From the creative mind of writer Joe Henderson comes SHADECRAFT #1, available in comic book stores on Wednesday, March 31th. This new series promises to explore the concept of “shadows”—whether they be those we literally see or the figurative forces that follow us. Readers will find a lot to identify with in the character of Zadie Lu, our main protagonist. An event in her past haunts her present, and she’ll find it difficult to leave unfinished work behind.
Story
The story sets up the character of Zadie on a dark evening stroll with her friend/crush Josh. Zadie wonders why he is walking her home. When he appears to begin confessing romantic intentions, she plants a kiss on him.
To her horror, a stunned Josh reveals he only wanted to pick up his Switch from her house. As readers, we can identify with the embarrassment through her well-written internal dialogue. We don’t know what she means by “get back to normal” just yet, but it reminds us of those times when things were going our way one minute and those circumstances were shattered to pieces the next.
Joe Henderson’s narrative guides us through a series of mysterious events surrounding Zadie. We learn of a tragic event that happened in her past, which seems to follow her every move. Unfortunately for Zadie, her past isn’t the only thing following her. A shadow with a mind of her own begins tailing her every step. But what does this force want from her?
Artwork
Lee Garbett’s penciling and ink work gives Zadie impressive expressiveness to help readers identify with her. In addition, Antonio Febela’s coloring does a brilliant job of giving the animated shadows depth—it’s as if we see them moving from panel to panel. And Simon Bowland’s lettering ties it all together with an effective use of fonts that capture Zadie’s sheer terror.
Conclusion
SHADECRAFT #1 is an exciting new series. We can’t wait to see where Henderson and team take the story next.
Why do you think these shadows are going after Zadie? Let us know in the comments below!
Nobody may come across as a copy and paste of other titles, but it still delivers a thrilling tale from start to finish. The John Wick similarities are in your face, and given the film is written by the same person it’s hard to not make comparisons. Nobody doesn’t overstay its welcome, wastes little time, and features some terrific action sequences throughout. This unoriginal film won’t break new ground, but it still delivers an effective action film.
Fans of John Wick will spot the similarities shown throughout the film, and yet Nobody still doesn’t come across as a shameful recreation. A middle-aged man, who appears to be living the typical life has a past that he has been trying to let go of until it is needed to protect himself and his family. Directed by Ilya Naishuller and written by Derek Kolstad, Nobody stars Connie Nielsen, Aleksey Serebryakov, Christopher Lloyd, Gage Munrow, Paisley Cadorath, and Bob Odenkirk. The film follows Hutch Mansell (Odenkirk), a reserved individual who lets his family down one night during a break-in. This sparks division in the household, but during a bus altercation, Hutch’s hidden abilities are brought to the surface and his entire family is placed in danger as a result.
Bob Odenkirk as Hutch Mansell in “Nobody,” directed by Ilya Naishuller.
Kolstad’s screenplay provides everything you’d want from an R-rated action film. Blood-soaked violence, high stakes drama, and a lead character who surprises you as the film progresses. While Nobody wastes little time getting to the action, it still spends enough time developing its titular character for viewers to relate to him. Mansell is a family man trapped in his day-to-day activities. An aspect that makes him easy to relate to, as plenty of people go through this every day. He isn’t particularly happy with his life, and to make matters worse a couple of burglars drive a wedge between himself and his family. Kolstad implements moments of comedy that assist with providing a lighthearted vibe to this insanely fun film. As mentioned above, there isn’t much originality to be found here with this script, but it’s executed effectively.
Odenkirk impresses as Mansell, a rather surprising casting choice for this type of film. He portrays this role with ease, and the performance gets increasingly better with each obstacle thrown in Mansell’s direction. His rival in the film, Yulian Kuznetsov (Serebryakov) wants Mansell dead after he learns of his recent behaviors. Again, just like many other films before it where a character’s actions spark attention from a group of individuals they must take out. Kuznetsov is believable as this drug lord who will not rest until he takes out Mansell and his entire family. All the performances are solid, but Odenkirk steals the show here with his switches between fight or flight. Nobody is probably a one-time outing, but there is room for more, and Odenkirk thrives in this environment.
Hutch Mansell (Bob Odenkirk, seated with back to camera), Albert (Neil Davison, fourth from the left), Yulian Kuznetsov (Alexey Serebryakov, seventh from the left) with members of the Russian mafia in “Nobody,” directed by Ilya Naishuller.
Naishuller’s direction makes this an edge-of-your-seat treat, and there is very little downtime in between the bloodshed. Despite its quick pacing, Nobody never feels rushed, or messy at any point. Naishuller keeps viewers engaged with moments of tension, suspense, and well-shot action sequences galore. The music by David Buckley is a great addition to the film and makes the more comedic moments that much better. Naishuller captures the choreographed action in the best way possible, it’s truly a visual treat to watch at times. The tension is never absent once it’s introduced, so the director knew how to keep this film consistently thrilling once the burglars came into play.
This unoriginal, formulaic film impresses in more ways than one from start to finish. Nobody isn’t a complete retread of John Wick, it carves its path for sure. It delivers the action with high risks involved, a relatable lead character that is brought to life wonderfully by Odenkirk, who is very believable in this type of role. A series of Nobody films doesn’t sound likely right now, but they’d be fun if they are anything like this initial outing.
Shadowman #1 out from Valiant Entertainment on April 28, reintroduces its title character to readers. Writer Cullen Bunn keeps the character and motivations at an easygoing pace. With the horror-action aesthetic by artist Jon Davis-Hunt and colorist Jordie Bellaire, a simple plot is easy to digest. Clayton Cowles’ lettering beckons the reader’s attention by enhancing all of the story elements’ expression.
Shadowman #1: Who Is Jack Boniface?
From an interview with Bunn from 2020’s C2E2 there’s a lot going into this series since his earlier Voodoo series Punk Mambo. But before any of that happens, Shadowman #1 serves to set-up the title character and the conflicts he will face. Jack Boniface is a semi-average person who just wants to play his saxophone. Only for his supernatural superhero life as Shadowman to take priority. Spirits coming out of the Deadside and wreaking havoc? He’s your guy, even if the smarmy death loa Baron Samedi is the one pointing him in the direction.
So when a cultish rich bunch are up to something, superhero fans like myself expect something big to come out of it. Only to find that this event barely counts as plot progression. These are cheap thrills at some poor souls and a spirit’s expense for a ritual. Surprisingly it’s rather good with the horror-action themes; Shadowman is quite capable against things going horribly wrong. Seeing ghost locusts burst out of a body can scare away regular men. But when Shadowman realizes that someone else set these events into motion, the reader can’t help but immerse themselves into the mystery. Things look like they’re about to get worse.
Action Before Horror
Shadowman #1 features action-style panel work by Davis-Hunt. This style makes a strong first impression by steadily displaying elements at play. As the reader approaches the site of conflict, there comes images to ready them for something big. A damaged mask with bloodstains, sharp pale teeth, and Shadowman’s dog tag gives way to a big action scene in a two-page spread.
Within this two page spread comes an action sequence where the panel size showcases how much time moves. One big image is practically frozen in time to give a short but sweet exposition in art and lettering. The first thing the reader sees is a white alligator-headed spirit with a height advantage over Shadowman. Bellaire’s coloring is a strong contrast to the darker Shadowman, like he wasn’t already a threat to the hero before. The fact that Cowles color-coded captions are heading towards Shadowman feels like the action is happening in slow motion until the smaller panels speed up the battle with the yellow backgrounds used to highlight moments of impact.
Don’t Skip Out On Shadowman #1
Shadowman #1 may not be the most impactful start to a series, but it does give new readers a chance to know Jack Boniface. Besides, action-horror thrives on how capable characters like him are against initial threats. It’s what this issue prepares in the background that will keep readers around.
A new adventure awaits in Marvel Action Spider-Man #1.
IDW’s MARVEL ACTION: SPIDER-MAN #1, available March 31st, is about to throw Peter Parker back into school – his favorite years. Sarah Graley, Stef Purenins, Philip Murphy, Maria Keane, Ronda Pattison, and Shawn Lee are at the helm of this latest Spider-Man attraction.
Marvel Action: Spider-Man #1 is the start of the third series of its kind. Once again, Peter Parker is the focus. His origin has been set, but his time in school is not complete. That makes this series pretty approachable for all audiences, knowing full well what sort of messes he’ll get up to in the meantime.
It’s worth mentioning that the school Peter is attending is…not a standard one. He’s heading to Oscorp Charter School, and fans that know his history well can probably safely start guessing what exactly is going on inside that building.
One small change is the perfect setup to lots of surprises, new plots, and interesting twists. Making this a fun Spider-Man adventure for all.
The Writing
Written by Sarah Graley and Stef Purenins, Marvel Action: Spider-Man #1 is a blast to read. It’s a lighter version of the sometimes overly heavy series many fans are familiar with. Yet there’s no doubt that mischief is just around the corner.
Sometimes literally, as the case may be. This series is already doing a solid job of showcasing the work/life balance that Peter just never seems to get a grip on. The struggle is real, especially in this series. The inclusion of his school (and the implications surrounding the faculty) make that pretty clear.
It’s worth noting that those who are familiar with Peter’s story will pick up on the implications right away. But a younger reader might not know what is about to happen and thus really enjoy the surprises that certainly await. It’s a nice balance, creating something nostalgic for some fans to read into while setting up surprises for a new audience.
Overall, Spider-Man #1 is proving to be the start of a fun and light series. While it may get darker at times, I doubt it will ever reach the heaviness that Parker’s series is sometimes known for (still miss you, Uncle Ben).
The Art
Marvel Action: Spider-Man #1 had a full team of artists helping to bring Peter’s latest adventure to life. Philip Murphy (art), Maria Keane (inks), Ronda Pattison (colors), Shawn Lee (letters) were all involved in this project.
Much like the story itself, this issue is full of a lighter style of artwork – one that almost feels bubbly at times. Peter’s proportions are played with from time to time, but it actually enhances the feeling that he’s constantly in motion.
Admittedly, the fight scenes in this issue are a lot more fun than usual, but for a different reason. The villains (by villains, I mean thugs – not proper antagonists) are goofy and heavily stylized in their wardrobes. It’s entertaining and adds a bit of levity to the situation.
This series’s reactions are over-the-top and humorous, making it pretty clear who the intended audience is. Still, it adds a certain amount of charm to the series as a whole and makes Peter come off as being even more endearing.
Conclusion
Marvel Action: Spider-Man #1 is a fun, lighthearted, and entertaining introduction to this latest Marvel Action series. It’s perfect for fans of all ages, especially if they’re looking for something a little less gruesome. There’s no doubt that this series has charm, and it intends to use it to keep readers coming back.
Dark Horse’s DRAGON AGE: DARK FORTRESS #1, available Wednesday, March 31, is the start of a new Dragon Age adventure. Written by Nunzio DeFilippis and Christina Weir, with artwork by Fernando Heinz Furukawa, Sebastian Heinz, and Michael Atiyeh, this series is ideal for fans of the BioWare game.
A flashback to set the scene, and start the series off right.
While Dragon Age: Dark Fortress #1 is the start of a new series, it does bring back many familiar faces. The games introduced characters like Blue Wraith into the mix, while the comics carried their stories onward.
Dark Fortress may be the most recent Dragon Age comic series – but it is not the first. It’s not even the first one including the same characters. Fans could pick up the story here, but the story will make more sense if they have read Dragon Age: Blue Wraith at the very least.
This is the first issue in a three-part miniseries, so buckle up and get ready for a whirlwind adventure. There won’t be a lot of time for hand-holding, but there will be plenty of action – we can safely assume that much based on the previous series.
That would be nightmare-inducing – literally.
The Writing
Dragon Age: Dark Fortress #1 is the start of yet another venture to save Thedas. It’s a plot that Dragon Age fans are familiar with. But probably not a plot we’ll grow tired of anytime soon. Written by Nunzio DeFilippis and Christina Weir, Dark Fortress #1 wastes no time, throwing readers right into the thick of things.
For that reason, I feel like readers would do better having read some of the previous series beforehand. Many of the characters, their history, and their motivations might not make as much sense without that context. Though gamers will naturally recognize certain characters, so that is a plus. Everything else in the book can be inferred – it just takes more work.
Interestingly, while the series does kick off with a point of action, it is also an emotionally charged scene. One that provides a stronger connection to Ser Aaron. Does that imply that his role (or history) will be pivotal in what is to come? Only time will tell.
The issue also works to get readers caught up in some of the motivations for the other characters. Though naturally, there isn’t all that much time to do so. Some characters get left by the wayside, while the more relevant (and intense) emotions take center stage.
Meanwhile, other characters are struggling to deal with more recent events.
The Art
Dragon Age: Dark Fortress #1 is a stunning piece of work. Fernando Heinz Furukawa, Sebastian Heinz, Michael Atiyeh, and Nate Piekos of Blambot did a fantastic job of capturing that iconic Dragon Age look.
Granted, there are some changes – there always are when changing from one medium to another. The characters all match the style—especially those that made an appearance in any of the games (for obvious reasons).
In this instance, they all seem to look especially tired, worn out, or in some cases, emotionally compromised. The artistic team did an excellent job of portraying all of that, despite the variety of causes.
The colors and backgrounds found within Dark Fortress #1 are breathtaking. They are always in bold contrast with the characters. There are many shifts in perspectives and scenes within this issue. And the backgrounds are one of the easiest ways to tell when that has occurred.
What new revelations await?
Conclusion
Dragon Age: Dark Fortress #1 is a tense and thrilling start to a new adventure. It’s perfect for fans of both the games and the comics. It has been fascinating to see how the story progresses with each series, and this time will be no exception.
Strange Adventures has given us all the answers. Well, all except one. With the revelations of the last issue, we’re seeing Adam Strange in a new light. His trauma, his cruelty, and his brutality are all bubbling to the surface. But Strange refuses to be kept in a box. With Strange Adventures #9, we’re still left wondering how we feel about Adam. Writer Tom King, artists Mitch Gerads and Evan “Doc” Shaner, and letterer Clayton Cowles delve into Adam’s troubled mind in this issue. When we come out the other side, we’re not sure whether to hate him or hope for him.
Writing
One of the biggest themes King plays on in this chapter is the idea of Adam being a “Man of Two Worlds.” It’s an odd thing, having two homes. Adam, in some ways, is luckier than most. Most people just have the one home. But, in other ways, Adam is more confused than other people. We follow him as he fights on Rann. The warrior within him takes over. He’s calm and collected in the face of great danger. But it’s as though happiness dries up around “Adam the Soldier.” When he’s playing the role of a warrior, he feels empty inside. And so, King shows Adam come up with a simple plan: he’s going to bring Alanna with him back to Earth. But, as we’ve seen, Adam doesn’t fully feel welcome on Earth either. His actions are being dissected by the Justice League and the Pyykt have followed him there. King shows just how isolating it can feel to belong in two places and nowhere all at once.
Art
The beat-by-beat nature of Shaner’s art makes many of his scenes feel kind of playful. Which is ironic, because Shaner is depicting Strange’s time in the Pyykt/Rann War. Images of Pyykt standing guard, being shot through the head, and then collapsing out of sight are delivered in ways that almost get a chuckle. Through this, Shaner shows just how much this has become a part of Adam’s day-to-day. Killing the Pyykt is right under “do laundry” on Adam’s to do list. And Shaner’s art matches the dialogue. Strange, as he’s sneaking through Pyykt camps, is making dark jokes. He’s unfazed by their deaths. His brow is set, his eyes are full of rage. He isn’t haunted or scared, he’s angry.
Gerads’ Adam Strange feels less sure of himself. Gerads makes it look like there may be anger on the surface, but there’s pain deeper down. This Adam is haunted by Shaner’s Adam. He wants to be the man who fought in the Pyykt/Rann War, but the trauma is catching up with him. Gerads almost makes this Adam seem ashamed. He obscures Adam’s face often. At one point, Adam’s gun is covering his face as he aims at a Pyykt ship. We only see his eye peaking over the gun. Later, this happens again, but it’s the rays of light coming from his gun that get in the way of his expression. This makes it feel like Adam wants to hide behind something. It makes him seem like he’s not happy with the violent man he’s become.
Coloring
Nearly all of the color has drained from Shaner’s panels. With the war raging on, nothing seems to hold much weight in Adam’s life. Except for poisonous gases and Pyykt robes. These are shown in brilliant green and red. They’re the only moments that mean anything to Adam now. Gerads juxtaposes the bleak atmosphere of war with the warm interior of a bar. We go back and forth between Mr. Terrific watching the news and Adam fighting the Pyykt. Gerads helps us relate to Adam. He might have made some mistakes, but he’s still out there fighting. Meanwhile, the man who holds Adam’s life in his hands is having a beer. We see things from Adam’s perspective for a second. We see how unfair it feels to him to be stuck in the cold, blue setting of war, while others can curl up in a warm, orange bar.
Lettering
We begin to bridge the gap between Shaner and Gerads’ stories in this issue. Cowles, rather than using large sound effects in the Shaner pages and small, quiet sounds in Gerads’, gives the same treatment to every page. This is war and it’s the same today as it was yesterday. So, the “PEW” noises of Adam’s gun look the same. The sound of explosions, the stomping of feet, the smash of a bottle, it’s all big and bold. And as Adam screams at Superman, with his words in large red font in a word balloon that has a thick, jagged outline, we see just how much war pushes people. In Gerads’ scenes, Adam has always been subdued and put together. As the war rages on, we’re seeing him turn into the cartoony man of his memoir. His dialogue and sound effects are proof of that.
DC Comics’ Strange Adventures might have answered lots of questions, but it hasn’t sacrificed any of its mystery. It continues to be a title full of intrigue and action. This creative team is still doing some of the best work in the industry. Pick up Strange Adventures #9, out from DC Comics March 30th, at a comic shop near you!
It’s hard to believe we’re only a third of the way through Batman Catwoman. That’s because writer Tom King, artist Clay Mann, colorist Tomeu Morey, and letterer Clayton Cowles aren’t spinning their wheels. They’re creating a series that’s going places. Often, those places feel dangerous. DC Comics’ Batman Catwoman #4 is no exception.
Writing
King has somehow set up a plot, with three separate timelines, that still has a sense of stakes. Though we see Selina in the future, we still worry for her safety in the present. This is a nearly impossible feat of writing. Just as Romeo & Juliet gets us to hope against hope that they’ll come through all of this, even though the Chorus assures us from page one that they will not, Batman Catwoman makes us fear despite our assurance of safety. Selina will live on to a ripe old age. She and Bruce will be happily married for years. But Selina digs herself deeper and deeper into a hole. And with every passing moment, we feel that the future might not come to pass. King uses our knowledge against us, almost. He leaves us wondering “How will they get through this?”
Art
Mann’s layouts create a real sense of calm for much of the issue. Even when Batwoman, the futuristic Helena Wayne, is fighting goons, the page looks peaceful. Just as when Selina and Bruce are having a tense conversation. Each of these moments feels ordered and simple. Mann’s art style is gentle and soothing, but his panels are also neat and tidy. It makes these scenes, especially those that do have fights or danger, feel familiar. Sure, danger lurks behind every corner, but it’s a danger we know well. We’ve seen Batman punching Penguin goons, Batwoman doing the same feels comfortable and on-brand. But then we get panels that tilt and twist. We see the frenzied last few seconds of Batman defusing a bomb. These moments stand out and shock the reader just as they twist out of sync with the rest of the page.
Coloring
It’s in the Iceberg Lounge that we discover a new element to this story. Morey shows Batwoman arriving. She’s doing research into a murder. And though this is a bleak venue, there are specks of brilliant color on these pages. We see her yellow gloves and the orange of Penguin’s outfit. As simple as the scene is, there’s a sense of brightness. Helena seems like her father, suddenly. A much younger version of Bruce, still learning the ropes and still bright eyed and bushy tailed. At the end of the issue, we return to the Iceberg Lounge. This time, we’re following Selina there. The page is almost identical in how it depicts the setting, except in its coloring. The page is bland. The colors that are present are muted and soft. Morey shows us how a mother and daughter see the world quite differently. Helena’s bright days are still ahead, Selina’s have faded into the past.
Lettering
Cowles shows us the complicated nature of these characters. When we first see Helena fighting the Penguin’s goons, the “CLNK” of her batarangs knocking away their guns is small. It’s a quite noise, a subtle noise. But when she’s in the thick of battle, she whacks one goon upside the head. The massive “POW” is followed by a small speech bubble. “I’m aware,” she says simply, in answer to one of Cobblepot’s claims. The juxtaposition between those two moments, right next to each other on the page, shows that Helena really is the daughter of both her parents. She’s the subtle, quiet, and assured daughter of Catwoman, with all the bombastic punchiness of her father. Cowles continues to do this throughout the issue, showing Clayface’s elegant speech in scratchy green letters, and Phantasm’s cool logic in dark, twisting, black word balloons. Under Cowles’ pen, every character is a layered enigma.
DC Comics’ Batman Catwoman continues to deliver. It’s a story that feels dangerous. Even some of its own elements seem to threaten one another. But that’s because this creative team has imbued this story with a tremendous feeling of stakes. Every scene feels like it could go anywhere, even when future scenes tell us otherwise. Pick up the next issue to this fantastic series, out from DC Comics March 30th, at a comic shop near you!
Writer Mat Groom and artist Erica D’Urso launch INFERNO GIRL RED On Kickstarter tomorrow morning at 9 AM PT, but Monkeys Fighting Robots has a sneak peek at a few artist prints and variant cover to the 100-page, hardcover graphic novel. Artwork below by Francesco Manna, Dash O’Brien-Georgeson, Tiffany Turrill, Federico Sabbatini, and Kath Lobo. Check out the press release after the prints for full details on the Kickstarter Campaign.
Francesco Manna
Dash O’Brien-Georgeson
Tiffany Turrill
Federico Sabbatini
Kath Lobo
ULTRAMAN Comics Co-Writer Mat Groom and CAPTAIN MARVEL Artist Erica D’Urso Launch INFERNO GIRL RED On Kickstarter
From Mat Groom, the co-writer of Marvel Comics’ hit ULTRAMAN comics, and rising star artist Erica D’Urso (CAPTAIN MARVEL and XENA: WARRIOR PRINCESS) comes INFERNO GIRL RED, an all-new original graphic novel that combines the high school super-heroic drama of INTO THE SPIDER-VERSE with the dynamic storytelling and world-building of Japanese tokusatsu superheroes, and the intrigue and relationship drama of British boarding school fiction. A Kickstarter campaign to crowdfund this all new 100-page, hardcover superhero graphic novel by Groom, D’Urso, colorist Igor Monti, letterer Becca Carey, editor Kyle Higgins, and design group For The People, will launch later this month and run through May 5th, 2021.
We all need something to believe in. Especially Cássia Costa. An ancient cult and their army of demons have stolen Cássia’s home, Apex City. When a magical dragon bracelet rockets into her life and affixes itself to her arm, Cássia’s the only person equipped to stop the cult from offering the entire city to their dark lord. There’s just one catch…
The magical bracelet is powered by belief, and Cássia — an intensely pragmatic, rational girl – doesn’t have much to spare. She’ll have to find something to kindle her faith, though, and fast —because she has a secret legacy to live up to. Because her mother’s life is on the line. And because Apex City needs Inferno Girl Red.
“I’ve been working on this story for about three years now,” said writer and co-creator Mat Groom. “I’ve always thought it was worthwhile, but I was never certain it would work… until I met Erica D’Urso. Erica is just wickedly talented. You can see that in her work on JAMES BOND, CAPTAIN MARVEL and XENA: WARRIOR PRINCESS. But it was her energy, her tremendous passion, that made me believe. Erica loves Cássia, and Cássia’s world… and that love infuses every part of this project. There’s nobody I would rather be co-creating this world with.”
The graphic novel is edited by Kyle Higgins, Mat Groom’s co-writer on Marvel’s hit ULTRAMAN Comics, and co-creator of the recent Image Comics’ smash hit, RADIANT BLACK. “Kyle and I share a passion for the Japanese tokusatsu genre, which is a big influence on INFERNO GIRL RED, along with British boarding school dramas and American superhero comics. There’s little coincidence that Cássia was first introduced to the world in the back of the first issue of Kyle’s series, RADIANT BLACK. In fact, the connections between RADIANT BLACK and INFERNO GIRL RED may run deeper than you think…”
In INFERNO GIRL RED, Cássia’s not shy– but bouncing around from city-to-city as her Mom bounced from job-to-job meant it was hard to make friends… and any friends she did make disappeared pretty quickly once they found out who Cássia’s mother was. So instead of socialising, she focused on learning– showing a particular aptitude for science. Now Cássia has a chance for a fresh start in Apex City. Her impressive test scores have earned her an invitation to the world-famous entrepreneur Doctor Janine Caro’s prestigious boarding school for promising young minds. There, Cássia starts to settle in. She starts to make friends. She starts to see a future for herself.
But when a magical bracelet blasts through a window while Cássia is studying late one night, everything changes. Cássia’s quickly drawn into a strange war that she previously only heard about from her mother…
The INFERNO GIRL RED Kickstarter campaign features the oversized, deluxe format hardcover (7 x 11 inches) with an exclusive, Kickstarter-only cover and Kickstarter-edition-exclusive concept art, as well as a RADIANT BLACK/ INFERNO GIRL RED team-up print by RADIANT BLACK artist Marcelo Costa and INFERNO GIRL RED artist Erica D’Urso and fourteen collectible INFERNO GIRL RED giclee art prints by Darko Lafuente, Doaly, Francesco Manna, Eduardo Ferigato, Dash O’Brien–Georgeson, Federico Sabbatini (with Martina Fari), Wil Sur, Kath Lobo, Serg Acūna, Eleonora Carlini, Tiffany Turrill, Nicola Scott, Nicole Goux and Valeria Favoccia!
The INFERNO GIRL RED campaign concludes May 5, 2021, 2021. For updates, follow INFERNO GIRL RED on Twitter.
Cullen Bunn is a master of horror in comics, and it would only make sense that Valiant Entertainment would tap him to write the new Shadowman book coming out in April. Monkeys Fighting Robots got a chance to chat with him about the new series.
SHADOWMAN #1 from Valiant Entertainment hits your local comic book shop on April 28, with a pre-order deadline of April 5. The book is written by Bunn, with art by Jon Davis-Hunt, colors by Jordie Bellaire, and you will read Clayton Cowles’ letter work.
About SHADOWMAN #1: From the bestselling master of horror Cullen Bunn and bone-chilling artist, Jon Davis-Hunt comes a shocking supernatural odyssey. Jack Boniface is SHADOWMAN, a powerful protector who keeps humanity safe from the demons that claw at the fabric of our reality. The forces of darkness are awakening and they are hungry for life. Will Shadowman be able to save us all, or will the darkness devour the world as we know it?
Cullen Bunn Interview
MFR: One year ago, the world was shut down by the pandemic. How’s it feel to be doing the press rounds for Shadowman #1?
CULLEN:Thank you! I’m thrilled to be talking about this book in more detail! Back when we announced the title, I talked a bit about it, but those conversations fizzled as the pandemic took hold on the world. So… yes! So happy to be talking about it again. Even more happy that readers will finally be able to get their hands on it!
MFR: For new readers, what are the core elements that make up Shadowman (aka Jack Boniface)?
CULLEN:Jack is a hero who draws power from a Shadow Loa that is bound to his soul. The Shadow Loa makes him strong. It makes him fast. It deadens his sense of fear. And it gives him some control over shadows themselves. He is tasked with protecting our world from the Deadside, the flipside dimension where all dead things go. He is a normal guy who just wants to play his saxophone in local clubs… but instead he has to punch demons.
MFR: Page 2 and 3 are a splash-page with 12 panels. Can you walk us through what you were trying to accomplish with these two pages?
CULLEN:I wanted to show off Shadowman’s lot in life… duking it out with monsters… and give a hint of some of his new powers… After the heaviness of Page 1, I thought we needed to see action. At the same time, though, I never wanted to let up on the creepiness factor.
MFR: When I read a comic book, I give the characters voices. I had a hard time finding a good voice for The King of Death; what voice did you give him?
CULLEN:Hmm. I often speak in the voices of the characters when I write! I don’t have an actor’s voice in mind for Baron Samedi. Something a little scratchy, raspy, full of mirth. Starscream from Transformers if he was super charming and funny.
MFR: With a book like Shadowman, you have the chance to create insane monsters. Did you and artist Jon Davis-Hunt have a monster brainstorm session, if not, how did you build collaborative chemistry?
CULLEN:We didn’t have a monster brainstorming session before starting the book. I will, however, now be adding “monster brainstorming session” to the planning stage of every title I do. So… in my scripts, I tend to write enough description to give Jon a direction to go, but not so much that I stifle his creativity. It’s much more important to capture the essence of the monster than an exact picture I have in my head. And Jon goes forth and designs the craziest beasts you’ve ever seen! If he has questions or suggestions to discuss, he does, but often I see them for the first time on the page, and I love it! That goes a long way to build chemistry—the excitement to see what your collaborator will do next!
Questions From Social Media:
@fuzzypress – How does this Shadowman differ from the 90s version?
CULLEN:I think the biggest changes will be in terms of tone and mood and pacing. Yes, this version of the character has a few different abilities, which will be a bit different, and he’ll be jumping around the world, but I think this book simply feels different from what you saw in the 90s. It’s still a superhero book, but it definitely goes to some dark places.
@Mozz81 – Two things I want to know. I get it’s a fresh start, but will we see characters from the previous runs (Alyssa, Darque), and are we in for (hopefully) many arcs?
CULLEN:You won’t see many characters from previous runs in the initial couple of arcs. But I’m absolutely planning on weaving them in as the book goes on. As for how many arcs… it all depends on how readers respond to the book. I’d love to write these stories for a long while.
@AMaverickComic1 – How many Valiant heroes will guest star? Any ideas to bring Shadowman a sidekick? Is the big bad someone you came up with, or is he or she from a different mythology? Who do you consider the big three in Valiant? Any plans for a teen unity team? Who would you pick on the team if you could?
CULLEN:Ok… Deep breath! There won’t be a lot of guest stars initially, but I certainly want to see some. Shadowman kind of has a sidekick in this story—Baron Samedi! The big bad is a new character I developed. This character is tied closely to Shadowman. Big three for Valiant would be Punk Mambo, Roku, and Shadowman. Kidding! Maybe X-O, Bloodshot, and Shadowman. No plans for a teen team from me… though if Valiant wants to talk… I’m around. My new Unity team? Punk Mambo, Roku, Shadowman. Kidding!
MFR: Cullen, thank you for your time, and best of luck with SHADOWMAN!
CULLEN:Thanks for talking with me! I hope people have a blast with this book!
FYI – Let your local comic book store know if you want a copy of SHADOWMAN #1 this week.
Legendary comics writer Garth Ennis and the late artist Carlos Ezquerra, along with inker Hector Ezquerra, colorist Tony Avina, and letterer Simon Bowland, bring us one of the most genuine and compelling war graphic novels in recent memory with Battlefields:The Tankies from publisher Dead Reckoning. This story following the experiences of one particular tank crew sergeant and his men from D-Day to the Korean War is a prime example of intense research and the fantastic character writing we expect from Ennis’s work. With visual work that places us right on the front with these men on the German and Korean fronts, this is an absolute must for readers of great tributes to the people who experienced the hell of combat.
“From the bloody battle for Normandy to the Nazi heartland, from war’s end to the killing fields of Korea, the men of the British Army’s Royal Tank Regiment fight battle after battle against terrible odds. Whether outnumbered or outgunned, the Tankies soldier on—as their motto would have it, “From Mud, Through Blood, to the Green Fields Beyond.”
Writing & Plot
If you have any knowledge of Garth Ennis’s body of work, from his work on Punisher and Fury: My War Gone By to his recent mini-series Sara, you know that he has a mastery of writing from the perspective of soldiers. This carries over to his work here on The Tankies. What makes this graphic novel such a special read is how Ennis is able to nail the personalities and tribulations of these tank crewman, as well as the immaculate research that obviously went into the creation of this story. The main character, a Corporal Stiles who is placed in charge of the crew we follow, is a rugged, experienced, no-bullcrap kind of man who is fascinating and fun to read because of how Ennis brings him to life. He feels like a real human being in a way that is nearly unmatched in all of comics or prose writing. The same goes for nearly every character we meet. Ennis is able to craft these men in a way that makes them animated and realistic in a manner that holds up the story almost entirely on its own. His sense of dialogue is pulled right from the mouths of the British soldiers who this story tributes, with military terminology, slang, jokes, and general conversation being so genuine I’d almost believe Ennis was there himself.
The afterword in this collection has Ennis explaining exactly what research he did and where his inspiration for this tale came from, and it’s a fascinating read for those curious about the men and the circumstances that make up this story. This is Garth Ennis doing precisely what he is best at, and I wouldn’t change a thing about it.
Art Direction
The visual work in The Tankies is thoughtfully crafted by the late and great Carlos Ezquerra’s pencils, Hector Ezquerra’s inks, and the colors of Tony Avina. Carlos’s pencils build a realistic artistic vision of the armaments and terrain of the German countryside and the Korean fronts in these respective wars. Tanks and guns are drawn with a well-researched eye, with the often-talked about differences between the tanks being blatantly obvious. Hell, after reading this I’d say anyone who was paying attention will be able to easily identify the difference between a Panzer, a Tiger, and an Allied Churchill with a moment’s glance. The real highlight of Carlos and Hector Ezquerra’s work here though is the character art. Not only does each man look completely different, but the creases and wear on their faces paints their personalities and toil upon their visage in a way that is rare even in this medium. The inks give those details the depth and dimension that really sells the wear on both the faces of the men and the equipment they use. The colors from Tony Avina are dense and varied, looking again like a well-researched representation of the real setting this book takes place in. Dense green foliage is disturbed by the mottled camouflage of German tanks, and the olive drab of Allied Tanks juts out against the war torn countryside. The letters from Simon Bowland are made up by a consistent and clean font that varied perfectly based on character and tone, the exact kind of stellar work we expect from a pro. Visually, this is a comic story firing on all cylinders and recrerates the very real settings near perfectly.
Battlefields: The Tankies is a brilliantly well-written and thoroughly researched tribute to the tank crewman who fought and struggled during the late stages of World War II and the Korean conflict. Garth Ennis does what he does best by presenting a spot-on representation of battlefield conditions and some of his best character writing to date. The visual work of Carlos and Hector Ezquerra and Tony Avina crafts both believable character art and a realistic setting. Be sure to grab this outstanding collection from your local comic shop today!
