Review: A Peaceful Unmaking in THE DREAMING #17

By

-

The Dreaming #17 is one of the most poetic and emotional chapters in this story so far. In fact, it’s likely one of the most beautiful chapters in all of the Sandman saga. Writer Si Spurrier’s complex but easily navigable plot is assisted by Bilquis Evely’s artwork in what is only the second to last issue of their phenomenal run.

Wan’s takeover of Dream’s realm is nearly complete. As his identity slips away, Abel only has one secret left in his pocket. And poor, tortured Lucien, lost and without purpose, longs for nothing but release, and to return to the foundations of the Dreaming. So why can’t he go? Does he have a purpose yet to serve? If he wants to die…why must he continue to pay the high cost of living?

Writing & Plot

Spurrier’s wide range from eloquence to simplicity in his writing is matched only by how tightly plotted his threads are. The complexity of The Dreaming‘s story so far is crescendoing to a tense and unpredictable climax. There truly is no way to guess at how this tale will end, and this of course makes it all the more engrossing. Spurrier’s often poetic narration is again reminiscent of Gaiman’s Sandman, but he still makes it his own. There are emotional beats and a specific character callback that will both thrill and devastate longtime fans of this universe. Again, this is a rather complex story, much like its predecessor and “Sandman Universe” cohorts. There can be quite a bit to keep track of and sometimes cryptic language to pore over, but it’s absolutely worth it to those who will give it the effort. Spurrier proves once again that he has been the perfect choice to take readers back to the realm of dreams, and it will be a wonder to see how his tale wraps.

Art Direction

Artistic phenom Bilquis Evely returns to The Dreaming to lend talents to the creation of this mythical setting. Once again, she succeeds in brilliant spades. The immense originality and detail given to this world made of dreamscapes is utterly breathtaking as usual. Environments are painstakingly drawn and delightfully unpredictable. Character features are as varied as the massive cast itself. Emotional moments are drawn with every ounce of artistic pacing imaginable. The colorwork by Mat Lopes is equally brilliant, using a massive array of gloomy and bright colors that give life to Evely’s pencils. The visual spectacle of this issue matches that of all of Evely and Lopes’ other issues, and that’s the highest praise that can be given here.

The Dreaming #17 is once again a poetic and beautiful triumph. Spurrier’s tight unpredictable plotting works hand-in-hand with his wide range of writing talent. The incredible artistic dreamscapes and emotional moments captured by Evely and Lopes are some of the best work in the medium. The Dreaming continues to be one of the best comics being published right now. With only one issue left in their run, be sure to keep picking this series up at your local comic shop.

Monkeys Fighting Robots Youtube

Review: Matt Fights For The Soul of Hell’s Kitchen In DAREDEVIL #16

By

Corey Patterson

-

DAREDEVIL #16 hits comic book stores Wednesday, January 1st, and it looks like our hero, Matt Murdock, is juggling many moving pieces in his life. His romantic rekindling with Elektra complicates his relationship with Mindy Libris (who’s happens to be married), and the brother of the man Matt accidentally murdered is seeking legal action. On top of this, crime levels have risen in Hell’s Kitchen after the Stromwyn family bribed the NYPD to stay away, allowing crime levels to rise. Now the former horned head is looking for answers, and he’s willing to take on the Stromwyns, Kingpin, and whoever else stands in his way.

Story

Matt, along with Elektra, has been working to bring down crime levels in his hometown—but apart from the superhero identity “Daredevil.” He hopes he can forge a new identity in which to protect Hell’s Kitchen while minimizing casualties. But in this issue we see the intimate side of this partnership, albeit laced with talk of the next mission.

Following a lead to Wilson Fisk, Matt heads out to find the crime lord in hopes of learning about his connection to the Stromwyns. But a thorough interrogation unveils the truth: Fisk had nothing to do with the NYPD’s withdrawal.

It seems Matt and Elektra may need to take the fight directly to the heart of the storm.

Writer Chip Zdarsky has been pushing Matt through a gut-wrenching personal transformation for the entirety of his run, and this issue is the perfect example. We see Matt patrolling the city in a whole new way by simply absorbing the conversations of families across the city, rather than with a specific “goal.” In a way, he’s becoming more in touch with the “soul” of the city.

Artwork

Jorge Fornés’s penciling and ink work, Nolan Woodard’s coloring, and VC’s Clayton Cowles’s lettering came together as a cohesive set of artwork for DAREDEVIL #16. The lines are well-defined, yet employ the perfect amount of heavy shading to keep with the series’ dark tones. In addition, the coloring mimics city lights on the buildings of Hell’s Kitchen. The lettering was great as well, employing varying dialogue boxes and fonts to distinguish Matt’s speech from his personal thoughts.

Comic Covers

Main Cover

Julian Totino Tedesco’s main cover illustration depicts Matt and Elektra in a passionate kiss to showcase the rekindling romance that’s become a large focus in this storyline.

Marvels X Variant Cover

Ryan Benjamin and David Curiel’s variant cover artwork features a (literal) demonized version of our hero, showing how the identity Matt supposedly left behind continues to creep into his life.

Conclusion

DAREDEVIL #16 shows readers an deeper look into Matt and Elektra’s relationship while developing the drama between the NYPD, the Stromwyns, and Hell’s Kitchen.

What do you think lies in store for Matt and Elektra’s future? Let us know in the comments below!

Monkeys Fighting Robots Youtube

Review: Tim Meets His Future Self In BOOKS OF MAGIC #15

By

Corey Patterson

-

BOOKS OF MAGIC #15, available in comic book stores Wednesday, January 1st, dabbles in time travel with the introduction of an alternate version of Tim from the future. Tim has been told of a possible future in which he wreaks destruction, but there are undoubtedly other timelines in which he fights for good. Either way, Tim must find a way to decipher this visitor’s true intentions lest he endanger himself and his friends. But are there any people left in his life that he hasn’t ostracized?

Story

Tim is one frustrated young magician, more so than usual. His friends have abandoned him, fearful of his powers, and his teachers aren’t going easy on him in class. On top of this, a magical cult is after him.

Tim believes the threat is abated for a little while thanks to John Constantine’s meddling in BOOKS OF MAGIC #14. But Ms. Rose cues him in on another threat; a group with the magical world’s law on its side.

The young wizard leaves school abruptly to get some air, but runs into a twenty-something man who looks a lot like himself. This stranger reveals himself to be a version of Tim from the future.

Writer Kat Howard portrays Tim and his future counterpart beautifully in this issue. Each has their own distinct personality, yet retain the qualities that make readers enjoy the character: his feistiness, rashness, and general awkwardness. It was a delightful touch that made this story enjoyable.

The older version seems like a good guy, especially after helping Tim save people in danger on the streets of London, but can Tim trust him?

Artwork

Tom Fowler’s penciling, Craig Taillefer’s ink work, Jordan Boyd’s coloring, and Todd Klein’s lettering were each pieces of the beautiful artwork found in BOOKS OF MAGIC #15. The scene settings feature crisp, solid lines that fully define the characters. Each individual figure is given their own unique colors to highlight their personalities, such as Tim’s bright yellow jacket to distinguish him from his fellow boarding school classmates.

The lettering was a nice feature of this issue as well, specifically in distinguishing between the present and future Tims. Each character’s dialogue is placed within letter boxes that look just like scrap pieces of paper, though they’re cast in different colors. This helps emphasize the sense of continuity between the two magicians at opposing stages of life.

Comic Cover

Kai Carpenter’s cover features Tim and his future self, opposing one another on either side of a mystical tree. This shows readers the animosity that will ultimately brew between them and the magic in the middle of it.

Conclusion

Tim’s existential crisis appears to have been slightly abated due to his doppelganger’s treachery, but there’s still a lot of factors up in the air. We’re anxious to see what Tim decides to do next.

What do you think the future Tim has in store for the Tim in present time? Let us know in the comments below!

Monkeys Fighting Robots Youtube

IDW Starts The New Year Strong With I CAN SELL YOU A BODY #1

By

Jason Jeffords Jr

-

This Wednesday is the first for many things; the first day of 2020, the first Wednesday of 2020, the first New Comic Book Day and the first issue of IDW’s uniquely named series, I CAN SELL YOU A BODY #1.

The first page says a lot about the characters and world in I Can Sell You A Body. — Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

Writer/Letterer Ryan Ferrier and Artist George Kambadais’ newest series, I Can Sell You A Body hasn’t received much fanfare since its initial announcement. As someone who believes they are in the know with comic releases, I hadn’t heard of it until recently. Thing is, with a name such as, I Can Sell You A Body how has it not had more people talking? As far as titles go it’s one that draws interest without you reading the synopsis. But for brevity’s sake, we’ll have a quick one.

How To Sell a Body

Ferrier’s four part “Criminal Haunt” comic wears its name on its sleeve with disgraced TV psychic, Denny Little selling clients their loved ones ghosts in others bodies. Honestly, the title is pretty self explanatory of the story, but life isn’t going so well for Denny. This due to him owing money and a body for a client’s grandpa. Thus adorning him with a bounty upon his head and 48 hours to live.

The first thing that hits you in I Can Sell You A Body #1 is how fleshed out Ferrier’s world already feels within its first page. On the first page we learn the worlds harsh feelings towards Denny, be it the drawn on horns on an ad, or the hot dog sellers words. But during this transaction, we also learn Denny’s personality, which if we’re being honest is probably one of the reasons why people don’t like him. He can be a straight-up dick. Yet it comes across hilarious in its presentation making you sort of like him.

At no point do you really root for Denny, or feel “bad” for him, instead we meet him in the middle of what may be the worst moments of his life. Ferrier brings the reader into 48 hours of the disgraced TV psychic life going down the drain, which feels like a trainwreck that you shouldn’t look at, yet at the same time, it’s gorgeous. This is achieved with how great the world of I Can Sell You A Body feels.

Instead of starting at the beginning of this character and world, Ferrier brings the reader right into the middle of the universe. This gives the feeling that the world is already built and other stories have already happened in it. It helps that the characters Ferrier creates feel human with their own lives and problems that are shown throughout. That and the humor shown throughout is amazing and hits when it needs to while keeping the pace fast.

First client of the day. — Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

The Art of Selling A Body

As Ferrier doubles as Writer and Letterer, Kambadais’ doubles as Artist and Colorist for I Can Sell You A Body #1. Kambadais’ art complements Ferrier’s plot every single step. When a character interaction calls for humor, Kambadais makes sure the reader gets a laugh from the visuals as well. This can be said for other emotions. In some cases, Kambadais tilts the panel in certain ways to help amplify the moment that is transpiring. Or during other instances, he drops all colors besides the character. This makes said person stand out more.

This technique of dropping all colors to boost the action that is transpiring happens often. But, each time Kambadais does this the result is amazing and never feels overdone. Throughout I Can Sell You A Body #1 Kambadais uses a vast palette with bright colors that help heighten the day scenes. Whereas his use of darker colors to help the serious moments and show the contrast of day and night.

Throughout I Can Sell You A Body #1, Kambadais’ art helps carry the emotions and physical comedy. That being, putting dialogue bubbles in the wrong place could easily hinder the moment that the team tries to portray. But, at no point does Ferrier’s lettering ever get in the way of the visual moments that help boost the scene. This boost carries over to when a body is inhabited by a ghost with a green line around the dialogue bubbles.

Some great panel structure and color usage. — Interior Art and Colors by George Kambadais. Letters by Ryan Ferrier

I Can Sell You A Body Conclusion

The duo of Ferrier and Kambadais work perfect together, which shows in I Can Sell You A Body #1. Each moment hits as hard as the duo wants with them seemingly in sync between the words and visuals.

Readers Looking For A Body

What did you think of the life and times of disgraced TV psychic, Denny Little? Let us know down below. Plus, if you’re looking for another great new IDW comic to start, check out our review for The Kill Lock #1.

Monkeys Fighting Robots Youtube

I’d Buy That For A Dollar: COMICS SCENE MAGAZINE #25 (April 1991)

By

Manuel Gomez

-

December 30, 2019

Welcome to ‘I’d Buy That For A Dollar’ a column where I will be exploring the weird and wonderful world of dollar bin diving. The only rule is each and every comic is purchased for one dollar (or less!).

This week is the final column of 2019, and I wanted to do something a little different. Instead of a comic, I’m going to highlight Comics Scene, an almost monthly comics magazine published by Starlog. Specifically, issue #25, by far one of the ones I remember most fondly. Comics Scene was a cool publication and you should definitely deep dive into them online or hunt them down in bins.

Comics Scene #25 (April 1991)

That’s a hell of a 90s looking cover. We got Youngblood popping out at you and Ghost Rider heating up the upper corner box art (a nice touch!). You can also check out what else is inside with that sidebar (something both Fangoria and Starlog both also did). The Crow?! Fuck yes.

Here’s the table of contents.

Like all magazines, Comics Scene has a letters page but they also threw in New Yorker style cartoons.

I was also surprised to find this issue had a somewhat angry letter from Peter Laird (co-creator of Teenage Mutant Ninja Turtles) about a previous TMNT related article.

So the main piece in this issue is Youngblood, and boy is there some great stuff. Just take a look at the sampling (the interview with Rob Liefeld is worth a read if you can find it. I tried to find it online but couldn’t).

The other big takeaway in Comics Scene #25 is a feature on the original The Crow comic. This is before the film (in fact the article mentions a script has just only been written).

The last article I want to highlight is about Erik Larsen, who was drawing Amazing Spider-Man at the time. He talks a bit about the difficulties of a post-McFarlane Spidey and his own love of comics. Larsen is always good in interviews.

The rest of the issue also has features on Luke Cage, Animal Man, an interview with artist John Bolton and a random piece on Disney’s animated Beauty & The Beast.

Finding this makes me want to seek out more. Comics Scene has a nice feel that’s different from Wizard Magazine (the main rag at the time) and it’s nice to see their take on that oh so crazy time that was comics in the 90s!

You can find great dollar bins at almost every local comic shop. So find a shop, ask a comic clerk and start bin diving!

Got your own awesome dollar bin finds? Toss them at me!
Send emails to manny@monkeysfightingrobots.com
Follow me on Instagram: _idbuythatforadollar_
Tweet at me: @MannyG1138

Monkeys Fighting Robots Youtube

Review: BLACK CHRISTMAS Offers A Lump Of Coal

By

Eric Trigg

-

Black Christmas, a remake of a remake to an original classic from the director of A Christmas Story. The original 1974 classic is regarded as one of the most horrific holiday films. Director Bob Clark and writer A. Roy Moore crafted a tense, stylish, slow-burning film that sticks with you after the credits roll. Sadly, today Black Christmas is a movie that struggles to balance an important social message with a well thought out story.

Directed and written by Sophia Takal, Black Christmas follows a group of sorority girls at Hawthorne college as they are picked off by a hooded assailant. The film shares little resemblance to the original, bashes viewers over the head with a feminist message, and offers one of the most illogical explanations in film history. Honestly, other than sorority girls and sharing the same title as the original, this remake is nothing like its source material. The feminist progression isn’t that far fetched for this property, but it’s the execution that has ruined everything.

Aleyse Shannon as Kris in BLACK CHRISTMAS

Black Christmas stars Imogen Poots, Lily Donoghue, Aleyse Shannon, Brittany O’Grady, Caleb Eberhart, and Cary Elwes. The performances aren’t that bad and the cast does what they can with the weak material. Poots leads the film as Riley Stone, a student that struggles to move on from being raped by a classmate. Her character isn’t fleshed out much beyond that and it’s quite disappointing because the character was very sympathetic and easy to root for. Poots’ performance is one of the very few redeeming qualities in this atrocious remake. It’s just another film with talent being wasted on a lackluster script that makes zero sense in the end.

In regards to the writing, this is one of the most senseless scripts to ever be written. Fans of the original will know that the film revolved around Billy, a seemingly escaped mental patient returning to his childhood home and killing a group of sorority girls. He taunted the ladies on the phone with obscene calls and voice manipulations. This new version deviates from that and nixes Billy completely. What we have here is a cult of sorority imbeciles that intend to keep the ladies on campus in their “rightful positions”. Takal’s script speaks to the ways women are treated in society and that’s fine, but that message is spoon-fed every other line or scene.

Imogen Poots as Riley in BLACK CHRISTMAS

The dialogue is mostly made up of jabs at men and male dominance in the world, and it’s done to the point where the final reveal is going to irritate several people. Shannon stars as Kris, a friend of Riley who is the SJW on campus and her character is the most annoying aspect of this film. Her character believes all men are trash and if you don’t agree with her then there will be an issue. For example, during the film, a decent male character expresses that not all men are rapists and Kris isn’t having any of it. A closed-minded character like Kris isn’t going to get over well with open-minded viewers.

Adding to that, all of the characters are very one dimensional and they aren’t fleshed out at all over the course of the film. Black Christmas spends so much time seeking to eradicate male superiority that it forgets to create a coherent story with well-written characters. Riley is the girl that got raped, Kris is the crazy SJW, and their peers are just there to die or worship the male hierarchy. Other than that, the script offers very little to make viewers want to root for them. Then comes the final twist, a revelation so idiotic and nonsensical that it shines the light on just how little care went into making the narrative cohesive.

Moving on from that, Takal’s camera work isn’t that good either and it’s combined with horrendous cinematography from Mark Schwartzbard. It feels uninspired, and yes the budget was low, but Jeepers Creepers 3 looked better than this film. Takal’s direction makes the film suspenseless and dull, but the jumpscares are in great supply for whatever reason. Black Christmas’ message isn’t really that fitting for the horror genre either, women thrive in this genre and those women are recognized as final girls. There are several ways to tell a story about women empowerment without beating it into your audience every other scene.

Black Christmas isn’t a movie that’s so bad it’s good, this film is just awful from start to finish. It has a message that it wants to get across, but sacrifices everything else in the process. It’s just another film that wants to get share an agenda without a compelling and cohesive story. Women’s empowerment can be done much better than just rambling about how awful men are, but this movie clearly doesn’t understand that.

Monkeys Fighting Robots Youtube

DC’s RWBY Rewards Its Fanbase For Their Commitment

By

Samuel Pratt

-

December 29, 2019

The biweekly issues of DC’s RWBY based on Rooster Teeth’s animated series have reached their ninth short story and is taking full advantage of its side by side release with the show’s newest season.

RWBY has followed a different release pattern than most comic books. Half the issues come out biweekly, as a “chapter” and then the print release with both chapters combined roughly a month later. While the comic takes place in the past. Roughly between the times of Seasons 3 and 4 of the series. The past two releases have been exploring stories that have only just been discovered in the show, and even included a character we’ve only just seen this past week.

(Spoiler warning for RWBY Volume 7 and DC’s RWBY, additionally spoiler warning as the latest episode of RWBY Volume 7, “Cordially Invited” will be discussed. At this time “Cordially Invited” is only available for Rooster Teeth First Members)

“Chapter 7” of the comic explores Yang and Blake’s relationship, which has been progressing rapidly in RWBY Volume 7, closely with a story from their school days in Beacon. With the commotion about the possibility of them becoming more than friends, as it has been nudged at a lot this season. Using this issue of the comic to analyze their history does seem to imply a lot more is coming for fans of the “Bumblebee” ship.

Yang literally sees Blake like this. I’m pretty sure they’re trying to push this ship for the readers. This is bordering Yang’s eyes take the shape of hearts as Blake passes by.

This chapter does more than just foreshadow romance. However, I enjoyed the layers that it added to Blake’s character that the show doesn’t really have the time to stop and examine. During their not-date (it’s totally a date), Blake opens up to Yang about the books she reads and why she likes them so much and analyzes some of their themes with her, and it really gives you a side of the character we don’t get to see in the animation. Despite usually having a book on her person in early seasons.

RWBY tends to delve into characters’ personalities and traits only in relation to how it affects the “now” of the narrative and not letting us get to know much more than that. Though given the short air times and limitations that come with it, prioritizing the “now” seems to be essential for the story’s pacing and progression, so it’s not necessarily a bad thing.

Be that as it may, having the comic dive deeper into its cast, not just showing us their hobbies and interests but telling us why they like to do these things, and what it means to their character adds so much more to stories they tell. Readers are rewarded with these details they would have otherwise never received.

In just two panels, the writer gives so much more to Blake’s character. Just the sheer amount of passion she puts into explaining why she likes these stories tells us she loves the thrill of the horror, but likes to know she’s not in danger, she analyzes the deeper meanings and thinks about them showing she’s very intelligent. These are layers we never got in the show.

“Chapter 9” came out digitally on Christmas day this week, following last week’s episode of the animated show, and both include a character we’ve only just seen for the first time. Willow Schnee, Weiss’ mother, first revealed in the animation and then explored after in this most recent chapter in the DC comic.

Willow Schnee appearing in the comic just after her debut, was a smart move for many reasons. Willow’s character does not drastically change the story arc in this season. Adding her into the comic is an excellent way to present Weiss’ history with her and give us a deeper, more thorough understanding of their relationship without taking all the extra time to do so for the short episode airtime the show has.

Willow certainly has the same Schnee energy that Weiss had in the beginning of the show, just times like 1000

Having the comic show all these details and fill in the gaps is a fun bonus for devoted fans. While all of this info is not made absolutely necessary for progressing the story, it’s still made available for anyone with interest. Though that is not the primary job of the comic, having these stories take place within it adds to the enjoyment of them.

As DC’s RWBY continues, we get to see writer Marguerite Bennett explore the large cast of the series and exceed expectations with the levels of understanding who they are. As the RWBY Volume 7 continues side by side with the comic, it will be interesting to see what else will cross over between the two. I’m hoping the comic covers where Neo Politan was between season 3 and season 4. Time will tell as it continues, and RWBY Volume 7 comes closer and closer to its finale slotted for February 1st.

What do you want to see cross over between RWBY Volume 7 and DC’s RWBY? Let us know in the comment section.

Monkeys Fighting Robots Youtube

Review: These Robots are Not Alright in THE KILL LOCK #1

By

Justin Munday

-

Transformers artist Livio Ramondelli brings an engaging new premise to bear with “The Kill Lock” #1. An intriguing plot, smart dialogue and top-notch artwork make this a definite must-read going into the new year.

Each found guilty of an irredeemable crime, four robots find themselves banished from their homeworld and bound together by the Kill Lock-a programming link that means if one of them dies, they all will. Now a soldier, an addict, a murderer, and a child find themselves forced to protect each other while in search of a cure to survive.

Writing & Plot

Livio Ramondelli proves himself to be creatively multitalented on “Kill Lock.” The Transformers artist shows off his narrative capabilities with a killer original premise, tense pacing and excellent dialogue. The advantage of having a knowledgable artist write a comic is that the art is often made to speak for itself. There’s no overhead narration here. Every bit of storytelling is delivered through just the art or through character interaction. The dialogue here is (ironically) organic and varied among the four main protagonists. This works wonders in making the audience relate to a set of characters who aren’t even human. The plot also is very matter-of-fact about its presentation. There is no narrative discussing how this reality of human-like robots came to be. It just is what it is. It’s a courageous storytelling move that pays off in spades here.

Art Direction

Ramondelli’s art here in “Kill Lock” #1 is some of the most stellar work seen in comics this year. The amount of detail in the environments and robotic characters is staggeringly gorgeous. The oppressive blizzard of a planet the quartet finds themselves stranded on looks as though it were crafted from a hybrid of nature documentary and sword & sorcery landscape. The robots themselves are all given distinct and memorable designs with their own sets of features (as much as these machines can have them). Their metal exoskeletons are pocked with scratches and dents to their paint. The hydraulic lines that make their musculature can be seen on some shots, making them anatomically eerily similar to humans at times. The lettering from Tom B. Long as well is fantastic, as each character is given their own font that matches their tone; from The Child’s innocence to The Soldier’s stoicism. Every aspect of the design going into this comic is phenomenal.

“The Kill Lock” #1 is a brilliant debut to one of the most promising series going into the New Year. Livio Ramondelli proves his storytelling talent with a unique premise and excellent narrative technique. The artwork is breathtaking and brings this oppressive atmosphere and these characters to life in an immediately engrossing way. Be sure to pick up “The Kill Lock” at your local comic shop this week.

Monkeys Fighting Robots Youtube

Exclusive Christmas Preview: DAREDEVIL #16

By

Matthew Sardo

-

December 25, 2019

Daredevil #16 hits your local comic book store next year (January 1, 2020), but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive Christmas present for you, the first five pages.

The book is written by Chip Zdarsky, with art by Jorge Fornés, Nolan Woodward is the color artist, Clayton Cowles added letters, Julian Totino Tedesco was the cover artist, and Ryan Benjamin & David Curiel are the Marvels X variant artists.

The setup for Through Hell Part 6:
Matt Murdock and Elektra paid a visit to the governor after learning he made the call to stop the police from entering Hell’s Kitchen. Interrogating the governor provided the names of the people truly behind the decision: The Stromwyn Family

Meanwhile, Wilson Fisk had a face-to-face with the Stromwyns at their campus, which turned in to a brutal beatdown by armored thugs on their payroll, ending with Fisk being thrown out a window.

Check out the five-page preview of Daredevil #16 below:

Exclusive Christmas Preview: DAREDEVIL #16

Are you reading Zdarsky’s Daredevil? Comment below with your thoughts.

Monkeys Fighting Robots Youtube

Comic Books: The Good and Bad of Other Media’s Influence

By

David Weber

-

December 24, 2019

Comic Books: The Good and Bad of Other Media's Influence

Comic book fans love to see adaptations of his or her favorite characters on the big screen, but the creative decisions that directors take may result in changes to the source material. Is this adapting of comic books a good thing for the medium, or just complicating already complex continuities?

The reason that comic book companies choose to alter its current continuities so that they resemble other media is very practical. They do so because film and television have a much larger market than comic books. If someone is exposed to an adaptation of a comic, it may urge them to check out the original series, and they may be shocked to find that the comic version is substantially different from the version in the film, TV show, and or game. To prevent this, comics books adapt to other media, in ways that may help or hurt them.

For instance, Samuel L. Jackson’s Nick Fury debuted in the Marvel Cinematic Universe during the end-credits scene of Iron Man in 2008 and became an essential character in the first Avengers movie in 2012. Before the films, Jackson’s likeness was used for the Ultimate Universe version of Nick Fury, so while Jackson may not have resembled the Main Universe version of Nick Fury, there were few people displeased with the actor taking up the role.

In 2012, Marvel Comics decided that having the Ultimate Universe counterpart of Nick Fury resembling Jackson was not enough, and the six-part series Battle Scars introduced Nick Fury’s son, Sgt. Marcus Johnson. This son of Nick Fury is African American, and during the series loses an eye and has his real name revealed to be Nick Fury Jr. The series concludes with the original Nick Fury retiring and his son joining S.H.I.E.L.D, leaving the Marvel Universe with a Nick Fury that closely resembles Fury from the MCU. The character rarely ever uses his suffix, leaving most new readers unaware of the existence of the previous version of Nick Fury. Deciding retirement wasn’t enough to keep the prior Nick Fury out of the way, the character was given the role of “The Unseen,” and now resides on the moon after the events of Jason Aaron’s Original Sin.

While the work put in to alter Nick Fury may be convoluted, other media has resulted in positive changes in comics before, such as Batman: The Animated Series’ retcon of Clayface’s origin. Previously, there were five villains with malleable clay bodies who had taken up the mantle of Clayface, and it was difficult to keep track. The Animated Series chose to make it so that Basil Karlo was the first and only Clayface. When DC Comics went through a reboot, they followed in the Animated Series‘ footsteps. A few of the other versions of Clayface later returned, such as Lady Clay, but using Basil Karlo as the main Clayface has made following the Batman mythos much more accessible for new fans.

In January of 2013, The Amazing Spider-Man comic series was ended in favor of a new The Superior Spider-Man series. This new series told the tale of Otto Octavius, Doctor Octopus, stealing the body of young Peter Parker and trying to be a better Spider-Man than Parker ever was. This fun and quirky series was unlike anything in comics at the time and received fan acclaim. However, in 2014, the series was ended, and The Amazing Spider-Man series was revived so that the new issue one would line up with the release of The Amazing Spider-Man 2 movie. In favor of the sales boost associated with the release of a movie regarded by fans and critics alike as awful, Marvel Comics ended one of the best Spider-Man series fans had seen in a long time.

A change in comic books that causes much debate among fans occurred after the release of James Gunn’s Guardians of the Galaxy movie in 2014. The movie brought in a relatively obscure group of characters for their very own blockbuster and the risk in doing so paid off immensely. The movie grossed more than $600 million and received praise from critics and fans alike. Where the debate lies in fans of the comics is the way that Star-Lord’s character was altered in the movie and in the comics following. Before the character appeared on-screen, he had a pessimistic view from many years of combat, and while he was sarcastic, he was not the jovial goofball that Chris Pratt portrayed in the film. The comics soon changed to fit the personality shown in the movie, but many fans prefer this new Star-Lord. A good laugh is something many readers need, so the new Star-Lord was a breath of fresh air. Some fans still prefer the old version, making people unsure whether this is a good or bad instance of movies changing the comics.

Recently, DC Comics has announced a new limited series titled Harley Quinn and the Birds of Prey, mimicking the lineup of the new movie, Birds of Prey and the Fantabulous Emancipation of One Harley Quinn. The pairing is in no means outlandish for current continuity, but only time will tell if we can thank the movie for bringing the villain/anti-hero and the group of heroines together or if we will rue the day that the two ever became associated with each other.

Comics are a media that is very near and dear to our hearts, but there is no doubt that movies, games, and television shows are more popular. Due to this, it is only natural that companies attempt to make the comic books similar to other media. We can get angry over change, or we can try to embrace it and see the good in each alteration. While it is difficult to see the positives in some of the changes described above, the most we can do is voice our displeasure and see if the next issue improves.

Do you think comics should be adapting to fit their movie adaptations? Let me know in the comments below!

Monkeys Fighting Robots Youtube