GOING TO THE CHAPEL: How To Make A Dysfunctional Family Sitcom

February 19, 2020

Going To The Chapel by David Pepose and company is a sitcom that hits notes similar to The Simpsons. Unlike that show and many that follow in its footsteps after more than a decade, Pepose’s series retains its integrity. But what is it about Going To The Chapel that makes it comparable to animated sitcoms; bratty kids and dumb man-children of dads? None, it’s the dysfunctional quirky families revolving around a simple premise.

Why At A Chapel?

A simple premise can have a very compelling story behind it if it’s relatable. In Going To The Chapel‘s case, it’s the lead character Emily Anderson’s trepidation on marital commitment. Because what person doesn’t get cold feet at their wedding? Not only that, but for Emily, it’s worse than dealing with her wealthy but dysfunctional family. Even the hostage situation lead by her ex-boyfriend, Tom can’t compare. This situation can, however, be compared to Simpsons episode “Last Exit To Springfield.”

The premise is Homer Simpson standing up to his boss Mr. Burns. Burns, at this point, disregards his workers’ union for healthcare plans. With Homer’s daughter Lisa needing braces, Homer acts as union president to protest against Burns. Everybody wants to stand up to their boss when the boss does something underhanded in disguise of benevolence. The case being giving up dental plans in exchange for free beer at staff meetings. But it’s a whole other story when the family gets involved even if it’s not entirely benevolent. Homer cares about Lisa, but he hates having to pay for her braces even if Lisa’s cheaper braces involve a hilarious hallucinogenic “Yellow Submarine” sequence.

The Dysfunctionally Hilarious Support

Going To The Chapel with its nutty support cast. — FYI, that’s not caramel.

All sitcoms seem to feature dysfunctional families that reflect in someway people’s lives. While the Anderson family is immensely wealthy, they’ve their own lives and struggles that could warrant their own series. A personal favorite comes from Grandma Harriet, a hedonistic Vietnam War veteran bound to a wheelchair and oxygen tanks. Despite her frail looks, she’s highly resourceful, from using her medical bracelet to call for help in the hostage situation to spiking a piece of cake with Ambien. Not to mention when all’s said and done, Harriet has a deeper side to her — being the one to encourage Emily the most when it comes to living her life the way she wants.

The rest of the Anderson’s steal the spotlight just as often. Emily’s parents epitomize first-world problems with trying to be as extravagant as possible. Her dad wants to have a thousand doves at the wedding while constantly worrying about money. Emily’s cousin(?), Natalie, meanwhile, makes a serious call for help as a way to a means to advertise her Instagram influencer status. Naturally, some straight men need to be in these situations including Emily’s fiance Jesse. That’s not to say he can’t play the funny man with his acts of bravado. Those acts, in turn, help build up his character as well as his relationship with Emily.

A Sistine Chapel For Animated Sitcoms

Probably the best thing about this series is how easily accessible it is for new readers. Any sitcom worth its ratings deserves its episodes to be mostly jumping on points. Because let’s face it, starting a sequential story from the middle is a terrible thing to do. It offsets the flow of the story.

Meanwhile, the middle issues of Going To The Chapel act like a buffer for what’s come before. With a minimal amount of intel yet just the right amount of it, readers get the gist of things without chunky exposition. Sometimes the art by Gavin Guidry, like a partially wrecked wedding cake says more.

Also, due to using panels instead of live-action cameras, the cast and setting can get away with anything. With no huge budgets, the conflicts can be as over the top as they want. The cartoony violence and jokes decorate every page. For that matter, it gives the series a sense of longevity. This allows for creators to develop characters and settings for as long as they want.

A Satisfying Ending

First season jitters? — Oh, come on! We’re not even at the point where it’s all dumb jokes!

Like all good things, they must come to an end. It’s all well and good to stick to a premise and milk it for all its worth, but there will be times those ideas clash with characters. Because jokes are only memorable in comedy series if they help drive the plot. The jokes aren’t meant to be a plot, especially if they distract the audience from what’s at hand — for example, the numerous cutaway gags in Family Guy. In the final issue of Going To The Chapel, the emotional stakes are at their highest when Emily is torn between options. Either become a master thief with Tom or join Jesse in matrimony.

On the side, things are flaring up with Tom’s relationship with Emily coming up with Tom’s Bad Elvis Gang and the town sheriff. While it’s tempting to know what would happen after the final issue, those are stories for another time. Going To The Chapel is Emily’s series, so she’s the one who calls the shots. Who knows maybe if Pepose likes the idea enough, he could create a spin-off around one or more of these characters. It can’t be any worse than The Cleveland Show.

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HELLBOY & THE BPRD: THE RETURN OF EFFIE KOLB #1 Revisits the Past

Zac Owens

Hellboy and the BPRD: The Return of Effie Kolb #1 by Mignola, from Darkhorse

Written by Mike Mignola, with art by Zach Howard, colors by Dave Stewart and letters by Clem Robins, Dark Horse’s Hellboy and the BPRD: The Return of Effie Kolb #1 kicks off a new chapter from old territory. The great charm of a hero like Hellboy is that he kicks butt, and somehow everything gets wrapped up. He stumbles unto his successes. But the question remains, do those problems stay solved? The creative team behind this new issue of Hellboy and the BPRD begin to answer that question.

Writing

While it’s essential first to do a quick re-read of The Crooked Man, Mignola’s new story carries its weight. Drawing directly from The Crooked Man, the first appearance of Effie Kolb, Mignola brings Hellboy back to the town where it all happened. Though years have existed between these stories, both in publication and in the Mignolaverse, the reentry is seamless. Mignola’s quiet style and quieter hero are a welcome return. Mignola achieves inter-character dynamics brilliantly. In as little as one issue, we sense a bond between the characters. Mignola asks us the question: Is the Crooked Man dead? And if so, what happens when evil leaves a void to be filled? The next issue promises to have answers.

Art

Howard strikes a satisfying balance in this issue. While he recreates many of Richard Corben’s creatures from The Crooked Man, he somehow both emulates Corben and maintains his own style. And many of the new additions to the cast of characters, Howard gives an unnerving air of normalcy. Despite hints that some characters are secretly up to no good, Howard presents us with ordinary people. The terrifying implication being that evil knows how to hide itself away. Howard and Mignola work together brilliantly. As Howard chooses to approach Mignola’s characters with the same subtlety as the writing.

Coloring

Stewart, long-time Mignolaverse and Dark Horse veteran, returns to Hellboy and the BPRD for more stunning work. It is Stewart’s coloring that makes Howard’s work seem like a balance between Mignola’s own art and that of Corben. The dark tones and overlaid shadows bring everything into familiar territory. But where Stewart strays from the usual, he shows his brilliance as a colorist. As the issue displays flashbacks to the events of The Crooked Man, Stewart colors flashback’s background in golden hues. Giving the sense that that was the Golden Age for these characters. And in one moment, as a character emulates his younger self, Stewart colors that panel in the same golden hues. This approach to the coloring connects us to the past story while continuing to tell a new one.

Lettering

Robins’ lettering helps relieve some of the gloomy atmosphere of the issue. While the characters are having heart-to-hearts about the past and investigating the future, it’s the green and orange sound effects that give events a lightheartedness. Peppered throughout the issue, so as to never ruin the tone, the sound effects bring a sense of fun. Robins makes the lettering for the dialogue and the word balloons as small as possible and set off to the sides of each panel to make room for the art on each page. Robins has a deep understanding of the tone of this issue and helps to balance it throughout.

Hellboy and the BPRD: The Return of Effie Kolb #1 revisits some old territory. Yet it never simply becomes a retelling of The Crooked Man. Instead it builds off of that old short story thematically and gives Hellboy a walk down memory lane. Pick up Dark Horse’s Hellboy and the BPRD: The Return of Effie Kolb #1 February 19th at a comic shop near you.

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Review: Logan Slices Into A New Era In WOLVERINE #1

Colin Tessier

In Marvel Comics’ Wolverine #1, on sale February 19, Logan is back, and he’s better than ever. But writer Benjamin Percy brings him down to Earth; Logan’s back at square one, and Percy starts to the elements involved with an intriguing two-pronged mystery that features everything from tragic deaths to wild battles with vampire hordes. The whole issue functions as a love letter to Wolverine’s past and as an explosive new beginning for the character.

Wolverine 1 Preview — In a bit of a tribute to Old Man Logan, Percy shows us that Logan has killed his friends.

Story 1: “The Flower Cartel”

Writer: Benjamin Percy

Artist: Adam Kubert

Color Artist: Frank Martin

Letterer: VC’s Cory Petit

Back To Logan’s Roots

The beginning of Percy’s run on Wolverine paints a familiar picture. We see Logan battered and bloodied, and his friends’ dead bodies lay scattered around him. The mangled corpses of Jean Grey, Domino and Quentin Quire are striking; artist Adam Kubert uses three jagged claw marks to emphasize that Logan killed them. Logan, similarly maimed, gradually heals and color artist Frank Percy captures both the durability of Logan’s Adamantium skeleton— it’s unblemished amidst the carnage — and the grotesque image of his body putting itself back together. Immediately juxtaposes this tragic scene with a flashback to the newfound happiness Logan has found on Krakoa. Naturally, we’re left wondering what happened. Percy slowly reveals the course of events, but by the end of the issue, we still don’t know what went wrong. By starting at the end and working backward, Percy quickly draws us in because we’re desperate to fill the intentional gaps.

The shift to the recent past, where Logan was happily playing hide and seek with children on Krakoa, is heartbreaking. Martin uses tranquil green grass and a calm blue sky to set a peaceful tone that’s cut with an underlying sense of dread. Kubert shows Logan sincerely smiling, both here and while he shares a drink with Kitty Pryde. Kitty notes that being surrounded by his loved ones has fulfilled Logan; “You’re you, but a better you.” Of course, she’s right. We rarely see him enjoy sustained happiness — there’s always another threat right around the corner. That’s why it’s disappointing that Logan is immediately pushed back to his typical self. Later in the issue, in another desolate scene, he walks through a snowstorm by himself and narrates, “People should stay away from me. I don’t have family. I shouldn’t have friends.” In the span of roughly 30 pages, Logan has taken a few major steps backward. Hopefully, Percy is merely breaking the character down before he builds him back up.

Story 2: “Catacombs”

Writer: Benjamin Percy

Artist: Viktor Bogdanovic

Color Artist: Matthew Wilson

Letterer: VC’s Cory Petit

And Now For Something Completely Different

In “The Flower Cartel,” Percy crafted an emotional story about Logan’s loss of his new lease on life. “Catacombs” features Wolverine fighting hordes of vampires. Sure, a sizable chunk of the narrative has nothing to do with bloodsuckers. First, when Omega Red arrives in Krakoa, we get a compelling debate between Logan and Magneto, as they butt heads over who deserves Krakoa’s amnesty. Even before they say anything, their costumes hint at the clash in their beliefs. Color Artist Matthew Wilson gives Magneto’s outfit a pure, white shine that represents his idealism. On the other hand, Logan’s wearing his usual brown-and-yellow suit that implies his traditional outlook, which is open to interpretation; either Logan is too stubbornly old-fashioned and old fashioned, or he’s more of a realist. Magneto’s and Logan’s words only confirm these mindsets.

Wolverine 1 Omega red — Omega Red’s arrival in Krakoa triggers a heated debate between Wolverine and Magneto.

Logan calls Omega Red a “one hundred percent grade-A psycho” who doesn’t deserve rehabilitation. Magneto sagely responds, “There are those who would say the same of us both.” Magneto loses some of the moral high ground when he dismisses Wolverine’s concern that Omega Red will kill mutant children by saying, “Resurrection will be available if any become his prey.” Percy explores the issue of mutant amnesty throughout “Catacombs,” and it’s a safe bet that he’ll continue to do so moving forward.

But let’s get back to the main event — vampires. Percy quickly transforms the story into a horror movie when Logan winds up in a hellish nightclub in Paris. Wilson uses blood-red lightning and pitch-black shadows to tease the presence of vampires, and Logan quickly finds himself hung upside down with a tap draining the blood from his body. Of course, he brutally decapitates a vampire to escape; artist Viktor Bogdanovic shows us the victim’s shocked face flying through the air. From there, Logan wages war with another horde in the Catacombs of Paris. The claustrophobic nature of the space strengthens the foreboding mood of the scene. Here, we also get one of the issue’s most visually exceptional panels.

As a swarm closes in on Logan, one of the vampires says he wants, “a taste. Only a taste,” of Logan’s blood. As the bloodsucker says the line, Bogdanovic closely zooms in one of his eyes and shows us the eye’s tiny pupil. Framed by the vampire’s sunken eye socket and combined with Wilson’s use of a scarlet sea for the eye itself, the image is terrifying because it captures the monster’s sheer hunger.

The ending of the issue makes it clear that Wolverine’s issues with vampires are just starting; in fact, we could be looking at an all-out war between mutants and vampires in the near future. Count this writer as someone who can’t wait for that story to develop.

Wolverine #1 allows Logan to do what he does best — look like a total beast while he fights monsters and investigates a captivating mystery. The creative team hits a bullseye, and the whole issue is a powerful tribute to one of Marvel’s most iconic heroes.

What’d you think of Wolverine #1? Where do you hope to see the story go from here?

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Review: HIDDEN SOCIETY #1 is a Gorgeous Grind of a Read

Justin Munday

Writer Rafael Scavone teams up with artist Rafael Albuquerque to create a new world of mystery and magic in “Hidden Society” #1. Albuquerque’s phenomenal direction and detail in conjunction with Marcelo Costas colors make for a comic that that stunning to the eyes. Unfortunately, the experience is severely marred by an overly vague plot and tonally confused dialogue that makes the story itself an obstacle to be overcome rather than a world to be explored.

“Hidden from ordinary eyes, there is a world alongside our own full of deities, demons, and danger–where magic wins out over science and dark secrets lie in wait. Ulloo, the last wizard from the Hidden Society, enlists the aid of a blind girl and her demon, a young magician, and a cursed bounty hunter in order to stop a group of nihilist warlocks from waking the Society’s greatest nemesis: a primeval force that, unchecked, will scorch the planet bare of all life.”

Writing & Plot

While the core plot of “Hidden Society” #1 is certainly not a unique one in this day and age, the premise can still show promise if guided in an engaging manner. Unfortunately, the storytelling here is jumbled and poorly paced, with no discernable direction towards the central plot. The main story itself is lost in a slew of character introductions that have the potential to be entertaining but are marred by awkward dialogue that makes these characters difficult to relate to. On paper, the different characters ought to be an interesting bunch as well; an outlaw, a blind sorceress and her daemon sidekick, an ancient wizard, and a young boy specializing in hat tricks. Their archetypes are intriguing, but the story itself does nothing for them. This comic is tonally confused as well. The presentation of the dialogue would have a reader think this is a young adult comic, but much of the language and some of the situations would suggest it’s for mature readers. This is a messy comic to read that never seems to get itself really going in the direction it needs to tell a full story.

Art Direction

The visual treat of Rafael Albuquerque‘s (“A Study In Emerald”, American Vampire) art in “Hidden Society” #1 is this debut issue’s saving grace. The characters are drawn with a fluid humanity and expression that makes them visibly relatable in ways the writing fails to do so. From the cartoonish nervousness of a young stage magician to the cool sarcasm of a shape-shifting daemon, the character art shines in a variety of detail. The environments are just as varied and convincing within the story’s logic. The extra dimensions brought on by Marcelo Costas’ colors create a comic that is an astonishing feast for the eyes. This is without a doubt one of the most beautifully drawn comics to come out this year so far.

“Hidden Society” #1 is off to a rocky start held up by spectacular work from the art team. The jarring pacing, awkward dialogue and lack of pointed direction makes for a rough beginning to an only four-issue mini-series. Fortunately, the work of Rafael Albuquerque and Marcelo Costas on pencils and colors results in one of the best looking single-issues to come out in 2020 thus far. If you’re confident you can brave the unsteady script and want some of that gorgeous Albuquerque penciling, then grab “Hidden Society” #1 on 2/26!

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Review: TRANSFORMERS #17 Slowly Introduces A Big Problem

Anthony Wendel

With Transformers #17, a major threat approaches the planet of Cybertron thanks to Brian Ruckley, Anna Malkova, Bethany McGuire-Smith, Joana LaFuente, and John-Paul Bove. With the threat help to move the story along or is it a colossal nightmare?

Summary

Megatron is faced with the ultimate decision. He can forge ahead on the path he’s started down, or he can take the last chance at doing things by the book. Either way, Cybertron is on the verge of change, and after this, nothing will ever be the same.

Writing

Before getting to the problem introduced at the end of the previous issue, there is a bit of set up by checking in with a familiar face. Cyclonus is shown to still be plagued by ghosts and only slowly moving towards a decision to act. Though it seems wrong to keep comparing this run of Transformers to the previous run by IDW (after all the new series has been around for over a year), its hard when some characters are not as powerful as they were previously. Cyclonus was a deep and stoic character and seeing him meander around and be unsure of what moves to take next feels wrong.

With this issue, it becomes apparent writer Brian Ruckley is playing the long game with the storytelling for this series. After the previous issue where it was revealed a Titan had awakened, it seemed carnage and destruction were on the horizon. Instead of immediately dropping into the center of Cybertron and tearing up the place, the writer throws up some obstacles to help add to the tension. Basically, the overall plot is progressing but individual characters could stand to be more developed.

Artwork

Two different artists take care of the Pencils and Inks on this issue which plays to each of their individual strengths. The pages Anna Malkova focuses more on atmosphere and settings which come off well. Meanwhile, the pages by Bethany McGuire-Smith are more action-based. Together, the issue has a very impressive look to it.

The colorwork by Joana LaFuente and John-Pal Bove helps to compliment each of the artists they are working with. LaFuente adds to the battle scenes as they unfold and Bove’s work adds to the unsettling nature of the ghosts plaguing Cyclonus. The issue definitely isn’t lacking in the visual department.

The Lettering by Jake M. Wood and Neil Uyetake allows for great dialogue from varying sources. Between communication channels, musical lyrics, and telepathic messages, the lettering is able to convey the different forms of interaction.

Conclusion

Transformers #17 shows the creative team knows what they are doing with the plot but the characters need to be developed more. Hopefully, the Titan rampage will give opportunities for some character development. Nothing helps to allow for growth like fighting against a giant robot bent on destroying a city.

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Panel Breakdown: WOLVERINE #1 by Benjamin Percy, Adam Kubert & Frank Martin (Part 1)

Matthew Sardo

Welcome to PANEL BREAKDOWN, a weekly series where we take a look at our favorite panels of a comic book. This week we are talking about the new Marvel Comics series Wolverine #1 written by Benjamin Percy, with art by Adam Kubert, colors by Frank Martin, and you are reading Cory Petit’s letters. Tom Muller is the designer on the issue and has a significant influence on the book.

Part 1 – Adam Kubert

Part 2 – Viktor Bogdanovic

About Wolverine #1:
THE BEST IS BACK!
Wolverine has been through a lot. He’s been a loner. He’s been a killer. He’s been a hero. He’s been an Avenger. He’s been to hell and back. Now, as the nation of Krakoa brings together all Mutantkind, he can finally be… happy? With his family altogether and safe, Wolverine has everything he ever wanted… and everything to lose. Writer Benjamin Percy (X-FORCE, WOLVERINE: THE LONG NIGHT) and legendary artist Adam Kubert (X-MEN, AVENGERS) bring the best there is to his new home! PLUS: The return of OMEGA RED!

Are you picking up Wolverine #1 this Wednesday, or will the $7.99 price-tag scare you off? Comment below with your thoughts.

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Exclusive First Look: BLOODSHOT #7 New Story Arc

Matthew Sardo

February 17, 2020

Bloodshot #7 hits your local comic book shop on March 11, but thanks to Valiant Entertainment, Monkeys Fighting Robots has an exclusive first look for you.

The book is written by Tim Seeley, with Marc Laming’s pencils and inks, Tyler Kirkham worked on the cover. The finished pages will feature Andrew Dalhouse’s colors, and Dave Sharpe will provide letters.

About Bloodshot #7:
You’ve seen Vin Diesel’s Bloodshot in the big screen… now leap into the thrilling comics with “THE LONG SHOT” PART ONE! Bloodshot’s globe-hopping adventures explode into this new story as he faces his biggest foes yet!

Have you been reading the new Bloodshot series? Comment below with your thoughts.

Exclusive First-Look: BLOODSHOT #7 New Story Arc

Bloodshot was was created by Kevin VanHook, Don Perlin and Bob Layton. Bloodshot’s first appearance was a cameo in Eternal Warrior #4 (November 1992), with his first full appearance in Rai #0 (November 1992).

The origin of Bloodshot:
Bloodshot is a former soldier with powers of regeneration and meta-morphing made possible through nanites injected into his blood, hence the name Bloodshot. After having his memory wiped numerous times, Bloodshot is out to discover who he is and get vengeance on those who did this to him. Bloodshot’s bloodstream contains a billion nanobots, enabling him to heal from injuries quickly, interface with technology, and shapeshift his mass.

The first issue of Bloodshot back in February of 1993 sold one million copies and featured the first “Chromium” comic book cover.

Bloodshot hits theaters on March 13 starring Vin Diesel as The Every Man.

Based on the bestselling comic book, Vin Diesel stars as Ray Garrison, a soldier recently killed in action and brought back to life as the superhero Bloodshot by the RST corporation. With an army of nanotechnology in his veins, he’s an unstoppable force –stronger than ever and able to heal instantly. But in controlling his body, the company has sway over his mind and memories, too. Now, Ray doesn’t know what’s real and what’s not – but he’s on a mission to find out.

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Review: DEATH TO THE ARMY OF DARKNESS #1 – Ashes To Ashes

Jason Jeffords Jr

Trouble is always around the corner for the chainsaw and boomstick wielding Ash Williams, yet in Dynamite’s newest series, Death to The Army of Darkness #1, Ash receives help from a team of himself.

Nice reasoning there, Ash. Death to The Army of Darkness #1 — Art by Jacob Edgar. Colors by Kike J. Diaz. Letters by Hassan Otsmane-Elhaou

Death to The Army of Darkness #1 follows Sam Raimi’s 1992 Army of Darkness film, but the first issue includes a quick recap. Luckily this means prior knowledge isn’t needed, nor do you need to read the previous comic series. Nonetheless, if you haven’t seen Army of Darkness, do yourself a favor and watch it. You still have time, as Death to The Army of Darkness #1 hits an S-Mart near you on February 19th.

GOOD. BAD. I’M THE GUY WITH THE PLOT

Writer Ryan Parrott isn’t new to franchised comics, as he has been putting out fantastic work in Saban’s Go Go Power Rangers. Yet, Death to The Army of Darkness is a completely different beast in many aspects. Nonetheless, Parrot is able to respect the cult classic franchise while still building upon its lore. All the humor, gore, horror, wacky adventure, action, and lovable main man are present for longtime fans.

Although Death to The Army of Darkness #1 is a direct sequel to the movie, newcomers will feel completely welcome. The aforementioned recap page helps a great deal while Ash adds information on his past with the Necronomicon Ex-Mortis. Parrot seems to pluck concepts brought forth in the movie while adding in original ideas. The way that Ash and the world around him mirror the movies so well, you’d swear Parrott worked on the film back then.

The new concepts showcased throughout are welcome while still making since worldbuilding wise. Death to The Army of Darkness #1 contains a fair amount of story to give the reader in one issue, yet it never feels overburdened with the plot. Instead, readers are treated to the beginning of a new misadventure with their favorite lovable oaf.

The beginning of something new in Death to The Army of Darkness #1 — Art by Jacob Edgar. Colors by Kike J. Diaz. Letters by Hassan Otsmane-Elhaou

GROOVY ART

Jacob Edgar’s art blends realism and cartoon in a manner befitting the movies. The cult classics never took themselves too seriously, and Edgar’s art emulates this magnificently. Instead of falling on the side of realistic/cartoonish too much, his lines perfectly blend the two. The mixing of the two work immensely when over the top moments are desired, making said scene hit harder. During the action scenes, Edgar overlays the panels on each other. This method gives the actions a chaotic feeling that amps up the violence being portrayed.

Helping the vibes that Edgar’s art portrays are the colors by Kike J. Diaz. Much like the line art, Diaz’ work borders nicely between realistic/cartoonish. One scene stands out amazingly in favor of the gorgeous colors. During this moment, Ash uses his trusty boomstick (shotgun) to kill a deadite. The reason the colors stand out here more as opposed to other panels is because of the wide palette it uses. The blast of his boomstick is strikingly yellow/orange, which illuminates his face while helping the shadows stand out more. Mix in blood spluttering from off panel and Diaz’ use of an ocean (blue green) background, and you have a visually gorgeous panel.

Ash just hanging out in Death to The Army of Darkness #1 — Art by Jacob Edgar. Colors by Kike J. Diaz. Letters by Hassan Otsmane-Elhaou

WRITTEN IN BLOOD

Lettering is a hard (often times thankless) job, yet Hassan Otsmane-Elhaou always makes it look perfect. That sentiment carries into Death to The Army of Darkness #1 where he has a blast with varying letter methods. Each page, Otsmane-Elhaou adds in extra flare into any given piece of lettering, essentially breathing a flow that makes you carry on. Not only does he make each page stand out with a vast array of fantastic lettering, but at no point does the placement hinder the art.

Instead, Otsmane-Elhaou keeps a constant groove that beautifully guides your eyes throughout. All that while adding amazing special effects that feel like they’re straight from the classic films. If you’re interested in behind the scenes on lettering (among other things) in comics, I’d highly recommend checking out Otsmane-Elhaou’s Twitter.

Art by Jacob Edgar. Colors by Kike J. Diaz. Letters by Hassan Otsmane-Elhaou

DEATH TO THE ARMY OF DARKNESS, LIFE TO TEAM ASH

Death to The Army of Darkness #1 reads as if a group of pals got together, marathoned the original trilogy of Evil Dead while talking about multiple universes, personified emotions, then set out to create a comic. The premise isn’t a new one, yet the team executes the idea amazingly.

Side Note: When I first heard of the multi-Ash mini-series, it seemed to be a multiverse series. Yet, after reading it it seems to be one where many aspects of Ash’s personality coming to life. As amazing as the multiverse sounds, the personification of his emotions calls back to the movie while being a great idea.

Memorable Quote: “….groovy.” – Ash

Death to The Army of Darkness #1 is filled to the brim with quotable bubbles, but, you gotta love a classic.

DEAR DEADITES

Is this your first time reading a comic in the Evil Dead/Army of Darkness Universe? If so, let us know what you thought, or – if you’re a longtime Deadite – tell us how you felt below.

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Interview: Matt Kindt Discusses His New Series BANG!

Anthony Composto - EIC

February 17, 2020

bang! matt kindt interview dark horse comics comic books

BANG! #1 is out this Wednesday, February 19th, from Dark Horse Comics, and we had the chance to speak with writer Matt Kindt about the highly anticipated series.

The series is by Kindt and artist Wilfredo Torres, with colors by Nayoung Kim and letters by Nate Piekos. BANG! has received a lot of positive buzz leading up to its release, especially after Deadline Hollywood unveiled the book’s trailer last month. The first issue has already sold out and gone to a second printing in advance of publication. It promises to be a mind-bending thriller, sure to enthrall fans of high-concept storytelling.

About the series:
A best-of-the-best secret agent with memories he couldn’t possibly possess, a mystery writer in her 60s who spends her retirement solving crimes, a man of action with mysterious drugs that keep him ahead of a constant string of targeted disasters, a seemingly omnipotent terrorist organization that might be behind it all . . .

And they’re all connected to one man: a science-fiction author with more information than seems possible, whose books may hold the key to either saving reality or destroying it.

MFR critic Grant DeArmitt praised the first issue, saying “you should absolutely add BANG! to your pull list,” and giving it a near perfect score.

Read on for our full interview with Kindt:

Monkeys Fighting Robots: Matt, thanks for taking the time to talk with us.

You got a pull quote from Keanu Reeves (the man, the myth, the legend), who called BANG! “A great #$%^ed up blend of James Bond and Tintin.” How does that happen?

Matt Kindt: Keanu loves comics and really knows art. He’s got a really good and honest eye for it. I sent him issue one…and he liked it…(laughs)

MFR: I saw that BANG! ties into another one of your books, Revolver. Do new readers need to know anything before picking up BANG! #1, or can they go in cold? And how do you handle that balance of tying your works together, rewarding old fans but making sure everything is still accessible to newbies?

MK: There is a character – usually a villain I use a lot – he’s in almost every book I’ve ever done. But there’s no real continuity. You don’t need to read one book to understand another. It’s more like how Tarantino’s movies all take place in the same “universe” but for me – it’s reversed. I have one character that takes place in all universes. BANG! works completely on its own – the overlap with other books is more of an Easter egg for super-fans.

MFR: What works inspired BANG!, other than James Bond (and possibly Tintin)?

MK: Ha! Well. Philip K. Dick was a big influence on everything I’ve done but also take the moral dilemmas in Graham Greene’s books and mix it with Agatha Christie, The 60s Emma Peele Avengers, McGyver, A-Team, Knight Rider, and a dash of Charles Bronson – shake that all up and this is what comes out. I really wanted to do something that was straight forward action and ended up doing something that was straight-up action with a really crazy twist to it. Nothing is every really straight-forward by the time I get done with it…I tried. I really did. I just can’t do straight-forward. But this is my attempt. (laughs)

MFR: This first issue is packed with action, and there are a good handful of pages with little to no dialogue. How do you and Wilfredo collaborate on those mostly visual scenes? Since you’re also an artist, are you able to better script them, or does Wilfredo have the freedom to go nuts and handle them however he sees fit?

MK: I script them – and Wilfredo tweaks ‘em – adds panels – moves things around. And sometimes comes up with ideas for different staging – I really feel like, especially with the action – my script is a suggestion – a starting off point. I have specific ideas for details – but it’s no fun collaborating if you don’t collaborate. It’s always a bit of a learning curve when writing for an artist you haven’t worked with before – but we’re developing a short hand now – I know what he likes to do and the deeper we get into it – the more I try to write to his strengths and give him some pages that will make him laugh – or at least get him excited to draw. He ends up adding so much more detail than I script – and I tell him – he’s doing it to himself. It’s not my fault! You can tell on the page though – he loves to draw so I try to stay out of his way.

MFR: How autobiographical of a character is Phillip Verve? Or – if not autobiographical – is he inspired by anyone in particular?

MK: He came from real-life. But I won’t talk about it. Everybody has an arch-enemy at some point in their life…and he sprung from that. So yeah – he is in every universe – including ours. For me, he’s a good reminder to treat everyone well. Be kind. Don’t have enemies. I don’t have any enemies now (that I know of) but Verve serves as a reminder – let bygones be bygones. Forgive people. It’s the most powerful thing you can do.

MFR: There’s a giant mystery behind this series. Without giving anything away, where’s the best place in issue one to look for clues?

MK: Inside front cover and the inside back cover.

Thanks again to Matt Kindt for taking the time to answer our questions, and to David Hyde from Superfan Promotions for facilitating this interview. Make sure to pick up BANG! #1 when it hits your local comic shop this Wednesday, February 19th.

**Read what people are saying about BANG!:**

“What Knives Out did for whodunits Bang! does for 007-style spy adventures by flipping sexist and culturally condescending tropes on their head.”—DEADLINE HOLLYWOOD

“I will literally read anything by Matt Kindt or Wilfredo Torres. Put them together and it’s magic. Skip dinner and buy this book”—Mark Millar

“I f$%^ing love this comic! it’s literally everything I want out of one of my favorite creators!! Congrats to the entire team. This is how you make comics!!—Brian Michael Bendis

“BANG is a fun, twisty spy thriller with a great meta-twist.”—Jay Faerber

“I love Matt Kindt and I love Wilfredo Torres, so it’s no surprise that I loved BANG! It’s like the weirdo, mind-bending James Bond story I didn’t know I wanted.”—Jeff Lemire

“Thanks to Kindt and Torres we finally have our Idris Elba – James Bond, and it’s exactly as cool as you imagined.”—Jeff Parker

“Imagine James Bond being abducted by David Lynch and forced into a maze that shifts with every step forward. The ground is unsteady. The walls of reality move. This is the world of Bang!, a spy thriller expertly conducted by Kindt and Torres, a mystery box that truly starts off with a… Well. You know.” —Van Jensen

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Review: BLOODSHOT #6 – The Second Act of a Generic Action Movie

Jake Palermo

Bloodshot #6 is the end of the second act of Tim Seeley’s run. Which the perfect way to speak about it, considering this series is building up to the Bloodshot movie starring Vin Diesel.

Recap

After the events of Bloodshot Salvation, Bloodshot is back on the run taking fights to numerous groups. One of which is the Last Flesh, a cyberpunk cult dedicated to augmentations so that they can inherit the world. Another is Black Bar, a black-ops sect in dedication to dealing with threats like them and Bloodshot. All of which revolves around Mina (a.k.a. Eidolon) a psiot who Bloodshot captured in his Project Rising Spirit days.

After being sold to Black Bar, she serves as the main weapon against Bloodshot. Only the leader Grayle treats Mina like anything human by allowing her to go out every once in a while. The rest of Black Bar however keep Mina on a short leash. Members of the Last Flesh meanwhile want to reclaim Mina having used her abilities to augment their physiologies. Bloodshot comes between these groups to rescue her with help from The Burned, a secret society of disowned soldiers.

Bloodshot #6 Writing

Tim Seeley likes to make use of foils, like during his run on Nightwing. In Bloodshot #6 he has three groups of foils for Bloodshot: The Last Flesh (augmentations), Black Bar (black-ops work), and The Burned (rogue soldiers). In theory this does work, but there is so much in story, it feels suffocating. Black Bar in particular feels like just another Project Rising Spirit in how they treat Mina as a weapon. Then there’s Last Flesh commander Friday Dusk, who presents herself with only superficial similarities to Bloodshot. She can access memories through her implants but that’s it. Otherwise Dr. Dusk is just a manipulative dominator who quickly turns when she doesn’t get her way.

As for Bloodshot, there’s nothing all that interesting about him in this issue. Right now he’s just the guy shooting at stuff to redeem himself. When he acts up to scare pedestrians away about his killer reputation, it feels like he’s a stereotypical brooder. Bloodshot #6 continues to use this redundancy of his past for drama. Heck, his affiliation with The Burned is out of place. Bloodshot chose to leave his handlers, they didn’t leave him behind. Something Mina chooses to do as well despite the fact she should have more reservations about going with him. She kisses him for crying out loud! Now Eidolon just feels like a damsel-in-distress stereotype.

Artwork

Brett Booth’s rough penciling does look impressive, as it befits the gritty outlook of the series. However with so much of his time focusing on dynamic poses, it sometimes looks like he’s trying to make cover art instead of panel work. Adelso Corona’s inking attempts to give focus on the action taking place. However, wherever there are bold lines, they’re usually reserved for close-ups. In the faux-pin-up artwork, some of the lines just barely blur figures from the background. Especially when their bodies have colors that would’ve blended in. Fortunately, Andrew Dalhouse’s coloring is the highlight of the artwork. Against some of the muted coloring appear bright blasts of energy. Occasionally the backgrounds shift to certain hues of color. From the green dust kicked up by actions near the beginning to red hues indicating dangers.

All things in consideration, Dalhouse and letterer Dave Sharpe have their hands full with other titles like Rai. It’s why some of the gunfire onomatopoeias look the same from that series and Roku: they’re images Sharpe seems to recycle. He does deliver some original pieces, like a very fitting sputtering wordmark for something very specific, such as Eidolon making Bloodshot’s skin explode (he grows it back). However Sharpe’s placement of word balloons demonstrate some of the flaws of the art. In one panel, it starts with Bloodshot complaining about the Last Flesh’s numbers before his gun is destroyed. It looks like the panel would’ve flowed better if it was flipped.

Hopefully Bloodshot #6 Makes the Movie Look Good

Every cliche about Bloodshot, like his past sins and his place in world, can get readers through this run. Unfortunately, this somber soldier is now just another action hero, including having an attractive woman at his side. Vin Diesel better not be anything like this. But do you have anything to say about this? Leave your thoughts in the comments.

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