a use of lighting and scale seldom seen in the medium. Be sure to grab this phenomenal debut when it hits shelves on March 20th!

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Review: HELEN OF WYNDHORN #1 — How Stories Get Told

By

Zac Owens

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Dark Horse Comics’ Helen of Wyndhorn #1 is complex and understated all at once. The all-star creative team behind Supergirl: Woman of Tomorrow — writer Tom King, artist Bilquis Evely, colorist Matheus Lopes, and letterer Clayton Cowles — are back with another stunning labor of love. Helen of Wyndhorn is about many, many things. But, it seems, it’s most of all about how stories get told.

About Helen of Wyndhorn #1 (from Dark Horse):

Following the tragic death of her late father C.K. Cole, the esteemed pulp writer and creator of the popular warrior character Othan; Helen Cole is called back to her Grandfather’s enormous and illustrious estate: Wyndhorn House.

Scarred by Cole’s untimely passing and lost in a new, strange world, Helen wreaks drunken havoc upon her arrival; however, her chaotic ways begin to soften as she discovers a lifetime of secrets hiding within the myriad rooms and hallways of the expansive manor. For outside its walls, within the woods, dwell the legendary adventures that once were locked away within her father’s stories.

Writing

From page one, King’s playful tone in this series is obvious. Despite the premise of the story revolving around Helen losing her father, the first words we see are simply “I didn’t know him.” These are the words of Ms. Appleton. She was Helen’s caretaker at Wyndhorn, and now, in her ripe old age, she’s being interviewed about her connections to the daughter of the famous pulp writer, C.K. Cole. But she never met him, and she’s proud to admit that she never has — nor ever plans to — read his work. “It’s all trash, isn’t it?” she tuts.

And so, it’s through Ms. Appleton’s voice that we hear about Helen and Wyndhorn. She’s a character who would shiver to think that her own words would be printed in something so lowly as a comic book. But King chooses her voice for a reason. Her discomfort with the subject matter of her own story — the teenage Helen’s binge drinking and chain smoking for instance — leads her to be scant on the details. She’s verbose, but she’s also evasive in how she relays what she witnessed, perhaps worried that she should have done more. When she speaks to a barkeep, trying to track down her ward at the very start of our tale, she says “It has been over five decades, and still I hesitate to admit where he sent me next.” She goes on cryptically, painting an even more vivid picture through what she’s not saying, describing the prison cell where she finds the poor girl passed out. As a narrator, she not only lends humor and subtlety to these pages, but she stands in stark contrast to our raucous titular character.

Art

Similarly to King, Evely plays against every moment. Helen’s addictions, in reality, are quite depressing. She’s a sixteen year old girl who is dependent on booze and cigarettes. But instead of highlighting what we already know, Evely depicts Helen’s addictions in whimsical ways. When she knocks back a drink, she almost seems to be doing a dance. The smoke of her cigarettes sweep across her, joining in the movement. Rather than judging Helen for her vices, Evely gives us a window into why she depends on these things. As dysfunctional as it might be, she simply comes alive when she has a drink in her hand. These are the things she can count on as entertaining distractions from not ever really fitting in.

When Helen is first shown around the Wyndhorn House, she is pictured across two pages, small against the backdrop of the massive rooms in the mansion. She’s standing in the exact same rigid stance in each panel, but her placement in each panel changes. Evely makes us feel like Helen is totally lost, being led around a world that’s not her own. It’s when she’s given a tour of the wine cellar that we first see her begin to move again. Her arms open a little, and soon she’s relaxed and at home, with wine running down her satisfied face.

Coloring

The world of Helen of Wyndhorn is bright, vibrant, and full of life. Even the dirty prison cell where Ms. Appleton first finds Helen has a brilliant yellow light cast across it. When we see them both later, they’re aboard a train that’s lumbering across a nighttime landscape. The panel is shown in a blue that almost seems to glow. Even Wyndhorn itself is perched atop rolling green hills. Everything, for the first few pages, almost feels magical in its coloration. But the inside of the Wyndhorn mansion is a different story. Where once there were vivid hues of yellow, blue, and green, there is now nothing but dull earthy tones. Every panel is covered in shades of brown and grey. The ornate decorations are somehow rendered to seem boring and unimpressive.

It seems that, despite Ms. Appleton being the one who is narrating this particular story, Lopes is actually showing it to us through Helen’s eyes. She sparkles in the outdoors. She’s more in her own skin when she’s in a cramped prison cell than when she’s in a gargantuan house. That is, until she sees the wine cellar. For the first time on her tour of Wyndhorn, Lopes brings bright coloring back into the page. The panels of Helen slurping down a whole bottle of red wine are depicted in a familiar warm yellow. She acts like she’s unaffected by her environments. Lopes assures us that that is not the case.

Lettering

Thanks to Cowles, the sentiments of our narrator towards pulpy “trash” fiction are never forgotten. Her captions show up, looking like they’ve been ripped out of her diary. The font looks like neat handwriting and the caption boxes have uneven edges to them. I’m sure Ms. Appleton would be more inclined to see this story published in a memoir, rather than showing up in the pages of a comic book. But try as she might, she certainly lives in the kind of world that still has a tendency towards moments of flashy action. Whether it’s his haphazard looking fonts that present the sounds of shattering glass, or the sounds of people’s screams that push beyond the borders of their word balloons, Cowles deals as expertly in excitement as he does in subtlety.

Verdict

Dark Horse’s Helen of Wyndhorn is about more than worlds colliding. It’s about more than a young girl who is trying to run from trauma — in the most entertaining ways she can muster. Helen of Wyndhorn is about how stories get told. This creative team proves they know the art of storytelling intimately. What they’re doing here is nothing short of beautiful. Helen of Wyndhorn #1 is out now from Dark Horse Comics at a comic shop near you!

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Marvel Comics Exclusive Preview: VENGEANCE OF THE MOON KNIGHT #3

By

Anthony Composto - EIC

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March 14, 2024

marvel comics exclusive preview vengeance of the moon knight

VENGEANCE OF THE MOON KNIGHT #3 hits your local comic book store on March 20th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!

About the issue:
VENGEANCE EXACTED!

As the new Moon Knight serves his own vision of justice, Marc Spector’s allies and friends take it upon themselves to find his base of operations and take the fight to him! But the Fists of Khonshu hold a bloody and well-earned reputation, one which the likes of Hunter’s Moon, Tigra and Soldier are all about to experience firsthand!

The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Davide Paratore.

Check out our VENGEANCE OF THE MOON KNIGHT #3 preview below:

Are you reading VENGEANCE OF THE MOON KNIGHT? Sound off in the comments!

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