STEALTH #5, available from Image Comics on September 9th, reveals Dead Hand’s origin as Tony makes a desperate move to uncover the truth. Written by Mike Costa, this issue answers questions about the Stealth’s link to Dead Hand’s power and moves all the players in place for an epic finale next issue.
Cover Art
Jason Howard’s cover, like the several before it, evokes a strong Batman/Joker dynamic between the main hero and villain. Drawn in a near-josei style, Dead Hand’s dominant position on the “high ground” echoes how he always seems to have the upper hand in their conflict. It’s a powerful image that practically drips with dramatic tension.
Writing
Costa’s penultimate issue in this run makes a considerable amount of forward progress in the story to set up the finale. The issue was wholly satisfying for telling the full story of Dead Hand’s origin in an efficient way (it only took two pages) and revealing just enough about the safehouse connections to feel like you’re moving forward while still leaving something for the finale.
The story is super lean, action-packed, and fast-paced. You get equal parts “big reveal” and “shoot ’em up” action in a way that didn’t feel muddled or crowded. I enjoyed the quick-hit storytelling from Costa.
Pencils/Inks
Nate Bellegarde’s art packs tons of kinetic energy into every action panel. There’s plenty of gunfights and explosions in this issue, and Bellegarde adds to the impact of each moment by showing characters taking damage and flying from the force waves.
It’s a high-octane demolition derby between a superhero and a super-villain in the crossfire between rival gangs. Just like Costa’s writing, Bellegard’s produced rapid-fire art that keeps hitting you over and over. There are so many action lines in this issue; it becomes a literal blur, making it a real page-turner.
Coloring
Tamra Bonvillain’s color work shines for the sheer volume of flames and explosions that light up each panel. Bonvillain knocked out of the park for how well the color shading reinforced the light sources to make the explosions blinding and full of energy. Kudos also for the colorwork on the Stealth costumes where the leaking radiation created glowing drips and streaks. The colorwork was so good; you’d almost suspect the comic was lit up with batteries.
Lettering
Sal Cipriano’s lettering is remarkable for keeping the pace up when so much information is being revealed. Instead of turning out a wall of text that would have stopped the issue in its tracks, Cipriano broke up the dialog to move with the flow of action. Great work by Cipriano.
Conclusion
STEALTH #5, available from Image Comics on September 9th, is a lean, mean comics machine. The flashbacks and reveals come just as fast as the bullets, and the art packs a punch. I’m excited to see how it all ends.
Rise of Ultraman #1 out this week from Marvel Comics is an issue full of action and intrigue. A retelling of the classic Ultraman franchise for comic fans, the issue offers amazing art and is full of extras. Along with the Mill Creek Entertainment releases of the series, this issue becomes another magnificent way for individuals to enjoy the ever-growing Universe of Ultraman. Here is the creative involved with issue one; Kyle Higgins, Mat Groom (writers), Francesco Manna, Espen Grudentjern, Michael Cho, Gurihiru (art team), and VC’s Ariana Maher (letter work).
In darkness there lurks Kaiju – terrifying and unfathomable monsters. Between Kaiju and the rest of us stands the United Science Patrol! But who are these enigmatic defenders, and how do they perform their miracles?
Writing
The writing team of Higgins and Groom takes the time to update the story of Ultraman to have it reflect a modern setting. The issue begins in the 60s as Dan Moroboshi (the human form of Ultra 7) experiences a first contact and moves into a modern world plagued by Kaiju and the USP as the only one who can stop it. From the second page, the issue captures the reader’s attention early and doesn’t let go.
The reimagination of Shin Hayata and Akiko Fuji is the most notable change but this aids in giving the pair more personality. Hayata is no longer a boy scout and instead of a skilled yet impatient person, thinking with his heart over his head. Fuji can repair the equipment for the USP but wants to be advance and become a field operative. They seem more relatable than the original characters who were characters with specific skills and little else.
The additional story segments of “Ultra Q” and “Kaiju Steps” aid in offering layers to the comic. “Ultra Q” serves to offers a look into the early days off fighting Kaiju on Earth while “Kaiju Steps” offers humorous PSAs on how to remain safe during Kaiju related events. Both are welcomed additions to the issue.
Artwork
The art by Manna in the main story is a magnificent call back to the old shows. The vehicles and monsters are straight from the series and are immediately recognizable. Meanwhile, in the “Ultra Q” storyline, Cho utilities a gritty look and captures the feel of a flashback to a previous era.
The colorwork by Gudendetjern in the main story is phenomenal. Between the action effects and giving certain moments an extraterrestrial feel while reading the book, it feels like watching an episode of Ultraman. The look of Ultraman before becoming corporal as being a giant of light is magnificent.
The lettering by Maher adds to the immersive experience of the issue. The alien letters as Ultraman speaks is an excellent design touch. Also, the dialogue boxes with scratched out letters make the descriptions of places and objects feel like the reader is looking at classified redacted reports.
Conclusion
Rise of Ultraman #1 is a must-read for fans of Ultraman. Between the callbacks to the old show and the visually pleasing art, this issue is worth the purchase price. Once the series is complete, as long as the level of quality remains high, the book will serve as a means to help others understand the entertainment value of the franchise. Just like the Power Rangers comics from Boom Studios, Kyle Higgins has shown the world the immense joy hidden in the genre of Tokusatsu.
LUMBERJANES #73, available Wednesday from Boom! Box brings with it the first Lumberjanes event, ‘The End of Summer.‘ Our beloved campers are about to embark on yet another journey, though this one with less intentional than usual.
***SPOILER WARNING***
It’s safe to say that the Lumberjanes have always had a talent for getting themselves into trouble. That goes doubly so for the campers within the Roanoke Cabin. But what is about to follow is different.
Lumberjanes #73 is the start of an event in Lumberjanes, the first event, according to Boom Box! It’s hard to believe that a series has gotten 73 issues in without an event – but then again, with this delightful series every plot feels like an event.
‘The End of Summer‘ brings many thoughts to mind. It’s a reminder that summer will eventually end, even in a world full of time bubbles. In that sense, it’s a bit of a depressing reminder of what will eventually happen to this series (read: end).
Yet that doesn’t feel like the focal point of this event. Once again the Lumberjanes are going to go up against forces of evil (they’re old pros at that), and face odds and adventures like never before. The real question is, what sort of chaos will they get up to in the meantime?
The fun is about to begin in Lumberjanes #73.
The Writing
‘The End of Summer‘ begins here in Lumberjanes #73. Written by Shannon Watters and Kat Leyh, this issue feels like it’s going to take the Roanoke Cabin to new heights – and adventures. All while bringing with it that charm that made fans fall in love with the series in the first place.
Unlike many other issues in the series, it starts out on a calmer note. The campers are enjoying the nice weather, staring up at the clouds and discussing what they want to do before camp ends. (Another depressing reminder).
From there, things quickly spiral in that classic Lumberjanes fashion. What is surprising is that they don’t stick together, not for the beginning of this adventure, at any rate. Perhaps (hopefully) they’ll get grouped up once again, later on.
Still, it’s impressive to see several plots running alongside one another. All while reminding fans of the unique characters that fill the pages (as well as providing some fun new details about those characters).
It all made for a fun and quirky start to this event. Honestly, that actually makes it even harder to predict what’s going to happen next. Will it be one major event for all of the campers to deal with? Or several events happening simultaneously? With these campers, anything is possible. Even giant kittens, as they were so quick to prove.
Back into the land (time) of the dinosaurs!
The Art
The artwork inside Lumberjanes #73 is fun and knows better than to take itself seriously. While artists have come and gone for this series, there has always been a unique style to this series. A style that shines through in this issue in particular.
The characters all seemed to get a moment to simply be themselves, showcasing the attributes that make them unique. Seriously, April has never looked more determined, and Ripley never so excited (just to name a couple).
Kat Leyh was the lead artist for this issue, as well as being responsible for the writing. As such, Leyh obviously knew exactly how each character was feeling, and thus how they were meant to look at any given time. Not to harp on it too much, but there are times when these expressions really did feel larger than life, but that’s honestly part of the charm for this series. (Also, that’s kind of April in a nutshell).
Maarta Laiho was the colorist for this issue, and the colors really do a wonderful job of setting the scene. On that note, there are several scene changes that occur within this issue (courtesy of several adventures), and each one has its own color palette. It makes it all feel distinct, even while being neatly tucked together.
The lettering was provided by Aubrey Aiese, and its the icing on the cake. The letters convey the story, of course, but also the level of excitement required (remember, Lumberjanes). All while making sure we don’t miss a single detail on the page.
Time to earn those badges in Lumberjanes #73.
Conclusion
Lumberjanes #73 is the fun and highly entertaining beginning to the campers’ first major event, and it’s already obvious that it’s going to be full of chaos and charm. It’s the Lumberjanes way, after all. Now it’s time to guess what sort of mess they’re going to get into before it’s all said and done.
RED MOTHER #8, available Wednesday from Boom! Studios, continues the dark and foreboding story that Daisy has found herself unwillingly thrown into. There are simply some stories that cannot be run from.
***SPOILER WARNING***
Daisy McDonough has finally begun to truly recover from that horrible night, many months ago. She’s found herself a new job, new friends, a new place to live, and even somebody new to possibly fall in love with.
That’s not enough to keep old horrors at bay. Something that Red Mother #8 seems intent to remind her – and readers. Whatever grabbed onto Daisy in that dark alley is not content to let go, though the motives of it all have yet to be explained.
If you’re a fan of psychological horrors, this slow-burning series might just be perfect for you. It throws in a dash of supernatural suspense, as well as a deeply human element to bring it all together, and create something new.
Something is lurking in the shadows.
The Writing
Red Mother #8 is a shockingly harrowing issue, though not at all for the reasons one might expect. Okay, maybe partially for the reasons expected. Still, this series has gone above and beyond to set the scene and bring about more than one surprise.
Jeremy Haun carefully crafted a narrative for this issue. For a moment – just one beautiful, brief moment, it seemed like everything was going to be okay for Daisy. Then the readers are reminded of the supernatural that barged into her world.
It’s impressive that, eight issues in, there’s still this vague sense of hope. Likewise, it’s impressive to see how much buildup has gone into this story. It feels like we’re on the cusp of something, and it’s going to be even darker than the rest of the series combined. At least, that is the impression we’re left with.
It’s hard not to walk away with a sense of impending doom – not with all of the imagery readily available in this series. The red leeching into scenes, Daisy’s pain, carefully repeated phrases that are nearly overlooked. The level of foreshadowing is real, and it’s a uniquely terrifying experience to read.
Who can be trusted in Red Mother #8?
The Art
As you might imagine, the artwork in Red Mother #8 makes up a huge part of the story. Honestly, this truly is a plot that goes hand and hand with the artwork. It’s a horror story that wouldn’t have had nearly the same level of impact if told in any other format.
Danny Luckert is the lead artist, creating both the lines and colors. Working alongside him is Ed Dukeshire, who provided the lettering. Together they’ve created a truly…haunting experience here. It starts out subtle, but by the end transforms into something completely different.
The infusion of red has been a highlight of this series, right from the start. It’s ideal, both for the title and for the figure it’s named after. Whenever a scene turns to that stark color, it’s clear that something is about to go wrong.
What’s intriguing are the other notes in this issue. There are other supernatural elements seeping into the pages, as well as a few that feel very human – though perhaps not in a good way. The final page is a shocking twist, made all the more so by Dukeshire’s careful placement of a few key reactions.
The Red Mother is rearing her head once again.
Conclusion
Red Mother #8 is a dark issue, with heavy implications left and right. There’s no doubt that Daisy’s life is about to take another dark turn – and once again she’s not going to see it coming (despite all the hints around her).
The events of Outlawed are about to hit The Magnificent Ms. Marvel #14
THE MAGNIFICENT MS. MARVEL #14, available Wednesday from Marvel Comics, is an issue that many a fan has been waiting for. The world around her has been changing, and now it’s time for Kamala to make her voice heard.
***SPOILER WARNING***
The events of Outlawed changed the superhero world for all those underage – but arguably none more so that Kamala Kahn, aka Ms. Marvel. It all started as another mission for the Champions. Protect an important figure, keep the school safe.
You know, the usual. But only, it ended up being far from usual. Everything went out of control, and fast. While Kamala did succeed in keeping everyone else safe, she took a huge hit. Literally. To make matters worse, the event quickly became politicized.
Hence, Kamala’s Law. The law that keeps underage superheroes from being a thing. Not like it’s the first time superheroes have faced regulations, right? Though this time it’s made to feel more personal, what with Kamala being used as a martyr (the irony cannot be ignored here).
All of that is vital to remember, going into The Magnificent Ms. Marvel #14. This will be the first time Kamala’s perspective has been shown since that fateful event, and that means fans are finally going to get a chance to see how she reacts to it all. It’s a moment we’ve been waiting for, to put it mildly.
Obviously, don’t dive into this issue if you haven’t read Outlawed. Unless you’re okay with spoilers, in which case go right ahead. The issue does a solid job of getting fans up to date, though some details are naturally lost in the process.
The events of Outlawed are about to hit The Magnificent Ms. Marvel #14
The Writing
The Magnificent Ms. Marvel #14 is a long-awaited issue. It’s been months since Outlawed #1 came out, and that’s a long time for any fan to wait and see what’s going to happen to their favorite character. Realistically, there was no way that Marvel was going to put somebody like Kamala on the bench for very long, but it’s still refreshing to finally see her side of the story.
After all, Kamala has never been a character afraid to speak her mind. Her perspective to this particular event is vital, due to the fact that it revolves around her – both her superhero and mild-mannered persona.
Saladin Ahmed did an excellent job of juggling multiple elements in this issue. There’s a quick recap, which will also allow fans that missed the event to continue reading Ms. Marvel’s story. It also sets the tone, and puts readers into the right frame of mind.
From there, it’s a series of truly moving events, dreams, and revelations. Ms. Marvel/Kamala has always led a complex life, despite her best efforts. All of that shines through here, and in such detail. It’s beautiful and heartbreaking all in one.
It showed the conflict she deals with on a daily basis. A conflict similar to many other heroes out there, yet with a uniquely Kamala-like twist to it. It’s colored by her history, and her choices (much of which was hinted at throughout this issue).
Every revelation, every moment in this issue felt like it was leading up to something. It all pushed towards Ms. Marvel rising once again. As well as setting the scene for events to come (Champions #1 and Ms. Marvel #15, respectively).
Her memories are rising to the surface.
The Art
Unsurprisingly, the artwork within The Magnificent Ms. Marvel #14 is just as stunning and moving as the plot itself. The artistic team was hard-pressed for this issue, portraying a variety of scenes, with characters and details steadily shifting throughout. It’s somewhat alarming at times, and yet it is also so perfectly suited to the emotional turmoil that Kamala (and her loved ones) is currently going through.
Minkyu Jung (art), Juan Velasco (inks), Ian Herring (colors), and VC’S Joe Caramagna (letters) all worked together to bring this awakening to life. There is literally not a dull moment to be found in this issue. There’s always something to catch the eye.
Be it the stillness of Kamala Khan, laying in her hospital bed. Or the jarring way her friends and family are portrayed in her nightmares. Or any number of details found in between. It all merges together to carry the story, and the tone, and bring readers to the same conclusion.
It’s time to wake up. Wake up, and save the day.
Conclusion
The Magnificent Ms. Marvel #14 is an issue that fans had been waiting some time for. It’s also an issue worth the wait, which is very convenient. This is one of those rare issues that takes a major event and turns it into a deeply personal journey for one character. In that sense, as well as several others, this issue did justice to Kamala’s character.
With nine days left in the Kickstarter campaign, Scott Snyder and Tony Daniel announced a new stretch goal and two new high-end reward tiers for NOCTERRA 1 Collector’s Edition. The campaign is currently sitting at $172,012, and at $200k, backers of the physical book will get a free NOCTERRA print by Jorge Jimenez and Gilded Edges for the book. The new tiers will include getting drawn into the book, speaking roles, and original pages.
“We really want to keep surprising fans, both throughout the campaign and when they read the comic,” said Snyder. “And we still have some big surprises left!”
For additional information, check out the press release below:
Scott Snyder and Tony S. Daniel Invite Readers to Get Drawn into NOCTERRA COLLECTOR’S EDITION in a Red Shirt Role on Kickstarter
Plus New Stretch Goal Announced: A Free NOCTERRA Print By Superstar Comic Artist Jorge Jimenez
(September 8, 2020) The NOCTERRA COLLECTOR’S EDITION Kickstarter campaign from superstar comic creators Scott Snyder and Tony S. Daniel is bringing fans behind-the-scenes for their upcoming series from Image Comics, with Snyder’s script displayed alongside Daniel’s linework to provide a rare look at the process of making comics. Now the hit campaign is offering a new tier that offers fans a chance to be drawn into an issue from the series’ first story arc, with a speaking role… and an untimely on page death. Backers at this tier will also receive the page of original art of that scene by Tony S. Daniel. In addition, the creators are offering 5 slots for the chance for to be drawn into NOCTERRA issues 2 through 6.
“We were surprised by how quickly the tier offering fans a chance to be drawn into issue one disappeared,” said Tony S Daniel. “And since this is a horror comic, we thought it would be great to bring our fans in on all the gruesome action.”
In addition, the creators announced a new stretch goal of $200K, which will unlock Gilded Edges for the book and a free NOCTERRA print by superstar comic artist Jorge Jimenez (JUSTICE LEAGUE) for all backers of the physical book.
The new tiers are as follows:
$1000: Get Drawn Into NOCTERRA
Get yourself or a loved one immortalized in an issue of NOCTERRA, ranging from #2 through #6. You must provide adequate photo reference. Where and how the person appears will be at Tony’s sole discretion. You will receive a high quality scan of the art to print and frame at your own leisure, all three prints (by Jock, Francis Manapul, and BossLogic), plus a softcover! NOTE: you will NOT appear in NOCTERRA #1: Collector’s Edition. You will only appear in one of the issues between #2 through #6 which will be put out by Image next year and you will have to buy that copy separately on your own.
$5000: Redshirt Speaking Role + Original Page
You or a loved one will have a speaking cameo in an issue of NOCTERRA, ranging from #2 through #6, followed by a grisly death. You must provide adequate photo reference. Where and how the person appears and dies will be at Tony’s sole discretion. You will receive the original page on which you appear, all three prints (by Jock, Francis Manapul, and BossLogic), plus a softcover! NOTE: you will NOT appear in NOCTERRA COLLECTOR’S EDITION. You will only appear in one of the issues between #2 through #6 which will be put out by Image next year and you will have to buy that copy separately on your own.
In NOCTERRA, you can still feel the sun’s warmth – it must be there – but for some reason, light no longer reaches the earth. There’s only darkness. But this new darkness, there’s something strange about it, something terrifying. Because anything – or anyone – that stays in it too long starts to change… NOCTERRA takes place ten years after the world is plunged into an everlasting night that turns all living creatures into monstrous “shades.” Enter Valentina “Val” Riggs, a skilled “ferryman” who transports people and goods along deadly unlit roads with her heavily illuminated eighteen-wheeler. When an old man promising sanctuary offers Val a job to drive him and his granddaughter up through the Rocky Mountains, she takes it, hoping there might be some truth to his claim. What she finds in the end, though, is something much more horrifying than any shade…
Starting at 72 pages, NOCTERRA COLLECTOR’S EDITION is a one-of-a-kind reading experience, with Scott Snyder’s script displayed alongside Tony S. Daniel’s linework, to provide a rare look at the process of making comics. NOCTERRA COLLECTOR’S EDITION will be released to backers ahead of Image Comics’ release of issue #1 this winter and will mark the first time that one of Snyder’s scripts has been published in its entirety.
For more updates, follow Best Jackett Press on Twitter and Facebook.
Marvel Comics is is bringing their comics one step closer to tabletop gaming. Today, Marvel has announced their upcoming issue of WARHAMMER 40,000: MARNEUS CALGAR #1, available to retailers this October, will come with a paper stock cover so you can customize your very own Space Marine.
Written by Kieron Gillen, WARHAMMER 40,000: MARNEUS CALGAR #1 tells the “untold origin of the legendary Space Marine Chapter Master.” You can check out the cover and read the official Marvel press release below.
Do you play Warhammer 40,000? Do you already have faction colors or are you looking forward to a little customizing experimentation? Let us know what you think in the Comments section, and please share this post on social media using the links below.
DESIGN A SPACE MARINE WITH THE WARHAMMER 40,000: MARNEUS CALGAR #1 COLOR YOUR OWN COVER!
New York, NY— September 8, 2020 — The action-packed universe of the Warhammer tabletop gaming universe is coming to Marvel Comics this October! Written by Kieron Gillen (Uncanny X-Men, Journey Into Mystery, The Wicked + The Divine) and drawn by artist Jacen Burrows (Punisher: Soviet, Moon Knight), WARHAMMER 40,000: MARNEUS CALGAR #1 will reveal the untold origin of the legendary Space Marine Chapter Master. Witness Marneus Calgar’s beginnings on the world of Nova Thulium, his campaigns in the Black Crusades, and discover a deadly threat from his past, the mysterious Black Altar. To gear up for this latest mission, hone your design skills with the Color Your Own Variant cover by popular artist Max Dunbar (Champions). This special paper stock cover allows you to color Dunbar’s artwork so you can create your very own Space Marine and save the Ultramar system from destruction in this extraordinary chapter of the Warhammer saga!
“Part of the reason I said yes is I because I believe with Marvel I can do a 40K comic “properly”— as in, with all the skill and craft I’ve learned over the years. If I’m going to do a 40K comic as a mature creator I’d like to hit it hard,” Gillen explained in an interview with CBR. “The other part is, as the writer of the first mini in the Warhammer line I get to set the tone for everything else. Also, I get to introduce folks to the world. You asked me how I would explain Warhammer to somebody? I’d do that by giving them my mini.”
Prepare for glorious combat when WARHAMMER 40,000: MARNEUS CALGAR #1 hits stands this October!
The Mueller Report Graphic Novel hits your local comic book store on September 16, but thanks to IDW, Monkeys Fighting Robots has a great interview with Eisner Award-winning New Yorker cartoonist Shannon Wheeler and The Oregonian Metro columnist Steve Duin.
About the book: Details from the Mueller Report are brought to life in every excruciating detail by Wheeler and Duin, including the infamous Trump Tower Meeting of 2016, the questionable contacts, misleading statements, and unreported engagements. If it’s in the report, it’s in the graphic novel.
Shannon Wheeler And Steve Duin Interview:
MFR: How important was it for you to get the graphic novel version of The Muller Report published?
Shannon:Very. It’s a historical document. Mueller didn’t write it to be an easy read. Getting the information into a format that is digestible was very important to me.
MFR: How many times did you read The Mueller Report?
Steve:Cover-to-cover? Once. But I’ve spent 50 hours with the report open in my lap or at my elbow.
Shannon:I read it a couple times – and listened to it once. Mostly I relied on Steve to process what was important and what was a dead end.
MFR: Can you talk about the process of unpacking The Mueller Report and how you decided what to put in your book?
Steve: “Unpacking” is a telling verb. Mueller had no interest in a simple narrative, one that would fit snugly in a Fox & Friends news crawl. His investigation was exhaustive, and in early drafts of the graphic novel, we tried to connect too many of the dots.
Mueller needed 400 pages to flesh out his conclusions; we had roughly 400 panels. Because Mueller found scant evidence of a conspiracy between Russia and the Trump campaign, we devoted most of those panels to the president’s obstructions of justice. Mueller did not believe he could file criminal charges against a sitting president, but his investigation provided Congress with all it needed to impeach Trump for his actions involving Michael Flynn, James Comey, and the special counsel.
Shannon:There were some obvious parts that had to be included; like the Trump Tower Meeting, Chris Christie Lunch, and the Comey Conversation. There were a few bits in the Mueller Report that became more important in retrospect – like all the Roger Stone conversations.
MFR: Shannon, can you talk about the artistic tone you used for the book?
Shannon:I strove for clarity. I added jokes every now and again, sometimes cheap jokes, but the main idea was to communicate the ideas Steve had making the Mueller Report understandable.
MFR: How do you think the use of black and white helps the reading experience?
Shannon: It’s a story that doesn’t need whistles and bells. We tried to reduce the complexity of the plot. Trump refusing to answer Mueller’s questions isn’t made more understandable by being rendered with red reflective light.
MFR: In your book, Mueller is this towering figure narrating the story (page 44 is a great example). It works well to bring the reader into the universe. Did you play with the size of Mueller when putting the book together?
Shannon:Mueller is a narrator as well as a character. He’s a combination of Rod Serling and Columbo. It’s a visual conceit to change his size – Serling would do it by stepping toward the camera – Columbo did it by stopping as he stepped out a door and saying “one more thing…”
MFR: After reading The Mueller Report, how do you think history will remember Donald Trump?
Steve:History tends to be more charitable than the average newspaper columnist. As Michael Cohen notes, Trump never thought he would win the election; he ran to augment the family brand. Understandably angry that he was never given credit for running a smart, if cynical, campaign, Trump played the petty, vicious, incoherent narcissist to the bitter end.
Shannon:I quote Churchill, “history is written by the victors.”
MFR: How has the political cartoon evolved over the past 20 years?
Steve:It has barely survived. Political cartoons were long the audacious centerpiece of an editorial page. With rare exceptions, they have disappeared in the froth of social media.
Shannon:The Germans published a list of people to be shot on sight in Belgium once the invasion was finished. Several cartoonists were on that list. Recently, Charlie Hebdo republished their Mohammed cartoons that inspired a slaughter. So – not much.
I know you meant content, not reaction, but the basic impulse to create political cartoons has stayed the same.
MFR: Do you think Joe Biden and Kamala Harris have what it takes to win the election in November?
Steve:The 2020 Democratic ticket has this going for it: empathy, a sense of humor, @King James and the belief that Black Lives Matter, a reasonable amount of faith in the face mask, and the commitment – which Hillary lacked – to campaign in Michigan, Pennsylvania, and Wisconsin.
Shannon:A fellow cartoonist, Ace Backwords, said; “the more entertaining candidate always wins.”
MFR: I think the most critical political question that is not being asked right now is how do we bring the country together. How do we get past Republican and Democrat and do what’s best for our country?
Steve:Maybe the question isn’t being asked because the answer is so damn discouraging: Few Republicans – and only a slim majority of Democrats – are looking for that middle ground. As long as Trump controls the right and Fox serves as his personal messenger, this divisiveness will not ebb.
Shannon:I thought fighting an external enemy would bring us together as a country because I read The Lathe of Heaven and later, the Watchmen. But seeing a pandemic be politicized makes me question my assumptions. How do we get past a two-party system? Make politics boring again. What’s best for our country? We should start being nice to each other again.
MFR: Shannon and Steve, thank you again for your time and best of luck with The Mueller Report!
Venditti shines a light on all the things we love about old comics in Hawkman #27. We have all the classic DC characters of the 1940s, along with some truly cheesy repartee. Venditti centers most of the issue around a fight between the Justice and Injustice Societies. We get a moment, typical to Golden and Silver Age comics, where it looks like the villains have won. It’s closely followed by the heroes winning in a Deux Ex Machina moment, explained away by the simple fact that they knew the villains would act as they did. On their own, these are all elements of bad writing, but when recreating the feel of a Golden Age comic, it’s perfect. Venditti is reminding us of the days that these writing flaws were common, even charming. It takes a truly skilled writer to implement bad writing techniques well. Thank God Venditti is truly skilled.
Art
Pasarin, Albert, and Von Grawbadger pull out all stops to make this issue of Hawkman fun. As the heroes and villains fight, this team of artists is constantly playing around with the page layout. No two pages look alike. The layout is constantly changing to mimic the changes in the battle. The dynamic feel to the page makes it feel incredibly playful. Beyond that, Pasarin, Albert, and Von Grawbadger make sure there are lots of smiles in this fight. Vandal Savage smiles into the face of Hawkwoman, and Jay Garrick is constantly grinning as he zooms around Brain Wave. This is a simpler time. Pasarin, Albert, and Von Grawbadger lure us into the simplicity of it all by making sure the characters seem like they’re enjoying their fight.
Colors
Cox goes back to basics. He’s coloring a comic to look classic, so a lot of the colors are what you would expect. Hawkman is in a red panel, filled with rage. Separately, we see a scene set in a mysterious location, and the blue makes the scene feel foreboding. Red is danger or anger; blue is foreboding and melancholy. But Cox also uses his colors to make the page just look great. Sandman and the Gambler look like they coordinated before the fight. The Wizard’s blue projections wrap around the green objects Alan Scott is creating with his wring. Cox helps us feel the fun of the fight by creating a page that pops.
Lettering
Leigh letters his sound effects in a pretty simple style in this issue. Normally, Leigh’s sound effects in Hawkman are diverse. But in this issue, he keeps things uniform. Every sound tends to have the same font in a different color or size. Leigh is referencing old comics when sound effects were uniform and not even written in block letters. Every sound effect looked the same. But when Hawkman and Hawkwoman’s maces get rammed into each other, the resulting explosion makes a different sound. The letters are messy and look scribbled onto the page. With this, Leigh is telling us that these two, and the power they bring with them, are beyond this plane of existence. They aren’t quite like everyone else they know live with, and even the sounds they make look different on the page.
Hawkman #27, out from DC Comics September 8th, is a great way to jump back into the 40s. It has the charming simplicity of a comic from the Golden Age and the self-awareness of a modern work. This creative team has made a really fun issue; hopefully there will be more along these lines. Pick up DC Comics’ Hawkman #27 from a comic shop near you!
VENOM #31 hits your local comic book store this December, 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 Donny Cates and artist Iban Coello, with the cover by Coello and colorist Frank Martin.
About the issue: What happens to Eddie Brock when he finally comes face to face with the lord of the abyss, the KING IN BLACK: KNULL?
KING IN BLACK is what Cates, Ryan Stegman, and all of their collaborators have been building up to since the start of their run. From the first arc of VENOM through ABSOLUTE CARNAGE, everything has been leading to the arrival of Knull, King of the Symbiotes, on Earth.
Similar to ABSOLUTE CARNAGE, KING IN BLACK will be its own event mini-series with essential tie-ins in VENOM (and most likely additional titles).
Donny Cates on KING IN BLACK:
“As far as event books go, this is the coolest, darkest, most heavy metal, Cthulhu dark horror thing I’ve ever been able to do…I still can’t believe that Marvel is letting us go as dark and scary as we’re going.”
Ryan Stegman:
“One of the things I’m most proud of in this series… is the creation of the character Knull…We have some new designs that we’ll be unveiling throughout the series that are really cool and really creepy.”
Check out the VENOM #31 cover below:
And with the KING IN BLACK trade dress:
Are you excited for KING IN BLACK? How have you been liking VENOM? Sound off in the comments!
