Review: BIRDS OF PREY #1 Has Unused Potential

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The Birds of Prey are Back?

The Birds of Prey have recently stepped back into the spotlight thanks to the movie a few months back. Since then, two titles were announced. One by Amanda Conner and Jimmy Palimot and another by Brian Azzarello and Emanuela Lupacchino. The latter was announced to make a full Birds of Prey series while the former would make a one-shot.. As time went on, the popularity of the female team came and went. DC began to think a whole series wouldn’t be profitable and cut it to a miniseries. More time passed, and soon that miniseries became a one-shot Black Label book. Even after all that, it was pushed back even further due to world events. Now that it’s out, can Azzarello deliver a good story that was cut down twice?

**Some Spoilers Below**

Story:

Early one morning, Black Canary gets a call from a man she worked with. He warns her that a new threat is coming before being murdered by a gang. At the same time, Harley Quinn arrives back in Gotham. She has been taken off the Suicide Squad as well as left the Joker. She now seeks a new purpose in life. Finally, we have Renee Montoya meeting up with Huntress to discuss crime. The detective has been sending Huntress down paths that she is not allowed to go on. With all four players in place, the gang begins to descend on Gotham to wreak havoc.

It’s obvious that this had to be cut down for the one-shot format. The problem is the way it’s cut, it’s done in such a way that the flow is all over the place. It starts slow, doing a good job setting up the characters and their motivations, then proceeds to hop all over the place. We focus on Black Canary, then Harley, then Huntress and round and round. Black Canary doesn’t even meet up with Huntress and Harley till the back half of the book. Then there’s the non-ending which only irritated me. We end on not one but two cliffhangers. Did the Birds escape? Did Harley end up killing the Joker? We don’t know and never will!

That said, Black Canary appears to have gotten the most attention out of our four members. The man at the beginning had enough connection to send Dinah into a depressive episode. Before she’s even cleared, she loses someone else: Byron from her 2015 Series. These deaths affect her and put her in the game. Black Canary ends up having an actual personal stake and wants vengeance. It fleshes her out a whole lot more than the other members and makes me want to read Dinah’s story more.

Art:

While I had plenty of issues about the story, I have no problem with the art. Emanuela Lupacchino has done excellent work over the years, and this comic is no exception. All the characters look great, especially the gang that comes into Gotham. They have a Dia de Los Muertos style, and it’s cool. I want to see this gang show up outside the one-shot, but only if she’s illustrating. The colorwork compliments Lupacchino’s art but providing darker, grittier colors for the action but also bright ones to have characters pop. It’s just a fantastic looking book.

Conclusion:

Overall, this issue is a beautiful looking mess. While the artwork is fantastic, the editing to try and cram the whole series into 100 pages brings the entire thing down. Granted, Black Canary’s development in this is the highlight, but the jumping around fails to keep the readers’ attention. The pieces are all there. Anyone can tell that there are great ideas within these pages. There’s just not enough space to save the idea as a one-shot. I hope the team can get a do-over; The Birds of Prey deserve it.

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Exclusive AfterShock Preview: DARK RED #10 – It’s Bloodbath

By

Matthew Sardo

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June 4, 2020

Exclusive AfterShock Preview: DARK RED #10

Dark Red #10 hits your local comic book shop on July 1, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview of the contemporary and horrifying tale of vampirism in the heart of America.

About the book:
The epic conclusion of the controversial second story arc. Can Chip return to the world he left behind? And if he does, will he have anyone left to return to? The tale of the city, the country — and the monsters in between.

Dark Red #10 is written by Tim Seeley, with art by Corin Howell, Mark Englert dropped some color, you will read Carlos Mangual’s letters, and Meghan Hetrick created the cover.

Check out the DARK RED #10 preview below:

The series uses vampires as a way to talk about the isolation of Middle America and the political divide our nation is facing. You can read Monkeys Fighting Robots’ review of the first issue by clicking here.

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Get Lost in 70’s Grindhouse-Noir with a BLACKING OUT Playlist

By

Justin Munday

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June 4, 2020

Writer Chip Mosher and artist Peter Krause’s Blacking Out is an original graphic novel available to be backed on Kickstarter, and Mosher came up with a playlist to enhance your reading experience!

BLACKING OUT follows a drunk ex-cop looking for redemption as he attempts to solve a murder during the Southern California fire season.

Comics industry veteran and writer Chip Mosher and legendary artist Peter Krause (The Power of Shazam!, Irredeemable) present BLACKING OUT, a 56-page graphic novel presented in a deluxe oversized hardcover in the European album tradition. BLACKING OUT also showcases the amazing talents of colorist Giulia Brusco (Scalped, Django Unchained), letterer Ed Dukeshire (Buffy the Vampire Slayer, Mighty Morphin Power Rangers), and designer Tom Muller (X-Men).

“Blacking Out is as dark as the smoky California skies that fill its pages. And like smoke, this noir clings to you. Redemptive, surprising, & bleak.” – Brian Azzarello (100 Bullets, Moonshine)

This graphic novel was crafted with music in mind, so Mosher put together an awesome playlist full of classic rock, jazz, and soul tracks to pull you into the pages. Here he lists out and explains his thoughts on each track:

It’s funny. When I wrote Blacking Out, I listened, almost exclusively to Interpol’s Antics on repeat. I’d start with track four or five, “Take Me On A Cruise” or “Slow Hands,” and then put the album on repeat. Antics has a real trance-like effect on me and it offered Neo-noir white noise that let me enter the world of Blacking Out.

But when I was thinking about a soundtrack for the comic, none of those songs seemed right. With what Pete did with the visuals, grounding the story in a ‘70s aesthetic, it was important to find stuff from that era, but that didn’t sound like it. I wanted to find obscure tracks that felt out of time and remained timeless.

“Maggie M’Gill,” The Doors
I love the opening bass on this track. The Doors recorded this song in an empty club right before they did a live show. Maggie M’Gill was one of their lesser tracks, but I think this bassy and jazz’ed up version elevates the song to the level it should be sonically and really sets the mood…it’s dirty. It’s a song that’s drunk on itself.

“Ladytron,” Roxy Music
I feel like when you hear this song from Roxy Music’s debut album, it’s like entering another world. It doesn’t feel like 1972, but also doesn’t feel like the musical future it predicts. It’s kind of the sonic equivalent of the 1939’s World’s Fair futuristic cars… I think of this as the song that Conrad is hearing when he enters the bar to get his swerve on.

“Coming Down Again,” The Rolling Stones
Great song off of a masterful Stones album. I was told by a friend who’s a Stones aficionado that Keith Richards doesn’t even remember recording this album. Think about this backing Conrad as he wakes up at Anita’s.

“I Got Nothin’,” Iggy Pop and James Williamson
Feels like Conrad’s theme song as he starts to investigate the case. Great song from the mid-‘70s that was frequently bootlegged, but not officially released until decades later.

“Sunshine of Your Love,” Ella Fitzgerald
I was at this Northern Soul club in Leeds with the Thought Bubble crew when this track hit the air. Holy shit. I love this song and this version by Ella Fitzgerald is amazing. It had to go in the Blacking Out playlist.

“The Seeker,” The Who
A bit on the nose regarding Conrad, but hey, sometimes you want a song that really tells you what the hell is going on…

As I ransack their homes
They want to shake my hand
Focused in on nowhere
Investigating miles
I’m a Seeker, I’m a really desperate man!

“A White Shade of Pale,” King Curtis
Another song that feels out of place in its era. King Curtis’s sax covers of any song are worth a listen, but I love this one and think it would be great background music on any scene.

“Kill City,” Iggy Pop and James Williamson
Another great post-Stooges composition by Iggy and James Williamson. Says it all. Feels like it could have come out last year—love the noir feel of this song. Conrad, Anita, Mattie, and Lund definitely live in Kill City.

“If There Is Something,” Roxy Music
I’m a huge Sisters of Mercy fan and their song “Some Kind of Stranger” is my favorite. I was struck when I heard this track about how much of the main melody of “Some Kind of Stranger” is taken from this Roxy Music track. In any case, as it pertains to Blacking Out, I think this song would be great on some of the later scenes with him and Anita. Maybe when they take the walk and talk…

“Achilles Last Stand,” Led Zeppelin
An unappreciated gem by Page, Plant, Jones, and Bonham. We’re ramping up here, getting ready to experience the big finale.

“In Every Dream A Heartache, Roxy Music
(Laughs) I’m not going to say much about these next three songs as anything I say would give it away… but …oh shit. It’s coming. Watch Out.

“Winter,” The Rolling Stones
Maybe some regrets. SPOILERS! We are going into the Wilderness here….

“Jump Into the Fire,” Harry Nilsson
Maybe… the end? Read and find out folks! (Tuning the bass mid-song is amazing.)

“Ghost Rider,” Suicide
This plays over the credits. The greatest song about a comic book character ever written. 1977. Can you believe it? Sounds amazing. It had to go over the credits. And fits a bit, but had to throw this in for fun. The Sisters of Mercy used to cover this track live… Yeah, I know. I love that stupid band. Shut up.

Listen to the playlist on Spotify here:

If this playlist hits your musical sweet spot and the preview piques your interest, be sure to back the Kickstarter here for your own copy of the oversize hardcover and extra perks like art cards and more!

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Review: CRITICAL ROLE: VOX MACHINA ORIGINS II #6 — The Exorcism Of Grog

By

Corey Patterson

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Vox Machina has finally found the necessary ingredients for a mystical exorcism that will save their beloved Grog. CRITICAL ROLE: VOX MACHINA ORIGINS II #6, available in comic book stores on Wednesday, June 3rd, concludes Volume II. Readers will be happy to find this issue brings Team Nightmare and Team Nymph Heart together in the chambers of the Realmseer, one of the most accomplished users of the arcane. But with the evil spirit inhabiting Grog making more frequent appearances, this adventure’s conclusion will be a real nail-biter.

Story

The race to save Grog is at its most crucial moment as our heroes travel to the Realmseer’s study for the ceremony. The ever deepening scar on Grog’s chest spurs the group to quicker action before his body is entirely controlled by Drath.

The heroes eventually arrive at the arcane master’s chambers and commence with the ritual. But the process isn’t as straightforward as one would have hoped. Drath fights back against the magic in brutal fashion, vowing to murder the lot of them.

Jody Houser’s script encapsulates everything readers love about Critical Role and the Vox Machina party. We’re enthralled by this band of heroes who offer quirky looks at their life despite the sobering conditions surround them. The strength of their personalities is only matched by the action-packed sequences.

Artwork

Olivia Samson’s penciling and ink work, Msassyk’s coloring, and Ariana Maher’s lettering offered the perfect tapestry for this issue. Readers get clear depictions of desperation on each hero’s face as they race across the sprawling landscapes, filled with greens, browns, and other earthy hues. We feel as if we’re inhabitants of this world and a part of the story. And the font styling adds to the high intensity of the situation, employing large and small sizing when applicable.

Conclusion

Dark Horse’s CRITICAL ROLE: VOX MACHINA ORIGINS II #6 is exactly the conclusion we were waiting for. We find an ending that closes one door and opens a dozen more.

Were you satisfied with the conclusion of Grog’s arc? Let us know in the comments below!

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How ALIENS: THE ORIGINAL COMICS SERIES Takes Advantage of Its Lack of Color

By

David Weber

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June 3, 2020

Aliens: The Original Comics Series 30th Anniversary Cover

Most modern comic books make use of a colorist who plays a very significant role in the final art that a reader will see. However, Aliens: The Original Comics Series from Dark Horse Comics is composed entirely of black-and-white images, and uses this to its advantage.

Aliens: The Original Comics Series was published in 1988 and 1989, and tells the story of the characters Newt and Higgs from the movies Alien and Aliens. The series was written by Mark Verheiden and illustrated by Mark A. Nelson. Nelson specialized in black-and-white art done using the now mostly unused Duoshade process. The process involved painting a chemical onto a specially treated paper, and allowed Nelson to create stunning and incredibly detailed illustrations. While other comic books rely heavily on the colorist to create an atmosphere in his or her stories, the black-and-white art of Aliens works heavily to its advantage.

The most effective way that the colorless art helps Aliens: The Original Comics Series is through establishing tone and atmosphere. From very early in the series, it is clear that Verheiden intended the story to focus on the horror aspect of the franchise. By having a black and white color palette, the story is given new depth and allows for tones of fear and suspense to be prevalent throughout the series. For example, Newt experiences several nightmares in the beginning of the series that depict the Xenomorphs, or dream interpretations of the creatures. Due to the Duoshade process and how it allows for incredible detail using black, these dream sequences are drawn beautifully in heavy shadow, helping to make clear the terror that Newt is experiencing.

The black-and-white color palette also assists in developing suspense in areas veiled in shadow, such as those in Newt’s dreams. Not only are many people afraid of the dark, but areas such as this leave the reader in suspense of what horrific beings could be lurking in the shadows.

Perhaps the most important way that the black-and-white aesthetic serves Aliens: The Original Comics Series is through illustrations of the Xenomorphs themselves. As the title characters, it is essential that the Xenomorphs are drawn well, and through the Duoshade process, Nelson can bring the horrifying characters onto the page to life. Since the Xenomorphs in the movies are completely black, nothing is lost in the transition to the page. Also, since the Xenomorphs are black and the humans are illustrated with white and gray tones, they act as a foil of one another. The Xenomorphs represent evil, and humans represent the good. Although humans as good does not hold true for many of the characters in the series, this contrast between the Xenomorphs and the humans is an effective technique that would be impossible if the illustrator had chosen to portray the story in full color.

In all, Aliens: The Original Comics Series is an amazing read, telling the stories of Newt and Higgs after the events of the second Alien movie. While this story may have been removed from the official canon after the release of Alien³, it is worth a read by anyone who is a fan of the Alien franchise. Some may believe that color inherently makes a comic book better, but Aliens: The Original Comics Series quickly dismisses that claim.

Are there other black-and-white comic books that you are a fan of? Let me know in the comments below!

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Box Office Flashback: June – False Memories, Perfect Storms, And Living Toys

By

Ruben Diaz

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June 3, 2020

Summer for the movie season works like this: It heats up in May, gets broiling hot in June and July then starts to cool off only slightly in August before dropping off dramatically for the September cool down. Here we are in June, and 30 years of cinematic history reveals just how hot the silver screen gets this time of year.

One-hundred-plus years of filmmaking provides a long, rich, and deep history to look back on. Retro reviews and analysis of old films are practically necessary full-time specialties. Month after month, films release, vying to make as much money and grab as much attention as possible. Some rise, some fall, but regardless of financial success, the lasting effect of a film in popular culture is unpredictable.

So, where does that leave previous box office champs? Let’s take a look back ten, twenty, and thirty years ago at the box office hits released in June.

**1990 • Total Recall • 119.3 million**

The movie screen was a busy place in the summer of 1990. Taking the top spot at the box office was Total Recall starring none other than Arnold Schwarzenegger. The former Hercules in New York star was one movie away from reaching peak Arnold with Terminator 2: Judgement Day. Total Recall, based on the Philip K. Dick story “We Can Remember It for You Wholesale,” was a crossroads of talent at its finest. Co-stars of the film included Ronny Cox (RoboCop), Michael Ironside (The Perfect Storm), and Sharon Stone (Basic Instinct). Behind the camera was Paul Verhoeven, who was riding high off of RoboCop and was still years away from creating the timeless classic Starship Troopers.

It’s hard to write about 1990 and keep it short. Coming in second to Total Recall was Dick Tracy, the super-stylized comic strip turned film with a cavalcade of stars including Al Pacino (The Godfather), Dustin Hoffman (Hook), and Madonna (A League of Their Own). Tom Cruise-d into third with Top Gun on the ground Days of Thunder from director Tony Scott (True Romance). Eddie Murphy scored another hit with the sequel to 48 Hours, Another 48 Hours. RoboCop 2 from director Irvin Kirshner (Empire Strikes Back) came in last with 45 million, a marked decline from the previous film.

**2000 • The Perfect Storm • 182.6 million**

The year 2000 marked a peculiar June for the box office. Where 1990 cranked out a lot of pop culture gems still referenced to this day, ten years later, and the winner of June was The Perfect Storm starring George Clooney. It follows the crew of a commercial fishing vessel, directed by Wolfgang Petersen (Das Boot, NeverEnding Story) and based on the non-fiction book by Sebastian Junger. Called the Andrea Gail, the boat never returned after being caught in a weather phenomenon referred to as the “perfect storm” of 1991. Along for the ride with Clooney was Mark Wahlberg (The Happening), John C. Reilly (Step Brothers), and Michael Ironside (Total Recall).

The Perfect Storm is a fine film if a little lost to memory in the minds of most cinephiles. Following it at the box office is the mostly panned Big Momma’s House starring Martin Lawrence. The Patriot with Mel Gibson made 113 million closely followed by the animated Chicken Run. Gone in 60 Seconds with Nicholas Cage and Angelina Jolie rounds out the top five. June 2000 featured a tight numbers two through five, as an average of only four million dollars separated the four films.

**2010 • Toy Story 3 • 415 million**

June 2000 was a little strange. But June 2010 was back to things as usual with a handful of big hits still resonating today. Taking the top spot is Toy Story 3 from Pixar, which delivered yet another fantastic story paired with stunning computer-generated visuals. New characters such as Jessie and Lots were born thanks in part to the wonderful vocal talents of Joan Cusack (Working Girl) and Ned Beatty (Rango).

Caption the number two spot is the third installment of The Twilight Saga, Eclipse. Kristen Stewart and Robert Pattison return for the vampire-werewolf-human love triangle. The reboot of The Karate Kid starring Jaden Smith (After Earth) and Jackie Chan (Rush Hour) beat Adam Sandler’s “comedy” Grown Ups for third place. Landing in the final spot is The A-Team starring Bradley Cooper about America’s favorite band of ex-soldiers on the run helping those in need.

June 2020 & Predictions

The box office is at a standstill now. Indie film The Wretched won the box office for several weeks. Christopher Nolan’s Tenet will likely be the next big film release, but as the pandemic continues, we’ve got new problems here in the United States to contend with too. So, who knows?! However, for those who are safe, healthy, and able, there’s plenty of content to consume on your favorite video viewing device through streaming channels across the interwebs.

Read more from writer Ruben R. Diaz!

Don’t go, there’s so much more on PopAxiom!

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How HAWKEYE VOL. 1 Bridges the Gap in Storytelling

By

Cat Wyatt

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HAWKEYE VOL. 1: MY LIFE AS A WEAPON originally released back in March of 2013. Yet it’s still a comic stuck in the minds (and hearts) of many. Myself included. It simultaneously was and was not like many other comics I’ve read.

Clint Barton is here to save the day – and create a bit more chaos.

Hawkeye is not a series afraid of humor. In fact, Hawkeye rather shines in that element. So it’s really no surprise that his entire series launches on a moment of tension and surprising humor. “Okay–This looks bad…”

Yet that isn’t the reason this series carried so much import and impact. Clint Barton is a superhero. He’s one of the Avengers for crying out loud. Yet he’s human. Very, very human. He has no powers to speak of. He’s flawed. He makes mistakes (sometimes a lot of them).

He’s also deaf. Now, this is an element that could easily have been thrown into the mix and then mostly left alone. But that is not what Hawkeye: Vol. 1: My Life As A Weapon did. No, it embraced everything about his deafness, from Clint learning ASL and lipreading to every other little detail you might think of.

It’s the first time I can recall seeing a hero that was anything truly outside of the ‘standard hero mold,’ so to speak. It was a moment, or series of moments, so flawlessly woven into the narrative. There was no major deal made about Clint’s deafness. He merely was. It was part of him.

Since then, I’ve seen many heroes who deviated from that ‘standard hero mold.’ It’s been beautiful to see it happen. To see new heroes pop out, with new styles and new messages. Yet Clint Barton will always hold a special place in my heart, for being so perfectly who he is. No shame, no regrets. Just a man trying to save the day.

More to the point though, Hawkeye Vol. 1 (as well as the rest of the series) brought about one of my favorite variations of Hawkeye. A version I desperately keep hoping to see in the MCU, be it in the movies or his Disney+ series. Realistically, there are many fans out there rooting for this very thing as well.

Hawkeye Vol. 1: My Life As A Weapon had a pretty stellar team behind the scenes. Maybe that was why it carried with it so much confidence. Matt Fraction was the writer for the project, with artists such as David Aja, Javier Pulido, Matt Hollingsworth, Annie Wu, Alan Davis, Francesco Francavilla, and Chris Eliopoulos all working alongside him.

Together they created something unique, and dare I say, fun. One of the best things about Clint Barton is that, as I’ve stated above; he’s human. He’s free to make mistakes. Sometimes major ones. He’s also perfectly capable of getting himself in messes that are way over his head – and yet somehow surviving it all.

Despite all of that and all of the other crap that life tends to dump on him, Clint has a fairly healthy outlook on life. Sure, he gets down sometimes (who doesn’t?). But he always gets back up. Best of all, he’ll almost always have a line or two to make his readers smile. Sometimes that alone can mean the world.

Nothing quite like causing traffic and destroying property to relieve your anger.

Hawkeye Vol. 1: My Life As A Weapon has one more reason for me to hold it near and dear to my heart. Kate Bishop. That amazing, sassy, and snarky girl. I adore her and everything about her. Including (especially) all of the ways in which she calls Clint out. Her inclusion in this series was absolute perfection, at least partially due to the important conversation(s) it started.

The fact that she’s able to keep up with Barton’s messed, and save the day a time or two herself is certainly another highlight of the volume. As is her constant snark and sass – she’s more like Barton than either of them realize.

All of these elements, and more, are the reason why Hawkeye Vol. 1: My Life As A Weapon will always be one of my top favorites. It’s a series I fall back into reading whenever I need a laugh or a bit of encouragement. Okay, sometimes I read it as a reminder that things can always be worse; after all, just look at the messes Barton gets into.

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A Chilling Beginning in THE RED MOTHER VOLUME 1

By

Cat Wyatt

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Red Mother Vol. 1 — Daisy's life is about to be forever changed in The Red Mother Volume 1.

THE RED MOTHER VOLUME 1, available now from Boom! Studios is the beginning of a haunting and alarming tale. This is a brutal telling like no other, bringing the innocent to the forefront in hopes of solving their own mysteries.

Daisy’s life is about to be forever changed in The Red Mother Volume 1.

***SPOILER WARNING***

The Red Mother Volume 1 is arguably one of the most haunting and disturbing introductions around. This is a series intent to leave the readers with nightmares, courtesy of the graphic nature, and even more alarming implications.

Daisy was just a normal woman. She had her everyday concerns, but she had enough money to help her get through most of that. That is, until the day she was attacked. The day she lost her eye and her boyfriend.

Now she’s left with a mystery on her hands. A mystery that nobody else seems willing to acknowledge exists. After all, that would just make her life and the following horrors to easy to bear.

One note before we dive into the review; The Red Mother Volume 1 has several graphic elements, one of which revolves heavily around the loss of an eye. If this is the sort of thing that makes you squeamish, you should look away now.

Daisy and The Red Mother are featured on this hauntingly beautiful cover.

The Writing

Jeremy Haun is the mind behind The Red Mother Volume 1, so if you wake up with terrors in the middle of the night, just go ahead and blame him for all of that. This series is already proving to be every bit as disturbing and graphic as promised.

There are a lot of ways to tell a horror story. But one of the most terrifying things a writer can do is make you fear the normal. By putting his horrors in plain sight, Jeremy Haun has given Daisy, and thus the readers, real reason to be terrified.

Blended with the horror of the unknown, and this tale gets fairly dark. Mercifully, it is balanced out with a healthy dose of intrigue. There are puzzles within this tale, and Daisy seems determined to solve them for us.

All of these elements work together to create something shockingly gripping and haunting. It’s safe to say that this is a tale you’re not going to want to look away from.

The Art

Where the writing of The Red Mother Volume 1 is haunting, the artwork is outright terrifying. The artists behind this project were not afraid to go graphic when needed. Likewise, they knew how to use the horror of their surroundings to excellent use.

Danny Luckert (artist) and Ed Dukeshire (letterer) worked well together here. They created something vibrant and alarming all in once. The covers are an absolute highlight, to be sure. They’re eye-catching, demanding that the readers pick up an issue and read more.

The artwork within the pages balances on a very fine line. There are lush details and color palettes, all of which can switch at a moment’s notice. There’s the normal, and then there’s the terrifying. At any given moment you can never quite know what to expect.

The mystery of a puzzle that has been dropped in one’s lap.

In Conclusion

The Red Mother Volume 1 is an intense and intriguing start to an all-new horror series. This is admittedly a series that can get graphic at times, and yet it still appreciates the subtle elements that can come with horror. The combination is where this series shines and will prove to be memorable.

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Self-Published Spotlight: CRIME-KILLER by Brian Judge

By

Manuel Gomez

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June 3, 2020

Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.

The beauty of self-published comics is you can make them anything you want and usually are the sole, complete work of one individual. So what you usually get is a totally singular, unbridled creative creation. Brian Judge’s CRIME-KILLER is such a book. Outlaw in both style, humor and attitude, CRIME-KILLER will make you laugh hard. It’s both a parody and an embracing of grim and gritty comics. Anyway let’s let Brian take it away and explain his comic!

Monkeys Fighting Robots: First of all, thanks for taking the time to chat with me, Brian. How are you holding up in this new normal?
Brian Judge: Doing as good as I can! As a recent college graduate, I’ve been spending a lot of my time working on my comics while I continue to leech off my parents like a parasite. So yeah, doing good!

MFR: So, for those folks who don’t know your work, can you tell us a bit about yourself and your comix?
Judge: Yeah. I’m Brian. I draw stories about goblins who drink their own pee and a bunch of violent superheroes living in Big Dick City. Also diary comics

MFR: Yeah, Crime Killer is what first caught my eye on your Instagram account. I think you posted like a picture of a stack of Crime-Killer books and somehow that ended up on my feed. I had to have it.
Judge: Oh yeah! You’re talking about the Crime-Killer complete comic compendium!

MFR: And when and how did you create Crime Killer? And for our readers, who is Crime Killer?
Judge: I came up with the idea for Crime-Killer during a party with some friends. We were all drinking and having a good time and I drew a little comic about a superhero fighting a mugger on a piece of scrap paper. I wanted to keep it short so I had the guy use a giant fist to blow a hole through him while he curses about how much he hates his job. I thought it was funny so I used that as the storyboards for the first crime killer comic. After the first story, I wanted to make more. It’s easy for me to get burnt out on a project but Crime-Killer was always fun to draw. Crime-Killer is anger incarnate. He’s the vengeful angst-ridden superhero who hates his job just as much as he hates crime. Crime-Killer is here to kill your crime!

MFR (laughing) The book made me laugh so much. I love the filthy language and hyperviolence. I also love the layouts. The simple square panels add to the humor for some reason.
Judge: I’m glad you enjoy it! I’m the type of weirdo who laughs at horror movies during the bits where the 7 ft maniac cuts a teenager in half with a giant chainsaw. It’s so ridiculous, I wanted to capture that feel.

MFR: You also sent me a couple of mini-comics, Barbo (which has to be the smallest comic I have ever read) and The Untitled Willow Fan Comic. Both of these are very different from CK. Can you tell me a bit about these two?
Judge: I like to challenge myself with every comic I do. Crime-Killer was about loosening up with my art. BARBO is a short story set in the Grublins universe. I wanted to try my hand at world-building with a grand fantasy universe about shitty goblins enslaved to humans. I’m not really into fantasy stuff, more of a sci-fi guy, so I tried making a story I would be interested in. I made the willow comic as a weird test. I was getting into diary comics and I wanted to see if I could make an entire book about one subject matter. Naturally, I chose to write about my experiences playing the NES video game adaptation of the Ron Howard cult classic “Willow” starring the dude who was the Ewok in Star Wars.

MFR: (laughing): Going back to Instagram, you use Instagram not only to promote comics but as a format to publish them as well, something I have started to see a few cartoonists do (Like Ben Marra). What makes IG such a great tool for cartoonists?
Judge: IG let’s comic people connect to each other. I love making comics and I’d still be making them even if I wasn’t on Instagram. The fact that you can include up to 10 images in a post means to me that I get to tell the internet a 10-panel comic. That’s a cool power, y’know? I’ve met a ton of amazing cartoonists through IG. This is where we can share our work.

MFR: Oh definitely. There’s a huge community there. Like The Cartoonist Kayfabe crew.
Judge (laughing): Also, I just wanna say that I’ve been using Instagram to publish comics wayyyy before Ben Marra started his series. I mean I doubt he even knows who I am let alone follows me, but y’know. (laughs). Oh and Oh yeah! Kayfabe’s amazing! They’re also instrumental figures in the growing comix culture.

MFR: Your art style reminds me of underground comix, mad magazine and outlaw comics
Judge: Thanx! I get that a lot.

MFR: Who/What are your biggest influences? Like what made you want to make comics?
Judge: All the basics. Kirby, Ditko, etc. I’m really into comics In general and I get really influences by whoever I’m reading right now. I’ve been really getting into Savage Dragon which I used as inspiration for my recent Buzzkill comic. Easy answer: I took one comic art class in high school. My teacher was a guy named Chris Kemple. He is what makes me want to draw. I should say Chris Kemple is a comic artist himself. Red Vengeance is his book and it is one of the most fundamental things to me as a cartoonist. He made that. If he can do it, so can I.

MFR: I love Savage Dragon. I buy any issue I see I don’t have. I just re-read volume one too!
Judge: Oh yeah! Savage Dragon is flipping GREAT! I’m on vol 2 of the archives.

MFR: Oh and I love Buzzkill and thanks for the sketch!
Judge: Yeah dude! I’m glad you dig it!

MFR: What are you working on right now?
Judge: Man, I got like 5 projects running at any given moment. I’ve got a daily series going on right now that’s driven by user suggestions. I’m making a collage book creating a new narrative out of existing comics, I’m working on a story about Pac-Man, and I gotta do a backup story for Buzzkill for when I put it to print. The user suggestion one is called Afterlife Adventure. Every day I post a 10-panel comic that serves as the latest chapter to this ongoing story of a guy called Billy Texas trying to get into Heaven. Right now he’s talking with a giant bee to take over the afterlife.

MFR: Yeah! I was reading that and am glad you brought it up. What a great concept. And where else can people find your work?
Judge: Outside of Instagram? Not much. I’ve got an online store (oneandonlycomics.bigcartel.com) and I’m included in a few comic zines too like Milk and Honey Comics.

MFR: Well thanks again for chatting dude. That was fun!
Judge: Yeah dude! I had a good time!

You can check out new daily work from cartoonist Brian Judge on his Instagram.

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Review: FAR SECTOR #6 & The Pull of Emotions

By

Justin Munday

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Writer N.K. Jemisin and artist Jamal Campbell, with Deron Bennett on letters, bring out the 6th issue of “Far Sector.” This series’ continued focus on the internal struggles of Jo Mullein with a hefty dose of social commentary via sci-fi makes this another stellar chapter. With engaging and tender character moments and a dose of heavy-hitting action, this is yet another excellent issue of one of the best series coming out of DC right now.

“Tensions in the City Enduring are high as the Emotion Exploit-the mandatory genetic tech that strips citizens of their emotions in the name of peace-is up for referendum. But Jo’s attentions are divided when Councilor Marth makes a surprising and distinctly emotional overture…”

Writing & Plot

This issue is heavy with emotional and tender moments for both Green Lantern Jo Mullein and the characters she’s been spending time with on the City Enduring. Following the prior issue’s tragic shooting of civilians by police forces, Mullein is on her own guilt trip for not being able to do enough to stop this. This emotional tone carries through much of the comic and paints her interactions with other characters. The issue escalates from here to some unexpected romance and ends with a plot twist doused in some badass Lantern-on-robot combat action. Pacing and tonal shifts feel tight and natural, and nothing ever feels out of place. Everything from the hard truths to the comedic bits and the romance into the action all feels structured. Events occur, and Mullein is allowed to sit and ponder the consequences so that the reader can absorb everything that has occurred. The longer this story goes, the more engaging it has become. The dialogue and narration have the usual intoxicating flair of naturalism and almost poetic poignancy. At this rate, “Far Sector” will be one of the most well-written comics DC has released in the past decade.

Art Direction

There could never be enough praise for Jamal Campbell‘s artwork on “Far Sector.” His consistently hyper-detailed designs for both characters and environments pull readers into the story instantly. His wide array of vivid colors shine like vaporwave neon in different palettes on every page. The variety in alien and cyborg-like character designs along with the rest of Campbell’s hyper-polished artwork makes for a stunningly gorgeous comic to look at for every issue. It’s the perfect art for a sci-fi series like this is. The letters from Deron Bennett are crisp and range in font sizes for the perfect emphasis on a character’s words. “Far Sector” continues to be a visual marvel from month to month.

The recent events in “Far Sector” have been given a renewed importance in the wake of recent events in our own reality. The establishment’s use of violence to silence the many in need has suddenly become the front and center of headlines once again. This new wave of unrest has made “Far Sector” a comic of considerable topical importance at this moment, with N.K. Jemisin and Jamal Campbell being commentators as well as storytellers. This is what good science fiction is though, isn’t it? “Far Sector” is a fantastically executed addition to the tradition of social commentary via sci-fi. If this comic can stay this consistent through the latter half of its 12-issue run then it will surely be one of the most easily recommendable titles not just out of DC, but in written fiction from these past few years. Pick up “Far Sector” #6 from your local comic shop on 6/2!

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