Cullen Bunn Talks All Things SHADOWMAN With New Book On The Horizon

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March 29, 2021

Cullen Bunn Talks All Things SHADOWMAN With New Book On The Horizon

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.

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Review: Garth Ennis Doing What He Does Best In BATTLEFIELDS: THE TANKIES

By

Justin Munday

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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!

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AVENGERS: CURSE OF THE MAN-THING #1 – Confronting Fears

By

Jake Palermo

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Avengers: Curse of the Man-Thing #1 Cover

Avengers: Curse of the Man-Thing #1 begins a unique Marvel crossover event on March 31 written by Steve Orlando, with art by Francisco Mobili (and chapter page artist Carlos Lao), Guru-eFX drops the color, and you will read VC’s Clayton Cowles letter work. Avengers: Curse of the Man-Thing #1 is going to be a story to remember.

Avengers Headline Curse of the Man-Thing

The Avengers may be in the title, but the truth is, they’re not really the focus. Orlando instead focuses on the character and legacy of Man-Thing. Orlando shows off the unique storytelling potential by diving into Man-Thing’s horror origins.

Avengers: Curse of the Man-Thing separates this issue’s story into three chapters that set-up the conflicts, the inciting incident, and the conflicts’ internal crisis. The set-up explores a dark counterpart to Man-Thing in series antagonist Harrower and how she perverts Ted Sallis’s legacy. The combination between science and magic she uses sweeps the world under its feet. The kind of world that shares its audience’s awareness of superhero events, only for the heroes and reader to be collectively caught off guard by Harrower’s plot.

The end of the issue highlights just how little the heroes and reader actually know. What little hope comes from the appearance of Ted Sallis quickly diminishes after a spoiler-filled revelation.

Art Has More Magic Than Science

Avengers: Curse of the Man-Thing makes heavy use of enriching details in the art to tell the story. Not only by Mobili but every artist involved in this issue. A special mention goes to Lao, where the eyes of Man-Thing showcase the Bog Beast’s status. A wide-open eye closes in the next chapter page to display Man-Thing’s inactive status.

As for Mobili himself, the amount of atmospheric shading and backgrounds brings about an intimidating intensity. In just about all panels, there’s a sense of life happening in the background, in the form of plants or buildings. So when the backgrounds fade out, that sense of life practically disappears. Something that the coloring by Guru-eFX enhances with ghastly greens and blues. That is until more intense colors like bright red and yellow reacting to characters becoming afraid.

Cowles is certainly no slouch in the horror department with his lettering. Most of the dialogue spoken by characters is in your standard word balloons until fear makes them scream out in sound effect forms. Even heroes as mighty as Captain Marvel feel fear in these times as she watches people burn. Then there are the sound effects unique to Man-Thing that look tailor-made for tasks like growing dandelion seeds. The “Glerdt” sounds feel like an act of desperation.

Anticipate Avengers: Curse of the Man-Thing

Avengers: Curse of the Man-Thing will go down in Marvel’s history as a character-defining event. By taking advantage of an obscure character’s great potential, Marvel has the potential to start something new. With all of the horror elements at play, readers should pay close attention to the other issues in the coming months.

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Review: THE AMAZING SPIDER-MAN #62 – Gog at Gunpoint

By

David Weber

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The fun and light-hearted The Amazing Spider-Man #62, out now from Marvel Comics, still has its intense moments, as Spider-Man and Boomerang’s pet becomes a target.

After the previous issue changed the series’ tone back to some more light-hearted plots, The Amazing Spider-Man #62 comes out swinging with a bombastic issue that never gets too serious. Nick Spencer’s writing ensures that it’s an enjoyable ride throughout the entire issue and focuses heavily on Spider-Man and Boomerang’s adorable pet, Gog. Action scenes are larger than life and help cement a classic Spider-Man feel to the issue. Spencer also — in his classic fashion — chooses to end the issue on a gripping cliffhanger, exciting readers to get their hands on the next issue.

There is lots to be said about Patrick Gleason’s stunning art in The Amazing Spider-Man #62, but one of my personal favorites is how adorably he portrays Gog. The small reptilian monster is so cute, and there are panels with memories of Peter raising Gog that are so sweet they have no difficulty pulling on the reader’s heartstrings. Gleason’s characters also have wonderfully expressive faces, which works perfectly for both dramatic and comedic scenes. The panel layout for The Amazing Spider-Man #62 is incredibly creative, especially when separate scenes overlap in the same panel, such as when Kingpin gives an order for something that Spider-Man is seen rushing to prevent.

Edgar Delgado’s coloring in The Amazing Spider-Man #62 does a brilliant job matching the issue’s tone. The issue is almost is mostly humorous — for which Delgado chooses vivid colors — but in the brief moments where it lapses into serious matters, Delgado’s palette changes with the tone.

Through various techniques, VC’s Joe Caramagna makes The Amazing Spider-Man #62‘s moments more immersive. Whether that be through bold fonts, extending dialogue past the borders of speech bubbles, or both. The exaggerated fonts that Caramagna implements in some of the speech bubbles pair wonderfully with the characters’ exaggerated expressions and assist the art in making the comedic intentions of the panel land. The fonts used for sound effects also help make the action scenes seem more intense, and overall the lettering of the issue is a superb complement to the art and story.

The Amazing Spider-Man #62 is like Spider-Man comfort food. It’s funny, has spectacular action, and has a more upbeat tone throughout. It feels like classic Spider-Man, and the issue is sure to be an entertaining experience for fans of the character.

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Exclusive: See How Sally Cantirino’s FINAL GIRLS #1 Cover Came To Life

By

Anthony Composto - EIC

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March 29, 2021

final girls comixology originals cover art process exclusive

THE FINAL GIRLS hits comiXology tomorrow (March 30th), and Monkeys Fighting Robots got an exclusive peek at how artist Sally Cantirino crafted the cover for issue #1.

The series is a comiXology Original by Cantirino and writer Cara Ellison (making her creator-owned comic book writing debut), with colors by Gab Contreras, and letters by Joamette Gil. It’s a five-issue series, and all five issues will be available to binge read tomorrow.

About the series:
The world’s most popular superheroes have come and gone. The year is 2030 and most of the glamorous American superheroes of the last era have been wiped out, leaving only a handful to deal with the world’s crises. Welcome to The Final Girls.

Part dark comedic superhero drama, part dystopian political thriller, The Final Girls is set six years after the hero collective the Scottish tabloids named “The Final Girls” —Kogarashi, Bavanshee, Selkie, and Ash—left civil service and disappeared into the less fraught alleyways of Scotland. When Scathach, the world’s most powerful working hero, asks her retired peers for help, they secretly agree to deal out punishment on another hero in the public eye. When the weapon of publicity is wielded, it threatens to kick up all of their personal traumas, past and present. What does justice look like when violence isn’t enough?

Cantirino calls THE FINAL GIRLS “a comic about what abuse of power, reparative justice, and real change might look like.”

“Inside every superhuman, there’s still a human,” said Ellison. “And the human needs to eat, pay the bills, have relationships, and send invoices. But what happens when superhumans realise that all the fragile systems of society and economy and politics are going to kill them, just like everyone else? What use is smashing someone through a window when the system that created them still exists?”

On working with Cantirino, Ellison continues, “[Sally] brings punk aesthetics and a scratchy horror vibe to the mood of THE FINAL GIRLS. [She] has a really good sense of how powerful women posture and how angry they can be.”

Read what Cantirino has to say about her art process:

On covers:

“We wanted something involving a picture or selfie of the group and it took us a few rounds to get there. I wanted to evoke the way that you take a picture with your girlfriends when you’re out drinking in the bar or club bathroom, while also referencing the kind of collateral damage that happens in a superhero fight in TV and movies. Looking back on the cover now, the series deals with the collateral damage and fall-out that people leave in the wake of their actions.”

On interiors:

“When I get a script, I start by breaking it down with a pack of highlighters and different colors of pens— one color for dialogue, one for captions, one for SFX, I make lists of everything I will need to establish a design for or find reference for. I figure out very loosely what the panel count and page configuration will be, to account for what shots need to be big exposition or establishing shots, what panels need to accommodate lots of dialogue or captions. I figure out where all the captions and balloons go at this point too.

“After that, I do most of my work on my iPad Pro and Clip Studio Paint— I draw my layouts at about half-letter size, then scale them up in very light blue on my template for my pencils. It gives me a rough underdrawing to build from, so I try to be pretty thorough in my drawing at the layout level before I even start pencils.

“I still ink using analog tools. I have a large format printer/scanner which allows me to print my panel borders in black and very light pencil lines in blue onto 11 x 17 Bristol board. For a long time I used Raphael 8404 brushes and sumi ink, but switched to using brush pens during this book due to shipping/supply issues during the pandemic. I’ve been using Pentel Pigment brush pens with Platinum Carbon ink ever since. After scanning, I do a little clean up and formatting in Photoshop before it goes off to Gab Contreras for colors and Joamette Gil for letters.”

See Cantirino’s full process behind the first cover:

Thumbnails (First Round):

Thumbnail (Final):

Pencils:

Inks:

Final Cover:

THE FINAL GIRLS drops on comiXology tomorrow. Thanks again to Sally Cantirino for sharing her process with us!

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SILK #1 Review: Cindy Moon Does Whatever A Spider Can

By

Colin Tessier

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In Marvel Comics’ Silk #1, on sale March 31, Cindy Moon proudly steps into the spotlight. With writer Maurene Goo and artist Takeshi Miyazawa at the helm, an underrated Spider-Verse member is poised to become a breakout star after this captivating launch. Goo gives Moon a personality that packs as much wit as you’d expect from Spider-Man himself. Plus, Miyazawa and color artist Ian Herring’s cinematic action shots turn this issue into a strong introduction for what should become a can’t-miss series. Finally, letterer Ariana Maher subtly brings each character’s voice to life, making every scene feel dynamic and life-like.

If you’re unfamiliar with Cindy, you’ll fall in love with her by the end of this first issue. She’s wonderfully sassy, and Goo’s script gives her several Peter Parker-like quips that hit home. Cindy’s spunk is immediately evident in the opening scene as, much like Spider-Man, she delivers some zingers while she stops a bank robbery. In one line, she hits a home run by telling one of the would-be crooks that she’s a disappointment to her parents. Goo captures the essence of Spidey and twists it so that Cindy’s character stands on its own.

Silk #1 action — In Silk #1, Cindy Moon delivers several zingers that make it impossible not to smile.

As fun as the opening scene is, the heart of the issue comes at Cindy’s day job, where she’s a budding journalist working under J. Jonah Jameson’s tutelage at Threats & Menaces. Jameson’s presence firmly ties the book to the Spider-Man mythos, giving casual fans something to latch onto, but his relationship with Cindy becomes a vital part of the story. Goo smoothly establishes a cute dynamic between the two, as the senior Jonah bonds with Cindy over their affinity for antiquated technology and good old-fashioned journalism. It’ll be fascinating to see how this relationship progresses throughout the series, especially if/when Jonah finds out about Cindy’s crime-fighting exploits.

Like you might expect in any story that involves a reporter, Silk #1 centers around a mysterious crime. In this case, it’s a gangland killing that leaves Cindy half-joking that werewolves might be involved. Miyazawa and Herring depict the scene of the carnage by leaning into the horror, with blood splattered all over the wall and gory shots of the victims themselves. This scene illustrates the brutality of the crime, but one small yet crucial detail comes when Cindy returns to her office.

Silk action shot — Cindy Moon swings into action in Silk #1

Though it might sound obvious, Goo and the art team make Cindy feel like an actual journalist. But when Miyazawa actually shows Cindy drafting up an article, this story clarifies that the character’s day job is just as important as her status as a superhero. The action shots of Silk slinging into action in full-page spreads are nice, but this little detail hammers in the fact that Cindy, much like the original Spider-Man, is essentially an everyman who’s trying to do the right thing.

Likewise, the creative team makes Cindy feel relatable when she makes a mistake. Maher’s lettering shows her inner monologue criticizing her carelessness in one seemingly harmless moment that sets off a dramatic chain reaction. In a nutshell, the whole team works together to make Cindy likable and remarkably human.

Silk #1 is the perfect jumping-on point because it establishes Cindy’s character, offers some typical superhero crime-fighting, and drops a few breadcrumbs for a compelling mystery. Hardcore Spider-Man readers and casual Marvel fans alike should check out this issue.

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THE FALCON AND THE WINTER SOLDIER – The Star-Spangled Man | TV Review

By

Kieran Freemantle

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After the bait-and-switch of the first episode, The Falcon and the Winter Soldier’s second episode was more in line with the trailer. It was a more humorous, buddy-comedy whilst still keeping the spy-thriller story.

John Walker (Wyatt Russell) has been revealed to the world as the new Captain America. This shocks Bucky who believed that Sam has betrayed Steve Rogers’ wishes. As well as bickering like children, Sam and Bucky go off to Europe to investigate the Flag Smashers and discover the terrorists have super soldier powers.

“New World Order” did a decent job at setting up the personal positions of the main characters, “The Star-Spangled Man” was focused on the story and world building. The previous episode already showed some of the changes in the post-Blip world, like the formation of terrorist groups and changes to society. This episode states that the reversal of the Blip has led to loads of societal upheaval with people being displaced – although the episode only said this, not showing it. This change made The Flag Smashers’ views understandable because many people were affected by the emergence of the people who disappeared.

“The Star-Spangled Man” showed some of the members of the Flag-Smashers. There was a particular focus on Karli Morgenthau (Erin Kellyman), the leader of the terrorist cell, and shocked Sam and Bucky with her superpowers. She tried to justify her actions and beliefs and she was genuinely cut up when one of her team was willing to sacrifice themselves for the cause.

Showing The Flag Smashers having superpowers was a surprise and not just for Sam and Bucky. It leads to the questions, where did they get their superpowers from and who gave them to the group? Sam and Bucky go investigating and Bucky reveals that there were more people who were given supersoldier abilities. There was an emotional moment when Sam and Bucky meet Isaiah Bradley (Carl Lumbly) and he reveals all the pain and suffering he received from the American government,

The theme of the series is the legacy of Captain America. Sam doubted he could live up to the legacy and refused to become the next Captain. John does take up the mantle, but he also has doubts because of all that Steve had achieved and stood for. The episode opened with John in the changing rooms of his old high school and needing reassurance from his wife and friend. It humanized the character and showed that he wasn’t just going to be a grunt who would do the American government’s bidding without question. His tenure as Captain America started off a bit like Steve’s because he had to go on a publicity tour. However, unlike Steve, John was allowed to go into action. Whilst John tries to win over Sam and Bucky, his last line in the episode hints at something darker.

This episode saw Sam and Bucky work together for the first time in the series. There was animosity between the pair and this was where most of the humor in the episode came from. The most humorous part of the episode was when Sam and Bucky had to go into couple counseling and acted passive-aggressively toward each other. Sam stated the three usual threats are “Androids, Aliens, or Wizards” which is a classic Marvel joke.

“The Star-Spangled Man” offered up a great bit of intrigue that will be interesting to see how it plays out. It also did a good job at introducing the new characters and setting up the new Marvel world.

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4-Page Preview: MANIAC OF NEW YORK #3 by Elliott Kalan and Andrea Mutti

By

Matthew Sardo

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March 26, 2021

AfterShock Comics dropped an exclusive preview for our reads Friday morning. Check out a four-page preview of MANIAC OF NEW YORK #3 by writer Elliott Kalan, artist & colorist Andrea Mutti, and letterer Taylor Esposito.

MANIAC OF NEW YORK #3 hits your local comic book shop on April 14.

About the issue:
The mindless murderer Maniac Harry has massacred all but three riders on New York’s automated subway train. Can hapless straphanger Gabriella keep one step ahead of Harry, while still protecting the newly orphaned twins she’s taken under her wing? Can our heroes Gina Greene and Detective Zelda Pettibone jump on board the runaway train and find the survivors before Harry slaughters them? Plus, finally learn what life-altering mistake got Zelda trapped on the Maniac beat!

Enjoy the preview below.

4-Page Preview: MANIAC OF NEW YORK #3 by Elliott Kalan and Andrea Mutti

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Marvel Comics Exclusive Preview: KING IN BLACK: GHOST RIDER #1

By

Anthony Composto - EIC

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March 25, 2021

marvel comics exclusive preview king in black ghost rider #1

KING IN BLACK: GHOST RIDER #1 hits your local comic book store March 31st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
THE WAR FOR HELL’S THRONE MEETS THE KING IN BLACK!

All Ghost Rider wants is to destroy Mephisto, round up an army of escaped demons, and secure his seat on the throne of hell. Is that so much to ask? But now a dark god from space has shown up to throw the world into chaos, and some of Johnny’s old friends have come to ask for his help. It may take everything they’ve got to stop this madness. Maybe even…the devil himself?!

The issue is by writer Ed Brisson and artist Juan Frigeri, with colors by Jason Keith, and letters by Joe Caramagna. The main cover is by Will Sliney and Chris Sotomayor.

Read what Brisson had to say about KIB: GHOST RIDER:

“I miss writing Danny and Johnny, so was thrilled to get my mitts on Ghost Rider again. I think fans of what Aaron [Kuder], Juan and I did in our recent series will be thrilled with this one shot, which will answer all of the questions they’ve been asking since it ended. Doing it all with backdrop of such an explosive event is the icing on the cake.“

Check out the KING IN BLACK: GHOST RIDER #1 preview below:

What has been your favorite KING IN BLACK title so far? Sound off in the comments!

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Ripping Open Wounds in STAR WARS: DOCTOR APHRA #8

By

Cat Wyatt

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Marvel’s STAR WARS: DOCTOR APHRA #8, available now, is about to tear open old wounds, and Aphra and Sana find a new artifact to investigate. Alyssa Wong’s take on one of the most infamous archaeologists in Star Wars continues here.

Looks like a new mission has been set up for these two.

Aphra has always had quite a talent for getting herself in completely over her head. That has been true, regardless of which characters she’s pulled into the mix. She’s always jumping from one (often poorly thought out) scheme to the next, heedless of any consequences.

So it would make sense to hear that she and Sana (yes, that Sana) have agreed to work together for the sake of a new mission. One which, if things go according to plan, will make them both very rich. We all know that it isn’t going to go according to plan.

What makes this latest series of Doctor Aphra’s so different is that we’re getting a chance to see more development from other characters as well. Just Lucky is still in play, and it’s only a matter of time before that becomes very relevant once again.

With all of that in mind, Doctor Aphra #8 is ready to get started – any bets on what is going to happen to mess up her plans this time?

Look at that! Has a wreck ever looked so pretty?

The Writing

Doctor Aphra #8 feels like a blend between a classic heist – and an origin story. Why an origin story? Because there’s something about the setup that feels larger than life – like it’s screaming at the readers to pay more attention than usual.

Perhaps that is simply Alyssa Wong’s writing style coming out in full force. Either way, we’re paying attention to what is happening to and around Aphra. Naturally, there are a few bumps and surprises in store for this adventurer.

Interesting, as I mentioned a bit above, Lucky’s perspective is still going strong. We haven’t seen him interact with Aphra in a few issues by this point – but that probably won’t last for long. Especially given what his current job is.

Still, seeing his plot further developed helps to add a sense of depth to the series. It’s becoming more than just a tale of Aphra’s (mis)adventures. Also, it is successfully added tension in surprise to balance the sometimes predictable nature of the messes Aphra gets into.

The Art

There are scenes in Doctor Aphra #8 that are simply breathtaking. Look at the second in this month’s issue. That is a background that could happily rest inside any framed piece. It does more than set the scene.

Minkyu Jung (pencils), Victor Olazaba (inks), Rachelle Rosenberg (colors), and VC’s Joe Caramagna (letters) all worked together to bring this issue to life. And boy, is it alive! Aphra and Sana’s adventures take them from a bar to a unique forest – full of wrecks.

Even the wreck itself ties back into the larger Star Wars universe – something that alert fans will certainly pick up on. Still, the combination of tech and organics is delightfully done. Throw in the action sequences that occur all around, and it makes for a visually compelling issue.

Lucky’s setting is in stark contrast. His story takes place in a city (an iconic one, at that), and the differences are made abundantly clear. Even the color palette looks and feels different.

Conclusion

Doctor Aphra #8 is fast-paced and action-packed, making it a lot of fun to read. There’s a lot of Star Wars references to be found in this issue – but there is no requirement to understand or appreciate this issue. Overall, it’s a beautiful and entertaining addition to her series.

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