Zac talks with writer Grant DeArmitt and artist Lane Lloyd about their current Kickstarter project, HUNT FOR THE SOLAVORE – A Space Opera of Cosmic Horror.
Grant talks about where some of his ideas came from and some of the other comics that have influenced his work. Lane discusses what it’s been like moving from being both a writer and artist to primarily an artist. These two are some of the coolest people in the industry and they’re lots of fun to talk to!
HUNT FOR THE SOLAVORE is everything you want in a comic. It’s one part Lord of the Rings, two parts Star Wars and all parts Jack Kirby. Check out the project and please back it if you can!
Back in January, Executive Producer and CEO of Bridge Works Entertainment, George Salinas partnered with Ivan Plaza, owner and founder of the Latinx comic book publisher, Chido Comics, to create Latinx superhero stories and share Latin comic culture with the U.S. Audience.
Salinas created Bridge Works Entertainment to promote and uplift projects that fall under the radar with American audiences and expand on the need for Latinx storytelling. His most recent project is Julie and the Phantoms on Netflix. Monkeys Fighting Robots caught up with Salinas to talk about the importance of representation, comic books, Luchadors, and Hollywood.
Enjoy the George Salinas interview below:
MFR: George, thank you for taking the time to talk with me. Why is it important to you to give Latinx culture a platform in the industry?
SALINAS: It is important to give Latinx culture a platform because we have a lot to offer to the industry with the stories we have to tell. We have a rich and complex history that spans centuries back. Everything from our food to our music to our traditions have a complex and rich history that spans centuries back. They make up a beautiful culture that is so much more than the current portrayals of Latinx. As a Latino man myself, I have seen a vast group of undiscovered talent within my community that need a platform to tell our stories and we are currently underserved, so I’m excited to be a part of this movement and to continue pushing for great Latinx storytelling.
MFR: What did you see in Chido Comics that made them a good fit to partner with Bridge Works Entertainment?
SALINAS: Chido Comics have a very unique way of telling a story and creating characters that happen to be Latinx and cater to the community. I am very excited for our partnership because we have a lot of great projects in the works that will bring more Latinx content to US audiences.
MFR: Over the past 20 years, how much has the comic book industry changed the film and television industry when it comes to finding new ideas?
SALINAS: Over the past 20 years, the comic book industry has changed in a big way. The intellectual property has become as great as books, and there is so much amazing content out there. The fanbase is growing, and the demand for more comic-based film and television is something that gives me a lot of ideas and motivation to bring more formats over to comic lovers. Comic book fans are amazing because they stand behind their favorite characters, giving us permission to create TV and film for them.
MFR: What’s the process like, taking a project from a different market and bringing it over to the US?
SALINAS: The process is always exciting but definitely comes with its difficulties. You always have to find that one amazing showrunner who loves the project as much as you do and can adapt it the best way possible. Once you find that showrunner with passion for the project, you’re off to the races.
MFR: How do you decide what projects to produce? What storytelling elements are you looking for?
SALINAS: I look at a lot of different stories and projects and tend to gravitate towards a project that contains a compelling story or characters that get me excited. If a character jumps off the page for me or if I can visualize the story, I am immediately interested and invested.
MFR: The Luchador has such a rich history. They are the original superheroes. What comes to mind when you think about the Luchadors of past and present?
SALINAS: Luchadors have always been a big deal in the Latinx community. Luchadors take me back to my childhood, and I love how different generations have been able to be fans of them. I will always be excited watching them as superheroes – it never gets old to me.
MFR: I can’t believe we don’t have one already, but how close are we to a blockbuster Luchador film?
SALINAS: I know! I think we are very close as they are so big. I cannot wait to see what film we can come up with.
MFR: With viewership so divided and so many platforms to consume content, how do you measure success?
SALINAS: I measure success in many ways, but the most important to me is when I have a fan tell me how much they loved what I brought to them. I love the feeling of knowing that I was able to provide an hour of entertainment where viewers can watch great television and forget all of their worries and troubles in that time.
MFR: 2020 and 2021 has been a huge evolutionary moment for the entertainment industry; what are your biggest takeaways?
SALINAS: My biggest takeaway from 2020 was that we have to take more chances! My goal for 2021 is to keep moving forward, be more creative, and bring even better content to viewers and fans.
MFR: Thank you again for your time, and best of luck with your future projects.
Before taking on Michael Myers later this year Andi Matichak returns in this new thriller SON. A film that ironically resembles a scenario presented in a previous Halloween film regarding a cult. Carried mostly by Matichak’s impressive acting, SON begins on a high note, utilizes an engaging narrative, and creates this horrific atmosphere. At some point, the film’s appeal grows dull but Matichak’s performance makes it all worth it.
SON’s energetic opening will keep you engaged till its lackluster closing and the film does a great job at introducing its lead character, who is suffering from trauma due to a horrific past she escaped a couple of years back. Moments of unease and tension stick around for most of the film’s runtime, but then certain aspects fall short due to the narrative decisions. Directed and written by Ivan Cavanaugh, SON stars Luke Blumm, Emile Hirsch, Cranston Johnson, David Kallaway, and Andi Matichak. The film follows Laura (Matichak), who escaped a cult that raised her eight years ago while pregnant. Now raising her son David (Blumm), Laura believes the cult has returned after David starts experiencing an unexplained illness.
Andi Matichak as Laura in SON
Cavanaugh takes viewers on a very unnerving look at just how far a mother could go for her child. A mother’s love knows no boundary is a sentiment many would agree with, but Laura’s situation is unique. She has managed to live a normal life away from this cult for eight years and forces beyond her control might reel her back in. Laura is complex as a character because of the limits she is pushed to. On one hand, Cavanaugh writes her as an innocent victim of abuse, which makes it easy for her to garner support from audiences. However, her actions to protect her son David are gruesome. It’s a tough situation to find yourself in because while the cult is wrong, Laura’s actions aren’t better at times. Still, you know she is only acting out of finding herself in a precarious position.
SON deciding to toy around with the topic of Mother Knows best is its strongest attribute. Matichak’s performance here is powerful in many instances despite the material being lukewarm. She carries the film wonderfully and demands your attention through all of the chaos that unfolds. Cavanaugh’s script gets predictable at times, which takes away from the film because the twists that happen are nothing groundbreaking. Still, most of the narrative is coherent and the relationship between Laura and David helps the film maintain its momentum as well. Blumm’s portrayal of the titular character is solid, and it’s troubling to watch at times given he has done nothing to welcome this torment at such a young age.
Andi Matichak as Laura in SON
Cavanaugh seems to have drawn inspiration from Rosemary’s baby, many might see shades of The Omen. Cavanaugh shows off his abilities behind the camera by presenting fast-paced moments of dread, but certain pacing decisions make this narrative grow frustrating. He understands how to direct a horror film, as he has proven in the past and it’s reinforced here in SON. The tension is present and unfortunately, it does die down once the narrative loses its steam. Piers McGrail’s cinematography enhances the gruesome narrative being told and allows certain sequences to grow more intimidating. The technical aspects of SON make for a visually appealing film at times, and this aspect of it can’t go unnoticed.
SON is a decent cult-centered horror film that relies on its strong lead performance and technical strengths. Cavanaugh has crafted an engaging piece that stumbles along the way but proves he has a place in the horror genre. The most important lesson learned here was that Matichak is ready to thrive in this genre for many roles to come. Fans of Rosemary’s baby should have fun with this outing as well.
RLJE Films will release the horror SON in Theaters and on Digital and On Demand on March 5, 2021
IMMORTAL HULK #44 hits your local comic book store March 10th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: In New York, the U-Foes are hunting a weakened Hulk – with the one thing that can kill him for good. In New Mexico, the new Sasquatch faces something even weirder than he is. Something very strange is happening to Jacqueline McGee. And far above the world, HENRY PETER GYRICH watches…
The issue is by writer Al Ewing and artist Joe Bennett, with inks by Ruy José and Belardino Brabo, colors by Paul Mounts, and letters by Cory Petit.
With IMMORTAL HULK ending at issue #50, we are officially in the endgame.
Check out the IMMORTAL HULK #44 preview below:
Are you reading IMMORTAL HULK? Sound off in the comments!
MANIAC OF NEW YORK #2 hits your local comic book store on March 10, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
The book is written by Elliott Kalan, with art & colors by Andrea Mutti, you will read Taylor Esposito’s letter work, and Andrea Mutti created the cover.
About MANIAC OF NEW YORK #2: Maniac Harry, the unstoppable masked killer causing a significant drop in NYC property values, savagely slashes his way down the length of a packed subway car.
Can exhausted commuter Gabriella Acosta keep ahead of the Maniac long enough to save two children from his blade? Meanwhile, Gina Greene of the Maniac Task Force and NYPD detective Zelda Pettibone are willing to do anything to save those passengers — but time is running out, and the Mayor is ready to sacrifice everyone on board if it means trapping Harry for good.
Writer Cavan Scott and artists Ario Anindito and Mark Morales, with colorist Annalisa Leoni and letterer Ariana Maher return with another intense chapter in the Galaxy Far, Far Away with “Star Wars: The High Republic”#3. This issue sees the introduction of an intriguing new threat in the Star Wars universe, while building upon the growing tension within the main cast of characters. With a tight and tense script (if not sometimes a little cornball-ish) and incredible visual work, “The High Republic” still stands as a highlight among the new Star Wars material that we’ve been seeing in recent memory.
“One JEDI missing and another driven insane. What horror lurks in the darkness beneath the rotting crops? Death is averted, but a terrible union is formed. Can KEEVE TRENNIS protect an innocent life while facing betrayal from within her own order?”
Writing & Plot
Cavan Scott focuses on the development of his plot on two fronts with the script for “Star Wars: The High Republic” #3. On the one hand, he is exploring the possibilities of a new element in the dark side of the force that suffice to say is a concept we’ve never really seen in the Star Wars univer, and is a fascinating look at how the Dark Side corrupts the natural world. On the other, he is also testing the mental fortitude of the main cast of characters in the face of a growing darkness within their own ranks. The latter of these two is an arc that continues to grow more and more fascinating. Watching a newly-promoted Jedi Knight have to contend with one of her most trusted allies falling to their basest forms and emotions is compelling for both the development of this protagonist as a character, and the context of this event in Star Wars as a whole. The use of dialogue and narrative here is still solid, if not just a tad bit corny at times. This issue almost feels like a reminder that Star Wars is for everyone (and it damn well is), so there are some playful moments mixed with a lack of subtlety from the newest foes in the pages of this comic that make it feel akin to something from an episode of Star Wars: Rebels (which is a great show, but you know what I mean). Still, this is a completely solid and entertaining comic that propels the story forward in an intriguing direction.
Art Direction
The always top-notch visual work in Marvel’s Star Wars comics continues in “The High Republic” #3. Ario Anindito’s pencils and Mark Morales’s inks put together an immensely well-detailed comic that has the look and feel of the Star Wars universe, all while making everything new. The character animations are outstanding, with the slight twists and twitches of emotion being realistic on the human characters and even easily identifiable on even the most unusual looking of aliens. The action sequences look stellar, like something right out of the cinematography in one of the films. Jedi leap, dodge, and slice with all the grace and momentum that we know them to possess, and it looks great here. The colors from Annalisa Leoni are vibrant and tonally varied, and actually give this comic much of its uniformity with the rest of Marvel’s Star Wars outings. The use of dynamic lighting in this comic continues here, with the glow of lightsabers and alien suns and how they reflect off of skin and surfaces still being a highlight for me. The letters from Ariana Maher really shines with the specials effects, as every swing of a lightsaber or scream of anguish echoes across a page with the perfect choice in size and font for the noise. This is once again a brilliantly well put together book from the visual end, and one that is fitting for the visual legacy of the Star Wars universe.
“Star Wars: The High Republic” #3 is a thoroughly entertaining comic book that uncovers new territory and mythos for the Galaxy Far, Far Away while also continuing to be a stellar character-driven tale. The script from Cavan Scott can get a bit corny at points, but the introspection in the head of the main characters and the tight pacing of the story override that minor flaw with ease. The visuals from Ario Anindito, Mark Morales, and Annalisa Leoni are outstanding and continue to provide a phenomenal visual ride for for this Star Wars comic. Be sure to grab this latest issue when it hits stands on 3-3!
KING IN BLACK: WICCAN AND HULKLING #1, a one-shot available on Wednesday, March 3rd, tells the story of former Young Avengers Hulkling and Wiccan’s long-awaited honeymoon. But unbeknownst to them, the Symbiote God Knull rampages across the universe, destroying and taking over all sentient life. As a result, readers will see what an Emperor and his husband do when faced with a world-ending threat during the week they’re supposed to be at their most relaxed.
Story
The issue opens like many tie-ins to the King in Black event—a horrible scene of destruction at the hands of Knull’s symbiote army. The recently allied Kree and Skrull soldiers appear to have succumbed to the creatures.
Elsewhere, Hulkling and Wiccan need a vacation. We see that they’ve been busy handling the logistics of the Skrull and Kree alliance despite having recently gotten married. Wiccan and Hulkling’s back-and-forth flirting displays realistic displays of affection between the newlyweds. Their desire to be alone together is made even more apparent when the Vice-Chancellor of the Shi-ar Empire offers them a spot on one of their resort planets. But with Knull and his symbiotes nearby, their one-on-one time might be cut short.
Writer Tini Howard captures the essence of Wiccan and Hulkling in impressive detail. Each hero retains those personality aspects fans have grown to love over the years while adding in more mature qualities. We were thrilled to watch this fan favorite couple sort out a typical superhero threat while trying to enjoy their honeymoon.
Artwork
Luciano Vecchio’s penciling and ink work, Espen Grundetjern’s coloring, and VC’s Ariana Maher’s lettering worked beautifully together in this issue. The illustrations of the married couple shows full ranges of their emotions—from their loving looks toward one another to faces full of terror at the sight of their assailants. We also loved how the lettering employed squiggled fonts to represent each horrific scream of the symbiotes, helping to emphasize the overall themes of panic.
Conclusion
KING IN BLACK: WICCAN AND HULKLING #1 is all at once action-packed, heart-warming, and frightening, which fits well with the greater King in Black event. We hope to see more of the duo in future adventures.
Do you want these two to have their own series? Let us know in the comments below!
AVENGERS #43 hits stores on Wednesday, March 3rd, making this the fourth installment of the Enter the Phoenix run. After choosing some of the world’s most accomplished heroes to compete in a tournament, the Phoenix Force decides to survey all it has brought together. And after revealing a unique connection with Thor last issue, it’s attempting to forge a greater connection with him. But what purpose does it have for the other champions in this tournament?
Story
The Avengers, their allies, and a few unsavory actors have been the focus of the Phoenix’s tournament for the past three issues. And while this is still the case, we see the events told by someone other than the characters themselves. The Phoenix makes it clear that it is in charge of the narrative.
Amidst a bloody fight between Black Panther and Wolverine, the Phoenix narrates a tale of its own. It reveals that it was one of the primordial forces of creation, existing as light long before any other mortal beings. This hype up of the being’s influence establishes a clear hierarchy of power. And as its narration continues throughout each individual battle, we learn more about its motivations.
Jason Aaron’s narrative does a beautiful job showcasing the Phoenix’s personality. The rage of the heroes fighting in its power is amplified by the sheer authority laced throughout its speech. We can’t wait to see what lies in store as its might grows.
Artwork
Penciler and inker Javier Garrón’s depictions of characters in combat captures the sheer brutality of this tournament. The slugs, kicks, and flames envelop each one with red, orange, yellow, and black shades, courtesy of colorist David Curiel. These aesthetics pair perfectly with the Phoenix’s cryptic dialogue. Letterer VC’s Cory Petit’s narration boxes, cast in yellow and red, frame each scene to keep us focused on both the words and illustrations.
Conclusion
AVENGERS #43 gives readers an intriguing look into the mind of the Phoenix itself. We’re anxiously awaiting the reveal of the Phoenix’s chosen champion.
Do you think the Phoenix will assert more control in the coming issues? Let us know in the comments below!
RUNAWAYS #34, available Wednesday, from Marvel Comics, brings fans back to a group of their favorite heroes. A group who have managed to avoid much of the drama happening in the wider Marvel universe – because they’re too busy dealing with their own.
Any guesses on who they’re looking for?
The last issue left us off at a bit of an uncomfortable cliffhanger. Given the characters involved, the plot could have gone several ways. Is Molly looking to bail? Is something more sinister going on? Or is this merely a hilarious misunderstanding?
For those that may not have been following along: the world has changed drastically for all the mutants of Marvel. That includes Molly, though even her friends are willing to debate that fact. All (mutants) are welcome to move to the new mutant country of Krakoa, but it isn’t a requirement.
That sets the groundwork for the twist of last month’s issue, where certain iconic mutant members showed up to rescue Molly. Or not. Again, there’s a lot that is open to interpretation in that scene, and now we finally get to find out what exactly is going on in Runaways #34.
Nico’s spell is still causing havoc – that’s not as surprising as it should be.
The Writing
Runaways #34 is humorous, it’s concerning, and it has a very solid dose of foreshadowing. Good to know that Rainbow Rowell can juggle more than one plot arc at the same time.
In short, it’s a perfect Runaways plot. The funny moments make the characters feel human – and so very young. While those darker moments are easily overlooked. Or rather, they will be overlooked – right until they bring about disaster. This is the Runaways we’re talking about, something will go wrong for them eventually.
The inclusion of certain mutants helps to balance out the plot even further. Individually, they added room for conversation, as well as violence, humor (again, there was a decent amount of it in this issue), and tension.
There’s a lot of subtlety and nuance woven into the narrative as well. Hints, promises, and even threats for what is to come. One more way to make sure we’re staying engaged, and looking forward to the next issue.
They’re all geared up and ready for a fight!
The Art
The Runaways have always had a certain aesthetic about their series, and this latest issue has done a brilliant job of capturing that feel. Runaways #34 is bold and bright, with sharp pops of color and plenty of dramatic shots to go around.
Andres Genolet’s scenes really are eye-catching. They can easily bounce between dramatic (say, a battle against a large number of enemies), or hilarious (such as an iconic hero getting picked up by a little girl). The end result is something visually entertaining, and certainly memorable.
As I already mentioned, Dee Cunniffe’s colors are bright, but they also compliment the plot with ease. The fights are made more dramatic thanks to their hues, and attention is (rightly) drawn to certain movements over others.
The lettering, provided by VC’s Joe Caramagna, was another prime example of subtle, yet complimentary art. The reader is guided from panel to panel, with clear design and intent. It made everything flow so smoothly, even as multiple threads are forming.
Uh, those don’t exactly look like great odds.
Conclusion
Runaways #34 is a chaotic yet highly entertaining issue. One that has both heavy and funny moments, and even more reasons to want to keep reading the series. There’s a lot going on in the lives of these kids (really, young adults now), and they’re still here to save the day despite it all.
BRZRKR #1, after a Kickstarter campaign no one saw coming, is out on March 3 from Boom! Studios. Keanu Reeves gives his likeness to the titular character and serves as co-writer to Matt Kindt. It’s a likeness that Ron Garney artist and colorist Bill Crabtree capture in brutal action. Even the lettering by Clem Robins nails down the simplicity evoking Reeves characters like John Wick.
Kindt, who built his career off the nature of memes in Mind MGMT and Bang!, is the perfect writer for this series. Keanu Reeves’ own recent career has practically turned him into a meme. With Reeves’ face in every form of mass media, Kindt and Reeves comment on the actor’s oversaturation.
In essence, the titular character of BRZRKR #1 is every major depiction of Keanu Reeves’ career, no doubt because Reeves himself is providing it. The berserker has the general appearance and attitude of Reeves’ character, John Wick. He’s a maverick with enough influence to do whatever he wants, like kill instead of capture a target in his blind rage. The berserker is also immortal, with scientists trying to figure stuff out about him, including a psychologist who regularly meets with him. This gives the Berserker an almost godly presence that he wishes he hadn’t.
What makes the Berserker interesting isn’t that he’s searching for death; he just wants to be mortal. I can’t help but think this is what Reeves’ wants in his career. Because in all honesty, who wants to watch or keep playing the same role? Which considering reports of a fourth John Wick movie, the franchise and Reeves’ career could be in danger of becoming a Franchise Zombie. This is why the artistic elements of BRZRKR #1 present this as a parody of Reeves’ meme status.
The Art of Keanu Reeves Depictions
In just the opening of BRZRKR #1, we see the berserker in a scene evoking the Sad Keanu meme. For Reeve’s fans, this tells the reader what kind of character the berserker is, a super-powered John Wick, which given the brutal over the top actions that Garney illustrates, this comparison isn’t far off. Combining with red colors that Crabtree uses to accompany the berserker, the title character remains the center of attention. Sometimes it’s when the background disappears, like when the berserker dodges a bullet or when he’s being operated on in a blue room.
The most clever art in BRZRKR #1 comes from the lettering by Robins. The captions that the berserker talks to his psychologist are in juxtaposition with the berserker killing people. Considering Kindt has it written like the Berserker is talking to a significant other, this comes across as a parody of John Wick. I mean, the psychologist says, “it’s our anniversary,” like she’s his wife. The blue captions are a light blue color indicating a sense of ease, unlike the cold gray ones of the berserker. So when the berserker turns up at an operating table, it indicates this loving sense the reader got on implication is just part of the berserker’s job. It’s a rather tragic comedy when you look at it like that.
BRZRKR #1 For Keanu Reeves Fans
BRZRKR #1 is an interesting beginning to a Keanu Reeves satirical commentary. By going into how the memes that catapulted his career made him like an undying god, Reeves and the creative team parody oversaturation. Which considering the satirical layer some fans like Wisecrack find in John Wick, it’s on-brand.
What do you all think? Is there more to BRZRKR than a comic profiting off a celebrity?
In just the opening of BRZRKR #1, we see the berserker in a scene evoking the Sad Keanu meme. For Reeve’s fans, this tells the reader what kind of character the berserker is, a super-powered John Wick, which given the brutal over the top actions that Garney illustrates, this comparison isn’t far off. Combining with red colors that Crabtree uses to accompany the berserker, the title character remains the center of attention. Sometimes it’s when the background disappears, like when the berserker dodges a bullet or when he’s being operated on in a blue room.
The most clever art in BRZRKR #1 comes from the lettering by Robins. The captions that the berserker talks to his psychologist are in juxtaposition with the berserker killing people. Considering Kindt has it written like the Berserker is talking to a significant other, this comes across as a parody of John Wick. I mean, the psychologist says, “it’s our anniversary,” like she’s his wife. The blue captions are a light blue color indicating a sense of ease, unlike the cold gray ones of the berserker. So when the berserker turns up at an operating table, it indicates this loving sense the reader got on implication is just part of the berserker’s job. It’s a rather tragic comedy when you look at it like that.