Review: JUGGERNAUT #3 Takes The Stand

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JUGGERNAUT #3, available from Marvel Comics on November 18th, puts Cain Marko in the middle of a lawsuit for past damages while an old enemy comes calling for D-Cel. Fabian Nicieza’s writing establishes a solid redemption story for Juggernaut and teases a deeper mystery in store for the giant and his “agent.”

Cover Art

Geoff Shaw’s cover is as menacing as it is prescient. Juggernaut holds the scales of justice amidst the rubble, and his cold, glowing stare suggests an enemy underneath is pulling the strings. Shaw paints a powerful pose that brings your eye right to Juggernaut’s eyes in a magnetic way.

Writing

Nicieza picks up a short period after the events of issue #2 (read our review of Juggernaut #2 here) with the lawsuit well underway when a powerful villain interrupts the proceedings. During the ensuing chaos, we’re treated to some flashback scenes reminiscent of Batman Begins’ training scenes that explain how Marko got his new armor.

The mystical, magical, hard-earned explanation for the new armor works. It defines Marko as somebody who’s as tough on the inside as he is when wearing the Juggernaut armor on the outside. That toughness, and his increasing willingness to help people, turns Juggernaut into a former-villain that’s easy to root for.

Nicieza’s allusion to a big bad behind the scenes increases my anticipation and excitement for the next issue.

Pencils/Inks

Ron Garney’s rough style continues to match Juggernaut’s rough, blue-collar nature in a very organic way. He’s a character that’s not afraid to get his hands dirty, and Garney’s art is perfectly in line with that rough-and-tumble sensibility.

The rough style works even better in this issue because the guest villain, Quicksand, takes on a grainy, flowing anatomy that suits Garney’s work well.

Coloring

Matt Milla adds authenticity to this issue with great use of filters, specifically on the flashback scenes. It helps to delineate between panels in the present day and actions set in the past, and the coloring makes the flow of multiple timelines clear and easy to follow.

Lettering

VC’s Joe sabino executes a credible job with clean, clear, and concise lettering. The lettering is a little too clean as it doesn’t quite integrate with the art style naturally, but it carries the story through at a good pace.

Conclusion

JUGGERNAUT #3, available from Marvel Comics on November 18th, is an entertaining entry in a, so far, surprisingly good series. The art matches the characters and situations perfectly, and the story is far from predictable in the best possible way. I highly recommend this book.

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X OF SWORDS Aftermath: Storm Dances With Death in MARAUDERS #14

By

Matthew Brake

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November 18, 2020

Per this issue’s gorgeous cover by Russell Dauterman and Matthew Wilson, Storm and Death take center stage in this issue.

The conversation between the two is one of mutual respect and almost flirtation (although Storm makes it clear she does not desire Death). At one point, Death tells her, “The other sword bearers of your host have tasted death many times…in many ways…but not you.”

This is an interesting comment for him to make, and looking at Storm’s publication history, it is true that it is hard to find instances of her dying like many of her cohorts have. Wolverine famously died back in 2014 in The Death of Wolverine storyline. Magik died in Uncanny X-Men #303 from the Legacy Virus (she got better). Even Douglas Ramsey (Cypher) died all the way back in New Mutants #60 in 1988. The others, likewise, have similar death stories.

But not Storm, so Duggan, Percy, and Hickman are doing some serious foreshadowing here, especially given that Storm drew the Death tarot card in Stasis, which claimed not to be a reason for fear and promised a metamorphosis.

This is a deep continuity cut from the X-titles team to highlight Storm’s uniqueness of never having experienced “comic book death.”

However, there is one problem here.

Storm actually died in the Fall of the Mutants storyline back in 1988 (weirdly even, the same story in which Cypher dies). While the details of the story aren’t terribly important here, what matters is that all of the X-Men give their life-force to stop an enemy only to be immediately resurrected. But it is made clear in the text of Uncanny X-Men #227 that the X-Men DID die.

As Roma clarifies, the X-Men really did die (interesting side note: this scene also takes place on the Starlight Citadel).

Given that the X-Men are resurrected in the same issue and don’t disappear from publishing history for a few years, I suppose we can let this one slide.

Marauders #14 is available now!

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Mirka Andolfo’s SWEET PAPRIKA Animated Series Lands Heavyweight Executive Producer And Reveals First Images

By

Justin Munday

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November 18, 2020

**Mirka Andolfo Partners with Executive Producer Erik Barmack and Wild Sheep Content for Sweet Paprika Animated Series; First Images Revealed**

The former Netflix VP joins the comic creator alongside Director Gabriele Pennacchioli and production companies Grey Ladder Productions & Arancia Studio.

Internationally renowned comic creator Mirka Andolfo (Mercy, Unnatural) has partnered with executive producer Erik Barmack and his production firm, Wild Sheep Content, for Sweet Paprika, Andolfo’s debut animated series. Barmack joins Sweet Paprika following an eight-year run at Netflix where, among other positions, he served as the Vice President, Head of International Originals, where he spearheaded the development of series including The Witcher from Poland and the United States, La Casa de Papel from Spain, The Rain from Denmark, Dark from Germany, and Sacred Games from India, among others. Barmack has continued his mission of developing esteemed international programming through his own firm, Wild Sheep Content, which he founded in May 2019. The company has secured a number of high-profile projects since its inception, including the animated collaboration with French African artist Nicholle Kobi, Queens, as well as the live-action adaptation of the bestselling Yakuza video game series with Sega and 1212 Entertainment. To date, Wild Sheep Content has secured 12 projects into development with platforms, studios, and third party financiers.

“Mirka has the rare ability to enchant readers across the globe, and I couldn’t be more excited to help adapt her vision from page to screen with Sweet Paprika,” Barmack said. “It’s a charming, relevant, and hilarious foray into romantic comedy, and a project I couldn’t resist.”

Announced last July, Sweet Paprika is an original idea from Andolfo that revolves around the erotic misadventures of a career-driven woman—Paprika—who reluctantly engages a charming, if immature, delivery boy named Dill. Consumed by her job at a major New York City publisher, Paprika learns to balance her own needs as she embarks on a frustrating, passionate romance with Dill. In October, Andolfo announced that she will also write and draw a Sweet Paprika comic book series, published by Image Comics beginning in July 2021, with Edizioni Star Comics releasing in Italy and Éditions Glénat in France. Arancia Studio is producing both the book and the animated project, with Grey Ladder Productions aiding the latter.

“Erik has been a pioneer in global storytelling, introducing the most vital international voices to the biggest audiences,” Andolfo said. “It’s an honor to have him collaborate on Sweet Paprika.”

Gabriele Pennacchioli, who received a 2019 Primetime Emmy Award for his role as Supervising Director on Netflix’s Love Death + Robots, will serve as Director. Pennacchioli has 25 years of experience in animated features, working on such films as Shark Tale, Shrek the Third, Kung Fu Panda, and How To Train Your Dragon, among others.

For more news and coverage of Sweet Paprika and more of Mirka Andolfo’s work, stay glued to Monkeys Fighting Robots!

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Review: FRANK AT HOME ON THE FARM #1 — Scared and Confused

By

AJ O. Mason

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FRANK AT HOME ON THE FARM #1, out today from Scout Comics, is the first issue of a 4-issue psychological horror miniseries. If you’re looking for a few good scares, and a mysterious, well-crafted plot, this is the perfect book for you.

About the issue:

Frank returns from the trenches of World War I expecting to be greeted by his loving family on their farm. What he finds instead is a dark mystery, his family missing, and only the animals there waiting for him.

Writing

As a psychological horror writer, there’s a thin line you walk between confusing and intriguing your reader. Fortunately enough, writer Jordan Thomas only manages to do the latter. Throughout the entire issue, there is so much mystery — so many unanswered questions, like “Where is Frank’s family?” or “What’s up with the weird animals in this town?” The reader can’t even get themselves to start questioning what the heck is going on. In this comic, all they can do is sit back and let the puzzling story creep up on them with the promise that it’ll eventually sweep them off their feet and answer every question they have.

One of the big answers in this series brilliantly arrives only at the issue’s last few pages. But when it arrives, the reader’s left so astonished and curious, their thirst to know more grows with each time they contemplate what they had just read. I’m personally really looking forward to learning more about this story’s weird world and characters. Exquisite work here from Thomas.

Art

Bint’s artwork pairs perfectly with Thomas’ creepy tale. His layouts tell a clear story, manipulating the reader’s feelings as Bint sees fit. The terrifying panels look well-detailed and convey real horror. The characters’ facial expressions look incredibly distressing and ugly to great effect. The grim, cold color palettes elevate the story’s uncomfortable vibes, and his use of natural light to add to the mystery and intensity works beautifully. But Bint’s most important feat comes with the paranoia he manages to convey in the pages’ panel gutters.

More specifically, there’s a scene where Frank, the main character, enters an old lady’s store and inquires about his family’s whereabouts. Upon realizing he’s just walked into a taxidermy store, Frank freaks out. The reader keeps getting the paralyzing notion that Frank’s being watched. If the reader doesn’t look close enough, they might miss it. But on a second look, the reader discovers that between the panels, the cold, prying eyes of all the dead animals at the taxidermy store were staring at them this entire time. These simple but clever choices Bint makes along the way never ceases to amaze the reader. After reading this issue, anyone will leave it wanting to see what Bint has in store for them next.

Lettering

There’s simply not a single flaw in LetterSquids’ wonderful, stylish lettering. The bolded words pop out, making the reader think they can almost hear the characters talking. The choice to not use any sound effects brings a new layer of gravitas. When the characters scream, LetterSquids masterfully makes it look realistic and dramatic. Each choice LetterSquids makes elevates the art to a whole new level of creepiness and suspense. It’ll be interesting to see how LetterSquids is going to handle the lettering once the story inevitably reaches its darker moments.

Conclusion

Frank at Home on the Farm #1 gives the readers everything they could’ve hope for, and then some. The story is a psychologically terrifying tale with many unanswered questions, and the art’s unique style further engages the reader in the story’s world and grabs them by the throat, refusing to let go. Strongly recommended for fans of The Shining and Animal Farm.

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Coping in STRANGER THINGS AND DUNGEONS & DRAGONS #2

By

Cat Wyatt

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STRANGER THINGS AND DUNGEONS & DRAGONS #2, available December 2^nd from Dark Horse Comics, continues the adventures of four boys and the Tabletop RPG they fell in love with. It’s so easy to forget just how much this game had a positive impact on their lives.

Heroes unite once again in Stranger Things and Dungeons & Dragons #2.

Easy to forget, that is, until a series like this forces us to see how it all connects. The last issue explained how the four friends came to be, and how they made one discovery that would forever change their lives. Now, it’s time to see more of those long-lasting changes and impacts, in Stranger Things and Dungeons & Dragons #2.

Honestly, there’s something so empowering in seeing how many positive changes were wrought by this discovery. There’s no doubting that D&D changed the lives of these characters for the better. Just look at how well they were able to cope during the Netflix series. They used terminology, confidence, and knowledge gained from that very game.

The Writing

The adventure of four kids in Hawkins continues in Stranger Things and Dungeons & Dragons #2. Written by Jody Houser and Jim Zub, this issue takes place after the events of the first season. Meaning that it happens after Will went missing — and was eventually saved. Not to mention everything else that happened in between.

While there are also two more seasons (at the moment) that take place after that point as well, the focus felt significantly different. This issue, the whole series, was intentionally written to showcase the changes made by D&D.

So naturally, one can guess the focus here: How four kids, damaged and hurting, once again learned coping mechanisms from something they have come to treasure so much. It was heartbreaking yet beautiful to see and read. One of those moments that many a reader can connect with. Even if they themselves are lucky enough to never have faced a Demogorgon in real life.

In many ways, this issue focused on the smaller moments that make up the series. In that way, what was written here felt very…human. Other than their past experiences (and their awaiting future), there was nothing larger than life or supernatural about it. Or how they were coping.

The Art

Stranger Things and Dungeons & Dragons #2 is a vibrant issue. One that struck a balance between comic art and the styles portrayed within the show. It’s an issue steeped in details of the time period — with D&D imagery to help flesh it all out.

Diego Galindo was the lead artist, portraying all of these little details, and then some. Galindo did an especially wonderful job showing the lingering trauma of events, making solid use of the imagery available to do so.

Msassyk’s colors really brought it all to life, while also sticking the issue firmly in the 80s. There’s no avoiding those specific hues, not without diving back into the Upside Down, that is. On that note, The Upside Down and its creatures felt even brighter than ever in this issue, thanks to the contrast.

Nate Piekos’s lettering is another detail worth mentioning. Much of the issue was an internal monologue, yet Piekos arranged it in such a way as to carry the imagery, rather than interfere. The two worked hand and hand, and created something new.

Conclusion

Stranger Things and Dungeons & Dragons #2 is a bittersweet issue, one that follows the events of the first season. Its success is in making the characters feel so very human, as they learn to cope with everything they have seen and survived.

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How Two Friends Team Up in SPIDER-WOMAN #6

By

Cat Wyatt

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SPIDER-WOMAN #6, available today from Marvel Comics, dives straight back into the latest adventure for Jessica Drew. Only this time, she’s gone to her best friend for a bit of help — and space transport.

Jumping right into a fight in Spider-Woman #6.

Jessica Drew may have her own series again, but it has been far from smooth sailing. Her entire life has been shaken up, from being forced to step away from Gary and Greg, to finding some dark truths about her family.

In truth, her story has only just begun. Every revelation seems to send her down a new spiral. Whatever is causing all of this obfuscation is not making it easy for Spider-Woman, though admittedly the mitigating circumstances aren’t helping either.

At least in Spider-Woman #6, she has an ally on her side. Only, it isn’t quite the team-up that fans have eagerly been hoping for. After all, there’s something wrong with Jessica, and that couldn’t be more apparent than when she’s standing side by side with her bestie.

Two dynamic heroes and besties just taking care of business.

The Writing

In many ways, it feels like Spider-Woman #6 is a deviation from the rest of the series — even though in truth, it isn’t. It may have taken Jessica Drew away from earth, but not away from her problems. That much writer Karla Pacheco made painfully clear.

This issue is a very fine balance of humor, drama, and suspense. There’s plenty of action to be found, thanks at least in part to the mental state of Spider-Woman (if you’ve been following the series up to this point, then you know exactly what is going on).

A lot of the humor comes at the expense of another Avenger, but honestly, that just makes it all the more entertaining. An easy mark, sure, but one that is still appreciated. It very much fits with the dynamics of the characters involved. Namely, the two best friends.

It’s intriguing seeing where this story is unfolding, though it is raising more questions (and concerns) along the way. One thing is certain, fans are once again finding themselves fully invested in what is about to happen to Jessica Drew.

The Art

The artwork inside Spider-Woman #6 is a treasure, simply put. It also deviates from the norm, but in a way that really showcases the action in particular. Our heroines bounce all over the panels, as they battle and sass their way through multiple situations.

Pere Perez (art), Frank D’Armata (colors), and VC’s Travis Lanham (letters) really did create something memorable here. Not just because of the fighting (though there is certainly that), but the way our heroines react to everything, as well as dozens of other little details.

The colors are so perfect for this issue, transitioning alongside the plot. One moment it’s vibrant and alive, the next muted, as if it too exists in the void of space, and then the next we’re seeing a sun-dried palette perfect for an abandoned world.

Finally, there’s the lettering, which is top-notch. Everything from Jessica’s mental state to the impact she had on her surroundings (and the people in it) was made clear as day. Thanks largely to the careful placement of those letters.

One major blast to deal with the last of the enemies?

Conclusion

Spider-Woman #6 is one of those issues that is perfect for fans of both Spider-Woman and Captain Marvel. It goes without saying that it is also perfect for those that adore their friendship, and their combined sass.

Alongside all of that sass is a solid plot, one that is dark and compelling. As it raises concerns about our heroine and her fate.

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How A New Player Enters the Fray in ONCE & FUTURE #13

By

Cat Wyatt

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ONCE & FUTURE #13, available today from BOOM! Studios, continues a tale full of legends of old — and the havoc they can wreak when summoned into today’s day and age.

A disturbing variant cover for Once & Future #13.

Once & Future is a series that has been steadily increasing in drama — and danger. It started with a classic Arthurian tale, but with a darker twist. Now it has become a creature of its own making, as the stories come to life.

Before the series started, Duncan was no hero. Now, he’s been transformed, taking on the role of multiple heroes. But even that has a limit, as we’re soon to learn. That is where Once & Future #13 picks up, as he picks up the family career of monster (and legend) hunting.

The Writing

Once & Future #13 is not quite as full of action as the previous few issues, but it does bring something new to the table: suspense. A creeping feeling, like something is watching from the darkness.

That is Kieron Gillen’s writing style shining through, weaving in different elements into this already horrifying tale. The introduction alone is an intriguing one, though as with the rest of this series, it isn’t exactly for the faint of heart.

From there, the issue takes a few different twists and turns, reminding readers that it isn’t all about the fighting (don’t worry, there’s still that). There are human beings interacting with legends and lore. It’s an important detail that one must never forget.

Oddly enough, there’s even a little bit of humor found within the writing this time around. It’s almost like a breath of fresh air. Almost. It feels more like the calm before a storm, where readers simply know that things are likely going to get even worse than ever. Especially now that we’ve been reminded of all the reasons to root for these characters.

Six magpies for…hell…that can’t be a good sign.

The Art

Once & Future #13 is a bright issue, almost literally, as the case may be. The colors are bold and bright, with backdrops that pop, even in what should be nothing more than a dreary rain scene. It makes for a memorable setting, even without the supernatural interfering.

Naturally, that is not something that will last. Something, some creature, from legend will pop out, and Tamra Bonvillain’s colors will make them absolutely striking. It’s the ideal complement to Dan Mora’s lines.

His characters, be they human or something more, are fascinating. They dominate the pages, requiring only simple backdrops to complement their designs. Admittedly, the creatures tend to be even more captivating, but that makes sense, doesn’t it?

Ed Dukeshire’s lettering is the final touch in this issue, bringing with it an epic scale that is exactly what the story needed. As with the character designs, it’s the creatures and their words that the lettering is the most intriguing.

Conclusion

Once & Future #13 is a unique issue, even among an already unique series. It makes a few deviations, while ultimately getting back to the main focus before the end. Yet that variance allowed for a spark of humor and humanity to shine right through. A poignant reminder of what these characters are battling for.

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Chaos and Order Battle in LUMBERJANES #75

By

Cat Wyatt

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LUMBERJANES #75, available today from BOOM! Box, brings fans ever closer to the end as the series begins its final wrap up. Yet there is still one adventure left for these daring campers, naturally.

The characters of Zodiac Cabin take center stage on this variant cover of Lumberjanes #75.

The beloved series that is the Lumberjanes is creeping ever closer to the conclusion, which is a bittersweet thought, to be sure. While so far the ending is proving to be every bit a conclusion the characters and fans deserve, it will still be heartbreaking to see it go.

Lumberjanes #75 is the last issue that works towards setting up the true and proper finale. Next month, Lumberjanes: End of Summer #1 will conclude the series. Make sure that you don’t miss the supersized issue! It’s going to be something else.

There is one happy thought to hold onto here if you’re having trouble accepting the end. Lumberjanes was recently optioned for an HBO series. So far, that’s all it is, but there is hope somewhere on the horizon.

Everyone is in a mad dash to warn their friends of the impending danger.

The Writing

Lumberjanes #75 is a supersized issue, coming in at forty-seven pages. That’s forty-seven pages full of Lumberjanes chaos and fun. Okay, it’s more chaos than fun at the moment, but it’s still an entertaining read through and through.

Written by Shannon Watters and Kat Leyh this issue is literally full of dozens of events and interactions. All of which is leading to the final event, of course — the end of the summer. The Lumberjanes are facing danger like no other, and it’s resulting in all of the characters that they have met, large and small, to come together one final time.

For that reason, it’s a pretty endearing read, seeing so many characters come together. For many, it’s a chance to say goodbye. For others, it’s a reminder of all the reasons why we fell in love with them in the first place.

Leave it to Watters and Leyh to write in such emotionally powerful moments. Yet that is only a fraction of what this issue holds. There are larger revelations found within — implications about the forest itself, and actions taken by the campers.

It would be the understatement of the year to say these actions are doing justice to the characters. Yet it’s also the truth. In many ways, these are things that fans have been waiting for. For years, literally.

The Art

The artwork inside Lumberjanes #75 is bright and happy, a stark contrast to the threat that is sweeping across the land, and the pages. There’s no doubt that the contrast was done intentionally, yet it is still highly effective.

Brooklyn Allen was the lead artist for this issue, and he had his work cut out for him here. Working alongside Allen are Alexa Bosy and Kenesha C. Bryant (inks). Remember all of those characters I mentioned up above? Well, imagine drawing that many, all inside a single issue. In many times, even inside the same page and panels. It’s an impressive feat.

A feat made all the more impressive by their interactions and reactions. The Lumberjanes have never been the type to react quietly, and that shows here. The colors, done by Maarta Laiho, are a strong complement, both to the artwork itself, and to the confident and determined characters.

Finally, it’s Aubrey Aiese’s lettering that ties everything together. There’s a lot going on, obviously, yet it is never difficult to actually following what is happening. Or what is being said. That may sound simple, but it really is impressive, and worth acknowledging.

It is looking like some characters will be more difficult to evacuate than others.

Conclusion

Lumberjanes #75 is a large issue that practically bursts at the seams to tell its story. There is so much going on, and yet it is every bit an event that fans are not going to want to miss out on. It’s heartwarming and intense, all in those perfect proportions that the series has mastered.

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Review: A DARK INTERLUDE #1 — A Semi-Sequel To Fearscape

By

David Weber

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A Dark Interlude #1, out today from Vault Comics, is the beginning of a new series that takes place after the events of the Fearscape, though it is able to stand on its own and welcome new readers while also pleasing fans of the previous series.

(Monkeys Fighting Robots also had the opportunity to interview writer Ryan O’Sullivan about the new series, which you can find here.)

About the book:
This series follows the events of Fearscape, a story which followed author Henry Henry as he is brought to a fantastic realm to battle humanity’s greatest fear by a Muse who believes him to be this generation’s greatest storyteller. The only problem is Henry Henry is a plagiarist. A Dark Interlude #1 picks up where Fearscape left off, with Henry Henry imprisoned for murder and attempted murder, and the muse — now reincarnated — living with Jill Proctor. This multitude of changes may make the story seem like it depends on its predecessor, but as the comic book repeatedly tells us, this is not a sequel. There are plenty of ways that A Dark Interlude #1 is able to inform us of what took place before and sets up what problems warrant a new story.

A Dark Interlude #1 Story

Many aspects of A Dark Interlude #1 make Ryan O’Sullivan’s story interesting and unique. The first of these aspects greets us immediately as we open the issue and are faced with paragraphs of text, rather than the panels one would expect to see from the medium. The issue does contain panels later, but that does not negate the impact of beginning solely with words. When expecting art and being greeted by text, it intrigues the reader to know why the writer chose to use this to open the series, rather than what the medium typically consists of. Some could argue that adding pages of pure text to a comic book is a cheap way to insert more story in less space, but that is not how O’Sullivan uses it. The text is not merely an explanation of what occurred in Fearscape, but instead is a letter written from our narrator, Henry Henry. The letter does give exposition about what happened before the issue, but it is also is a pleasant way to submerge the reader into the world of the issue. We get a feeling of who the character is, what happened in the past, and how his actions affected other characters.

O’Sullivan also makes A Dark Interlude #1 an intriguing read through the choice of narrator. Just as in Fearscape, Henry Henry is an egotistical narrator who often attempts to skew the narrative in his favor. It is rare to have such an unreliable narrator, and it changes how A Dark Interlude #1 is read. In all, O’Sullivan causes the story of the issue to be entertaining through its strange narrator, cool techniques such as the silent panel, and giving enough information for a new reader, even if they have no understanding of Fearscape.

Art

The illustrations of Andrea Mutti are what make much of A Dark Interlude #1 an enjoyable experience. Despite having the fantastical realm of the Fearscape to explore, much of the issue centers around characters in the typical world. In these scenes, Mutti’s work with facial expressions comes heavily into play. The issue uses the technique of a silent panel multiple times as a dramatic pause in a scene. In these panels, when no word bubbles are present to take any attention away, the facial expressions become the only point of focus. Mutti delivers on this front and can portray complex emotion on characters’ faces in these panels. However, while Mutti’s art style is pleasant to look at and is terrific at capturing emotion, it does feel like there was a missed opportunity for the art to be stunning for new readers. This may be partly because the issue largely centers on the real world instead of the Fearscape, and while the art is very well done and fits the story here, one hopes that future issues will allow the art team to go nuts and fully explore the fantasy realm. (The smart money says they will.)

A Dark Interlude #1 features the wonderful coloring talents of Vladimir Popov. There is a pleasing contrast between the palette used for the realm of the Fearscape and the real world. Not only are there distinct areas due to this, but each realm has its own unique tone due to these palettes. My only hope for future issues is that Popov uses even more variety to reflect the different tones of each scene.

The lettering of A Dark Interlude #1 fits wonderfully with the story and allows the issue to flow naturally. Andworld Design also uses speech bubbles in an interesting way in the issue. When we finally are able to see our narrator in person, his entire face is covered by the speech bubble of someone talking to him. Why this was done is a question in terms of the writing, but the execution of having a word bubble cover his face built suspense, and is not an often seen form of lettering.

Conclusion

A Dark Interlude #1 is the beginning of a new journey in the world of Fearscape. Events are starting to build, and it is clear there are many thrilling stories to await in the series. The art pairs nicely with the story and provides for an excellent, captivating read.

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Review: ICE CREAM MAN #21 Answers Questions But Pulls Readers In Further

By

Corey Patterson

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ICE CREAM MAN #21 hits comic book stores on Wednesday, November 18th, presenting readers with one of the series’ most unsettling issues yet. This suspenseful story follows a man who goes by Detective Kowalski through an investigation of a missing person: Bert Cohen. But unbeknownst to our protagonist is the fact that Cohen was abducted by a mysterious cult—one who worships the “Spider King.” Will readers, and Kowalski, discover the secrets of this organization?

Story

The opening scene of the story brings readers into a darkened room with the missing Cohen bound (naked) before mysterious hooded figures. What’s notable right is his professed job title: ice cream man. From the get-go, we see this unfortunate soul may be a pawn in the nefarious Ice Cream Man’s game.

Unfortunately, we don’t get to see Cohen’s ultimate fate as the following panels focus in on Kowalski and the wife of the victim. She expresses what appears to be genuine concern for her missing husband—a sight the detective isn’t used to. We soon learn he is living in constant regret and fear due to a failing marriage.

Writer W. Maxwell Prince takes readers on a journey through Kowalski’s double-life—one side drowning in existential despair while the other loses itself in work. What’s more, this relatable phenomenon is captured in a thrilling tale of suspense and horror. Kowalski finds himself running away from an ever encroaching despair, but does he know what he’s running into?

Artwork

Martín Morazzo’s penciling and ink work, Chris O’Halloran’s coloring, and Good Old Neon’s lettering did a fantastic job of setting the tone for this issue. The eery scenes, constructed with thin lines and darkened backdrops, successfully add an ominous tone. In addition, the curvy and slanted fonts foster a sense of uncertainty within readers. These elements work together in spectacular fashion.

Conclusion

ICE CREAM MAN #21 finally gives readers more information about the titular figure. But how many people have to suffer before he’s revealed?

What do you think of this mysterious cult? Let us know in the comments below!

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