Review: THE AMAZING SPIDER-MAN: THE SINS OF NORMAN OSBORN – More Reveals and Reasons to Keep Reading

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The Amazing Spider-Man: The Sins of Norman Osborn Cover

The Amazing Spider-Man: The Sins of Norman Osborn, published by Marvel Comics, is an outstanding issue that keeps the energy high in the Sins Rising Event.

About the Book:
The Amazing Spider-Man: The Sins of Norman Osborn is a direct follow up to The Amazing Spider-Man #48, and continues with Spider-Man heading into the Ravencroft Institute to protect Norman Osborn from the Sin-Eater and his army of followers. It also leads up to issue #49 of The Amazing Spider-Man, which is also known as The Amazing Spider-Man #850.

The Amazing Spider-Man: The Sins of Norman Osborn Story

Nick Spencer is a master at giving the reader reasons to continue reading. For example, The Amazing Spider-Man: The Sins of Norman Osborn has a scene before its opening credits that raises an interesting question that is not answered until very late in the issue. Spencer has done this throughout all of the Sins Rising event, and it has made each comic an absolute pleasure to read. There are always mysteries that need to be resolved, and each issue answers questions while raising new ones. It is an excellent way to make each comic an enjoyable read while also leaving enough unresolved, so there is a want to continue following the event.

This one-shot has everything that you’d expect from a tie-in to the Sins Rising event: new reveals, insight into character motivations, and a lot more interesting developments. It seems the event constantly has other Spider-Man characters introduced to play a part in the event, and The Amazing Spider-Man: The Sins of Norman Osborn does not hold back on that front.

Art

Federico Vicentini absolutely kills in The Amazing Spider-Man: The Sins of Norman Osborn. The action scenes are stunning, and the use of blurred lines to show motion in several panels in a row does a phenomenal job of causing a scene to seem slowed down. The way the characters’ faces were drawn throughout the one-shot was very expressive and helped many scenes that were mostly comprised of dialogue come to life.

The Amazing Spider-Man: The Sins of Norman Osborn at first seemed to have a very bland color palette — since most of the issue takes place in the Ravencroft Institute, which features little color — but later in the comic, the skills of Edgar Delgado became apparent. In the many scenes that were flashbacks or dreams have a nice distinct tone that helps highlight the drama. Towards the end of the issue, new areas are introduced that have a more pleasing variety color, and an action scene where Delgado is allowed to shine with some colorful backgrounds and brightly colored blasts.

The lettering of The Amazing Spider-Man: The Sins of Norman Osborn makes the dialogue of the story flow with ease and packs a punch in the action scenes. VC’s Joe Caramagna uses many different bold texts to make sound effects stand out and add to the blows exchanged in the combat. At one point, a thick red outline is used on a speech bubble, which does a perfect job of expressing the loud shriek of anger.

Conclusion

The Amazing Spider-Man: The Sins of Norman Osborn is full of the reveals and unresolved mysteries that make the Sins Rising event so enjoyable to read, and the art and lettering are fantastic complements. The one-shot would always be worth the read just so you could follow along with the thrilling event, but it can more than stand on its own. The one-shot is also the last issue leading up to The Amazing Spider-Man #850, and it does a brilliant job of setting the stage for the super-sized issue.

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Review: JUSTICE LEAGUE #53 – Dick Grayson’s Wild, Post-Apocalyptic Adventure

By

Corey Patterson

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JUSTICE LEAGUE #53, available in comic book stores on Tuesday, September 15th, details the fallout of various Justice League members following the Dark Multiverse invasion. But the story places the main focus on Dick Grayson, who finds himself in the midst of the Batman Who Laughs’ new world. Fortunately, he has a League member and one unlikely ally to help him navigate the war zone.

Story

This issue places its initial focus on an unlikely character—one who has recently had his memories lost, scrambled, and restored. Dick Grayson, said character, notes this as he laments the difficulty of dealing with an invasion on top of his trauma. But after detailing the memory of his first encounter with the Justice League, readers will find that the Boy Wonder is up for the challenges ahead.

The story immediately breaks to the present, focusing on the full grown Grayson in the post-apocalyptic Dark Multiverse world. We found his attitude surprisingly uplifting given the state of affairs. He remember how he wanted to become a League member. And now that they’re all MIA, he draws inspiration from the fact that he’s one of the only heroes who can save them.

Writer Joshua Williamson conjures up a wild narrative full of adventure, fights, and unions between unlikely allies. It’s thrilling to see Grayson join up with Hawkgirl and Detective Chimp in this post-apocalyptic world of the Batman Who Laughs’ design.

Artwork

The illustrations within this issue are the perfect pair with the written narrative. Xermanico’s penciling and ink work, combined with Romulo Fajardo Jr.’s coloring, gives readers two very different sets of panels—those before the invasion and those after. The former are more hopeful, full of color and sleek suit designs for the League members. But the latter detail the characters with sharp lines to reflect the harsh reality they’ve been forced into. And to top it all off, Tom Napolitano’s lettering blends onomatopoeia fonts in with the changing landscapes to reflect the chaos.

Conclusion

JUSTICE LEAGUE #53 brought on a whole set of new challenges for Grayson and the other heroes, each more interesting than the next.

Do you think Grayson will be considered a League member after these events? Let us know in the comments below!

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Marvel Preview: Join The Wild Hunt In NEW MUTANTS #14

By

Gabriel Hernandez

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September 14, 2020

When the X Of Swords ends, the Wild Hunt begins. Marvel Comics has announced the creative team of Vita Ayala and Rod Reis will take over NEW MUTANTS beginning issue #14, available to retailers this December.

Says Marvel of the New Mutants team post X Of Swords: “On the edge of mutant society, the younger generation of X-Men cut loose in the Wild Hunt—going big, blowing things up, and combining powers to see who gets crowned king of the mountain!”

You can check out the nifty cover by Reis previewing the upcoming issue and read the full Marvel press release below.

Are you excited to see where the New Mutants fit in the post-X Of Swords status quo? Let us know what you think in the comments section, and please share this post on social media using the links below.

VITA AYALA AND ROD REIS TAKE THE NEW MUTANTS ON A WILD RIDE IN THE AFTERMATH OF X OF SWORDS!

See the start of the new creative team this December in New Mutants #14!

New York, NY— September 14, 2020 — Vita Ayala makes their NEW MUTANTS debut this December, launching the book into a thrilling new era as the series’ new writer! Ayala will be joined by artist Rod Reis, a rising superstar who’s already brought his unique and kinetic art style to earlier issues of the hit series.

On the edge of mutant society, the younger generation of X-Men cut loose in the Wild Hunt—going big, blowing things up, and combining powers to see who gets crowned king of the mountain! In the aftermath of X of Swords, a mysterious threat has taken root on Krakoa. This ancient enemy is powerful, hungry, and all too familiar to the New Mutants, and it’ll take X-Men from all generations to stop it. Join Magik, Dani Moonstar, Karma, Warpath, Wolfsbane, Warlock, Scout, and more of your favorites in an unpredictable series that will explore uncharted territory of the new mutant status quo that kicked off in Jonathan Hickman’s groundbreaking

House of X!

“The New Mutants (as a group of characters, and as a book) are the center of the Venn diagram of things that I love, and I am honored and stoked as all get out to be able to follow Jonathan [Hickman] and Ed [Brisson] on the title,” Ayala said. “The New Mutants are perfectly situated to start digging into some of the weird and dangerous stuff that lies just under the surface of the new Krakoan nation, to go poking at things that bite back, so expect them to be getting into all sorts of trouble…

*ominous laugh*”

Be there for the next great X-Men saga when NEW MUTANTS #14 hits stands this December! For more information, visit marvel.com.

NEW MUTANTS #14

Written by VITA AYALA

Art and Cover by ROD REIS

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Marvel Comics Exclusive: The FANTASTIC FOUR Take A Road Trip In December

By

Matthew Sardo

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September 14, 2020

Marvel Comics Exclusive: FANTASTIC FOUR: ROAD TRIP #1

Monkeys Fighting Robots has the scoop on a one-shot coming from Marvel Comics in December, FANTASTIC FOUR: ROAD TRIP #1, written by Christopher Cantwell with art by Filipe Andrade. Valerio Giangiordano’s cover looks like Marvel’s First Family will be ripped apart, piece by piece (literally!).

About the one-shot:
The Fantastic Four have earned some much-needed time away from the job, and Reed has planned a — well, fantastic — old-fashioned family vacation to the Grand Canyon for some good rest, relaxation, and team-bonding time. But Reed’s manic mind can’t quite disengage, and soon an obsessive side experiment he brought with him has all of them experiencing gruesome and terrifying side effects from his strange specimens. As everyone’s bodies begin to horribly go awry on a cellular level, it’s a race to solve their lethal affliction; all while stuck in a remote Arizona cabin with no help for miles.

When you think of the Fantastic Four, the perception is a cosmic, big concept team, so to turn the tables on them with an intimate cabin in the woods, body horror tale is impressive and exciting. From films like Scream, A Cabin in The Woods, and I Know What You Did Last Summer, you can already hear Johnny and Ben yelling at each other as the story unfolds, and the tension rises. Cantwell explains his concept for the one-shot.

“Getting a crack at the world’s most famous superhero family is a real gift and it immediately made me want to write a story about the very idea of family… so what better genre than the famed family road trip? Why not throw the Storms and Grimms in a station wagon and send them on an ol’ fashioned trip to the Grand Canyon where they can get on each other’s nerves as only family can do? Oh, and did I mention I’m a huge fan of David Cronenberg’s body horror movies? I think we ended up with something quite disturbing in this tale,” said Cantwell via Marvel Comics.

Are you excited for a Fantastic Four horror tale? Comment below with your thoughts.

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AfterShock Preview: A New Type Of Killing Joke In KNOCK ‘EM DEAD #1

By

Gabriel Hernandez

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September 14, 2020

AfterShock Comics announced a new series about an amateur comedian who accidentally learns to tell killer jokes – in more ways than one – in KNOCK ‘EM DEAD #1, available on December 2nd. The new series, written by Eliot Rahal, takes a fresh stab at the supernatural horror comedy genre.

Says Rahal about the new series: “Knock Em Dead is about fame, family and addiction. It’s a supernatural horror story about a stand-up comedian and the grind of trying to make it…” You can check out a cavalcade of preview images and read the full AfterShock press release below.

Are you a fan of supernatural horror comedies? What did you think of the other AfterShock series written by Rahal – MIDNIGHT VISTA and HOT LUNCH SPECIAL? Let us know what you think in the Comments section, and please share this post on social media using the links below.

KNOCK ‘EM DEAD #1 / $4.99 / 32 pages / Color / On Sale DECEMBER 2

Writer: Eliot Rahal

Artist: Mattia Monaco

Colorist: Matt Milla

Letterer: Taylor Esposito

Cover: Andy Clarke with Jose Villarrubia

Incentive Cover: Tony Harris

Sometimes you kill. Sometimes you get killed. But no matter what, everyone dies the first time they go on stage.

Pryor Brice has always wanted to be funny. And now, he’s taken the plunge and started doing stand-up comedy. Unfortunately, his older sister – Ronan – wants her brother to stop daydreaming and focus on his future.

Pryor is determined to succeed…the only problem is: He totally sucks at stand-up. That is…until an accident changes everything, leading both Pryor and Ronan to discover comedy isn’t all it’s cracked up to be.

KNOCK ‘EM DEAD is a supernatural horror about comedy, brought to you by writer Eliot Rahal (MIDNIGHT VISTA, HOT LUNCH SPECIAL) and artist Mattia Monaco.

ELIOT RAHAL ON WHAT THE BOOK IS ABOUT AND WHY HE IS EXCITED FOR IT TO BE RELEASED:

“Knock Em Dead is about fame, family and addiction. It’s a supernatural horror story about a stand-up comedian and the grind of trying to make it—the mistakes you make and the people you hurt along the way. I love stories about the young artist trying to get big. However, we’ve seen so many different versions of it. And I wanted to make sure Knock Em Dead walked a different way. And thanks to Mattia and Matt’s work. It does. This is something scary. And it feels real.”

ELIOT RAHAL ON SOME OF HIS INSPIRATIONS BEHIND CREATING THIS BOOK:

“I began my journey as a writer performing and writing stand-up comedy. I was a cast member at Chicago’s iconic Lincoln Lodge. And that experience was very formative for me. It’s the time in my life where I made the most mistakes. However, I did and still continue to have the privilege of knowing some incredibly talented/friends who have gone on to such amazing things. Also Stephen King and Jason Aaron’s work we’re huge influences on this. Along with American Werewolf in London.”

ELIOT RAHAL ON (3) REASONS WHY COMIC READERS SHOULD PICK UP THIS BOOK:

“Mattias Art. Matt’s colors. Taylor’s letters.

Also because it beautiful. And that this story is like King of Comedy meets the Frighteners. Or that Aftershock did a really great job helping me put this all together. That’s 6 reasons that are all really just the same.”

MATTIA MONACO ON HIS APPROACH TO THE ARTWORK:

“My goal with the Knock Em Dead artwork was to find a sign that, even with a load of details on both the characters and the environments, could convey a sense of speed, dirt and an almost aggressive feel. I tried to alternate detailed environments, with black and white backgrounds. Sober faces, with grotesque, almost funny faces. Sharp shadows with strong lights.

All surrounded by lines that become darker with the story itself.”

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LIGHTNING MARVAL #1: A Fun And Quirky Romp For Serious Times

By

Jake Palermo

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Lightning Marval #1 is the first issue of a passion project by writer/artist/publisher Warren Montgomery shipping this week. With most other modern comics trying to be serious, this story brings out some Silver Age quirkiness. Whether you prefer digital or special order physicals, this series is great for laughs.

Background

According to Montgomery, Lightning Marval was originally conceived as a Superman parody called Lightning Man. After the proposal was rejected by publishers, Montgomery worked as a letterer and colorist on various small titles (including Albatross Funnybooks’ Hillbilly and T Pub’s Stan Lee’s Lucky Man), but the creator always kept his idea close. After starting his own company, Will Lill Comics, Montgomery changed “Lightning Man” to “Lightning Marval” and the character debuted in the pages of Monty’s World, the publisher’s flagship anthology, where regular collaborators Ron Stewart and Luis Rivera gave the superhero a more serious look.

Now, Montgomery is republishing Lightning Marval in his own self-titled book, redrawing it in the cartoony style that the creator always intended.

What is Lightning Marval

Lightning Marval tells the story of Freddie Fruitt and F’rel, two people sharing the same body. In a mashing of both Superman and Shazam, their origin revolves around coming from outer space while wrapped in golden duct tape. They were later adopted by coffee corporation owners the Fruitts in the city of Portland, Oregon. Now F’rel spends his day as the superhero Lightning Marval, while Freddie spends his time as Vice President of his parents’ company. Freddie has domestic things to worry about, including his girlfriend Lisa and where his relationship with her goes. Meanwhile Lightning Marval deals with supervillains who are as absurd as they come, like Muscleman Guy.

Lightning Marval #1 Story and Art Mingling

Lightning Marval #1 plays with the more serious aspects of its debut with the art in its opening page. Everything is simple if somewhat realistic — at least until the superhero hijinks ensue, because superheroes are inherently absurd. The simple and cartoony character designs take over to put readers at ease. Even the dialogue of characters like the Muscleman Guy and odd-looking faces and semi-relaxed body language of security guards are fun to watch. These character try to be serious, but instead are genuine comic relief. Their plot relevance is to serve as one-time jokes that never get stale.

The heroes of this story never miss a beat when it comes to this tone of characterization. F’rel always feels like the most sane person in the room with his witty remarks. He’s the wisecracking hero who handles serious situations with some levity, unlike his human alter ego Freddie who tries to be serious with more authenticity than most characters. Even Freddie’s goatee and glasses try to evoke more maturity compared to F’rel’s clean shave look. Yet Fruitt is still good for a laugh through his carelessness, like when he mistakenly leaves a $1000 bill in a hurry. It’s hard not to laugh at and with everything in this comic. Especially when everything is written, drawn, lettered, and colored by Warren Montgomery. The creator’s having fun and he wants the audience to have fun with him.

Spend Some Time With Lightning Marval #1

Lightning Marval #1 is the result of a creator putting everything he loves about superhero absurdity. With a company all his own to publish it and some updates, it finally comes to life. With current events getting more serious, a good laugh in some genuinely funny situations would be great. So stayed tuned for more developments at these retailers: IndyPlanet, DriveThruComics, Amazon.

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Review: ALONE Offers Thrilling Game Of Cat And Mouse

By

Eric Trigg

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Alone waste no time getting you on the edge of your seat, but neglects its central characters. This is the latest film to keep things short, simple, and straight forward. This formula will have you engaged throughout its short runtime, as you watch two people try to outsmart each other.

Similar to Unhinged, this film gives us a sympathetic lead who is going through a hard time, and a bonkers antagonist who wants to make it worse. Alone will create fear for those who can relate to this situation, or many who fear this happening to them during a quiet getaway. Directed by John Hyams and written by Mattias Olsson, the film stars Jules Willcox, Anthony Heald, Jonathan Rosenthal, and Marc Menchaca. Alone centers on Jessica (Willcox), a recent widow who is kidnapped during a solitary trip by a killer. Upon escaping, she is forced to use the surrounding wilderness to find safety.

Placing a widow at the center of your narrative will instantly give viewers a reason to get behind Jessica. She is struggling to cope with her husbands death, has issues in her family, and just wants to be happy again. The script gives us enough details to understand her situation, so audiences will feel for the character. Her abductor, simply called Man (Menchaca), approaches her car after a mild road incident. At first, he is very calm and friendly, then Jessica’s attitude towards him changes once she notices he is following her.

From there, Alone transforms into a thrilling survival adventure. The film takes place mostly in the woods, so for Jessica this a very frightening position since she has no knowledge of her surroundings. Willcox gives a terrific performance, and so does Menchaca. Menchaca is the standout here, as he chillingly transitions from this nice stranger into a complete psychopath. In fact, he does it quite often in the film to throw off individuals Jessica reaches out to for help. His ability to shift gears like that in the role is something that has to be recognized.

As mentioned, the characters are well acted, but they are pretty bland otherwise. Again, there’s enough given to sympathize with Jessica, but not enough to care what happens to her. Alone‘s pacing will cause a few rapid heartbeats, though it’s quick pacing leaves little room to become invested in the victim or the abductor. Also, there’s no progression of Jessica’s character since she is still stuck with her grief in the end. Still, Hyams does such a great job building the tension, suspense, and makes this plausible scenario entertaining to sit through. He took a simple premise and cooked up a survival horror that many will enjoy.

The way certain scenes are shot in order to show just how out of her element Jessica is, make the film much scarier. Behind all of its tension, Alone features a heart pounding score by Nima Fakhrara. This helps intensify the dangerous situation our protagonist finds herself in. At its core, Alone is just a another survival horror film with no point to it, but it may make several viewers reconsider going on vacation by themselves next time.

Alone is a straight forward film that wants to make your heart race for over an hour. Luckily, this simple premise is brought to life in a very familiar but solid way. Going on road trips can certainly be scary, so this premise will strike fear in many. Overall, its a decent indie treat that follows similar beats to films that came before it, but still manages to immerse you in its narrative.

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Review: ANTEBELLUM Makes The Past The Present

By

Eric Trigg

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Antebellum is another social commentary based horror film, but it’s no Get Out. American racism being addressed in horror films has been a trend lately, and while Antebellum is a solid feature overall. The message felt watered down due to script issues lead by an M. Night Shyamalan twist.

The structure of Antebellum is what keeps you on the edge of your seat, and it’s the same structure that undoes a lot of the thrills throughout. The film flashes between different time periods, and it’s a strong element until isn’t. Directed and written by Gerard Bush and Christopher Renz, the film stars Janelle Monae, Eric Lange, Jena Malone, Jack Huston, Kiersey Clemons, Gabourey Sidibe, and Marque Richardson. Antebellum follows Veronica Henley, a successful author who finds herself forced into slavery. It’s very difficult to talk about this film without spoiling the surprises. However, it doesn’t do a great job hiding them at all and that’s one of the weaker aspects.

As mentioned, it’s divided into a few different periods, but all of them will connect once the credits near. Janelle’s character names are Eden and Veronica. Veronica is the central focus of the story, but discussing the two characters in too much detail would ruin everything, and Antebellum does that enough on its own. The script doesn’t really give you enough details to care what happens to Eden or Veronica. You’re expected to get behind both Eve and Veronica based on the racial issues they are both trying to battle. You spend the first half of the film with Eden on this plantation only to transition to Veronica’s life.

Their lives are very different, yet the same all at once. Once the twist comes, it’s scraps any sense of development for either character. What this script does get right is creating fear out of harsh realities. Slavery is a scary, and disgusting past for African Americans, but most of this fear comes from pages in history books. Antebellum wants to take those pages from history and bring them into the present. It’s a reminder that our past is still relevant today. Sadly, the imagery in this script may be a bit much due to the lackluster handling of its twist.

Monae is great in both roles, she captures the fear of Eden when necessary and the courage of Veronica. Her performance will make certain scenes with Eden very unsettling, but it’s a testament to her acting cops. The entire cast is a delight from start to finish and its a shame the film kind of fumbled towards the end. The scenery is beautiful, and there’s a great tracking shot at the start of the film. Antebellum has numerous components that it get’s right, but it just tries too hard to be clever about a twist it spoils with an opening quote.

Certain scenes should have been structured differently into the film because you know whats happening after Veronica gets abducted. Bush and Renz do fine as co-directors and help establish the unease you feel with Eden and with Veronica as well. The tracking shots are a nice touch, and the cinematography from Pedro Luque makes the film visually pleasing to watch.

Antebellum is going to divide audiences for sure because while it has a message that it gets across, the closer we get to the finish line, the more messy the story becomes. Flaunting your twist multiple times throughout isn’t a good look either, given that the end of the film tries to give a cathartic effect. Antebellum wants to be great, but makes too many narrative mistakes.

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Review: The Family goes to War in THE FLASH #761

By

Jose "Jody" Cardona

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The Flash Family Reunion

The Battle for the Flash Legacy continues! After being called out by Impulse, Thawne(still in control of Barry’s body) tries to take out the family but is stopped by Jay Garrick. The villainous speedster begins to lose control and runs to find his Legion. The Rogues, Grodd, and Tornado Twins were ordered to exhume the body of Nora Allen. Realizing this is a step too far, the Rogues refuse, allowing Barry to escape. Now in control of his body, as well as releasing Jesse Quick and Max Mercury. Realizing he is vastly outnumbered, Thawne pulls one last trick: gathering every flash villain in history! How will the family overcome this?

**Some Spoilers Below**

Story:

After an opening in the 853rd century, we watch the ultimate battle unfold. The Flash and his family begin to get overwhelmed by the sheer amount of villains Thawne brought. Max Mercury quickly thinks up a plan to even the odds, asking impulse for help. Through meditation, they are able to summon many speedsters from across DC’s history. While they quickly work to even the odds, we focus on Barry and Thawne. Amidst their fight, Thawne reveals one last truth about the negative speed force. Due to its different frequency, he is able to whisper into the ears of the Flash Family unknowingly, being the source of many of the doubts that the family carries.

This issue has the same problem as the last one with it providing a lot of moments that come out of left field. The speedsters from across DC’s history and the Williamson run are very exciting, but the former comes out of nowhere. That said, it’s hard to stay mad because its great to see them all again. We get Tangent Universe Flash, Jay Garrick from Earth 2, Negative Flash, and many others. All of them wrapped up in an epic final battle against Central City’s greatest foes.

The twist of Eobard being the cause of the Flash Family’s doubts isn’t a surprise, but it’s definitely a stretch. Obviously, the speed forces can be bent to however the writer wishes, but this frequency difference doesn’t make sense. Usually, there is a telltale sign that hints that Thawne is near, which we haven’t seen. The only time we’ve seen anything like that is during the Jay Garrick story in issue 750. During one of the fights, we see someone whisper to Jay, which caused him to stop running. What does Jay have that none of the speedsters have to sense Thawne?

Art:

This issue sees the return of Howard Porter, and he does a phenomenal job. With the amount of action scenes in this lone issue, he is able to keep it clear and concise on who everyone is. The most breathtaking moment is the reveal of the cavalry that Max summons. It was able to hit all the nostalgic notes as not only do we see several versions of the Flash but also side characters that have been gone for a while. It’s moments such as this that make me wish Porter could be tapped for a series regular on any book. His style for each character is fantastic and makes me clamor for Porter’s next project.

Conclusion:

For the penultimate issue of the Williamson run, it’s a damn good one. The stretch of Thawne’s influence aside, the action quality and stakes have never been higher. Every moment we get is beautifully illustrated by Howard Porter, who always brings a fantastic look. This story is shaping up to be a grand finale for an epic run of The Flash, and we have one issue to go!

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ENDLESS WINTER Preview: The Justice League Gets Chilly

By

Kevin Sharp

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September 11, 2020

December is shaping up to be a big month for DC Comics. Following the announcement of Batman/Catwoman, we now get the details on another limited series: Endless Winter.

Co-writer Ron Marz is no stranger to superheroes facing a cold threat — he was one of the guiding hands on the 1996 mini Final Night, wherein the Justice League faced a seemingly unwindable situation following the the Earth’s sun being extinguished.

Here are the details on Endless Winter and its crossovers:

DC PRESENTS

JUSTICE LEAGUE: ENDLESS WINTER

Nine-Issue December Event Pits The World’s Greatest Super-Heroes
Against an Ancient Enemy

This December, the Justice League learns firsthand the meaning of “Revenge is a dish best served cold,” in Justice League: Endless Winter, a nine-issue event taking place throughout the month of December.

1000 years ago, a disparate group of heroes – Hippolyta, Black Adam, Swamp Thing and the Viking Prince – banded together to prevent the world from freezing at the hands of the Frost King, an exiled Norse god with the ability to control entire ecosystems. The heroes triumphed, but victory came at a terrible price, one that has been kept secret until now.

Justice League: Endless Winter spans a total of nine titles, all co-written by Ron Marz and Andy Lanning.

“Getting to play with such a great cast of cool superheroes is like catnip for me,” said Lanning. “From the Justice League to Teen Titans, Aquaman to Black Adam and, probably my personal favorite, Justice League Dark, there are so many moments to showcase that there’s something for everyone.”

The title lineup for Justice League: Endless Winter includes:

Justice League: Endless Winter #1 (on sale December 1) with art by Howard Porter and Marco Santucci and cover by Mikel Janin
The Flash #767 (on sale December 8) with art from Clayton Henry and Marco Santucci and cover by Clayton Henry
Superman: Endless Winter Special #1 (on sale December 8), art by Phil Hester, Ande Parks, and Marco Santucci and cover by Francis Manapul
Aquaman #66 (on sale December 15), with art by Miguel Mendonça and Marco Santucci and cover by Mike McKone
Justice League #58 (on December 15), art by Xermanico and Marco Santucci, with cover by Francis Manapul
Teen Titans: Endless Winter Special #1 (on sale December 15), featuring art by Jesus Merino and Marco Santucci, and cover by Bernard Chang
Justice League Dark #29 (on sale December 22), art by Amancay Nahuelpan and Marco Santucci, cover by Kyle Hotz
Black Adam: Endless Winter Special #1 (December 22), art by Brandon Peterson and Marco Santucci, featuring cover by Dale Eaglesham
Justice League: Endless Winter Special #2 (December 29), with art by Howard Porter, Carmine Di Giandomenico and Marco Santucci, and cover by Mikel Janin

“The real spine of this story is the Justice League,” says Marz. “This is a big crossover story, with a lot of big visuals and classic characters.”

The action all begins on December 1 with Justice League: Endless Winter #1, available at open and operating comic book stores and participating digital retailers including Comixology, Amazon Kindle, Apple and others. For more information on Justice League: Endless Winter and the World’s Greatest Super Heroes, check out the website at
www.dccomics.com and follow on social media @DCComics and @thedcnation.

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