INTERVIEW: Content Creator MMOByte Dives Deep Into MMOs And More

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October 14, 2021

The video game industry is a juggernaut that dwarfs the movie industry. If you don’t believe me, tickle the keyboard on Google and have a look. As our entertainment desires evolve, so do the ways that we consume coverage of that entertainment. Enter content creators like MMOByte, who devote countless hours, researching, writing, reading, and playing video games on behalf of hundreds of thousands of viewers.

PopAxiom spoke with MMOByte, real name Mark or Stix as he often goes by, about going from Australia to America and becoming a content creator on YouTube with 331,000+ subscribers as of this writing.

Australians Are Idiots

Watching Stix, you’ll notice he’s got a clear speaking voice and an American accent, but it was only four years ago when he moved to the United States from Australia. “I was 15 years old when I got a job online doing SEO. I was attempting to land a client. There were an American and British guy up for the same client. I had a strong opinion about how I could go about achieving this client’s rankings. They both had a difference of opinion. The American and British agreed that the Australian is stupid.”

“So, I talked to people,” Stix says, ”and learned that generally, people think Australians are laid-back idiots.”

Stix came to a logical conclusion. “If being Australian is going to hinder my ability to land more clients if I want to pursue a career in SEO, then I will fake an American accent. So, I faked it.”

How did the faux accent work out? “At that point, I came back to the same client who forgot all about me. Without the Australian accent, I got the job right away.”

“Fast-forward years later,” he continues, “I adopted the accent, and that was that. I can probably fake an Australian accent, but I’ve sort of lost it entirely.”

Getting Into Gaming

“Back when I was around 10 or 11, I purchased the Playstation 1 by doing chores around the neighborhood,” Stix says about his early gaming days. “I bought the first Resident Evil game. Playing that game at that age at like 10 pm on a school night — I was mortified. I couldn’t sleep all night. I thought zombies were going to smash through my window.”

Resident Evil is a genre far away from the MMO. “Growing up, my family was pretty poor. As an avid gamer, I had to find an outlet in which to experience games. That led me to my first MMO called Tales of Pirates. I think in Asia, it’s known as Pirates King Online. I dedicated two years of my life to that game. From around 2004 to 2006.”

As any MMO fan might tell you, there are down times, and that’s a good thing. “I’m in that lull where I’m waiting for “Endwalker” in November. I haven’t played Final Fantasy 14 since patch 5.2, which was early 2020. I’m playing MMOs now for the channel, but I’m not playing any in my off-time.”

Becoming MMOByte

“I did SEO for seven or eight years straight,” he explains about his days leading up to becoming a content creator. “I loved video games, and I saw another channel called MMO Hunt and an introductory video they made, sort of the grandfather of the ‘first impressions.’ So, I realized that this guy’s playing a game I’m already playing and just talking for 30 minutes while playing it then uploading the video, essentially unedited to YouTube. He’s getting tens of thousands of views. He’s got a website running alongside it. I can do that!”

Stix decided to try and do just that. “I made a YouTube channel based around MMOs. Then I used my SEO knowledge to research topics, titles, and keywords. That’s how the channel grew.”

“It started with MMOs,” he says, “because that’s what I was playing at the time. I started YouTube around four or five years ago. I’d load up OBNS, record an hour of a game, then upload it raw to YouTube. That got me nowhere after about six months.”

Stix started experimenting. “So, I started condensing it down to 20-minute videos with highlights, but that didn’t work for me either. At that point, I took feedback and tried to condense them into 2-4 minute video, but that didn’t allow for much of any content.”

Direction

“I didn’t know what direction the channel was going to go,” he shares, “when I met my wife, Mrs. Stix. She suggested covering some of the news in the MMO scene.”

Stix took the suggestion and “started doing research and set up alerts for specific keywords for specific games. I would make weekly videos that I titled ‘Weekly Byte of MMO RPG News’ and those went on to get 40, 50, 100 thousand views.”

But there was a problem. “Those videos took hours of writing, hours of editing, hours of research. It was two or three days of work. The workload increased substantially.”

“The process has changed a lot,” he says of the channel’s evolution over the years. “Now, I cover the news more singularly and more focused on stuff that the viewers and I might find interesting. I rarely capture video for dedicated gameplay videos anymore. Instead, it’s more informational and news related.”

MMOByte uploads content regularly. The work behind the scenes “depends on the video,” he says. “I have videos where I’m just reacting to a trailer or where I’m reading information directly from a website.”

“For news videos or where I’m going to talk about a game more in-depth,” he continues, “I will write up the script for it and closing opinions. Sometimes with a list of pros and cons for the game. I go about reading off of that.”

But Stix doesn’t box himself in with a script. “I leave areas where I can go off-script. I’ll have notes about other games I can mention. I’ll acquire footage of games related to the video. I use the script, but it’s not set in stone. I allow myself to have a sense of freedom while I’m talking. It all gets edited in Adobe Premiere Pro.”

Sacrifice

Like any other industry, the world of content creators comes with drama and dark sides. “I try to distance myself from doing heavily negative videos on games. That’s not my thing.”

In our current world, creators like him are increasingly becoming a marketing tool for products, creating a breeding ground for corruption. Months ago, Stix released a video discussing this critical topic. “A company might sometimes reach out to me with a financial incentive. They’ll say, ‘we’re willing to offer you this amount of money for you to review our game.’ I say, ‘that sounds like a great idea, but if I do, I might have bad things to say about the game.’ If the company doesn’t like that, then there’s no deal. So I generally try to take sponsors from games I like.”

It seems benign enough, but “Sometimes, the incentive comes with a catch of removing a previous video that may have mentioned their game in a negative light. So that’s a no.”

“If I am not blunt and honest with what I say, my community will hold me accountable,” he affirms. “It could go from thousands of subscribers to nothing overnight. So is it worth it?”

Stix also admits that “making videos like that burns some bridges. But it also creates more trust with your community because it shows you’re willing to burn those bridges. If you’re willing to be honest and not sacrifice your morals just for a paycheck, people will more likely trust what you say.”

Wrapping Up

“I never thought the channel would hit three hundred thousand subscribers,” he says and adds, “every milestone is mind-blowing.”

What’s the goal moving forward for MMOByte? “My goal was always to remain focused on MMOs, but as of the last year, I’m leaning towards more game content. Currently, I do like 85% MMO content and 15% game content. I want to focus a little more on other genres that I enjoy.”

Grander goals are definitely in the works. “I want to build up and establish the website as a company. Then, I’d love to employ writers to write about MMOs and games, maybe even do skits.”

Are you subscribed to MMOByte?

Thanks to Stix for making this interview possible.

Find more interviews by Ruben R. Diaz!

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AfterShock Comics Exclusive Preview: OUT OF BODY #5

By

Anthony Composto - EIC

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October 14, 2021

aftershock comics exclusive preview out of body #5

OUT OF BODY #5 hits your local comic book store October 27th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Dan’s uncanny near-death experience comes to a shocking and unexpected climax as he’s used as bait to lure Abi McGrath’s astral into the clutches of lascivious magician August Fryne. Meanwhile, in an effort to pay Dan’s medical bills, Dan’s brother does something stupid.

A demonic visitation, a disgusting multicellular organism, a suicide, a funeral and Dan’s trippiest journey yet: inside the body of a dying man. All this and more in the drop-dead gorgeous denouement of OUT OF BODY.

The series is by writer Peter Milligan and artist Inaki Miranda, with colors by Eva De La Cruz, and letters by Sal Cipriano. The cover is by Miranda.

Check out the OUT OF BODY #5 preview below:

Are you reading AfterShock’s OUT OF BODY? Sound off in the comments!

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Review: DESTROY ALL MONSTERS is the Noir Genre at Its Best

By

Zac Owens

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Writer Ed Brubaker, artist and letterer Sean Phillips, and colorist Jacob Phillips’ Reckless series has been brilliant since book one. But Image Comics’ Destroy All Monsters is undoubtedly their best installment yet. This creative team joyfully dives back into this world they’ve created. And this time, they dive deep into the rich dynamic between the titular Ethan Reckless and his business partner, Anna.

Writing

It’s tempting to compare Brubaker’s script to other staples in the noir genre. Destroy All Monsters is reminiscent of some of the greatest moments from James Bond. It’s as heart wrenching as Casablanca, as layered as The Maltese Falcon. But Destroy All Monsters is something else. Ethan Reckless radiates a darker, more dangerous presence than Sam Spade. He’s capable of more brutal things than Bond. When the story is being steered by his callous and scarred hands, it feels as though anything could happen.

And then there’s Anna. She’s more of a delight than any you’ll find in those other noir flicks. We’ve seen Anna pop up in the first two Reckless books, but Destroy All Monsters puts her center stage. Brubaker counterbalances Ethan’s deep-seated sadness with Anna’s boundless optimism. She might see the world as a dark place, but she also seems to have confidence that she and Ethan can change that. It’s impossible not to smile when reading her pages. Brubaker shows us the beauty of both of these characters, by juxtaposing them against one another.

Art

It feels as though Sean Phillips’ art has never been so expressive. He leans into every story beat, brilliantly driving it home. When a cop gives Ethan a veiled threat, he makes himself clear with a sinister smile, like something right out of a horror movie. In another context, these moments might feel melodramatic. But Destroy All Monsters is also full of plenty of stoic characters. Ethan’s face rarely changes much. He has that same look of concentration in nearly every panel. Other characters stay guarded and closed off. But characters like Anna and even our villain, Gerard Runyan, give the book plenty of emotion.

In one scene, Phillips shows Anna and Ethan on a phone call. On one end, we see Ethan. Shadows cover his face. He doesn’t smile or change his expression with each beat of the conversation. On the other end, we have Anna. Her face is a rollercoaster of emotions. She smiles, she frowns, she furrows her brow, she widens her eyes in shock. It’s in this single, simple page that Phillips shows us why these two are so good for each other. And it’s downright comic book magic.

Coloring

Jacob Phillips’ coloring is always a highlight to this series. The mornings in Destroy All Monsters aren’t grey or simply bright. They’re a dazzling yellow. The nights are a sharp blue. Every page is bursting with color. But the most noticeable color that Phillips uses is pink. Pink is Anna’s color. It’s the color of her hair and the color of her car. We see scenes that she’s in often have whole panels colored in different shades of pink. She has a presence that bleeds past her inked outline.

Ethan often shows up in panels that are blue. His loneliness is evident on the page. But it’s actually clearest when he’s thinking of the drive between his place and Anna’s new apartment. He pictures the commute, shown on the page as an image of the 405. It’s all in pink. We can see how much Ethan cares about his friend in this moment. Anna colors how Ethan sees the world and, without her, everything is blue.

Lettering

We learn a lot about Ethan just by seeing the way that he thinks. The caption boxes in Destroy All Monsters come from Ethan’s perspective. They line up on the page along straight edges. They feel calculated and calm. Even when shit hits the fan, the caption boxes act as an out of body voice that calmly comments on the scene that’s unfolding. Sean Phillips has some fun with it though. At times, the captions overlap the tops of word balloons, setting up the line that’s being said.

Phillips often shows small font on big word balloons. You can hear the characters whispering things to themselves, under their breath. Or, he makes the font big, bold, and italicized. The edges of the balloon become jagged, showing us the panic that’s rising in the speaker’s throat. Phillips uses a set of simple but deeply effective tools. His lettering says a lot in very subtle ways. You read lines in your head just like he intended you to, without even realizing anything was different.

Destroy All Monsters is dangerous and beautiful. It’s everything you want from a noir comic. Ed Brubaker, Sean Phillips, and Jacob Phillips continue to make us fall in love with the world of Reckless. Pick up your copy of Destroy All Monsters, out from Image Comics October 20th, at a comic shop near you!

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Review: HALLOWEEN KILLS Raises The Kill Count With A Messy Narrative

By

Eric Trigg

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October 13, 2021

Halloween Kills delivers on its title and Michael Myers is at his best after almost being burned alive. Myers rampage continues in this blood-drenched follow-up to its widely successful predecessor. Wanting to address the entire town of Haddonfield, Halloween Kills loses its footing as it attempts to juggle too much in its allotted runtime. Never allowing its narrative to breathe, Halloween Kills will satisfy most fans of the franchise like myself. But it’s easy to see why some are not as impressed.

Jamie Lee Curtis is back once again as the iconic Laurie Strode. She spends most of the time resting for her next meeting with Michael, which is slated for next year with Halloween Ends. More returning characters carry the narrative this time, and the results are a mixed bag. David Gordon Green returns to co-write and direct this latest bloodbath for Michael Myers. Judy Greer and Andi Matichak return to reprise their respective roles as Karen (Greer) and Allyson (Matichak) Nelson.

Laurie Strode (Curtis) believes she has put her 40-year-old trauma behind her, but Michael Myers survived the house fire and is continuing his annual killing spree. Tommy Doyle, Lindsey Wallace, Marion Chambers, and the entire town of Haddonfield learn of his presence and seek to continue where Laurie left off by hunting Michael down. The decision to bring in more characters from John Carpenter’s classic made the wait for Halloween Kills that much worse. Sadly, they aren’t that interesting to follow.

Kyle Richards returns as Lindsey Wallace, a decision that had diehard fans eager to see Richards back in the franchise. Lindsey’s return is merely for nostalgia, and while it’s nice to see the character return. There should have been more focus on who she is now. Anthony Michael Hall fills in the role of Tommy Doyle, the child Laurie babysat during Michael’s original attacks. Similar to Lindsey, Tommy has no character development. We do learn that they meet Marion Chambers at a bar every year to drown out their collective trauma though.

It’s easy to argue that’s all you need when relying on nostalgia, but Halloween Kills spends an unnecessary amount of time with characters named Big John and Little John. Both serve no purpose after learning they stay in Myers old home. Moments of the two doing goofball antics could have been swapped for the development of those carrying the story. As comedic as they are, It’s unnecessary humor when struggling to squeeze in as much as Halloween Kills attempts to. The social commentary aspect may hit closer to home for some more than others.

Being centered on the idiotic Haddonfield mob shines a light on how damaging acting before being informed can be. While watching Michael dish out some of the series best kills to date, it’s difficult to not grow increasingly bothered by the stupidity of those that confront him. Their stupidity aids the film in living up to its title, which keeps Halloween Kills fun from start to finish. How it managed to provide some of the best and bizarre moments of the franchise might be a bigger mystery than what makes Michael tick.

When you aren’t mesmerized by the gory carnage, Halloween Kills will have you cringing from the dialogue. If you were turned off by the peanut butter crotch comments from Green’s last film, well be prepared to cringe again. The overuse of the phrase “Evil dies tonight” is dreadful to hear once it overstays its welcome. Curtis delivers another strong performance and even has some captivating moments where she goes over who Michael Myers is at his core. Hall and Richards are adequate enough in their roles, but Curtis’ absence early on could hinder the overall experience for some.

Green keeps the film at a rapid pace, which hinders certain aspects from being digested as a viewer. It’s trying to accomplish too much too quickly and it’s evident throughout. When Michael is slashing his way through Haddonfield, Green builds on the tension and keeps it suspenseful. There’s a moment where Myers is unmasked by the mob and Green brilliantly respects the character here. The use of lighting and blurred angles to preserve Myers’ menacing presence was handled masterfully.

While Halloween Kills isn’t as cohesive as its predecessor, it does a better job at capturing the atmosphere of the late ’70s classic. The film’s opening flashback includes a tremendous recreation of Michael’s home and the best iteration of his iconic mask. How this flashback is incorporated into the film’s progression creates some intimate moments between Laurie and her roommate in the hospital. Amid its flaws, Halloween Kills does enough to keep itself afloat. Carpenter returns to score and it is an adrenaline rush that heightens the tension during certain chase sequences.

Halloween Kills fumbles with its narrative more than once but still provides the action that horror fans waited so patiently for. James Jude Courtney delivers another frightening performance as Michael Myers. His dominant portrayal helps sell Myers rage during this film. At times it does feel like Green and his co-writers leaned too much on the comedy, but it never becomes too overbearing. Halloween Kills lives up to its name and it’s a step-down, but it still encompasses several brilliant moments.

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Heavy Metal Exclusive Preview: STARWARD Chapter 5

By

Anthony Composto - EIC

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October 13, 2021

heavy metal magazine exclusive preview starward chapter 5 five

STARWARD Chapter 5 is out today in the new Heavy Metal Magazine #310, but thanks to the publisher, Monkeys Fighting Robots has an exclusive five-page preview for you!

About the series:
STARWARD is Heavy Metal’s first YA story and follows college student and summer lifeguard Stephanie Cohen, who realizes she’s a reincarnated cosmic warrior who must defend reality from chaos as one of seven Starward Sisters. In this chapter, Stephanie battles the demon Kaos and his minions in an effort to protect the universe from destruction. The series is an epic hero’s journey-fantasy tale mixed with a modern-day coming-of-age comedy.

STARWARD is by writer Steve Orlando and artist Ivan Shavrin, with letters by Saida Temofonte. It is edited by Joseph Illidge. The series is currently coming out as a serial in Heavy Metal Magazine, and will be published as an Elements comic series down the road (collecting the chapters plus bonus content).

In addition to STARWARD, today’s new Heavy Metal Magazine #310 doubles down on the horror with two chapters of Ron Marz’s historical war-horror story Swamp God, plus the return of George C. Romero’s bone-chilling Night of the Living Dead prologue The Rise, and many more terrifying tales.

Check out the STARWARD preview below:

Have you been reading STARWARD in Heavy Metal Magazine? Sound off in the comments!

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Review: NINJAK #4: A Change In Direction

By

Jake Palermo

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Ninjak #4 ends the first arc of this Valiant Entertainment run on October 13th. With a new artist joining in, the battles against Daylight are about to get more complex.

Background

Ninjak is on the run from assassins hunting spies via data leaks. To combat the leakers, Daylight, Ninjak gathers what little information he can.

Ninjak #4 Is Where The Plot Heightens

Within Ninjak #4, Jeff Parker sets the stage for this run’s next arc. Readers who follow this series’ earlier issues know how much of a threat Daylight is. But actually seeing Ninjak almost overwhelmed by the telepath, Siphon, shows how out of his element he is. Even with backup from his co-star Myna, Parker displays that Ninjak is going to need to change tactics, and fast. Because between Daylight and some super assassins, conventional spying’s not going to cut it.

New Direction In Art

While Javier Pulido continues his mesmerizing cartooning for the first four pages, new artists help ease his workload. Penciler Beni Lobel, draws more realistic designs for each character in Ninjak #4 but makes their facial language very emotive. Yet, it’s the colorist Andrew Dalhouse that keeps the spirit of Pulido’s art through demonstrating Siphon’s telepathic powers. The way her white mental image enters the cool colored mind of Ninjak with vivid imagery is startling. Thankfully for Ninjak, Dave Sharpe’s SFX provide just as much visual impact on the page. It’s what allows the reader to share Ninjak’s shock as he is back in the real world.

Ninjak #4 Closes Out Well

Ninjak #4 closes out this arc of Jeff Park’s run with intense action. While some readers may find the change of artists a little jarring, the story more than makes up for it. With Daylight more or less having a few legs up on Ninjak, readers will want more out of this immersive run.

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Review: Loss, Labyrinths, & Broken Ties In MAZEBOOK #2

By

Justin Munday

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Jeff Lemire (Black Hammer, Sweet Tooth) returns with another fascinating yet emotionally painful chapter in Mazebook #2. With letters from Steve Wands, this issue poses more questions and opens up this story’s psychological mysteries through a series of dreamlike sequences and painful conversations. With poignant and devastating writing and tonally perfect visual work, this is Lemire operating at his most insightful.

“Will’s a melancholic building inspector who’s been grieving the loss of his puzzle-loving daughter for years. One evening he receives a mysterious phone call from a girl claiming it’s her and that she’s trapped in the middle of a labyrinth, setting Will off on a journey digging through her personal journals and puzzles for answers on where she is and how to bring her back home.”

Writing & Plot

Jeff Lemire replaces the prior issue’s aimlessness with a pained determination in Mazebook #2. Where Will, the main protagonist, was wandering aimlessly when we first met him, now he is driven by almost blind hope. Lemire’s handling of a person experiencing tremendous loss is possibly the best example of this I’ve seen in the medium. Will pulls himself out of his malaise out of a desperate need for his experiences to be true. Watching him string together elements and symbols that could easily be coincidental is heart wrenching. He has a confrontation with someone in his past that represents the exact opposite way of handling loss. This is the most painful passage in the book, and the most emotionally conflicting.

As much as we want to be on Will’s side, we also have to understand that the how’s and what’s of his situation are of his own making. As Lemire gently guides us through Will’s fracturing reality, we have no choice but to be both intrigued by the comic’s supernatural happenings – and fearful for the protagonist’s sanity. This comic is a high point of brilliance in Lemire’s career, something I do not say lightly.

Art Direction

I’m not sure Lemire collaborating with any artist other than himself would be able to bring Mazebook #2 to life. His iconic rough-hewn pencils and monotone colors are the perfect aesthetic choice for this insightful comic. The minimalistic pencils with lines in just the right places accentuate the wear in Will’s face. His scraggly appearance is reflective of the colorless world he lives in since the loss of his daughter.

The way Lemire frames characters and scenes is striking in a manner only comics can pull off. The frequent straight-on looks we get with Will gets his face in our minds so the nuances of expression are easily felt. There’s a tricky complexity to this comic’s environmental storytelling as well. Obviously this story centers around the idea of mazes and solving them.

Lemire does an incredible job of confusing us as much as Will is confused by events in his world. We end up searching for nonexistent patterns in the background art. Lemire’s sepia then blue colors create a minimal yet hazy atmosphere that highlights the comic’s mysterious, sad tone. The dashes of sudden color that do appear arrive in a manner reminiscent of dreams themselves, distilling what is really happening to Will versus what he thinks is happening is a real challenge. Steve Wands’s lettering is a unique as Lemire’s visuals. His font style is professional and legible while utilizing an almost handwritten-esque approach. This comic is visually perfect for the detached, listless tone of the story.

Verdict

Mazebook #2 is a brilliant and effective 2nd chapter of Lemire’s meditation on loss. His writing in this issue focuses on Will’s rash determination and desperate need for the strange events in his life to be true – at the possible cost of his own sanity. His visual work is as tonally outstanding as ever, with expressive pencils and atmospheric colors. Be sure to grab this newest chapter when it hits shelves on 10/13!

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DUNE REVIEW: An Old-School Trilogy Opening Act

By

Matthew Sardo

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DUNE REVIEW: Old-School Trilogy Opening Act

DUNE hits theaters and HBO MAX on October 22; listen to my quick thoughts on the film and why I had an enjoyable movie experience. How we consume media has changed, and I’m not sure the modern audience is ready for an old-school trilogy opening act.

After you see the film come back and chat with me on Twitter – @matthewsardo

About DUNE:
Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”) directs Warner Bros. Pictures and Legendary Pictures’ “Dune,” the big-screen adaptation of Frank Herbert’s seminal bestseller of the same name.

A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive.

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Review: STRANGE ADVENTURES #12 is Tragic and Triumphant

By

Zac Owens

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DC Comics’ Strange Adventures has changed the face of comics. This series has taken risks and pushed boundaries, all to deliver a game-changing story. And writer Tom King, artists Mitch Gerads and Evan “Doc” Shaner, and letterer Clayton Cowles stick the landing. Strange Adventures #12 is the complex, bittersweet, and difficult conclusion to an incredibly layered series.

Writing

To say King’s finale to Strange Adventures is “satisfying” might be a bit of mislead. See, King often doesn’t do “satisfying.” He’s more interested in his stories leaving a mark. And Strange Adventures certainly does that. But it does so with complicated stakes and heartbreaking dramatic irony. In one of our storylines, we see Alanna Strange. She breaks out into monologues of Shakespearean magnitude. Her grief is real, her fury is frightening. But, in our other storyline, back when Alanna and Adam are deciding to write Adam’s memoir, we see her full of hope and bright-eyed innocence.

King doesn’t just want to break our hearts with Alanna’s woes. He wants to break our hearts by showing us how far she’s fallen. It wasn’t so long ago that she believed in something. She joyfully begins writing Adam’s book, Strange Adventures, with a cheeky smile. But in the present day, she’s jaded and bitter. The only emotions she can muster are filled with pain. It’s a fitting conclusion. King is discussing what loss and lies can do to someone, with this series. The only reason we might not be fully satisfied, is because King doesn’t want us to be. He wants our heart to go out to these characters. He wants us still to be invested, even after the last page has been turned.

Art

Gerads and Shaner capture the dichotomy of this script beautifully. Gerads’ pages and panels are full of emotion. We see Alanna in tears, her face contorted into painful expressions. But it’s all so earned. Gerads has filled his pages in Strange Adventures, thus far, with subtlety and stoicism. The characters he’s presented have had a quiet dignity to them. So, when the gloves come off in this issue, Gerads makes us feel deeply.

Shaner has a gorgeous simplicity to his panels. When we see Adam and Alanna zip through the sky, wearing their jetpacks, it feels like a picturesque scene out of a 60’s comic. This is a space opera, with invincible heroes and larger-than-life stakes. Occasionally, though, Shaner zooms us in on Adam or Alanna’s face. We see the sadness bubbling below their swashbuckling exterior. And as the issue closes, we see them in their home, together. Shaner presents them as truly human. They seem so vulnerable and normal. It’s the last little heartbreak. Shaner drives the knife right in, making us hope that they can live a normal life together, even though we already know that won’t be the case.

Coloring

Each of Gerads’ scenes have a strong color coming through. The first scene we see is a dark red. It’s the red of blood and the red of a mother’s fury. Then we see the blue of loneliness, as the wages of this battle sink in. Finally, we see a scene colored in the gold of victory. It’s the light in the darkness, the hope in the midst of the trauma.

Interestingly enough, Shaner uses many of the same colors, often back to back with Gerads, to different effect. We see a purplish hue to one of the scenes of Adam and Alanna flying through Rann. Shaner makes it feel like the sun is setting on their time there. And as the issue closes, we see them at home by the blue light of a computer screen. It feels intimate, even cozy, with a hint of sadness. Both artists brilliantly work together to color each scene with intention and emotion.

Lettering

The heights of word balloons, on the page, often give us a sense of tone. When they’re high in the panel, they feel energetic. Depending on the scene, they can seem angry, excited, or intense. When they’re lower in the panel, sometimes they’re simply placed their for ease of reading. Other times, it’s to make the dialogue sound like it has less energy put into it.

Cowles shows us the big difference between the modern day Alanna and her younger self. In her scenes in the past, as she flies around with Adam, her word balloons always reach high. She may have just lost her daughter, but she’s trying hard to carry on. She’s working at being excited, at being present. But the modern Alanna is all over the place. She might have word balloons that overlap others as she interrupts and gets people’s attention, but her words often climb down the page. Her exhaustion, in those moments, is on full display. With the strategic placement of dialogue, Cowles tells us just how much Alanna has changed over the years.

DC Comics’ Strange Adventures is not fluffy entertainment. It reaches right into your soul and digs around in there. It’s a fantastic and complex work. Pick up this beautiful finale, out from DC Comics October 12th, at a comic shop near you!

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BOOM! Studios Exclusive First Look: ONCE & FUTURE #21

By

Anthony Composto - EIC

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October 12, 2021

once future boom! studios exclusive preview

ONCE & FUTURE #21 hits your local comic book store October 27th, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
What ancient and mythical danger awaits Bridgette, Duncan, and Rose as they seek
Rose’s parents in the city of Bath? To complicate matters, an Arthurian knight pursues
them with an offer for Rose and Duncan – join the Round Table or face death. If they
survive the encounter, they’ll be pulled into the next phase of Bridgette’s plan… finding
the lair of the greatest hunter the world has ever seen.

The series is by writer Kieron Gillen and artist Dan Mora, with colors by Tamra Bonvillain, and letters by Ed Dukeshire. The main cover is by Mora, with a variant by Jonboy Meyers.

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