Review: MALIGNANT Offers A Gory Giallo Throwback

September 20, 2021

Malignant has the potential to become a cult classic in the years to come since its initial release. It’s a modern Giallo horror film from a mastermind responsible for launching three major franchises. An outlandish concept that if executed by someone else it wouldn’t offer the same experience. Malignant is a gory treat that proves James Wan still has a lot to offer the horror genre. If it becomes a franchise, Wan may have created the next icon.

The resurgence of the slasher genre continues with this twisted concept from Wan. While prepping, Wan expressed his goal with this film was to deliver a fresh concept under his brand. Malignant certainly differs from his previous work, but his brilliant style shines through. Directed by James Wan and written by Adela Cooper. Malignant stars George Young, Michole Briana White, Ray Chase, Maddie Hasson, Jean Louisa Kelly, Jake Abel, Mckenna Grace, and Annabelle Wallis. The film follows Madison (Wallis), a woman with a troubled past who starts experiencing visions of people being murdered. The murders are linked to a person named Gabriel, someone from Madison’s past who is out for revenge.

Annabelle Wallis as Madison in James Wan’s Malignant

Madison is introduced as a woman trapped in an abusive relationship. A simple but effective aspect to get audiences invested in her. She’s had numerous miscarriages and was put up for adoption at a young age. Little time is wasted on establishing her as the final girl with a murky background. The film begins in the early ’90s but jumps to the present after a heart-pounding opening to introduce Gabriel. It’s clear Madison and Gabriel have a connection and most viewers will piece together the puzzle early on. However, Cooper and Wan have a more diabolical connection that makes it almost impossible to predict. Malignant does rely on cheap jump scares that aren’t some of Wan’s best. The scares keep you engaged, but lack build-up and are very predictable to spot.

Madison’s life takes a sinister turn after Gabriel’s crimes create legal trouble for her. It’s a typical law enforcement that believes the victim is secretly the killer scenario. Audiences know she’s innocent, but are made to doubt the events unfolding on screen. The way Wan executes this script makes for an exhilarating watch. He was channeling his time on Aquaman and Fast & Furious 7. Malignant’s mystery could have benefited from revealing certain material in a different order. Exposition dumping seemed to have become more important over trusting the audience. Audiences will witness the events and shortly after a character will provide in-depth details about what was on screen previously.

Gabriel is a terrifying presence, so it’s disappointing that the way it unfolds weakens his mysterious nature. Madison is a likable protagonist but feels outshined by the supporting characters. Wallis’ performance is effective and she will have viewers feeling sorry for Madison, while also remaining just as intrigued by Gabriel as she is. During Madison’s hardship, her sister Sydney (Hasson) keeps her company. Their bond is at the heart of Malignant and creates an emotional edge once the film truly kicks in. Hasson’s performance as Wallis’ concerned little sister is heartwarming to witness. The chemistry between the two enhances Madison and Sydney’s growth throughout the film.

Wan keeps the audience’s blood boiling from the chaotic opening to the bonkers conclusion. Malignant is paced very fast for the majority of its runtime. This doesn’t take away from audiences getting enough time to grow attached to Madison. He captures some chilling shots, such as when Gabriel first appears inside Madison’s house. The lighting along with Joseph Bishara’s score creates a dreadful feeling during that scene. Wan’s signature zoom-in on terrifying objects is always a pleasure to see on screen. Malignant has its flaws, but Wan’s commitment to its concept is impressive. Bishara’s score feels like a character at times. Sure it may not complement every scene, but the music teleports you into the world of Malignant every time it plays.

Gabriel carrying Madison in James Wan’s Malignant

Malignant is Wan’s soon-to-be cult classic that many horror fans will love to revisit. It has a unique slasher equipped with the year’s best weapon used in a horror film. Stepping outside of the traditional haunted house films Wan had been doing has allowed him to create a fun film for the genre. Malignant isn’t a masterpiece, but the way it’s executed will have fans of the genre praising Wan for stepping out of his usual approach.

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Review: MIDNIGHT MASS Profoundly Examines Religious Manipulation

Eric Trigg

September 20, 2021

Midnight Mass is a chilling look at the demise of an isolated island through religious horror. Mike Flanagan returns with another compelling Netflix series centered on a misguided community. The emotional weight showcased in his Haunting series is present in Midnight Mass, but not on the same level. Flanagan takes audiences on a religious journey that leaves you feeling like you’ve endured a cathartic exercise. It’s a series that highlights how faith can be used to corrupt and manipulate.

Drawing inspiration from The Bible, the series raises important questions about faith, life, and redemption. Each used for sinister intentions unbeknownst to this island community. Midnight Mass had been in the works for a while. Flanagan has teased the project in his past works. Finally, the long-awaited dream comes to life, and fans will get to experience it later this week. Directed and written by Mike Flanagan, Midnight Mass stars Zach Gilford, Hamish Linklater, Annabeth Gish, Samantha Sloyan, Rahul Kohli, Robert Longstreet, and Kate Siegel. The series centers on Crockett Island, an isolated community that begins to experience unspeakable miracles after the arrival of a young priest, Father Paul (Linklater), and the return of a troubled man, Riley Flynn (Gilford). These miracles aren’t from God, and the community struggles to recognize this.

MIDNIGHT MASS (L to R) ANNABETH GISH as DR. SARAH GUNNING, and KATE SIEGEL as ERIN GREENE in episode 106 of MIDNIGHT MASS Cr. EIKE SCHROTER/NETFLIX © 2021

Riley Flynn, a recovering alcoholic who has been released from prison after serving a four-year sentence. He is the focus early on and returns to his family on Crockett Island. Wanting to start fresh, Riley’s homecoming isn’t well received. Crockett Island is a catholic community filled with many different age groups and an attachment to God. The community gathers at St. Patrick’s for services, but a few inhabitants suffer from old age, inability to walk, body aches, and other life hiccups. However, the arrival of Father Paul unlocks the miracles described in the text they cherish. A religious resurgence occurs, but Father Paul’s presence brings darkness to Crockett Island.

Flanagan is a genius when it comes to telling gripping stories about recovery and trauma. Midnight Mass doesn’t hit the same highs as his Haunting series, but still unpacks a thought-provoking look at religion being used against an entire community. Riley’s presence serves as a stumbling block for Father Paul because Riley is more of a rational person. He doesn’t fully commit to the existence of God because he wonders where was God when he committed the act that landed him in prison. His only ally outside of his family comes in the form of Erin Greene (Siegel). She returned to Crockett after leaving to pursue an acting career but instead endured an abusive relationship. She works as a school teacher in the community and serves as a symbol for Mary from The Bible.

MIDNIGHT MASS (L to R) ZACH GILFORD as RILEY FLYNN in episode 105 of MIDNIGHT MASS Cr. EIKE SCHROTER/NETFLIX © 2021

Flanagan doesn’t seek to make Father Paul a villain, his faith has been exploited and he’s bringing the issues to Crockett Island. His intentions are for the best, but this is no work of God occurring across the community. Father Paul’s corruption from going outside his religious community speaks to how society can be used to manipulate one’s faith. Midnight Mass beautifully depicts how faith can be distorted to catapult one’s self. Father Paul creates a religious resurgence while withholding information about his motivations from his congregation. Joining forces with Bev Keane (Sloyan), a self-righteous resident that Father Paul believes can be used to his advantage. She believes God values her more than any other member at St. Patrick’s, so her faith was exploited by Paul early on.

Another stumbling block for Father Paul is Sheriff Hassan (Kohli), who moved to Crockett after a family tragedy, he follows islamic faith as well. His son Ali is exposed to views he doesn’t agree with, so this creates an issue during this religious resurgence. Riley’s struggles make him an interesting character to watch navigate through these miracles. He is haunted by his mistake, doesn’t believe in God, and part of him doesn’t think he deserves forgiveness. The core characters are compelling, which only enhances the emotions during some of their demises. Flanagan is no stranger to character depth, and the residents of Crockett Island will have audiences invested early on.

MIDNIGHT MASS (L to R) HAMISH LINKLATER as FATHER PAUL in episode 103 of MIDNIGHT MASS Cr. COURTESY OF NETFLIX © 2021

Midnight Mass is brought to life by the impeccable performances put on display. Gilford’s performance as Riley is a stoic one, but time spent with Erin unlocks his softer side. Riley’s redemption arc becomes an act of love, and Gilford’s portrayal makes the character likable. Siegel impresses as Erin Greene, the teacher with a past she isn’t ashamed to own. Her mistakes make her stronger and Siegel captures that inner confidence with ease. Flanagan keeps viewers on the edge, the tension rising with each new episode, and there’s this constant feeling of hopelessness. The series is a visual feast filled with haunting shots of Crockett Island that get amplified by The Newton Brothers’ bone-chilling score.

Midnight Mass delivers a thought-provoking journey that fans of Flanagan have come to expect. It’s an emotional rollercoaster about doubt, redemption, death, and faith that becomes increasingly terrifying as it progresses. A haunting but heartfelt examination of faith demolishing a community. Midnight Mass is a once-in-a-lifetime experience that will leave audiences floored.

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Review: SWEET PAPRIKA #3 – Who’s Gonna Drive You Home?

Justin Munday

The immensely talented Mirka Andolfo (Unnatural, Deep Beyond) brings us another fantastic chapter with Sweep Paprika #3. With help from Simon Tessuto’s colors, Fabio Amelia’s letters, and localization from Steve Orlando, this issue offers more of Andolfo’s trademark humor, clever writing chops, and stunning visual work. Complete with a deviously funny final revelation, this comic is yet another great installment in this series.

“Paprika’s “forced fun” night doesn’t seem to be too bad, perhaps—but, in the end, not too great either. Come on, staying together for so long, for no real reason…how can people like it? Then, while her father seems to be recovered and healthy again, Paprika will have a nasty surprise…”

Writing & Plot

Mirka Andolfo’s writing for Sweet Paprika #3 continues to combine her trademark over-the-top humor and Paprika’s realistic emotional struggles. This issue sees our protagonist continuing to try and reconcile her internal struggles with relationships and issues with her father. This time however, it’s in a social situation with attractive men and lots of expensive alcohol. We get to witness more of Paprika’s worse parts – like the fact that she’s a wealthy work-zealot with a firing fetish – but also her at more vulnerable lows. At the same time we also get Dill not being an obnoxious playboy and instead being a kind, likeable person. This is the first interaction we get of these two where Paprika isn’t trying to rip his head off, and it’s genuinely sweet.

While Andolfo’s usual sexual humor and cartoony silliness are still here and fun as ever, the emotional bits are the huge surprise in this comic. The way Paprika shies away even from light flirting is relatable and genuinely thoughtful. The manner in which she fantasizes about sex but is then interrupted by her deep personal issues continues to be both hilarious yet insightful. The real plot highlight of the book is its ludicrous and hilarious end, which will no doubt mark the turning point for Paprika’s story.

Once again I have to give props to Steve Orlando’s localization. He does stellar work in taking Andolfo’s original writing and reapplying it to our reading sensibilities while maintaining everything she is telling us.

Art Direction

As always, Mirka Andolfo’s art absolutely shines in Sweet Paprika #3. Her animation and details are rife with personality and perfectly craft each scene’s tone. The manner in which her scenes flow both via her panel direction and penciling is so natural it’s almost easy to miss. Reading Paprika is a stellar reminder that comics are not necessarily a static visual medium. The way characters shift and move so seamlessly and break out of conventional panel direction is singular to Andolfo’s style. The fact that her work here is also receiving an animated adaptation makes only too much sense.

A massive portion of what makes Andolfo’s work pop here is the coloring from Simon Tessuto. His vivid visualizations of characters and settings match Andolfo’s vision by crafting a rich world of colors. Tessuto utilizes lighting in such a sharply detailed way that I’ve never seen matched in another comic. The opening scenes at a lavish party lit by chandeliers paint everything in a sort of gold-white light. Scenes decorated by stars and moonlight cast every surface in a proper blue tinge. Every emotional detail and feature is perfectly presented by Tessuto’s work inside Andolfo’s lines.

The lettering from Fabio Amelia is an active visual piece to this puzzle as well. The expressive font style is constantly shifting and changing size and shape to perfectly suit the tone of what’s happening in the panel. The entire visual experience of this chapter of Paprika is brilliant.

Verdict

Sweet Paprika #3 is more of the sexy hilarity and genuine character storytelling we expect from this series. Andolfo keeps up the over-the-top erotic comedy hijinks while digging deeper into Paprika’s debilitating internal traumas. Her beautifully animated pencils, with help from Simon Tessuto’s vivid colors, are stunning in every way. Be sure to grab this newest chapter when in hits shelves on 9/22!

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Review: A RIGHTEOUS THIRST FOR VENGEANCE #1 Is A Triumph

Darryll Robson

a-righteous-thirst-for-vengeance cover — A Righteous Thirst For Vengeance #1 Credit:Image Comics

On October 6th, the first issue of A Righteous Thirst For Vengeance from Image Comics will make its way into the world. It is a tale of contract killers and innocent men told by Rick Remender and Andre Lima Araujo. A modern crime thriller packed with mystery and violence, and yet the first issue is more measured and subtle than expected.

It’s about a man catching a bus.

A Righteous Thirst For Vengeance #1 Credit:Image Comics

Keep It Simple

In 1998, a friend recommended a film to me by saying “If you’re going to watch a woman run across Berlin for 90 minutes, then you have to watch Run Lola Run.” Tom Tykwer’s film is about split second decisions and examines cause and effect across multiple realities. It is so much more than the surface presents. Run Lola Run is a movie worth watching, even if you want more than 90 minutes of a woman running across Belin.

A Righteous Thirst For Vengeance is a comic about a man taking a bus out of the city and into the sticks and, just like Run Lola Run, it is also so much more than that. It is the perfect example of the journey being more important than the destination. And between them, Remender and Araujo present one of the most fascinating bus trips I’ve ever read in comics.

The plot is straightforward and very little is actually explained in this opening issue. The reader follows the journey of a man who, we are told in the solicit, “stumbles upon a dark-web contract assassin’s vicious plot to kill an innocent target.” However, in this mostly silent first issue, Remender is just setting the scene for an intriguing crime mystery story, and there is very little to link the comic to the violence promised. Instead, the excitement here is in the detail, the small interactions between strangers who meet in passing, and the layering of tiny events that lead to the comic’s shock moments. This building of the narrative, with seemingly unimportant moments highlighted as if they were the central plot, makes for rich, enjoyable reading on par with Brubaker and Phillips’ Criminal.

The Art of Silence

The art work by Araujo is superb, and creates fascinating story beats in a mundane world. The emotions of the characters are brought out through nuanced body language and detailed facial expressions. There is an interesting interplay between the landscape and the characters, with one reflecting the mood of the other. Despite the lack of dialogue, Araujo is able to represent a complex central character and create an intriguing story out of a simple bus journey.

Chris O’Halloran does a wonderful job on coloring duties building the tension through a shifting color palette throughout the comic. The dampened blue tones of the opening pages shift in tone as the reader follows Sonny into different locations and circumstances. The artificial brightness of a grocery store produces a sudden overwhelming moment in the comic, as if the creators are giving the readers a shake. It’s like the moment in a film where the music shifts gears and volume to make the viewers sit up. From this point onwards you become more aware of the surroundings, especially the change of color palette from page to page.

Rus Wooton has little to do due to the silence dominating much of this comic, but what he does provide fits perfectly with the rest of the artwork. There is a consistency across the sound effects with subtle placement and a softness to each sound implied by the design. An absence of bold dark colors and outlines to the sound effects allows them to sit within the artwork and not standout. You really get the sense of the sounds emanating from within the page. This is also true of the speech as the thin, clipped tails of the speech balloons do not impose themselves on the page. Each of the creators has picked up on the ordinariness of the central story and reflects that in their craft allowing the readers intrigue to pick out the important details of the plot and feed their own desires of excitement.

Conclusion

A Righteous Thirst For Vengeance is a deliberate slow build designed to acclimatize the reader to the world in which it is set instead of throwing out major plot points and dropping a cast of characters straight into bombastic action. The progression from page to page and moment to moment allows us to spend time with Sonny on a very personal level, even though his motivations are only hinted at. It is a triumph of storytelling and silently screams its brilliance across the pages. Superb artwork and clever page layouts make this a journey worth traveling and sets the bar high for future issues.

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Review: BERMUDA #3 – Bringing a Favorite Character to Center Stage

Jake Palermo

Bermuda #3, from IDW, comes to comic stores on September 15. Writer and letterer John Layman shows us the events of the issue through a supporting character, Doc Nakamura. Artist Nick Bradshaw and colorist Len O’Grady present the story through angles that highlight tension.

Backstory

Bermuda, the series titular protagonist, reluctantly helps a castaway look for his sister.

Bermuda #3: The Doc Nakamura Chapter

Layman makes Bermuda’s helper, Doc Nakamura, the main character of Bermuda #3. Here, Doc is not just a voice of reason, but somebody who has his own challenges and personality. While he looks at his life in the Navy with some nostalgia, he wants a life outside of it. He’s unlike his former captain and crew who held onto the hierarchy of the Navy so much that it practically became a religion to them.

Doc’s good nature and optimism serve as major highlights in Bermuda #3. Despite Captain Cutter’s subtly racist remark towards Nakamura, the Doc believes in the necessity of having him and the rest of the ocean men as allies. Because having an army against greater threats is a tremendous benefit.

Scaled Angle

Bradshaw’s art in Bermuda #3 continues to showcase the Triangle’s magnificent dangers. The first pages feature a kraken overwhelming a submarine in different angles, only to seem like a smaller threat when compared to a massive megalodon. It serves as good foreshadowing of Bermuda and co.’s clash with the Ocean Men. It also represent the series’ ever increasing stakes.

Amid all of the excitement, it’s easy to lose sight of what’s happening. But maybe that’s because O’Grady takes the time to feature camouflage in Bermuda’s lizard mount and the Navy soldiers. Otherwise, the more eye-catching objects like giant spiders or Doc and the Ocean Men’s matching uniforms guide readers through the jungle. Not that it makes Layman’s lettering any less important. He takes the time to make dedicated shouts and sound effect designs.

Get Ready In Bermuda #3

Bermuda #3 makes Doc more than just a supporting character. Accompanying him is a strong sense of scale and danger that increases with every page. So, before the grand finale, this issue reminds us why we love these characters.

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Review: NINJAK #3 Feels a Little Uneven

Jake Palermo

Ninjak #3, out from Valiant Entertainment on September 15th, slows the pace down. Writer Jeff Parker and cartoonist Javier Pulido display tell their story through dialogue that takes its time and emotionally intense illustrations.

Background

A mysterious group, led by a pair of siblings, have exposed all MI6 assets, including Colin King (Ninjak). With hitmen after him, Ninjak regroups to gather intel.

Ninjak #3 On Why Words Go So Slow

Parker’s story outline remains simple to allow the issue to go at its own pace. It is what allows Pulido to illustrate some smooth action sequences in Ninjak #3. A two page spread has Ninjak stylistically take out a group of men in just a few moves.

Some of the exposition-heavy parts of the issue feel slow and uninteresting. The characters talk about things that have already happened. The new information that they provide in this issue, however, they do brilliantly. When Ninjak comes across intel on the series antagonists, Daylight, Pulido’s illustrations, green coloring, and many caption boxes tell everyone how emotionally overwhelming Daylight’s backstory is.

But not everything in Pulido’s art adds to the story or is as interesting. A two page spread that has to be turned on its side feels very distracting. It interrupts the experience of reading the issue.

Ninjak #3: The Challenge of Context

Ninjak #3 might slow down its storytelling pace, but maybe that’s because delivering exposition is tough. Going over what already happened feels like a chore compared to Ninjak #3‘s strikingly vivid imagery. Especially since it makes the villains a little more sympathetic.

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Interview: Zac Thompson Talks KA-ZAR LORD OF THE SAVAGE LAND

Anthony Composto - EIC

September 16, 2021

marvel comics exclusive ka-zar zac thompson

KA-ZAR: LORD OF THE SAVAGE LAND is Marvel’s latest series starring Kevin Plunder, and Monkeys Fighting Robots’ Justin Munday spoke with writer Zac Thompson about the series. Also featured: an exclusive first look at issue #2 (out October 13th)!

About the series:
KA-ZAR IS BACK FROM THE DEAD — WITH A WHOLE NEW TERRIFYING SET OF POWERS! The alien Cotati murdered him. The Savage Land brought him back. Lord Plunder has returned — with a vastly new perspective! Now united with Shanna the She-Devil in a mystical merging of life energies, Ka-Zar has new abilities, new needs…and new enemies. An ancient evil has surfaced in the Savage Land — one that is rapidly reshaping the forgotten world and its inhabitants. Ka-Zar and Shanna must fight together to protect their home and family! But their son Matthew has plans of his own… Don’t miss this spectacular adventure through the lost lands by Zac Thompson and Germán García!

Read on for our interview with Thompson, and to get your first look at LORD OF THE SAVAGE LAND #2:

Monkeys Fighting Robots: How did you get involved in this project? Was it something you pitched or an idea someone at Marvel bounced off you?

Zac Thompson: I was approached by series editor Sarah Brunstad after she had read my solar-punk series No One’s Rose from Vault. Sarah had the wild idea to essentially resurrect Ka-Zar with “powers from the land” similar to what happened to Shanna in the Savage Wolverine series from 2013. We got talking and discussed the precarious nature of Ka-Zar’s legacy and a place like the Savage Land in 2021. Sarah was basically game to rework it from the ground up and wanted me to come on board to develop everything. Naturally, given my interests and voice in my own indie work – this was something I jumped at the chance to do.

MFR: What advantages and disadvantages do you think there are in terms of audience expectation when you go into writing a more niche Marvel book like Ka-Zar?

Thompson: The largest advantage you have with a character like Ka-Zar is a sense of surprise. There is still so much you can do with a niche character and so much you can reimagine without retreading any well-worn ground. There’s a huge legacy of additive storytelling in superhero comics and without hundreds of issues to a character’s name you can put more of a stamp on them in a way you just can’t with other characters. So you can take the basic DNA of someone like Ka-Zar and you can really expand upon it, reimagine it, and ask hard questions about who they are filtered through the lens of the right now.

The real disadvantage is visibility in the crowded market and asking readers (and retailers) to take a leap of faith with you. But I think there’s such a reward for those that do because you’re just going to see things in the pages of Ka-Zar that you won’t find anywhere else at Marvel right now. Like a T-Rex that explodes into a plant monster with an eye inside its head. 😀

MFR: What other stories, in any medium, do you think had the biggest influence on how you approach this book?

Thompson: It’s a big mix. Non-fiction novels like The Lost City of Z by David Grann – which documents British Explorer Percy Fawcett’s search for a fabled civilization that time forgot. The Secret Wisdom of Nature by Peter Wohlleben was a huge piece of this, it’s non-fiction but really focuses on the interiority of animals – which is the heart of this book, really. As well as some of my favorite novels like Ursula K. Le Guin’s The World For The World is Forest and Jeff Vandermeer’s Annihilation. Things with strong environmental themes. I do my best to read lots of current prose fiction too just to stay on top of the current conversation in a sub-genre like eco-horror. The Studio Ghibli film Nausicaa and the Valley of the Wind in terms of tone and imagery. And Legend of Zelda: Breath of the Wild. I could go on… and send people a complete list if they are interested.

MFR: The Savage Land is obviously a pretty well-known fan favorite location in the Marvel Universe. Has the rest of the Marvel cast made an impact on how you’re plotting Ka-Zar?

Thompson: Not really, no. I tried to think about Ka-Zar, Shanna, Matthew and Zabu only while working on this. I wanted to make sure that all my time and attention was focused on telling a rich story with those characters who haven’t had the spotlight on them in so long. Well them and our brand-new villain The Flesh Weaver.

MFR: The visuals from German Garcia and Mat Lopes are just insanely good. How did you get started working with them and how has that experience been?

Thompson: In short, an absolute dream come true.

We had a rather long casting process on this book but I was fairly eager to work with German from the start. I was a massive fan of his lines in Immortal Hulk #25 and his miniseries Barberella and Dejah Thoris with Leah Williams over at Dynamite. His storytelling is just impeccable. You can take all my words off the page and completely understand the emotion and the intent of the page – which is masterful. I also knew he could do weird, cosmic level stuff that would allow us to push the limits of how we convey these strange new powers. So I really have to pinch myself working with German. He’s taken every page of script and elevated it into something beyond my wildest dreams. Same with Mat Lopes. I’ll have to be honest and say I nearly died when he joined the book because he does insanely gorgeous color work on literally everything he touches. There’s a softness to his palette and a desaturated effect that gives the book this time-worn pulp feel. It’s honestly better than I could have ever imagined.

MFR: Has Marvel let you craft your own ideas for Ka-Zar pretty freely, or do they have plans of their own that they want incorporated?

Thompson: I was given pretty much free reign to do whatever I wanted. Sarah really empowered me to take the initial pitch and run with it. So I wanted to do something in the spirit of House of X/Powers of X where we just go all out with big new ideas and present this radically new status quo for these characters but instead of building to that moment over several issues we just start the story with a lot of the worldbuilding already done. Readers are thrown into something new, additive, and exciting. They don’t need to read anything to jump in and if you’re a long time fan – there’s a lot there to reward you.

MFR: Some readers may know you best from your independent work, such as I Breathed A Body or Undone By Blood. How does your approach differ between Ka-Zar and your original comics work?

Thompson: To be honest, for Ka-Zar – not much. My independent work involves a lot of worldbuilding, research and long lead times. I had the luxury of using all of those things with Ka-Zar. Because a lot of what we’re doing is new, I’m pulling from the world around me to tell this story. Which is often how I approach my indie work. I feel incredibly fortunate to be trusted and empowered to build new powers, mythos, and characters within the Marvel U while still being able to use some of the themes that really interest me like bio-technology, eco-horror, body horror, restorative justice and reconciliation.

MFR: Outside of more Ka-Zar, what do you have coming out next that you can tell us about?

Thompson: I’m currently hard at work on a number of other indie titles that should be coming out in mid/late 2022. One at a publisher I’ve never worked with before that I’m SUPER excited to announce. As well as a few other things at Marvel that are a little too early to talk about just yet.

Thanks to Zac Thompson for taking the time to chat with us. Are you reading LORD OF THE SAVAGE LAND? What is your favorite Ka-Zar story? Sound off in the comments!

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Marvel Comics Exclusive Preview: GUARDIANS OF THE GALAXY #18

Anthony Composto - EIC

September 16, 2021

marvel comics exclusive preview guardians of the galaxy #18

GUARDIANS OF THE GALAXY #18 hits your local comic book store September 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you.

About the issue:
THE LAST ANNIHILATION CONCLUDES! The Guardians and their allies are being overrun on all fronts by the Mindless Armies of Dormammu. There’s only one hope for the galaxy as we know it. ROCKET RACCOON has a plan. All he needs to know is Dormammu’s weak spot. Dormammu doesn’t have a weak spot. Uh-oh.

The issue is by writer Al Ewing and artist Juan Frigeri, with colors by Federico Blee, and letters by Cory Petit. The main cover is by Bretty Booth, Adelso Corona, and Guru-eFX.

As stated in the solicit text, this issue concludes the “Last Annihilation” story arc, which has spanned across Guardians, S.W.O.R.D., and several one-shots.

Check out the GUARDIANS OF THE GALAXY #18 preview below:

Have you been reading GUARDIANS OF THE GALAXY? Sound off in the comments!

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AfterShock Comics Exclusive Preview: OUT OF BODY #4

Anthony Composto - EIC

September 16, 2021

out of body #4 aftershock comics exclusive preview

OUT OF BODY #4 hits your local comic book store September 29th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Do we really know what others think of us? Psychologist Dan Collins is finding out the hard way. While his body is kept alive by machines, he continues to search for who attacked him and left him hovering between life and death. Problem is, there seems to be a lot of possible culprits! Meanwhile Dan tries to help the restless spirit of suicide Adam Konrad — with potentially lethal results. Astral projections, homunculi, and gardening tips — all this and more in the penultimate issue: OUT OF BODY #4!

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 #4 preview below:

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

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Exclusive Preview: InterPop’s THE NINE #1

Anthony Composto - EIC

September 15, 2021

the nine #1 comics interpop exclusive preview

THE NINE #1 is out today, and Monkeys Fighting Robots has an exclusive six-page preview of the debut issue, courtesy of InterPop!

About the book:
Welcome to the first official issue of THE NINE! Though Professor Helios may hope otherwise, the Crime Blotter survived his blazing attack—and now, he can time travel? But can the Time Blotter survive another encounter with Professor Helios? Secrets will come to light as Zeroth becomes entangled in the mystery of the Nine. Can the enigmatic industrialist be trusted, or did he betray humanity? Meanwhile, enter the fighting ring as bodies pile up in the hyperdome, where the fiery (and icy) Devastatrix is on a rampage. Is there more to her fury than meets the eye? Fans and foes clash at the Crime Blotter memorial—what will teen hero #ZoeMG discover when she starts searching for answers? Find out all this and more in THE NINE #1!

The series is by writer Will Pfeifer and artist Steve Ellis, with colors by Chris Sotomayor, and letters by Carlos Mangual. The main cover is by Ellis, with variants by Klaus Janson & Alex Sinclair, Juan Doe, and Lynne Yoshii.

Check out our preview of THE NINE #1 right here:

Schedule of release dates for The Nine #1 on interpopcomics.com:

9/15 — Release of The Nine #1 (NFT* Unlimited Edition) with main cover (Steve Ellis)

9/22 — Release of first part of the issue for free & NFT Variant Cover 1 (Klaus Janson & Alex Sinclair)

9/29 — Release of second part of the issue for free & NFT Variant Cover 2 (Juan Doe)

10/6: Release of third part of the issue for free & NFT Variant Cover 3 (Lynne Yoshii)

Note that by purchasing the NFT variant cover, the buyer receives the full issue as well. Buyers also have the ability to vote on story decisions within InterPop’s Emergents Universe.

Are you going to check out THE NINE? Sound off in the comments!

*InterPop sells their Emergents Universe comics (and limited variant covers) as NFTs, and also offers free-to-read versions of the stories that are accessible to anyone and don’t require any purchase. Issues will first be sold as NFTs and then in the following weeks will be released in segments as free-to-read stories. All of InterPop’s comics are available to purchase and read on https://interpopcomics.com/home.

InterPop is part of the Tezos network, which is a Proof of Stake network that consumes over two million times less energy than Proof of Work networks and is constantly updating to lower its carbon footprint.

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