ALL-NEW VENOM #4 hits your local comic book store on March 12th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: M.O.D.O.K. MADNESS!
M.O.D.O.K. gets inside the All-New Venom’s head…and you won’t believe how! But whose side is Madame Masque on? One thing’s for sure – by the time you finish this issue, you’ll be one step closer to knowing who’s under the goo…Meanwhile, take a visit to S.C.A.R. HQ –and find out what happened to Flash Thompson, Agent Anti-Venom!
The issue is by writer Al Ewing and artist Carlos Gómez, with colors by Frank D’Armata, and letters by Clayton Cowles. The main cover is by Adam Kubert and Laura Martin.
Check out our ALL-NEW VENOM #4 preview below:
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From acclaimed writer Faith Erin Hicks (Avatar: The Last Airbender, Pumpkinheads) and industry veteran Lee Loughridge comes the next chapter in Image/Skybound’s Universal Monsters imprint with The Mummy #1. Hicks and Loughridge take the classic movie monster premise and bring a modern cultural examination to the 1920’s, making the lead characters just as important as the titular creature itself. With a compelling script and excellent visual work, The Mummy is off to a great start.
“Helen Grosvenor is a woman born to two worlds and belonging in neither, forever haunted by a cursed encounter as a child. When unknown voices bring her back to an Egyptian dig site from her past, Helen will unknowingly play an unexpected role in the rise of a monster known only as…THE MUMMY!”
Writing & Plot
Faith Erin Hicks crafts a script that goes well beyond just being a cool monster story with The Mummy #1. This opening chapter focuses even more on themes of imperialism, classism, and cultural heritage than it does on just the titular Mummy – all elements that existed (in very subtle amounts) even in the original Karloff films. Having the story open with such a focus on Helen’s half-British half-Egyptian heritage and her family’s wealth places readers into the shoes of the characters remarkably well. After all, the best horror works so well because of the humanity of its main characters. Watching Helen navigate being raised as a young girl torn between her native culture and that of colonizers – and then trying to relate to the very people who resent her family and status so much – is genuinely compelling storytelling. The supernatural elements that are introduced in the comic feel like secondary plot bits, but this isn’t a bad thing. We want to root for Helen, and it makes the lure of what’s coming next that much more irresistible. The Mummy itself feels like a force of nature rather than a monster, and this makes sense when paired with what Helen discovers about herself (no spoilers here). I can appreciate that there are pieces that feel pulled from the Brendan Fraser & Rachel Weisz Mummy films that are so loved by our generation. Faith Erin Hicks is off to strong start with this opening chapter.
Art Direction
Eisner-winning industry veteran Lee Loughridge is on hand to craft the sand and temple-laden panels for The Mummy #1, and as expected he does some stellar work. Loughridge’s unique visual style lends itself especially well to character designs and expressions – which is doubly important for a comic that centers so much on the people in the story. Every conversation feels important, and no space feels wasted as Loughridge establishes each scene. His design of the titular Mummy brings more humanity than some may be expecting, whille also clearly drawing from Karloff’s classic features. Loughridge sells the idea that the ancient creature is a force of nature brought about by the British archeologists’ interference with the ruins. The best (or at least my favorite) panel in the issue is of the Mummy standing on a sand dune, his silhouette cast by moonlight as Helen watches in awe. Loughridge brings a phenomenal mix of supernatural mysticism and humanity to the pages of The Mummy #1.
Verdict
The Mummy #1 is a fantastic opening to this newest chapter in Image/Skybound’s Universal Monsters imprint. Faith Erin Hicks’s script brings humanity and insightful commentary to a property that has always toyed with these concepts, but here they are an active part of the story. Lee Loughridge’s visual work is sharply directed and animated, expertly crafting both a mystical aesthetic and compelling visual characterization to the pages of this comic. Be sure to grab this debut issue when it hits shelves on March 26th!
ULTIMATE X-MEN #12 hits your local comic book store on February 26th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: SHOWDOWN WITH THE SHADOW KING!
Maystorm leads her team of masked mutants in a climactic battle against Shadow King! But the confrontation leads to a huge rift between best friends Maystorm and Armor…
The issue is by writer/artist Peach Momoko, with script adaptation by Zack Davisson, and letters by Travis Lanham. The main cover is by Peach Momoko.
Check out our ULTIMATE X-MEN #12 preview below:
What’s been your favorite title of the new Ultimate Universe? Sound off in the comments!
From writer Van Jensen (Green Lantern, James Bond) and artist Kelsey Ramsay (Dark Spaces: Good Deeds) comes a tale of thieves and skyscraper-sized legends in Godzilla Heist #1. Featuring color art by Heather Breckel and lettering from Sandy Tanaka, this opening issue offers a neat take on a Godzilla story by using classic heist cliches to the story’s advantage. With a predictable but solid script and excellent visual style, Godzilla Heist is off to a fun start.
“What if you could predict when and where Godzilla would appear? What if you knew of the perfect opportunity to pull off the heist of the century? Jai is a young man who knows two things: A heist needs a good distraction, and there’s no distraction like Godzilla. So, when Jai discovers Godzilla responds to specific energy signals he can send into the atmosphere, he creates the perfect opportunity to stage high-profile heists in the middle of Godzilla attacks. But these heists put Jai on the radar of some very dangerous men, men who want Jai to work with them to pull off the most dangerous job the world has ever seen.”
Writing & Plot
Anything involving Godzilla is going to be a good time, which is exactly the mentality Van Jensen takes with his script for Godzilla Heist #1. On the outset, using the world’s most legendary giant monster as a cover for stealing from banks and casinos is a genius concept – but it’s the small touches that really make the story work. Without getting into spoilers, Jai’s (the protagonist) use of Godzilla in this comic is a neat plot detail I didn’t expect. Many of the main plot points – Jai’s backstory, the crewmembers he meets, and all the little heist planning details – are familiar cliches. You’ve seen all of this done before, but now Godzilla is here. Even if much of the story feels like it treads familiar ground, Jensen’s handling of the plot overall still makes the story feel compelling. The final page twists add to the mystique going forward, making Godzilla Heist begin with a promising start.
Art Direction
One of the coolest parts of reading Godzilla comics is getting to see so many artistic renditions of one of pop culture’s greatest icons. This time, it’s Kelsey Ramsay’s turn to show off her take on the King of the Monsters in the pages of Godzilla Heist #1. Ramsay’s tight penciling and heavy use of hatching give this opening issue a unique feeling among Godzilla comics. This isn’t the sort of aesthetic I would normally pick for a Godzilla book, but Ramsay really makes it work. Her version of Godzilla is still big and terrifying of course (she uses the later Showa era and on design as a basis), but where her work really shines is in the more human-focused elements. Her character designs, much like Jensen’s script, come off as familiar stereotypes, but they are well rendered and fit into the comic’s atmosphere. Her facial animations are solid as well, making the cast feel more like people. I found the coolest moment in Ramsay’s work here to be a piece where we see Jai as a child, and the art style completely changes. It’s a great touch that not only fit the story and added to the protagonist as a person, but a chance for the artist to flex a bit as well. Heather Breckel’s color art in this comic really seals its unique atmosphere. There’s a sort of grimy, flat technique that Breckel uses that pulls readers into the smoke and ozone of the urban environments – especially when Goji is in town. Sandy Tanaka’s lettering is solid throughout the book, but really come to life when Godzilla shows up. Her SFX work when the big man shows up and unleashes his atomic breath is great stuff, becoming as much of the artistic backdrop as it does a part of the reading experience. Overall, Godzilla Heist is a solid and unique-looking comic in the Godzilla library.
Verdict
Godzilla Heist #1 is a predictable but fun opening chapter to this unique take on a Godzilla story. Van Jensen’s script takes familiar character concept and genre tropes and creatively throws them in a Kaiju story, creating something that feels a bit safe but still promises some compelling plot points in the future. The visuals from Kelsey Ramsay and Heather Breckel are a unique choice for a Godzilla comic, and offer a great sense of atmosphere to this kaiju-heist tale. Be sure to grab this debut issue when it hits shelves on February 19th!
YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN #3 hits your local comic book store on February 19th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: SWINGING INTO TROUBLE!
With a new school, new powers and a new secret identity, Peter Parker’s in over his head as he tries to navigate his double life as Spider-Man. YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN is swinging into a new animated series on Disney+, but you can read about it first as he takes on THE ENFORCERS!
The issue is by writer Christos Gage and artist Eric Gapstur, with colors by Jim Campbell, and letters by Joe Caramagna. The main cover is by Leonardo Romero.
The comic is a prequel to the animated television series of the same name, currently streaming on Disney+.
Check out our YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN #3 preview below:
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AVENGERS #26 is coming to your local comic book store May 28th, but thanks to Marvel Comics, Monkeys Fighting Robots has the exclusive first look at the issue!
The issue is a tie-in for ONE WORLD UNDER DOOM, a “status quo shift” that began this week, the likes of which Marvel says hasn’t been seen since 2008’s Dark Reign.
About the issue: THE MASTERS OF EVIL RULE!
The Impossible City, current home base of the Avengers, has been commandeered by the MASTERS OF EVIL! Who is left to defend the world while DOOM is in power? And how are the Avengers able to fight a war on multiple sides?
The issue is by writer Jed MacKay and artist Andrea Broccardo. The main cover is by Valerio Schiti.
Get your first look at Schiti’s cover for AVENGERS #26 here:
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From writer Matthew Rosenberg (What’s the Furthest Place from Here?, 4 Kids Walk Into a Bank) and artist Stefano Landini comes a suspenseful & delightful piece of classic sci-fi/espionage in We’re Taking Everyone Down With Us #1. Featuring colors by Roman Titov and Jason Wordie and lettering from Hassan Otsmane-Elhaou, this opening issue offers as much heart and conceptual promise as it does wacky humor. With what comes off as a mix of Johnny Quest, 007, and The Venture Bros.,We’re Taking Everyone Down With Us is off to a phenomenal start.
“After her mad-scientist father is killed by the world’s greatest spy, 13-year-old Annalise is left all alone in the world. Sort of. Her dead dad’s robot bodyguard is following her around for some reason. Now Annalise has a choice: try to lead a normal life for the first time ever…or seek revenge and maybe overthrow the world order in the process.”
Writing & Plot
Matthew Rosenberg captures a modernized take on classic Silver Age sci-fi adventures and espionage stories from the same era. His story here – a young girl being raised by a scientist and a group of bodyguard/nanny robots – is a familiar one told with sharp dialogue and more contemporary humor. The opening here where we meet Annalise, the robots, her father, and are introduced to the whole premise, is a brilliant mix of genre tropes and genuinely heartfelt character writing. Rosenberg’s dialogue is widely varied, with each character having completely distinct delivery and tone. All of the comic’s exposition is delivered in naturalistic conversation, making it as compelling as it is fun to read. The way Annalise’s father’s dialogue switches from stereotypical “cold scientist” babble to that of a loving father without ever losing direction of the character is a great piece of writing. As for the abundant humor, Rosenberg nails every part – from the awkward interactions of the robots to the introduction of a drug-addled super-spy. The script flows effortlessly from humor to suspense to tenderness, all while keeping the reader engaged with the growing mystery of the story. All in all, Rosenberg nails it again.
Art Direction
I’m not sure I’ve ever seen a comic written by Rosenberg that didn’t also have a striking visual style, and Stefano Landini provides this once more in the pages of We’re Taking Everyone Down With Us #1. His detailed character animations and eye for direction pull the reader into the pages, and keep the story flowing along at an even pace. Rosenberg’s stories always call for a lot of emotion (mostly snark) from the cast. Landini provides this with a motley group of scientists, their assistants, awkward robots, and super-spies that all look and feel totally different. While his wider, more encompassing panels are full of life, its Landini’s close-ups that really grab your attention. There’s a tender moment between Annalise and her father that is a standout in terms of animating emotion. The art also really sells Rosenberg’s comedy, nailing the timing and delivery of dialogue as well as the physical comedy. Helping Landini’s pencils is the color art of Roman Titov and Jason Wordie. Their work here fills in the world with a tonally rich palette that perfectly captures the atmosphere and vibe of every page. They utilize a flat-style palette reminiscent of that in Fraction & Aja’s Hawkeye run – specifically the Kate Bishop parts. There is a lot of usage of lighting as a source of color that really sells a sense of place within the story. Finally, the lettering from Hassan Otsmane-Elhaou is unsurprisingly fantastic. His normal dialogue work shifts wildly to form weird SFX and character sounds that all overlap into a phenomenal reading experience. Overall, We’re Taking Everyone Down With Us is a stellar piece of visual storytelling.
Verdict
We’re Taking Everyone Down With Us #1 is a fantastic opening chapter for this new series. Matthew Rosenberg’s script has as much humanity as it does humor, combining familiar genre tropes with great comedy and moments of tenderness all wrapped up in a genuinely compelling story. The visuals from Stefano Landini, Roman Titov, and Jason Wordie all work together to make a piece of visual narrative that captures the pace and atmosphere of this sci-fi/espionage comic perfectly. Be sure to grab this debut issue when it hits shelves on March 26th!
From Sam Fonseca, creator of three-time HQMix Prize nominee Age of Rust and Best Webcomic winner Dynamite & Laser Beam, comes his debut graphic novel: Shadowplay.
Shadowplay‘s first volume, Midnight School, follows an unnamed protagonist as he survives a nightmarish high school. The typical school worries are abundant, such as missing assignments, tardiness, and deep anxiety regarding the future, however, this is only the first layer of the students’ dread. Dark figures rule the school, placing students in chains and torture devices while encouraging their worst fears and anxieties. Pleas for mercy go ignored or unnoticed as students attend their classes as normal. Although the protagonist slowly opens his eyes to the horrors around him, he awakes to a fate worse than he could have imagined.
Writing/Story
The idea that high school is horrible is not new. However, Fonseca’s ideas in Shadowplay take this idea to a grim and macabre place, reminiscent of Pink Floyd’s The Wall. The book offers a wide-ranging horror showcase right from the first chapter, ranging from purely psychological, to body horror, to Lovecraftian, and even slasher and cosmic. Starting the comic, our protagonist is just another cog in the machine, simply unable to see the obvious atrocities unfolding around him along with his fellow students. As he navigates this twisted landscape, he slowly begins to break free of the psychological chains around him, only to have physical ones put on.
Later in the comic, as truths are revealed and we learn more about the backstory and the very compelling secondary protagonists, it’s clear to see Fonseca’s other passions besides horror come to fruition. One of these is music, which is how the protagonist best communicates, as he seems to have some form of Synesthesia, which causes him to see music as colors. The music influences the story, motivates the main character, and allows the latter half of the story to differentiate itself from the first very distinctively, as it introduces color into the comic, figuratively and literally. Fonseca has also composed and released a music score for this very comic, which I highly recommend listening to as you read.
While the dialogue, especially in longer conversations, can sometimes feel a bit clunky and expositional, there is no lack of heart in creativity and vision. The horror, the characters’ journeys, and the ideals that motivate them, all feel well thought out and complement each other.
Art Direction
It would be easy to keep this section short and sweet and simply say that Fonseca’s art is amazing. The 400+ page novel bides its time well when it comes to color. Allowing for no more than simple thematic splashes here and there. When it does show up however it is almost like an explosion. It feels powerful and bright and brings a sense of hope along with it. It becomes clear that the lack of color earlier in the story wasn’t simply a thematic choice, but literally stolen from their world, and the more they get of color, the closer they are to breaking free.
When diving into the backstories, the contrast between their current world and their past becomes abundantly clear due to the use of color alone. These are also the moments in which the lettering is showcased a bit more, as it remains mostly constant for the start of the issue. The shift in lettering happens subtly throughout the comic, as in the first couple of acts the ‘sounds’ are almost muted. Things that in many comics would warrant bold impact frames, bright lettering, and other actions of the like are left simply as that. No added action or onomatopoeia is shown, though this feels intentional as to imply, that not only has the color been stolen from the character’s world, but even sounds. As the comic begins to progress it is fascinating to see characters begin to be able to emote more through the lettering.
The art style itself pivots rapidly in the story from “that’s the most horrific thing I’ve ever seen” to “that’s adorable” in a couple of pages, yet never feels like it detaches from the story. As the story begins to reach its conclusion and Fonseca allows more use of color it’s hard not to be impressed by how well every artistic choice comes together like a symphony. Fonseca also doesn’t shy away from putting the horror well on display with some deeply unsettling scenes scattered throughout. Some of the best page spreads in this series came in the form of abundantly dark scenes.
Verdict
Shadowplay may be Fonseca’s first foray into horror novels, but he writes it like a seasoned pro. The concept, the monsters, the yearning for freedom and escape, the conflicts, and the fleeting hope, make a true horror story and he has them here in spades. All of that is accompanied by jaw-dropping art and masterful use of color (and an even more masterful non-use of color) making Shadowplay an absolute must-read. 400+ pages feel short, and I cannot wait for volume 2.
Absolute Superman #4, by writer Jason Aaron, artist Rafa Sandoval, colorist Ulises Arreola, and letterer Becca Carey, is a much needed change of pace for this new Superman’s supporting cast of characters. Readers get to see how the people he has come into contact with view him this time around. Rather than exploring his psyche, we spend some time with the people he’s affected, which is just as important to Superman as anything else.
Superman doesn’t appear much in the issue. It starts off with Lois Lane interviewing a few of the people the hero has helped, and feeling their disdain towards her and the Lazarus company. They talk about how Superman has changed their lives. Lois leaves, and then goes to discipline a violent Peacekeeper. She takes a call from her father where he says that she’s making a mistake trying to talk to Superman. Lois goes into town anyway, where she’s met with this universe’s Omega Men.
Lois Lane interviews those who have come into contact with Superman
WRITING
Aaron shifts gears a little here. The past few issues have been setting up Superman himself as well as his background, while this one shakes it up. We spend zero time on Krypton, with Kal hardly even appearing in this one. We instead spend most of our time with Lois Lane, which was a really smart move on Aaron’s end. We haven’t explored her much, so this issue makes up for that. He also uses her as a way of showing us the regular world in the aftermath of our hero. She’s on the ground, she stays, and she tries to talk to people. She’s basically the opposite of everything Kal has been up until this point. She works for the enemy, but she wants to learn. She’s becoming a very interesting character.
This issue also introduces a few new characters. The rogue Peacekeeper from earlier is Christopher Smith, the Peacemaker fans know from the main DCU. He’s seen as an uncontrollable killing machine, one with some clear problems affecting his mental state. He’s not well, and he can lose himself in his rage. We also have the new Omega Men. They seem to be a peacekeeping militia with a few familiar faces and some new tech. We don’t know exactly what they want yet, but they’ve established themselves as wanting nothing to do with Lazarus. That being said, we don’t know how they align with Superman either. There’s a lot of pieces in play, and Aaron’s handling of them is smooth and concise. He asks the reader what we should think of this Superman as well.
Lois fights a Peacekeeper
ART
This issue’s art is pretty in line with the rest of the book so far. There isn’t a whole lot of action in this issue, so Sandoval really allows himself to get a feel for each of these characters. It’s the best some of his designs have looked so far. Superman’s suit especially is a breath of fresh air. The cape looks full of personality and the suit is looking really consistent on every page it’s in.
Sandoval’s paneling is really satisfying. Nearly every Superman appearance is displayed as mysterious yet powerful. He’s shrouded in the red of his cape often, but when he’s in full view, he stands tall and with a purpose. With Lois, her physicality feels really refined. We know more about her through how she stands and reacts depending on who she’s talking to. She’s seen as almost timid when speaking to her father, but doesn’t back down and still stands tall. She’s a confident woman, but is unsure of what she’s doing now. Sandoval presents that to us beautifully.
Lois walks away from the fight
COLORS
This issue has some really beautiful backgrounds. Arreola colors the foreground of the panels well, but he really excels with the backgrounds here. The colors mix so beautifully and the way they reflect off the characters is amazing. There’s one panel where the moon gleams on a purple and blue sky and that mixes really well into Superman standing in the foreground with his red eyes piercing through. everything blends together really nicely, especially Kal’s cape as he finally enters later in this issue. The massive red cape fills the panel with a shaded silhouette of Superman present in the middle of it. It’s really striking work.
Lois once again talks to survivors
LETTERS
The lettering in this issue is really detailed. When Lois speaks to her father early in the issue, the bubbles coming from the phone have this sort of glitch effect to them that adds a nice touch. Later, when Christopher Smith talks to a mysterious character in the middle of the issue, his speech bubbles aren’t what you’d expect. Rather than being your typical bubbles, they’re presented as boxes that hover over Smith’s head. Like the mysterious character is influencing him, as he knows that Smith is easily manipulated. It’s a really nice touch from Carey that adds some more depth to that character.
Lois calls her father
CONCLUSION
This issue wasn’t what you’d expect, but was incredibly necessary. It provided us with the views of some minor characters as well as the public’s general view of this new Superman. It told us so much about the character without him even directly being there. Aaron, Sandoval, Arreola, and Carey all capture the magic of Superman here through that. Despite this Kal not being the one we’re familiar with, readers are beginning to learn about him and to grow fond of him. The entire team passes with flying colors on that.
MAGIK #2 hits your local comic book store on February 12th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: Magik’s hunt for the Liminal Seals takes her and Cal deep into the Tokyo underground. But who is watching Illyana from backstage? And has Cal teamed up with Earth’s best chance against the demon invasion or its prophesized leader?
The issue is by writer Ashley Allen and artist Germán Peralta, with colors by Arthur Hesli, and letters by Ariana Maher. The main cover is by J. Scott Campbell and Tanya Lehoux.
Check out our MAGIK #2 preview below:
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