Interview: Jon Tsuei and Audrey Mok Bid Farewell To SERA AND THE ROYAL STARS

By

-

December 24, 2020

sera and the royal stars vault comics interview

Vault Comics’ Sera and the Royal Stars came to a close recently, and Monkeys Fighting Robots sat down with creators Jon Tsuei and Audrey Mok to take a look back at the stellar series (pun absolutely intended).

For the uninitiated, Sera is an epic 10-issue fantasy series by Tsuei, Mok, colorist Raúl Angulo, and letterer Jim Campbell. It’s the story of Sera, princess of Parsa, a land struck by civil war and famine. With everything going on at home, Sera is reluctantly called on a quest to find the Royal Stars — fallen stars trapped on earth — and return them to the heavens in order to save her people.

It is a beautiful and moving tale about family, loyalty, duty, and awesome battles between cosmic deities.

Read on for our full interview with Tsuei and Mok:

Monkeys Fighting Robots: How does it feel to bring Sera to a close?

Jon Tsuei: It’s bittersweet for sure. I’m incredibly proud of the work we’ve accomplished as a team, but I’m just as sad to say goodbye to this world and its cast of characters. I miss working with the team and I miss the characters. Sera will always be very close to my heart.

Audrey Mok: Definitely emotional. I feel like I came to a point in which I can finally understand the characters and the world enough to draw freely for this story, by that time, it’s close to ending. I already miss working on this story with the team. Although it’s kind of bittersweet to bring Sera to a close, I certainly had a lot of fun bringing this story to life. It has been an absolute pleasure to be working on Sera with such an amazingly talented team.

MFR: The Royal Stars we meet over the course of the series each feel so unique and well developed. Can you speak to how you two created them and fleshed them out?

JT: The main inspiration for the four main stars (Aldebaran, Antares, Fomalhaut and Regulus) comes from a Zoroastrian text called the Bundahishn. In modern day astrology these four stars are called the Royal Stars of Persia. So, I looked to various myths tied to the individual stars and their constellations to uncover their personalities. From there, I gathered some reference for what I saw in my mind’s eye and sent it over to Audrey, who worked her design magic to bring all of the stars to life. I’ll leave it to Audrey to talk more about the design process.

Fleshing out the stars was pretty organic. I’m a firm believer that stories exist in some reality separate from our own. They are living, breathing things that we as storytellers bring forth into our own plane of existence. Once you learn to see and hear these characters, they tell you where they want to go.

AM: After Jon introduced me to the main inspiration for the stars, and explained more about concepts along with various kinds of references, we began exchanging countless emails discussing the looks for the Stars, according to their personalities and their individual fighting styles. We also decided on using different color palettes for the stars inspired by their constellations, which helps a lot when it came to designing their costumes.

It was my first time working on a fantasy story, so I spent a lot of time doing research. Other than reading the history of the region Sera is based from, I drew inspiration from a lot of different sources as well. I adopted ideas from movies, game character designs, even runway shows. With these ideas, it helped develop unique designs for the four stars.

MFR: What have you each learned about making comics over the course of creating Sera? How has your perception of the medium evolved?

JT: If the past two years has taught me anything it’s that life is much bigger than comics and sometimes life is going to force you to pivot. But even when the universe is throwing you curveballs, you can absolutely find joy in your art when you’re working with such a talented and devoted group of creators. Audrey, Raúl Angulo, Jim Campbell, Adrian Wassel and everyone who worked behind the scenes at Vault made every moment of Sera something incredibly special to me and I will always cherish the time we had working together.

AM: I have had a particular visual, or a style, I wanted to try bringing into Sera in the beginning stages. As I mentioned above, this was my first fantasy story, there were a lot of things I wanted to push myself with Sera as an artist. With that specific artistic approach in mind, my art occasionally became stiff, but I also learned to remind myself from time to time that when it comes to making art, you have to let yourself “go”. Sometimes you just have to trust your instincts, and let your creativity lead you.

MFR: How did your collaboration process evolve as the series progressed?

JT: There was more back and forth in the beginning stages. We were still trying to figure out the language of Sera, both visually and thematically. But as time went on, the trust between us grew and the process quickened. We didn’t need to consult each other as often, but that didn’t stifle the quality of our work. I like to think we became more efficient and really trusted each other’s creative instincts.

AM: Totally agree with Jon here. At the early stages, there were a lot of things we needed to discuss with one another, as we were still figuring out a lot of details along the way. I think it was around issue 3 that the language of Sera had finally become solid.

MFR: What have you enjoyed most about working with one another?

JT: For me, it’s the excitement of working with Audrey. Throughout the process, I couldn’t wait to see new designs or pages by her because I was always blown away. That excitement and anticipation is fuel for my writing. Aside from the excitement I feel about Audrey’s work, I think we learned to speak the same creative language and that level of collaboration really is something special. No matter what I introduced in the script, be it a new character or a difficult scene, Audrey always delivered in a way that is truly unique to her style and voice as an artist. I couldn’t have asked for a better partner and collaborator.

AM: Reading Jon’s scripts is for sure one of the many excitements! I couldn’t wait to know where Jon will bring us in the coming issue every time I finished reading the new script.

For me, some of the most memorable parts when it comes to reading, is the emotion that you feel throughout the reading experience. Jon’s words are straightforward, with a great balance of heavy emotional and occasional comedies. As an artist, to be able to visualise the weight of those words onto paper is the most exciting part. Also, simply the fun of bringing the story to life together as a team, I enjoyed that very much.

MFR: I really love the little moments of humor sprinkled throughout Sera — they’re like perfect balances of witty dialogue and hilarious visuals.

Are these moments scripted like this, or do they come about organically in the collaboration process? How do you two manage to strike such a strong balance?

JT: That reference you have is from issue #1. We were still establishing the tone of the story at that point. I called for the panel to be funny, but I had no idea Audrey would shift her style so much to really sell the comedy. Some of my favorite panels in the series are when Audrey makes that stylistic change.

There were times when Audrey brought her own humor to the series. One of my favorite panels is when Sera, Aldebaran and Antares fall through the cave in issue #3. My script called for Aldebaran to fall with his arms crossed and looking upset. Audrey drew exactly that, but she drew him falling upside down! It made that panel so much funnier than I had intended. The story has some heavy emotional moments, but too much of that back to back would have made the story feel too heavy. The comedy throughout the series gives the reader a chance to take a breath and digest the story. As storytellers, I think we feel when it’s necessary.

AM: When it comes to comedy, I tend to exaggerate facial expressions and character gestures to convey the humour. When we were still finding the tone for Sera in our beginning stages, I remember asking Jon and the team if some of the facial expressions would be too overly exaggerated for the story. But later when we established the voice for the series, I find that the light moments of humor are just as important as the emotional heavy scenarios.

Fomalhaut almost always appeared in some of my favourite funny moments, but with his character design only showing one eye, it’s quite hard to convey humour simply through his expressions, but it was an enjoyable challenge nonetheless.

MFR: This line from issue #9 really stood out to me, and I think it’s an important question for people to consider, especially after this year: “Are the lives of those you know more precious than the lives of those you don’t? Who among us gets to make that distinction?” — Why was it important for you to explore this theme in Sera?

JT: It’s very interesting to think about where Sera is emotionally in issue #9 in relation to 2020. At that point in the story, Sera is overwhelmed by everything that’s happened thus far and part of her wants to give up because it’s too damned much. Ultimately, she puts her personal feelings aside to do what’s best for humanity. I wrote that line around February of 2020, so it was before we began to feel the full weight of the pandemic. I think Western society has a tendency to praise individualism over other characteristics, but the heroes we celebrate are often those who sacrifice themselves for others. We as individuals are a part of a greater whole and I think we should take that responsibility seriously.

AM: There are far more things we, as an individual human being, can accomplish when we work together as a team. Sometimes we need to focus on the full picture, other than what we see on the surface.

MFR: And off the back of that last question, how did 2020 change your perception of the story you were telling?

JT: Of the many themes in the story the one that is a constant in almost every issue is the theme of family. I’ve always known that family is important to me, but being forced to stay distant from my family this year has really highlighted its importance. I don’t think my perception of the story itself has changed much, but what has changed is my appreciation for the little moments you have with those you love because you never know when that could be taken away from you.

AM: I don’t think this year has changed my perception of the story itself. 2020 has been a hard time, but I’m lucky to be able to spend time with my family and loved ones. I certainly appreciate more the little things that happened around me, because you never know what will happen next.

MFR: What do you hope readers took away from Sera and the Royal Stars?

JT: Sera couldn’t have achieved what she did without the love and support of her family, friends and mentors. That’s true for all of us. If things get too hard, lean on your loved ones. You’re not alone and you don’t have to go through it alone. Love and support one another because together we can overcome the impossible.

AM: One of my favourite parts of this story, it’s actually when Sera struggled, ended up deciding to leave the Stars at the end of issue 5, and went back to her family. Leaving is a choice, a step towards the next, but not the end. Everything we do comes with a consequence. But the courage to take the first step in doing what you think is right at that moment, is a brave decision, just like how at the beginning, Sera left Setareh on a journey to free the stars.

MFR: And without spoiling the final issue, what does the future of the Royal Stars look like? Do either of you see yourselves revisiting this world in one way or another?

JT: I definitely think there are more stories to tell in that universe and I hope one day we’ll get to revisit it together. If working on the series has taught me anything, it’s that Sera and all her companions are living, breathing people who exist in a world separate from our own, but nonetheless real. You don’t have to imagine what happens next, because they’ll tell you if you listen.

AM: There are certainly a lot of stories we can build around in Sera’s world, and I would love to tell them with the team if that time comes!

Thank you again to Jon Tsuei and Audrey Mok for taking the time to talk with us. Sera and the Royal Stars #10 is out now.

SERA AND THE ROYAL STARS Cover Gallery

1 of 10

Monkeys Fighting Robots Youtube

THE WITCHER SEASON 1 | TV Review

By

Kieran Freemantle

-

Based on Andrzej Sapkowski’s fantasy series, The Witcher was Netflix’s attempt to make an adult fantasy series. They spared no expense with the first season having action sequences, CGI effects, and a big-name star in the title role.

Geralt of Rivia (Henry Cavill) roams the lands as a monster hunter for hire. He’s a skilled swordsman and a mutant which gives him some magical powers, but he suffers from discrimination because of it. Yennefer of Vengerberg (Anya Chalotra) is a hunchbacked woman who gets trained to be a mage to advise rulers across the land. Ciri (Freya Allan) is a princess who has to go on the run when her kingdom falls to the Nifgaardians. Their paths start to merge as the series progresses.

Sapkowski’s series of novels and short stories have a cult following but the series really grew in popularity due to the video game series. Audiences outside of Poland will properly think of the video games first. Netflix hoped The Witcher would be their Game of Thrones, but it was more like a TV version of Conan the Barbarian.

Both The Witcher and Conan the Barbarian followed beefy men of few words who did missions for various kings, lords, or townspeople. Geralt and Conan inhabit incredibly violent worlds and they were only a small part of it. The action and swordplay in the series felt like a throwback to the 1980s due to all the bloodletting and monster hunting. Despite the violence and some dark subject matter, the series did at times have a campy tone like in the fifth episode “Bottled Appetites.”

The first season of The Witcher was based on the first two books in the series: The Last Wish and Sword of Destiny. These books were collections of short stories and because of this Geralt’s story had a monster of the week structure to them. They were standalone adventure with only a loose connection to them. This was worst with the first two episodes which led to the question where was the series going? The storylines only started to merge by the fourth episode, “Of Banquets, Bastards and Burials” where a debt owed to Geralt would have ramifications later in the series.

The most interesting character in the series was Yennefer. Yennefer started off as a bullied nobody due to her deformity and finds out she had magical powers. Her journey was one where she went from a scared young woman who was forced to become a powerful mage. She was the character that grew the most and suffered a lot. One of her most important moments was when she chooses to have surgery to make her beautiful, but it came at the cost of her fertility. Yennefer’s poignant moment was in the fourth episode when she was trying to protect her chance and she revealed her world view.

Ciri’s story wasn’t as interesting. She had to go on the run in the woods and meet the elves whilst the forces of evil hunt for her. She’s only important because her destiny was tied to Geralt’s. She was a plot device.

The showrunner, Lauren Schmidt Hissrich, told TV Guide that she was influenced by Christopher Nolan’s Dunkirk. Schmidt Hissrich copied the different timelines structure. Yennefer’s story took place over 70 years, Geralt’s story was 20 years long, and Ciri’s lasted only a few weeks. However, this wasn’t clear in the first episode where Geralt got embroiled with a conflict between a wizard and the fall of Cintra and Ciri going on the run happened simultaneously. The first episode felt like a proof-of-concept rather than starting a series. It doesn’t help that none of the characters aged and technology, fashion, and culture don’t change during the series. The timelines only start to merge by the fifth episode.

J. R. R. Tolkien looms large over the high fantasy genre. George R. R. Martin and Robert Jordan were influenced by Tolkien and there’s a fine line for a fantasy story to be seen as inventive or generic. Sapkowski was Polish so he did draw from Eastern European influences which audiences from beyond that region might not be so aware of. This led to some interesting monsters and curses. I personally like the magic system in the series because it’s stated that there is a price for using magic and the training academy for the mages reminded me of The White Tower in The Wheel of Time series. Characters also referred to a genocide against the Elves which sounds like it would play an important role in future seasons.

The political situation of The Witcher was less interesting. The conflicts, kingdoms, and cultures were undercooked. Tolkien’s Middle Earth and Martin’s Westeros felt much richer and more defined. Lord of the Rings and A Song of Ice and Fire told different stories – Lord of the Rings was about the ultimate battle between good and evil whilst A Song of Ice and Fire went for a more realistic portrayal of medieval politics. To be fair to the series Geralt was low down in the social order so he wasn’t going to get too involved with court politics.

The first season of The Witcher can give audiences a fantasy fix and will please fans of fantasy action and violence. Just don’t expect the complicated world-building and characterization that’s present in some of their rivals.

Monkeys Fighting Robots Youtube

X-O MANOWAR #3: The Compromising Compromises

By

Jake Palermo

-

X-O Manowar #3 drops December 23 by Valiant Entertainment. Writer Dennis Hopeless brings out a story about compromises and speaking in unison. Artist Emilio Laiso highlights this issue with not just detail but unique mechanical designs. Joining them are colorist Ruth Redmond and letterer Hassan Otsmane-Elhaou.

X-O Manowar #3 The Revolving Table

Hopeless and his storytelling techniques stay on point throughout in terms of consistency. One of the best parts of X-O Manowar #3 comes from how it presents the issue’s main theme. Aric is out to find a dangerous warlord and bring him in. To do so without arrests, he agrees to work with tech billionaire Troy to spin the narrative positively. While it works to a degree, not everyone is on the same page. This exemplifies itself when Aric is at breakfast with his found family. Desmond and his mother appreciate Aric and the armor Shanharra’s company, especially when that can lead to Desmond doing better with his grades and a preview to a video game. Everybody is contributing, but no one seems to be connecting until Aric speaks up.

This all translates into Aric’s and Shanharra’s relationship with Troy. Troy certainly has the resources to help Aric out, but he has preferences on how it’s done. Like when he sends Aric to a wildfire zone, and his first thoughts are to save his friend’s mansion. Not only that, he happens to know about the nature of a goop monster that appears in it. Clearly, Troy knows more than he lets on; throughout X-O Manowar #3, he always prefers to have Aric’s consent on major decisions. Rather than work with Aric, Troy seems to be controlling him.

Art Is Always On Point

Laiso makes every scene stand out with impressive detail and line work. Everything from the wrinkles on characters, the architecture, and machinery looks impressive. So impressive, Laiso gives bold lines to everything, making the plot-driving elements more apparent. For example, X-O Manowar is in the background while a helicopter releases retardants on a wildfire. In this case, the helicopter gets the emboldening treatment echoing Aric’s earlier statement; there are things that local authorities can do without the aid of Aric, and he knows that.

Redmond’s coloring tends to highlight much of the conflicts of X-O Manowar #3. Usually, the brighter colors stand out the most, including the green monster that appears out of nowhere. Among the flames of the wildfire, this demonstrates it as a more serious threat than a force of nature. Then there’s Otsmane-Elhaou’s lettering that feels like a natural extension of everything they highlight. Shanharra’s word balloons reflect the suit’s color, and its mechanical nature contrasts with humans whose words turn red in moments of intense emotion. Then there are the hand-drawn wordmarks for certain situations; the fire and monster are so notable that they culminate in a major development between Aric, Shanharra, and Troy. No specific spoilers but Shanharra’s blue word balloons turning red suggests she will be able to connect with Aric a little more emotionally.

X-O Manowar #3 Gets The Attention It Deserves

X-O Manowar continues to be a title that serves as some of the best Valiant Entertainment offers. This issue highlights the strengths in a one-issue story by staying on point in not just themes and art; it’s practically a meta-commentary on its concept. Because once everyone is on board and helping each other out, they create an experience where the reader wants more.

Monkeys Fighting Robots Youtube

Review: KILLADELPHIA #11 – New Historical Figures

By

David Weber

-

Killadelphia #11, out today from Image Comics, is another captivating issue where the story takes unexpected turns, and the art is stunning.

Rodney Barnes’s initial choice to have John Adams be the main vampire villain in the series’ first arc was an interesting choice that added an enjoyable historical fiction aspect to Killadelphia. After Adams left the story, Barnes continued to find ways to tie the story to historical elements. Such is the case in Killadelphia #11, which introduces another character that has historical significance.

This issue has the difficulty of navigating between multiple different storylines, which Barnes does with grace. Killadelphia #11 has three separate groups of people that we follow and a flashback for one character. It is a lot to follow along with, especially for only 23 pages, but Barnes has no trouble pulling this off. No scene feels like it goes on for too long or little, and because of this, the entire issue feels incredibly dense with content. The story is always moving, there is virtually no filler, and the issue is a fantastic read.

Killadelphia #11 is some gorgeous work from Jason Shawn Alexander. The series is lucky to have him. Alexander’s work has made every issue an absolute joy to read, and Killadelphia #11 is some of his best work in the series. His faces are realistic and expressive as always, and this issue features some unconventional paneling and a full-page splash that allows Alexander to shine. It makes you feel fortunate to be a reader. The issue also features some macabre art that is immensely creepy and disturbing. I hope to see more of this in future issues because the macabre art can make the series even more horrifying.

Luis NCT provides astounding coloring in Killadelphia #11. He makes heaven feel like heaven, and purgatory feel like purgatory. The sepia tones he uses for flashbacks make them easily recognizable as past events, and I don’t know anyone who does bloodshed better. NCT’s work heavily enhances Alexander’s art and causes both the violent and dialogue-heavy scenes to have more impact.

Marshall Dillon’s lettering in Killadelphia #11 has substantial effects on the tone of scenes. For example, the issue features an ultra-violent sequence, but one character has an internal monologue told through captions as that is happening. The sound effects that result from the violence are placed behind the characters involved when most modern comic books would put them in front. This choice causes the lettering to have less impact and helps direct the reader’s attention to the character the captions want the reader to focus on. This makes the transition to a flashback later in the issue easier.

Killadelphia #11 is another breathtaking installment of the series that is sure to become a classic. Alexander’s brilliant art and NCT’s coloring complement Barnes’ fun mix of vampires and historical fiction, and Dillon’s lettering polishes it all. I can’t wait to see where this series will go, especially after this issue took such an unexpected turn.

Monkeys Fighting Robots Youtube

Review: CYBERPUNK 2077: TRAUMA TEAM #4—Ego and Id

By

Elizabeth Buck

-

Available now from Dark Horse Comics, Cyberpunk 2077: Trauma Team #4 brings this nail-biter of a limited series to an end. Writer Cullen Bunn and artist Miguel Valderrama with colorist Jason Wordie and letterer Frank Cvetkovic pull out all the stops to close the story with a bang.

After four issues, I’ve now realized that Nadia’s journey at its core is a battle between the id and the ego. The id and the ego make up a psychoanalytical theory famously developed by Sigmund Freud. At the risk of simplifying the theory, the id is the most unrestrained aspect of an individual’s personality, while the ego keeps the id in check. Nadia’s client represents her id as he kills without restraint and uses others’ conflict to his own advantage. After struggling with her desire for revenge on the client, this last issue presents their final showdown.

Picking up where the third issue left off, Nadia, Stratter, and the client finally make it out of the high-rise apartment complex. Wasting no time, Stratter calls for an evac and berates Nadia again, blaming her for their fellow team members’ deaths. Before Nadia can defend herself, the client snaps Stratter’s neck. They argue, but a surviving gang member leaps out of the building to finish the client off.

The Thick of It

True to her job description, Nadia defends her client as even more gang members come out of the woodwork. In a flurry of blue and red wide panels with varied SFX, we get a closer look at the action as Nadia fights her way through a group of five guys. Meanwhile, the client goes up against a guy three times his size.

It’s probably the longest continuous action sequence of the series, and it’s exhilarating. Sure, up to this point, we’ve seen plenty of shootouts and rage-filled fistfights, but this one sequence exhibits each individual talent involved. Artistically, illustrator Valderrama and colorist Wordie have contrasted ruddy gore with neon pinks, yellows, and blues. Cvetkovic’s lettering augments the style with graffiti-like lettering.

Overall, the effect is a stylized look that dispels any sense of realism in the reader. However, the high contrast also makes the emotional moments so much more impactful. In the above-mentioned action sequence, for one, the art shows us exactly how broken down the main characters are by this mission.

To the Death

To Bunn’s credit, his use of cliffhangers to build suspense in the previous issues make the final action sequence so satisfying. By this point, the reader wants an end to the suffering, regardless if Nadia gets her revenge. But Bunn intelligently leaves the ending ambiguous. A panel of blood and bullet shells ends the series, leaving us to question whether Nadia’s ego has triumphed over the id. I also wonder if this is meant as a lesson on revenge. Perhaps we’re meant to ask, “Is revenge worth the bloodshed?”

All in all, Cyberpunk 2077: Trauma Team #4 is a satisfying conclusion to a gripping, character-driven limited series. It stands on its own against the video game, especially given that the cyberpunk world (i. e., culture, location) is mostly handled visually and hinted at through side characters. If you were disappointed with the game, give the comic books a chance. On the other hand, if you’re not a gamer or never even heard of the game, I would recommend you give the series a try.

Monkeys Fighting Robots Youtube

Marvel Comics Exclusive Preview: KING IN BLACK: IRON MAN/DOCTOR DOOM #1

By

Anthony Composto - EIC

-

December 23, 2020

king in black iron man doctor doom marvel comics exclusive preview

KING IN BLACK: IRON MAN/DOCTOR DOOM #1 hits your local comic book store December 30th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Iron Man has risked everything to save Eddie Brock, but now he’s left with nothing but guilt. As longtime ‘frenemy’ Doctor Doom shows up with both counseling words and ulterior motives, they’lll be forced to battle an all-too-familiar specter of the holiday season-albeit one now twisted and controlled by the recent invasion of Earth by the symbiote homeworld. As Iron Man and Doom fight as temporary allies, their unexpected encounter both with each other and a horrifying inversion of yuletide joy may ultimately reveal to them the true meaning of Knull-mas.

KING IN BLACK: IRON MAN/DOCTOR DOOM #1 is by writer Christopher Cantwell and artist Salvador Larroca, with colors by Guru-eFX, and letters by Travis Lanham.

The issue serves as both a tie-in to Marvel’s KING IN BLACK event and a holiday issue. Cantwell is currently writing both the IRON MAN and DOCTOR DOOM solo series.

Check out the KING IN BLACK: IRON MAN/DOCTOR DOOM #1 preview below:

Are you enjoying Marvel’s KING IN BLACK event? Sound off in the comments!

Monkeys Fighting Robots Youtube

Review: Al Simmons Takes On The World In SPAWN #313

By

Corey Patterson

-

SPAWN #313, available in comic book stores on Wednesday, December 23rd, concludes the Cult of Omega story arc in epic fashion. After countless hours of searching for missing Hellspawn, Al Simmons finally decides to contact someone who isn’t on the best of terms with him—the ultimate last resort. The story that ensures takes readers across the world in a last ditch attempt to prevent the universe from coming apart at the seams.

Story

The first half of the issue focuses once again on Gunslinger Spawn as he deals with the aftermath of Heaven’s most recent attack. But out of the blue Jessica Priest arrives on the scene. The latter senses a disturbance among their kin, and offers to assist Gunslinger. Their interaction is as testy as one would expect, but sees the two getting close to being on the same page.

The tales shifts to Al’s perspective shortly after. Despite operating with much less power than usual, Al wastes no time beginning his search for a cure for his pal Overt-Kill. He realizes he must visit someone, but decides to take his friend along as back-up.

Knowing full well about the danger facing Hellspawn throughout the world—not to mention his weakened state—our hero still places himself in harms way to protect his ally. Unfortunately, the monstrosity they find themselves facing could be more than the two of them can handle.

Writer Todd McFarlane takes readers on a journey at break-neck speed. Yet the highly detailed narration ensures they’re able to follow each moment of action. It was great getting to dive deeper into Al, Jessica, and Gunslinger’s unique personalities.

Artwork

Carlo Barberi’s penciling, ink work, and coloring crafted equally intriguing locales no matter where the scenes took place. The flat, nearly barren farmland makes one think they’ll see tumbleweed rolling across any second. Then, we find ourselves moved into a laboratory, and eventually find ourselves on an uncharted island. These scenes may move quickly, but letterer Tom Orzechowski’s dialogue boxes makes each set of illustrations easily navigable.

Conclusion

SPAWN #313 introduces menacing new threats in an engaging way. It was great getting to see Al, Jessica, and Gunslinger react to challenges in their own ways.

Who do you think this newcomer is? Let us know in the comments below!

Monkeys Fighting Robots Youtube

Review: STAR WARS ADVENTURES: SMUGGLER’S RUN #1 Brings A Fan Favorite Novel To Comics

By

Corey Patterson

-

STAR WARS ADVENTURES: SMUGGLER’S RUN #1, available in stores on Wednesday, December 23rd, brings one of the Star Wars universe’s most popular novels to the comic book medium. Greg Rucka’s novel of the same name details Han Solo and Chewbacca’s true “initiation” into the Rebel Alliance. And in this comic book adaptation readers are treated to the antics of their favorite duo in an engaging form.

Story

The scene is set: Leia Organa and the rebels are regrouping after their well-known destruction of the Death Star. She calls in Han and Chewie, charging them with the task of saving Lieutenant Ematt, who’s heading to Crykon. According to her, he has valuable information that must be kept from the Empire at all costs.

Alec Worley’s adaptation reads and flows much like its novel counterpart. It’s a brilliant translation of Rucka’s narrative into the comic book medium. We loved the back and forth bickering between Leia and Han. And it was equally entertaining watching Han and Chewie scramble to hide their identities from curious Empire soldiers. The ensuing story is full of action, adventure, and espionage that all Star Wars fans will love.

Artwork

Ingo Römling’s penciling, ink work, coloring, and lettering worked together beautifully in this opening issue. The characters exhibit a realness much like their live action counterparts, while simultaneously embodying cartoonish styles that emphasize their personalities. It was great seeing these individuals set against space themed backgrounds full of bright and dark shades. And the way the word balloons alternate between jagged and smooth borders helps us differentiate between speech in-person and via radio.

Conclusion

STAR WARS ADVENTURES: SMUGGLER’S RUN #1 is an awesome kickoff to this adaptation of ‘s novel. We’re excited to see where Han and Chewie’s adventure takes them next.

Do you hope more classic Star Wars trilogy characters will show up in this run? Let us know in the comments below!

Monkeys Fighting Robots Youtube

When Events Merge in SPIDER-WOMAN #7

By

Cat Wyatt

-

SPIDER-WOMAN #7, available Wednesday from Marvel Comics, is about to merge the already intense plot of Spider-Woman with the event that is tearing apart the Marvel universe. It’s no surprise that she would get pulled into this mess, when you think about it.

Well, that’s one way to phrase what’s going on.

The Knull Invasion is in full force on Earth, something that Jessica Drew and her allies just learned the hard way. Much of what happens in this issue (but not all) is heavily tied in with the vents of The King in Black, and that means this dark plot is about to get just a little bit darker.

Ever since her series started up (again), Jessica Drew has been fighting for her life. Literally. And it’s not just her life, it’s the life of her son, and the niece she never knew she had. She doesn’t exactly have time to get involved with a war. Nor is she in the most stable state, at the moment.

Thus, that is where Spider-Woman #7. She’s facing a war on two fronts (three, if you count the mental state her ‘treatment’ is putting her in). Something’s gotta give, the real question is, what?

The Writing

Spider-Woman #7 is a lot of things. It’s thrilling and intense. It’s humorous (at times), and it’s also heartbreaking. If one thing is certain, it’s that Karla Pacheco wrote in dozens of highs and lows into this particular issue.

It makes sense, given everything that’s going on. We have the main plot, we have the invasion, the best friend drama, and the drama/humor that comes with multiple heroes interacting. In short, it’s a feast for the readers.

While this issue may be hard for some fans to read, it did an excellent job of highlighting everything that is truly going on behind the scenes. The full effects of the cure (if you can call it that), the strain of being a hero, the worry that can eat away at a person. It’s all so painfully clear.

All of that before taking into account the cameos. Those helped to heighten and lighten the scenes, depending on what was needed. It’s a fine balance, but it is one that was found here. Naturally, some characters leaned more towards the funny side of the scale, while others were clearly there for physical (read: battle) backup.

The cliffhanger ending for this issue is perhaps the most intriguing turn of events so far. Once again a classic Spider character has entered the fray, and that just raises even more questions. Only time will tell how that will fallout.

Time to take a peek at how the invasion is going…

The Art

If you’re looking for an issue full of action and fighting, then Spider-Woman #7 is the issue for you. Pere Perez (art), Frank D’Armata (colors), and VC’s Travis Lanham (letters) did an outstanding job of portraying a variety of scenes and emotions.

To put it bluntly, this issue feels raw. Not in the incomplete sense, but in the sheer amount of emotions, from pain to rage, that cross the pages. It is Spider-Woman like we’ve never seen her before, and you can’t escape what she’s going through.

Bold colors and lines work together to create dynamic scenes, either full of action or those dramatic poses we all know so well. The clever borders helped to enhance the scene as well, while also reminding readers of what is at stake. (Especially those readers who are following along with The King in Black).

Spider-Woman #7 features some of the best lettering of the series thus far. The zaps and hits feel real, while the screeches almost resonate in our eardrums. It all works together to create a sense of scale and chaos.

Conclusion

Spider-Woman #7 is an intense read, right from the very beginning, up until the very end. It makes for a tough read at points, but that just furthers the impact of it all. After all, no story is complete without a little bit of upheaval.

It’s going to be fascinating to see where Jessica’s story leads from here, and if she’ll be involved ever again in the current war tearing it’s way across Earth 616. Only time will tell.

Monkeys Fighting Robots Youtube

The End of An Adventure in FIREFLY: BLUE SUN RISING #1

By

Cat Wyatt

-

FIREFLY: BLUE SUN RISING #1, available Wednesday from BOOM! Studios, concludes both the Blue Sun Rising plot arc, and the main plot for the most recent run of Firefly. However, their story is far from over.

A tech oriented variant cover for Firefly: Blue Sun Rising #1.

It all comes to a head here, in Firefly: Blue Sun Rising #1. The crew on Serenity has gotten in over their heads on more than one occasion, and this time is no exception. Heck, even the stakes are something they’ve had to deal with before. It’s almost refreshing to see them tackling it all head on, once again.

Blue Sun Rising was the first-ever crossover event that Firefly got a chance to play with. So it makes sense that it was also used to conclude this major plot arc at the same time. That doesn’t mean that the series will conclude after this issue is over, however.

The next issue of Firefly (Firefly #25) will begin a new plot arc. One that follows the events of Serenity – as in, follows the events of the movies. That’s going to be…tough. It’ll be one of the first times fans have seen the crew (in comic form) since all of the changes that occurred over the course of that plot.

We’ve always wondered how they continued on after that, and very soon, we’re going to be getting a chance to find out. Any theories?

Malcolm Reynolds is doing what he does best, in Firefly: Blue Sun Rising #1.

The Writing

Firefly: Blue Sun Rising #1 made one major promise in its advert – that everything was going to change. As far as that promise goes, they really hit the nail on the head there. Everything did change. The crew went up against new enemies, made new friends, had some scraps, and kept on moving. It’s what they do.

Written by Greg Pak, this issue is the one that ties the last plot arc up in a neat little bow. It’s clear that this is meant to be a finale of sorts, even while the series continues on. After all, it’s going to be quite a jump from here, as a whole new plot and timeline take control.

While I haven’t loved every moment of the Blue Sun Rising plot, I have to admit that it was wrapped up rather cleanly here. Each character seemed to get a moment to shine, even the newer ones introduced over the course of this series.

Yes, that does include the enemies. Though perhaps ‘shine’ isn’t the best descriptor in that case. The point is, everything felt…complete by the time it was all said and done. There are no loose ends, and we’re left with a reminder of the original characters and how we fell in love with them.

A black and white version of that famous character.

The Art

Firefly: Blue Sun Rising #1 is one of those issues that has a little bit of everything, at least on the artwork side. It has drama and action (in the form of some difficult flying), it shows pain and love, and it even has a little bit of humor.

Dan McDaid was the lead artist, with Vincenzo Federici providing some of the inking for this issue. As such, the scenes are highly stylized, yet feel thematically appropriate. Once again that odd blend of space and Western is found here, with a few heavier science fiction elements thrown into the mix.

Marcelo Costa’s colors help to bring it all together. The skies are an absolute highlight, as always. Even when the stars aren’t visible. The tech of the enemy really does stand out once colors are brought into the mix, and I think that helps solidify the concept and name of it all.

Then there’s the lettering, created by Jim Campbell. The lettering is another highlight of this issue, especially given all of the space battles going on. You can see that a bit of fun was had there, but that is far from being a bad thing here.

Right into the action in Firefly: Blue Sun Rising #1.

Conclusion

And so, with Firefly: Blue Sun Rising #1 coming to an end, so this crossover event, and the plot arc as a whole. It had its ups and downs. But at least it’s good to know that the series is still up for taking risks.

Now we’re left wondering how things will go, following the events of the movie. Granted, there isn’t much longer to wait.

Monkeys Fighting Robots Youtube