BEYOND REAL #1 from Vault Comics hits your local comic book shop this week! This five-issue mini-series is crazy good, and I can’t wait to read the complete series. Check out some amazing artwork and my full review below.
BEYOND REAL #1 is written by Zack Kaplan, with art by art Fabiana Mascolo and Toni Fejzula, Toni and Jordie Bellaire the colors, and you will read Hassan Otsmane-Elhaou’s letter work.
About BEYOND REAL #1: An artist’s discovery. When struggling artist June is injured in a severe car accident that leaves her boyfriend in a coma, she begins to experience strange visual phenomena. Soon, she’s able to see that we are all actually living in a computer simulation. June must set out on a journey of possibility and peril into the metaphysical layers of the simulation to reach the world’s creator and save her true love from death.
BLUE BOOK: 1947 #1 is out February 7th, and thanks to Dark Horse Comics, Monkeys Fighting Robots has an exclusive first-look at artist David Mack’s variant cover for the book!
About BLUE BOOK: 1947 #1: In 1947, Kenneth Arnold flew his Call-Air A-2 over the skies of the Pacific Northwest when all of a sudden he saw a blinding flash of silver light. What followed was a bizarre and difficult to explain encounter with several flying objects that would change the course of his life forever.
Long before Betty and Barney Hill excited the public with their alien encounter story, there were years and years of suspected sightings and abductions. James Tynion IV, Michael Avon Oeming, Tom Napolitano, and Dark Horse Comics return with another deeply weird non-fiction tale exploring alien sightings in the upcoming comic, Blue Book: 1947.
As stated in the solicit, the series is by writer James Tynion IV, artist Michael Avon Oeming, and letterer Tom Napolitano.
1947 is the second volume of Tynion and Oeming’s BLUE BOOK series, which is described as an “ambitious, non-fiction comic book experience depicting true stories of UFO abductions with an eye to capturing the strange essence of those encounters.”
Get your first look at David Mack’s cover for BLUE BOOK: 1947 #1 right here:
Are you picking up BLUE BOOK: 1947 #1 when it hits the stands in February? Sound off in the comments!
Doctor Who is celebrating its 60th Anniversary with a series of specials that see the return of the series’ important figures from its early revival years.
The Doctor has regenerated and landed in Camden. There are two complications: the Doctor has regenerated back into the Tenth Doctor’s body, and a spaceship has crashed in London. The Doctor also meets his old companion, Donna Noble, who will die if she remembers who the Doctor is, yet the adventure with a stranded alien ends up involving Donna and her family.
Under Chris Chibnall’s tenure, Doctor Who was heavily criticized. Some critics were reactionaries who were using controversy to gain clicks, but there were genuine issues with the show. The show’s writing was suffered during this era due to “tell don’t show” storytelling, unsubtle political commentary, bland characters, and massive retcons. The series reached its lowest point since its revival. The BBC had to bring back the big guns for the Doctor’s Platinum Anniversary. Russell T. Davies was instrumental in the show’s revival, and since leaving DoctorWho, he written a lot of well-received TV shows like A Very English Scandal, Years and Years, and It’s a Sin. He brings back some faith to fans who didn’t enjoy the Chibnall era.
“The Star Beast” had to do two jobs: it needed to follow on from the events of Series Four, and be accessible to a broad audience. To achieve this, “The Star Beast” had a simple story where an alien spaceship comes to London. This was done in “Aliens of London” and “The Christmas Invasion,” episodes made during Davies’ previous run on the show. The first half of the episode was the Doctor Who version of E.T., since the story revolved around Donna’s daughter, Rose (Yasmin Finney), finding and protecting The Meep, the alien that crash-landed. The references were blatant with the use of a back garden and a shed, and The Meep hiding amongst a bunch of stuffed toys. At the same time, “The Star Beast” continued a story from 15 years ago. This was the hook for long-time fans, especially fans who stopped viewing during the Chibnall era. There was a risk that revisiting the Doctor/Donna relationship could undermine the bittersweet conclusion back in Series 4. Yet this needed to be done because the specials needed a selling point of nostalgia. There was also a risk that bringing back David Tennant would be seen as desperate, but the Specials are setting up a mystery on why the Fourteenth Doctor regenerated with the Tenth Doctor’s face.
The tone of “The Star Beast” was light and broad to ensure it could appeal to a wide audience. The first half was like a kids’ show due to the humor and The Meep being a cute creature with a high-pitched voice. The special was a throwback to Nu-Who’s heyday with its style of humor, and setting up a mystery box for the upcoming episodes. There was a sense of scale to this Special. London was in jeopardy and the city was shown to be in peril. The Special also brought back the Shadow Proclamation and showed a three-way battle between UNIT, mind-controlled soldiers, and insect aliens who looked like the Federation troops in Rick and Morty. Another issue some audiences had with Chibnall was his political messaging and how ham-fisted it could be. “Orphan 55” was a prime example of this since it forced a message about Climate Change when it didn’t fit the story. Those commenters who declared the show as being “woke” under Chibnall are still going to hate it under Davies. Davies is an openly gay man, and LGBTQ+ themes have been a presence in his shows. Years and Years and It’s a Sin were politically charged mini-series, and with “The Star Beast” he incorporated trans themes. Rose and her trans identity became an important plot point. There was also some grounded drama involving Rose since she was bullied because she recently came out as trans and even her family was still adjusting. It added a little bit of reliability to the Special, and it felt natural to the story.
“The Star Beast” was a fun, back-to-basic start for the new Davies era. It managed to be a continuation of Davies’ own plot points and be an entertaining standalone adventure for the Doctor and Donna Noble.
MASTERS OF THE UNIVERSE: FORGE OF DESTINY #4 hits your local comic book store on December 20th, but thanks to Dark Horse Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: A Battle for the Soul of Anwat Gar!
As Gen. Storm’s soldiers close in on King Randor, He-Man and Teela make their stand against the evil polluting the heart of the island. But now that he wields the power of the Forge itself, can anything stop the Lord of Destruction?
Prince Adam’s first year as He-Man comes to an explosive conclusion!
The issue is by writer Tim Seeley and artist Eddie Nunez, with colors by Brad Simpson, and letters by AndWorld Design. The main cover is by Nunez, and there will also be two variant covers, one by Tom Fowler and Bill Crabtree, and the other by Fico Ossio.
Check out our MASTERS OF THE UNIVERSE: FORGE OF DESTINY #4 preview below:
Cover A by Eddie NunezCover B by Tom Fowler with Bill CrabtreeCover C by Fico Ossio
Are you reading MASTERS OF THE UNIVERSE: FORGE OF DESTINY? Sound off in the comments!
CAPTAIN AMERICA #4 hits your local comic book store on December 13th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: THE ENEMY STRIKES! When the mysterious organization targeting Captain America goes on the offensive, Steve Rogers thinks he’s prepared – but the battle is not what it seems. Who – or what – is the Emissary?
The issue is by writer J. Michael Straczynski and artist Lan Medina, with colors by Espen Grundetjern, and letters by Joe Caramagna. The main cover is by Jesús Saiz.
Check out our CAPTAIN AMERICA #4 preview below:
Are you reading CAPTAIN AMERICA? Sound off in the comments!
From Matt Smith (Folklords) comes a new Hellboy holiday tale complete with snow and giant cats in Hellboy Winter Special: The Yule Cat. Featuring colors by Chris O’Halloran and lettering by Hellboy veteran Clem Robins, this year’s supernatural Christmas story is a ton of fun just as a standalone comic, but like any good Mignolaverse piece it’s clearly a part of a larger whole. With a great blend of action and mythology and fantastic, eerie visual, this is a great one-shot to pair with a fireside mug of spiked Christmas Eve cocoa.
“Hellboy travels to Reykjavik, where children are disappearing and a giant beast has been spotted . . . could it be the infamous Yule Cat of Icelandic lore?”
Writing & Plot
Matt Smith has been quickly rising in the ranks of Hellboy storytellers, and Hellboy Winter Special: The Yule Cat is a perfect example of why. His work on Bones of Giants, Young Hellboy, and Hellboy in Love has proven that Smith knows how to blend the mythology, humor, and overarching mystery of the Mignolaverse in every one of his comics. The Yule Cat takes our big red paranormal investigator to Iceland, where a local myth has supposedly come to life. A giant spectral cat stalks the Icelandic night just before the holidays, and it’s up to HB to find out what it wants – then punch the crap out of it. However, as per usual, things are not what they seem – and there’s much more to our feline friend than meets the eye. Smith’s core story here is mysterious and compelling, providing just as many questions as answers as the plot progresses. Smith ties Yule Cat to his prior work in Bones of Giants neatly, but there’s no need to have read that story to understand what’s going on here. Just like every great Mignolaverse story, there are hints of what came before and what is still to come, but this is still a great story to read on its own. Smith nails HB’s personality through his interactions with others and his casual attitude towards eldritch abnormalities. Yule Cat, as with all other Hellboy comics, paint a partial picture of a web of mythology that is older and more powerful than can be imagined. What’s so good about Hellboy as a character is that he treats that truth like it’s his 9 to 5 desk job – because it is.
Art Direction
Matt Smith follow’s the Mignola visual formula while maintaining his own style in Hellboy Winter Special: The Yule Cat. Every artist that has worked on a Hellboy or B.P.R.D. comic has emulated Mike Mignola’s style in some way – it’s how the whole universe has maintained a consistent feel. Smith is one of the best to do it. At first glance, Yule Cat looks like it was in fact drawn by Mignola himself. A moment’s inspection, however, reveals the details that set the two artists apart. Smith has less of a reliance on heavy inks and utilizes thinner linework, using more hatching for character details and atmosphere. His versions of both the classic Hellboy cast as well as the mythological beings that show up in the comic are brought to life with a signature series of unique features and animations. This not only makes the comic feel more like a part of this larger and artistically sound universe, but helps Smith establish his visual style. He crafts some truly mesmerizing otherworldly scenes during HB’s investigation that clash with his equally great normal town drawings.
Chris O’Halloran’s color art also mirrors the aesthetic of other Mignolaverse books, but still manages to keep this comic looking original. The dull grey and white of an Icelandic winter casts a filter over the traditional colors of the small town HB is visiting. Flashes of unnatural light and the mystical haze that consume the climactic sequences perfect the reading experience as they pull the reader into the strange realm that this story inhabits. Clem Robins’ lettering is a stellar as always, with his unique hand guiding the reader along from HB’s snide remarks to the off-kilter incantations of ancient beings in numerous font styles. Hellboy: The Yule Cat is a comic that visually stands tall among its acclaimed and iconic peers.
Verdict
Hellboy Winter Special: The Yule Cat is a delightfully mysterious and fun one-shot entry into the Hellboy mythos. Matt Smith’s writing and visual storytelling sensibilities capture everything great about Mignolaverse comics, while maintaining his own style while playing in this well-established universe. Chris O’Halloran’s color art perfects the atmosphere and pulls readers in effortlessly to this paranormal holiday mystery. Be sure to grab this issue when it hits shelves on December 6th!
Writer and artist Matt Smith spoke with us about some of his inspirations behind Dark Horse Comics’ upcoming Hellboy Winter Special: The Yule Cat, and told us about some of his connections to the land of fire and ice!
About the issue (from Dark Horse): Hellboy travels to Reykjavik, where children are disappearing and a giant beast has been spotted . . . could it be the infamous Yule Cat of Icelandic lore?
Fan-favorite Hellboy artist Matt Smith writes and draws this chilling wintery one-shot!
MONKEYS FIGHTING ROBOTS: I actually just moved to Reykjavik about 4 months ago. So opening this issue and seeing Hallgrimskirkja with the statue of Leif Erikson out the front was amazing. I’ve been past it a hundred times, the design of the church is so cool. I have a couple of questions about that:
A. What did research look like for getting the panels set in Reykjavik just right? Did you visit or was it mostly online work?
MATT SMITH: First off, I am seriously jealous and when can I visit? Ha. Secondly, I’ll take
that as a good sign that you think they look right! I went over a few years back and took some ungodly amount of photos. At the time I thought I might get some landscape reference for an Icelandic Saga adaptation I’m hoping to do someday and didn’t know I’d be getting to Hellboy in the city first!
B. Do you have any connection to Iceland? You definitely seem to know it well!
SMITH: It started over a fascination with the Sagas. Later, I felt more connected by getting there and taking in the scenery, seeing some of the places the Sagas were set, visiting (I think) every Saga related museum and also meeting a fellow Hellboy fan there who’s become a great friend.
MFR: The Yule Cat was actually a folk story I heard when I first arrived, along with the 13 or so “Santas” or Christmas trolls that make visits to your house in the advent season. They make a brief appearance in this story too. It was subtle but I loved it. The Yule Cat – or jölakötturinn – eats children who don’t get new clothes for Christmas. I think if I didn’t live here, I would assume it was something made up for the story. What attracted you to a story like this?
SMITH: I knew I wanted to set the story in Iceland. After that it was a matter of finding a reason for [Hellboy] to be there. The Yule Cat is specifically Icelandic and also it’s a giant cat, which is hard to pass up on. I did play with the folklore a bit. I wanted for Hellboy to have a version of the Yule Cat specific to his world. I also like stories that give you the “grim reality” behind the fables and children’s stories so this leaned a bit in that direction.
Troll Hunter comes to mind immediately. Through the work of the title character you find out which aspects of troll lore and children’s tales hold true in the real troll world of the film. Also, films like The Thirteenth Warrior and Beowulf and Grendel, both giving you a take on the “actual events” that led to the epic poem. I especially liked a scene in Beowulf and Grendel, seeing one of Beowulf’s crew working out the poem on the trip home, depicting the first oral telling of the story to be retold and revised for 500 years or so before being written down.
MFR: How do you feel the Yule Cat compares to other folk stories around Christmas time? Are there any others you’d like to adapt or see adapted for future Winter Specials?
SMITH: The Yule Cat of children’s stories is a lot of fun. It’s a giant, menacing, animal. Who doesn’t love those? Ghost stories are a classic for Christmas time. Icelandic ghosts from the Sagas are a very particular kind of ghost and there are some fantastic — and hilarious — stories about getting rid of them. Not that things need to stay in Iceland, but they could. Maybe they should. Shouldn’t they? Let me stop you right there, yes. Absolutely they should.
MFR:Norse mythology has always been a part of the DNA of Hellboy stories. You also drew The Bones of Giants, another Norse-infused Hellboy story. How did researching these stories affect you? How did it affect your art?
SMITH: Well, the credit goes to Mike and to Christopher Golden there. Their interest and
research led to Bones of Giants. I will say that I’ve been a fan of Norse Mythology since only the All-father remembers and is territory I’d imagined for a long time. When the opportunity came up to work with both it and Hellboy, I was very much ready. I suppose it affected my art in just that I was offered an assignment I didn’t even know I could hope for. “I can draw a Hellboy series and there will be elves and dwarves?”
MFR:There’s this wonderful interplay between the ancient myths of the Aesir – the Norse gods – and the modern day folk stories that parents tell their children (I love the moment of the little girl warning Hellboy to wear new clothes). Myths affect the stories we tell today. What’s your favorite myth, of any mythology?
SMITH: Oh boy. Someone asked me for my favorite film earlier today and no matter how many times you get asked that, it never gets easier. It’s like a favorite song. There’s one that suits you for one mood or works on different levels at different points in your life. I’ve spent the most time with Norse mythology but the thing that set it all off were the Greek myths.
I had this book as a little kid and I’d read and reread it. This was a first exposure to a set of related myths and I got pretty lost in it. The idea of a world existing with these gods, heroes, and monsters was absorbing. I imagine half-mortal characters like Heracles and Perseus set me up for taking to Hellboy as strongly as I did. Sure, it was the incredible art spooky vibes that hooked me but then those classic mythological echoes sealed the deal. So, is this me not really answering your question? I would if I could.
Thanks again to Matt Smith for taking the time to chat with us. If you like spooky Christmas folktales and giant cats, you definitely don’t want to miss this amazing one-shot. Hellboy Winter Special: The Yule Cat is in comic book shops today and it’s simply dripping with festive scares!
The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I am committing myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favourite hobby again.
Another double header. Partly to help me catch up on the writing side, but mostly because I’ve had a laid back couple of weeks, mainly reading Paul Cornell’s run on Demon Knights. I’m not a big follower of DC Comics, but when TheNew 52 kicked off in 2011, I picked up a bunch of titles. And, for the most part, I enjoyed them to start with. I followed Supergirl until the end (40 odd issues); I got to Scott Snyder and Jeff Lemire’s crossover with Swamp Thing and Animal Man; I enjoyed Snyder’s Batman for the first couple of arcs; and, of course, I have all 16 issues of Cornell’s Demon Knights.
When it comes to DC heroes, I tend to dip in and out of the characters, caring little for the continuity. Demon Knights is a great series that feels self-contained, although it does contain hints of links to the greater DC universe and previous incarnations of the characters, but it deals with continuity in a matter-of-fact way. Part of the story addresses contradictions in continuity head on but never makes it a major part of this series. For this reason, it was a perfect jumping on point and allowed the creators to tell their own story featuring the characters without worrying about stepping on the toes of history. The Big Two should do this more often. I’m aware that The New 52 is seen as something of a disaster, but there are a number of titles under that banner that I still re-read today, more so than other DC comics.
But before Demon Knights..
Journey Into Mystery #629 – 633 Credit: Marvel Comics
I stand by everything I have said previously about the Fear Itself event, however, after reading the last two Journey Into Mystery tie-in issues, I realize that I might have misunderstood which title was the “main” one. Issue #629 explains everything that Loki has been up to, how it fits with the Fear Itself storyline, and what actually happened at the end of the event. It all makes sense and is beautifully told by Kieron Gillen, Whilce Portacio, Doug Braithwaite, and a host of inkers, colorists and letterers.
“I’m winning the war against Fear Itself, and no one appreciates it,” says Loki in the opening page of this issue. And he isn’t wrong.
Issue #630 is even better. Volstagg is rescued from the roots of the World Tree, where his body has been in hiding while his essence has been controlling the Destroyer Armor (you need to read the story to understand). The voluminous Asgardian then returns home to tell his brood how he defeated the Serpent — twice. In this single issue, Volstagg’s story tells you everything you need to know about Fear Itself in an easy to follow and entertaining way. Volstagg’s version is better than Matt Fraction’s. It also creates a wonderful talking point for how comics have historically dealt with complex and long narratives: reducing the core elements to a few simple sound bites. This was the essence of Classic Comics Illustrated.
Volstagg’s story is simplified and, in some places, straight up lies but then again, aren’t all stories?
The following two issues deal with the aftermath of the big event story and sit under a new banner, Shattered Heroes. Issue #631 deals with the serious fallout from the battle with the Serpent: Thor’s death, Odin’s estrangement, the new ruling council of All-Mothers. But #632 has much more fun dealing with one particular consequence. This issue actually touches base with all of the main players in the comic but does it in such a way that it doesn’t feel like Gillen is just reminding readers who is where. Which is actually the mission statement for this issue.
Journey Into Mystery was the reason I managed to read all of Fear Itself, and I think I might continue reading until the end of Gillen’s run.
Wesley Dodds The Sandman #2 Credit: DC Comics
Comic Number 318: Wesley Dodds The Sandman #2
I picked this comic up randomly from the shop while browsing. I used to read the Vertigo Sandman Mystery Theatre title in the 1990s and enjoyed the pulp storylines and the noir aesthetic. It’s pleasing to see that this updated version still has the same sensibilities.
Robert Venditti and Riley Rossmo tell a wonderfully engaging story about a man obsessed and haunted by his inventions and actions. Rossmo’s artwork flips the action between comedy and thriller expertly, not allowing one tone to dominate. Ivan Plascencia’s color work assists in this by creating the atmosphere for each scene, allowing Rossmo’s exaggerated style to express urgency, horror, or farce as the script dictates.
This issue was thoroughly enjoyable, and at no point did I feel left out for not reading the first issue. The story drew you in, dropping any required backstory seamlessly into the narrative at the relevant points, and advanced at a comfortable pace. It left you feeling like you’d read a full story when, in fact, you’d only read part of one.
Demon Knights #1-4 Credit: DC Comics
Comic Number 319 and 320 ( the end of this week): Demon Knights (New 52) #1-7
The first seven issues form the first of Cornell’s arcs. It is an origin story, of sorts, that introduces each of the ‘knights’ and brings them together for the first time to do battle against the Questing Queen and her unstoppable horde.
The central characters here are cover star Etrigan, part-time rhyming demon and occasional human host Jason Blood, and Madame Xanadu, an immortal witch. The complex relationship between these two forms the backbone of the story throughout the series and their importance is cemented by several flashback stories acting as their backstory. In fact, the opening issue starts with the fall of Avalon and the merging of Etrigan with Jason.
Demon Knights is a sword-and-sorcery story in the vein of modern superhero comics. Paul Cornell draws on his previous writing, which includes superhero, high fantasy, and urban supernatural stories. At the heart is a very British sense of humor which most readers will find endearing, although it may be a turn off for some.
Throughout the first seven issues, the heroes bicker their way through a siege on a small town. Each of the characters has a depth that makes their interactions exciting and even without the murderous horde knocking at the gates, there is enough conflict in the story to keep most comics going for years.
I’m a fan of Etrigan and often pick up comics with him in. I’m also a fan of Paul Cornell — he did write one of the best Nu Who episodes after all. So, it’s not surprising that I picked this comic up in 2011. What is surprising is how much I enjoy this comic. It’s big, and bold, and often quite daft, but the tight script and excellent artwork by Diogenes Neves and Oclair Albert, make it a worthwhile read.
Demon Knights #5-7 Credit: DC Comics
On to Week 47
Most of this week has been taken up reading the final nine issues of Demon Knights. The story moves on from the siege, which turned out to be a triumph for the heroes (sort of), and a new mission is undertaken: to find the soul of Merlin.
The nine issues are packed with twisting narratives, seeing the heroes fight sea monsters, pirates, demonic hordes, and even themselves, again. At one point they become cursed by a light from the ruins of Camelot and have to face their true, evil, potential. Then they are forced into hell by the treacherous Etrigan before finding themselves in the middle of three armies, set for war. So, a lot happens.
The sword-and-sorcery excitement continues at breakneck speed as each of the knight’s characters are explored through the traumas they encounter. Despite the fact that a lot happens in a handful of issues, Cornell gives each of the characters time to breath and grow. By issue 15, these characters have come so far from where they started which is a great testament to the writers skills.
A selection of artist work on the title over these 15 issues, and each brings their own little twists to the pages while maintaining a general aesthetic so that the story reads as one, continuous adventure.
Demon Knights #8-11 Credit: DC Comics
Demon Knights was a bold move by DC when they relaunched their entire line in 2011. It would have been easy to focus on the superhero stories and rebuild those brands. However, they released a number of different comics focusing on genres that were not very prevalent at the time, especially for the big publishers. The New 52 contained westerns, war comics, horror, and supernatural. At the center of it all was Paul Cornell’s take on mythological characters and stories. It was a pleasure to read then and still remains a worthwhile read today.
I can’t let this week pass, however, without mentioning Canary #1 from Dark Horse Comics. Written by Scott Snyder and drawn by Dan Panosion, this western is a superb piece of genre work. The story is gripping and the visuals are outstanding. Panosian uses the page layouts to their advantage when creating tension and employs the use of color like an expressionist painter drawing out emotions from a canvas. Issue 1 of Canary sat on my bedside table for a while before I got around to reading it and the wait was worth it. One of my favorite new comics that I’ve read this year.
Comics 321 to 327 ticked off (with plenty in hand).
Canary #1 Credit: Dark Horse Comics
And a few of those other Demon Knights covers because.. why not?
Demon Knights #0 Credit: DC ComicsDemon Knights #12-15 Credit: DC Comics
VENOM #28 hits your local comic book store on December 6th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: A SYMBIOTIC FREE-FOR-ALL!
Freshly united and teamed up, VENOM and TOXIN fight like hell to save one of the Marvel Universe’s greatest heroes from the darkness within her, unleashed by an all-new, all-horrifying symbiote! Remember how VENOM used to eat brains but then got over that as it tried to become a hero? Well, THIS symbiote doesn’t share that kind nature!
The issue is by writer Torunn Grønbekk and artists Julius Ohta & Rafael Pimentel, with colors by Frank D’Armata, and letters by Clayton Cowles. The main cover is by CAFU.
Check out our VENOM #28 preview below:
Have you been reading VENOM? Sound off in the comments!
WAG #4 hits the internet December 5th, but thanks to Comixology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the series: Now in the District, the four companions rummage through old buildings, and memories, to figure out how to bring an end to Wag’s troubles. Finding few answers from the old world, they face danger, and a glimmer of hope, as they continue onwards.
WAG is by writer Scott Hoffman (aka Babydaddy of Scissor Sisters fame) and artist Juan Bobillo, with letters by Steve Wands. Rian Hughes is the book’s designer, and the main cover is by Hughes and Bobillo.
Check out the WAG #4 preview below:
Are you reading WAG? What are some of your favorite Comixology Originals? Sound off in the comments!
Russell T. Davies was instrumental in the show’s revival, and since leaving Doctor Who, he written a lot of well-received TV shows like A Very English Scandal, Years and Years, and It’s a Sin. He brings back some faith to fans who didn’t enjoy the Chibnall era.
At the same time, “The Star Beast” continued a story from 15 years ago. This was the hook for long-time fans, especially fans who stopped viewing during the Chibnall era. There was a risk that revisiting the Doctor/Donna relationship could undermine the bittersweet conclusion back in Series 4. Yet this needed to be done because the specials needed a selling point of nostalgia. There was also a risk that bringing back David Tennant would be seen as desperate, but the Specials are setting up a mystery on why the Fourteenth Doctor regenerated with the Tenth Doctor’s face.
Another issue some audiences had with Chibnall was his political messaging and how ham-fisted it could be. “Orphan 55” was a prime example of this since it forced a message about Climate Change when it didn’t fit the story. Those commenters who declared the show as being “woke” under Chibnall are still going to hate it under Davies. Davies is an openly gay man, and LGBTQ+ themes have been a presence in his shows. Years and Years and It’s a Sin were politically charged mini-series, and with “The Star Beast” he incorporated trans themes. Rose and her trans identity became an important plot point. There was also some grounded drama involving Rose since she was bullied because she recently came out as trans and even her family was still adjusting. It added a little bit of reliability to the Special, and it felt natural to the story.
