SILVER SURFER REBIRTH #2 (OF 5) hits comic shops in February, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive first-look at the book!
About the issue: A MIGHTY MARVEL TEAM-UP?! NOT LIKELY…
Someone has stolen the Reality Gem and is restructuring the universe to their whims…and it’s NOT Thanos! Now, the Silver Surfer must do the unthinkable and team up with his worst foe to save all of existence. If only they could just stop trying to kill each other…
The issue is by writer Ron Marz and artist Ron Lim.
Get your exclusive first-look at Lim’s cover for SILVER SURFER REBIRTH #2 below:
Are you excited for SILVER SURFER REBIRTH? Sound off in the comments!
Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.
Funded in under a week and the subject of massive buzz, G.H.O.S.T. Agents has made the scene. Written by Rocko Jerome, the spy-fi action comic is an anthology designed to showcase some killer up-and-coming comic talent, and this is issue one of an ongoing series that includes artists Chris Anderson, Ben Perkins, Sam J. Royale, Barry Tan and will be published by Eli Schwab via COSMICLION Press. I had the chance to chat with this crew, and much like the G.H.O.S.T. Agents, they are all badasses themselves. But time’s almost up! So if you were meaning to get around to getting in, grab it now!
Monkeys Fighting Robots: So Rocko, where and how did you conceive the concept for G.H.O.S.T. Agents? Rocko Jerome: It’s a way that I can write stories in a genre that I enjoy without having to get someone’s permission or aspire to work for one of the two mammoth corporations that lord over the world of comics. I don’t suppose it’s really difficult for anyone to see what kinds of comics I’m into just by glancing at what we’ve cooked up, here. I was inspired by Michel Fiffe and the ballsiness of Copra, where he’s making the best Suicide Squad comic of this century, but doing it in a total DIY way and sort of daring anyone to stop him.
MFR: And this is also an ongoing series, right? I don’t know if I have seen a lot of Kickstarters for an ongoing. What made you want to make it a series and not a graphic novel or limited series?
Rocko: It is intended to be ongoing, yeah. With one major exception in the works, it will all be made up of short stories by a whole host of artists that all stand alone and, if I get my part right, also lean into a bigger narrative if the reader pays attention. I feel like here in the 21st century, the biggest adversary to overcome for every creator of every kind of art is our collective attention deficit. I feel like it’s not even a “disorder” at this point and more a collective state of being. We’re all busy. We all have literally hundreds if not thousands of things competing for our attention when we go on the internet. So I ask the artists that I collaborate with to commit to illustrating short, punchy stories, and I ask absolutely anyone in the public to spend a quick few minutes to read any of them. Kickstarter, was Chris Anderson’s idea and, although Eli and I were initially reluctant to go that route because we never had before, I’m glad we got over that and tried it. Because it’s gone very well, and I don’t think our more established conventional methods would have gone nearly as well as this has. We were fully funded within just six days, and that sixth day happened to be my birthday. It’s all very exciting. If I have my way and continue to be this lucky, I want to keep making G.H.O.S.T. Agents comics for the rest of my life. These guys all have scripts for future stories, and there are a lot more out there with other artists. I don’t feel like there’s any limit to what can be done with this concept. It’s wide open.
MFR: Alright, so this question goes to the artists. How did each of you get involved with the project?
Chris Anderson: We were just wrapping up Image Grand Design, and I was brainstorming something to do for WIZERD 2. Rocko and I were talking about what a great experience it was working together, and he asked me to do a G.H.O.S.T. Story for the ‘Zerd. That led to asking me to do the story in this issue and so on.
Art by Chris Anderson
Ben Perkins: My story is really short and sweet. Rocko liked my work, he asked me to do a story, and I said yes.
Art by Ben Perkins
Sam J. Royale: On May 2nd, 2021, Rocko said, “Hey bro, would doing a cover featuring a Mod-era Wonder Woman expy on a motorcycle be something exciting for you?” I agreed immediately but then realized how difficult that could be, so I cried and bought more time by insisting on designing the logo first.
Art By Sam J. Royale
Barry Tan: Rocko originally approached me about collaborating on a story for Darkest Image after seeing a Kirby-inspired pin-up I posted. Midway into it, he had the idea to include it in G.H.O.S.T. Agents, and we agreed it would be a good fit with some art and dialogue revisions. And so here I am amongst the company of these exceptional artists.
Art by Barry Tan
MFR: Eli Schwab, you’re publishing this through Cosmiclion Press. How did GHOST Agents end up in your headquarters? Eli Schwab: After Image Gand Design, Rocko and I were looking for another time to do something together. I had such a fun time working with Rocko laying out that book that I was excited to get creative with him again. The cool thing about working with Rocko is that we both have similar strengths, and we also fill in the places where the other may lack. What I mean by that is we’re a great team that picks up where the other isn’t focusing. So like when Rocko is wondering about how to print on newsprint, I can go find out how we can do it and if it’s cost-effective. Also, after a wild project like IGD, you really learn about people and about their work ethic. I would be down to work with almost any of the creators from Image Grand Design/Disaster. There are a lot more great books coming from the crew, too! Some published by me and some not.
The brilliantly deranged minds of writer Doug Wagner and artist Daniel Hillyard from 12 Gauge Comics have an especially grotesque Kickstarter live as we speak. Plastic, the duo’s acclaimed over-the-top serial killer mini-series, is up for grabs as a special edition hardcover! This expanded edition of the 2017 Image cult classic incudes a new 6-page backup story revolving around Edwyn, a former serial killer who goes on a vengeful murder spree to reunite with his blow-up doll girlfriend. Yes. You read that right. The second book is the brand new OGN Narco, also from the same creative team and set within the same Plastic universe (as is the currently-releasing Image series Vinyl). This book assumes a more Hitchcockian suspense as a young man with narcolepsy witnesses a murder and pursues the killer, despite the fact that stress and violence triggers his condition.
I got to sit down and talk to Wagner and Hillyard about their decision to move to Kickstarter from Image for this release, their cause to return to this twisted universe, and what they may have in store for the future.
“MARCUS WESPHAL suffers from severe narcolepsy. His condition is peculiar—if he gets overly excited or stressed, he passes out.”
“However, he’s adapted well. He has all his groceries delivered; he’s got good friends, he’s developed quite a following as an online sleuth, and he admires the girl of his dreams, JESSICA WRIGHT, through his front door peephole (he’s working up the courage to ask her out, OK?!). Marcus has crafted the perfect bubble for himself. But when he watches Jessica get murdered right before his eyes, helpless to do anything about it before passing out, that bubble bursts.
Marcus is now the prime suspect in Jessica’s murder. If he’s going to prove his innocence, he will have to leave the safety of his apartment and track down the real killer. Or, could he possibly be the killer and not even know it?
MFR: You guys seem to have entirely too much fun making stories in this universe. What keeps you coming back for more?
DANIEL: I’m glad it shows—it really is so much fun. I just can’t get enough of this type of stuff. Horror comedy and slapstick horror is where my gear shifter has gotten stuck, and I couldn’t be happier.
DOUG: As oversimplified as this may sound, we love it. Daniel and I constantly talk about how much we love mixing horror and comedy and sprinkling as much insanity into it as we can come up with. I know for me, I can admit I have this weird sense of humor. I find it so fascinating that people can be offended by the mere suggestion of a blow-up doll or the fact that a person can be sexually attractive wearing something like a unicorn onesie. I love incorporating that into our Plastic-verse stories. It makes it weird, uncomfortable, and disturbing… three of my favorite things.
MFR: Both Plastic and your current ongoing Vinyl have been published by Image Comics. What made you decide to go the Kickstarter route, and how has that experience been different?
DOUG: For me, I thought NARCO was best suited for a Kickstarter from the beginning. NARCO isn’t your typical comic, and I didn’t think it would read well broken up over several issues. Add to that, original graphic novels don’t typically sell quickly enough for us to pay everyone involved as soon as I’d prefer. The obvious answer to me was Kickstarter. Kickstarter allows us to finance the book quickly, and more importantly, sell it directly to the readers who would be interested.
DANIEL: This is my first venture into the world of Kickstarter, so I don’t really know much about how everything works, but the idea of being able to release NARCO as a complete story and right into the hands of readers is something that I can totally get behind. And I never knew how much I wanted a PLASTIC hardcover edition, until now.
DOUG: And as far as the experience of it, I could probably write a book about the differences between traditional publishing and Kickstarter. I think I can speak for both of us when I say the two are drastically different. Typically, we finish a book, send it off to the publisher, and it magically appears in stores. When it’s on the shelves, Daniel and I don’t get to interact with many of the folks buying the book. Sure, we interact as much as we can with the readers online, but it’s such a small fraction of the people buying it. Kickstarter is kinda the exact opposite. We’re interacting daily for several straight weeks with everyone that backs the project. It’s solely up to the team to promote the book (that’s Daniel, Keven Gardner, Sean Edgar, and myself). If you know Daniel and I, we are NOT fans of selling ourselves. We’re the typical creatives that want to sit in our caves and create. With a Kickstarter, we have to step out of that safe zone and do our best to sell people on our book. Fingers crossed that works out.
MFR: I gotta know, was the backup story in the new Plastic Hardcover one that had been stewing for a while, or did it strike suddenly?
DOUG: It has been stewing since 2017. Daniel and I had started tinkering with a follow-up to the original Plastic mini-series and had planned a deep dive into Edwyn’s unusual childhood, his fascination with removing heads, and what prompted his first kill. This little backup story is a glimpse into what we have planned.
DANIEL: Exactly that. Really, you can think of the PLASTIC backup story as a glimpse of things to come.
MFR: Despite how similar they all are, every story you’ve come up with in this twisted world you guys have created still feels fresh and surprising. Where does a non-serial killer character like Marcus in Narco fit in as a protagonist in this overall narrative?
DOUG: Marcus is kind of our quirky and odd “normal” person, or audience cipher, that’s about to get a small taste of this crazy world of serial killers, blow-up dolls, and sunflower cults. He doesn’t have the resume of Edwyn or Walter, but he knows just enough about all of this serial killing stuff to be a danger… mostly to himself. Personally, I think one of the more enjoyable aspects of adding him to the mix is that he’s almost the polar opposite of our protagonists in PLASTIC and VINYL. Where VINYL’s Walter is this seemingly unshakable, calm, calculated monstrosity, Marcus is a guy who has a narcoleptic condition that has him passing out at the first sign of anything exciting. How does a guy like that handle being hunted by a serial killer? Well… he passes out of course.
DANIEL: [Laughs]
MFR: What were some of your biggest influences, in any medium, going into the creation of Narco, and into all of these comics overall?
DANIEL: Usually we all start by throwing out some names of media, films, books, art, shows or music that sums up the feeling we’re all aiming for on a particular story. Doug threw out some suggestions at the beginning, which were awesome, and we went from there building the look and feel of the book.
DOUG: In regards to NARCO, my primary influence there is clearly Alfred Hitchcock. When Keven pitched the idea to us, my very first thought (that I blurted out loud) was this should be like REAR WINDOW meets PSYCHO. Daniel and Keven liked that idea and we were off. We admittedly knew it was risky to create a Hitchcock-inspired comic book in this day and age, but once we had that direction, we were compelled to finish it.
As far as PLASTIC and VINYL, the influences for both are far and wide. For me, those were inspired by this crazy amalgamation of everything I love. Alien, The Evil Dead, Dale and Tucker versus Evil, Seven Psychopaths, Zombieland, Memento, Predator—top all of that off with rom-coms and buddy movies. If I loved it, I tossed it in the insanity story blender.
MFR: If you can divulge, what can we expect next from the world of Plastic/Vinyl/Narco?
DOUG: Daniel and I should be done with NARCO by the end of 2021. Next, we’re diving straight into the third installment of our “Material” trilogy. There was PLASTIC, then VINYL, and finally… as you guessed, we’re not allowed to say just yet. But we are expecting the third installment to come out in 2022. After that, we have this long list of Plastic-verse stories we need to get to. As long as people seem to like what we’re doing, we’ll keep doing it.
DANIEL: The next story is going to be awesome! That’s all I can say. And that I bet no one can guess the title [laughs].
Back the Kickstarter today to grab these absurdly fun and hilariously macabre collections, along with some fantastic extras!
The Last Session #1 from Mad Cave Studios is out in comic stores on December 1st. This five-issue series by Jasmine Walls, Dozedraws, and Micah Myers features the complex appeals of Tabletop RPGs, from the improvisational theatrics that encourage self-expression, to how this can also cause creative differences between players.
The Last Session On Self-Expression
What does it mean when a club president never shows up?
One of the main appeals of this series is exploring why TTRPGs remain popular and accessible, namely the mix of socialization and improvisation. Just the way the story’s campaigners first meet demonstrates this: They make their failed after-school club into a place of solace from their awkward teen phases. Everyday anxieties like finance, job searches, body issues, etc. give way to a freer feeling of being themselves. Writer Jasmine Walls gives each character some genuine quirks, worries, and views on their role in the game. The way they develop themselves as people even outside of the game fills the reader with the same excitement as the characters.
Which brings us into the titular Last Session. Before our campaigners go their separate ways, they’re ending the campaign that brought them together. The only difference is, the game master Jay’s girlfriend Cassandra joins in as well. Throughout the story, creative differences and how the campaigners play the game clash with this new addition. Readers can’t help but empathize with the initial group of friends when their escape fantasy has a disruption. But readers also can’t help noticing that Cassandra is just trying to express herself as well. The complexities of the plot, characterizations, and the way readers connect them all is astounding.
Express Your Feelings
The Last Session features the evocative artwork of Dozedraws. Each character features a unique design that comes with expressive body language. For example, Cassandra’s in-game character Kezz features highly exaggerated facial features in every scene she appears in. This combined with her brightly colored complexion and cheery outfit match Cassandra’s bubbly self in the real world. Which is to say nothing of how Kezz stands out amongst the fantasy world full of dark dungeons. All in all, both Cassandra and Kezz steal every scene they appear in.
The lettering by Micah Myers reflects the personalities of some of the characters. The color-coded captions, for example, feature caricatures of whoever is speaking in real time. This makes it easier for readers to identify characters as they switch between the real world and fantasy world. That’s not even including how some characters express excitement in the form of word graphics. Or how one surprise character speaks with an entirely different word balloon and font to everyone else; it makes them feel like they’re on an entirely different level from the campaign party.
Gather ‘Round For The Last Session
The Last Session is a series full of surprises with how each character interacts. The series feels like it genuinely captures the highs and lows of TTRPGs. While creative self-expressions are always a welcome escape from real world problems, they can also lead to creative differences. But it’s the way these challenges are overcome that each character has a chance to develop outside of the game.
Marvel’s Eternals has a lot to say about what it means to be a human. This film brings the visual spectacle you’d expect, but it unpacks a deeper message about humanity. The amount of heart found at its core is what makes Eternals different from other Marvel films. It might not always hit the mark with its humor, but this is another solid addition to the Marvel Cinematic Universe.
Director Chloe Zhao helms this ambitious film that provides a rich lineup of characters to invest in. At times, it can feel as though Eternals wants to juggle too much. The narrative utilizes flashbacks to catch viewers up on the reunion of these immortal beings. However, these glimpses of past events seem to take up more time than the current events. The film wants to establish who the Eternals were and who they are today and it doesn’t always work. Since the characters are so likable, it makes up for the uneven narrative of past and present.
Ryan and Kaz Firpo collaborated on penning this latest addition to the MCU. Eternals stars Gemma Chan, Richard Madden, Angelina Jolie, Salma Hayek, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, and Don Lee. These immortal beings that were created by the Celestials reunite to protect humanity against the Deviants. The Eternals consist of Sersi (Chan), Ikaris (Madden), Kingo (Nanjiani), Sprite (McHugh), Phastos (Henry), Makkari (Ridloff), Druig (Keoghan), Ajak (Hayek), Thena (Jolie), and Gilgamesh (Lee).
Each character is written in a manner that makes it impossible to not feel invested in their progressions. Sprite, who can project impeccable illusions, desperately wants to be a human. Her entire arc emphasizes the themes of humanity and the importance of cherishing every minute of life. Trapped in the appearance of a child, she struggles to live forever due to her mentality maturing but not her appearance. Sprite was my favorite member because of the inner turmoil that is brought to life through McHugh’s amazing performance.
There are some bits of dialogue from Sprite that lack subtlety, so perhaps Eternals not centering on her was for the best. Sersi (Chan), who has the power to manipulate through physical contact, is portrayed as the film’s focus. While I didn’t find it difficult to relate to her, the other Eternals getting more attention would have been nice to witness. All of the performances are incredible, some more emotionally draining than others. Jolie impresses as Thena, the Eternal with the power to craft weapons out of cosmic energy. Jolie captures Thena’s confidence and inner struggles tremendously.
Eternals does suffer from its pacing towards the middle, the film lasts for over two hours and it will be felt. These characters help keep you engaged, and the breathtaking action sequences assist in that too. The downtime from its blockbuster-worthy fighting is only at its best when exploring the life of Kingo, who is another standout thanks to Nanjiani’s performance. Kingo has made it as a hit actor for many centuries, and his charisma makes him someone you want to see more of. In between though, Eternals does encourage detachment from its narrative with the humor that doesn’t always stick.
Ramin Djawadi’s score adds weight to the high stakes found in the film’s central conflict. Particularly during Eternals’ final battle to save humanity, which includes some of the film’s most impressive visuals. Marvel has a formula that audiences are used to and I’d say this was a solid change of scenery while still including aspects of previous Marvel films. Eternals was an effective film overall and only lost its footing with narrative and pacing issues.
MOTHER F. GOOSE hits your local comic book store December 8th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: The Three Little Pigs are gluttonous casino owners. Little Miss Muffet is a hard-nosed cop with arachnophobia. The Three Blind Mice are ocularly impaired assassins. Puss in Boots is a feline-faced scumbag.
Welcome to MOTHER F. GOOSE, where your favorite fairy tales are turned into twisted characters right out of a Tarantino movie. Picking up from “LITTLE RED HOOD” (SHOCK) and “ALONG CAME A SPIDER” (AFTERDARK), we will make you a promise: this is the book that will ruin your childhood. Sorry, kids!
The prestige format one-shot is by writer Frank Tieri and artist Joe Eisma, with colors by Matt Herms, and letters by Carlos M. Mangual. The main cover is by Eisma and Herms; there is also an incentive variant by Amanda Conner.
Check out the MOTHER F. GOOSE preview below:
Are you looking forward to MOTHER F. GOOSE? Sound off in the comments!
SHANG-CHI #6 hits your local comic book store November 17th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: SHANG-CHI VS THOR! For several months, Shang-Chi has reintegrated himself into the Marvel Universe by bumping heads with the likes of Spider-Man, Captain America, Wolverine, the Fantastic Four, and Iron Man. And each time, he has proven to be the unstoppable force his father trained him to be. But his dad never taught him how to defeat a god… Don’t miss the end of the first arc, Shang-Chi vs. The Marvel Universe!!!
The issue is by writer Gene Luen Yang and artist Dike Ruan, with colors by Tríona Farrell, and letters by Travis Lanham. The main cover is by Leinil Francis Yu and Sunny Gho.
Marvel Studios’ Shang-Chi and the Legend of the Ten Rings hit theaters earlier this year, introducing the Master of Kung Fu to the MCU, and was a critical and financial success. The film drops on Disney+ tomorrow, November 12th.
Check out the SHANG-CHI #6 preview below:
Are you reading SHANG-CHI? Sound off in the comments!
Nyctophobic is a horror short film by writer/director Theo Francocci (Rick & Morty) about a woman battling inner demons while real demons, both human and other, run amuck.
The film begins on a dialogue-less scene that delivers a gruesome reality through creepy camera work, great performances, and an ominous painting hanging in the background. The painting is The Nightmare by Harry Fuseli, and in the short sequence, the film delivers its antagonist, the demon inside the artwork. Alex Knell (Baker’s Dozen) plays Stacy, a woman with a fear of the dark. She’s spending a quiet night with her ex-boyfriend Mark played by Theo Francocci. The dark story plays out between Mark’s tough love and supernatural horrors.
PopAxiom spoke with Theo Francocci about going from being an audio description writer on projects like Rick and Morty and The Royals to creating the horror of Nyctophobic.
Sound & Story
“One of my dreams was to become a singer/songwriter,” filmmaker Theo Francocci begins. “So, I moved to London in 2010 to study sound engineering. While there, I discovered sound design.”
Theo fell in love with creating sound for pictures. “I met the right person at the right time and had the right connections and ended up at Studio Marinelli in Rome, Italy. They were famous sound designers with a massive history working with Fellini, Antonioni, and Leone. Masters of the time. I learned the job there and so much about the history of film.”
“Sound plays such an important role in making a story unique.”
About Nyctophobic
Years, projects, and some film schooling later, Theo conceived Nyctophobic. “It connects to COVID very much. The pandemic made our fears emerge. We were lonelier and surrounded by a world that seemed more hostile. I like to get into the psychology of things, so I reassessed my traumas. That’s where the characters came from; my fear of darkness as a kid. I attached that fear to the protagonist Stacy. That fear of darkness is so relatable; I think everyone had it at some point. It’s profound.”
“So, I asked,” he continues, “‘What if this character is so traumatized that it affects her life; her relationships and work?’”
The process started around October of 2020 while Theo was in school. “We had an exercise to try and describe a scene with dialogue only. No action lines. That was the beginning of their script and the dialogue while they were sitting on the floor.”
The exercise was complete, but Theo “felt that dialogue could be developed more, so that’s what I did. I finished it on Halloween of 2020. I made a pact with myself to start the production and have a premiere by next Halloween.” Mission accomplished.
Making Nyctophobic
“I wanted that scene to be visual and live on those sound effects of the footsteps and the crackling,” Theo says about the haunting opening scene. “It wasn’t complicated to shoot, but it was tricky to get the sensation. So, we worked with the actors to get the movement. Then later in post-production with the sound and camera effects.”
Theo says, “being on set is problem-solving from the moment you arrive to the moment you leave. So, rehearsals are so important for me because I want to get to set and just know that the actors are comfortable with what they’re doing.”
“Delegating and trusting your people is vital,” he continues,” You have to trust the people you’re working with and make sure they trust you and see your vision.”
Theo plays one of the two primary characters in the film. But that wasn’t the plan. “I didn’t want to be the lead. Being the director is already so much work. It’s a lot.”
So, what changed? “I had an actor that I liked, but the timing didn’t work out. He got a better offer for a TV show, so we were happy for him. But it was two weeks before shooting, and I was trying to recast quickly. So, I had a conversation with Matt [Richardson], my co-producer. He said, ‘no one knows the character like the writer.’
“So, I thought,” he concludes, “‘well, this character’s going to have an Italian accent.’”
The star of Nyctophobic went to Alexandra Knell, who Theo says “was perfect for Stacy. She’s got so much experience and talent.”
The Creeps
Nyctophobic is the best kind of horror that blends real fears with supernatural frights. It all starts with the painting. “I love that painting; The Nightmare by Henry Fuseli that was there since the script. It gives me the creeps. I fought to have that painting.”
“We got in touch with the LA School of Makeup,” he says about creating the demon’s design, “we had a sort of casting. So we asked everyone to submit what a demon of darkness would look like. We received a lot of incredible designs. But Yun Nam blew us away.”
The final look “had that Voldemort nose but was very much like a scaly reptile for Theo. She understood all that.”
In Nyctophobic, there’s a moment that’s a clear reference to The Shining, “Why not? I love Kubrick, and I wanted to do that as precisely as possible.”
Inspirational Cinema
We discuss cinema worldwide, and Theo shares his thoughts about his homeland “Italian cinema is a lot about style, especially in horror. We’re able to make good movies with very low budgets. It’s a necessity that I think we mastered along the way.”
“Korean films,” he continues, “like Parasite blew my mind. They have a huge history and tradition in films. Now they’ve blown everyone away with Squid Game.”
As for the US, Theo says it “is the driving force of the entertainment industry. Whatever gets made here sells all over the world. I love the direction into more diversity and embracing different styles.”
“It’s always great to let these incredible pieces of art from these incredible places inspire you.”
The art is an inspiration, as are the people creating it. “We spoke a lot about Italian masters, but Roberto Benigni is one of those actors/directors that I carry in my heart. Life is Beautiful is one of my favorite movies ever made.”
“Katherine Bigelow … Strange Days and Zero Dark Thirty were so intense,” he adds, “I love the realism and darkness.”
“Martin Scorsese. I need to say, Jordan Peele. He’s a beast. He can do comedy, horror, whatever he wants. Tim Burton. Christopher Nolan. Ridley Scott. I’ll stop there,” Theo laughs.
Wrapping Up
Asking Theo about a dream project prompts a quick answer. “I wrote a pilot for a TV show last year, and it’s about the death of Julius Cesar. That would be one of my dream projects. I love culture and ancient Rome. Building a set that would be authentic and the costumes. At the same time, having VFX, beasts, animals, ghosts, gladiators. Make it feel like fantasy, but it’s history.”
Nyctophobic is making the rounds at film festivals. So, what’s next for Theo? “I’m always working on something else. That’s how creativity works. You’re focused on this, but your brain is like, ‘but what if we do that?’ So I’m working on another short film called Living in Color.
Is Nyctophobic on your watch list?
Thanks to Theo Francocci and Lumos PR
for making this interview possible.
Another chapter of the Black Hammer universe comes to a close with The Unbelievable Unteens #4. Writer and series creator Jeff Lemire and artist Tyler Crook end this mini-series with a charming yet safe. However, with endearing creative choices and outstanding visual work, this chapter is still a worthwhile entry into the Black Hammer mythos.
“Unbelievable Unteens comic book artist Jane Ito finds her world turned upside down after discovering her comic book creations were real and she was one of them. As she and the Unteens reunite and put the pieces together they take on the forces that disbanded them for one final fight.”
Writing & Plot
On the whole, Jeff Lemire’s work on The Unbelievable Unteens has been compelling and intimate, if not just shy of the main series’ quality. This final issue truly encapsulates this. The Unteens come back together for one final bout, they defeat their old foe, and it all end in melancholy. There are some great quiet moments among the main cast. Lemire installs a constant feeling of complicated camaraderie here. Every character feels like a person, with their own quandaries and hidden traumas from what they experienced as a teen superhero team. Watching these people struggle to make peace with themselves and each other is genuinely engaging. This is especially impressive since we’re only given four issues to experience their story.
That last point is also this finale’s main problem. Despite the buildup we’ve gotten for this final fight the battle itself is rather anticlimactic. After the battle, the rest of the issue plays out in a satisfying but predictable manner. It’s a sweet ending, but not one that will be remembered. All in all, Lemire pens an entertaining but somewhat forgettable ending to this mini-series.
Art Direction
Tyler Crook does what he does best in The Unbelievable Unteens #4. The Harrow County artist provides every bit of the visual experience here, including the pencils, colors, and lettering. Crook’s unique care he puts into character art shines in this comic. Those who have read Harrow County understand just how essential his work was for bringing that cast to life. The same goes here in Unteens. The full range of human emotion is captured near-perfectly in every moment on every panel. Each member of the Unteens is presented uniquely, with the weight of their struggles and how they handle them together plainly painted on their faces. There’s an undeniable charm to Crook’s representations that makes these characters easy to like and interface with.
Crook’s action scenes, albeit short-lived, have a kinetic punch, and his set pieces are cool and convincing. My favorite part in this issue comes by way of a very Black Hammer-style nod to a classic coat-and-hat-clad comics wanderer (no spoilers). Crook knocks this Easter egg out of the park with a design that is obvious, but different enough not to cause confusion to the unwary. His watercolor style never gets old, either. This unique approach nails the tone of the more personal sequences and also adds life and energy to the big action scenes. His choice of dark greens and greys for scenes in Jane’s apartment really craft a feeling of quiet solitude. At the same time, the fire-y action scenes explode with power in an over-the-top power struggle.
Lettering
Crook’s lettering is always solid, with some cool speech-bubble choices being the highlight in Unteens. His font approach is a noticeably hand drawn but professionally legible approach. He has a certain character’s speech as a pretty neat white-on-purple bubble. This will likely draw comparison’s to Todd Klein’s work on Sandman, but it’s still a cool touch. All in all, Tyler Crook nails every end of this comic’s visual storytelling experience.
Verdict
The Unbelievable Unteens #4 is a compelling and entertaining, if not predictable and rushed, end to this mini-series. Jeff Lemire’s newest chapter in the Black Hammer universe ends with some charming, intimate, and sweet character moments, but is marred by an anticlimactic final battle. Tyler Crook’s pencils, colors, and letters are gorgeously animated and tonally stellar, as we have come to expect from him. If you’re a fan of the world of Black Hammer, be sure to grab this finale when it hits shelves on 11/10!
Never Never #5 hits your local comic book shop and digital platforms on November 10, but thanks to Heavy Metal, Monkeys Fighting Robots has an exclusive preview for our readers.
The book is written by Mark McCann, with art by Phil Buckenham, Agnese Pozza drops the colors, and you will read David Withers’ letter work. Christopher Lair created the cover.
About Never Never #5: In the final issue of the series, armies of killer king Petros strike the heart of the pirate stronghold, and Winter must make a last effort to free the denizens of the Never and get back home. Aided by the fairies, will it be enough to get past legions of feral boys and the killer king himself?
Enjoy the preview below.
The second printing of Never Never #1 drops today with a special cover by series artist Buckenham.
The Last Session features the evocative artwork of Dozedraws. Each character features a unique design that comes with expressive body language. For example, Cassandra’s in-game character Kezz features highly exaggerated facial features in every scene she appears in. This combined with her brightly colored complexion and cheery outfit match Cassandra’s bubbly self in the real world. Which is to say nothing of how Kezz stands out amongst the fantasy world full of dark dungeons. All in all, both Cassandra and Kezz steal every scene they appear in.
