EIGHTY DAYS hits your local comic book store September 1st, but thanks to BOOM! Studios, Monkeys Fighting Robots has a new, exclusive nine-page preview for you.
About the issue: Jay wants nothing more than to fly. Or so he thinks, until he crosses paths with a
mysterious thief named Fix whose tricks and charms draw him into the struggle against
the looming aviation guild to which Jay owes his very being. As Jay becomes further
entangled in the turbulence of Fix’s cause, each man must learn to navigate shifting
allegiances, the fight for freedom, and the greatest adventure of all — love.
EIGHTY DAYS is the debut graphic novel from acclaimed independent
cartoonist — and winner of the 2016 PRISM Comics Queer Press Grant — A.C.
Esguerra.
“[A story] about fighting the impossible odds to find love under the shadow of war“
Check out the EIGHTY DAYS preview below:
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From writer Cullen Bunn (Harrow County, Bone Parish) and artist Andrea Mutti comes the second engaging issue of Parasomnia. This horror comic’s unique plot and intriguing character writing is unfortunately bogged down by mystery-killing exposition. Held aloft by phenomenal art however, this is still absolutely a comic worth checking out.
“In a twisted dream world, a nameless stranger battles nightmares in his hunt for his missing son–while in the waking world, the boy’s parents find their lives falling apart under the onslaught of hopelessness and insidious cultists.”
Writing & Plot
Cullen Bunn sets out to expand on the lore he set up in the prior issue with Parasomnia #2. This chapter lifts the curtain with the aid of great pacing and smart parallels between this comic’s two realities. There is never a moment where it becomes confusing as to what is going on or what world we’re in. Bunn does a stellar job of differing stylistically when he writes each reality. The character focuses and speech range drastically as we swap from one world to another. This seals the concept of us jumping through time and hopping between the real and the dream world. Bunn’s characters are all compelling and make the reader desperately want to know more about what has happened and why they are all searching for the same missing boy.
Unfortunately, Bunn uncovers much of this story’s mystery in this issue through gobs of textbook exposition. We are introduced to a character in the “past” that essentially functions as a guide for this timeline’s protagonist. He isn’t a bad character by any stretch. It is just disappointing to see this story take the easy way out in discovering this universe’s rules. Hopefully this issue is ironed out in later chapters, and our new character is given more purpose.
Art Direction
Andrea Mutti’s artwork in Parasomnia #2 is nothing short of astounding. His pencils and inks bring characters to life with detailed expression and animation. We can read the expressions of fear, desperation, and determination easily in these characters. The attention he pays to elements in the world, such as setting and clothing, is top notch. Mutti successfully crafts these two timelines with fantastic attention to detail and pulls readers into the story with ease. His colors are perfect for the reality-bending comic story we get here. Every page feels like Mutti somehow turned fog into an ink and spread it over every panel. This murky aesthetic nails the wandering dreamtime setting this story lives in.
Mutti also tends to bathe his pages in a single hue, often based on its setting. There’s a present day scene in a therapist’s office that’s bathed in green sunlight. When we switch to the past era however, the pages are all colored in a sort of burnt parchment hue. I found this to be a great touch, as it sells the 18th century setting this dream is supposedly set. The lettering from Simon Bowland is solid and simple. He uses a contemporary font that disappears into the reading experience. This is a fantastic looking comic, with visuals that perfectly create the dream-state atmosphere.
Verdict
Parasomnia #2 is a mostly engaging read with great pacing and phenomenal art. Bunn’s script is unique and mysterious, but gets bogs itself down with exposition that cheapens the story’s delivery. Andrea Mutti’s art is rife with detail and crafts a perfect atmosphere for this eerie comic. Be sure to grab this issue, on shelves today!
BLACK BEACON #1 is available at your local comic shop right now, but thanks to Heavy Metal, Monkeys Fighting Robots has an exclusive six-page preview for you!
About the issue: There’s an intergalactic space station out there bigger than our solar system where everyone wants to meet up. The beacon made it sound like a utopia, but what Niko finds upon her arrival is a lawless expanse where everyone is out for themselves and she’s so late she doesn’t even have a seat at the table. A story of survival, truth, and experience lies in front of Niko if she can figure out who to trust and what to do before the secret of her journey catches up with her.
BLACK BEACON #1 is by writer Ryan K Lindsay and artist Sebastian Piriz, with letters by JAME.
“Black Beacon is our love letter to gigantic sci fi, and to get to do it with friend, co-creator, and certified genius Sebastian Piriz is a dream collaboration of invention and storytelling. This story starts with one human landing in a lonely place across the universe, and before it’s over we’ll have explored the depths of humanity, and what surrounds us way out there in the darkness.” — Ryan K Lindsay
Check out the BLACK BEACON #1 preview below:
Are you excited to read BLACK BEACON? Sound off in the comments!
AVENGERS #47 hits your local comic book store August 4th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive 3-page preview for you.
About the issue: “WORLD WAR SHE-HULK” Rages On! The Red Room is the secret furnace where some of the world’s greatest assassins and super-killers have been forged. And now She-Hulk is its newest recruit. As the Avengers race to rescue Jen Walters from the Russian Winter Guard, is it too late to save She-Hulk…from going red?
The issue is by writer Jason Aaron and artist Javier Garrón, with colors by David Curiel, and letters by Cory Petit. It is Part Two of the “World War She-Hulk” storyline.
Check out the AVENGERS #47 preview below:
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GOD OF TREMORS hits your local comic book store August 18th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: A 19th Century gothic horror of exorcism, demonic worship and epilepsy.
When Aubrey has his first seizure, he’s pulled out of school and hidden away in the family’s remote country estate. His father — a high-ranking English priest — tries to chase the “devil” out of Aubrey — but maybe the devil lurks in the grotesque pagan effigy that dwells on the grounds. And maybe the devil will turn out to be Aubrey’s only ally…
GOD OF TREMORS is a one-shot by writer Peter Milligan and artist Piotr Kowalski, with colors by Brad Simpson, and letters by Simon Bowland. The cover is by Kowalski and Simpson, with the incentive variant by Michael Gaydos.
AfterShock calls GOD OF TREMORS “a singular tale of nightmarish terror and creeping enlightenment told against a backdrop of ignorance and brutality”
Check out the GOD OF TREMORS preview below:
Are you excited for GOD OF TREMORS? Sound off in the comments!
Writer and artist Mirka Andolfo (Mercy, Unnatural) graces us with her long-awaited erotic comedy in Sweet Paprika #1. This raunchy romantic comedy is deviously funny and endlessly charming, with genuinely laugh out loud humor and relatable awkwardness. With stunning colors from Simon Tessuto, letters from Fabio Amelia, and excellent localization from Steve Orlando, this gorgeous comic is a must read for fans of raunchy erotic comedy.
“Paprika is a successful businesswoman, a New Yorker of Italian origin. Job and career consume her, forcing her to neglect her personal needs as well as her friends and family. Her heart is broken from a previous relationship and its consequences, and a rigid upbringing has made her a very introverted person. She wants a romantic relationship, but she doesn’t know what she’s doing. Not like Dill, a naïve and suave delivery boy with an angelic attitude, handsome, and always surrounded by beautiful women falling for him. He doesn’t have a worry in the world, and this makes Paprika very nervous. But he’s the guy who could help her with her feelings (and with…sex).”
Writing & Plot
Andolfo successfully crafts an endearing and hilarious experience in Sweet Paprika #1. What makes her story work is how she blends goofy hilarity with completely relatable interpersonal issues. Paprika’s likestyle begins and ends entirely with her work, and this directly interferes with how she has (or doesn’t have) personal relationships. Andolfo couples this with her reservations about relationships (mainly sexual ones) and her early life. This raunchy comedy is surprisingly adept at nailing very real problems many people have no doubt dealt with. Paprika is a likeable and relatable person (err, demon) despite her stylized presentation and wealthy lifestyle.
Let’s not beat around the bush here; Sweet Paprika is very much a raunchy romantic comedy. As such, this comic does not shy away from numerous kinds of sexual content. Most people picking up this comic likely already know what they’re getting into, so there’s not much of a need for warning. I am here to say though that the handling of this content is thoughtful and often completely hilarious. Andolfo’s over-the-top handling of the characters and situations of her semi-fantastical world translates neatly into her sexual content. She handles the sexual situations in the same manner she does the comic’s other personal issues. Every plot element here is guided with a careful mixture of absurd comedy and relatable character writing.
Localization
I have to give credit to the localization efforts of Steve Orlando on this comic. Andolfo’s first language is Italian, so making the dialogue and narrative easily accessible to English-speaking readers required a bit of extra help. Orlando knocks the localization out of the park here. All of the core elements of the narrative, as well as the humor and intimate character detail are all maintained naturally in this version. While the comic’s subject manner and brash attitude may throw some readers off, this is a fantastic read for the right audience.
Art Direction
I imagine many readers will be picking up Sweet Paprika #1 primarily for Andolfo’s artwork. They will be in for a treat, as this comic’s visuals are wonderfully vivid and fun to behold. Andolfo injects so much life into her work here that it’s difficult not to smile while reading this comic. Her often cartoony animations perfectly illustrate the tone of the story, and give all of her characters a massive amount of personality. The panel and page direction is unpredictable and wildly creative. There’s a sort of spontaneous style to how Andolfo puts scenes together that is only feasible for a hyper-talented cartoonist.
Simon Tessuto brings the visual experience to an incredible high with his outstanding color work. The vividness he brings to Andolfo’s pencils is almost surreal, as his palette is a huge reason why the often over-the-top cartoony visuals actually work so well. The way Dill’s teeth glint as he flashes a charming smile, or how Paprika’s face changes shades of red are great details that are all owed to Tessuto’s eye. Fabio Amelia’s letters are reflexively solid, with a clean modern font that naturally changes style to blend into the reading experience. This is an incredible looking comic in every aspect, and one that is sure to please fans and newcomers to Andolfo’s work.
Verdict
Sweet Paprika #1 is a triumph of an erotic comedy comic book. Mirka Andolfo’s story manages to be hilarious and relatable, mixing fantastical absurdity with great personal character writing. Her pencils in conjunction with Simon Tessuto’s colors make for a lively and vivid reading experience. While this comic’s directness won’t be for everyone, this will be sure to please fans of Andolfo’s brand of raunchy comedy. Be sure to grab this issue when it hits shelves on 7/28!
Comics legend Garth Ennis and heavyweight artist Liam Sharp return to Gotham with Batman: Reptilian #2. With letters from Rob Steen, this is an intensely fascinating chapter in this unique Batman tale. With a cutting script and fascinating visual work, this is shaping up to be the perfect diversion for Batman fans wanting something new – and bloody.
“Batman hits the streets in search of the creature terrorizing Gotham’s underworld—and hits them hard. First stop is the lair of the Penguin, but Oswald Cobblepot is at death’s door (which is better off than the beast left many of his cronies). The mangled rogue has no answers for Batman, but his blood—and the surprising secrets that it holds—will send the vigilante ever deeper into darkness…”
Writing & Plot
Garth Ennis’s script on Batman: Reptilian #2 is loaded with suspense and snark. Batman’s casual disregard for the dying criminals he finds is genuinely funny. Keep in mind, this is not the Batman of mainline DC. Ennis’s take on the Caped Crusader is much colder and more directly witty. This is to say he’s, well, British. This comic feels as though it were written by Conan Doyle at times. This take on the iconic character is sure to turn off some diehards. However those looking for a different approach to the character are likely to be intrigued by what Ennis is making here. His dialogue is clever and biting, and everyone in the cast has a unique voice.
I find the beast-hunt angle this comic takes very entertaining and unique for a Batman comic. The way the story is methodically progressing is reminiscent of a serial killer or monster mystery. Reptilian feels less like a Batman comic and more akin to a mixture between From Hell and Hellboy. Ennis also adds more of a personal arc between Bruce and Alfred. The kind of relationship they have here isn’t new, but Ennis still makes it feel refreshing.
Art Direction
Liam Sharp continues to make wildly impressive sequential art in Batman: Reptilian #2. In my review for issue #1, I noted just how McKean-esque Sharp’s painted work here is. With this issue however, he takes that influence and departs in his own direction. Sharp’s paints still depict a grimy, gothic, and blood-soaked nightmare version of Gotham. This is likely the most threatening depiction I’ve ever seen of the classic environment. Gotham feels like its own menacing character here, much like how Arkham Asylum feels in Morrison and McKean’s titular graphic novel. Sharp’s character drawings are full of life and great animation. His portrayals of emotion, from Batman’s intimidating visage to a goon’s absolute terror, and lifelike and spot-on.
Sharp’s take on Batman is obviously influenced by the darker comics of the late 80’s and early 90’s. The city and its inhabitants are always shrouded in mist and smog, as one would have it in Gotham city. The color palette in this comic is, of course, bathed in darkness and haze. Sharp is in the process of making a Batman horror comic here, and everything about the aesthetic displays his ability to partake in the genre. The lettering from Rob Steen is simplistic but effective. He uses a clean contemporary font with on the mark bolds and italics, and it sort of disappears into the reading experience. This is a phenomenal looking book, and undoubtedly one of the most unique comics on stands right now.
Verdict
Batman: Reptilian #2 is a bitingly sharp, tension-filled, and gorgeous second chapter to this Black Label series. Garth Ennis’s sharp wit and desire to do something familiar yet different make for a winning formula here. Liam Sharp’s visuals are haunting and beautiful, making for a reading experience rarely seen in the medium. Be sure to grab this issue when it hits stands on 7/27!
DC Comics’ Strange Adventures has always been about human characters, muddling their way through events of cosmic scope. And with the revelations of the last issue, we see the human fallout of Adam’s choices. Do not read on unless you’ve read Strange Adventures #10. In Strange Adventures #11, writer Tom King, artists Mitch Gerads and Evan “Doc” Shaner, and letterer Clayton Cowles show us a little of the collateral damage of this series. But they promise much more to come!
Writing
As Alanna grapples with Adam’s deal with the Pyykt, we also see her follow Adam into the snowy wilderness during the Pyykt-Rann War. King sets up a beautiful juxtaposition in these stories. In the past, we watch Alanna put her life into Adam’s hands, over and over. In the present, we see Alanna kick herself for ever trusting Adam at all. King underscores the heartbreak that’s happening. Lines of dialogue in the past, once expressions of deep love and trust, are echoed in the present, but full of grief. We have one issue to go, and it feels like there is so much left to tie up. But with King’s track record, especially on this series, it’s exciting to see how much he leaves to the ninth inning. We’re in for a wild finale!
Art
Some of the idyllic tone of Shaner’s early art in this series has crept back into these later issues. We aren’t seeing scenes of war and blood. Instead, Shaner shows us Adam and Alanna Strange on the brink of victory. It feels quite clean. But when the violence swoops in, Shaner makes it count. He uses shadows and blood splatters to hint at the horror, letting our minds do the rest of the gruesome work. And when we see the Stranges respond, Alanna is averting her eyes and Adam is looking on in grim reverence. But this violence is soon swept away. It’s replaced by images of them snuggling by a fire. Their ability to shake of horrifying moments is just as troubling as the moments themselves. It’s a brilliant and subtle point that Shaner is making.
Gerads has quite a different task at hand. He’s not trying to make war look peaceful, he’s showing the strife that peacetime can bring. As Alanna and Adam fight, the moments that stand out aren’t the ones of passion and anger. No, it’s the little panels of exasperation and resignation. Between the panels of Alanna yelling and glaring, we get moments of her almost grinning, albeit bitterly. The same is true of Adam. He’s furious at Alanna’s response, but Gerads shows us a step-by-step of the fury setting in. At first he’s the simpering victim he’s been playing all along. Then he tries to be the cool-headed tactician: the leader he was in the war. But eventually, he’s all eyebrows and teeth, like a wild animal backed into a corner. Gerads takes us through the transformation slowly, so that it sets in deep.
Coloring
Throughout Shaner’s panels, we get the feeling that Adam and Alanna are like lights in the darkness. It’s a fantastic juxtaposition to the modern day scenes of their dying relationship. In Shaner’s scenes, the Stranges are in a snowy landscape. Their skin and elements of their clothing, like Alanna’s rainbow colored scarf, make them pop right off the page. They’re the only source of color. And as the night falls, they huddle around a fire. Shaner shows us this image of their love being something surrounded by darkness. But they shine on.
When we first see Gerads’ scenes, there is a warm orange color to them. It compliments the fire of their anger at one another. But as the scene continues, the Stranges step out onto their balcony. Perhaps it’s the glow from their pool, or the night air mingling with lights on in their house, but the air looks green. And as the issue continues, the green looks stronger and stronger. Gerads shows us the discoloration that’s going on inside them. It’s the green rot of death that’s sneaking in, right as their fight transitions from fury to resignation.
Lettering
It’s hard to really talk about Cowles’ lettering in this issue. So much of its brilliance happens in pivotal moments that are impossible to quote, without ruining some of this issue’s best scenes. But suffice it to say, Cowles lets the dialogue breathe. He highlights little words, giving them their own word balloon in the midst of tirades, so that we can hear the pause and the emphasis. But he also makes a point of blending some of his sound effects into the backgrounds. When Alanna slaps Adam, the “SLAP” lettering is white on a white background. It’s still totally readable, but it makes her slapping feel weak and like it’s not enough. Adam’s indifference cements this idea. Just as we almost can’t see the slapping noise on the page, we can’t see any effect it’s having on Adam.
DC Comics’ Strange Adventures is nearly finished. With one issue to go, it’s safe to say this has been one of the best series to come out of DC Comics. Pick up Strange Adventures #11, out from DC Comics July 27th, at a comic shop near you!
WOLVERINE #15 hits stores August 25th, but thanks to Marvel Comics, MFR has the first-look at InHyuk Lee‘s variant cover starring Jubilee!
The comic is by writer Ben Percy and artist Adam Kubert.
About the issue: BLACKMORE’S FIGHT! WOLVERINE comes face-to-face with Arakkii pirate crime lord SEVYR BLACKMORE! But will their fight lead Logan to the clues he needs to catch SOLEM, or put him right where the manipulative mutant wants him?
Lee’s cover is one of eight variant covers he will be doing throughout August to celebrate Asian American and Pacific Islander Heritage. In addition to the Jubilee cover, Lee will also be doing covers starring Shang-Chi, Ms. Marvel, Psylocke, Silk, Amadeus Cho, Jimmy Woo, and Armor.
“I’m very proud to draw these eight ASIAN AMERICAN AND PACIFIC ISLANDER HERITAGE VARIANT COVERS showing the iconic Asian heroes of the Marvel universe,” Lee said. “Silk, Ms.Marvel, Psylocke, Shang-Chi… I love all these heroes so much and since I’m an illustrator and character designer, I proposed to renovate their outfits in a modern or tech-wear style, and Marvel liked my suggestion. When Emily Newcomen asked me about these covers, I had to accept despite my busy schedule because it was so meaningful. I’ve been working with Marvel for 10 years now and I’m happy to say we can always have fun working together.”
Check out the cover below:
Which of Lee’s AAPI Heritage covers is your favorite? Sound off in the comments!
The year is 2015, and the event was Convergence. Along with the subpar main series, we had several different two-part stories that varied in quality. One of the better stories was Convergence: Superman, which followed Superman and a pregnant Lois Lane. By the end of the story, they gave birth to one of my favorite characters in DC’s current era: Jon Kent. When Rebirth started, I would follow any story he was in, watching this hero grow more and more. Now, thanks to the time-hopping shenanigans from the Bendis Era, that Superboy prepares to step into the role of Superman.
**Some Spoilers Below**
Story:
We open with a different version of the birth of Jon Kent. Rather than seeing the Convergence: Superman story all over again, we find the Justice League fighting back an alien invasion so Clark can witness the birth. Wonder Woman comments that Jon could be the greatest of all superheroes due to his parentage. This carries to the present day, where Jon works to be a hero like his father. He is able to assist with putting out a large forest fire but feels conflicted after turning over the metahuman responsible. He decides to seek advice from the one person who knows him best.
Overall this issue is meant to show off the character of Jon to those who haven’t read any of the previous titles. It’s one thing to talk about the parentage, but we still need to see the hero in action. This action isn’t full-out destruction, with Jon talking the metahuman down through their panic attack. It gives the readers a chance to show the kind of hero the new Superman is. It’s a simple encounter that proves that we don’t need constant smashing to enjoy the Man of Steel.
There is also a surprise character(though not a huge surprise if you’re a long-time Jon Kent fan) who gives him a speech on what he should do with his new title. Now, this character might not be my favorite, but his speech was a well-written one. It points out that a hero in Superman’s position has the power and morality to challenge the injustices of the world. Tom Taylor definitely knows how to write these characters, specifically Jon. He’s already done great work with him during DCeased, so this reviewer can’t wait to see what he will do with him in the main timeline.
Art:
In the art department, we have John Timms returning to the character after his stint in Future State: Superman of Metropolis. While I had some issues with the story in that, I found John Timms work the real selling point of the two-part story. His work with action sequences is very well done, as well as his character designs. This shows best during the wildfire sequence. Jon has never looked better, along with the massive, detailed flames dying down beautifully. The scene is made even better with spectacular colorwork from Gabe Eltaeb. It’s a fantastic look for an equally fantastic story.
Conclusion:
Overall, this was a great way to start the run. For new readers, they learn the origin of Jon and what he’s exactly working towards. Meanwhile, old readers can enjoy the references and growth from the past stories. The artwork does a spectacular job of pulling us into the world with beautiful colorwork and designs. Tom Taylor and John Timms are definitely the best choice to helm this series, and if it’s going to continue to be this well-drawn and written, then the future belongs to Superman.
