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Dark Horse To Publish New Edition of Bendis and Oeming’s TAKIO: THE COMPLETE COLLECTION

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

Monkeys Fighting Robots is pleased to announce that Dark Horse Comics will be publishing a new edition of Brian Michael Bendis and Michael Avon Oeming’s TAKIO: THE COMPLETE COLLECTION.

About TAKIO:
Taki and Olivia are sisters in an adoptive family–and they’re driving each other crazy! Every day, their overprotective mother makes them walk to school together, eat lunch together and play together–they can’t get away from each other!

But when a secret experiment goes catastrophically wrong, the squabbling siblings suddenly find that they have superpowers. They’re the first actual superheroes in the entire world–and it is awesome!

But are the girls ready to face the daunting challenges posed by their amazing new abilities? And is the rest of the world ready for real-life superheroes?

Takio: The Complete Collection is perfect for fans of Spider-Man: Into the Spider-
Verse, Invincible Iron Man: Ironheart, and Young Avengers.

The series is published under Bendis’ JINXWORLD imprint, home to award-winning titles like Powers, Pearl, Jinx, Torso, and more. TAKIO: THE COMPLETE COLLECTION will include both the original graphic novel and the four-issue sequel miniseries.

Takio is a true family affair and a labor of complete love made with the same energy and spirit of Miles Morales and Riri Wiliams,” said Bendis. “I know that fans of those characters will be delighted with this entre into a fun new superhero family. Wait till you meet the super sisters of Takio!”

Oeming continued, “Inspired by Brian’s daughter Olivia and my wife Taki, TakiO is one of our favorite creations because it literally came from our family!”

Get a look at TAKIO: THE COMPLETE COLLECTION here:

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

takio complete collection brian michael bendis michael avon oeming dark horse comics exclusive

TAKIO: THE COMPLETE COLLECTION will be released in comic shops on February 14th, 2024, and in book stores a day earlier on February 13th. It’s currently available for pre-order.


Are you excited to pick up the new edition of Bendis and Oeming’s TAKIO? Sound off in the comments!

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Review: Thrills and Chills In CHERUBIM #1

90s comics are mostly remembered for their excess. It was a time of rippling muscles, overblown angst, and purple prose. It was the perfect era for the gothic melodrama of heroes like Ghost Rider or Spawn. Put a man in a war between Heaven and Hell, and of course he’ll speak every line with solemn self-importance. 90s creators were great at selling a kind of teenage malaise, gesturing towards the forces that run the universe in frustration and confusion. What does life really mean? Why are we here? And why do the forces that be keep telling me what to do? It’s that spookier, religious-themed brand of super-heroics which writer/colorist/letterer Brian Level and artist Matt Sparks pays homage to in Cherubim #1. Expect lots of monologues, graveyards and stained glass.

About Cherubim #1:

Cherubim #1 is split into two smaller stories, both established as taking place in a world nearing the Biblical end of days. The first, “Open Graves,” focuses on a villain named the Corpse-taker. He wastes no time living up to his name, paying some flunkies to help him in a little grave-robbing. But the mysterious Cherubim isn’t about to let him desecrate the dead. The second story, “Demon’s Nest,” involves a winged foe named Cardinal who’s cornered some children in a church with the help of some strange avian demons.

Writing

There’s a lot going on in the world of Cherubim. A biblical apocalypse, ancient cults, legions of demons trying to pick off the living… But aside from a single introductory paragraph,  Level and Sparks immediately throw readers into the deep end. The face behind Cherubim’s golden helmet isn’t even shown outside an exclusive trading card readers can procure. It’s a book that prefers to jump immediately into superhero action, letting readers piece together the lore on their own.

And make no mistakes: this is a superhero comic through-and-through. Much more a tribute to the mainstream spooky superheroes such as Night Force or 90’s Ghost Rider than the gore-soaked comics underground like Faust. Thing a dark and moody PG-13 with colorful weekly villains. It’s fun above all else, which is a pretty damn good reason for a comic to exist.

Though the issue’s multi-story action-first approach does come with a few sacrifices — the biggest being that the two tales on offer are both billed as “part 1.” So instead of one complete story, you get two half-stories. Both do a good job of showing off the main hero in action, but end rather abruptly with the promise of more. And the dynamic in play with Cherubim himself, a former photographer named Craig Angelo who communicates with the voice of God through his helmet, doesn’t get much focus. Certainly Cherubim’s voice changes based on who’s speaking through the mask, bouncing between sounding like a gruff average joe and talking in flowery biblical prose. It’s how Craig feels about having a holy voice inside his head that’s only hinted at. An average man joining a holy order and dealing with the literal voice of God in his head is a great setup for friction and drama, so I couldn’t help wanting a bit more. But still, this is only the first issue. A better feel for how the book will handle these characters should come with time.

Art

Matt Sparks handles art duties on the issue, and the immediate standout is the character designs. Again, there’s that strong superhero influence — colorful, theatrical designs that show what a character is about at a glance. From Cherubim’s golden armor dotted with false eyes and a stern glower, to the Cardinal’s steel talons and feathered hair. They also look damn cool, to boot.

But for all the comic’s 90s influences, the paneling is decidedly more old-school. Expect lots of rectangles arranged on a grid, with some splash pages and breakaways to keep things feeling exciting. The action is also handled with a methodical step-by-step approach emphasizing clarity. Dedicated closeups show the impact of each punch or kick, attention always given to when a character readies a weapon or prepares a trap.

Coloring

Brain Level approaches Cherubim’s coloring with lots of flat, bright colors. This might be a world teetering towards the apocalypse, but that doesn’t mean there’s no room for dominant reds, blues, and greens. Red is the color most associated with Cherubim himself, his incense burner often drenching the panel in it, while the supernatural foes and even Cherubim’s magic are associated with an unearthly neon green. It’s that classic use of heroic primary colors vs more unsettling, villainous secondary colors — which isn’t necessarily a hard and fast rule. You can’t have a villain named Cardinal without a whole lot of red. But it’s yet another connective tissue to superhero comics of old that keeps up the clear, brash storytelling.

Lettering

The lettering keeps the superhero theme going, done in rounded all-caps with a heavy use of bold to emphasize certain words. But the Voice of God gets its own style, speaking in a bright red serif font. It gives the voice a feeling of authority and tradition. Which goes even further with the occasional quoted bible verses, the only parts of the comic proper which eschew the all-caps comic stylings.

VERDICT

Cherubim #1 is a promising start to an ongoing series of spooky derring-do. There’s certainly some room for the comic to find its footing, but the simple thrills it offers can’t be denied. I’m looking forward to seeing where the comic goes next, and it’s definitely worth picking up. It can be found on Matthew Spark’s Gumroad page.

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Project 365: One Comic Every Day, Week 24 — On The Planet Of The Apes

A box of comics

The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I am committing myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favorite hobby again.

“We were children in Eden. Too young to know how every paradise story ends.” – from Planet of the Apes #10 by Daryl Gregory and Carlos Magno

I think that the phrase “this week is going to be a little bit different” is becoming something of a mantra and “different” is quickly turning into the “norm.” However, I’m going to lump all of this week’s comics into one big pile of Planet of the Apes goodness. I started the week reading the first issue of Daryl Gregory’s 2011 run on BOOM! Studios’ Planet of the Apes thinking I’d read the first arc and use that as Comic Number 161. By the end of Monday I had read 15 issues, leaving only 1 of the monthly issues left and the 4 specials.

If you were to check my tiny bio on this website you’ll see that there are two franchises that I clearly love: Doctor Who and Planet of the Apes. I rarely talk about Doctor Who because I’m mainly a fan of the television show and haven’t found the same love for the extended universe of books, comics, etc. With Planet of the Apes, it’s completely different. I love the comics and the books (the ones that I have), I love the films and the television show (both live action and cartoon). Hanging with Doctor Z is one of my favorite YouTube channels.

Planet of the Apes issues 1 to 4
Credit: BOOM! Studies

There is something endearing about the extended franchise; 99% of the people involved with the tie-ins are clearly massive fans of the original movies. The themes and ideas introduced in the original movie, which to a large extent are taken from Pierre Boulle’s novel, strike a chord with storytellers and fans the world over. In the book Comics on the Planet of the Apes, Joseph F. Berenato writes “Planet of the Apes has long been successful not just because it’s a planet full of talking apes, but also because of the social commentary that has been weaved throughout the franchise.” Every piece of media that pops up relating to Planet of the Apes has, at its heart, something to say about the society in which it has been produced. And this is especially true of the comics. Each era of the comic draws inspiration from the cultural world around it and reflects that inspiration within the narratives and characters. To look at the first Marvel Apes comics is to see a world of mind bending experimentation and the dangers of segregation and bigotry. The violence and high tech gadgetry of the 1990’s comic industry is represented in the Malibu Apes comics which are presented in a less polished but creatively freer, indie style of product. And the BOOM! Studios comics explore relationships and the nature of good and evil, with a heavy focus on politics and conspiracy.

Daryl Gregory begins his run with The Long War, a story set in the shared Ape and Human city of Mak. It is set in 2680 A.D. — over a thousand years before Charlton Heston will arrive on the planet with his 1960s cynicism, and 600 years after Roddy McDowall threw a gorilla out of a tree. It starts strong and violent with the assassination of the Lawgiver by a ninja clad human wielding an assault weapon. This act is the first stone of an avalanche that will ultimately destroy the city and tear the central characters apart.

Planet of the Apes issues 5 to 8
Credit: BOOM! Studies

Gregory uses two adoptive sisters as the central characters, one human and the other ape. This allows him to continually show both sides of the story, meaning it is never a simple story of Ape Evil, Human Good, or vice versa. The reader has sympathies for both sides and more often than not, you find yourself wanting them to reconcile their differences instead of massacring each other.

The artwork on the initial 16 issues is by Carlos Magno, who captures the design of the original movies, but makes it very much his own. The characters are full of life, and the individualism is impressive. Every human and every ape is different in look, in stance, and in action. Magno populates his complex world with equally complex characters, and it is a pure joy to read. Each page is exquisitely detailed and no part of the city is left unexplored.

Planet of the Apes issues 9 to 12
Credit: BOOM! Studies

Between them, Gregory and Magno create a world that is believable and fits perfectly into the Apes franchise. It is difficult to pick out a favorite part of the narrative or a single character from the 16 issue run because it’s all so damn good. The leads Alaya (ape) and Sully (human) are the most explored characters, but the albino gorilla general Nix is a superb character with a long development arc. He’s unforgettable like the human Wyn, “the name and the game.” Wyn is adorable at first, a sneaky thief, but he bears witness to some atrocities that affect him mentally and then physically. He is literally scared by the war that transpires.

After the four-arc main series, Gregory finishes his story off in a collection of specials, each drawn by a different artist. I personally don’t think that the art reaches the same heady heights as Magno, but the conclusion is more than satisfactory and continues to match the themes and story beats of the Apes franchise. Destruction and hope are the uncomfortable bedfellows of 21st century Ape stories.

Planet of the Apes issues 13 to 16
Credit: BOOM! Studies

While Gregory and Magno are weaving their tale on the Planet of the Apes, BOOM! Studios started releasing another series in the franchise. Starting as a four-part miniseries, Corinna Bechko and Gabriel Hardman’s Betrayal on the Planet of the Apes is actually the start of another 20-issue story that starts 20 years before the setting of the first movie and rolls right up to the bitter end. Again, the characters are what makes the series although, due to the time period this is set, it is the conflict between the different ape factions that provides the drama. Humans play a part, but it is the apes who wield all the narrative power.

Bechko creates some very interesting and complex characters who don’t fall into the usual stereotypes of the ape casting. The central Gorilla, Aleron, is more than a military leader and turns out to be a humanist in a society tearing itself apart with hatred and racism. However, one of the strongest elements of this run is the way that Bechko incorporates characters and aspects of the original movie. Elements of the world glimpsed in the movie, or suspiciously not seen in the case of the Moon, are explored and the characteristics of the central cast are developed. By the end, characters like Zaius are perfectly rounded with histories that explain their behavior in the movie.

Betrayal on the Apes issues 1 to 4
Credit: BOOM! Studies

It must be said that Hardman’s artwork in the first two story arcs is outstanding. He has a strong, distinctive style that highlights characters in a panel while creating fascinating backgrounds that are more emotional than descriptive. The visuals are impactful, which owes a lot to Jordie Bellaire’s color work. Bellaire is one of the best in the business and it shows in these comics. The coloring stresses narrative points, but it also matches with the characters on the page. In later issues, as the conversation jumps from a group of chimpanzees to a group of orangutans, the color washes on the page switches from the green of the chimps’ tunics to the orange of the orangutans. Subtle plays on the page make massive differences to the reading experience. It helps to clarify characters while setting the mood and tone for the narrative.

This attention to detail and high quality work illustrates the love that creators have for this franchise. A number of movie/tv tie-ins are by the book creations, lacking in conviction and mere reflections of their moving image counterparts. In many ways, the Ape comic series are equal, if not superior, to the original movies because the creators treat the franchise with respect and admiration. It’s like highly polished fan fiction.

Exile of the Planet of the Apes issues 1 to 4
Credit: BOOM! Studies

Betrayal (4 issues), Exile (4 issues), and finally Cataclysm (12 issues) is another superb run of comics that easily appeals to both fans and non fans of the series. Arguably there is more for fans of the franchise in this run than in Daryl Gregory’s run but there is nothing that would alienate readers. I love both series equally, and enjoy them each time I re-read them.

All in all, that’s 40 comics I’ve read this week. I’ll let you pick and choose which ones should be placed in the slots for this week’s comics numbered 161 to 167, as I have an urge to go and watch the Planet of the Apes T.V. series.

The Planet of the Apes Specials from BOOM! Studies

Come back again next week for PROJECT 365, Week 25!

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Marvel Comics Exclusive Preview: MILES MORALES: SPIDER-MAN #7

marvel comics exclusive preview miles morales spider-man

MILES MORALES: SPIDER-MAN #7 hits your local comic book store on June 21st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
“CARNAGE REIGNS” – Part SIX!

CLETUS KASADY’s unleashed maximum carnage upon NYC with the awesome power of his new Extrembiote, and the only one left to stand in his way is MILES MORALES, who may have stumbled upon Cletus’ one weakness – which means Cletus will stop at nothing to put Miles down for good. To have a chance at stopping him, Miles will need help from the most unexpected allies…Cletus got an upgrade – why can’t Miles?!

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 Dike Ruan and Alejandro Sánchez.

Miles Morales is currently co-starring in Spider-Man: Across the Spider-Verse, which is receiving acclaim from critics and fans alike.

Check out the MILES MORALES: SPIDER-MAN #7 preview below:

marvel comics exclusive preview miles morales spider-man

marvel comics exclusive preview miles morales spider-man

marvel comics exclusive preview miles morales spider-man

marvel comics exclusive preview miles morales spider-man

marvel comics exclusive preview miles morales spider-man

marvel comics exclusive preview miles morales spider-man


Are you reading MILES MORALES: SPIDER-MAN? Have you seen ACROSS THE SPIDER-VERSE yet? Sound off in the comments!

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AfterShock Comics Exclusive Preview: THE 06 PROTOCOL #3

aftershock comics exclusive preview 06 protocol

THE 06 PROTOCOL #3 hits your local comic book store June 28th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
Cat, Missy and the rest of our heroes travel from rural Missouri to Washington D.C in search of answers and a fabled antidote while being hunted down by Manjeet Nath and his army of Correctors.

The series is by writer Lee Turner and artist Cliff Richards, with colors by Lorenzo Scaramella, and letters by Cardinal Rae. The main cover is by Andy Clarke and Jose Villarrubia.

Check out our THE 06 PROTOCOL #3 preview below:

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol

aftershock comics exclusive preview 06 protocol


Are you reading THE 06 PROTOCOL? Sound off in the comments!

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Review: GREEN LANTERN #2 – How Does Hal Jordan Fit In Today?

GREEN LANTERN #2 hits your local comic book shop today from DC Comics. This book is worth the price of admission but I start to question how a Hal Jordan personality fits in with modern society. The world has changed, and it will be interesting to see how the Green Lantern reacts. Enjoy my full review below.

NICE GUYS FINISH FIRST is written by Jeremy Adams, with art by Xermanico, and color work by Romulo Fajardo Jr.. RISE OF THE REVENANT QUEEN, PART TWO is written by Phillip Kennedy Johnson, with art by Montos, and Adriano Lucas drops the color. you will read Dave Sharpe’s letter work throughout the entire issue.

About the issue:
Hal Jordan’s homecoming is off to a rocky start! Carol Ferris is this close to firing him from the job he’s only just begged his way into, his power ring isn’t exactly working right, and off in the shadows, Sinestro, the architect of Hal’s current crisis, is waiting for the perfect moment to strike.

Plus, the hard-hitting “John Stewart: War Journal” backup series from writer Phillip Kennedy Johnson and artist Montos heats up as the Guardian John Stewart and his team, the Watchtower, fall under siege from a mysterious new threat!

Read the first five pages below.

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Project 365: One Comic Every Day, Week 23

A box of comics

The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I am committing myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favorite hobby again.

My reading this week took a turn to the macabre because of my first read, Coffin Bound (volume 2). I’ve had the book sitting in my reading pile since last November, but always seemed to find other things to read and haven’t got around to picking it up until this week.

Now, that’s a part of this hobby I find fascinating. Almost everybody I know who buys, collects, and/or reads comics has a pile of stuff that they have bought but not gotten around to reading. Titles capture our interest and we have to have them but we don’t read them the minute we get them home. I could understand the attitude with novels, because they take more of a commitment to read, but most single issue comics can be read (at least initially) in 30 minutes at most. And yet our “read piles” keep growing.

Personally, I do this because I am not always in the right mood to read something in particular, but I also know what kind of comics I do like to read. For example, the first volume of Dan Watters and Dani’s Coffin Bound was outstanding. I loved the art and the deeply philosophical story, so I knew I had to get the second volume when I saw it, especially as it was at a convention where Dan Watters was signing. However, if I had not bought it at that moment, I would probably never have got around to buying it. My list of wants far outstrips my finances. So my comic buying becomes a kind of happenstance and those that I buy then have to wait patiently until I am in the right mood to read them.

Coffin Bound Vol 2
Credit: Image Comics

Comic Number 155: Coffin Bound volume 2 (Chapters 1 and 2)

If you haven’t read Coffin Bound, I highly recommend it. It’s extremely entertaining, has a surreal sense of humor, and waxes lyrical with the script and the art. This second volume revolves around Taga’s search for the Vulture, a mythical creature whose existence would also prove the existence of God, thus making it impossible for the state to pass legislation banning religion. Taga can hear the voice of God when she injects herself with a drug (named God) and she believes that the only way to draw the Vulture out is to put out an open contract on her own life.

It is a crazy ride, but Watters’ script is outstanding at holding all of the ludicrous ideas together in such a way that it all makes perfect sense. The characters are believable and likable, and the narrative is packed with humor and musings on the grander things in life. Watters plays with high concepts and forces the reader to look at them in a different light by presenting them in a new way: God as a literal drug allows the writer to explore the idea of religion, addiction, and how faith relates to both.

The artwork throughout this series is mind blowing. Dani switches the line work between precise cartooning and abstract shapes, and this creates a world of complexity, reflective of the script. The characters are instantly recognizable on the page which is a great achievement considering some of the outlandish turns the artwork takes.

Coffin Bound is a brilliant example of a creative team pooling their best work to create something that is far greater than the sum of its parts. The comic would not work without the atmospheric, moody colors by Brad Simpson, or the character-driven lettering of Aditya Bidikar. Even the design work by Emma Price helps to make this comic the superb read that it is. I think I would need many more hours and thousands of more words to really talk about Coffin Bound.

Daytripper #1 -3
Credit: DC Vertigo

Comic Number 156 – 158: Daytripper #1 -10

Daytripper in another outstanding comic, this one published by DC’s Vertigo imprint in 2010. The creators, Gabriel Bá and Fábio Moon produced a series that played with a notion that is intrinsically comic book: the recurring death of the same character. Each issue of the series focuses on a different period of Bras’ life and the final page of each issue contains a short obituary explaining how he died in that particular period. The next issue then picks up at a different point in his life, with Bras alive and well, even though this chapter might be in the past or the future. Bá and Moon kill off their central character in every issue.

But despite the fact that the comic is about death, about that final moment when Bras ceased to be, the series is actually a celebration of life. The death’s become metaphors of the evolution of Bras and the life he leads. At each age depicted in the comic, Bras reaches a turning point, an experience that deeply affects him and, in essence, a part of him dies but his life continues.

Although I have read all ten issues, I have picked three out worth mentioning separately.

Daytripper #4-7
Credit: DC Vertigo

Issue 3 sees Bras breaking up with his longtime partner at the age of 28. The relationship had become stagnant because of the normality of life and Bras dwells on the final argument that they had. The artwork throughout this issue captures that feeling of loss perfectly. There are panels that have an emptiness to them, even though characters and props are present. Dave Stewart’s coloring helps to create this effect, with Bras physically and emotionally separated from the world around him. And the change of atmosphere towards the end of the comic is subtle and delicate. The issue takes the reader through the emotional journey of a breakup, and just like life, out the other side in such a way that you barely notice the change.

Issue 4 is, at this point in the series, the most upsetting. By this issue you understand the pattern the narrative takes and the inevitable death that Bras will face at the end of the comic, so the cover depicting Bras as a child immediately grabs you. Chapter 5 is about an eleven year old Bras, his family weekends away at his grandparents, and his first kiss. It is a heartwarming story told with such joy and excitement. The artwork captures the childlike excitement for the world and elevates everything to the sphere of adventure. Memories of your own childhood will come flooding back as you identify with the essence of the age, if not the actual events.

Of course, we all know where this is ultimately going but the ending is still shocking. It’s a punch in the stomach and a knife right through the heart. Fábio Moon and Gabriel Bá seem intent on breaking their readers’ hearts, and this issue is almost the pinnacle of that goal.

Daytripper #8-10
Credit: DC Vertigo

Issue 8 is a little different to the others because it features Bras’ family and he is off panel for the entire issue. The narrative here is about how interconnected people’s lives become and, ultimately, about those we leave behind. If you thought issue 4 was a heart-breaker you’ll not be ready for this one. The absence of the central character is ever present and the emotional connection that the writer and artist create between his family and the reader is overpowering as a result. There is a moment in this comic that is actually a visual representation of my worst nightmare, as a parent. The Young Miguel stands in front of his classmates on the day his father is supposed to talk about his career and the expression on his face says it all, and is almost too much to bear.

From issue 1 to issue 10, Daytripper is a magnificent read; Powerful, emotional, and heartbreaking. But ultimately it is the story of a life worth living.

“Only when you accept that one day you’ll die can you let go and make the best out of life.”

Punisher #12
Credit: Marvel Comics

Comic Number 159: Punisher #12

Superheroes die all the time. And they always come back. One of the biggest complaints about any comic that features the death of a superhero is that no one believes the death will last. The best way to handle such stories is to openly, through the narrative, admit that the character isn’t dead, like Jonathan Hickman killing Johnny Storm in the Fantastic Four. The death was to illustrate the effect it would have on the rest of the team, not on creating a sensational headline to sucker readers. Unfortunately, I don’t think Marvel PR got that memo.

Another example is the recent “death” of the Punisher in issue 12 of Jason Aaron’s recent run. CBR ran a story with the headline “Marvel confirms ‘the Punisher is no more’” leading people to think that Marvel have killed the character. I saw a number of tweets and Facebook posts outraged at the publisher for doing away with a fan favorite. But, unlike the recent killing of Kamala Kahn, they don’t even kill Frank Castle, not even for a moment, in the comic. The CDR article even says that the character survives. Unfortunately, there are a number of people who only read headlines and then react, or more precisely, overreact, to the news.

I read Punisher number 12 to see what the fuss was all about. (Do you see? The false outrage worked.) There are some great things in this comic — for example, the change in art style between the modern day story and the flashback sequences, and the questions Aaron raises about the morality of Castle’s actions. However, there is also a lot here that a) doesn’t interest me (I always find it disappointing when the Punisher becomes a part of the superhero world but that’s personal preference), and b) is a cop out. I enjoy Aaron’s work, but under the Marvel umbrella, I think that writers can become restricted in what they can do, especially as they reach the end of their run. The characters have to return, or be able to return, to a reset point for the next creative team. This can undermine a lot of the work that the current team has put into their narrative. Personally, I think the creative team should just bail on a high and let the next lot sort it out. Jonathan Hickman’s Avengers run would have been perfect if it had ended with issue 1 of Secret Wars where he killed everything (nearly) instead of the dire 9 issue run where a series wide reset had to be worked out. Again, that’s just my personal opinion.

Anyway, I think Punisher issue 12 is probably a good ending to the series, and if you’ve been reading it, it will feel like a satisfying conclusion. But this comic is not about killing a hero, it’s about the transition from one story to another, in much the same way that the deaths of the central character in Daytripper were metaphors for the stages of his life.

Batman #686 and Detective Comics #853
Credit: DC

Comic Number 160: Batman #686 and Detective Comics #853

One way to look at the history of a character is through a final story — a last swan song before the character dies. Grant Morrison and Frank Quitely used the premise to great success on All-Star Superman and Alan Moore also had a hit on his hands with another final Superman story, Whatever Happened to the Man of Tomorrow.

In 2009 Neil Gaiman wrote a similar story for DC entitled Whatever Happened to the Caped Crusader. Illustrated by Andy Kubert, the story revolved around a wake for the Gotham vigilante that was held in the back room of a pub. Friends and foes turn up to mourn the death of Batman and take turns to tell the story of how he died. Each story is different and takes in the history of the character, illustrating the various incarnations of Batman and those he fought. Gaiman’s deft narrative layers history, myth, and comic book clichés as a way of dissecting the character and his history in pop culture. The wild shifts between the art and narrative styles are reflected in the different stories the various characters tell. This is most prominent in the Catwoman tale as she alters appearance from panel to panel, showcasing her wide ranging history.

There is, obviously, something else going on behind the scenes and the big reveal isn’t as corny as it could have been. Although, in the hands of a writer like Neil Gaiman, even the most clichéd narrative can seem like poetry. As a stand-alone Batman story, Whatever Happened to the Caped Crusader is a joyful exploration of the character and evolution of stories, especially through comic books. The finality of death once again acts as a catalyst for the examination of life.

The Sandman Special #1
Credit: DC Vertigo

Comic Number 161: The Sandman Special #1: Orpheus

I don’t have much to say about this comic, at the moment. It is one of my favorite comics of all time, written by one of my favorite writers. The blending of mythology with modern comics lore is expertly handled and the artwork by Bryan Talbot and Mark Buckingham is majestic.

The overwhelming theme of death that has featured in my reads this week is exemplified in Orpheus. Death, the rejection of that death, and the fight to overcome and reverse death, leans heavily into the main themes of ancient myths and the greater story in Gaiman’s Sandman comic. One fate that we all share is that we will one day die. How we deal with that, and how we live our lives, will ultimately shape our history. Orpheus stands out from many of the characters featured in this week’s reading because he cannot accept the death of his wife and, in the end, suffers eternally by losing the ability to die himself. Whereas previous comics have been about the life lived before death, This Sandman Special is about the life wasted fighting against the inevitable.

It is a beautiful story, brilliantly crafted, and stands as a reminder to embrace life and suffer things that we can’t change.

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Review: KLIK KLIK BOOM #1 Is A Bright Spot In The Darkness

Review: KLIK KLIK BOOM #1 Is A Bright Spot In The Darkness

KLIK KLIK BOOM #1 hits your local comic book store on June 14 from Image Comics. The first issue has me excited for the five-issue miniseries; exceptional art and color work cemented the bold and fun concept. Check out my full review below.

KLIK KLIK BOOM #1 is written by Doug Wagner, with art by Doug Dabbs, Matt Wilson drops the colors, and you will read Ed Dukeshire’s letter work.

About the series:
In Klik Klik Boom, readers meet Sprout, a mute assassin who communicates exclusively through Polaroid pictures. After being raised by her doomsday-prepping grandfather in the rolling hills of Idaho, Sprout has grown up with little exposure to other people, TV, or seen clothes outside of Army fatigues. Now she’s headed to the big lights of New York City to avenge her grandfather’s murder, but will the city’s mesmerizing glitz and glam help her succeed—or be the death of her?

Enjoy a four-page preview.

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Marvel Comics Exclusive Preview: SPIDER-GWEN SHADOW CLONES #4

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

SPIDER-GWEN: SHADOW CLONES #4 hits your local comic book store on June 14th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
THE END OF GWEN?

Spider-Gwen is imprisoned, and the only hope she has is relying on her very own clones! But is it too late? As Lyla gears up to act out her final revenge against Gwen. One that will affect the entire multiverse!

The issue is by writer Emily Kim and artist Kei Zama, with inks by Oren Junior, colors by Tríona Farrell, and letters by Ariana Maher. The main cover is by David Nakayama.

Spider-Gwen is currently featuring in Spider-Man: Across the Spider-Verse, in theaters now.

Check out the SPIDER-GWEN: SHADOW CLONES #4 preview below:

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse

marvel comics exclusive preview spider-gwen shadows clones spider-man spider-verse


Are you reading SPIDER-GWEN: SHADOW CLONES? Sound off in the comments!

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Review: GOSPEL – For the Love of Stories

Created by the omni-talented Will Morris and published by Image Comics, Gospel is a stunning achievement of sequential storytelling. This six-issue mini-series is the perfect blend of historical fiction and fantasy, making for a read that is just as enlightening as it is entertaining. With sharp, clever writing and staggeringly brilliant artwork, Gospel is undoubtedly one of the best comics of the last several years.

“When opportunity refuses to knock for restless hero Matilde the devil comes knocking instead. Thrust into action by the hellish arrival Matilde and storyteller Pitt will quest for renown the soul of their community and answers to the toughest question of all: “Who am I?”

Writing & Plot

Will Morris succeeds in making Gospel such a well-crafted, enjoyable story by taking a simple yet strong thematic core and wrapping it up in true religious history and a bit of clever fantasy. Matilde is a local hero looking for fame as the “Hero of Rumpstead.” She has to build her reputation on whatever small deeds she can accomplish in her tiny home village, and then have them embellished with the help of her friend & local bard, Pitt. Her job – and life in general, however – have just been made more complicated by the splitting of the Roman Catholic Church and the Church of England. On top of this, the Devil himself has apparently come to Rumpstead, bringing explosions and tidings of doom. Everything Matilde and Pitt grew up with has come into question, and so this quest serves as a simple solution – and a distraction from – an increasingly complex problem. Complete with assassins, gentle giants, helpful ghosts, and extraordinarily long-lived bards, this story is a treasure trove of storytelling genius. The splitting of the Catholic church makes for a great plot device and historical backdrop to the core narrative. That same narrative is charged by thematic depth, complex character relationships, and constant internal and external challenges for the cast. Every story beat comes naturally, and the personal developments for each character are satisfying to watch. Even with the time period and sense of fantasy, Matilde, Pitt, and others feel like real people. The twist at the end of the comic isn’t wholly unsurprising – but its ramifications for Matilde are still heartbreaking. Morris mixes a sort of romanticized “olde English” with modern dialogue styles to create something that feels naturalistic and right for the story’s tone. From a writing perspective, Gospel is an absolute triumph.

Art Direction

As incredible as his plotting and writing are, Will Morris’s art in Gospel is somehow just as impressive. His thick penciling captures the unique designs and expressions of his cast of characters, as well as his sharp eye for historical detail. Everything from clothing and accessories to architecture shows a dedication to at least *some* level of historical accuracy – the kind I imagine involved a fair amount of looking at books on medieval fashion & housing. Morris’s sequential direction is equally impressive, with more conventional panel structure sometimes falling away to borderless, free-flowing events. His sense of visual pacing is excellent, as the whole story flows naturally with effortless form. His color art is stunning as well. Every panel shines with the gradients of natural light at different times of day or night. Each page is a vast array of color with shifting tones thanks to Morris’s staggering work with shadows and directional lighting, making for some of the most finely-tuned color art in a comic in recent memory. From the visual storytelling angle, Gospel is an incredible achievement.

Verdict

Will Morris’s Gospel is a phenomenal work of fantastical historical fiction. Every aspect of his writing, from his use of a major historical event as a backdrop to his thematic character work and Miyazaki-like sense of fantasy, adds up to a brilliant cohesive whole. His incredible visual style and flawless sequential direction goes on to make this mini-series one of the best comics of the last few years. Be sure to grab Gospel in its entirety when the collected trade paperback hits shelves on June 21st!

 

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