X OF SWORDS Aftermath: X-MEN #13 Explains One Mutant’s Core Motivation

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November 9, 2020

X of Swords is halfway over. We’ve seen the Krakoan sword-wielders go to great lengths to attain their swords, with some literally going through hell itself (ahem, Wolverine)!

This issue brings readers back to the man at the heart of the story, Apocalypse, whose progeny have returned to kill their father and vanquish the mutant nation.

Ever since Apocalypse first (fully) debuted in X-Factor #6 in 1986, his modus operandi has remained the same–to weed out the weak through a twisted version of “the survival of the fittest.” But why? What inspired Apocalypse to take this course of action?

According to Apocalypse co-creator Louise Simonson in an article in the Philadelphia Inquirer, Apocalypse’s twisted Darwinian vision came about because of his encounter with the god-like race known as the Celestials. The Celestials are the ones responsible for seeding the universe with many of its sentient lifeforms, including humanity, for their own mysterious purposes, with the Celestials periodically returning to evaluate the progress of their work, with a failing evaluation leading to the destruction of that species. Simonson explains, “Apocalypse encountered the Celestials and realized there was a time when humanity might be judged unworthy and destroyed.” This is what has driven him “to kill off the weak and force the survivors to grow stronger, to push humanity to get better and more powerful,” including those who are a part of human evolution’s next step–mutants.

Getting judged poorly by the Celestials is NOT good.

Hickman performs a bit of a retcon to Apocalypse’s motivations in X of Swords.

In an effort to hold back the invading demonic hordes of Amenth, Apocalypse’s wife Genesis and their children stay behind on Arakko and seal the dimensional breach behind them, cutting themselves off from Earth. She tells Apocalypse that he cannot come because he is “not strong enough,” and she advises him, concerning the Earth’s denizens, “Stay. Use what time we buy you to make this world into something that can stand against our enemy. Judge them, my love… So that they–that you–become what we need. See that only the fittest remain.”

This seems to be the inception of Apocalypse’s survival of the fittest ideology, born of a desperate need to come to the aid of his wife and children against a demonic enemy, to make sure at the very least that their sacrifice is not in vain.

But now, with Apocalypse’s own children leading that very horde and having betrayed him while threatening Krakoa, are we about to see a dynamic change in this former X-villain’s motivations?

Apocalypse lived by the principle of the survival of the fittest because of his commitment to his old family and their struggle for survival in Arakko. With his old family turning against him and the inevitable victory of Krakoa, could we see a fundamental change in Apocalypse’s character and core motivation moving forward?

As he defends and fights for his new family, will Apocalypse change and find a new purpose and principle to live by, one beyond the bleakness of “survival of the fittest”?

The ending of this series surely means a deep personal loss for Apocalypse. Perhaps his grief and vulnerability, shared with those in the new Krakoan society, will forge a new path for the world’s oldest mutant.

Or perhaps, Krakoa’s losses in the X of Swords tournament will harden them and push them toward Apocalypse’s approach, in a world where vulnerability is dangerous for the new mutant state and where death in Otherworld may be permanent.

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Interview: Adam Hughes Talks Hellboy And The Elements Of Horror

By

Matthew Sardo

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November 9, 2020

HELLBOY & THE BPRD THE SEVEN WIVES CLUB written by Mike Mignola hits your local comic book shop this week, but thanks to Dark Horse Comics, Monkeys Fighting Robots got a chance to talk with artist Adam Hughes about the one-shot.

About the issue:
The team behind the Eisner Award-winning one-shot Hellboy: Krampusnacht spins a new ghostly yarn! Hellboy comes to the aid of a young girl whose ghost hunt goes wrong, and a visit to an abandoned medical school reveals sinister layers to a grisly, long-ago murder. Stolen cadavers, vengeful spirits, and more abound in this one-shot.

HELLBOY & THE BPRD THE SEVEN WIVES CLUB Preview

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MONKEYS FIGHTING ROBOTS: Adam, thank you for taking the time to talk with us. When I read a well-made horror comic, I get goosebumps, I’m nervous, and I’m scared to turn the page. Are the emotions of an artist different working on a horror book, and if so, why?

ADAM HUGHES: The sad thing is, your average comic can be read in the time it takes to have a healthy bowel movement, depending, of course, on the comic and your fiber intake. You can write a horror comic in such a time that the feelings of terror and dread linger over your process. Drawing a comic takes awhile––or if you’re me, forever––so, by the time you enter the home stretch, all the house lights are up in the Haunted Mansion, and you’re just wearily vacuuming the well-lit floors.

MFR: At a certain point in the issue, “the shit hits the fan.” The page layout immediately responds. Panels look like they’re falling off the page. Yet within the chaos, there are a few moments of structured right angles and straight edges. What made you choose one or the other on those pages?

HUGHES: Hey, somebody noticed! Thank you. I like it when Shit Hits Fans and the comic kind of explodes. Even if the reader doesn’t notice on a conscious level, I hope there’s an unconscious sense of “Waugh! Everything in life has gone wibbly-wobbley!” The structured right angles in the midst of that are my way of showing the readers that an attempt is being made at a restoration of sanity.

MFR: Throughout the issue, many panels almost look like polaroids out of a camera. What lead you to that style?

HUGHES: They do? I was just trying to make creative, immersive environments, and believable characters. I hope Polaroid doesn’t sue.

MFR: Agent Raskin is so defined by her normalcy throughout the issue. When Hellboy looks stone-faced, she’s grimacing. She’s a breath of fresh air in the universe. What went into some of the choices in creating her character, and do you hope she might pop up again someday?

HUGHES: I struggle drawing Hellboy. I just don’t have a comfy ‘lock’ on the character. Pauline Raskin, conversely, was well within my wheelhouse. She’s only appeared a handful of times before, and Mike’s take on her has been so rapturously vague, so I felt I had freedom to make her as I saw fit in my head. When Mike drew her, only twice as far as I can tell, she’s just a Mignola shape in a B.P.R.D. windbreaker with glasses and brown hair that ends in a swoop. That’s it. So, I created my own look and backstory for Pauline, much as an actor might do for a part they are playing. None of it shows up in the final production, and it might be COMPLETELY wrong in the eyes of the creator of the thing, but it helped me pass the hours.

In my world, Pauline is a third-generation Texas lawperson. Her grampa was a Texas Ranger, and her dad was a US Marshall. She disappointed her dad by not going into traditional law enforcement but rather the supernatural crime-busters of the B.P.R.D. Her grampa is okay with this because he encountered, as a Texas Ranger, something scary once in his career, and he GETS IT. Pauline’s gun? I didn’t make it an efficient semi-automatic pistol; it’s an old-school revolver, her grampa’s gun that he gave her when she joined the B.P.R.D. She is, in my hands, a lanky Texas lawperson with bootcut jeans and a no-nonsense laconic style. A female Clint Eastwood with a library card. I could be totally wrong, she’s Mike’s character, but that’s what I was thinking when I drew her. I assumed there has to be a reason why Hellboy feels cool being partnered with her; he must know she can handle herself and can do her job.

MFR: The page below taunts me so much! You literally have to put your finger on the “KEEP OUT” sign to turn the page. Can talk about how this page builds tension and what techniques you used?

HUGHES: Uh, yeah. Yeah! I planned that! I’m the Stanley Kubrick of comics, I know what I’m doing at every turn!

I have NO idea what you’re talking about. Is it the page where the three of them are getting out of the car in front of the old nursing school? I just wanted a sense of “SPOOKY.” I knew that once they get into The Room at the End of the Story, the rest of the tale unfolds in this one dark little chamber of horrors. So, I figured that all panels before that were my only chances at setting a sense of mood and spooky dread. I wanted to make the abandoned school look monolithic and supernaturally off-limits, like the Marsten House in SALEM’S LOT.

Look, I’m like MAYBE sixteen IQ points above a savant. I just go with my instinct as to what feels right in any given creative situation, and then trust to an unearned sense of erudition afterward to make it look like I knew what was doing. None of the Beatles could read or write sheet music, but they ended up making some pretty timeless songs. Never underestimate us undereducated fools with loud guts that we listen to.

MFR: Thank you again, and best of luck with HELLBOY & THE BPRD THE SEVEN WIVES CLUB!

Who is your favorite Hellboy artist besides Mike Mignola? Comment below with your thoughts.

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AEROBICIDE RAD ONE-SHOT: Pure 80s Cheese Parody

By

Jake Palermo

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The Aerobicide Rad One-Shot (released on November 4) spins-off from indie publisher Shonuff Studios’ premiere title Aerobicide: The Extreme Ninja Workout. For this 3-part anthology, creator Terry Parr serves multiple roles (writer, artist, colorist, and overall letterer) with some other creatives. Joining this 80s pop culture parody is writer/editor David Doub for chapters 2 and 3, while artist Cal Slayton and colorist/editor Halo Toons contribute to just 2.

Background

Aerobicide follows Sheri Ken, a Korean American aerobic instructor, dancer, and ninja hunter. Her hometown of Venice Beach, Los Angeles, has an infestation of ninja spirits that possess people. Sheri, managing to keep her sanity, decides to use her new skills to defend her home. All while playing her era of the 1980s pop culture to its most absurd. Which is where Aerobicide Rad One-Shot comes in to help explore the concept.

Aerobicide Rad One-Shot – 80s Parody Cheese

Whether it’s Terry Parr or David Doub as writer, they both play their parts in the Aerobicide: Rad One-Shot. In any situation, the reader sees Sheri pulling a double shift as both a dancer and a ninja hunter trying to get by. Parr does the opening chapter with Sheri trying to get her big break in her career. This allows her audition to feel empathy for Sheri, especially when she answers questions. Sheri dodges questions about where she lives, which given her mixed ethnicity, makes this feel more like an interrogation. It doesn’t help that the audition judges aren’t fans of her metal dance music and make comments about her lean figure. Readers familiar with the #MeToo campaign would definitely emphasize concerns. Which is why when the judges turn out to be ninja assassins, the beat down Sheri gives them feels satisfying.

Doub, on the other hand, puts a stronger emphasis on gags and parody. On their own, some jokes aren’t bad, but some like bad puns and not-so-subtle sex jokes can feel trite. Especially when the sudden and cartoony slapstick used by and against the antagonist seems funnier. Fortunately, Doub forgoes those in favor of horror movie parodies in the third chapter. Given the series parodying 80s ninja cinema, this is a better use for the Aerobicide Rad One-Shot. With Sheri getting thrown into a slasher pic, and by her own “experience,” she seems to be in trouble. But then a couple of gags towards videotape recordings de-escalate the horror. Depending on the audience, this can be a good jab at 80s video culture and bootlegs or a deus ex machina. Nobody said anthologies were all quality pieces.

Art With Style

While Terry Parr does have the most creative duties, he’s more than willing to ask for help from others, even if the change in designs can look confusing as chapters 1 and 3 are by him. For that matter, Cal Slayton demonstrates doll-like anatomical designs that, at one point, comes with a questionable pose use. Sheri dive kicks a suspicious man down, but in the next panel, she’s on the ground hands first a small distance away for some reason. To circumvent this, Slayton makes use of subtle facial features and cartoonish slapstick. Take, for example, a rocket launcher from out of nowhere just because. Halo Toon’s coloring increases this cartoony feel by making the resulting explosion look so simple any suggested damage wouldn’t be serious.

Now compare the above to Terry Parr’s default artwork. The designs look detailed and dynamic to the point, emphasizing whatever action is taking place. Just Sheri’s presence keeps the reader’s attention due to her hair color, makeup, and outfit. Contrasting all of that against a dim room not only keeps attention but signals that Sheri is approaching danger. The coloring that fills the page in reaction to Sheri’s dance, where shades of light fuchsia brighten the bleak room. It serves a dual purpose, one it shows Sherri in control of the situation despite the threat imposing on her and an ironic joke as the bright but cool colors are in reaction to metal music.

Lyrical Lettering

Trying everything together in the Aerobicide Rad One-Shot is Terry Parr’s lettering that he uses to a diverse effect. Everything for the word balloons, the captions, the wordmarks, and especially the musical notes is used to the fullest. The fonts perfectly capture the volume and intent in people’s voices when they embolden or shrink in size. But it’s when the fonts and wordmarks are used to accent 80’s era phrases where they really shine. “Time to get physical” and “Grody to the Max” perfectly encapsulate the setting’s mood, humorous parodies. Even in the second chapter, there are well-crafted music lines and notes to showcase a catchy tune. Finally, the last chapter features a video on captions display in conjunction with the wordmarks to capture videotapes’ visual and auditory experience.

Aerobicide Rad One-Shot Is Stupid Fun

The Aerobicide Rad One-Shot is best for people who like the cheesy parodies of a popular era like Everybody Hates Chris. Not that it doesn’t take time to fully embrace elements that feel authentic. There are aerobic exercises included so that anyone interested doesn’t miss out on the fun, with safety guidelines no less. Because feeling dumb in one area can just mean you’re open to experience in other areas. Terry Parr did all of this to share experiences with his co-creators and his fans.

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Review: THE DREAMING – THE WAKING HOURS #4: An Enchanting Lesson In Fantasy

By

Justin Munday

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Where every issue of this series has been nothing but great so far, “The Dreaming: The Waking Hours” #4 is the best chapter yet. Writer G. Willow Wilson, artist Nick Robles, colorist Mat Lopes, and letterer Simon Bowland put together a beautiful comic book that sings with a wide range of emotion, sensitive characterization, and mystical in-universe plot development that will leave any reader elated.

“Ruin has traveled to Worlds’ End to seek help from the denizen of the Dreaming who set him free in the first place…unfortunately, Brute and Glob have followed him there—on the orders of Dream himself! And back in the Dreaming, Lindy has taken on the challenge of discovering who the “true” Shakespeare is, via a staging of the apocryphal play The Birth Of Merlyn. But when you tell a tale inside the Dreaming, it has a strange way of becoming very real indeed…”

Writing & Plot

G. Willow Wilson has a habit of outdoing herself with every subsequent issue of “The Dreaming: The Waking Hours.” This time though with issue #4, she really, really destroyed her own record. This chapter of the thus far incredible continuation of the Sandman Universe story is a warm and intelligent piece of mystical fiction that is every bit as human as it is fantastically imaginative. Wilson follows in Gaiman’s footsteps by mixing wonder and horror into a vast fantasy landscape, and brings beings as powerful as gods down to the level of your roommate who never bothers loading the dishwasher. While the Dreamlord himself, in all his moody fury, is written as foreboding and edgy as ever, he is far from the star of this show. Willow’s attention to the human condition when dealing with Lindy’s life is as inspiring as it is heartbreaking. The fact that she’s able to mix it with her literary intellect (Wilson writes some damn convincing Shakespeare) and unique spin on the nature of The Dreaming, all while making this feel like a true Sandman story makes this one of the most impressive feats of comics writing coming out at this time.

There are three plots running during “Waking Hours:” Lindy’s time stuck in the Dreaming to figure out who the “real” Shakespeare is, Ruin & Co.’s need to reunite Lindy’s infant with it’s mother, and Dream’s chase of his escaped nightmare. It would be pretty normal for one of these plots to be more interesting than the other, thus making the time spent away from that superior plot feel like a drag. This is not the case with this series, as every facet of the story is titillating in a different manner. The most Sandman-esque scenes with Dream are perfect for longtime fans, Lindy’s experiences are perfectly intimate, and Ruin’s journey is outstandingly intra- and extra-personal. In the last of which a character is suddenly introduced into the mix, and he has to be one of the greatest audience stand-ins I’ve ever seen in a comic; wildly confused but devoted and along for the ride. Speaking of character introductions, there are a couple familiar faces that show up in this issue (one classic, the other from a much more recent tale), and as with every issue of “Waking Hours,” their appearances have weight within the plot as well as being well-executed fan-service. This is hands down one of the best scripts I’ve read this year.

Art Direction

As stellar as Wilson’s script may be, it wouldn’t be so impressive if the visual end of the team couldn’t hold up their end of the deal. Fortunately, “The Dreaming: The Waking Hours” #4 has the never-ending gift of Nick Robles’s pencils and Mat Lopes’s colors. As an artist and the co-creator of this vision of dreamscapes and nightmares, Robles crafts the characters and world of The Dreaming with a delicate and immensely detailed hand. The character animations and designs are personable while also being endlessly imaginative. The ever-shifting landscapes made of dream-stuff offer some of the most awe-inspiring visuals of any comic in recent memory. The very nature of the story being told allows for Robles to vary his stylistic approach from moment to moment, and the results are unbelievably cool. The colors of Mat Lopes create a vivid complexity seldom seen in any art form. The sheer amount of shades and variations of colors he seems to bury in a single image is staggering, and the finished product is bursting with life. Returning letterer Simon Bowland again offers a classical Sandman tonal experience with his work, offering varied fonts and effects straight from the Vertigo era of Sandman but with a contemporary touch. The visual work here is once again staggeringly great, and a beyond worthy addition to the artistic vision of the Sandman Universe.

“The Dreaming: The Waking Hours” #4 is a wonderfully human comic that manages to be so perfectly emotionally balanced while also being hyper-imaginative. Wilson’s commentary on subjects ranging from academia and literature to the weight of having children alone is impactful, but the script still has brilliant moments of levity. The visuals from Nick Robles and Mat Lopes are a wondrous sight to behold as always, and some of the greatest work seen in a Sandman comic. This is possibly the best single comic issue I’ve read all year, and it’s a desperately needed piece of relatable fantasy with needed bits of inspiring realism. Be sure to grab this latest chapter of the Sandman Universe from your local comic shop!

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Marvel Comics Exclusive Preview: TASKMASTER #1

By

Anthony Composto - EIC

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November 5, 2020

marvel comics exclusive preview taskmaster #1

TASKMASTER #1 hits your local comic book store November 11th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
TASKMASTER HAS MURDERED MARIA HILL! Or at least that’s what the whole world thinks. Now the greatest spies in the business are hunting him down and won’t stop until Taskmaster is dead or clears his own name!

TASKMASTER #1 is by writer Jed Mackay and artist Alessandro Vitti, with colors by Guru-eFX and letters by Joe Caramagna. The cover is by Valerio Giangiordano and Arif Prianto.

The mini-series is slated to run five issues, and is being billed as a “globe-spanning adventure that will send ripples through every corner of the Marvel Universe’s espionage community!”

Taskmaster is set to make his big-screen debut in Marvel Studio’s BLACK WIDOW, currently scheduled for May 7, 2021 release.

Check out the TASKMASTER #1 preview below:

Are you excited for a new TASKMASTER series? Sound off in the comments!

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Exclusive Mad Cave Studios Preview: HONOR AND CURSE #7 Returns

By

Matthew Sardo

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November 5, 2020

Exclusive Mad Cave Studios Preview: HONOR AND CURSE #7

Honor and Curse #7 hits your local comic book shop in January 2021, but thanks to Mad Cave Studios, Monkeys Fighting Robots has a seven-page preview of the supernatural, shinobi thriller to share with our readers. You can also read Honor and Curse #1 for free over at madcavestudios.com.

The book is written by Mark London, with art by Nicolas Salamanca, Tekino handled colors, and you will read Miguel Angel Zapata’s letter work.

“When I first came up with the idea for Honor and Curse, it was supposed to be a straightforward ninja tale with some historical elements and tons of action. However, once I started diving into the research, I became fascinated by all of the mythology surrounding the era and the story morphed into what it is today; a story about a talented ninja possessed by an evil mountain spirit known as a Tengu. With the fantastic art that Nicolas and Tekino bring to the table, I can’t wait for the fans to see what we have in store for Genshi, Akemi, and the rest of the Iga clan,” said Mark London via Mad Cave Studios PR.

About Honor and Curse #7:
With the return of Genshi Sakagura and the Tengu, the second arc of this story will see Genshi continue training to control the tormenting spirit within him. Meanwhile, after the death of her father, Lord Haruki, Akemi has been doing some training of her own and now plans to protect the Iga with a shinobi skill set. All the while, the Koga see the death of Haruki as the perfect opportunity to strike at the rival
Iga clan.

“Honor and Curse is a comic that I have a lot of affection for, not only because of the fact that it is set in feudal Japan, but it has allowed me to grow as an artist. I definitely consider it an honor and not a curse to continue working with Mark and Tekino on this incredible story,” said Nicolas Salamanca via Mad Cave Studios PR.

Check out the seven-page preview below:

Are you reading MadCave Studios books? Comment below with your thoughts.

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Review: THE AMAZING SPIDER-MAN #51.LR – Side Characters in the Spotlight

By

David Weber

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The Amazing Spider-Man #51.LR, out now from Marvel Comics, continues following the exciting journeys of many secondary characters during the “Last Remains” arc.

About the Book:
Norman Osborn has revealed the true identity of Kindred to be his son, Harry Osborn. The now “cleansed” Green Goblin wishes to talk to his son and stop him from committing any more atrocities, but to do that, he needs help from Mary Jane Watson, who just so happens to have returned to Manhattan momentarily. While Norman begins his new quest, Spider-Man enlisted the help of Black Cat to steal a magical item from the Sanctum Sanctorum. A crime that now may be catching up to her.

The Amazing Spider-Man #51.LR Story

Nick Spencer and Matthew Rosenberg have a much quicker-paced issue in The Amazing Spider-Man #51.LR than they did in the previous LR issue. Featuring several storylines happening concurrently, the issue centers around characters that don’t often get to be the focus of the series. Some of the characters, such as Black Cat and Mary Jane, have not been present in the series for some time, so getting a new story focused around them is a treat. The multiple scenes of the issue evenly share the reader’s attention as well. The story shifts to a different scene after spending a decent amount of time with a group of characters. It never felt as if one of the plots had too much or too little focus. There was a time when the choice made for a set of panels was odd, but other than that, the writing of the issue was incredibly solid. As seems is often the case with The Amazing Spider-Man series, the ending is a shocking reveal that will leave you desperately wanting to get your hands on the next issue.

Art

Federico Vicentini provides some incredibly detailed art in The Amazing Spider-Man #51.LR. These fine details help bring the world to life and are an essential part of why the issue is such an enjoyable read. These fine details help with Vicentini’s faces, which are phenomenal at expressing emotions, and believable scenes as character’s faces show how they react to others’ dialogue. The issue also featured Spider-People possessed by Kindred, and their sharp teeth and inhuman posing helped characterize them as monstrous.

The Amazing Spider-Man #51.LR features some stunning coloring from Marcio Menyz. The different scenes of the issue each have their own unique color palette, which helps distinguish them and helps in reflecting the tone of these scenes. Marcio Menyz gave flashback panels in the issue a pleasant tint that made it evident that the scenes were happening in the past and didn’t stand out too much and didn’t halt the flow of the story. Overall, the coloring fits wonderfully with the art and greatly improved the visuals.

The lettering of The Amazing Spider-Man #51.LR was done by VC’s Ariana Maher and accompanied the art of the issue phenomenally. Maher provides an excellent variety of fonts and sizes in the issue, which gives each sound effect its own unique tone, which is an important factor when making the lettering of an issue fit with its narrative. When it comes to sound effects, there is hardly a single repeat in style for the lettering, which is above and beyond what we would expect from a standard superhero comic book.

Conclusion

The Amazing Spider-Man #51.LR is an issue that begins delving more into the secondary characters’ plots during the “Last Remains” arc. It is great to see characters that have not had much attention recently, and I’m sure fans are glad they are being put to use. The LR issues are only getting more exciting as they go along, and the reveal at the end of the issue is sure to leave many itching to continue following the series. With such an engaging story, beautiful art, and superb lettering, it would be difficult to leave without feeling anything besides satisfaction and excitement after reading this issue.

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Review: FREAKY Wears Love For Slasher Films On Its Sleeve

By

Eric Trigg

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Christopher Landon’s Freaky hilariously meshes the body swap concept with slasher films. How this hasn’t happened till now is mind-boggling, but these two well-known film angles have come together in the best way possible. Landon’s Happy Death Day was a surprise hit, and now he has made a triumphant return. Freaky is a love letter to the slasher genre that horror fans will love to watch once a year.

As mentioned above, Freaky takes the concept of Freaky Friday and crosses over into the slasher genre. Similar to Happy Death Day taking slashers and crossing over with Groundhog Day’s concept. Landon loves to pack messages in his films, and Freaky has enough gore and heart for everyone to love. Directed and co-written by Landon, Freaky stars Vince Vaughn, Uriah Shelton, Misha Osherovich, Celeste O’Connor, Alan Ruck, Katie Finneran, and Kathryn Newton. In the film, awkward teen Millie Kessler (Newton) swaps bodies with a notorious killer after he stabs her with an ancient dagger. If the two don’t swap back in twenty-four hours then they are stuck forever.

(from left) Nyla Chones (Celeste O’Connor), Millie Kessler in The Butcher’s body (Vince Vaughn) and Josh Detmer (Misha Osherovich) in Freaky, co-written and directed by Christopher Landon.

Landon co-wrote the script with Michael Kennedy, and they have cooked up a bloody good time. The characters are likable, the homages to iconic slasher films are great, and watching Millie find the confidence she seeks is a treat from start to finish. Millie is a senior at Blissfield High, and she isn’t having a good year. She is bullied, gets mistreated by her teacher, has a crush on a guy she believes doesn’t notice her, and isn’t having the best home life at the moment. Luckily, her friends Josh (Osherovich) and Nyla (O’Connor) are there for her during her highs and lows. Things take a turn for the worst when the Blissfield Butcher (Vaughn) stabs her one night after a football game with a bizarre dagger.

That is Freaky’s primary issue, this dagger is never explained, it only exists to ensure the body swap. It seemed like the Butcher wanted it for a reason, and perhaps it was just to swap bodies with someone or kill with a new toy. Millie spends the first bit of the film lacking confidence, but she finds it in the killer’s body. Millie was impressed by the strength she possessed, the intimidation she caused, but realized she could develop that in her skin and not in another man’s body. Besides having heart, Freaky unloads several jokes throughout its runtime that audiences will laugh endlessly at. There’s a particular joke involving a wiener dog that should leave a few people rolling. The family dynamic presented in Freaky is great as well. Millie’s household is going through a depression due to a recent tragedy and no one is sharing their feelings.

(from left) Josh Detmer (Misha Osherovich), Ryler (Melissa Collazo), The Butcher in Millie Kessler’s body (Kathryn Newton) and Nyla Chones (Celeste O’Connor) in Freaky, co-written and directed by Christopher Landon.

Millie’s mom is fearful of being alone to deal with her pain, so she doesn’t want Millie to go off to college, and Millie is happy to oblige. However, in the killer’s body, Millie cannot only gain confidence but she reveals her feelings to her mother and realizes moving forward with life is the best option for everyone. On a gorier note, this film pays homage to Scream, features some of the best kills in a horror film this year, and goes places Happy Death Day couldn’t due to its PG-13 rating. Vaughn and Newton are a pleasure to watch, as they navigate each other’s life. The Butcher spends his time as a teenage girl hunting down victims at Blissfield High, and the magic in this is how the killer is in Millie’s body demonstrating the swagger she desires to have. Vaughn is hilarious as this shy girl trapped in a killer’s body, and Newton eats up her scenes as a maniac parading around like a teenager at school.

The two do a tremendous job selling this body swap to the audience the second they wake up following Millie’s attack on the football field. Landon terrifically keeps you on the edge of your seat, builds tension in certain scenes, and demonstrates why he is the best at doing horror-comedies today. He makes you feel for the characters, creates fear, and illustrates a love for the slasher genre uniquely. Freaky has this beautifully crafted score by Bear McCreary that gets under your skin from the very beginning to set the mood. The cinematography by Laurie Rose is amazing, it assists in highlighting the great gore effects and helps enhance the overall narrative.

The Butcher in Millie Kessler’s body (Kathryn Newton) in Freaky, co-written and directed by Christopher Landon.

Freaky won’t be a sleeper hit like Happy Death Day, it will just be a hit because audiences know what to expect from Landon at this point. It shows endless appreciation for the slasher genre, includes some stellar performances, and it is very funny. Swapping bodies with a serial killer has no business being this fun, but Vaughn and Newton make it work and that’s all that matters.

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BUFFY THE VAMPIRE SLAYER #18 – Something Wicked Is In Those Symbols

By

Elizabeth Buck

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Available now from Boom! Studios, Buffy the Vampire Slayer #18, continues the Ring of Fire arc with delicious intrigue and twists. Writers Jordie Bellaire and Jeremy Lambert continue their run with illustrator Ramon Bachs, colorist Raul Angulo and letterer Ed Dukeshire.

Something’s not quite right with the Scooby Gang. Of course, making such a statement about the Buffyverse seems obvious. But there’s something more abnormal than the usual supernatural goings-on in this new issue.

If you’ve been following along with Buffy and the Willow spin-off series, you might have noticed some curious elements in the past few issues. Some symbols appear to have crossed over from the Willow series, while the meanings of others are becoming clear.

Putting It Together

Since the beginning of the Willow spin-off, I’ve wondered how its timeline aligns with the main Buffy timeline. In the Willow spin-off, Willow is still not Sunnydale. However, in Buffy the Vampire Slayer, Willow’s been back since the end of issue #16. Now, we have some choices on how to interpret this. Option number one is the Willow spin-off is running completely independent of the main timeline. Option number two is Willow’s timeline run concurrently with the main timeline.

Based on my reading of issue #18, the answer is option two with a twist. The Willow in issue #18 isn’t really Willow. Real Willow, meanwhile, is still in Abhainn. There are a few clues in the issue that lends credence to my theory.

Our first clue is Willow’s inner monologue and dialogue. The issue opens on a medium shot of Willow’s face looking tired and bemused. Willow asks, in her captioned inner monologue, “Why does it all feel like a dream? Is it my fault everything feels so… disconnected?” Later, Willow curiously accepts that Rose and Kendra are an item with aplomb. She then invites Rose over to her house with no ulterior motives. Bellaire and Lambert’s writing here combined with Bachs’ heavy inks and cross-hatching paints a mysterious picture.

The Fool

As someone familiar with the show, I’m reminded of season three, episode sixteen entitled “Doppelgangland.” In it, Willow and Anya accidentally conjure Willow’s evil vampire doppelganger, which leads to confusion and comedy. While I don’t think Lambert and Bellaire are going for an exact adaptation of that episode, I think something along those lines is happening here. When considering the meaning of The Fool tarot card from issue 16 and what Xander has been doing underground, it all makes sense.

The final act of the issue reveals that Xander is forcing Jenny Calendar to perform magic. When he says, “I need her with me,” it’s obvious he’s referring to Willow. So, he must be forcing Ms. Calendar to conjure Willow somehow. If this is the case, then perhaps a botched spell resulted in a Willow doppelganger.

The only symbol I can’t explain in the context of this issue is the crow. A single crow appears in a single panel in the middle of a conversation between Kendra and Willow. Because crows appear in two issues of the Willow series, I doubt this crow was just thrown in. Letterer Dukeshire gives us a loaded moment in which Willow saying “happy,” in response to Kendra’s comment on the Robin/Buffy relationship, happens at the same time the crow squawks. Perhaps this crow is a sign of bad things to come, especially relating to Buffy and Robin’s relationship.

Alas, nothing comes easy in the Buffyverse. Lambert and Bellaire continue to layer the story, stoking the flames of their ring of fire. By the end of the issue, Bachs dramatic cross-hatching and Angulo’s supernatural green send us on a dreamy journey with Willow’s astral form as she meets Xander. Now that he has her, the question is: Will the Scooby Gang kill one of their own? Given that the Willow/Xander storyline seems to be an adaptation of the Buffy/Angel relationship from the show, we’re due for some heartbreak in the ensuing issues.

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Review: MIGHTY MORPHIN #1 Is A Great Starting Point

By

Anthony Wendel

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Mighty Morphin #1 out this week from Boom! Studios is a fantastic addition to the Power Rangers franchise. The book is brought to life by Ryan Parrott (writer), Marco Renna (line art), Walter Baiamonte (colorwork), Katia Ranalli (coloring assistant), and Ed Dukeshire (lettering).

Summary

A new Mighty Morphin team has assembled to take on the deadliest threats to Earth – but who is the All-New Green Ranger by their side?

Writing

Ryan Parrott setups a central question to be answered in this new series: Who is using the Green Ranger power? The issue throws out some possibilities of who is using the power of the original Green Ranger but leaves it very open-ended. This plot thread grabs the reader’s attention as the entire Rangers team is off balance because of the mystery.

The issue also takes a lot of time to focus on Zordon. It showcases his time as a ranger on his home planet and seems to hint his past will be prominent in the new storyline. This, along with Baboo and the rest figuring out what to do with an unconscious Lord Zedd, adds to a lot of promise for what is to come with this new series.

Artwork

With Marco Renna on art, the issue offers a lot of hard-hitting action scenes. Characters deliver blows sending their opponents flying across the panel and deliver a visceral feel for the damage being inflicted. There is also a lot of attention being paid to the facial features showing when characters are passionate as they look into the mystery behind the Green Ranger’s identity.

The colorwork by Walter Baiamonte (wth assistance from Katia Ranalli) creates some very eye-catching visuals. Energy blasts feel powerful, character entrances feel dynamic, and the transformation sequence is perfectly captured thanks to the attention to colors. A special call out to the one-page splash pictured above is truly an eye-catching bit of art.

The lettering by Ed Dukeshire offers a great flow to the storytelling. As characters discuss the possibilities of who the Green Ranger could be, the layout of dialogue makes the reader feel like they are part of a strategy meeting. Also, using different colors on lettering and bubbles helps to give a distinct voice to certain characters as they speak.

Conclusion

Mighty Morphin #1 is a perfect jumping-on point for those hoping to get into Power Rangers comics. There are just enough callbacks to the previous series to feel like a continuation, yet not so many the reader feels like they are missing out on something. Anyways looking for a good action comic needs look no further than this issue.

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