INTERVIEW: Director Randy Ser’s Road To Making The Horror Film Cruiser

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October 8, 2020

Longtime production designer Randy Ser unleashes a torrent of terror in Cruiser, his second film as a director after working on films and shows like The Middle, The Mighty Ducks, and My Name Is Earl.

Ser’s new film, Cruiser, follows the unnamed titular character played by Tony Award-winning Shuler Hensley. Cruiser, the character, murders a cop then assumes his identity. It’s not too long before Cruiser’s kidnapped Tara Kirkland (Lori Beth Sikes) and holds her captive so that she can be witness to his martyrdom.

PopAxiom spoke with Randy about going from sunny South Florida to sunny Los Angeles, making his horror film Cruiser, and working with Sam Raimi on Darkman.

Childhood Dream

Randy Sur grew up in South Florida, where he recalls, “I always wanted to be a filmmaker. Since I was a kid, I was completely enamored by Universal horror films of the 30s; Wolf Man; Frankenstein; The Mummy; all those characters.”

In the fifth grade, Randy “got into a play in fifth grade, and it hooked me.” Hooked is probably too light a word. “I got an AA with an emphasis in design. I got a BA in theatre from Florida State. Then I followed that up with an MFA in directing from the Florida State School of Theatre.”

“It was a childhood dream,” Randy says, and he’s spent a lifetime living it.

For Randy, he “just wanted to be involved in the business. I knew it was not going to be easy to make a career at it, so I studied as much as I could to see what I could get going.”

After graduating, Randy “came out to LA,” he says, “I got a job with another Florida State alum teaching pre-school four hours a day. A lot of the parents there were involved in the entertainment industry. One of them got me a job in an industrial film.”

“A few months down the road,” Randy continues, “I got a job on a film called Exterminator 2.”

One of Randy’s early connections included designer Julie Fanton. “We ended up working together for 40 years until she retired recently. We worked on things like Darkman, The Mighty Ducks, and The Middle.”

All You Need

Randy’s directed two films. Is it a new goal to go from production design to directing? “I was trying to make the change for a long time. I was the second unit director on Burning Zone, also on a pilot for another series. So, I started branching towards what I wanted to do.”

Randy says he puts a lot of story into his design work. “In my heart, I’ve always considered myself a storyteller, so I wanted a chance to tell a story.”

During this period, Randy met Sam Hensley Jr. “We’ve been producing partners for over 25 years,” Randy says. “He showed me a novel that he thought would make a good movie.”

Sam turned the novel into a script and got it to Randy. “We all met up in Tallahassee and started to move forward with the script. That movie got a way down the road, we raised some money, we started to shoot the movie, and then the money fell out.”

Discouraged, but not defeated, Randy and Sam pressed on, “We wrote All You Need. We went out and raised the money independently and got to make our movie. It starred Kellie Martin, and because of her, we ended up selling the film, and it got a Thanksgiving premiere on Lifetime.”

After that, Randy “got involved in second unit directing on action films. I did all the car racing scenes for a film called Dirt and other films.”

About Cruiser

“During all those times,” Randy recalls, “Sam and I kept writing things and trying to get other movies going. We decided at one point that horror was the way to go. Sam had an idea for a look for a found-footage movie, and that’s what we ended up going with.”

Randy and Sam planted the idea of Cruiser, and it began to grow. “It’s proven to be rather timely. It’s a found-footage horror film, but also one that makes people think. A lot of the terror in Cruiser comes from the questions the movie brings up.”

“One question is,” Randy explains, “‘Does God let bad things happen to good people?’ In my estimation, there’s a lot to think about with that.”

In the film, “Cruiser [the character] has a message and has a way he wants that message to be seen. He does that by taking a woman captive who will bring his message to light. The message involves going out and dismembering people.”

“Cruiser’s not looking to become a celebrity,” Randy details, “but to bring his beliefs to the attention of the world.”

The message of Cruiser is what Randy thinks “the audience will be pondering a lot after going on a wild, blood and guts ride.”

Cruiser is a “found footage” film, but don’t let that label leave a lasting impression. It’s more than that. “I think what we’ve done with the film is; it’s not a single-camera found footage story. Part of what drew me to it is that we could tell the story in a cinematic way. Sam wrote it; then, we took it further by having the ability to use all kinds of different cameras; body cams; car cameras; cellphones; fixed cameras in parking lots and stores.”

At the heart of Cruiser is Tara, the woman forced to watch a living nightmare. “The performance by Lori Beth Sikes is going to pull the audience into the backseat with her.”

“I think the terror,” Randy says, “is not only being in the backseat while watching this man murder people but when Cruiser talks to Tara — to us — and we have to stare into his soul through the eyes in the rearview mirror.”

Filmmaking is a process that evolves over time. Randy and company added a new layer to the character based on Shuler Hensley’s skillset, which includes an incredible singing voice. “Cruiser sings in many languages while summarily executing his victims. The music he sings takes him to a timeless place, and he uses it to soothe his victims. These angelic sounds coming out during these demonic acts are also meant to confound the audience and their senses. We do that a lot in the film.”

Making Darkman

Darkman is a 1990 action-horror film from director Sam Raimi. It’s a cult gem, and Randy was there every day with the legendary director as a production designer. “Working with Sam was an amazing, creative adventure. He is a man that has a vision, and he will challenge you to interpret and bring that vision to the screen. We’d have so much fun together, acting out scenes, getting so intense we’d knock lamps off of tables.”

“Sam wanted to create a dark, comic book world,” Randy says, “What I brought to him was a love for Universal horror and the looks of those films.”

Randy explains, “I felt that Darkman’s world was between darkness and light, teetering on the brink of life and death, and that played into my favorite film, Frankenstein.”

For Randy, Frankenstein’s influence “showed up a lot in different areas of the movie. Darkman’s loft/lab, to me, was an homage to Frankenstein’s lab and playing with light and dark.”

“We had a two-story fire furnace,” Randy says, “which gave off the light to flicker on Darkman’s face. To me, that was a direct homage to the Tesla Coils in Frankenstein.”

Darkman starred Liam Neeson long before he had that particular set of skills. Neeson’s fame only fueled re-watches of Darkman. “That film still has a huge audience and resonates with today’s younger viewers as well. It just celebrated it’s 30th anniversary the day before Cruiser released.”

Wrapping Up

“Several films like Being There, Brazil, and Awakenings,” sent Randy’s creativity on fire. Directors like “Sidney Lumet and Stanley Kubrick” also left a long-lasting impression.

“My parents took me to the movies when I was a young kid in the 60s,” Randy shares, “and I watched a lot of films I probably shouldn’t have. There’s a number of voices and films that inspire me to want to tell stories.”

“Two of my all-time favorite horror movies,” Randy says, “are Rosemary’s Baby and The Exorcist. Those horror movies put things into the mind’s eye and then terrify you with your thought process.”

That seed of terror in the mind is alive in Randy’s film Cruiser. “We have plenty of blood and gore, but I think there’s that other side of Cruiser that’s going to go into the viewer. You’ll relive the visual terror, but more so the thought-provoking terror.”

Randy’s not a fan of remakes. However, he does say, “I would love to make my interpretation of Frankenstein. But I’d like to get away from that. Once a story’s told, let it be. I don’t know that as a storyteller that I’d want to remake something.”

Cruiser is out and about on a streaming service or VOD near you. So, what’s next for Randy? “Sam and I are developing some other horror and drama ideas. We’re waiting to see what happens with Cruiser before we commit to what we pull out of the sleeve and put in front of an audience.”

Is Cruiser on your watch list?

Thanks to Randy Ser and Projection PR
for making this interview possible.

Want to read more interviews? CLICK HERE.

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Review: TRANSFORMERS/BACK TO THE FUTURE #1 Is Saturday Morning Cartoon Fun

By

Gabriel Hernandez

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TRANSFORMERS/BACK TO THE FUTURE #1, available from IDW Publishing on October 7th, follows the Decepticons as they steal Doc Brown’s time machine to remake history for their own ends. Cavan Scott’s script is snappy and full of fun with plenty of easter eggs to delight the fans of either franchise.

Cover Art

This entire issue leans heavily on nostalgia, and Juan Samu’s cover is no exception. Marty and Doc Brown are giving their best “That’s heavy!” face when faced with their time-hopping DeLorean converted into an Autobot. The human costumes are movie accurate, the lightning rod from the first film is immediately identifiable, and the flux capacitor makes a pleasing guest appearance. Everything about this cover screams “fun.”

Writing

Great Scott, Cavan Scott! What a fun mashup!

To set the stage, this story picks up almost immediately after the events of the first Back To The Future (BTTF) film but with a twist. Transformers have secretly been observing the time-traveling duo, and the Decepticons decide to win the war against the Autobots with some timeline-altering shenanigans by stealing Doc Brown’s invention.

Nearly everything about this story works. The presence of the Transformers in this world is explained well. The plot makes total sense. And the callbacks/references to the characters from both properties are profuse and enjoyable. Scott also does a great job keeping the tone right in that sweet spot between “just silly enough for kids to enjoy” and “action-oriented enough for adults to have fun.” The only minor critique I have is around the occasional, jarring British slip in some of the dialog and narration (e.g. calling a “speeding car” a “flash motor”) that interrupts the flow of the story. If Editorial can catch those breaks in subsequent issues, this will be a near perfect script.

Pencils/Inks

Samu’s art perfectly matches the high energy and silly fun of Scott’s script. Rather than going for a unique design take or drawing inspiration from the modern films, Samu goes straight to the original cartoons for the Transformers designs. That was the wisest choice to further play on the nostalgia hooks of this issue.

The character designs are just cartoonish enough to not deviate too far from the source material but detailed enough to appeal to a slightly older audience. When translating recognizable actors to comics, it can be jarring when the rendering is so far off that the character looks like a random paper doll. Samu took the time to create a version of Doc Brown and Marty McFly that feels authentic and true to the actors without being a slave to realism. Samu figured out a great compromise between live-action and cartoon that pays respect to both without slighting either.

Coloring

David Garcia Cruz’s colors are generally quite good but with a few rough spots. The highlight of Cruz’s work is the electric blue lightning strikes when the DeLorean time jumps. They’re bright and powerful. Where Cruz’s coloring doesn’t quite work is in the overuse of purple in nearly every panel. You get the impression most of the scenes, night and day, are highlighted with black light bulbs.

Lettering

Neil Uyetake’s lettering is solid, clean and wholly organic for the subject matter. The Transformers emanate a whole gallery of sound effect from changing shape to shooting missiles to starting mini earthquakes, and Uyetake letters the sounds in such a way as to make them seem natural for the panel. Uyetake also made a wise choice by coloring the sound effects to match the object receiving the impact (e.g BONK! is colored the same blue as Starcream’s head when he takes the hit). It’s a small choice that strongly contributes to the integration of sound with the visuals.

Conclusion

TRANSFORMERS/BACK TO THE FUTURE #1, available from IDW Publishing on October 7th, is one of those rare mashups that lives up to expectations. The nostalgia and eater eggs in the story are amped up to 11, and the art will be satisfying for longtime fans and new readers. This is a fun little book that’s worth your time and money.

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How Lives Change in BLACK WIDOW #2

By

Cat Wyatt

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BLACK WIDOW #2, available from Marvel comics this Wednesday, continues the latest adventure for the one and only Black Widow. Only, that’s not quite the most accurate statement at the moment, as Natasha seems to be anybody but the Black Widow.

***SPOILER WARNING***

Natasha Romanoff has been many things over the years. An Avenger, a spy, a friend, an ally. Now she appears to be something new altogether, thanks to the latest plot arc. Her story is once again changing, and it’s difficult to guess how it will all turn out.

A glance from the outside makes Natasha’s new life look perfect. Like the sort of life one should leave her to – the sort of life she deserves. But the closer one looks, the more cracks appear. It’s clear that there is something nefarious happening behind the scenes. Then again, isn’t that commonly the case for heroes?

Black Widow’s latest series is already setting up to be bigger and bolder than ever. Taking on new perspectives, throwing new challenges into the mix, and overall just being unafraid to take risks in her story.

And so the story continues in Black Widow #2.

The Writing

Picture a perfect life for Natasha. Now, picture that perfect life, but with a mild Stepford Wive’s twist. Now, you have an idea of what Kelly Thompson has written in Black Widow #2. It’s a plot that is slowly unfolding with time, and the gradual progression is enough to send chills down shines. Which in itself almost feels odd, since everything does appear, at a glance, to be perfect.

What makes this issue unique isn’t the story itself (though there is that), but the way the story itself is told. Two famous heroes walk into the scene, and it’s their assessment that provides a glimpse into Natasha’s new life.

It’s a stark comparison to the other perspective, which allows for a subtle creep of what is wrong with this life. It’s so carefully crafted, both inside and out of the story. Here’s Thompson’s finesse shining through.

Every element and revelation in this issue felt like it was setting up for something more to come. Especially that final page, which in itself leaves a pretty strong impression on what is going to happen within the next issue. The scene has been set – now to see it all play out.

Natasha Romanoff’s new life – at a glance.

The Art

The artwork found inside Black Widow #2 is every bit as bold, driven, and dynamic as the leading lady herself. The colors pop off the page, as do small details that simply demand attention, even when logic dictates that it shouldn’t be so.

Elena Casagrande was the lead artist, and is responsible for all of the stunning poses and designs on the pages. Natasha is really rocking her new look, all while seeming quite at home with her new life. Meanwhile, the confusion and exasperation are palpable on those checking up on her.

Those bright colors were provided by Jordie Bellaire, and they are the perfect fit for Natasha’s story. The color palettes of each and every panel seem dominated by the characters stealing the scene – and their current state of mind. That means, at times, a certain shade of red feels almost inescapable.

VC’s Cory Petit’s lettering is the final touch that this issue needed. It handled everything from the perfectly ordinary scenes, to providing the necessary impact during more action-filled scenes.

Conclusion

Black Widow #2 is an intriguing issue, through and through. A fact that is surely only going to get stronger in time, as the rest of Natasha’s story unfolds. While her comrades may be confused about the situation, one thing is certain – it’s good to have a Black Widow series again.

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LOCKE AND KEY… IN PALE BATTALIONS GO… #2 Dares to Empathize

By

Zac Owens

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It’s easy to see someone as a monster and not a person. In fact, life is often simpler when we see those who disagree with us as being totally inhuman. Of course, there’s a price for seeing others as monsters, and it’s this price that writer Joe Hill, artist Gabriel Rodriguez, colorist Jay Fotos and letterer Shawn Lee are interested in. In IDW’s Locke and Key… In Pale Battalions Go… #2, this creative team revisits World War I and asks us to see something new.

Writing

Hill drops us in the middle of World War I in the first page of this issue, but we land in unfamiliar territory. We’re not following American or British soldiers, but German soldiers. The enemy. But what kind of enemy does Hill make us face? The most frightening of all. One with a human heart beating in their chest. These German soldiers don’t sneer at dead bodies, or get giddy at the idea of killing their opponents, they stand up to their leaders over the use of chemical weaponry. So when John Locke comes swooping in and German soldiers crumble in his wake, there isn’t a sense of victory. There’s a feeling of loss over human life, no matter the side they stood on. Hill humanizes the enemy to lead us into a final issue where we may not fully know who we’re rooting for.

Art

Rodriguez brilliantly shows in this issue how the brutality of war feels both personal and impersonal at the same time. Focusing in, at the opening of the issue, on discolored corpses choking on their own vomit, the brutality feels close and real. But when German soldiers are being brought down in large numbers, Rodriguez pulls us back. The scene no longer feels close or personal, but like it affects everyone. War doesn’t discriminate, it’ll take whoever it can get. Yet, in the final moments of the battle, we see an up close attack and the panicked look on a dying man’s face. This tension Rodriguez creates is both terrifying and depressing, just as war should be.

Coloring

Much of this issue seems monochromatic, even dull. Fotos uses many of the same colors, creating a kind of bland look on the battlefield. But the moments that stick out, stick out for a reason. The green canisters, and later green clouds, of chlorine gas stick with the reader, as do the bright red spurts of blood. It’s all the most difficult moments to swallow. The moments Fotos knows we want to ignore. But Fotos makes them impossible to ignore. Lastly, as soldiers enter a house, Fotos shows the juxtaposition of the earthy tones of the battlefield and the brighter tones of a welcoming home.

Lettering

One of the most noticeable things about IDW’s Locke and Key… In Pale Battalions Go… #2 is its lettering. Lee shows the confidence of these characters with the large balloons, full to the brim with dialogue. Their words aren’t parsed out or broken up, they’re like speeches with brief intervals. At one point, as two German brothers talk, Lee does with the balloons what the younger brother does with his dialogue. He’s saying his older brother isn’t like everyone else, says he’s still back in the classroom talking about ethics while the rest of them are all here fighting in the mud. But when he describes his brother, it’s in one balloon, and when he describes everyone else, it’s in another word balloon attached to its side. Through this, Lee creates a sense of alienation for the brother. He isn’t just divided from everyone else in how he acts, but even in how he is spoken about.

IDW’s Locke and Key… In Pale Battalions Go… #2 makes war feel universal. It focuses in on “the enemy,” and makes us like them. In so doing, it complicates the simple “right” and “wrong” of the battle and of this series’ plot. We’re left wondering who we’re rooting for. An American who revels in taking the lives of Germans, or Germans who are agonizing over the indecencies of war? IDW’s Locke and Key… In Pale Battalions Go… #2 is a brilliant new issue in a strong series, and it’s out October 7th at a comic shop near you!

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Review: Melancholy Is The Green That Binds Us In LEGEND OF THE SWAMP THING HALLOWEEN SPECTACULAR #1

By

Gabriel Hernandez

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Legend of the Swamp Thing Halloween #1, Perkins cover

LEGEND OF THE SWAMP THING HALLOWEEN SPECTACULAR #1, available from DC Comics on October 6th, follows Big Green’s anthology of life, loss, and revenge over the ages. Created by an assortment of artists and writers, this anthology is more tragedy than horror, and it reminds you that the green, crawling things of nature are as much a part of this world as we are.

[Author’s Note: For an atypical comic, this will be an atypical review. Each section will cover each short story’s art and writing in a quick-hit style so you can get a sense of the overall work. There will be some mild spoiler throughout]

At The Heart Of Trees

(Writer: Ram V, Artist: Mike Perkins, Colorist: Andy Troy, Letterer: Aditya Bidikar)

This is the wrap-around story of the anthology. Swamp Thing saves a boy lost in the swamp while the boy is cared for by one of the swamp’s tree spirits. The ancient tree spirit has taken on so much pain and grief from other lost souls over the years that the thought of this boy’s death drives it to unnatural means of protection. Swamp Thing frees the boy and offers comfort to the tree in exchange by sharing how Swamp Things of the past have given aid or wrought justice when needed.

This is one of the best stories in this anthology. Ram V does an excellent job establishing the players and their motivations, especially the Sheriff leading the search party. Every character has a past that’s scarred by the pain of loss, and it sets the tone for the rest of the book nicely.

Likewise, the art suits the subject matter perfectly with deep heavy lines and long dramatic shadows. It’s a mix that pays homage to Bernie Wrightson’s grotesque body-horror style and Gene Colan’s dramatic shadow work by nailing the deep sadness of the Halloween season… and the grave.

Ring Of Stones

(Writer: Phillip Kennedy Johnson, Artist: Dominike “Domo” Stanton, Colorist: Jeremiah Skipper, Letterer: Dave Sharpe)

Set in Druidic times when Roman forces occupied Britain, this short tells of a Roman commander who forfeits his allegiance to Rome and sacrifices everything in service to the Green and Britain’s native people.

Johnson’s story is the stuff of ancient legends where monsters rise to protect their people in mercilessly violent ways. It’s a stiff reminder that old rituals from even older cultures have a dark power that shouldn’t be taken lightly. More warning fable than revenge tale, this story portrays the most symbiotic take between Swamp Thing and the land people he protects.

The highlight of this entry is its utterly monstrous version of the Swamp Thing character as a patchwork beast formed from Earth’s elements. Hulk-like and raging, this version of the creature is an organic weapon of mass destruction. You could easily picture how such a beast effectively puts Britain’s country off-limits to the entire Roman Empire.

Sleeping Giant

(Writer: Vita Ayala, Artist: Emma Rios, Colorist: Jordie Bellaire, Letterer: Ariana Maher)

A girl seeks revenge for her sister’s death at the hands of a local sugar mill owner. Revenge, in this case comes, by way of a petition to waken the Green that rests at the base of the mountain at the heart of the island. The Green then raises a Swamp Thing to set things right.

Ayala’s story is the weakest in the anthology, not for its premise but its clunky execution. Several times I caught myself going back a few pages or panels to understand what was going on. This could be chalked up by a gap in a synergy between writer and artist, but the result is a lopsided story with a bait and switch for an ending that fell flat.

Mostly, the art in this story works to match the story’s jungle island flavor, but the big creature reveal near the end was odd. This version of Swamp Thing looked closer to a bizarre jungle flower plant with a wrinkled face. As far as a fresh take on Swamp Thing, this version is unrecognizable and misses the mark.

No Sign Of The Enemy

(Writer: Julian Lytle, Artist: John Timms, Colorist: Gabe Eltaeb, Letterer: Clayton Cowles)

This short would fall into the “alternate history” category. A Japanese soldier, abandoned on a remote island during World War II, continues his mission for decades with only the Green to keep him company before he meets a tragic end.

Emulating the real-world circumstances of Hiroo Onada, Lytle’s story leans heavily on the bitter pill of carrying out your duty against all reason. The main character chooses to endure any hardship from living alone on the Pacific island over the shame of returning home defeated while the war rages on. In the form of a small plant, the Green encourages him to give up his mission repeatedly over the years. Lytle crafts an interesting character piece about how easily honor and responsibility can devolve into obsession when left unchecked, with the spirit of Swamp Thing acting as a spiritual force instead of a physical one.

Despite the lack of physical representation from Swamp Thing, the art is loaded with intense and personal moments for the soldier. Even while carrying out such mundane tasks as digging a ditch, the offset camera angles imply a manic and desperate tone that escalates with each passing year in the soldier’s life. You can feel the soldier degenerating into madness with each panel until the bitter, final scenes where Swamp Thing appears for a saddened goodbye. This is the most emotional story of the bunch.

Age Of Discovery

(Writer: James Tynion IV, Artist: Christian Ward, Letterer: Travis Lanham)

The honor of most fantastical short goes to this story by Tynion IV. Spanish sailors motivated to plunder by greed, encounter an uncharted island that will take from the men much more than it gives. This is an interesting facet to the Swamp Thing’s history that shows the Green can be the very land itself.

Tynion IV has a knack for whimsy with a dark edge, and this story is no exception. Told through a young sailor’s eyes aboard the doomed ship, the narration starts on a note of excitement for the undiscovered future. Once the island’s nature is revealed, Tynion IV layers on creeping dread as the young sailor realizes how foolish and naïve he truly was. What makes the story more fantasy-like is the almost poetic narration style that gives the short a dreamy quality.

What sells the dreaminess of the story is Ward’s gorgeous art. The story becomes more horrific because the setting is bright, colorful, and beautiful. The art makes the island seem peaceful and the stuff of dreams the young sailor longs for, but once the island’s voracious actions take its toll on the crew, the dream shifts to a nightmare. And bonus points to Ward for the most esoteric, yet recognizable, interpretation of Swamp Thing revealed as a gut punch in the very last panel.

At The Heart Of Man

(Writer: Ram V, Artist: Mike Perkins, Colorist: Andy Troy, Letterer: Aditya Bidikar)

This story book-ends the anthology by revisiting the rescued boy from the first story many years later. The boy, now an old grandfather, encounters Swamp Thing and the Green during a camping trip and tells his own tale about his search for personal meaning after he was rescued all those years ago.

Ram V expertly captures a sense of tragic irony with this final short. A boy is so shaken by an experience that he spends his life searching for a way to justify his worth in being saved. At the very end, he fails to realize that the search itself was all the justification he ever needed and more. Here, like with No Sign Of The Enemy, it’s the desire to be more than we choose to believe we already are, which leads to obsession and a tragic end. And as with any good Halloween story, the hero who thinks he escaped his fate winds up right back where he started.

Conclusion

LEGEND OF THE SWAMP THING HALLOWEEN SPECTACULAR #1, available from DC Comics on October 6th, is a satisfying collection of tragic tales with an alternate version of Swamp Thing throughout history. There are more hits than misses, and it’s a melancholy collection that will put you in just the right mood for the holiday. Happy Halloween!

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Marvel Comics Exclusive: SAVAGE AVENGERS #17 Cover Reveal

By

Anthony Composto - EIC

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October 8, 2020

Marvel Comics Exclusive: SAVAGE AVENGERS #17 Cover Reveal

SAVAGE AVENGERS #17 hits your local comic book store in January, but thanks to Marvel Comics, Monkeys Fighting Robots has the privilege of revealing the cover and solicit text for you.

The comic is by writer Gerry Duggan and artist Kev Walker, with the cover by Valerio Giangiordano.

About the issue:
“BLACK SKIES” PART 1!

CONAN rings in the New Year on Ryker’s Island — which he promptly breaks out of with the help of…DEADPOOL. The two warriors fight together against the symbiotes of KNULL, and Conan makes a surprising discovery that may help him overcome KULAN GATH.

As the solicit text suggests, SAVAGE AVENGERS #17 will serve as a tie-in to KING IN BLACK, Marvel’s big winter event for 2020, and will pit Conan the Barbarian and Deadpool against the army of the Symbiote King, Knull.

Check out the SAVAGE AVENGERS #17 cover below:

Are you reading SAVAGE AVENGERS? Sound off in the comments!

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AfterShock Comics Exclusive Preview: WE LIVE #2

By

Anthony Composto - EIC

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October 8, 2020

aftershock comics exclusive preview we live #2

WE LIVE #2 hits your local comic book store November 18th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
The encounter with the Bengal Ripper puts the group’s survival to the test. Their lives now rest on Simon’s shoulders, but in the Broken Lands every wrong step comes with a consequence.

Tala and Hototo, now joined by their new friends, Humbo and Alice, find themselves dragged onto a new and unsafe path. Reaching the train to Mother Megalopolis Nine is becoming an uncertain milestone.

WE LIVE #2 is written by brothers Roy and Inaki Miranda, with art and cover by Inaki, colors by Eva de la Cruz, and letters by Dave Sharpe.

Check out the WE LIVE #2 preview below:

What did you think of the first issue of WE LIVE? Sound off in the comments!

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Marvel Preview: Many Are The Tales Of Old Dog Logan In WOLVERINE: BLACK, WHITE, & BLOOD #1

By

Gabriel Hernandez

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October 8, 2020

On November 4th, Marvel Comics will release the latest in their Black & White series with an anthology of Marvel’s favorite Adamantium mutant, Wolverine, in WOLVERINE: BLACK, WHITE, & BLOOD #1. This special preview cover, drawn by Ron Garney, gives readers a taste of what’s to come with Wolverine in all his violent, bloody glory.

You can check out the cover and read the full Marvel press release below.

Are you a fan of the Black & White series? What character would you like to see Marvel do next? Let us know what you think in the Comments section, and please share this post on social media using the links below.

WOLVERINE SLASHES HIS WAY TOWARDS HIS NEXT ADVENTURE IN RON GARNEY’S WOLVERINE: BLACK, WHITE, & BLOOD #1 COVER

New York, NY— October 7, 2020 — This November, fans will experience all-new tales of the best there in WOLVERINE: BLACK, WHITE, & BLOOD #1! These untold adventures are set throughout the storied saga that is Wolverine’s life and will be presented in unadulterated black and white format (with a healthy splash of blood-red). Told through the lens of an all-star cast of creators including Gerry Duggan, Donny Cates, Adam Kubert, Joshua Cassara, and Chris Claremont, WOLVERINE: BLACK, WHITE, & BLOOD promises to be Wolverine’s bloodiest comic yet and today, Marvel is proud is reveal Ron Garney’s variant cover for the debut issue. Known for his recent work on books like

Savage Sword of Conan and Juggernaut as well as decades of experience on books like Amazing Spider-Man and Captain America, the industry great brings Wolverine to life in an explosive cover that perfectly captures the brutal adventures this new series has in store for him. Check it out below and don’t miss WOLVERINE: BLACK, WHITE, & BLOOD when it goes on sale November 4^th!

WOLVERINE: BLACK, WHITE, & BLOOD #1 (of 4) (SEP200530)

Written by GERRY DUGGAN, DECLAN SHALVEY, and MATTHEW ROSENBERG

Art by ADAM KUBERT, DECLAN SHALVEY, and JOSHUA CASSARA

Variant Cover by RON GARNEY (SEP200532)

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Kamala’s Decision in THE MAGNIFICENT MS. MARVEL #15

By

Cat Wyatt

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THE MAGNIFICENT MS. MARVEL #15, available Wednesday from Marvel comics, comes right at the heels of Champions #1. Kamala Khan is awake, and boy, does she ever have opinions about Kamala’s Law.

The lineup for The Magnificent Ms. Marvel #15.

It’s safe to say that Ms. Marvel has been facing many changes and decisions, as of late. This pattern doesn’t seem to be slowing down, as Kamala and her underage allies make decisions about their rights as heroes.

The Magnificent Ms. Marvel #15 is, without a doubt setting up for something more. It is an issue that goes hand and hand with Champions #1 (something fans won’t want to miss), bringing the conflict into a whole new light.

Or, more accurately, shining a light on Kamala’s side of things. She’s been made into a scapegoat, adding insult to injury for the young heroine. It’s almost surreal, in a way, to see the same old argument rear it’s ugly head once again.

Ms. Marvel has become one of the most wanted heroes, by C.R.A.D.L.E. standards.

The Writing

The Magnificent Ms. Marvel #15 is a powerful issue, once again showing the heart that resides within Kamala’s series. She’s never been a hero afraid to tackle difficult discussions, which makes her the perfect perspective for Outlawed’s events (and fallout).

Saladin Ahmed’s writing made the complex situation that is Kamala’s life feel so incredibly relatable here. While also reminding fans of everything else that she has gone through in recent times – recently enough where she hasn’t had much if any, time to cope. It’s a relevant reminder and could very well factor into decisions made. If nothing else, it stands to remind us of her character, which never hurts.

This issue is a delicate balance. On the one hand, there’s the raw buildup, the rising tension surrounding C.R.A.D.L.E., and everything it stands for. On the other hand, there’s that reminder of hope. A hope that resonates so beautifully within the Marvel universe and shines through when times are at their worst for heroes.

While the future may be uncertain, one this is clear (and will always be clear), there will always be a hero willing to step up. Right now, that hero is Ms. Marvel, and with her we’ll likely see many Champions standing by her side.

Meanwhile, the reporters want to get their hands on Kamala Khan.

The Art

The Magnificent Ms. Marvel #15 is vibrant, and the tension practically vibrates off the pages. Minkyu Jung (art), Juan Velasco (inks), Ian Herring (colors), and VC’s Joe Caramagna (letters) all worked so hard to bring this particular plot to life, and it shows.

This issue had a lot to show and very little time to do so. As such, the artists carried much of that weight, allowing the story to be told to the fullest. The plight is made clear, as is the fact that Kamala isn’t over everything else that has happened this year.

Her emotions and the emotions of many of her friends are all over the place, reacting to events as they happen. The colors themselves seem to reflect that, bringing about a cohesive look. Ironically, even the weather of this issue seems to be an agreement on that.

There’s one especially moving series of events towards the end of this issue. It’ll raise the hearts of many a reader and bring flashbacks to other inspiring moments in Marvel history. The artwork enhanced that entire scene tenfold.

Somehow this welcome back doesn’t feel so…welcoming.

Conclusion

The Magnificent Ms. Marvel #15 is an issue we’ve been waiting for. Yet it also works nicely in regards to another release this week. Together they tell a story that rings a bell to many Marvel fans, yet it still feels different.

Once again, the heroes of a generation are getting a chance to show fans what they are made of, all while being forced to make some of the hardest decisions of their lives.

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Review: THE AMAZING SPIDER-MAN #850 – A Spectacular Super-Sized Experience

By

David Weber

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The Amazing Spider-Man #850, out now from Marvel Comics, is a super-sized anniversary issue comprised of four fantastic stories of everyone’s favorite wall-crawler.

The Amazing Spider-Man #850 Main Story

The main story that comprises most of the issue is a continuation of the current The Amazing Spider-Man run and follows Peter as he helps prevent the Green Goblin from being “cleansed” by the Sin-Eater. Many of Spider-Man’s friends, going by the new name “The Order of the Web,” want Peter to let the Sin-Eater cleanse the Green Goblin, and are out to stop him. Nick Spencer successfully, as always, makes the story riveting on nearly every page, and builds up to an exceptional cliffhanger that leaves fans desperate for the following issue. Another aspect of The Amazing Spiderman #850’s story that Spencer handles remarkably well is the writing of Norman Osborn. The Green Goblin is given several moments to highlight the infamous villain’s maniacal soul, and Spencer does an amazing job of chilling the reader through dialogue.

The art of The Amazing Spider-Man #850’s main story was penciled by Ryan Ottley, Humberto Ramos, and Mark Bagley, and was inked by Cliff Rathburn, Victor Olazaba, and John Dell. The artists each worked on one of the three chapters of the story, each having a distinct style. While each chapter featured a different penciler and inker, there were many common links between the three chapters. For one, the action scenes were immaculate throughout the entire issue. There was also always an excellent choice of framing and even some unique framing choices that stood out.

The Amazing Spider-Man #850 features the talent of the colorists Nathan Fairbairn, Edgar Delgado, and David Curiel. Each worked on separate chapters of the main story, and each did a wondrous job at helping the story be visually stunning. Chapter 1 was full of vibrant colors that worked well with the stylized line art, and similar coloring of this returned in Chapter 3. Chapter 2 featured some coloring that seemed slightly bland, but this choice reflected the story’s tone well.

“All You Need”

“All You Need” is a fantastic short tale by Kurt Busiek that encapsulates what Spider-Man is all about very well. Going back to earlier times, Busiek tells Peter’s story while he is a junior in college. The story has every component that makes an enjoyable Spider-Man story: an interesting villain, lots of snappy dialogue, and maybe even a little romance. The story is full of fun and is a wonderful short read.

The pencils of Chris Bachalo and inks of Tim Townsend provide for some stunning art in “All You Need.” I believe the most notable aspect of their fine work is the expressiveness of character’s faces, and the monsters — despite being slightly silly in concept — were portrayed to be tremendously menacing.

Bachalo was also the colorist for The Amazing Spider-Man #850‘s story “All you Need,” and utilized a light green background to compliment the massive amounts of red in the story. The tale also features a brief flashback to prior events, given no color besides certain objects to highlight their importance. This tactic does a great job of clarifying the scene shown was a flashback, but the choice of going nearly without color for a substantial portion of the entire story was odd.

“Four Shoes”

“Four Shoes is a story unlike most, and will easily leave you deeply curious and confused multiple times. The story of Tradd Moore features Spider-Man falling into a fantasy world, and even with the small number of pages, the story can twist in ways you won’t expect many times.

The art of Tradd Moore does an amazing job of complementing the story he put forth and is exceptionally unique. Moore is absolutely not afraid to break the status quo, which is blatantly clear once you see some of his framing choices later in the tale. Moore’s art is truly one-of-a-kind, and reading “Four Shoes” is a pleasant change from the styles Spider-Man is typically drawn in.

Tamra Bonvillain does a tremendous job of coloring the work of Tradd Moore. His bright colors go so well with the strange art style and help establish the fantasy world that Spider-Man enters into. Every page is so densely packed with a wide variety of colors that a first glance at each leaves you with a lingering feeling of awe.

“A Family Affair”

“A Family Affair” is a delightful short tale of Spider-Man encountering one of his oldest foes’ granddaughter. The dialogue of Spider-Man features some of my favorite quips in The Amazing Spider-Man #850, and Saladin Ahmed explores the theme of not always trusting those closest to you in a heartfelt way.

The art of Aaron Kuder is some beautiful semi-realism, and the fight sequence that comprises most of the story is a sight to behold, full of action lines to give the illusion of speed and forms that always seem they are in the midst of the action.

The colors of “A Family Affair” do an extraordinary job of immersing the audience in the story’s scene. However, there is little variety in the color palette due to the story taking place mostly in one small spot in New York City. The limits of the background hamper the story’s potential, which I believe could have been improved immensely if there was a wider spread of images for the background.

The Amazing Spider-Man Lettering

Each of the stories in The Amazing Spider-Man #850 utilized the talent of VC’s Joe Caramagna for their lettering, and his skill shown throughout the issue very clearly. It did not matter whether the tone of a scene had changed or if the art style was entirely different, Caramagna was able to adapt and bring solid lettering throughout the issue. For example, in “Four Shoes,” Caramagna provided captions similar to those from fantasy comic books set in the Middle Ages. It paired wonderfully with the fantasy world the story was set in.

Conclusion

There is so much to say when discussing The Amazing Spider-Man #850. I could fill page after page of what I thought of each of these stories, and what strategies the writers, artists, colorists, and letterers used to tell such an astonishing story. Every page is an absolute pleasure to look at, and the super-sized issue is filled with so much content, it is sure to leave you satisfied with the book you purchased.

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