Absolute Carnage: Symbiote Spider-Man #1 hits your local comic book store next week, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview of Peter David’sAbsolute Carnage tie-in.
Absolute Carnage: Symbiote Spider-Man #1 is written by David, with art by Francesco Mobili, colorwork by Java Tartaglia & Rain Beredo, letters by Travis Lanham, and Greg Land, Jay Leisten & Diana Albers were the cover artists.
About the issue: AN UNTOLD TALE OF A SYMBIOTIC HOST FROM YESTERYEAR…
During its first visit to New York City, the alien symbiote that would come to be known as Venom bonded to a host that wasn’t Spider-Man or Eddie Brock. Face front, True Believers, as this mysterious man meets his destiny… at the hands of CARNAGE!
Will you add Absolute Carnage: Symbiote Spider-Man #1 to your pull list? Comment below with your thoughts.
TAKE YOUR FIRST LOOK AT Absolute Carnage: Symbiote Spider-Man #1
Agents of Atlas #2 hits your local comic book store next week, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview of Greg Pak’s saga.
Marvel seems to be spinning a bunch of fun titles out of War of The Realms, and Agent’s of Atlas might easily be the best one yet. It’s a nice little corner of the MU being showcased here if you are looking for something different and fun. – Manuel Gomez
Agents of Atlas #2 is written by Pak, with art by Nico Leon & Pop Mhan, colors by Federico Blee, and Joe Sabino’s letters. Junggeun Yoon worked on the cover, with a variant cover by Sabine Rich.
About the issue: PANDEMONIUM IN PAN!
Through stunning science-magic teleportation tech, the visionary named ISAAC IKEDA has connected slices of neighborhoods from a dozen different Asian cities into the cross-Asian portal city of Pan. Is this new utopia a glorious pan-Asian multicultural dreamworld, free trade mecca, and tourism experience? Or is it a violation of hundreds of local and international laws, a magnet for monsters and maniacs, and a dangerous social experiment about to explode? AMADEUS CHO and the AGENTS OF ATLAS, as Pan’s new protectors, are about to find out! Also: Love is in the air! Which two Agents are about to melt the ice?
What did you think of the first issue of Agents of Atlas? Comment below with your thoughts.
House of X #3 may start slow as the plot builds but ends with a bang that will make you (e)Xcited for the next issue. The sixth installment of Jonathan Hickman’s grand plan for the X-world releases today at an X-Mansion near you. Plus if you need some catching up check out our reviews of Powers of X, and House of X.
The last few issues Hickman has brought mutants, obscure references, and plots from the past into play. With House of X #3, he takes a more straightforward story. It may be heavier on dialogue than the, but plot-wise it reads smoother without the feeling of needing a Ph.D. in X-men.
MINOR SPOILERS FOLLOW!
Last weeks Powers of X Moira was injected with the information on how to overcome Nimrod, House of X #3 picks up this plot with Professor X and Magneto sending a team of X-men to stop a group of scientists from making these advancements. Instead of wasting time having an exposition dump between characters, Hickman includes a graph/chart that explains how the information was received to make this possible. The graphs and charts included help expand the story and world-building greatly; while finally giving a full Krakoan translation and history on a graph.
Krakoan language and history are revealed! Feels like opening up a cereal box with a decoder ring!
With this information now in tow Professor X and Magneto task Cyclops as leader of the raiding of The Orchis Forge, which is one of the coolest looking spaceships. Before his departure, the duo gives him a quick motivational speech, which seems weird. The weirdness of the scene comes from the manner the duo speak to Cyclops and his response. The tone and wordage Professor X uses sound derogatory towards Cyclops, while his response seems like someone under mind control, or afraid of retribution if they mess up.
During this interaction of three characters, we have the only falter by artist Pepe Larraz. With this scene being the first of House of X #3 it opens on a wide rectangle panel of Cyclops standing under an arch of vegetation, while a bright illuminating light hits him from the back creating a ring of light around him; thus making him look angelic. The paneling, art structure, and lighting are magnificent for this moment, with the next being a response from Professor X and Magneto, then Cyclops responding. The problem with Cyclops’s response is Larraz reuses that amazing first panel in a cropped version.
Reusing panels is nothing new in the comic world, but when used the panel that is a copy directly follows the original, for either dramatic or comedy reasons. This case of using the same panel makes no sense here. With Cyclops responding to a question he is asked he should have moved even just a little, due to the sense of time flowing between panels. Instead, it seems he is frozen in time until his turn to respond, wherein he stands in the same spot.
House of X #3 Cover by Pepe Larraz
Besides the aforementioned art blemish, Larraz does amazing throughout House of X #3, with colorist Marte Gracia helping (e)Xcel the pencil work. House of X #3 has some of the best lighting in comics. With the first Cyclops moment being one, then this trend carries throughout as the sun near The Orchis Forge is illuminating the whole panel making the X-Men’s ship dark, or in minor cases with Sabretooth in the courtroom; which is a scene we’ll touch upon later. Gracia’s placement and willingness to play with light and shadows benefits House of X #3 greatly.
The shadows Gracia adds in a scene isn’t something common in comics, but by adding this Gracia helps Larraz’ art stand out while feeling realistic. House of X #3 follows a few different locations throughout but has two main plots going on; Cyclops and team going to space and Sabretooth in court with Emma Frost and the Cuckoos showing up. As great as the space adventure with Cyclops and team is Hickman’s writing shines through in the court scene.
Opening with a retelling of the suspect’s crime Hickman doesn’t tell us the name, just the allegations, and the Counselors fear of the suspect. On the following page, Larraz panels Sabretooth as 75 percent of the page in shackles spitting, telling you everything you need to know about his character. What makes this opening moment great is Hickman and team make Sabretooth a surprise, since it’s not stating who it is, only giving the reader hints until we see the reveal.
Variant Cover by Mike Huddleston.
Following the back and forth between the judge and Sabretooth, Emma Frost and The Cuckoos make their way in, with a bright light reflecting behind them; so bright Emma is wearing sunglasses. Through this scene, Emma makes her case and gets the raving mutant back in her care, the greatest part is Hickman showcasing how this can be done in a non-violent manner, with no mutant powers, and finally how above the law mutants may now be. All of this happens through dialogue with no action scenes happening, so Larraz plays with panels to make it less of a bore.
With how many dialogue bubbles there are it’s amazing how none of them feel too cluttered, but in a few cases the plot would’ve benefited if letter VC’s Clayton Cowles added a variety of narration boxes to help indicate who it is instead of sticking to a generic white box. There are a few moments of high tension or drama that would’ve also been improved upon if the lettering helped show the weight of the scene.
The House of X Continues (Conclusion)
Hickman and team continue to create the new epic for Marvel’s Mutant Universe. Making the plot and character grand in scale while still being fun and moving in the right direction. The writing is greatly complimented by Larraz’ fantastic art, and Gracia’s magnificent coloring and lighting. Being the middle part of a massive storyline House of X #3 could easily have been a speed bump, but instead, it adds so much to the plot, making the week-long wait even longer.
Variant Cover by Jeff Dekal.
Memorable Quote: “Normally, I’d dominate that little mind of yours and make you stick that gun where your last boyfriend left you….” -Emma Frost
Can you say, I’m in love? Seriously, it’s always nice when writers remind us how cold and badass Emma can be!
Dear Fellow Mutants (Our Readers)
What did you think of House of X #3? While we’re on the subject of mutants, what power would you want? And who is your favorite mutant!? They don’t have to be in this book either!
I was always a fan of Iceman’s powers, and I live in Alaska, so I’d pick that power set. For my favorite mutant. Doop, hands down! Don’t judge me!
Ever since embarking on his journey through the magical realms, Timothy has held his mother and father at the forefront of his mind. Guaranteeing their safety has been his number one priority. Unfortunately, his efforts failed to protect his mother from being kidnapped by the Cult of the Cold Flame, a nefarious group hell-bent on harming Tim through any means necessary. Now she’s returned, but is all well in the Hunter household?
Story
Kat Howard begins BOOKS OF MAGIC #11 with Tim in a rare state of elation: his mother has finally returned, restoring the once broken Hunter family unit. The abrupt shift is almost unsettling, as he’s spent months agonizing over his missing parent. And sure enough, the happiness peters out almost as quickly as it came. Hearkening back to her original disappearance, the young wizard recalls feeling as if either he or his father did something horrible to cause her to leave. Unfortunately, he realizes his initial guilt was justified—she reveals the Cold Flame held her prisoner for weeks, only letting her go on the condition Tim never use magic again.
For Tim, this is simply another reminder of how his status as a wizard constantly wrecks his “normal” life.
We then see flashbacks from the young wizard’s active mind as he imagined how much better life at home will be now that she’s returned. He’s imagines enjoying board games and meals together, but the reality of the situation proves to be disappointing. His parents barely talk to him and seem to infuse of depressing aura throughout the household. These painful panels offer a shockingly realistic look at the lives of children with separated or divorced parents—expecting things to go back to the way they were only to be incredibly disappointed.
A distraught Tim decides to get out of his house and clear his mind by paying a visit to Hettie, who’s been looking after the owl Yo-yo. This reunion is heart-warming; in response, Hettie reminds Tim how important is it to stay connected with the bird, alluding to the danger he is sure to face from the Cold Flame.
Artwork
Tom Fowler’s penciling, Brian Churilla’s inking, Jordan Boyd’s coloring, and Todd Klein’s lettering fantastically set the mysterious tone of BOOKS OF MAGIC #11. Illustrations of Tim’s mother show a beautiful resemble to her son, highlighting the close connection that was once strong between them. The dark colors and heavy inking throughout the rest of the panels give readers a sense of mystery, as if the Cold Flame could be hiding within every shadow. The letter boxes are placed in optimal locations to emphasize both the dialogue written and the characters’ body language.
Comic Cover
Kai Carpenter’s cover features Hettie twiddling a piece of fabric between her hands while a demonic shadow looms over her. The shadow carries an uncanny resemblance to Tim, suggesting that he may unwittingly play a roll in Hettie’s doom in the coming issues.
Conclusion
BOOKS OF MAGIC #11 takes a deep look a the toll Tim’s magic adventures have taken in his family life. It’s also a story full of reunions, though some are more happy than others.
Do you think Tim will go along with the Cold Flame’s demand to never practice magic again? Let us know in the comments below!
Working in an office is a hell that most people can relate to. The 9 to 5 hours feel like an eternity. The cubicle feels like a coffin. The boss is a micromanaging demon. That’s exactly what cartoonist Jeff Martin is poking fun at in Hell, Inc., the weekly webcomic currently fundraising its way to print via Kickstarter.
Story
Hell, Inc. is an office comedy set in Hell – think The Office meets Dante’s Inferno. It is the story of Doug, a lowly office drone desperately trying to wring any bit of happiness he can out of his soul-crushing existence.
Though Martin compares Hell, Inc.to a show like The Office, it reads much more like the Dilbert comic strip by Scott Adams. Both are satires about office politics, relationships, and overall calamity. Both comics deal with a Kafkaesque bureaucratic office, and the hapless desk jockey at the center of it all. But where Dilbert’s comedy is often highbrow, Hell, Inc. digs low to the Ninth Circle, complete with corny puns (“What the here?”) and cartoon humor.
Martin writes Doug as a wholly ordinary demon trapped in both a proverbial and literal hell of heightened situations and supporting characters. We’ve seen this kind of humor time and time before in workplace comedies (see: Superstore, Office Space). However, it’s these all too relatable jokes and situations, coupled with the overabundance of hellish puns and references, which makes the bookall the more enjoyable to digest.
Art
The artwork of Hell, Inc. has a surreal quality to it, which just adds more flavor to the elevated writing. Martin overstuffs each panel, leaving little breathing room, conveying the claustrophobic qualities of an office environment. The character work is fairly tame, albeit cartoony. It’s substances like blood, acid, fire, and ink toner that are bombastic, and bleed through from panel to panel.
Conclusion
Relatable workplace comedy humor and hellish puns makes Hell, Inc. an enjoyable read.
You can pick up a print copy of Hell, Inc. by supporting it on Kickstarter. You can also read the webcomic from the very beginning right here. Jeff Martin also has a Patreon page with early and exclusive content. And be sure to follow Martin and Heat Comics on Facebook, Twitter and Instagram for updates on Hell, Inc. and his other projects.
Is your office like Hell, Inc.? Let us know why in the comments.
The Freedom Fighters’ Black Condor goes Undercover to Save the Day
The war for Earth X has taken a surprising turn since the return of Uncle Sam. The Freedom Fighters plan to unite under him to retake America, but two people stand in their way. The first is Adolf Hitler III, the mad grandson of the original fuhrer, who seeks to torture and kill the group. The second is Overman Hank Henshaw, a cyborg replica of the Man of Iron(The Superman of this Earth).
Together, the nazi supervillains plan the ultimate trick: kidnap one of the Freedom Fighters and plant a disguised Plasstic Man in their place. During a meeting with one of the Fighters’ informants, the Nazis capture Doll Woman and send in the shape-changing metahuman in her place. Are the Freedom Fighters doomed to fail?
**Some Spoilers Below**
Story:
We open our tale over two decades in the past in the city of Detroit. We focus on an African American couple who gives birth to a boy in secret. That secret doesn’t last long as the Nazis come and steal the boy to prepare him for his work as a factory worker. We return to the present to see that the baby is Black Condor, who is going undercover to find the Plasstic Man creation formula in the city. The last time Condor was here was the day he escaped, using the wings he made, regretfully leaving his mother and father behind.
Black Condor and Doll Woman enter the camp with the mighty miniature woman keeping reconnaissance from the rooftops as Condor disguises himself as a worker. Little do the Freedom Fighters know that Plasstic Man is still in their ranks as a spy, preparing to expose the plan.
It’s honestly a pleasant surprise that we’re three-quarters of the series and it continues to excite. Seeing the origin and infiltration of Black Condor felt like a part of a war movie, with every tense moment pulling this reviewer to the edge of his seat. I was nervous when Black Condor was called out by a foreman. It isn’t that we haven’t seen scenes like this in past stories, but the setting and flashbacks make the entire issue feel tense in the best possible way.
The only downside of the issue is that they revealed Doll Woman was a Plasstic Man spy and it did nothing. I know the hope is the Freedom Fighters aren’t captured, but the last issue was spent setting this plot point up. By the end of this one, nothing comes from it. It’s a small part, but still an annoying nitpick.
Art:
The art team has been going all out with every issue so far, and this one is definitely no exception. Every time we get a panel of Black Condor flying in Detroit, the whole city feels gigantic and genuinely frightening. The enslavement of the people can be upsetting to look at, but also fits the kind of world the series is based in. The colors and inks are also well done, giving dark tones and shadows to fill the reader with hopelessness until the brightly colored Black Condor makes his move.
Conclusion:
The Freedom Fighters continues to be the surprising hit nobody saw coming. The story is able to have tension rise as one of the members goes undercover and still give us an epic sequence to cheer for the heroes. The art team continues to go above and beyond, making this one of the more darker comics on the shelves. Overall, it’s still a great comic as we enter the final act.
How do you solve the case of your own death, is the question Valiant Entertainment’s Doctor Mirage #1 out this week asks its titular character and the reader. The answer is a colorful panel-breaking mystery that’s just the first step into hell.
Doctor Mirage is a character that’s been around for more than 20 years, then was rebooted in 2013 receiving multiple limited series from 2014 until 2016; with this year marking the first ongoing in years. Luckily for the new series, you don’t need to know any of her backstories. Instead, Magdalene “Mags” Visaggio catches the reader up on all of the essentials in the first few pages.
Amazing first page. Art by Nick Robles. Colors by Jordie Bellaire
Doctor Mirage #1 starts off in the most magnificent manner as Doctor Shan Fong Mirage is falling through a blue, purple, and orange landscape filled partly by a moon, drawing the reader’s attention to the action. Continuing her fall into the next page Doctor Mirage is shown slowly descending into a vast page filled with dark blues and a hint of pink.
Artist Nick Robles keeps the focus on Doctor Mirage smack dab in the middle, with the deluded colors by Jordie Bellaire barely shining enough; as not to take away the reader’s attention. Through this opening two-page sequence, letterer Dave Sharpe displays the narration through a film clapperboard, which may not make sense now, but when we learn of her past profession it makes sense.
Doctor Mirage then goes about her day thinking to herself how she has never learned to be alone, for these panels Robles makes the room look gigantic compared to the Doctor. The difference in size emphasis Doctor Mirage’s feeling of being alone. Through her narration, we learn of a spell that she presides to try to bring back the ghosts that she used to see. With a palette of psychedelic colors, Bellaire sets the mood for the spell gone wrong while Robles shows the house’s insides unhinged. This mind-bending use of panels and perception is used throughout Doctor Mirage #1 with great success, making scenes that use magic pop out like its happening in front of you.
Fantastic first page. Art by Nick Robles. Colors by Jordie Bellaire
Yet going any further in Doctor Mirage #1’s story would spoil a great deal of what Visaggio has set up as the road map for the ongoing. What Visaggio does present in Doctor Mirage’s character is one of loneliness now that she has lost her powers of talking and seeing the dead. Through her actions and thoughts, we see how defeated she is, while Bellaire helps this mood with light purples and blues littering the walls of her house.
The Life and Death of Doctor Mirage
The reason behind the panels and pages looking this magically fantastic is due to the harmony between everyone on the team. Throughout Doctor Mirage #1 the plot, art, colors, and lettering are a sight to behold, making it seem as if this team of creators is in fact, one person. Visaggio wrote Eternity Girl for DC Comics in 2018 which also had amazing panel usage
Looking back at her history of writing comics it seems like she knows exactly what material to inspire an artist to create fantastic panels and pages that feel unique. That’s not taking credit away from Robles, Bellaire, and Sharpe’s hard work. Each panel/page could be dissected throughout this magical first issue and very well should. Doctor Mirage #1 will quickly grab any readers attention and make then impatient for the next issue.
Memorable Quote: “Or do you wanna come with me and see the parts of hell even the devil is scared to visit?” – Grace Lugo
Hell yeah, you can count me in!
The Doctor In You Dear Reader
Is this your first foray into Doctor Mirage? If so let us know what you think! Or if you have a long history with this character we’d like to know what you thought of this first issue!
An homage to the Three Musketeers,Batman: Curse of the White Knight #2, out this week from DC Comics Black Label, is an action-packed elaboration on the history of the Wayne’s.
Opening with some gorgeous panels straight from the work of Alexandre Dumas, Sean Murphy illustrates some of the amazing European architecture of the past. Murphy even uses some of the famous names from Three Musketeers for characters and places in this story.
Matt Hollingsworth always does an amazing job coloring Murphy’s art. In the panels from the past, reds dominate the pages giving the impression the only source of light back then was fire or the burning sun. Murphy makes a point to add lanterns and candles into many of the panels to keep the aura alive. As soon as the story reverts to the present the softer and cooler blues take over. Hollingsworth does a fantastic job giving each environment of the story its own atmosphere.
AndWorld Design handles the lettering and it fits extremely well with Murphy’s art. Murphy dives into his work with great detail adding so many lines in such a small space it seems like he uses pencils with microscopic tips. The lettering in this story is small when necessary but booming when the story calls for it.
WARNING: SPOILERS FOLLOW
Batman: Curse of the White Knight #2 doesn’t have a slowdown and catch your breath moment. Each page delves into important history or exposition unfolding more drama into the present day.
The story opens in the past and shows us why the sword the Joker gave to Azrael in issue #1 is significant. Edmond Wayne is freed by a murderous priest named Bakkar who believes he has been ordained by God for higher purposes. Killing in the name of freeing Edmond is fine, but taking the lord’s name in vain is not. Bakkar wields the giant sword to kill the carriage driver and later gives it to Edmond when they begin training.
Bakkar trains Edmond in sword fighting, sparring, whips, tight ropes, shooting guns, preparing him to be the first Batman. In Edmond’s journal, he outlines why Bakkar needs Edmond and why training him is so important to his goals. Familiar names like Arkham and Gotham remind the reader that this is in fact a Batman story.
Murphy has created a vulnerable Batman for his White Knight universe. This Batman doesn’t seem to have had enough prep time, and he hasn’t taken every precaution the Batman we’re used to would have taken. This version is very reminiscent of Christian Bale’s Batman, and this story combines aspects from many amazing stories into an action-packed chapter.
Batman: Curse of the White Knight #2 takes from Three Musketeers, The DaVinci Code, and even Mission Impossible. Conspiracy abound and plenty of guns to go around. Azrael has secured backing from the elites with deep pockets, and he assembles a team where each member has a specialty. The costume design is new and creative, combining Musketeers, Knights Templar, and Knightfall costumes to make quite the intimidating look.
Batman: Curse of the White Knight #2 is amazing, and another non-stop action-filled chapter in Murphy’s universe. This issue in integral and touches back to events from the first series, and not a single panel is wasted. This is an issue that is not to be missed.
What did you think of Sean Murphy’s twist on the Musketeers? Let us know how much you liked this issue in the comments.
The Year of the Villain is in full swing, and Justice League #30 kicks off the Justice Doom War. It is the culminating event to everything Scott Snyder and James Tynion IV have been writing in Justice League since the series began in May, 2018. To quote Snyder on Twitter, “if you only ever pick up one issue of our run, let it be this one.”
In short, Snyder is right.
** Some Spoilers Below **
Story
The “Justice Doom War” starts here! The Lex Luthor the League has known and fought is no more, replaced by an apex predator version of Lex, powered by Perpetua with a goal of bringing tragedy to the DC Universe. Now that Lex has powered up villains across the cosmos, he marshals his own troops, sparking a war between the Legion of Doom and the Justice League that will span space, time and the Multiverse itself. This is the start of the next big Justice League event, with consequences affecting “DC’s Year of the Villain” and beyond!
As the greatest heroes of the DC Universe assemble for an epic showdown, so does a terrific creative team. Snyder and Tynion take on co-writing responsibilities to bring this vast event to its crux. The stakes are set as the newly-expanded Justice League prepare for an imminent attack from Lex Luthor (looking like a full on Prometheus Engineer), who now possesses six of the seven hidden energies needed to bring Perpetua to full power.
Snyder’s infamous worldbuilding is on full display in Justice League #30, which is so perfectly designed for the comic book medium. It’s difficult to think about an attempt to make a movie out of this story. It’s so cosmic and grand, and precisely what makes comics great. Can you imagine the string theory board Snyder needed to put this story together?
The standout character in this issue is without a doubt Starman. Since being reintroduced way back in 2017’s Dark Nights: Metal, his strength and purpose has finally been brought to light. It was apparent he was a powerful hero, and somehow integral to this story. But, after this issue, it’s safe to say that Starman is probably the most important hero in the DC Multiverse at the moment.
The final pages of Justice League #30 are something to behold, and an outstanding setup of what’s to come. The plan to retrieve the Totality fragments in the past and future rings similar to another epic superhero team-up time heist. However, that doesn’t make it any less exhilarating and compelling.
Art
Jorge Jimenez and Alejandro Sanchez are back, and their immeasurable talent is as strong as ever! There is a moment, however brief, where the exposition starts to drag. But it’s the vast array of colors and designs as the heroes and villains of DC gather that bring those pages of Justice League #30 to life.
Another shining example of the artwork are the opposing images of Justice and Doom over a depiction of the Multiverse in its gleaming glory. The visuals this team crafts to aide in the intricate worldbuilding have been some of the artwork in comic books today. Though this one is a bit cluttered with caption boxes, the artists’ use of color and light and kinetic energy is nothing short of stunning.
Conclusion
In the 20 short pages that make up Justice League #30, you will find a continuation of impressive universe-building, stunning artwork, and an ending so mind-bogglingly exciting you’ll be counting the minutes until the next issue is released.
What did you think of Justice League #30? Let us know in the comments!
While Marvel Monsters #1, out this week from Marvel Comics is not what I expected, it is a fun and informative look into the monsters of the Marvel world.
Cullen Bunn provides the story and Scott Hepburn handles the art for the actual story portion in the issue. Israel Silva provides colors and shows off his great ability to get these larger than life creatures to pop right off the page. With so much going on at once, so much can get lost, yet we can see clearly what every monster is doing, no matter how small they are.
Travis Lanham handles the lettering in this one-shot, and with all the monster action, he had his work cut out for him. The noises and roars from the monsters don’t take away from the artwork and actually blends in and becomes part of the art.
WARNING: SPOILERS FOLLOW
Marvel Monsters #1 is a one-shot that pits Kid Kaiju and Max Frankenstein against each other in a battle for a monster anatomy book. Kei Kewade is in the Baltic Sea exploring an abandoned castle on a small island. While searching the ruins with his monster companion Scragg, they happen upon an altar surrounded by candles enshrining a book. The book appears to be about monster anatomy, and something Max Frankenstein has been using to create his evil creatures.
A Timely publication from 1939, the book shows all the different monsters and all their statistics. It shows height, weight, and the functions of each part of the monster, and is a considerable opportunity for different artists to draw pin-ups of the monster each page is detailing.
Many great artists contribute full-page pin-ups and they are stunning. Marvel Monsters #1 is an art book Marvel made to show off their more unknown offenders. Stephanie Hans, Clayton Crain, Michael Allred, Nick Bradshaw, Becky Cloonan, and Gerardo Zaffino are just over half of the artists contributing full-page pin-ups. Superlog does a fantastic job with the cross-sections breaking down their anatomy and explaining their powers, giving it an old worn look.
While Kid Kaiju can manifest monsters just by drawing them, it appears the book Kei found was research material for the Frankenstein family. Max has to create his monsters just like his namesake, so this book is paramount to his evil schemes.
Kid Kaiju is still a fairly new character. I didn’t read much of the Monsters Unleashed run about him, so I’m not aware if that series gave him an archenemy like a Joker to his Batman. Marvel Monsters #1 presents Kid Kaiju with a super-villain that could prove to be his big bad guy to contend with.
This issue provides some amazing art and a new direction for a new character. I fully expected this to be a horror centered story that perhaps led to a longer series. Although disappointed when I opened the book, I was pleased when I did a little reading. I grew up watching Godzilla so it’s nice when a story like this can be enjoyed by fans of all ages.
This is not a story full of destruction and blood. It is a story to get children interested in some aspects of Marvel they may not be familiar with. Any fans of monsters will enjoy the anatomy and full-page pin-ups, and collectors of horror and monster books won’t want to miss this.
How awesome are those monster pin-ups? Let us know how surprised you were by this issue in the comments below.
