Why Aphra’s Forming A New Team In DOCTOR APHRA #1

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The only and only, infamous Doctor Aphra is back in STAR WARS: DOCTOR APHRA #1, out this Wednesday from Marvel Comics. If you’re a fan of this mischief-maker, then you’ll be pleased to hear that she has survived her trials on Hoth, and is now assembling a new team.

***SPOILER WARNING***

Fans of Star Wars are surely aware of Doctor Aphra. She’s a force of chaos within the comic book world, and with good reason. Her love of gold tends to outweigh her love of life, and her ambition outweighs both.

That is probably the reason she’s found herself in hot water a time or two. Her first series ended with a moment of redemption, giving us fans something to be proud of her for. But now she’s back, apparently deciding that laying low isn’t as much fun as it sounds. Which actually sounds exactly like Aphra, don’t you think?

Doctor Aphra #1 is going to have to make a point of explaining several things, not least of which is the reason why she’s no longer hiding. Do recall the actions she took against Darth Vader in her final arc.

Doctor Aphra is rocking the Hoth look on Star Wars Doctor Aphra #1.

The Writing

If we’re honest, it never felt likely that Doctor Aphra would lie low for long. It’s just not her style. So the news of Doctor Aphra #1, as well as her formation of a new team, really shouldn’t have been a surprise at all.

Written by Alyssa Wong, this is a fun first issue to a brand new series, one that is naturally full of schemes, grudges, and heists. This is Aphra we’re talking about, after all. The first issue may have a lot it has to establish, and yet it felt comfortable having a bit of fun and showing off some banter between Aphra and the new characters.

Speaking of, like any formation issue, there is a team that we must get to know. The introduction of these adventurers fits the style of Aphra’s series thus far. By that, we mean, they have reason to be concerned about Aphra’s plans.

Each character introduced is unique from the other, and while we only got flashes into their history and personality, it was enough to get an idea of what is in store. More than that, a new antagonist has also been hinted at, making this a well-rounded issue.

Doctor Aphra is spending some time with a couple of her crew mates.

The Art

The art within Doctor Aphra #1 is a thing of beauty. We’re talking about a variety of characters, with different backstories and characteristics worth portraying, plus so much more. Together Marika Cresta (art), Rachelle Rosenberg (colors), and VC’s Joe Caramagna (letters) brought yet another adventure to life.

The character designs are a particular highlight of the issue, though only one of many. All characters, both new and old, have memorable qualities to them, as well as some bold expressions worth featuring.

The backgrounds and color palettes are another highlight, naturally. Both of these help to accentuate the sense of movement (because of course, there’s at least one scene where Aphra is being shot at).

Let us not forget the lettering, which is perfection. There’s nothing more satisfying than the ‘click’ of a weapon pointed at our new leading characters, or the resounding response to their actions.

Trouble is looming on the horizon in Star Wars Doctor Aphra #1.

In Conclusion

Doctor Aphra #1 had a lot to live up to, as far as fans of her series are concerned. That being said, it does so with gusto. While she may have had a redeeming character arc recently, it’s clear that she is not ready to change her ways for good. Never change Aphra, never change.

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Now A Monster Has Come to Hunt In MERCY #2

By

Cat Wyatt

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MIRKA ANDOLFO’S MERCY #2, out this Wednesday from Image Comics, continues the tale of the Woodsburgh Devil, and the townspeople who must suffer so. This tale is as haunting as it is beautiful, with plenty of horrors to go around.

***SPOILER WARNING***

The eerie tale of Lady Hellaine is back with Mercy #2. This is the second issue in a six-part miniseries, one that is proving to be as traumatizing as it is mesmerizing. This series has already been getting a lot of attention, not least of which because it is both written and illustrated by Mirka Andolfo.

Last we saw, our unusual lady had made her way to the middle of nowhere (aka Woodsburgh), for reasons yet to be fully revealed to readers. If that was the only disturbing element of the series, the town would be so much safer.

But no, this little town has had it’s fair share of death and betrayal, going back over a decade now. A pattern that looks ready to repeat itself once again.

An ethereal version of Lady Hellaine can be found on the alternate cover for Mercy #2.

The Writing

There are many mysteries in Mercy #2. Or perhaps it is simply one mystery, with multiple faces. Regardless, there are lots for readers to work through in this issue. There are layers to this story, and that has already proven to be half the journey.

The tale itself is told through multiple perspectives, a clever storytelling technique that allows for revelations and obfuscation, depending on the need. We’re given glimpses of all over the town, and yet we don’t yet see how it’s all connected.

The intrigue surrounding Lady Hellaine increased significantly during this issue, as was surely the intent. What is surprising is the developing connection between her and several other members of the town. It’ll be interesting to see how that progresses over the next few issues.

It is fascinating how, in many ways, the characters in this series feel so human. Slightly ironic, given that at least one of them is anything but. The juxtaposition feels intentional and does well to highlight certain parts of human nature.

That’s ignoring the horror element as well, of which there is a significant amount of in Mercy #2. It weaves throughout the plot, in a way that feels both organic and shocking – a careful balance has been struck.

Lady Hellaine is looking more striking and intimidating than ever before.

The Art

While Mirka Andolfo was the lead artist for Mercy #2, they did receive help as well. They had Gianluca Papi as a color assistant and Fabio Amelia for the lettering. Together they created something cohesive and utterly…outstanding.

There is something so elegant about the art style within this series. That makes the horror elements all the more shocking and intense. Speaking of, the specific way in which the monstrous beings are drawn is oddly enchanting and fits in nicely with the series.

The colors in this issue are simply divine, from the elegant details on the women’s clothing to the decision to go with brightly colored dangers of the night. It’s all aesthetically pleasing while demanding that you stop and take note.

Finally, we have the lettering, which is carefully placed throughout the issue, with clear intent in mind. You are meant to notice all of the little details woven into the series, and the lettering has been done in such a way as to ensure that.

In Conclusion

Mercy #2 is a dramatic continuation of the series, proving that one can be both elegant and horrifying at the same time. This series may only have four issues left, but you just know that it’s going to pack a few punches in the meantime.

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Interview: Jeff Lemire And Phil Hester Build A Tight Bond With FAMILY TREE

By

Matthew Sardo

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May 26, 2020

Interview: Jeff Lemire And Phil Hester Build A Tight Bond With THE FAMILY TREE

Family Tree, Vol. 1: Sapling hits your local comic book shop this week, but thanks to Image Comics, Monkeys Fighting Robots gets a chance to explore the creative relationship between Jeff Lemire And Phil Hester.

About the book:
When an eight-year-old girl begins to transform into a tree, her single Mom, troubled brother, and possibly insane Grandfather embark on a bizarre and heart-wrenching odyssey across the back roads of America, desperately searching for a way to cure her horrifying transformation before it’s too late.

You can read the first issue of Family Tree online.

MFR: With the recent pandemic, we’ve seen a real-world example of how people react to pestilence. That’s something you begin to tackle with FAMILY TREE, along with the world feeling like it’s coming to an end. How do you feel when life is crazier than art?

LEMIRE: It’s very surreal to have written something like this right before the pandemic, that’s for sure. I did echoes of Family Tree in the way that things developed during the pandemic, mostly in how fast things moved and how it was just beyond our control, and we were swept up in it, much like the characters in the book.

HESTER: In all honestly, it’s no fun. I feel like horror works best when it comes back to the reader through a lens that allows them to separate a little, to see it in the abstract. I think that little bit of stagecraft makes the themes easier to process. When you’re hitting the exact same notes as the nightly news, it can get a little depressing. Thankfully, the series goes way, way beyond a typical pandemic tale, and enters a sort of metaphysical realm that may serve as the “lens” I was rambling about at the beginning of this answer forty years ago.

MFR: Jeff, From early on in this series, we get a real sense that we shouldn’t judge the otherworldly so quickly. While our gut instinct is to be afraid, that’s sometimes ill-founded. This is a theme in a lot of your work, like SWEET TOOTH, BLACK HAMMER, and ANIMAL MAN. FAMILY TREE is another brilliant example. What draws you to this theme and keeps bringing you back?

LEMIRE: Seeing the beauty in horror and in unusual things is something I’ve always been drawn to. I also like subverting expectations when I can as a storyteller, so I think it comes from both those places. In the case of Family Tree, I was really drawn to the idea of a return to nature and that maybe, in some ways, we would be better off if that happened.

MFR: Speaking of ANIMAL MAN, there seem to be traces of SWAMP THING here. Is there a SWAMP THING influence, and if so, can talk about why it resonates with you?

LEMIRE: I suppose the nods to Swampy are obvious. I have always loved that book and that character and, ironically, the first time I saw Phil’s work was when he was drawing Swamp Thing. I love the aesthetic of the character, but I also loved how Alan Moore used him as a vehicle to explore things beyond just the genre trappings. I try to do that in my work too.

MFR: Phil, many of these characters have a rough and tumble look about them. It seems to be an extension of his or her personality, and it works very well. Did you plan for this world to have that kind of vibe, or was that something you discovered as you sketched out the characters?

HESTER: I know what the story was about before I started, so the idea of very “lived-in” characters seemed appropriate. They’ve all been through a lot, and are headed for worse, so I wanted to show that wear and tear on them, especially Judd, who has officially one of my favorite characters to draw in my career.

MFR: Phil, the panels in FAMILY TREE are continually changing shape and function. They jump off the page and feel intrinsically linked to the storytelling. How do you feel this approach has lent itself to the series as opposed to a more traditional approach?

HESTER: The story has a very dreamlike, inescapable tone to it. It’s like when you can’t run in a nightmare, but find yourself being dragged inexorably toward what you’re trying to avoid. I want every page, or at least every scene, to have that kind of yawning vortex vibe about it. The pages have a lot of open ends and deep whorls that you sort of fall into as a reader. I want the readers to be trapped in this comic.

MFR: When you’re plotting, outlining, and designing the characters and their world, how do you approach an original story compared to something at Marvel or DC?

LEMIRE: We certainly have more freedom to just build it all from the ground up and not have to fit it into anyone else’s vision or world. It really comes down to that, the freedom to explore ideas and to write and draw for ourselves and each other rather than a publisher.

HESTER: Frankly, I approach them the same way. It’s just that at the Big Two, there are more people to rein me in.

MFR: You both write AND draw – how does that impact or change your dynamic and collaboration process? Do either of you approach this project differently than you would with a partner who strictly writes OR draws?

LEMIRE: For me, I think it just means giving Phil the freedom to tell the story visually. I know he is a great writer and storyteller, so I don’t need to focus too much on trying to dictate that in my scripts. Rather, I just need to give him the framework to do what he does so well, and then I get to focus on plot and character and dialogue.

HESTER: I think it helps us respect the other person’s effort a bit more. I know where the line is as a collaborator. If Jeff asks for something in a script, I know that he needs it. He’s been on my side of the equation, so he’s not going to ask for anything that’s not crucial.

MFR: FAMILY TREE has a good amount of white space, can you talk about the color palette Ryan Cody used in the first volume?

HESTER: Ryan’s been great. When we were trying to find the right palette, I kept pushing him to wash out the colors even more, almost to the point the book barely had color at all. He found that groove and became a master of it. Like I said earlier, I want this book to feel like a dream, so it’s pretty important to me that the color be non-literal. It should only make sense in the context of the book. Ryan’s mastered that, as has Eric Gapstur on inks. Every itchy line I lay down gets even itchier when I get it back from Eric.

MFR: By the end of the first volume, Steve Wands’ “BLAM” becomes so iconic and jumps off the page during action sequences. What’s it feel like when the story, art, and letters work in harmony during an intense action sequence like at the end of the first volume?

LEMIRE: That all comes from trust. Letting every member of the creative team contribute and do their thing. When you do that, it allows for everyone to feel like a real team, and hopefully that shows on the page.

HESTER: It’s a joy to see everyone firing on all cylinders. Steve letters so many books that I’m always amazed at how he never loses focus regarding what makes this project special.

MFR: With the COVID-19, the comic book industry is at an evolutionary moment. What do you think the comic book industry will look like in 10 years?

LEMIRE: Obviously it won’t matter because the world will be covered in human trees by then.

HESTER: No one knows, especially anyone telling you they do.

Have you been reading Family Tree? Comment below with your thoughts.

Family Tree #4 was an alarming and dramatic issue, one that was unafraid to show the brutality and desperation that comes from fighting for your life. This is an issue that will leave fans on the edge of their seat, waiting for the fifth issue to drop. – Cat Wyatt

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DC Comics First Look: BATMAN: THE SMILE KILLER

By

Kevin Sharp

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May 26, 2020

Jeff Lemire and Andrea Sorrentino — the creative team behind Joker: Killer Smile — are reuniting for a new Batman one-shot: The Smile Killer. DC is calling this an “epilogue [that] takes a different look at the Clown Prince of Crime, through the eyes of a young Bruce Wayne and his favorite cartoon television show.” The Black Label book will debut in June.

Here’s the official description from DC, along with some preview pages:

Bruce Wayne grew up watching The Mr. Smiles Show – and the show might have been watching him back! And not only was young Bruce watching, he was listening… listening as Mr. Smiles spoke across the airwaves only to him… Lemire and Sorrentino land one last gut-punch to the mythos of the Batman, turning it on its head in the most devastating trick The Joker has ever devised!

Batman: The Smile Killer is a $5.99 Prestige Format one-shot available on Tuesday, June 23, 2020.

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REVIEW: SUICIDE SQUAD #5 Bounces Back with a Vengeance!

By

Zac Owens

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Suicide Squad #4 was the first in this series to not get a perfect score in my reviews. After three brilliant issues, the writing began to slip a little as it became exposition-heavy. However, if DC Comics’ Suicide Squad #5 tells us anything, it’s that this creative team knows how to bounce back with a vengeance. Back to cranking out one of the best series on the stands, writer Tom Taylor, artist Bruno Redondo, colorist Adriano Lucas, and letterer Wes Abbott make Suicide Squad #5 the ride of a lifetime.

Writing

Taylor almost seems to specifically go out of his way to show he can do great exposition. As the issue opens, one of the new Squad members begins to talk about his childhood. But instead of retelling past stories that feel slightly out of place, Taylor allows Redondo’s art to do most of the work there. We see and hear just enough to piece together who this character is. Taylor makes us love a character we’ve barely met in the space of four pages, while never missing a beat in the main plot. And as the issue comes to a close, and a major question gets answered, we’re left with more questions than ever. Taylor manages to keep us balanced on the edge of our seats, and it’s clear he’s going to keep us there.

Art

Part of the reason Taylor’s minimalist approach to writing works in this series is because Redondo’s art communicates so much. We learn a ton about the characters through his art. When things get violent, Redondo shows us who the characters are who set their jaws, and who the characters are who light right up. And you don’t blame them for lighting up, as one specific use of violence in this issue is one of the funniest things you’ll see in any comic. But Redondo also knows how to pull our heartstrings. And he does it by not trying too hard. In one scene, two characters say goodbye to each other for the last time, but Redondo makes it seem almost nonchalant. Yet there is something more intimate about it for that reason. These characters know each other too well to weep and moan. The pain is implied. The fact that Redondo can break our hearts one minute, and make us laugh out loud the next is a testament to his extreme range.

Coloring

Lucas continues to make so much about this series fun. From purple glasses to neon backgrounds. Lucas is the one who comforts us when things get tragic and cheers us on to get into the shenanigans. The grittiness and the tragedy in this series are always offset by Lucas. He’s one of the reasons this series is so balanced and versatile. Shocking violence quickly gives way to bright yellow backgrounds and delighted characters. Lucas hasn’t just set a tone for this series; it’s like he sits down at every page and says, “How can I make this as beautiful as possible?” When colors aren’t jumping off the page, they’re bleeding into one another. It doesn’t feel like looking at a comic book page. Each panel feels like a meticulously crafted work of art.

Lettering

Abbott’s lettering makes you feel what the characters are feeling. When Captain Boomerang’s hand is brought down on one of his boomerangs, the red lettering looks like it’s cut into skin. And when one character stomps vengefully on another’s face, the bright pink lettering gives a sense of her twisted joy. But there are two specific moments where Abbott hits it out of the park. When things boil to a head, and someone fires the first shot, Abbott doesn’t write a sound effect. But it works. Because, at that moment, time almost seems to freeze, and everyone’s words are caught in their mouth. In the opposite vein, when one character tragically blows up, the “BOOM” takes up the whole panel in the background. It seems to go on forever. Abbott shows us first what it’s like to feel the shock of violence, and be lost for words, and then what it’s like to lose someone dear and feel as though nothing exists beyond that moment.

Read this series. Buy this issue. DC Comics has struck gold with this creative team. Taylor, Redondo, Lucas, and Abbott mesh-like Shakespeare and hard liquor. They’re the perfect team, writing a book that’s going to be a classic. If for no other reason, than for this issue alone. Suicide Squad #5 is out from DC Comics now!

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Interview: Deep Dive With Remy Boydell Creator Of 920LONDON

By

Matthew Sardo

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May 25, 2020

Interview: Deep Dive With Remy Boydell Creator Of 920LONDON

920London hits your local comic book shop on June 10, but thanks to Image Comics, Monkeys Fighting Robots gets to take a deep dive with creator Remy Boydell.

About 920London:
2005, north of London. A doomed romance between two emo kids. More than friends, less than lovers, they’re trying to grow shrooms before the world ends. Send help.

920London is a perfect read for anyone at this time. COVID-19 has turned the world on its head, and this book reflects on 90% of the emotions you are going through right now. This is not my typical read, but the characters grew on me, and by the end, I was emersed in their universe.

Enjoy the Remy Boydell Interview Below

MFR: Did you need to make 920London, or did you want to make this book?

Boydell: I think I was definitely pretty depressed when I started! At the same time, I realized I could tap into something by working from the things that I originally fully loved around 2005. Hopefully, the book stands on its own though.

By the time it was finished, a couple of things had happened which made it feel like it had come ‘full circle,’ so I felt I’d made the right choices. I was happy to get Jorden Haley on board for the book’s title/logo; I liked his design work for Mindless Self Indulgence. I also tracked down one of the original artists that I remembered loving from back in the day on Deviantart (a Chilean artist who goes by Paroro), and it felt great to reminisce.

MFR: For me, your book has a bit of a Trainspotting feel to it. What are your influences that brought 920London to life?

Boydell: This was the first time I’ve gone outside of a square panel format for a whole book, so I wrestled with paneling, and re-read a lot from Asano Inio. The book is also a bit of a callback to the UK tv series ‘Skins,’ which is pretty nostalgic for me.

MFR: 920London was a very therapeutic read for me with the chaos and massive loss of life of COVID-19. Do you think about or realize how impactful your work can be on a reader?

Boydell: I don’t really think about how people are going to react to my work, since I’m too far inside of it, I can’t really ‘get’ it. I don’t know what the world will be like when I’m two years into a project, so all I can do is just put the book out. For people still quarantining/social distancing, I think the anxiety and sense of longing might be relevant, but I can’t speak for anyone else. I’m really happy that it felt therapeutic for you, that means a lot to me.

MFR: The silent pages and chapters acted like time jumps and deepened the relationships of the main characters for me. Can you talk about the silent pages and what they mean to you.

Boydell: This sounds strange in the context of print books, but I came up posting art on Tumblr, and I started doing splash pages that work as extended beat panels to just like, demand a bit more attention in the context of a vertically scrolling feed. I tried hard to edit the dialogue down as much as possible, I did a fair bit of that when I was editing the script of ‘The Pervert,’ and I wanted to pare stuff down as much as I could. I don’t know why; it just felt important.

Marlo Mogensen, a friend who’s much more eloquent than I am, described the characters existing in a kind of trauma limbo. There’s a fair amount of silence and disconnect between them. I just love a good full silent page.

MFR: As soon as you mentioned Ween, I started to give the book a soundtrack. What did you listen to when you were working on 920London?

Boydell: Ween was name-dropped in honor of my friend Charlie, who, during production of the book was sort of carving his life into a rudimentary shrine to Gene and Dean Ween.

I haven’t updated my iPod since I worked on the book, so I have a real list. The quality of the music varies violently:

The Secret Handshake, Amy Can Flyy, brokeNCYDE, Cobra starship, EATMEWHILEIMHOT, Hellogoodbye, I SET MY FRIENDS ON FIRE, Ima Robot, The Medic Droig, Metro Station, Paramore, The Rasmus, She Wants Revenge, 30H!3, The Arctic Monkeys, The Killers, Hadouken!, Breathe Carolina, Red Jumpsuit Apparatus, The Raconteurs, Dance Gavin Dance, Modest Mouse, Henry Homesweet, The Fratellis, Cute Is What We Aim For, Panic! At The Disco, Avril Lavigne, MCR, MSI.

I’m definitely missing a few, I know I had the soundtrack for the show ‘Skins’ going at one point too.

MFR: The indie comic book scene is a very crowded marketplace, what will success look like for 920London?

Boydell: I don’t think it’s crowded, I think there’s a good amount of indie comics. (We need) more indie comics. If someone reads it and makes their own weird comic, that would feel like success to me.

I’m not being glib, I genuinely met the goal I had for my last book in terms of numbers of copies sold, and that kind of thing can be a bit hollow. If anyone is unsure of their ability and worried the comic they genuinely want to write will repel or annoy their peers, please go for it.

MFR: Because of the emotional impact of COVID-19 and how the world has been shut down, what is your emotional state going to be like on June 10 when your book finally drops on the public?

Boydell: I feel grateful to everyone at Image; they’ve been working incredibly hard through a lot of chaos to get books out. I try not to focus on the reception of work, and I’m pretty deep into my next project already, I’ve been animating for a while. Having said that, it makes me happy to see a bit of fan art; I save it all carefully.

MFR: Thank you for your time, and best of luck with 920London.

Boydell: Thank you!!

What did you think of the interview? Comment below with your thoughts.

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BLEED THEM DRY #1 – Diving Into A Whole New World

By

Jake Palermo

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Bleed Them Dry #1 begins a new series by Vault Comics in some post-disaster cyberpunk world. One where vampires who coexist with humans are not the most interesting thing about it. Instead, a ninja is going around killing these supposed immortals who hide a dark agenda. And the detective in charge of the case finds herself going deep into a potential conspiracy.

Bleed Them Dry #1 Background

Let’s talk about the creator Hiroshi Koizumi’s vision. Bleed Them Dry combines two things that fascinate audiences: vampires and ninjas. It’s not an exaggeration to say that vampires are a pop-culture norm. From the Castlevania Netflix series, new Vampire: The Masquerade video games and even Sony is trying to capture the craze with Morbius. This reflects the world in Bleed Them Dry #1; vampires have an entire culture that has been long established. For example, they can take blood substitutes in place of coffee. It’s a world readers just want to know more about, even if they have to theorize.

Especially since the allure surrounding the blood-sucking immortals is anything but mundane, the main character’s partner Atticus Black presents himself as the smooth-talking figure who steals the spotlight. With the way he talks, he always ensures that he’s on top of any discussion. This makes him interesting and a little intimidating, perfectly encapsulating the revelation near the end of the issue. A revelation that pushes POV character Harper Halloway into the hands of the ninja vampire slayer. Something that series writer Eliot Rahal is more than eager to show.

Artwork

Series artist Dike Ruan illustrates an always changing perspective where momentum shifts accordingly. In just the first pages, a police procedure quickly establishes its stakes, all while presenting the setting of Bleed Them Dry #1. The best part comes from how they never get in one another’s way. With a city like Asylum who wouldn’t want to feel like they’re on a ride. Thanks in no small part to Deron Bennett’s letters. Perhaps the best display of this comes from how Ruan and Bennett have Atticus’ quickdraw cuts a vampire. The bisected panels in addition to the letters popping out of the word balloon perfectly illustrates this action.

Colorist Miquel Muerto provides an equally shifting tone. The bright lights of the city of Asylum live up to its name, where the main characters feel safe. But then when something in shadows appears, this safety becomes compromised. It takes someone who knows their way around the shadows to feel safe again. Hopefully, Halloway finds that with her savior.

Bleed Them Dry #1 Is The Beginning of Something Great

Bleed Them Dry #1 does its job by introducing the reader to a world of intrigue. This opening issue wastes no time putting everything about the city of Asylum on display. From the coloring that emphasizing the themes of light and darkness to the flow of movement. Because in a world full of vampires, there’s always something more exciting. This issue certainly has me waiting for the next one where the ninja hopefully comes into focus.

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The History of Shazam: From Fawcett Comics to the Big Screen

By

David Weber

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May 25, 2020

The History of Shazam: From Fawcett Comics to the Big Screen

Since 1940 the World’s Mightiest Mortal has been fighting crime, but his journey through the years has been long and difficult. Several times Shazam has been off the comic book shelves completely, and this article is here to inform you about how the Big Red Cheese eventually found his way onto the big screen.

Shazam, originally sporting the name Captain Marvel, first appeared in Whiz Comics #2, which was published in 1940 by Fawcett Comics. Captain Marvel was a simple golden age hero but stood out among the rest because his alter ego was a ten-year-old boy. The child was able to transform between normal child and superhero by merely uttering the magic word Shazam. This secret identity allowed children to relate to Captain Marvel more than any other hero, and Fawcett comics was able to connect to even more people with the introduction of Mary Marvel and Captain Marvel Jr. After a short while, Fawcett introduced more fantastical ideas into their issues, which led to characters like Mr. Tawny, a talking tiger, and Hoppy the Marvel Bunny, who possessed the same powers as Shazam. This strange group of superheroes, combined with the fantastical adventures they went on, made the Marvel Family (no association with Marvel comics, which had not adopted that name at the time) a beloved superhero team. At one point, sales of Captain Marvel rivaled that of even Superman.

As Captain Marvel was in his prime, issues arose in the form of a lawsuit. National Comics (eventually to become the DC Comics we know today) sued Fawcett Comics because Captain Marvel was similar to Superman in too many ways. There were even instances where actions performed by Captain Marvel mirrored that of Superman in earlier issues, such as pulling an elevator up by its cable. The case was complex and took twelve years, cementing it as one of the longest-running legal battles in all of comic book publication history. National Comics emerged victorious, and the case resulted in Fawcett Comics being forced to cancel all superhero-related comic books, including those containing Captain Marvel or the Marvel Family.

During this time Fawcett Comics was unable to publish anything featuring Captain Marvel, and the trademark they possessed on the name lapsed. This allowed Marvel Comics to use the name for a character of their own: a predecessor of the Captain Marvel that premiered in the Marvel Cinematic Universe in 2019. This Captain Marvel was male and has a very similar origin to the Carol Danvers Captain Marvel that is in the mainstream today. Carol Danvers took over as the Marvel Universe’s Captain Marvel in 2012 (and there were additional heroes who held the mantle after the original’s death in 1982.)

Even though Fawcett Comics was unable to publish anything containing the character, the original Captain Marvel — eventually to be known as Shazam — was far from extinct. In 1972, DC entered into an agreement with Fawcett Comics to license the Marvel Family of characters, and the world’s mightiest mortal found his way onto comic book pages again. However, due to Marvel Comics now possessing a character named Captain Marvel, the series that DC premiered in 1973 was entitled Shazam!: The Original Captain Marvel. Marvel later forced DC to change the subtitle to The World’s Mightiest Mortal, resulting in the character’s name appearing nowhere on the cover of each issue. This eventually led to people referring to Captain Marvel as Shazam, and was what caused his name to eventually be changed.

The 1973 series Shazam!: The World’s Mightiest Mortal initially had C.C Beck doing the art. He was the artist of Captain Marvel in the Golden Age, so the new series continued to have a feeling of Golden Age comic books well into the Silver Age. This archaic art style turned many off from the new series, and even the creators had a distaste for what they were publishing. This series also made it so that the Marvel Family existed on Earth-S, separate from DC’s Earth-1 main continuity. Despite only lasting 35 issues, the 1970’s revival of Shazam was important because it marked the first time Captain Marvel returned to the page when he could have been left unused forever.

Shazam made several appearances in the late seventies and eighties in series such as in Justice League and All-Star Squadron, but never got a series of his own. He played a role in Crisis on Infinite Earths, which also brought Captain Marvel from Earth-S to the main continuity.

In 1994, The Power of Shazam! written and illustrated by Jerry Ordway was released, bringing back the beloved character in a new art style similar to mainstream comic books at the time. The graphic novel led into an ongoing series of the same name, which was a more realistic version of Captain Marvel than we had seen before that still managed to bring the fun and fantastic characters from the golden age into play. Throughout the series, Hoppy the Marvel Bunny, Mr. Mind, and several other goofy characters made appearances in a more realistic setting. This revival of the character is some fans’ favorite portrayal, and it is well deserved. The series ran until 1999.

After the cancellation of Power of Shazam!, it was a while before the hero saw a series of his own. In the early 2000s, Shazam made appearances in JSA, Infinite Crisis, and 52 without very significant roles. He was also featured heavily in the 12-issue maxiseries Justice, but it wasn’t until the maxiseries The Trials of Shazam! that the Shazam family was the focus of a story. This series had Captain Marvel take on the role of the Wizard, and focused on Captain Marvel Jr. attempting to pass certain trials to prove he could become the new hero Shazam. This maxiseries made many changes to the Shazam lore, but sadly very few had a significant effect because DC continuity was rebooted as a result of the New 52 rebranding.

After the New 52 relaunch, Shazam was not given a series of his own, and initially did not seem to exist in the new continuity. Luckily, in the back of issues of Justice League, fans were treated with a new origin for the world’s mightiest mortal. This time, several changes were made to the origin of Shazam, including a much larger cast of supporting characters, more people who can summon the magic of the wizard, and officially changing the name of the hero to Shazam. Many had already been referring to Captain Marvel as Shazam, so the name change was expected. Written by Geoff Johns, the new origin brought freshness to the character and introduced him to many readers who were unfamiliar to the character.

In 2019, the film Shazam! arrived in theaters. Directed by David F. Sandberg and starring Zachary Levi, the movie heavily reflected the origin set forth by Johns during the New 52. The most prominent change of the film, other than Doctor Sivana being the main villain instead of Black Adam, is that Shazam is now incapable of saying his own name. In the Johns story, he added a clause that Shazam needed to say his name with meaning to transform, but in the movie any attempt made by Shazam to say his own name will result in him transforming back into Billy Batson.

Currently, Shazam has his own ongoing series started in 2018 and written by Johns, which will hopefully continue for many years. Johns has slowly introduced new ideas to Shazam lore, while also bringing back beloved characters and villains for the whole Shazam Family to interact with.

What’s your favorite appearance of The Big Red Cheese? Leave your answer in the comments below!

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A Conversation With KILL WHITEY DONOVAN Writer Sydney Duncan

By

Justin Munday

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May 25, 2020

I got to talk with wildly talented novelist and comics writer Sydney Duncan about the recently finished first volume of “Kill Whitey Donovan” and about her process, the talent she works with, and the comic’s upcoming film adaptation.

MFR: Hi Sydney, Thanks for doing this interview. Congrats on finishing the series!

SD: My pleasure, Justin! And thank you!

MFR: While tales of revenge set up in Westerns or around this time period are a relatively popular genre, “Kill Whitey Donovan” has an ace up its sleeve in its choice of protagonists. What exactly motivated your creation of Anna and Hattie as a pair and their quest for vengeance?

SD: You know, that’s a good question because I’m not entirely sure of the answer. A lot of stuff I like to write explores identity and transition. As a woman of trans experience, that’s probably not revelatory. But Kill Whitey Donovan began as a novel and at the time I started writing that book, I’d been contemplating external and internal pressures on identity and, as I recall, I was sort of thunderstruck and the concept of these two women formed. Hattie’s journey was this struggle against how the outer world saw her and Anna’s was a conflict with this inner sense of herself versus who she was expected to be. I had all these questions like, are these characters the way they are because of their circumstances? Can they become something else, if those circumstances change? To what extent can the boundaries of that becoming be pushed? Cerebral, but not exactly page-turning stuff. So, I sought those answers against a revenge tale and voila!

As far as the genre goes, it might be a matter of writing what you know. I’m from Alabama and the Civil War still casts a pretty long shadow down here. In a real sense, it was a war for identity and dealt in a violent way with those internal and external conflicts. Also, the ideas of femininity and the narrow construct of women were very rigid, giving both our leads something to rebel against. So, it seemed a perfect backdrop.

MFR: The handling of this story’s flashback sequences as well as the overall pacing are airtight and very focused. Was the story as it happened pretty set in your mind when you started or did it change shape and evolve organically as you wrote it?

SD: Thank you!

I think every writer sets out with a story in their minds and then it evolves into something more organic. That was certainly true with KWD. I find that I may want the characters to behave a way or do a thing but after a certain point in writing them, they kind of take the reigns and tell me what’s what.

The flashbacks, though, were always part of the plan. In a sense, they are the real story. The plot device is this journey to kill Donovan, but the story is about what these characters need to become to do that. In order to express that, I wanted to show moments in their past that conveyed the person they had been and juxtapose it with the person they were becoming. That evolution is the heart of the story.

MFR: This comic is blessed with the phenomenal art of Natalie Barahona. How did you two start working together, and what was the process like?

She really is so talented. If my only claim to fame in life is to be able to say I wrote Natalie Barahona’s first comic book, I’ll die happy. I can’t wait to watch her career. She has the most amazing instincts and is such a brilliant storyteller. Honestly, we’d just hand her a script and watch her go. I can’t imagine an easier collaborator to work with.

She got involved through Brian Stelfreeze, who would come on board for Art Direction and Editing. When 12-Gauge Publisher Keven Gardner and I were first talking artists, Brian had already been giving some early advice and guidance, and at some point he suggested Natalie. My understanding is that Brian doesn’t take apprentices, but he’d made an exception for her and had worked with her for a little while when KWD came up. I think he basically concluded, She’s ready. Which was immediately apparent when she started turning in character sketches and art. And her coloring – it just blew us away.

MFR: More congratulations are in order, since “Kill Whitey Donovan” is getting a big-screen adaptation! How exactly did that come about, and in what ways are you involved?

Thanks! We’re really excited about that. When I originally pitched this story, I pitched it to Keven, publisher of 12-Gauge Comics, which is the studio that produced the book before Dark Horse got involved. If you aren’t familiar with 12-Gauge, they have several Image books and have worked with properties such as Boondock Saints and Body Bags. Keven has been around the comic book business for years, working at Valliant early before doing his own thing. He also had his own comic shop for a minute – one I frequented a lot in college, without actually knowing him. Recently, he’s had some success in getting Hollywood interest in their comic books. I think he felt KWD had potential to work for the screen and set some meetings to make it happen. It was pretty quick.

Beyond an occasional note, though, I’m not terribly involved in the effort to adapt the comic. I had a call early with the screenwriter, Sigrid Gilmer, who is an amazing writer. She was incredibly generous to offer space for me to have input, but I felt strongly that she should have the opportunity to make the film hers and let it be it’s own thing. I’m privy to all the script drafts and I have to say, I’m very excited with what she’s producing. It captures the spirit of the comic and then gives you more. I can’t wait to see it in the end.

MFR: The final page of the series teases that Hattie and Anna’s story may not be over. What could we expect from a potential follow up?

Volume 2 is all about consequences and fathers: those missing, those present, and those left behind and raging with grief. It also greatly expands the world of KWD while anchoring it to this little gold rush town out west where Hattie’s mom lives under the tyrannical reign of the elder
Donovan. Meanwhile, both of our leads have to deal with what they’ve just done and the internalization of that will manifest in very different ways for them both. All while a man with every means seeks his own reckoning.

Be sure to check out “Kill Whitey Donovan” and the past and future works of Sydney Duncan!

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Review: A MAN AMONG YE #1 Sailing The High Seas In Style

By

Darryll Robson

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A Man Among Ye #1 Cover Credit: Image Comics

With a clear obsession with historical adventures, Stephanie Phillips’ new title with Image Comics, A Man Among Ye, sets sail into the murky depths of Pirate Mythology. Set towards the end of the Golden Age of Pirates, the comic revels in the Legends created around real events.

Treading a fine line between historical accuracy and romanticism, A Man Among Ye opens the door on the intriguing world of Anne Bonny, one of the most infamous and ruthless female pirates.

Sailing the Seas

The story starts in the middle with the pirate captain Calico Jack Rackham leading his men in a raid on a English Sloop. With gleeful violence Phillips introduces the Captain in a swirl of sword play and banter. However, the big entrance is saved for the star of the show, Anne Bonny.

Illustrated here as a fiery haired, stylish, take-no-prisoners woman, Bonny made history by daring to be her own person. Although a lot of her life is speculation at best, her reputation for violence and strong headedness is well documented. Phillips makes these aspects of her character clear from the outset.

Bonny’s interactions with Rackham and the other crew members single her out among the cast as the character to follow. All of the action ultimately revolves around the Pirate Queen and Phillips makes sure that she is the centre of attention not just on the page but in the speech itself.

There is an element of the romanticised pirate narrative in this comic. The style leans more towards classic interpretations such as EC Comics Piracy series from the 1950’s rather than the overly fanciful Pirates of the Caribbean movies. However, Phillips gives the impression that she has something more to say. By focusing on Bonny and making her obviously feminine from the opening, Phillips is making a statement about representation in the genre.

It is documented that Bonny often posed as a man during raids and fights but Phillips instead allows the character to flaunt her femininity. This is significant and reflects a greater movement within the comic industry. Female characters are no longer sidelined and creators are allowing their stories to be told. A Man Among Ye is embracing that by celebrating the female lead and challenging a social concept of piracy.

Maritime Rendering

The artwork has a theatrical style to it, similar to the recent Titan Comics title, Adler. The design, especially the costumes, has a dramatic flair that gives the initial impression of a period drama. However Craig Cermak injects his layouts with dynamic energy pulling the reader across the page with the action. Aiding the narrative flow is the lettering, provided by Troy Peteri. Well placed word balloons flip a reader across an image, while alterations to the text or balloon stop the reader dead.

The characters strike superhero-esq poses with their jackets and hair blowing in the wind, sails whip in the wind, and everything looks slightly staged. This is the world that Cermak depicts, giving the reader a stylised view of a historical story and as such is fitting for Phillips’ approach to the tale. A Man Among Ye is not a realistic representation, a regurgitation of passages from a history book, it is an adventure story celebrating a rebellious woman who stood up for herself and others.

That’s not to say this is a pantomime and Cermak doesn’t treat it as one. There are moments of malice and disturbing violence that breaks up the swashbuckling fun. One scene in particular contains an air of threat that Cermak brings to the foreground using large areas of shadow. He turns the safety of the open air into dangerous, claustrophobic, spaces where anything could happen.

The changing atmosphere is helped along by Brittany Pezzillo’s color work. The use of bold colors is almost a necessity but it is the shifts in saturation that mark the shift in narration. Bright skies and clear water accompany the high jinx elements of the comic but these are soon flooded by cold hues and ice blues when the actions turn threatening.

Throughout it all the central character, Bonny, sets a striking image on the page. No matter what the pirate queen’s surroundings Pezzillo always colors her with the fiery red running through her figure. She stands out, as she should, like a beacon drawing the reader’s gaze. At the end of the day this is a comic about Anne Bonny and Pezzillo makes sure you don’t forget it.

Conclusion

On the surface A Man Among Ye is a fun pirate romp with all the classic swashbuckling action you could want. But, if you dive a bit deeper, you can find hidden depths. Comments on the representation of figures and events from history; the depiction of women in modern comics; a desire to educate as well as entertain. All of these aspects can be read into Phillips narrative.

With a number of exciting and intriguing comics under her belt Stephanie Phillips is a name worth watching. There is a sense of enjoyment and fascination in all of her work that instantly pulls a reader in. The art teams pick up on this and as a result produce work that is equally as compelling.

Falling style wise somewhere between Marvels’ Marauders and Image’s Shanghai Red, A Man Among Ye is a pleasing adventure comic that has a lot to offer the reader.

A Man Among Ye #1 is released under the Top Cow banner of Image Comics on 17 June 2020

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