Review: ACTION COMICS #1065 — Unlikely Alliances

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Action Comics #1065 is the third official part in DC’s “House of Brainiac” event. Again written by Joshua Williamson, this issue also features artists Rafa Sandoval, Miguel Mendonça, and Mirko Colak, with colors by Alejandro Sánchez and Mike Spicer, accompanied by lettering from Dave Sharpe.

This issue follows Superman and Lobo as they attempt to fight off the Czarnian army and enter Brainiac’s ship. They decide to change the playing field to make sure Brainiac doesn’t get too far. Once there, however, Lobo is given an offer he might not be able to refuse. Back on the ship, Supergirl and Superboy stage a breakout inside Brainiac’s ship while Brainiac himself works with Lex Luthor on a mystery project. Brainiac searches for his son, Vril Dox, in the backup story and finally discloses a part of his plan.

Brainiac works on a device with Lex Luthor

WRITING

Something about Williamson’s work that’s sure to entice readers is how the writer always knows exactly what choice each character would make in any given scenario. He puts almost all of the characters through the wringer in this one, but the way they react to what’s being thrown in front of them is always natural. Superman’s entire life basically fell apart within the span of a minute in the beginning of the event, so he’s rightfully angry here, and takes that out on the Czarnian army because he knows they can take it. Lobo is hotheaded and is almost offended when Clark asks to retreat from the fight. Every character reacts appropriately to the news they’re given, and that strengthens the overall narrative of the issue by never leaving the reader wondering if a character they love would really do that. Everyone’s got a clear goal here with beliefs that are apparent through their actions.

The really interesting part of the issue lies in the story back on Brainiac’s ship. Supergirl and Superboy stage a breakout with Parasite and Livewire, and watching all these opposing personalities fight against each other while knowing they need to work together is a really strong way of moving the plot forward. Not only that, but it shows development in both Parasite and Livewire. During the rest of the run, they’ve typically been nothing but nuisances. Now? They help the two supers fight to get out. They don’t have a really noble reason, but it’s a step forward down the right path that’s nice to see Williamson take with these characters. It’s something fresh that’s bound to provide some interesting story opportunities moving forward.

Onto the backup story, Williamson takes an unexpected turn by letting the narrator actually be Brainiac’s son, Vril Dox. He’s clearly resentful towards his father, and it even feels like he hates him. The two share a tense relationship throughout the story. Brainiac clearly needs his son for something, but he wants absolutely nothing to do with his father. It’s an interesting dynamic told through the perspective of someone other than Brainiac for once, and it’s relieving to see an outside protective on him and his plans when he’s alone. You’re not just stuck in his head, but now in the head of someone who genuinely does hate him without Superman’s morals. He’s sure to be a welcome addition to the story moving forward.

Superman and Lobo take on the Czarnian army

ART

Sandoval is responsible for the parts of the issue featuring Superman and Lobo. The artist is always an expert at capturing the urgency of a situation, as well as the rage and conviction in a character’s face when it gets down to it. Everyone is clearly doing what they’re doing with a purpose, and it’s one that’s felt in every panel. He also really helps in giving each Czarnian their own personality. They don’t all feel like carbon copies of Lobo, but really their own people. Every character has different mannerisms that helps to differentiate them, and that’s especially apparent in the group shots. Each one of them is performing a different action with a different look on their face that they continue to do as time goes on, almost becoming a signature for them.

Mendonça covers the portions of the issue that take place on Brainiac’s ship. He creates some really unsettling designs in this in the form of these genetically enhanced wolves that Brainiac has circling and guarding his ship. They’re haunting to look at the second they appear on the page, and Mendonça really sells that. He plays around with a few existing designs as well. Parasite and Livewire look great in their prison clothes, especially when they’re helping Superboy and Supergirl blast some Brainiacs. He also brings some new life to the ship in the form of some areas that we haven’t really seen before: Armories, long hallways, and science labs all feature in his pages and each is just as compelling to study as the last.

Colak draws the backup story of the issue, and the way he has Vril Dox and Brainiac play off each other adds to their already interesting dynamic. He often fully displays Vril Dox, with Brainiac never really being able to be caught at a good angle. This lends itself well to the story told from Vril’s perspective. In fact, Brainiac is only really shown when he’s meant to look menacing. That, and on one page where he seems to be in pain and vulnerable. Only then is he fully visible. Vril is only able to see his father when he’s vulnerable or when he’s stern and threatening, and never anything in between. Him only seeing Brainiac in those ways tells a lot about the character and how he was brought up, and gives the reader a reason to understand why he’s so fearful of him moving forward.

COLORING

Sánchez covers the coloring for both Sandoval and Mendonça in this issue. He does a great job of lighting the various environments. With Superman and Lobo in space, he has every explosion glow off of the character’s faces. Back on Brainiac’s ship, Livewire’s blasts shine off of her as well as those around her. The most beautiful part of the issue is Brainiac’s ship. There are a few panels where the ship is on full display, and it looks electric. The purple glow in the mouth and the dots in the eyes that mirror those on Brainiac’s head make it look horrifying. The light also covers the rest of the metallic head, the colors mixing to create something really pleasant to look at. Something interesting about the ship this issue is that it almost never looks the same twice, as if it’s growing, and the colors grow and change with it. He’s also incredibly aware of the angles, and lights things accordingly. The ship is shown from multiple directions, and the lighting changes dependent on that.

Spicer covers Colak’s backup story, and he really helps in the point made earlier about hardly seeing Brainiac in this encounter. The area the two are in isn’t necessarily well lit, but Vril’s face is still the usual shade of green while Brainiac’s is often completely dark. He doesn’t hide from the light, but the story is focused on Vril and so that’s where the light shines. Brainiac’s face is always half colored and shaded with these dark eyes that only turn a bright purple while he’s vulnerable, almost signaling a malfunction in his system. Everyone worked together really well on this backup story to sell this narrative of detachment between the two.

LETTERING

Sharpe covers the whole issue, and works as consistently as he has through the rest of this event. Brainiac’s bubbles are still uniquely shaped, but so are the Czarnians’. Lobo’s bubble has always been these messy circles, but it’s the same for the other Czarnians. Theirs almost seem even wavier, maybe signaling that while Lobo is far from refined, he’s lived in a world without these characters while they’ve continued to only really be surrounded by each other. Another interesting change lies in Vril Dox in the backup story of the issue. His bubbles are the opposite of his father’s. While Brainiac’s are black with green text, Dox has these smoother bubbles with a green background and black text. He’s the opposite of his father, but also doesn’t contain that pounding, uncontainable thirst of knowledge that his father displays in his bubbles.

CONCLUSION

Overall, this entire issue is really well put together. The teams involved all work hard to make sure their work plays off the other’s, and that’s especially apparent in the issue’s backup story. Each separate person in this process dedicates something to each page, and the collaboration is seamless here. Consistency has reigned supreme in every part of this event so far, and this issue is no exception.

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C2E2: Boom! Studios Celebrates 10 Years Of James Tynion IV With A Look Toward The Future

By

Roger Riddell

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May 13, 2024

C2E2: Boom! Studios Celebrates 10 Years Of James Tynion IV With A Look Toward The Future

During a Saturday afternoon panel at C2E2, Boom! Studios’ Anthony Mauro was joined by writer James Tynion IV (Something Is Killing The Children, The Nice House On The Lake), artist Michael Dialynas (ZAWA The Belly Of The Beast, WYND, TMNT), and artist Werther Dell’Era (Something Is Killing The Children) to celebrate a decade of Tynion at the publisher.

Tynion initially approached Boom! Studios 10 years ago with a pitch for The Woods on the advice of Scott Snyder (Batman, Wytches, Nocterra). That initial pitch for a four-issue miniseries about a high-schooler who is transported into the middle of an alien forest ballooned into a 36-issue series — a running theme of Tynion’s run with the publisher.

“I’m not known for my brevity,” Tynion joked. “I like long series.”

“Once I find the audience, that just means it’s like, ‘Hey, we can make this however long it needs to be.’ Sometimes, that means it should be longer.”

There was much more than reminiscing, however, as the panel dropped several juicy hints for what fans of Tynion’s work can expect on the horizon. Here’s what we learned.

Something Is Killing The Children getting back to basics — and to Netflix?

Tynion and Dell’Era’s hit horror series Something Is Killing The Children is celebrating its 5-year anniversary this year. The series’ next issue will make it Tynion’s longest-running creator-owned series — which is, all things considered, a feat in the current market and a testament to the power that word of mouth can still wield in the industry.

Still, the writer joked that he partially credits Robert Kirkman for the series’ success, as he suddenly ended The Walking Dead just before SIKTC was set to release, leaving a gaping hole in the horror comics space on comic shop shelves.

The current arc of the series is set to get “back to the original pitch of the series.” Over the course of five one-shots, main character Erica Slaughter will be placed in a variety of settings and situations that provide five “jumping-on points” and serve as a reminder after the “brutal end of the last arc” that the core of the series is Erica fighting monsters.

“In some of the issues, she’s going to be more pulled back, and it’s more focused on the people in whatever small town she’s in. Sometimes it’s more focused on her,” Tynion said. “There’s still some big story secrets that will unravel over the course of the arc.”

There’s also, however, a “sad dog issue,” Tynion warned. “Sometimes you’ve gotta write a sad dog issue.”

Tynion also hinted that things are “moving in exciting ways on the Netflix front” — but he can’t say any more about that yet.

Among other Something Is Killing The Children news:

Hello Darkness, a six-issue anthology series that will tell an Erica Slaughter in Rashomon style, where the entire town is gathered in one bar and you hear all of their different takes on an event.
Something Is Killing The Children #0 is set to release later this year, directly precedes SIKTC #1, and tells the story of what Erica was doing in the woods.
The Book of Slaughter and Book of Butcher series of oversized winter specials will be wrapped up with Book of Cutter, expanding the mythology of the series.
Finally, Something is Killing the Children Silver, previously announced at San Diego Comic Con last year, is still on the way, has a yet-to-be-named artist attached, and will tell the “most mysterious” story of the House of Slaughter. But beyond that, “I can’t really talk much about it,” Tynion said.

10th Anniversary oversize hardcovers on the way

Perhaps the panel’s biggest announcement, a Boom! Direct Reserve Kickstarter campaign will offer super deluxe edition hardcovers of Tynion’s Memetic, Something Is Killing The Children, and The Woods.

The campaign launches May 14, the date The Woods was first published, but fans can sign up now to receive a reminder when it goes live. Artist Nick Robles, who Tynion noted used to draw fan art of The Woods, is contributing a print for this collection.

“I love big, beautiful hardcover editions of my comics,” Tynion said. “If you have the deluxe Something Is Killing The Children volume, it’s going to look great on the shelf next to all of those.”

The set will also feature supplemental material including art galleries and making of and interview content.

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3 Things We Learned About Ryan Stegman’s THE SCHLUB At C2E2 2024

By

Roger Riddell

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May 13, 2024

3 Things We Learned About Ryan Stegman’s THE SCHLUB At C2E2 2024

Ryan Stegman loves body swap stories. His favorite? 17 Again.

It’s an extremely fitting factoid for anyone whose introduction to Stegman’s work was his run with writer Dan Slott on Superior Spider-Man, the infamous 2013-2014 story arc where a dying Doctor Octopus took over Peter Parker’s body for 34 issues.

But it’s also a detail that spawned Stegman’s Image Comics series The Schlub.

The creator-owned collaboration with fellow writer Kenny Porter (Superboy, The Flash), artist Tyrell Cannon (Beef Bros), colorist Mike Spicer (Beta Ray Bill), and letterer John J. Hill (Harley Quinn) follows the story of what happens when failed dentist Roger Dalton swaps bodies with Cirrus, one of his world’s greatest superheroes.

To mark the occasion of The Schlub’s trade paperback release, Stegman, Porter, and Cannon held court during a Saturday panel at C2E2, discussing their experiences building out Roger and Cirrus’ world. Here are three things we learned.

What is this again?

The initial idea for The Schlub came to Stegman during a dinner at a comic convention in which he implored Joëlle Jones and her boyfriend at the time to watch 17 Again.

“I don’t know what I like about [body swap stories] so much,” Stegman told attendees, but he really wanted to do a superhero book with that twist on it. At the time, he was finishing the Amazing Spider-Man/Venom crossover “Venom Inc,” and he had told Marvel he was going to go off to do a creator-owned series.

During this time, he said, he turned down a Mike Costa-written Venom miniseries that Mark Bagley ended up drawing, as well as Infinity Warps with Gerry Duggan. But then Marvel editor Devin Lewis pressed him to get on the phone with writer Donny Cates about working on a new Venom series with writer Donny Cates. As a result, The Schlub — initially titled “The Unbearable Roger Dalton,” or “TURD” — went on the backburner.

Not content to leave the already-written plot just sitting there, Stegman approached Porter and Cannon about completing it.

The general plot for the book, Stegman said, was that a Michael Scott type of guy who can’t get out of his own way and is hated by his family gets body-swapped with the most powerful being on the planet.

Stegman really doesn’t like dentists

The reason for why the character of Roger Dalton is a dentist is a simple one: In building a story around an unlikable character, Stegman gravitated toward the most unlikable profession that came to mind. After all, does anyone actually enjoy going to the dentist?

While Porter shared a dental horror story in which the dentist’s polishing tool exploded in his mouth and sprayed paste everywhere, the root of Stegman’s problem with dentists runs much deeper.

“They’ve definitely tried to ruin my life multiple times,” Stegman told attendees.

At age 27, he had his wisdom teeth removed after years of putting it off. But within days of having them removed, he began having recurring pain on one side of his mouth. Despite returning to the dentist who pulled the teeth, he was repeatedly told nothing seemed wrong.

After three months of pain and “being told that I was crazy,” he eventually went to a new dentist who told him he had a severe infection and that “you might lose that whole jaw.” That dentist sent him to a periodontist, who told him he needed massive surgery because his jaw was eroding from infection. “I’m losing bone in my jaw. I’m in pain all the time. This is like a 6-month ordeal,” Stegman said. “The entire process was just people messing up over and over and over.”

Thus, “I want this guy to be the worst guy in the world for The Schlub, so what would his profession be? Dentist, obviously,” Stegman said.

The ‘Marvel style’ approach shows — in the best ways

During phone conversations, the trio worked to flesh out a universe of characters built around a main character “who sucks,” Stegman said. This included Roger Dalton’s family, a “Justice-League-like” group, and more.

Much of this was done “Marvel style” — where the writer shares the plot with the artist, the artist expands the plot into a fully drawn story, and the writer fleshes out the dialogue and captions — to “let Tyrell flex,” Porter said.

Cannon responded by joking that they were too lazy to write a “real” script, but conceded that the plots he received weren’t “just a block of text.” They described panels, but the plot wasn’t fully called out panel-for-panel like a full script.

As a result of the loose scripting approach, Cannon said he leaned into taking full advantage of the comic medium rather than laying panels out like a storyboard pitch for a show — and it shows through from the story’s opening splash page, in which the reader’s first view of Roger Dalton is from looking outward from inside of a patient’s mouth.

On each ensuing page, Cannon plays with Cirrus’ body language to convey that he’s a superhero being piloted by a normal dentist, and that Roger is a normal dentist being piloted by a superhero, and neither really knows what they’re doing.

Each issue introduces new characters and situations that the body-swapped duo must navigate.

But despite not being scripted as a pitch for a show, Stegman joked that if any producers want to make it a show, he’d love to talk because, “I’m really underwater here, guys.”

[Writer’s note: In the interest of full transparency, this panel was enough to make me seek out a copy of The Schlub trade paperback at Porter’s artist alley table, and it has not been disappointing. The story is paced well and does a good job of balancing dry humor and a lighthearted tone while fleshing out its characters and the world they inhabit. And even when splash pages aren’t making dynamic use of the medium, each page still pops thanks to Cannon and Spicer’s energetic art. I highly recommend checking this book out if you want a fun superhero story outside of the familiar names from the Big Two.]

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Marvel Comics Exclusive Preview: MILES MORALES: SPIDER-MAN #20

By

Anthony Composto - EIC

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May 9, 2024

marvel comics exclusive preview miles morales spider-man 20

MILES MORALES: SPIDER-MAN #20 hits your local comic book store on May 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
Miles Morales, A.K.A. SPIDER-MAN, faces his greatest challenge yet – BABY SITTING HIS LITTLE SISTER BILLIE! But wasn’t he supposed to fight crime with Shift? Oh, and there was a thing with Ms. Marvel! Oh no! He forgot to call Ganke back! And he’s an hour late to meet Starling?! Miles’ world is spinning, and he has no idea that it’s all about to get turned upside down!

The issue is by writer Cody Ziglar and artist Federico Vicentini, with colors by Bryan Valenza, and letters by Cory Petit. The main cover is by Vicentini and Matt Milla.

Check out our MILES MORALES: SPIDER-MAN #20 preview below:

Are you reading MILES MORALES: SPIDER-MAN? Sound off in the comments!

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DSTLRY Reveals 3 New Covers for Jock’s GONE #3

By

Justin Munday

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May 8, 2024

From contemporary game-changing publisher DSTLRY Comics comes a slew of exclusive new covers for Gone #3, the final issue of Jock’s (Batman: The Black Mirror; Wytches) stellar sci-fi series.

“Abi has been from one end of the galaxy to the other and just about the only place she hasn’t reached is the one place she’s most afraid to go…HOME. But fate, and her own steely will, have combined to send her there, and now she must confront a past secret that’s darker than the deepest depths of outer space.”

G. Rossi Gifford Undressed (dstlry.co exclusive, print and digital)

On top of the 6 already revealed covers, DSTLRY is unveiling 3 new variants, including an undressed Rossi Gifford piece, an undressed Sam Wolfe Connelly piece, and a Jock interior piece.

H. Sam Wolfe Connelly Undressed (digital ownership benefit; buy print, get digital free)

Z. Jock Interior (dstlry.co digital exclusive)

Be sure to go to your local comic shop or dstlry.co to grab your exclusive print and digital copies of this penultimate issue!

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Marvel Comics Exclusive Preview: DEADPOOL #2

By

Anthony Composto - EIC

-

May 2, 2024

marvel comics exclusive preview deadpool taskmaster

DEADPOOL #2 hits your local comic book store on May 8th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
After botching the Montreal job and making a new enemy out of DEATH GRIP, Deadpool had the great idea to start his own boutique mercenary agency (definitely his idea! Not at all Agent Gao’s!) But a startup is a lot of work, so Wade asks TASKMASTER to run it! Their first assignment? Finding out who this Death Grip is and why he’s so interested in Wade.

The issue is by writer Cody Ziglar and artist Rogê Antônio, with colors by Guru-eFX, and letters by Joe Sabino. The main cover is by Taurin Clarke.

Check out our DEADPOOL #2 preview below:

Are you reading DEADPOOL? Sound off in the comments!

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Review: SUPERMAN: HOUSE OF BRAINIAC SPECIAL #1 — Eliminate/Debate

By

Mohamed Malla

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Superman: House of Brainiac Special #1 is out now, and acts as both exposition and interlude to DC’s “House of Brainiac” event, featuring three main stories.

The first story in this issue is by writer Joshua Williamson, artist Edwin Galmon, and letterer Dave Sharpe, and it shows the reader what exactly Brainiac’s connection to Lobo’s home world is. Not only that, but also how he has the Czarnian army in his possession now. It retells the story of Brainiac’s initial journey to the planet, and a deal that he made with a scientist that swayed him from capturing and preserving the planet in his ship.

The second story takes place back on Metropolis. By writer Mark Russell, artist Steve Pugh, colorist Jordie Bellaire, and letterer Sharpe, a tale is told from the perspective of Bibbo, owner of the Ace O’ Clubs bar and a recurring character in Superman’s circle. While he narrates the story, it follows Perry White’s struggles as he campaigns to be mayor of Metropolis. The story doesn’t tie into the event much aside from a reference later on in the story explaining that the heroes are gone, so it’s time for the people of Metropolis to show that they can take care of themselves.

The final story is again written by Williamson and lettered by Sharpe, accompanied here by artist Fico Ossio and colorist Rex Lokus. This story is told from Brainiac’s perspective and follows Amanda Waller, desperate for knowledge and power. Peacemaker and Peacewrecker report back to her, telling her that they were unable to capture Professor Ivo. She leaves after this and tries to find out who comprises the Council of Light, and ends with a reveal built up to since the beginning of the Dawn of DC initiative.

WRITING

Williamson’s first story provides some necessary backstory for how Brainiac got to where he is right now. Williamson provides an easy to understand backstory for the Czarnian army, and manages to connect it to the rest of the story by showing how exactly Brainiac got this army of his. Brainiac narrates this first part of the issue, and Williamson’s voice for the character is in line with the previous two installments of the storyline. He shows that he really understands the character by putting Brainiac’s curiosity and lust for knowledge on full display. Brainiac’s quest has always been one for knowledge, and Williamson expands on that by telling the story of a planet and a city that truly piqued his interest. One thing Williamson does especially well is show how Brainiac is merely a detached scientist testing a hypothesis. He has Brainiac interact with a few of the people from this world, but allows the reader to see it in a way that increasingly shows Brainiac not necessarily toying with the Czarnians, but attempting to understand them better in every way as the story progresses.

Forward to Williamson’s other story—the third one—we again see Brainiac taking whatever information he can from his actions. Not only is his focus on what his plan is and what’s taking place in his ship, but also what was left in the wake of that. It’s almost like he threw a rock in a pond just to observe the ripples of water. Any writer with a solid plan for a story has the potential to write a good Amanda Waller, because it’s almost as if whatever the author knows, she knows it as well. Because of that, Williamson’s Waller is fantastic at making her presence known. He clearly has big things in store, which is why this story of her discovering something that she previously wasn’t aware of works so well. She takes charge of the situation, and even threatens the higher power before her.

Backtracking a little to the middle story, Russell provides a surprisingly emotionally charged story that was pretty unexpected to see in this special. It’s about being informed, and the choice to have Bibbo being the narrator was a good one. It shows that even the most old fashioned citizens of Metropolis can change their ways and help unite people towards a greater good. It can be a little heavy handed in its execution at times, but it ultimately works in favor of the story that’s being told. He gets Perry across as not a perfect hero, but one who can understand the difference between right and wrong. Russell shows how being in such a close proximity to Superman for so long can really change people, and it’s interestingly explored here through Perry.

Perry White struggles with running for office — Perry White Struggles with running for office

ART

Starting with Galmon’s work in the first story, we’re immediately taken to Brainiac’s ship where he watches the events of the last issue unfold. Galmon really does a great job showcasing Brainiac’s higher technology. The room where Brainiac watches what’s happening with Superman and on Earth is futuristically designed and gives a small glimpse of his intelligence. Later, we see Brainiac’s whole ship floating above a Czarnian city from a low angle that really manages to capture the terror of the situation. The perspective of being someone on the ground looking up at it is one that serves the story well, and really lets the weight of Brainiac’s actions sink in. Not only that, but he also manages to give each Czarnian citizen a very distinct look that can either display a lot of insanity and bloodlust, or show a sort of pretentious façade. It’s a really impressive range.

Pugh takes care of the story back in Metropolis, and he really excels at capturing interpersonal relationships between two characters. Because of that, he fits the story perfectly. For example, there’s a page between Lois Lane and Perry White where the two stand together, talking. There’s no background, it’s just the two of them. They’re surrounded by floating heads of each other as the conversation flows, and it feels natural because of that. Pugh details every single look, and it really feels like every character really takes in what the other is saying, and reacts because of that. There’s an alien mother and daughter shown earlier in the story. The daughter is curious and confused as to why she can’t join the people protesting them, but the mother is worried and holding her child back, protecting her. Pugh expresses every character in the situation their in in a way that is bound to connect the reader to them further than the words alone ever could.

Ossio takes over the final story, where the focus is mostly on Amanda Waller. There’s an interesting parallel here where Brainiac is standing in front of this room of screens, enamored by what he’s seeing and learning from it. Those screens, however, are all positioned lower than him. He is in control. On Waller’s side though, we see her standing in a room with the screens of the Council of Light all hanging above her head. As she becomes more and more in control, the screens lower until they’re finally on the same level as her. She took control.

Brainiac reacting to what's happening in Metropolis. — Brainiac reacting to what’s happening in Metropolis

COLORING

Galmon colors his own work in that first story, and his art really thrives because of that. On a page where Superman and Lobo are both being presented with Brainiac’s ship cutting between them, Superman’s side is filled with brighter colors while Lobo’s is filled with darker ones. The Superman side of the image also features a panel where his Kryptonian parents hold him, a white background filling the space. With Lobo, he bites the nose of the nurse and the background is this peach color with white strikes interrupting it, giving this frantic sense to it. Czarnia’s orange skies also contrast Brainiac’s green and purple ship well. The orange skies almost blend into the fires on the ground, really cementing this place as a breeding ground for chaos.

Bellaire on the middle story does a great job capturing the small moments that are meant to get the tone across. Bibbo is shouting into a phone at one point, and the background is a lighter orange outlined by a spike darker one. Later, with the page mentioned earlier of Lois and Perry talking, their talking heads above them are both blue as we hear Lois’s side of the story. When we hear Perry’s side of it, he’s captured in this sterner red tone. Later in the story too, during a debate between Perry and his competitor, an orange color fills the background as tensions raise. When they finally reach a boiling point, it becomes a blood red. Bellaire’s coloring supports both Pugh’s art and Russell’s writing through this.

Lastly, we have Lokus’s coloring. There’s a part in this story where we’re faced with multiple Brainiacs, and each one is differentiated through their designs. Something to keep in mind though is how the shade of purple on each one is different. An earlier iteration of the character is covered in a more pinkish shade while the current one rocks circles of bright pink around his body, but is mostly clothed in a darker purple. The color of each fits the time period that they’re from. When Waller is faced with the light later, it’s brighter as its higher above her, and then a darker blue when it’s on her level. It does well to further what Ossio tries to convey while also giving each of the Brainiacs their own personality.

LETTERING

The lettering for the entire issue is handled by Sharpe. He does a great job throughout, and it’s a lot to get through. First is Brainiac’s green and black speech bubbles that are never misshapen. They’re constantly these perfect rectangles that only change when Brainiac actually speaks, becoming these ovals with machinelike breaks in them. It’s almost like the speech bubble itself is trying to contain more information, but can’t. In Russell’s portion of the issue, there’s a blog post spreading misinformation that is shown in all caps, where someone following it types in lowercase. The louder one gets the point across while the quieter one takes in the information. The white background of the post is broken by this gray box with Bibbo’s narration, combating what is said here. Sharpe is clearly very careful in his placement, which is also shown by his work in the third story. The Brainiac lettering returns, but the Waller’s speech bubbles are really what deserve some focus as well. Every emphasized word feels like it carries a weight behind it that almost makes you scared of her. What is actually said in her bubbles is spaced out well too. On one side, you’ll have her setting up a point that she then executes in the bubbles on the other side of her head. It splits up the hammer of her words falling in a way that draws the reader in.

CONCLUSION

DC’s Superman: House of Brainiac Special #1 is a welcome interlude to the main story that Williamson is writing, where Russell is also able to shine and provide a different perspective on what’s happening. With all the creators working on this issue, it’s also a diverse work that really gives multiple artists and colorists the spotlight, allowing them to be a part of this. Williamson, Russell, Galmon, Pugh, Ossio, Bellaire, Lokus, and Sharpe all work together to give a deep looks into the minds of Brainiac and Amanda Waller while also exploring what the fallout of this event could be.

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Review: BEAR PIRATE VIKING QUEEN #1 — The Chaos of the Sea

By

Justin Munday

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bear pirate viking queen image comics bpvq

From writer Sean Lewis (Bliss, King Spawn) and artist Jonathan Marks Barravecchia (Record Store Rendevouz, Gundam Battle Breaker) comes a furious storm of comics creativity with Bear Pirate Viking Queen #1. With an intentionally muddled script that constantly leaves the reader questioning reality, and an utterly staggering visual approach, Bear Pirate Viking Queen is one of the strongest debut issues in Image Comics’ entire catalogue.

“A blood-splattered story of conquest. Bears. Pirates. Vikings. And Queens—all battling for their claim to determine what the world will become.”

Writing & Plot

Sean Lewis’s ever-unique approach to narrative reaches a new career peak with Bear Pirate Viking Queen #1. This first issue follows Captain Paul Reddish, a sailor with the Royal Navy – and his descent into madness and piracy. A once “respected” sailor scorned by the very county he was loyal to, he turns his loyalty to plunder and slaughter, all while his mind slips further from reality. Lewis has always been a master of delivering fragmented plots with not always reliable narrators. However, especially in conjunction with this comic’s art style, the reader never quite has a bearing on which parts of the story are actually happening, and which ones are a figment of Reddish’s ailing psyche. Lewis’s character dialogue is scant, focusing mostly on Reddish’s internal thoughts and how he focuses so much on hate and anger. His entire existence now seems like he’s waging a war on those who appeal to law and reason, after being abandoned by those very principles. Viking Queen becomes more and more intriguing as it continues, and this issue peaks at the very end – when you realize that Reddish is not this mini-series’ main character. Lewis’s plotting here is deeply intriguing – but he lets its strongest aspects be told through the visual storytelling.

Art Direction

Jonathan Marks Barravecchia is responsible for the art and lettering of Bear Pirate Viking Queen #1, and as such he firmly plants himself as a massive creative force in comics today. His dark watercolor style both perfectly crafts this book’s chaotic, oppressive tone while obfuscating reality for the reader. Collages of blood and battle turn into smoky, dreamlike hazes as Reddish looks back upon his battles and reckons with what he sees in his mind’s eye. Barravecchia’s interpretation of storms on the ocean are perhaps the most effective use of weather I’ve seen in comics. Every panel is wrapped in the deep blues of storm clouds and flashes of lightning, and when paired with the narration it makes the setting feel like a living, vengeful being. Barravecchia’s character unique character rendering is a standout as well, as he constantly changes his approach to the human characters in the book. Reddish drifts between visible primal rage, to leadership-focused determination, and then to fear and despair. There’s a scene when Reddish first encounters the bear where the whole panel washes out white as dear grips him. The approach to characters who appear later in the book brilliantly contrast to the pirates, making them look like ethereal dreams and nightmares aboard a rotting ship. Barravechia’s hand-penciled lettering is the only way that this comic’s reading experience could have been tied together. The natural inflections of character speech and sudden changes in emotion, as well as the SFX work, have the grimy and unpolished look that perfectly matches the art. There’s a character near the end whose dialogue lettering is almost illegible, capturing the words of a delusional old man whose grip on reality long left him behind. Barravecchia’s work makes this comic feel like an illustrated scroll telling some old, terrifying myth.

Verdict

Bear Pirate Viking Queen #1 is a furious storm of comic book creation. Sean Lewis’s script intentionally muddles the reader’s view of the lead character as he loses his mind and focus on reality, offering twists and revelations galore. The visual work of Jonathan Marks Barravecchia is astounding, with a watercolor and kind of messy penciling approach that pulls the audience into the book’s atmosphere of madness, myth, and terror. A must read for fans of The Northman, Hellblade, and Ridley Scott’s Taboo. Be sure to grab this first issue, out now.

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Review: BEAR PIRATE VIKING QUEEN #1 Demands To Be Experienced

By

Anthony Composto - EIC

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Bear Pirate Viking Queen #1 is a mind-bending tale out this week from Image Comics, by writer Sean Lewis and artist Jonathan Marks Barravecchia.

“How did we get here? Boats, my love. And all the men that came with them. This is the story of all of us.”

These words introduce readers to the blood-soaked world of Bear Pirate Viking Queen. The story follows Paul Reddish, a Captain in the Queen’s Royal Navy, whose ship comes under attack by pirates on page one. What follows in the remaining 71 pages… well that’s best left for you to experience for yourself.

BPVQ is a book that demands to be experienced, rather than simply read about. It’s an abstract and disorienting whirlwind of a tale where the only thing you can be sure about is that—at some point—you’re going to see some bears, pirates, vikings, and queens. You may not always be sure about what’s going on or how these elements tie together, but that’s entirely by design to put you in the shoes of the main character. Because if you’re confused about how the story got from Point A to Point B, Reddish is there to reassure you that he’s not sure how he got there himself.

“Abstract” can be a scary and off-putting word in the world of storytelling, but rest assured that BPVQ is never abstract at the expense of the story’s humanity or humor. Lewis scatters more than a few gags throughout his script (because what good would a book called Bear Pirate Viking Queen be if it didn’t have some humor mixed in), and you genuinely become invested in the swashbuckling as it progresses. Writing an abstract story can be like walking a tightrope between intriguing and confusing, but Lewis strikes the balance brilliantly, falling square in the realm of intriguing rather than off-putting. Your mind is constantly engaged, piecing things together, dissecting what just occurred and what you think might happen next. It’s an exciting and stimulating experience that Lewis scripts —one which is executed beautifully by Barravecchia.

Barravecchia puts on a stellar showcase with his artwork in BPVQ. He largely utilizes breathtaking watercolors throughout, but incorporates a variety of styles, including sometimes stripping down a panel to bare black and white pencils and inks. One panel might feature clear outlines and heavy black brush strokes, and then the next panel—featuring the same characters—will be painted purely in watercolors, sans outlines or definition.

This style leans into the abstract and disorienting vibe of the story, keeping readers on their toes, but moreover, it lends itself to the idea of BPVQ being an experience. Barravecchia’s art is raw emotion etched and painted onto the page. His crashing waves exhilarate you; his black night skies, illuminated only by flashing lightning, fill you with dread. At one point, as Reddish is contemplating what’s become of his life, we see a beautiful watercolor portrait of him as the naval officer from the start of the issue, followed by a scraggly, black and white pen drawing of the man he becomes. It’s a jarring contrast, and the juxtaposition of art styles drives the point home in a more affecting way than only words could accomplish on their own.

Bear Pirate Viking Queen starts by saying “this is the story of all of us,” and by the end, you start to understand what that means. It’s a thought-provoking tale of humanity, a species which has been at war with itself for as long as we’ve been on this planet. It’s a story that wants you to feel something, and wants you to ask questions. And, ultimately, it’s a comic about bears, pirates, vikings, and queens…how can you say no to that?

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Marvel Comics Exclusive Preview: INCREDIBLE HULK #12

By

Anthony Composto - EIC

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April 25, 2024

marvel comics exclusive preview incredible hulk

INCREDIBLE HULK #12 hits your local comic book store on May 1st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
In the aftermath of the tragic battle against Frozen Charlotte, Hulk pays a visit to STRANGE ACADEMY, seeking the help of BROTHER VOODOO in saving Charlie’s immortal soul! But when the task calls for a one-way descent into an exorcist’s ancient prison in search of the immortal FLESH-WEAVER, is the price too high even for the Incredible Hulk?

The issue is by writer Phillip Kennedy Johnson and artist Nic Klein, with colors by Matthew Wilson, and letters by Cory Petit. The main cover is by Klein.

Check out our INCREDIBLE HULK #12 preview below:

Are you reading INCREDIBLE HULK? Sound off in the comments!

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