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Box Office Flashback: December – A Cop, A Mind Reader, And A Legacy

The box office is a peculiar place that, upon closer look, makes a lot of sense if you take into account the world as a whole. Thirty years ago, an action star ruled the box office with a comedy. Twenty years ago, a man got a glimpse into the mind of women, and ten years ago, a cult classic returned in visually stunning style.

I’ve looked at decades worth of box office data all year long. Each month we’ve witnessed the shifting patterns of movie audiences. Comedies once ruled, where now the epic action film has taken over like never before. Oscar-contending and winning films stood a chance to take the box office crown. Today, you’d be hard-pressed to find much convergence, though 2019s The Joker bucked that pattern as did Black Panther.

So, who took the box office crowns in our analysis this month? Let’s take a look back ten, twenty, and thirty years ago at the biggest movies released in December.

1990 Kindergarten Cop 61.9 million

kindergarten cop-arnold schwarzenegger-comedy-film

By December of 1990, action star Arnold Schwarzenegger was the undisputed king. Earlier in the year, he starred in the science-fiction hit Total Recall, and in December, he returned to comedy with Kindergarten Cop. The film unleashed the famous line “It’s not a tumor!” and further cemented Arnie as a supremely bankable star. Kindergarten Cop co-star Penelope Ann Miller was a rising star who also appeared in the second-place film on this list.

Awakenings came in behind Kindergarten Cop for second place. The film starred the late, great Robin Williams and Robert DeNiro with direction from A League of Their Own director Penny Marshall. The Godfather Coda, a “director’s cut” of the original Godfather, Part 3 from Francis Ford Coppola. Arguably, the most beloved film on this list is Edward Scissorhands, a film from Tim Burton and starring Johnny Depp about that’s sort of gothic rom-com as only Burton could make. In fifth place is Look Who’s Talking Too, a sequel to the talking baby movie that brings back the original cast and adds two new voices in Roseanne Barr and Damon Wayans.

2000 • What Women Want • 110.1 million

what women want-film-mel gibson-2000

Ten years after Schwarzenegger charmed us all with a comedy, fellow action star and Oscar-winning director Mel Gibson starred in a romantic-comedy-drama called What Women Want. In it, Gibson’s chauvinist advertising exec nearly accidentally kills himself. Instead of dying, he wakes up with the ability to read women’s thoughts. Co-star Helen Hunt helps Gibson learn to be a better man and succeed in reconnecting with his estranged daughter.

On the heels of What Women Want was a dramatically different film, the Oscar-nominated Cast Away starring Tom Hanks and Helen Hunt. Hanks is a FedEx employee trapped on a deserted island and spends most of the movie with a blood-stained soccer ball as his friend. December of 2000, third place starred Sandra Bullock as an FBI agent going undercover in the film Miss Congeniality. The Emperor’s New Groove, an animated hit from Disney, came in fourth while The Family Man starring Nicolas Cage in a Christmas movie about a man getting a glimpse of the life he left behind.

2010 • TRON: Legacy • 117.5 million

tron-disney-film-science fiction

Ten years ago, Daft Punk unleashed the most outstanding long-form video for an entire album the world’s ever seen, and its name was Tron: Legacy. Of course, I’m talking about the sequel to Disney’s 80s cult classic Tron, which continued the story of life within the machine. Jeff Bridges returned, and Olivia Wilde lit up the virtual world as a co-star alongside Garrett Hedlund, who played Bridges’ son, Sam. Tron: Legacy was a hit, but talk of sequels didn’t surface until recently.

Tron: Legacy held a healthy lead over Little Fockers, the third (and final) chapter in the Meet the Parents film series, which took second place. In a close third, The Chronicles of Narnia: The Voyage of the Dawn Treader. Like Little Fockers, Voyage of the Dawn Treader was the third and final film of the series. From Narnia, we go to the old west for the fourth place film True Grit starring Jeff Bridges and Halie Steinfeld in a movie from the Coen Brothers, which received ten Oscar nominations but won zero. Yogi Bear, the lovable cartoon bear who steals food, got a 3D CG upgrade and came in fifth place.

December 2020 & Predictions

COVID sure made covering the box office an exciting thing in 2020. The virus devastated the cinema experience, which was already hurting from lagging domestic ticket sales for nearly two decades. As of this writing, Warner Brothers announced they’d be releasing all their 2021 films, things like Dune and Matrix 4, in theaters and on HBO Max at the same time. It’s a painful blow to exhibitors, but it’s also a self-inflicting wound that was inescapable. Streaming subscriber numbers cannot justify the cost of a film like Dune with an estimated budget of 175 million-plus marketing costs. But, you can’t shelf a movie like Dune for too long either. In the end, Warner Brothers may just be waiting out the virus before they open their own chain of branded cinemas meaning the current exhibitors are damned if they do and damned if they don’t. The end of the theater chains we know may be nigh.

Which of these films do you still watch today?
Leave your thoughts in the comments below!

Read more from Ruben R. Diaz!

There’s so much more on PopAxiom!

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BOOM! Studios Exclusive First Look: ORIGINS #3

boom! studios exclusive preview origins #3

ORIGINS #3 hits your local comic book store January 13th, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
Chloe and David have discovered a lost city, populated by the robot servants of long dead humanity. But now that they’ve encountered their first human being in over a century, will they help Chloe and David – or become their enemies?

ORIGINS #3 is by writer Clay McLeod Chapman and artist Jakub Rebelka, with colors by Patricio Delpeche, and letters by Jim Campbell.

BOOM! describes ORIGINS as “a stunning view of a future where humanity’s last hope may be the person who brought about its destruction.

Check out the ORIGINS #3 preview below:

boom! studios exclusive preview origins #3

boom! studios exclusive preview origins #3

boom! studios exclusive preview origins #3

boom! studios exclusive preview origins #3

boom! studios exclusive preview origins #3

boom! studios exclusive preview origins #3


Are you reading ORIGINS? Sound off in the comments!

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Exclusive Preview: DEADPOOL #9 “Enter The Bone Zone”

Exclusive Preview: DEADPOOL #9

DEADPOOL #9 hits your local comic book shop on December 16, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers (Scroll to the bottom for the preview).

The book is written by Kelly Thompson, with art by Gerardo Sandoval, Victor Nava handles inks, Chris Sotomayor drops the color, and you will read Joe Sabino’s letter work. Chris Bachalo and Tim Townsend created the cover.


About the issue:
ONE LAST KISS?! Elsa Bloodstone sold Deadpool out to the bone beast queen! With this tenuous alliance already falling apart, who will save the children? And what about Jeff???


What do you think about Thompson’s work on Deadpool? Comment below with your thoughts.

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Exclusive First Look: AN UNKINDNESS OF RAVENS #4

Exclusive First Look: AN UNKINDNESS OF RAVENS #4

AN UNKINDNESS OF RAVENS #4 hits your local comic book shop on December 23, but thanks to Boom! Studios, Monkeys Fighting Robots has an exclusive first look for our readers. (Scroll to the bottom for the preview.)

The five-issue series is written by Dan Panosian, with art by Marianna Ignazzi, Fabiana Mascolo drops the color, and you will read Mike Fiorentino’s letter work. AN UNKINDNESS OF RAVENS #4 features main cover art by Panosian and illustrator Dani Pendergast.


About AN UNKINDNESS OF RAVENS #4:
A supernatural mystery about a group of high schoolers steeped in witchcraft and the town they live in filled with long-hidden secrets and unchecked power.

The truth about Wilma – and the people she loves most – is finally revealed! But as Wilma is left reeling from these revelations, she and the Ravens discover just where Waverly has been – and it may be more than they can handle.


Do you have AN UNKINDNESS OF RAVENS on your pull list? Comment below with your thoughts.

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AfterShock Comics Exclusive Preview: I BREATHED A BODY #1

i breathed a body aftershock comics exclusive preview

I BREATHED A BODY #1 hits your local comic book store January 20th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
A science fiction horror series about social media, big tech, and influencer culture. 

It’s The Social Network meets Hellraiser. When the world’s biggest influencer posts something irredeemably horrific online, the world changes in an instant. Now it’s up to his social media manager, Anne Stewart, to fan the flames of outrage and create a sensationalist campaign that rewrites the rules of “banned content.” Thus begins a carnival of lust, revulsion, desire, and disgust – all for viral videos.

I BREATHED A BODY #1 is by writer Zac Thompson and artist Andy MacDonald, with colors by Triona Farrell, and letters by Hassan Otsmane-Elhaou. The main cover is by MacDonald and Farrell.

“A HORROR SERIES ABOUT THE VOYEURISM OF VIOLENCE AND THE BIG TECH COMPANIES WHO ENGINEER PATTERNS OF FEAR IN SOCIETY

Check out the I BREATHED A BODY #1 preview below:

i breathed a body aftershock comics exclusive preview

i breathed a body aftershock comics exclusive preview

i breathed a body aftershock comics exclusive preview

i breathed a body aftershock comics exclusive preview

i breathed a body aftershock comics exclusive preview


Are you excited for I BREATHED A BODY? Sound off in the comments!

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Review: Lies And Prophecies In SWEET TOOTH: THE RETURN #2

Writer and artist Jeff Lemire returns to the story that arguable made his career for the second chapter of “Sweet Tooth: The Return.” Where the prior issue was steeped in mystery and confusion about what became of the world since the original comic, this follow-up clears much of that fog by answering some questions and deepening the connection between this series and its acclaimed predecessor.

“Father is not very happy with the boy. The boy should have listened to Father. Surely, every boy needs to play, run, and be wild…but the boy can never be free…not really. Now the boy has done something quite bad and made Father very unhappy. Go to your room, young man! But the rooms here are very small, and dark, and cold, and the boy is not very happy in them. No one is happy. But sometimes, even from a bad time, something special and unexpected can blossom.”

Writing & Plot

Jeff Lemire’s signature style of taking grandiose concepts and shrinking them down into digestible bits via character-building holds here in “Sweet Tooth: The Return” #2. The secrecy and confusion in the last issue is cleared up quite a bit, and it’s accomplished through uh, “The Boy’s” (his name is a spoiler) interaction with the world and people around him. Lemire’s ability to ground stories in how people are affected in a given world is one of the main aspects of what makes him special as a writer. The concepts covered in the original Sweet Tooth are still here, but they’re covered up in a steadily clearing layer of haze. This is obviously due to Lemire not wanting to give away what exactly has happened to this world since the original comic ended, but it’s also a neat narrative trick for people who read the original comic…quite some time ago. I last read all of Sweet Tooth almost 2-ish years ago, and while I remember the key points and characters, there’s a lot that is fuzzy (albeit familiar) to me. Lemire puts us in The Boy’s position whether he intends to or not; showing familiar images in a familiar order, but in a sequence that doesn’t match up. Rediscovering this story and world has been a wonderous experience these first two issues, and it’s made me want to go back and reread the original series even more. Lemire’s charming dialogue sensibilities are still on point, making for a comic that is a stellar mix of tense mystery and character story worth investing yourself in.

Art Direction

I said in my review for “The Return” #1 that this story could not be told without Jeff Lemire’s pencils working alongside his words. This holds true here on the second issue, and I doubt there will ever be a time this changes. Much like his scripts, there’s an almost indescribable charm to Lemire’s art that makes it absolutely perfect for the world of Sweet Tooth. The characters, while all presented in Lemire’s signature rough-hewn thin lines and skinny bodies, all have fantastically well-animated and expressive facial expressions as well as a uniqueness in each person’s design. The details are surprising as well, with articles of clothing being lined with pockets,, seams, and wrinkles that pull off a realism not expected in a comic with this kind of art style. The impossible-to-duplicate aesthetic of this series is also crafted by the watercolor style of Jose Villarrubia. His unique multitude of shades is matches and fills in Lemire’s pencils with a visual eye that pulls off similar tricks to the story’s creator; things are completely grounded in one moment, but then take off in strange and hypnotizing directions when the story gets mythic. The visual look of both this and the original comic is unmistakable, and this story couldn’t be presented with in any other way.

“Sweet Tooth: The Return” #2 is a stellar second chapter that clears up some of the mystery and connects the dots between this comic and the original Sweet Tooth. Lemire’s charming character writing and ever-fantastic plotting hold strong in this issue, as well as his ability to keep a story interesting by giving the reader tasty crumbs of intrigue in every chapter. The visuals by both himself and Jose Villarrubia are the signature rough-edged but delightful aesthetic this series is known for and I wouldn’t have it any other way. Be sure to grab this issue when it arrives at your local comic shop on 12/8!

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INTERVIEW: Tom Scioli on Process, Princess and His New Patreon Account

Scioli

Cartoonist Tom Scioli made waves this year when his comics biography Jack Kirby: The Epic Life of The King of Comic was released (read our chat with Tom about that here). Tom has now followed that up with a couple of new projects, one of which is an exciting new Patreon account. Tom is releasing all sorts of comics there, including Princess, his latest sci-fi story.  Read all about it and make sure to check out all of Tom’s work, it’s some of the best comics/cartoons being put out.


Monkeys Fighting Robots: So when we last spoke Tom, your latest book Jack Kirby: The Epic Life of The King of Comics,  had just come out. Now you’ve started two recent endeavors I wanted to ask you about. First off, you’ve created a Patreon. What made you decide to jump into that?
Tom Scioli: I wanted the extra motivation. I’ve kept busy during the past year, but I wanted the little bit of extra pressure to push me beyond my comfort zone.
MFR: What can readers expect from your Patreon? 
Scioli: I’m sharing comics in progress that I’m working on at the moment, most recently a superhero comic called Super Tiger. I’m sharing PDFs of recently completed works like Young Zeus and Princess. I’m currently coloring one of my older comics, The Myth of 8-Opus, and I’ve been sharing those pages as I complete them. I’ll dig into my archives and share what I find.
MFR: What do you get out and enjoy of Patreon as a creator?
Scioli: I enjoy the contact and engagement. It lets me know which works connect. I made coloring 8-Opus a higher priority because that’s what Patrons kept asking for.
Scioli
MFR: As a subscriber, I gotta say I loved the recent Princess comics you put out. It feels like one of those ’80s movies I would see on a UHF channel as a kid. It cued up memories of stuff like Ice Pirates, the Masters of The Universe film, Last Star Fighter.  Is Princess a recent concept, or one you have had for a while?
Scioli: Working on comics like Go-Bots and Transformers vs GIJOE made me realize that 80’s sci-fi is really where my heart is. I love 60’s Marvel and 70’s DC, but the eighties are my sweet spot. I started working on Princess after I finished Super Powers, so it was probably around 2017.
MFR: You also adopted a style close to what you did in the Kirby book for Princess? Why did you choose this look?
Scioli: It helps the reader identify with the main character.
MFR: 2020 in general has seen a huge surge in Kickstarters, Patreons, Etsy and other self-published routes. Obviously, the pandemic was a huge factor in that, but why do you think indie comics specifically have found so much success in these formats?
Scioli: You can engage directly with your audience. You get feedback at every stage of production. You build an audience and gauge demand before you go to press.
MFR: Where do you see comics going in 2021? 
Scioli: I have no idea. I wish I could predict that. My hope is that once the pandemic is over things are going to bounce back in a big way and all the things we’ve been doing out of necessity will make the whole industry more structurally sound.
MFR: You also started a YouTube Channel, Total Recall Show. Tell our readers about it. And what made you want to do your own video podcast?Scioli
Scioli: I host it with my friend Matt Zeoli. We talk about whatever we feel like talking about that week. Mostly movies and tv shows. Occasionally comics. One of our ongoing themes is we read early drafts of movie scripts and compare them to the finished product. That’s been really interesting. I’m always interested in process and the road from idea to execution. As far as what made me want to do it, I’d been doing a number of Zoom interviews and other people’s shows, and I’ve been a recurring guest on the Cartoonist Kayfabe show. I’d done enough of these things that I felt like I had a grasp on how to make one of these, so why not make my own show. More than anything, it’s an excuse to get together and have the kinds of conversations I haven’t been able to have lately.
MFR: What else are you working on as the year closes? 
Scioli: I’m working on Super Tiger. I’m working on a follow-up to Young Zeus. I’ve got a couple of top-secret projects in the works that I can’t talk about. 
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HEROES AT HOME: Quarantine Doesn’t Stop The Fun Times

Heroes At Home Cover

Heroes At Home is a Marvel Comics quarantine special out on December 9. Comedy writer Zeb Wells brings some cartoony stories about the human side of Marvel heroes. It’s something artist duo Gurihiru are all too eager to showcase. Selective use of lettering by Joe Sabino and Jay Bowen make these quick and easy stories stand out from one another.

Heroes At Home: Satirical Character

Throughout Heroes At Home, readers see some of their favorite characters go about their domestic lives. While Spider-Man is certainly no stranger to these depictions, it is nice to see other characters get the treatment. It’s hilarious seeing Captain America face the dilemma of eating spaghetti fresh or doing dishes when he’s out of plates. Then there’s something endearing with Wolverine doing a puzzle out of a picture. It’s like wanting to connect with the friends in that picture and making an effort to do so. Zeb Wells certainly knows how to balance comedy with endearing tales, as his resume suggests.

Easy Expression

Gurihiru gives Heroes At Home an efficient use of their art styles. For the scenes where characters don’t need to speak, their expressions and situations tell all the story needed. For example, with Panther’s mask looking ever stoic, his body language makes his actions all the more appealing. Compare that to the Venom segment where Eddie and Venom’s facial expressions display their dynamic, especially when Eddie runs out of toilet paper.

The lettering in Heroes At Home by Sabino and Bowen go hand-in-hand with communication. The Captain Marvel segment has the most dialogue, which serves as an elaborate joke. Because along with the background and resolution, witty dialogue makes it all the more entertaining. It’s the little things like that that make a difference for fans of all kinds of visual storytelling to love.

Keep Your Heroes At Home

Heroes At Home is one of those stories that serve as good fodder for mainline comics. It’s a special little episode fans like myself enjoy for how each character expresses themselves. With so many stories focusing on the action, it’s nice to relax and see superheroes be people. It even serves as a decent Marvel equivalent to Dear Justice League for these depictions. That’s not even including how the creatives make full use of their roles in the production. Several segments make every use of comic art elements to tell their story.

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The Plan Unveiled in THE RED MOTHER #11

THE RED MOTHER #11, available Wednesday from BOOM! Studios, and this is the moment we’ve all been waiting for. Everything is finally starting to come together, as the inevitable fate chasing after Daisy McDonough comes ever closer.

Notice how close the Red Mother has come, in The Red Mother #11.

Eleven issues ago, Daisy’s entire life was changed, and not for the better. She went from having a life she loved, to a life where she seems to keep losing everything. Now, it seems that whatever entity has gained an interest in her, has come back to take the rest. Or has it?

The Red Mother #11 is a dark issue, yet it is also a climatic one. This is an issue we’ve been waiting for, as the build-up has been steadily leading to whatever is about to happen next. After this, there will be only one issue left in the series.

That begs the question, how will the series wrap up? Will it continue on this dark path, or will Daisy find a way to fight, and possibly even win? I don’t know about everyone else, but I have my hopes. Though I’m not entirely certain which direction the series will ultimately take. That’s half the appeal.

A calm beginning to this tale (The Red Mother #11).

The Writing

The Red Mother #11 is, in a way, a very trippy issue. It bounces back and forth between something borderline mundane, and something truly haunting. It is the perfect metaphor for the mental place that Daisy has found herself in.

Written by Jeremy Haun, this issue is clearly setting up for the final conflict of the series. Everything is coming together, and that means there’s a lot of heartache in store. Haun went to great lengths to clarify the intent – and actions taken by many secondary characters in this series.

It did an excellent job of increasing the tension. There’s a difference between knowing (or suspecting) and seeing. Something that this issue really drove home, as the betrayals are made clear. It’s tough to see all at once, but still cleverly written.

Yet this issue also raises dozens of questions along the way. What the endgame is. How this cult formed. How Daisy will react – how she could fight back. All of those questions, and so many more. Only one more month until we can see how it all ends.

Donuts seem like an excellent idea right about now. (The Red Mother #11)

The Art

As with the writing, the artwork within The Red Mother #11 bounces between the mundane and the horrifying. Seemingly at the blink of an eye (pun intended) at that. The artwork makes the fear of the unknown – of things hidden in plain sight, feel almost like a common occurrence.

Danny Luckert’s artwork really does bring the story to whole new heights. The more graphic nature of events is carefully handled. It doesn’t shy away from the gore…but it also doesn’t seem to relish in it. Instead, the focus is on the plot, as it should be.

The seeping of red hues in this issue, as with all of the others, is one of the many ways that the artwork excels. Imagine the way seeing the color purple makes you feel when reading Jessica Jones. It’s a similar effect happening here, only with a supernatural twist.

Ed Dukeshire’s lettering brings it all together. Daisy’s break, the actions made by everyone, the impact of knife on flesh. It’s all made clear through the lettering, complimenting both the writing and the artwork.

Even Daisy’s therapist is making an appearance in The Red Mother #11. Odd, no?

Conclusion

The Red Mother #11 is a dark and disturbing issue, but for all the right reasons. We’re nearing the end of the series, and thus the mystery. The tension has reached an all-new high, and it shows clear as day on the pages of this issue.

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How to Turn the Tides in FIREFLY #23

FIREFLY #23, available Wednesday from BOOM! Studios, brings us back to the characters we all know and love – and an adventure that we never imagined to see them in. This world is starting to look more and more futuristic by the day.

spoilers ahead

We’ve seen it happens dozens of times. A favorite television show (or movie) continued on, but only in comic book form. That is the fate for Firefly, thanks to the early cancellation of the series. From the comics, fans have finally had a chance to learn some of the answers they’ve long been asking.

Now, it feels like the series is moving on. We’re not looking into the past anymore – not learning about what made the characters the people we know them to be. Instead, we see our heroes (and sometimes villains) facing off against a threat like no other.

Admittedly, this sort of change could result in a take it or leave it response from the fans. After all, the series is taking risks, and some of those risks have forced dramatic changes in the world. Changes, that people might just love. Or hate.

Enter Firefly #23, this is an issue that not even the most die-hard fans could have predicted. The Alliance may be gone, but enemies are quick to fill that void. It’s a depressing thought, and the times aren’t looking a whole lot brighter.

A reminder of the past for this variant cover of Firefly #23.

The Writing

So, here’s the good thing about Firefly #23: it is taking risks. This entire plot arc has been full of surprises, and I thoroughly believe that Greg Pak should be given credit for that fact. Also, who can fault the series for bringing back some fan favorites? (I know I for one will never quite be over the events of Serenity).

The plot also raises some reasonable questions about ethics, Mal’s character (and method of getting things done), and the concept of following the letter of the law (as opposed to the intent). These are all good debates to bring up, and could arguably result in some interesting conversations among fans.

That being said, the plot does get pretty…weird at times. The whole robot concept isn’t new, and by itself is fine. But it doesn’t feel quite at home in the world of Firefly. If anything, it feels like it totally came out of left field.

A matter made a bit more uncomfortable by the design of the droids. Not that they’re bad looking – simply because they look like Malcolm Reynolds. More than that, they act like him. As I hinted at above, this isn’t a plot that we could have anticipated.

Is this the strongest Firefly plot out there in the comic continuity? No. But it is taking risks, and having a bit of fun in the process, both of which are facts that I respect. Though I confess that I feel a certain eagerness to see everyone happily ensconced in the safe place that has been discovered (though I have no doubt that bad luck will continue to follow the crew, and ruin those plans).

Mal looks ready (willingly or not) to face a whole army in Firefly #23.

The Art

Firefly #23 is full of a unique combination of artwork and styles. The backdrops are bold and vibrant, the droids equally bright against the otherwise Western-style setting. It forces a merger between the whole science fiction and Western concept, but in ways that we haven’t seen before.

Lalit Kumar Sharma and Daniel Bayliss were the lead artists for this issue, and they did a good job of finding the balance between those concepts. The droids look terrifyingly similar to our hero, while everyone else seems to be feeling the fatigue of constant battles and conflict.

Marcelo Costa’s bring life to the issue, thanks to those bold colors already mentioned. They’re eye-catching and memorable, especially when there’s something explosive on the pages (literally). I’m particularly fond of Costa’s sunsets, the reason for which should be fairly obvious.

Jim Campbell’s lettering is the final touch. The sounds and noises of the world feel almost real, and even the distinction in guns is made clear through the lettering. Bullets versus lasers, and everything in between.

The crews back together (mostly) on this variant of Firefly #23.

Conclusion

Firefly #23 is arguably not the strongest issue in the series, yet it brings with it more changes and risks. That makes it memorable, and I’ve got to respect that, if nothing else. I don’t know how much longer this arc will be stretched out, or how it’s going to end. Another point in the creative team’s favor, as the series has become truly unpredictable.

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