BLACK WIDOW #1: How Her Story Lives On

BLACK WIDOW #1, available Wednesday from Marvel Comics, brings Natasha Romanoff back to her own series, with several twists along the way. For when the Black Widow is involved, there is no such thing as an ordinary day.

***SPOILER WARNING***

Black Widow has long been famous (or infamous, depending on how you choose to look at it) in the Marvel Universe. She’s gone through so much in her time, both on the page and on the big screen.

Now she has a new series, alongside a new creative team. Kelly Thompson (writer), Elena Casagrande (art), Jordie Bellaire (colors), and VC’s Cory Petit (letters) have joined forces to bring this latest adventure to life.

Marvel has been marketing Black Widow #1 as groundbreaking, a series that is about to change everything. Just one issue in, and those changes are going to be immediately clear to any reader out there – both old and new.

Good to know that this series is planning on keeping every promise made.

She’s back in action on the cover of Black Widow #1.

The Writing

Black Widow #1 gets to have a fun start, and is full of action and intrigue – in the typical Black Widow way. Yet even then, there are already hints of the changes in Natasha’s life. Is it a case of foreshadowing, or simply clever writing?

This is already proving to be a series that doesn’t deny Black Widow her complex past. Given that Thompson is at the helm, that’s not all that shocking. She has a way of gently weaving in major plot arcs, turning them into reminders. All with a simple phrase or two.

Don’t worry, even though the series is taking her past into consideration, it is still written in a welcoming manner. If you’ve been wanting to read a Black Widow series, but haven’t had a chance until now, it is still the perfect time to do so.

The smaller details are where this issue really starts to shine. Those references mentioned above, the little comments Natasha or her allies throw around. It all merges together into one cohesive story, while still leaving plenty of room to be filled in – it is a tale of intrigue, one with a major gap that has to be explained.

It’s amazing how quickly the scenes and events change over the course of just a single issue. Then again, this is Black Widow we’re talking about, the master of adaptation. All of the changing events suit her character quite nicely, while setting the scene for something much larger – and likely significantly more dangerous.

The Art

Any series that involves Black Widow is basically guaranteed to be bold and dynamic. It goes with the character. So it’s no surprise to hear that the images within Black Widow #1 are fierce, brilliant, and memorable.

The iconic black and red have made their way onto the cover, and that seeps into the pages as well. Mostly in any scene that is particularly full of action. It makes for a stark contrast to the rest of the artwork.

Yet that contrast is perfect for Natasha. This is a woman who puts on many faces and guises, and the color palette suits those changes. As does the core art style, for that matter. The art allows for Natasha to be strong and confident, while leaving room for vulnerability and surprise – when called for.

It’s a poignant reminder of the human underneath the mantle. Considering everything that is happening in this plot, that reminder has never been so vital. Now it’s just a matter of waiting to see where it’s going to lead us.

It’s not just Black Widow who is allowed to be herself on these pages, but many of her allies as well. Ironically, it’s the lettering that allows the quirky personality of Clint Barton (Hawkeye) to stand out. Yet that also feels so perfectly on point.

Diving right into the action in Black Widow #1 .

Conclusion

Black Widow #1 is a tense and clever start to Nat’s latest chapter. This is a woman who has gone through hell and back, and clearly her story is far from over. It’s going to be fascinating to see how this latest twist plays out – and how everyone else reacts to what is happening as well.

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REVIEW: HELLBLAZER: RISE AND FALL #1 is Casually Terrifying

Zac Owens

Don’t read DC Comics’ Hellblazer: Rise and Fall #1 right before bed. It’s the casually terrifying story we’ve always wanted from a John Constantine title. Writer Tom Taylor, artist Darick Robertson, colorist Diego Rodriguez, and letterer Deron Bennett show us John Constantine in his element: haunted by his past and dodging angry demons. With this first issue, this creative team promises a big, violent and spooky ride.

Writing

Taylor makes sure we know the kind of person Constantine is, right off the bat. When we learn about Constantine’s past, we see it’s full of tragedy. But Constantine narrates it with a casual, unfeeling tone. Taylor doesn’t actually focus on Constantine though. He allows Aisha Bukhari, a childhood friend of Constantine’s, to play our protagonist. This is brilliant, because it allows Constantine to maintain his sense of mystery. Following Aisha, we feel almost haunted by John, like he and his problems could pop up around any corner. And sure enough, they do. Taylor puts us in a normal person’s shoes, so that we have someone whose horror we can relate to when shit hits the fan.

Art

Robertson has the perfect gritty feel for a Hellblazer comic. Not only does he break all the rules when it comes to violence or terror, but he refuses to let his own panels hold him in. When Constantine is swirling around in a river, the panels on the page are as battered and twisted as he is. Robertson shows us the chaos on the page by breaking through the panel borders, and squishing them all together. Later, when a ghost shows up in the path of these demon hunters, Robertson again plays with his panel borders. He makes it unclear where the panel ends, so when we see the face of the ghost, three different places on the page, it’s like the ghost is three different places at once. Like the whole page is one scene and the ghost is everywhere. It doesn’t help that Robertson knows how to draw a face that could haunt you. The whole scene is outright spooky.

Coloring

Rodriguez’s colors show us the dual nature of a character like John Constantine. One minute he’s making deals with demons, the next he’s getting drunk with the lads. Rodriguez colors everyone in warm, fleshy tones. It makes the comic feel human, gives each character some warmth, and makes it feel as though Constantine is actually connecting with people. At one point, though, as Constantine is trying to set up a ritual with his friends in the rain, the colors are grey and blue. When nothing happens, they begin to walk off. But Rodriguez is the one who stops them in their tracks. He covers the bottom corner of the page in red, giving the cue for danger to come rushing in. Rodriguez uses red to show the dangers of demonic influences, or the warmth of the interior of a bar. He’s telling us Constantine feels just as at home in both places.

Lettering

Bennett’s lettering in this issue is big and bold, but subtle as well. His “squeltch” sound of a body hitting the pavement is as gruesome as the scene itself. The large “bang” of a gun is followed by the small “thd” of the bullet finding its mark. Bennett is constantly adapting his letters to fit each situation, never settling for cliches. But his lettering really shines when we see one of Constantine’s flashbacks. Constantine’s narrations are in little text boxes, but they deliberately interrupt the dialogue of the page. When Billy, Constantine’s rich friend, asks if John knows what he’s doing, John’s narration explains briefly that he liked having a rich kid around who was scared of what he could do. He then says he still had to look out for him though. This is all in the narration before John responds, saying “Don’t worry. I won’t let anything happen to you, mate.” The narration, slipped in between these lines, allows us to see John’s insecurities. He doesn’t think he can just care about someone, he feels he needs a sidebar with us to explain he doesn’t care as much as it might look. He’s fine when faced with death or demons, just not human intimacy.

DC Comics’ Black Label title Hellblazer: Rise and Fall #1 is spooky, funny and brilliant. Taylor, Robertson, Rodriguez and Bennett bring their A game to the table. But they also don’t get too in their own heads about telling a big, crazy story. They find the horror in the mundane, and the fear in casual settings. It lends this issue a truly terrifying tone, and assures us that this creative team has us well in hand. Pick up DC Comics’ Hellblazer: Rise and Fall #1 August 1st at a comic book shop near you!

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REVIEW: STRANGE ADVENTURES #5 Focuses off the Page

Zac Owens

Written by Tom King, with art by Mitch Gerads and Evan “Doc” Shaner, and letters by Clayton Cowles, DC Comics’ Strange Adventures #5 begins to focus on events outside their story. With so much going on in the political sphere, with elections coming up, this creative team draws more parallels between the real world and their story. While this creative team seems completely incapable of ever making a bad comic, they do get a little bogged down in this issue, distracted by the world going on off the page.

Adam Strange as Donald Trump

Writing

Subtlety is King’s best friend. His work on DC Comics’ Mister Miracle or Sheriff of Babylon shows he knows how to focus on characters and storytelling, and let readers draw parallels where they will. Unfortunately, the modern day scenes of Strange Adventures #5 don’t have subtlety going for them. As Adam Strange becomes a political figure in this chapter, his speeches about the investigation into him begin to feel a little on-the-nose. King seems to get distracted by current events and what he wants to say about everything. His pages in this issue are uncharacteristically text-heavy. There’s a lot King is feeling about what’s going on in the world, but the script feels like it’s one draft short of a final copy. Perhaps King is pointing to a politician’s ability to never stop talking, but the modern scenes certainly make for a slower read than we’re used to in this series.

Art

Gerads brilliantly shows us the dynamic between Alanna and Adam with his positioning of characters on the page. When Alanna is on a board, speaking to Congress, she is pictured in the foreground with a tired Adam in the background. She is large on the page, and she looks calm and collected. Later, when she is standing on the balcony of the White House, we get an over-the-shoulder shot of her looking out at DC. She looks like a Queen overlooking her kingdom. As Adam zooms onto the scene, we suddenly see him above her, in what would be the dominant position of the scene. But it’s just his feet that dangle down, we maintain Alanna’s level, and she lazily holds a glass out to him. Her body language assures us, Adam is not above her.

Coloring

Gerads’ coloring suggests that Strange Adventures #5 may mark a turning point in this series. His warm gold, red and orange coloring throughout has the feeling of a sunset, cast over the page. It’s as though something is coming to an end. With the Pyykt invasion looming, maybe this is the calm before the storm. It also gives the impression that things might be turning in Adam and Alanna’s favor. After all, red and yellow are the colors of Adam’s costume. Seeing Congress covered in orange hues is like a visual representations of the Stranges’ sway over the room.

Lettering

Cowles helps show the power that Alanna holds. While speaking to Congress, we see Martian Manhunter going into a monologue. His words overpower each panel. Cowles makes sure his word balloons take up as much space as they can. And he even overlays Martian Manhunter’s speech over a panel of a bored looking crowd, Adam almost sleeping in the middle. The chairman responds in turn, going into his own monologue, but he’s interrupted by an orphaned word balloon. “Bullshit.” It’s like nothing else on those pages, short but to the point. By not giving the word balloon a tail, Cowles allows the smallness of it on the page to shock us. Like a bullet, it rips through the speeches and lectures, and sets all eyes on Alanna Strange, the woman who said it.

Adam Strange, Survivor

Writing

Adam’s own words, in his book Strange Adventures, actually make for the most compelling plotline in this issue. King places Alanna and Adam in a trial they don’t know if they’ll survive, and they come out on the other side, as nationalistic as ever. But King’s treatment of the characters, their belief in what they’re doing, lures us into understanding them. We can see the toxicity of what Adam believes about himself, but we can also see his desperation. His need to be the hero. As Alanna and Adam fight for their lives, stuck in a cave and imprisoned by people who treat them as lesser beings, we begin to see why they have come to believe unwaveringly in their own virtue.

Art

When Shaner depicts Alanna and Adam, he flips the tables on their relationship. Alanna is behind Adam, or she’s leaning on him, seeking his support. We see, in Shaner’s pages, the strong man Adam wants to be for Alanna. His account in Strange Adventures makes him look like the swashbuckling hero, with the beautiful maiden counting on him to save her. But even in Adam’s own self-aggrandizing account, it’s hard to deny Alanna’s large presence. She may be depicted looking maidenly and fragile when Adam is by her, but she still takes up the page. She has a sway and presence that can’t be denied. And as she stands before the Rock Queen, it’s as though the beast inside has awoken. She looks ferocious, and Shaner has her superimposed onto the page, so that she’s larger than any of the characters and standing strong.

Coloring

If Gerads’ scenes are a sunset, then Shaner’s are the twilight. The cool blue palette shows us the dark night of the soul for Alanna and Adam. As they enter the cave, the whole scene is almost entirely blue. They are doing what they are doing out of duty. It’s a cold task and a foreboding one too. As Alanna and Adam make the cave their temporary home, color begins to come back into the scene. We see the color of their flesh and the pink embers of the fire. When they reach desperate ends, the color drains back out again, only to be replaced by an overpowering pink. As Alanna and Adam embrace each other, their love and passion, like a pink flame, is the dominant tone in the scene. The final scene in this chapter of Strange Adventures is set in the stark, cold light of the morning. The white light of the morning sun washes over the scene, it’s the dawn of a new day. With the night over, Adam’s book might be reaching their glorious battle with the Pyykt soon.

Lettering

Cowles’ lettering for this section starts strong, right out the gates. The sound of a snapping neck, in white lettering with no border, breaks through the fantasy and adventure. Placed next to Adam’s heroic looking face, it begs the question, what is all his heroism good for if people keep dying? Our introduction to the rock people on Rann is terrifying. Having not seem them on panel, only seeing the sounds of what they have done, gives them an air of no-nonsense. “You have. Come with Upworlders. To my cave. Is there? A reason?” The giant rock creature says to them. The periods separating his text make him feel otherworldly, but also give his lines a rhythm. He finishes off the line, trailing off down to the a word balloon lower in the page which says: “Do you? Also wish? To die?” The low position of the word balloon makes the line feel nonchalant. Cowles allows his big threats to hit home, by placing them in small, unassuming areas on the page. This rock man doesn’t need to flex, he means what he’s saying.

DC Comics’ Strange Adventures #5 is another incredible issue in this series. It does get a little distracted from the story it’s telling, veering into a few on-the-nose jabs at current events, but this issue’s faults are dwarfed by the incredible art, coloring, lettering, and empathetic writing on every page. King, Gerads, Shaner and Cowles continue to deliver as DC Comics’ Strange Adventures seems to be transitioning into a new act. Pick up Strange Adventures #5, out August 1st from DC Comics, from your local comic book shop

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Exclusive Scout Comics Preview: Adam Barnhardt’s SH*TSHOW #1

Matthew Sardo

September 1, 2020

Exclusive Scout Comics Preview: Adam Barnhardt's SH*TSHOW

SH*TSHOW #1 hits the October PREVIEWS Catalog and your local comic book shop in December, but thanks to Scout Comics, Monkeys Fighting Robots has an exclusive four-page preview for our readers. The cover definitely gives you all the feelings of 2020.

The book is written and created by Adam Barnhardt, with art by Samir Simão, Warnia Sahadewa drops some color, and you will read LetterSquids’ letter work.

About SH*TSHOW #1:
There was once an Age of Heroes, a time Earth was protected by the demigod hero Legend and his band of heroes called Legend’s Legion until one day, the three-headed demon Balam was summoned to the planet. In the ensuing fight, the powers were ripped away from any enabled beings on the planet — heroes and villains, alike. Battered, broken, and losing his entire Legion in the process, Legend was able to cobble together whatever remaining powered beings he could find but by that time, Balam was long gone.

To try coping with an all-new world, the heroes banded together to form The Magnificent McCoys, a traveling circus where the performers use their powers to entertain the masses in a time where powers are rare. A god with a dying star for a heart, Legend has taken Balam’s destruction worse than anyone and has since become a crippling alcoholic. Then suddenly one day, Balam returns. Will Legend be able to stay sober long enough to use his powers and end this threat once and for all or will he give up only to doom humanity forever?

Enjoy The Preview Below:

Exclusive Scout Comics Preview: Adam Barnhardt's SH*TSHOW #1

Are you going to add SH*TSHOW #1 to your pull? Comment below with your thoughts.

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AfterShock Announcement: Specialty One-Shots Delivered PIECEMEAL

Gabriel Hernandez

September 1, 2020

AfterShock Comics has announced a special one-shot project with acclaimed writer Cullen Bunn called PIECEMEAL, available to retailers on December 9th. Artist Szymon Kudranski is headlining the visuals for this new title.

Says AfterShock about this new series of prestige format one-shots: “Five high school kids, soon to say goodbye to each other and to the lives they have known, enter the Nightmare House, the source of local legend and superstition. What they discover within the crumbling old house fills them with terror…”

You can check out a collection of preview images and read the full AfterShock press release below.

Are you up for a little psycho killer horror just in time for Christmas? Let us know what you think in the Comments section, and please share this post on social media using the links below.

PIECEMEAL / $6.99 / 48 pages / Color / On sale 12.09.20

Writer: Cullen Bunn

Artist & Colorist: Szymon Kudranski

Letterer: Marshall Dillon
Cover: Szymon Kudranski

Five high school kids, soon to say goodbye to each other and to the lives they have known, enter the Nightmare House, the source of local legend and superstition. What they discover within the crumbling old house fills them with terror – a human brain, floating in a jar of murky liquid. Soon, the teens find themselves stalked by a vicious killer, a murderer intent on building itself a new body. Piece by piece.

The first in a new series of prestige format one-shots from AfterShock by the top creative talent the industry has to offer, PIECEMEAL is conceived and written by Cullen Bunn (DARK ARK, KNIGHTS TEMPORAL, BROTHERS DRACUL, WITCH HAMMER) and drawn by Szymon Kudranski (BLACK-EYED KIDS, Spawn, Punisher).

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

“Piecemeal is the story of five teens who are on the verge of starting their adult lives and going their separate ways. As they visit a local haunted site, they make a startling discovery—a human brain floating in a jar full of disgusting liquid. One of the kids—Jamie—takes the brain home with him, and that sets off a surreal, deadly chain of events. Not only does Jamie’s ailing grandfather seem to “recognize” the brain, but Jamie starts experiencing ghastly, prophetic dreams. And some otherworldly force begins to prey upon the kids.

This is an exciting project for me, because it’s such a different format. This is a focused tale of terror. It has a very specific goal—to scare the reader! And I’ve used this new format as an opportunity to do some different things with the storytelling. There are some elements of this tale that I think will open up the possibility of a lot of discussion among readers.

This is a perfect tale for horror lovers. If you’re a fan of scary stories, this one is for you!”

CULLEN BUNN ON SOME OF HIS INSPIRATIONS BEHIND CREATING THE BOOK:

“For this story, I drew on my own high school days and my own weird experiences. Did I find a brain in a jar in an old house? No. But there are elements of truth to the tale. For example, my friend Doug and I did find a bunch of weird bones, all carved into strange shapes, in an old, crumbling house in the woods. That was obviously the inspiration for the inciting events of this story. But I also drew on the things that worried me and scared me when I was a teen. And Jamie’s grandfather is absolutely a representation of my own father, who struggled with dementia in his later years.

Of course, many stories helped inform the tale, too. Stories like It and Pet Semetery and movies like Phantasm left their marks on Piecemeal.”

CULLEN BUNN ON BEING AN AFTERSHOCK ALUMNI AND SOME OF THE MOST APPEALING THINGS WORKING WITH THE PUBLISHER:

“I love that AfterShock will try different types of stories. One of the first books I did with them, Dark Ark, is a series that I thought might be too weird for a publisher, but AfterShock jumped on it and we’ve done 21 issues in that world so far. Piecemeal, being such a different format from traditional limited series or graphic novels, is just another example of how AfterShock will try unusual and interesting approaches to getting stories to readers.”

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Review: HELLIONS #3 – Don’t Forget Me

Matthew Brake

On August 26, Marvel Comics released Hellions #3. Writer Zeb Wells, artist Stephen Segovia, color artist David Curiel, and letterer VC’s Ariana Maher continues the story of Krakoa’s rejects as they try to find a place in the new mutant society and face the wrath of Madelyne Pryor.

Thus far, Hellions is proving to be one of the darker, borderline horrific titles among the many X-books.

Several elements make this issue enjoyable, among them the way this series has touched so far upon the X-Men’s deep history. Not only does the action take place in the orphanage where Scott and Alex were raised in a basement cloning facility fun by Mr. Sinister, but this issue touches on the history of Sinister’s Marauders and their history with Madelyne Pryor. We also find Alex and Madelyne’s complex romantic history rekindled.

Readers learn about Pryor’s plans for Krakoa, and they are horrifying, driven by her desire not to be forgotten, which if you know anything about her character’s history, she has been given the shit end of the stick many times by both characters in the X-stories and by the creators themselves.

Meanwhile, while Psylocke is triumphant in her battle with Wild Child to establish her alpha status, seeds are planted in a prose section of this issue that indicates readers should keep an eye on Psylocke.

Hellions continues to be one of the strongest X-titles in terms of art, which, coupled with the mature subject matter and developed fleshed out characters, keeps it from being a cartoony looking quip fest between interchangeable characters who are silly or scowl.

The art in this issue causes Madelyne’s instability to pop and captures the sense of unhinged mania that drives her.

There are also entirely grotesque moments, such as when Alex decides to cut open his mouth (which Madelyne had sealed shut) with a piece of glass. The blood, the rigid shape of the cut, and the parts of skin connecting top and bottom lip all sell grossness of the image, reinforced with a tinge of horrific sexuality as Madelyne kisses Alex’s bloody mouth hole. Maher’s letters complement this moment, using them to indicate Alex’s slurred speech due to the imperfect opening he has created to talk. One can almost hear wet slurping every time he speaks.

There are also some beautiful moments of subtle emotion, such as the sadness on Madelyne’s face and the tears streaming down Alex’s eyes as he agrees to allow Madelyne to kill him to send a message to his brother Scott for leaving Madelyne all those years ago.

Hellions #3 certainly requires some knowledge of the X-canon to fully appreciate, but the darkness of its story and its horror lands nicely. It will be interesting to see how Alex recovers from his encounter with Madelyne Pryor, and how the Hellions will be affected in future stories.

What did you think of Hellions #3? Tell us in the comments below!

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Light The Signal: Batman Day Coming September 18

Kevin Sharp

August 31, 2020

Between the upcoming Matt Reeves movie and the new John Ridley comic series, this has been a big year for Batman news — and now we have Batman Day right around the corner. Whether it’s comics, movies, animation, games, or other activities, DC has Bat-fans covered on this one.

Here’s the official word and a breakdown of the schedule:

CAPES OUT, COWLS ON!

DC CELEBRATES BATMAN DAY AROUND THE GLOBE

Fans Can Embrace Their Inner Caped Crusader by Taking Part in Batman-Themed Digital Activities

Drivers Can Ride-Along with Batman or The Riddler with the Batman Theme on Waze

(August 31, 2020 – Burbank, CA) – DC today unveiled plans for a global Batman Day celebration on September 19, 2020, inviting fans of all ages around the world to participate in a wide range of Batman-themed activities to honor the iconic DC Super Hero. For the first time, fans have the opportunity to drive along with a “Batman and The Riddler” theme on Waze. And to complete the experience, you can listen to the Waze and DC Super Hero or Super-Villain playlists on Spotify while driving via the Waze Audio Player feature. Plus, free digital comics, free activity kits for kids, a Batman Virtual 5K/10K Run/Walk, and even a digital mystery to solve in which fans can put on their cape and cowl and transform into their strongest self.

Fans can also team up with Batman to protect Gotham City in a series of digital activities, such as joining the celebration on social media and helping Batman to piece together a series of clues left behind by The Riddler. If you can decode these mischievous hints, you’ll unlock exclusive, limited-time reveals! The adventure begins when the virtual Bat-Signal lights up at 12PM PT, September 18, on the @DCComics Twitter.

The new Waze Batman theme allows for more than 100 million monthly active Waze users to ride along with Batman and The Riddler from August 31 to October 31. Waze drivers can opt to hear directions in the style of Batman, voiced by Batman: The Animated Series actor Kevin Conroy, as well as select a custom Batmobile icon and Batman mood. Drivers who want a slightly more villainous experience can select The Riddler voice directions (voiced by actor Wally Wingert), mood and custom vehicle. Waze users worldwide can experience the Batman theme in English, Spanish, and Portuguese.

As noted above, the other exciting elements of the annual celebration of DC’s Caped Crusader include:

Experience Batman:

Caped Crusader Training: Are you ready to team up with Batman? In the week leading up to Batman Day, fans will have a chance to immerse themselves in all things Batman. Each day, visit BatmanDay.com to find new activities, such as DIY cape and cowl instructions, a how-to video about creating your own Bat-Signal, and more!
Batman Virtual 5K/10K Run: Get your cape on and participate in the Batman Virtual 5K or 10K Run/Walk. Launching on August 31 in partnership with RAM Racing, the Batman Virtual Run allows participants to run their own race during the day or under the darkness of night (but with reflective gear for safety!). Registered participants will receive an exclusive collection of Batman-branded gear, including a premium quarter-zip pullover, finisher’s medal, cap and more. Learn more and register at https://dcbatmanrun.com/.
Injustice 2 Mobile will feature back-to-back Batman Arenas, along with a special Classic Batman Invasion Event. Players will also be treated to a free Batman Day Gift and various sales on in-game chests and bundles.
DC Legends will celebrate the protector of Gotham this Batman Day! Players who login on September 19 will receive a special treat, and can check out the store to unlock and boost up their favorite Gotham Super Hero or Super-Villain with a promo sale.
DC Universe Online is celebrating Batman Day with an in-game Batwing form change trinket, free for all players, and a new Riddler-inspired aura for members between September 14-20.
DC’s digital subscription service, DC UNIVERSE, will also be celebrating with some exciting news you won’t want to miss!

Batman Around the World:

Fans in Mexico, Brazil, France, Italy, Spain, Germany, China and Japan can enjoy special offers, give-aways and exclusives on a variety of Batman comics.
Italy Cartoon Network will host Batman themed programming starting on September 14 on CN+1.
Fans can register now for the virtual Batman run/walk in Brazil (https://www.yescom.com.br/batman).
In Japan, UNIQLO UT will be launching a collection of t-shirts and hoodies featuring Batman and other DC characters by renowned artist, Jean-Michel Basquiat, in all UNIQLO stores on September 18.
Fans in the UK will be able to enter competitions for the chance to win Batman bundles. In addition, there will be retail promotions with partners.

Free Digital Comics & Activity Kits:

DC will offer free digital comics including the first chapter of Batman: Curse of the White Knight graphic novel by Sean Gordon Murphy for adults and teens. Fans of any age can enjoy the free digital editions of Batman: The Adventures Continue #1 and the first chapter of the Batman Tales: Once Upon a Crime graphic novel. Readers can find them at DCcomics.com and ReadDC.com as well as Apple, ComiXology.com, Google, Overdrive, Madefire and Nook.
Families can enjoy the timeless DC Super Hero with free activity kits to print at home, available at www.BatmanDay.com.
Explore more of the Batman universe with a curated reading list on www.BatmanDay.com.

Watch Batman:

HBO Max will celebrate with a Batman takeover of the DC Brand Hub from September 18-19.
Key Cartoon Network international territories across APAC and EMEA will host exclusive Batman-themed programming and stunts for kids in September.

Shop Batman:

Warner Bros. Consumer Products and DC are also joining forces with an extensive list of retail partners, including Amazon, Barnes & Noble, Target, iTunes, Walmart, GameStop and Google Play, among others who will have special Batman promotions.
Global partners such as LEGO, SpinMaster and Funko will release exclusive Batman products in celebration of the DC Super Hero’s big day.
Our Batman Day digital comics book sale will feature more than 400 eBooks and 3,000-plus digital comics, discounted as low as 99c for periodicals and as low as $5.99 for ebooks here.

Hero Initiative, the charity that helps comic book creators in medical and financial need, is celebrating Batman Day with the Batman 100 Project! Hero commissioned 100+ top artists to do original drawings on DC’s Batman #75, and the originals will be auctioned at Heritage Auctions (www.HA.com/Batman100) September 13-19.

Conceived by artist Bob Kane with writer Bill Finger, Batman is humanity’s timeless hero. First appearing in “Detective Comics #27” on March 30, 1939, the socialite Bruce Wayne turned crime-fighter called Batman has stood as a symbol of determination, bravery and justice to generations of fans for more than 80 years. He has influenced every area of modern entertainment, appearing in countless comic books, Saturday morning cartoons, multiple television series, video games, theme parks and experiences, toys, collectibles, apparel and lifestyle products, as well as, blockbuster animated and live-action films. Batman is a multi-billion dollar icon who continues to reign as the most popular single Super Hero ever created.

Fans can join in on social media using the hashtag #BatmanDay and visit www.BatmanDay.com for the latest news and updates.

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Review: THE NEW MUTANTS Is A Mixed Bag X-Men Spinoff

Eric Trigg

The New Mutants has been delayed many times over the past three years, but the film finally landed in theaters over the weekend and while not as bad as expected, it isn’t that good either. The New Mutants has so much potential that just can’t be reached in the format of a feature film. As the film progresses, and as the backstory of our characters gets addressed it becomes clear this would have worked better as a miniseries on a streaming platform.

The X-Men spinoff that fans have waited for may be enough for some but not all. The film starts off very slow but picks it up as the credits near. The New Mutants spend a lot of time letting viewers get to know and sympathize with our protagonists but they still feel underdeveloped. Directed and co-written by Josh Boone, the film stars Anya Taylor-Joy, Maisie Williams, Charlie Heaton, Blu Hunt, Henry Zaga, and Alice Braga. The New Mutants follows a group of five young mutants, who have just discovered their powers and are being kept in a facility. While coming to grips with their powers, the mutants attempt to escape the facility and their past sins in order to save themselves.

Maisie Williams as Rahne Sinclair in The New Mutants

Our mutants consist of Danielle Moonstar (Hunt), Sam Guthrie (Heaton), Roberto da Costa (Zaga), Illyana Rasputin (Joy), and Rahne Sinclar (Williams). Dani is the first character introduced as her life gets turned upside down. She awakens in a facility where she meets the remaining mutants. Cecilia Reyes (Braga) is the mentor to the mutants and supposed doctor here to help them understand their powers. Dani has the power to create illusions based on the fears of others. Illyana has sorcery powers and can gain access to the soulsword. Sam has jet propulsion powers and is invulnerable during this activity. Rahne, who comes from a religious background can turn into a wolf. Roberto has the ability to manipulate solar energy. The script does a good job establishing that each mutant has an unfortunate background story, but only Dani gets the spotlight it seems overall.

Had this film landed on Netflix in the form of a miniseries then each character would feel more fleshed out, but the film establishes them enough where you can at least get on their side. The script uses a Buffy the Vampire Slayer scene to foreshadow a future event and that was a nice addition. Also, this shows how impactful that particular scene was when it aired on television. In fact, a lot of inspiration seems to be drawn from not only Buffy but Nightmare on Elm Street 3 as well. The performances are all solid but Joy steals the show as Illyana. Illyana is the most confident mutant, she has embraced her powers, comes off as a rebel and Joy portrays this with ease. Hunt is good as our central character Dani, and as mentioned her character is fleshed out the most because she spends most of the film trying to learn her power and move on from a tragedy.

The mutants prepare for battle in The New Mutants

Dr. Reyes is meant to be a threat, but Braga’s performance isn’t giving off anything resembling danger. It doesn’t help when she constantly references her superiors, so in a way, our primary villains aren’t present at all in the film. There is a larger threat presented in the end, but it just feels too last minute to care. The film is more concerned with the mutants but never makes it clear who a central villain will be so we get several small ones instead. The first two acts are good for what they are but then an action-packed finale occurs and it’s captured masterfully by Boone but he fails to add intensity to other moments in the film. Cinematographer Peter Deming effectively supports the overall narrative and the score by Mark Snow adds to the emotional aspects of the film.

The New Mutants’ adequate qualities sadly are held back by its poor qualities. It’s safe to say this won’t lead to a spinoff franchise as planned, so we will never know why there was only one doctor in this entire facility. However, the film still had several elements that worked in its favor, mostly the performances and the visual displays. This X-Men spinoff does enough to stand on its own but The New Mutants is mostly a bland version of Dream Warriors.

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In Conversation With SWEET PAPRIKA Creator Mirka Andolfo

Justin Munday

August 30, 2020

I was lucky enough the be able to talk to the incredibly talented Mirka Andolfo (Un/Sacred, Mercy) about her newest project “Sweet Paprika.” We talk about the growing popularity of a new concept, bringing major talent into an animated series, and how this creation sets itself apart from other more erotic projects.

MFR: The entire premise of an Angel and a Demon falling in love is a classic trope now in pretty much every medium. Where exactly did your (Mirka’s) take on this concept come from, and what to you sets it apart so much?
MA: An angel and a devil falling in love is a classic concept, also for my work: it’s not the first time I’ve played with this dynamic (that was the initial setting of Un/Sacred, my first comic), but I think that a female devil with a male angel is way rarer to see. That’s probably because the stereotype wants women to be “feminine and angelic,” and the male as a sort of “alpha devil,” so I really wanted to reverse the roles. I love doing this kind of operation. But in general, to be honest, I just like angels and devils so much! Especially if they are reinterpreted! And I must say I love drawing devils!

MFR: These characters rose in popularity just from sharing your sketches with your fans over social media, to the point where people were even cosplaying as them at cons. At what point did you realize that what you had created could lead to some major creative like “Sweet Paprika”?
MA: My usual path is that I start sketching a new character (or a couple of new characters, like in this case), and then I realize I want to develop something more when I become really obsessed with them. Too many sketches come to my mind. I think having fun with character design, characterization, and world-building is really important to me, when I start creating a new IP. It’s always pretty instinctive. Then, if I see that fans like them (and I’d say that with Paprika and Dill they did adore them!), I feel super happy, and the desire to work on them is even more intense. But the first rule for me is having fun just for myself. That’s the starting point.

MFR: Gabriele Pennachioli, who worked on Love, Death + Robots (which is mind-blowingly good) is slated as executive producer on Sweet Paprika. How exactly did he get involved with this project?

MA: With Arancia Studio and Grey Ladder, the producing companies working on the animated project, we started discussing talent that we would love to have attached. We immediately thought about Gabriele: we didn’t know him personally, but we did love his work, and his skills were amazing, no doubt. Then, personally, I also love the idea of an Italian talent who’s experiencing huge success in the United States… So, Arancia Studio and Grey Ladder contacted him, letting him know how much I loved his incredible work and, especially, Love, Death, and Robot. He jumped into the project immediately and believed in it. I feel really honored!

MFR: One of the major points in the presentation of Sweet Paprika is that this is an erotic tale set from the perspective of a woman, meant to empower the idea of women’s sexual autonomy. How difficult is it to walk the line between just male-gazey smut and the more intentioned, character-driven erotica being made here?
MA: Let me say… It’s VERY complicated. I think the most important thing is to act in a “wise” way, never being vulgar. All the erotica in my work is always sex-positive. And also, making a pornographic project is not our target: we want to tell a cute, funny, romantic story (with the presence of sex) about a woman who needs to balance her work with her private life. Sex is a beautiful part of our lives, but not the only one, and at the same time, it looks like something that just men can talk about and enjoy. In 2020, it still looks “strange” when a female character (like Paprika) looks “sexual active”.

MFR: If it isn’t too early to ask, what platform or platforms are you and the creative team eying for Sweet Paprika to be played on?
MA: That’s a very good question! But, yes, it’s still too early, unfortunately. I can say that we got some strong interest from co-producers and from a couple of broadcasters/platforms. Let me say again, in any case: it’s still very early. We are in the first stage of development, and almost anything can happen… Also, I wouldn’t assume that the animated project is the only project related to Paprika and Dill, by the way!

Keep up with Monkeys Fighting Robots for future updates on “Sweet Paprika!”

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Review: BILL AND TED ARE DOOMED #1 Fills In The 30 Year Gap Between Movies

Darryll Robson

Over 30 years ago Bill and Ted discovered that strange things were afoot at the Circle K and a Legend was born. Despite mixed reactions to the second movie in 1991, Bill and Ted found an audience that have followed them through numerous comic book series. Therefore it comes as no surprise that a new comic is being released to tie in with the new movie. As Bill and Ted Face The Music in limited cinema releases and streaming services, on paper Bill and Ted Are Doomed.

Comic writer/artists Evan Dorkin and Roger Langridge bring their own anarchic humour to the new series from Dark Horse Comics. Drawing on references from the franchise and the greater world around us, the new comic offers something for everyone. New and old fans alike will find something in these pages to keep them amused.

Bill and Ted Are Doomed #1 — Bill And Ted Are Doomed #1 Credit: Dark Horse Comics

All We Are Is Dust In The Wind

The award winning creator Evan Dorkin has created some bizarre comics in his time, Milk and Cheese being one of this reviewer’s favourites. As such, he is a perfect fit for the farcical adventures of the time travelling musicians. His tale begins in the future where Rufus, the guiding hand for the heroes, is informed of yet another looming disaster. The opening is a clever introduction to this series as well as the franchise as a whole. Dorkin clearly assumes that new fans will be jumping on board so he brings everyone up to speed by referencing the plots of the original movies. This ushers in some hilarious gags, or cheesy one-liners, depending on your sense of humour.

Dorkin uses the opening to kick off the plot but also to set the tone of the comic. Chances are if you pull a face at Rufus’ quipping you’ll not make it through the rest of this first issue. The jokes come thick and fast with most reliant on the way the heroes speak. Very little extends beyond one liners or slap stick. The intention of this first issue appears to be the re-introduction of all of the main characters from each movie. All the favourites are there; the musically talented members of the band Joanna and Elizabeth; the alien duo Station; the bass obsessed Death; and the lonely metal side-kicks, The Robot Us’. The comic also includes younger versions of Bill and Ted’s daughters who feature prominently in the new movie.

To cut a long story short, it’s a massive assembly of characters. The drawback to this is that the narrative reads like a collection of short comic strips rather than a cohesive story. Dorkin moves the action from one introduction to another, playing a short comical scene in-between, and after a while the lack of significant plot becomes tiresome. It does begin to pick up towards the end but then new problems surface. Bill and Ted isn’t known for sensible, linear, storytelling however there is usually an element of comprehension present at each major narrative beat. Dorkin’s script lacks this.

We Got Totally Lied To By Our Album Covers

The Art is cartoony in style, favouring humour over realism. This has been the case for the majority of the Bill and Ted franchise. With the large cast of characters, especially the otherworldly members, the premise lends itself perfectly to this style of storytelling. For older readers it will invoke childhood memories of comic strips such as The Bash Street Kids from the weekly Beano comic*. For younger readers it will be familiar and friendly; an easy to access comic.

Roger Langridge’s style is fluid and direct. He captures the essence of a character and then is free to play with the visuals, sometimes to absurd levels. Langridge often over simplifies the panels allowing for straight forward storytelling. There is a clear emphasis on character and humour on the page that builds a tone for the book. It’s fun and frivolity to the extreme. There is little to take seriously, something that is elevated by the coloring and lettering.

The colors are bold and brash, designed to increase the ease of the storytelling. Each page is clearly set out with a clear reading line from panel to panel. Again this illustrates the accessibility of the comic and the wider public that it is aimed at.

Langridge’s lettering is a high point of Bill and Ted Are Doomed. It blends into the surrounding artwork becoming part of the page and brings the characters to life. The sarcastic inflections within the majority of the speech is picked out beautifully within the speech balloons. You can almost hear the voices of Keanu Reeves and Alex Winter speaking the scripted lines. This is especially true of Death because Langridge gives the Grim Reaper a singular look that stands out on the page.

*I’m from the UK where the Beano is familiar to everyone

Conclusion

There is a lot of enjoyment to be had with Bill and Ted Are Doomed. The extent of that enjoyment will completely depend on how much you love and cherish the franchise. Past Bill and Ted comic tie-ins have ranged from the superb to the merely bland, Are Doomed falls somewhere in-between. The creators have made a conscious decision to use a specific style that is both accessible and fitting for the comic, aimed, as it is, at a wide audience. It will not appease the uber-fan, and may actually put some people off: but not too many.

The long and short of it is, Bill and Ted Are Doomed is a cartoon frolic set to capitalise on the release of the new film. It’s not a bad comic but the familiarity and simplicity of the plot stop it being a great comic.

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