Superman: Up in the Sky #1 is the first part of a six issue miniseries, which was originally printed in the Superman Giant series hidden somewhere in your local Walmart.
** Spoilers Below **
Story
Aliens have kidnapped a young Earth girl from Metropolis, taking her off-planet. Superman goes in pursuit of them, but with each stop along the path, the mystery of who the aliens are deepens, and the Man of Steel is faced with a new task. Is he getting closer to rescuing the girl, or further away? And who is protecting Metropolis in his absence? This galaxy-spanning question poses a moral dilemma for Superman: How much is one life worth compared to the millions back on his adopted planet? How far will he go, what foes will he face, to find that answer?
In Superman: Up in the Sky #1, Tom King has gone for a ‘back to basics’ formula to telling this Man of Steel story. Readers are given a strong emphasis and why Superman is the hero we know and love. His supporting players, including Perry White, Pa Kent, and Lois Lane are also put in the spotlight to give a clear idea as to who these characters are, for any new readers.
King is known for his emotionally complex take on established characters. Sometimes they are revered (see: Vision), while others are met with division (see: Heroes in Crisis). Here we see an obsessive Superman, one who must be able to save anyone and everyone. He refuses to accept that he cannot help people individually, whilst also being the savior the entire planet needs him to be. It’s very reminiscent of Batman, who will stop at nothing until the mystery is solved. King leans heavily into the investigative journalist that Supes is supposed to be, but rarely seen.
Art
Penciller Andy Kubert brings his visceral and bold style to Superman: Up in the Sky. Much like his work in The Dark Knight III: The Master Race, there are some images of Superman in this book covered in shadow, and with heavy, vivid creasing. When he draws closeups of his characters, Kubert is a master of facial expressions, particularly that of rage. There is also some beautiful imagery of Superman saving the day time and time again. That’s not to say the artwork is flawless. Some character proportions and facial expressions are a bit uneven.
Conclusion
Tom King and Andy Kubert present a great jumping on point for new readers, as well as an interesting angle on Superman’s unquenchable need to save the day for established fans.
What did you think of Superman: Up in the Sky #1? Let us know in the comments!
Space Bandits #1 from Mark Millar and artist Matteo Scalera is equal parts space western and prison drama, all brought vibrantly to life with an over-the-top eighties’ aesthetic.
This first issue sets our scene: two bandits, each notorious throughout the galaxy. The tables turn on them, though, when they’re betrayed and abandoned to their fates. Now, they have to find a way to break out of a penal colony in space to seek revenge on their former allies.
The Writing
The story’s core is a revenge narrative involving a cast of compelling characters focused around Thena Khole and Cody Blue. Space Bandits #1 reads like a prologue to a much larger story. It establishes our protagonists, and lays out clear motivations for their characters. Not only that, it presents an impressive scale for the characters’ inventive world.
To that point, the real strength in this first issue is the stellar worldbuilding. It’s a solid balance of serious and zany elements that pay homage to classic tropes, presenting with great creative vision. Like, we’re talking space cruisers with ten-story Lionel Richie figureheads and mining colonies set up on giant floating space-god lobsters kind of stuff here. It’s presented with a straight face and commitment to the bit, though, echoing the works of Terry Pratchett or Douglas Adams in that regard.
Millar lays out the narrative well in Space Bandits #1. There’s sparse narration or direction, yet the reader never feels lost as we move from one alien setting to the next.
The characterization is another strong point in the book. Although as mentioned, it embraces plenty of age-old tropes, it pays homage to the cliches, rather than leaning on them. The characters manage to feel fresh in context. There’s a level of dimension to them, elevating them above generic stock archetypes. It’s excellent writing all around.
The Artwork
Scalera’s visuals in Space Bandits #1 strike a delicate balance between refined and cartoonishly animated. Everything has a great sense of vivacity with dynamic images that flow well and match the story beat-for-beat.
The illustrations are detailed and well-composed. We’re not looking simply at a sequence of images that follow the story; rather, Scalera manages to make the visuals leap off the page. It’s vibrant, expressive, and eye-pleasing from beginning to end.
Marcelo Maiolo’s colors play a major role in bringing the art to life as well. He employs an incredibly rich palette that is equal parts space disco and gallery-worthy artpiece. The colors work in perfect tandem with Scalera’s illustratzions to produce a visually-striking final product.
Final Thoughts
Space Bandits #1 follows hot on the heels of Millar’s Sharkey the Bounty Hunter, presenting a similar yet distinct space western vision. Highly recommended.
Spencer & Locke 2 #4 is out this week, concluding the thrilling Action Lab: Danger Zone series, and hoo boy do things sure happen.
Locke and Spence make one last effort to end Roach Riley’s reign of terror, and things will never be the same. The series is written by David Pepose, with art by Jorge Santiago, Jr., colors by Jasen Smith, and letters by Colin Bell.
First off, huge congrats to the entire creative team for pulling off such an exciting and jaw-dropping sequel series. Spencer & Locke 2 is the Dark Knight, the Empire Strikes Back, or the Toy Story 2 of comic books, whichever you prefer. It took everything that was great about the first volume and somehow made it even better. The stakes were higher, the characters became fuller and more real (even the seven-foot tall talking panther), and the payoff hits harder. Sequels aren’t easy to pull off, but these guys made it look easy.
The art team pulls out all the stops with issue four. Santiago’s depiction of Roach Riley in this conclusion is downright terrifying. It’s like the villain has transformed over the course of the series and he’s finally reached his final demonic form. There are several panels that will send a chill down your spine. And on top of giving you nightmares, Santiago also delivers the kinds of emotion you would expect from a finale. It’s so hard to talk about without spoiling anything (and trust us, you do not want this issue spoiled), but between Santiago’s pencils and Smith’s intense, explosive colors, you’re going to feel a lot of things deep in your gut while reading this comic.
Pepose knows how to pace a series like a pro. I’ve read six-issue series where I felt like the writer didn’t have enough time to tell their story effectively. Pepose, meanwhile, managed to tell a fulfilling story in just four issues. All the characters managed to have a satisfying arc, plot threads got tied up in ways that did not feel rushed, and the story actually has an end instead of leaving you wanting more (well, it does leave you wanting more, but in a good way, not in a “shit, THAT’S how they ended the story??” way).
While the story itself is enthralling, the strength of Spencer & Locke is always its characters. As mentioned, everyone from Locke to Melinda to Roach to Hero feels fully realized in this issue. They all have an arc, and they all feel real. Pepose and Santiago have made readers care about these people; they’ve made us fear for their safety and their sanity. Yes, even Roach. As villainous as he may be, Roach has proven himself to be a sympathetic and complex antagonist, which is all you can ask for in a story. You can’t help but feel bad for him.
This is a series about trauma; it always has been. It’s about how we learn to accept and live with our scars. That’s not an easy thing to do, and Spencer & Locke doesn’t pretend like it is. This finale doesn’t tie everything up with a pretty bow and say “There you are! Everyone’s cured of their problems and living happily ever after!” No; it’s too honest a series to do that. It takes a real approach to the topic, and that kind of honesty is much appreciated. Reading this series may hurt your heart at times, but no more so than real life might. A series that evokes true emotions like this is truly something special.
Spencer & Locke shows us the best and the worst of humanity. It explores our weaknesses and our vulnerabilities. It makes us feel. This volume concludes with fiery intensity that you won’t want to miss.
What did you think of the Spencer & Locke 2 finale? Let us know in the comments!
Robert Kirkman shocked the comics world yesterday by announcing The Walking Dead would end with this week’s issue #193, something he’s well within his rights to do as series creator.
The announcement came with no warning. Kirkman and his company Skybound went so far as to solicit future issues prior this week’s finale in order to throw fans off the scent.
Earlier today, we published an article describing the conclusion of The Walking Dead as a “missed opportunity.” This article was obviously an opinion piece, with the author feeling that Kirkman should have passed the series on to new creators instead of ending it completely: “This is a chance for Kirkman to give back to the community that supported him when he had nothing, but instead, he’s going out on his ‘own terms.'”
The article argued that Kirkman holds a great power, and with that great power, there must also come great responsibility.
But, is that Kirkman’s responsibility? Obviously, as series creator/writer, Kirkman can end the series whenever he wants. No one is arguing that. But on a moral level, would the “right thing to do” have been to pass the torch to a new writer?
I don’t think so. Would it have been a cool thing to do? Maybe. But Kirkman wasn’t under any moral obligation to do so. The Walking Dead is his baby. Is it wrong for him to want to end the story on his own terms?
Kirkman supports the comics community in many other ways. He runs Skybound Entertainment, which puts out a ton of indie comics. He’s an Image Comics partner, and Chief Operating Officer of the company. The man has helped countless up-and-coming writers and artists get their work out into the world. He gave them a voice, and off the strength of their own work, instead of letting them piggyback off of his own successful title.
And hey, who’s to say that this is the absolute end of The Walking Dead comic? How do we know that Kirkman, Skybound, and Image aren’t planning on putting out a Tales of The Walking Dead anthology series next year, penned by some of the hottest young writers and artists? If it happens, that would be awesome, but if it doesn’t, that’s fine too.
The comics industry needs a constant influx of new, young voices. Robert Kirkman has helped keep that influx coming in for many years already; no one can take that away from him.
“I got to tell my story exactly how I wanted to, for 193 issues, and end it on my terms, with no interference at all along the way… at any point. That’s such a rare thing, and it doesn’t exist without the unyielding support this series got from readers like you. Thank you so much.”
His statement is nice from a creator’s point of view, but Kirkman isn’t a struggling writer trying to fund his first Kickstarter. He’s a significant player in the comic book industry and more so, Hollywood. The end of his run on THE WALKING DEAD is the perfect opportunity to pass the torch to the next generation of writers, artists, inkers, colorists, and letterers. THE WALKING DEAD is a part of pop culture, and now we have multiple spinoffs of television series but not the comic book. This is a chance for Kirkman to give back to the community that supported him when he had nothing, but instead, he’s going out on his “own terms.”
The only reason he’s going out on his “own terms” is that someone didn’t offer him enough money. Yet, this shouldn’t be about the money for Kirkman. As an elder statesman of the comic book industry, it should be about what is best for the community that has supported him. Passing the torch to the next generation creators has the potential for great ideas which immensely outweighs the possibility of negative outcomes. Kirkman doesn’t owe anyone anything, but it’s the right thing to do.
Just image if George Lucas kept Star Wars to himself. There would be no Grand Admiral Thrawn or Dave Filoni. Letting other people play with your toys doesn’t diminish the product, it provides the opportunity to look at the world through a new lens with endless possibilities in storytelling.
What are your thoughts on the cancelation of THE WALKING DEAD? Comment below.
Ms. Marvel Annual #1 features one of the “Acts of Evil” match-ups, where Ms. Marvel clashes with the Super-Skrull in a story that doesn’t feature the suspense you’d hope for.
Ms. Marvel gets dragged into a fight with the Super-Skrull.
Ms. Marvel Annual #1
Writer: Magdelene Visaggio
Artist: Jon Lam
Color Artist: Msassyk
Letterer: VC’s Joe Caramagna
STORY:
As part of Marvel’s “Acts of Evil” event, Kamala Khan faced off with the Super-Skrull in Ms. Marvel Annual #1. Visaggio quickly recaps the history of the Skrulls and Emperor Kl’rt, which is a helpful refresher because this famous alien race has been around for several decades. The premise of the issue is fairly simple: “Captain Miracle,” who others jokingly call Scott Kree (a nod to DC’s Mister Miracle) offers Kl’rt the chance to avenge Throneworld by attacking Earth and, by using a powerful device, remaking it as a new world for the Skrulls. In the span of roughly three pages, Visaggio efficiently sets up the villain’s motivations for his actions.
Emperor Kl’rt is hungry for revenge.
To tie it all together, Miracle tells Kl’rt that the device requires the powers of a shapeshifter; rather than sacrificing another Skrull, he points Kl’rt toward Ms. Marvel. For a one-off issue like this, the basic foundation of the plot is forgivable; the success of these stories ultimately depends on the interactions of the characters because they’re the real appeal.
Bruno doesn’t appreciate Captain Hero’s humor.
A mysterious, punny caped crimefighter named Captain Hero swoops in and defeats the Constrictor. Rather quickly, the reader learns that Hero is actually Kl’rt in disguise The Super-Skrull may have Kamala (mostly) fooled but his odd vocabulary acts as a constant reminder that Captain Hero isn’t as virtuous as he tries to seem. The best Skrull stories, like Secret Invasion, play off of the mystery that it’s impossible to tell who’s a human and who’s not. There’s no uncertainty for the reader here, which makes the plot comparatively uninteresting.
Though the main narrative thread pits Kamala against Kl’rt in a traditional alien invader story, Visaggio crafts a more compelling conflict beneath the surface. Kamala takes issue with Captain Hero because he uses increasingly violent methods to fight crime. Ms. Marvel, having been trained by some of the Marvel Universe’s finest heroes, feels that it’s her responsibility to correct the new hero’s methods. “You got some old-fashioned ideas about heroism, Captain,” Ms. Marvel says. “That’s not how we do things. Not anymore.” Here, the conflict devolves into a physical fight. But, with more development, exploring this clash of ideologies could have been a stronger heart of the issue.
Ms. Marvel doesn’t approve of Captain Hero’s methods.
Right after this fight begins, Captain Hero shows his true face. Kl’rt’s lines are a stream of cliches about the destruction of his home planet, his goal to remake Throneworld and doom Earth in the process. But the contrast between the Super-Skrull and Ms. Marvel, who wasn’t remotely involved in the actions Kl’rt hopes to avenge, is compelling. She’s innocent but Kl’rt blames her, and all mankind, for the downfall of his people. Despite this lack of involvement, Kamala still tries to help Kl’rt move away from the pain of his past and toward a brighter future. Kamala doesn’t solve the problem in the most original way but it’s better than punching it into submission.
ART
Lam’s art consistently looks like what you’d expect to find in manga. As with other annuals, Lam’s style is a change of pace from the series’ usual art, which, in addition to the isolated story, gives the book an Elseworlds-like feel. A few tie-ins to the current Marvel Universe (a throwaway line about the Fantastic Four and Bruno’s presence) somewhat contextualize the story but, by and large, Ms. Marvel Annual #1 is markedly detached from the rest of the series.
This panel shows the manga-like style more than any other page.
The most striking art in the issue comes when Captain Hero actively maintains his disguise from Ms. Marvel. Just before the two meet on rooftop, the Captain transforms into Kl’rt ad evilly monologues to himself. He stares off at the city and Ms. Marvel sneaks up on him. In just one panel, Kl’rt transforms back into his human form. The jarring visual shift, unlike most of the story, is a welcome tribute to the aforementioned Skrull stories of the past. More moments like these could have elevated the suspense and intrigue in the issue.
Ms. Marvel is so close to learning Captain Hero’s secret identity.
Ms. Marvel Annual #1 is a fairly unremarkable tale of a young hero doing her best to help a new adversary. While completely borrowing from the formula of previous Skrull stories like Secret Invasion and Meet The Skrulls may have made this adventure feel like a cookie-cutter remake, Visaggio excessively distances herself from these predecessors. She adds some promising new wrinkles, like Kamala’s efforts to reframe Kl’rt’s mindset. But many fans will likely leave this issue wanting more of the mystery that usually accompanies the Skrulls.
What did you think of Ms. Marvel Annual #1? Did you want to see more of a mystery?
It has been over a year but finally Top Cow are returning to Eden with Postal: Deliverance. Byran Hill and Matt Hawkins return to the series to revisit the characters they created in 2015. Picking up after the events of the two PostalSpecials from 2018, the Shiffron family have moved on, taking new roles in and out of the town of Eden. However, trouble is never too far away and both Mark and Laura seem to attract it like moths to a flame.
Postal Deliverance #1 Credit: Top Cow
The opening of Postal Deliverance introduces a new character to the readers. Eric Cayman enters the Edenverse in a hail of bullets and surrounded by tragedy. Bryan Hill uses the introduction to set the tone of this first issue and to remind the reader about the complexities of the characters. One of the strongest elements if Postal was the contrasting natures of the characters; neither good nor evil.
Cayman is the epitome of this concept. His first appearance is violent and desperate but contains elements of a normal life. As the story unfolds the reader gets to see Cayman in number of different lights. Good guy or bad? The jury is still out.
The story then shifts physically and tonally thanks to the Raffaele Ienco’s coloring. The coldness created by the dark blues in the opening are replaced by the bright sun light of Florida. The retired Mayor of Eden, Laura Shiffron, is bored living her new life. This is made clear instantly by the bleached colors and framing of Laura and Magnum on the page. In each panel there is something separating them, a visual divider reflecting Laura’s mood.
Elsewhere Mark and Maggie appear contented in their new roles in Eden. They have as close to a normal family life as possible juxtaposing the earlier scenes with Cayman’s family. The normality of the setting helps the reader to focus on the conversation which portrays the characteristics of Mark and Maggie. Long-time readers can see how they have changed from the last series while new readers get to know the central cast.
Postal Deliverance #1 Credit: Top Cow
One of the criticisms aimed at the original series of Postal was that the art was inconsistent. The same cannot be said for Ienco’s work. He has a highly detailed style which is suited to this type of storytelling. With thin line work and tight compositions, Ienco packs a lot of information into a panel while at the same time creating a sense of drama.
He also uses the progression of panels to simulate a camera movement on a number of pages. The reader gets the impression that the camera is slowly tracking from a close up to a wide shot, emphasising the moment and slowing the passage of time. In other scenes, there a number of close ups like quick snapshots which increase the pacing without losing focus.
Between them Hill and Ienco have produced a comic of conflicts; physical conflicts between characters, emotional conflicts, and storytelling conflicts. The narrative is captivating and tense, even in the more sedate scenes and the art work adds a level of realism.
Postal Deliverance #1 Credit: Top Cow
Postal Deliverance is a welcome return to the Edenverse with familiar characters and intriguing new personalities delivering a thrilling come back. Postal was populated by morally ambiguous characters and situations and this new series is already following suit.
If you enjoyed the original run there is no reason you shouldn’t pick this up. It contains everything that the original did but presented in a more confident manner. The creators know this time they have a comic that can work, so they come out swinging.
Postal Deliverance is for anyone who enjoys thrillers or smart action movies. It gets the adrenaline pumping and the mind working overtime. A clever use of coloring sets up tonal shifts and the structure of the narrative provides a great set up for the series.
Witches, cults and assassinations, what more could you ask for? Descendent #3 has them all, and more besides. AfterShock Comics’ commitment to great storytelling means that there is already a high expectation when picking up one of their publications, luckily Descendent delivers on all fronts.
The mystery at the heart of the first two issues is starting to unravel and in issue three a number of the pieces fall into place. Stephanie Phillips pushes the plot forward significantly in this issue while beginning to tie all of the different threads together. The conspiracy that was the background for the first two issues, driving the characters in their decisions, has become the central force of the narrative.
Descendent #3 Credit: AfterShock Comics
The opening sequence in this issue acts as another part of the conspiracy but also explains some of the mysterious elements from previous issues. Phillips is allowing the story to grow naturally and reveal hidden secrets in a timely manner. There is enough mystery to keep the reader interested but not too much that the reader gives up due to lack of understanding. The secrets are there to move the story forward and give the characters a common foundation to work on. How they react to the conspiracy or their involvement in it determines their actions.
Phillips has given the reader a character to lead them through the twisting story, Agent Hernandez. She is like Scully from the X-Files, she is outside the weirdness and is pragmatic in her actions; she has a job to do. However, she is also becoming involved in the greater picture despite herself, just like the reader. Phillips makes her the steady rock at the centre of a spiralling world of uncertainty, the best place to witness the actions of all the other characters.
Descendent #3 Credit: AfterShock Comics
The links to real events and people is an interesting and risky decision. Phillips weaves the reality with the fiction brilliantly so that you can’t see the seams. As noted in previous reviews, the name dropping in the narrative has a knock on effect that it encourages the audience to venture beyond the comic and research these people themselves. Be prepared to get lost in an internet hole dedicated to the Salem Witch Trials.
The art work is rooted in a realism that sets the scene and gives the narrative credibility. The majority of this issue is set in two locations, neither of which are particularly interesting in themselves. However, Evgeniy Bornyakov gives each locale its own character and by doing so contrasts the two timeframes. This helps to highlight the link between the Witch Trials and the modern day conspiracy.
Bornyakov has mastered the art of character acting in comics. The emotional responses, especially in the facial work, is amazing. Bornyakov focuses on small moments and employs the use of close ups to elaborate a character trait or emotion. His clean, steady line work allows him to build layers into the panels, distinguishing the backgrounds from the foreground. Then a subtle change in these layers focuses the reader subconsciously onto a particular moment or action, emphasising the relevance of the action.
Descendent #3 Credit: AfterShock Comics
The color work by Lauren Affe helps to create the layers that Bornyakov uses to tell the story. The coloring is naturalistic however the contrast between the characters and the scenery produces that layering effect. Affe works with mostly light and dark contrasts so that the characters are wearing clothing that stands out against the background. In Salem the characters wear dark clothes in a white, puritanical church whereas the modern day setting has mainly white clothing for a grey, office environment.
In a comic like Descendent where there is a need for a lot of exposition, it is pleasing to see that the letterer varies the text and speech balloons. Troy Peteri changes the font size to give certain moments added impact. See, for example, when the witch first enters the church in the opening sequence. He also includes bolded text, and in some cases bolded speech balloons, in order to add a changing rhythm to the speech. The reader can almost hear the pitch changes in the character’s voices as they speak.
Descendentstarted off as intriguing; another drop in a river of conspiracy stories. However, the complex story, engaging characters and ties to real world events and people, have turned it from run of the mill to a must read. With the plot expanding and the threads linking up, issue 3 is the best so far. Phillips draws you into the comic and then the artists trap you there; once you’re passed the first page you won’t be able to put this down.
We are officially halfway through 2019, and the Monkeys Fighting Robots’ team has compiled their picks for best comic of the year (so far)!
Our writers have put together a list that runs the gamut, from gritty, street-level stories to grand cosmic epics, and everything in between. And, of course, “best” is a completely subjective term and this list represents our personal opinions. There are countless comics that have come out this year that deserve a place on this list.
Read on for our selections, and then tweet at us and let us know yours!
SPIDER-MAN: LIFE STORY #1
Spider-Man Life Story: #1 by Chip Zdarsky and Mark Bagley is one of those comics that makes you ask, “why isn’t everyone else doing this?” The premise is fairly simple: after his debut in the ‘60s, Spidey ages in real time. Zdarsky strongly incorporates real-world events and this blend of the Marvel Universe with our reality is particularly captivating in the first issue. Peter Parker grapples with the responsibilities that come with being a superhero in war time. The subsequent issues are excellent, too, but seeing Peter have an emotional discussion with Captain America, who’s about to join the fight in Vietnam, can’t be topped.
The way the first issue is written, you would almost expect Scott Snyder to retire from comics after the series ends, because the book feels unleashed as the writer pours his heart out on to every page. Then you have Greg Capullo, giggling with excitement as he gets to draw one of the most epic Batman stories ever, and then begging Synder to go bigger. Did we mention Batman is carrying around Joker’s head? The book is insane, and there are only a few first issues that come out swinging as hard as Last Knight On Earth. Snyder and Capullo have put together a blockbuster comic, the likes we haven’t seen years.
For the uninitiated, Middlewest from writer Skottie Young (I Hate Fairyland, Giant-Size Little Marvel) and artist Jorge Corona (Canto, No. 1 With a Bullet) follows “Abel, a teen who must make his way through an ancient, unforgiving landscape and face the sorcery lying beneath the scorched farmlands to unearth his family history.” From its opening pages, Middlewest grasps you with its bewitching artwork and haunting script. After the magnificent first issue, Abel and his loyal (albeit sardonic) Fox are on the run from his monstrous father.
In Middlewest #4, Abel and Fox make their way to a traveling carnival to find the mysterious Magdalina, a magical healer who just might be able to quell the storm within him. The fourth issue also introduces new characters Bobby, a skeptical carnival-worker, and Wrench, her mechanical assistant. Young’s world of Middlewest is opened up a little more in this issue, revealing more of its magic and secrets. Corona’s artwork is particularly stunning in this issue, bringing his unique style and detail to the amusement park backdrop. And the art is elevated to another level with Jean-Francois Beaulieu’s vivid color palette. In short, Middlewest #4 is a stunning example of story and artwork in comics, and is but a part of one of the most beautiful, powerful, and epic series on shelves today.
Hal Jordan, arguably the most popular Green Lantern, is known for his unbreakable willpower. But few storytellers have chosen to unpack his relationship with the thing that gives it life: the power ring. The dynamic duo Grant Morrison and Liam Sharp craft a beautiful tale of Hal’s relationship with the source that gives him his abilities. We learn this energy, the very essence of willpower itself, is his ultimate love. And the lengths he’s willing to go to protect it is nothing short of extraordinary. Seeing this unstoppable love, hope, and optimism play out in the story reminds us why Hal is such an inspiring character.
When Criminal was announced as becoming a monthly ongoing series I immediately knew it would be a must buy. A guaranteed visit to the interconnected underworld created by Ed Brubaker, Sean Phillips and Jacob Phillips? Book me and charge me, cause I’m in! And as amazing as the first issue was, it’s issue #2, the first part of the ‘Bad Weeknd’ arc, that has so far not only been the title’s best issue, it’s also one of the best single issues of 2019. Criminal #2 thrusts readers into a crime story that intersects with the world of comics and is the perfect example of why Ed Brubaker, Sean Phillips and Jacob Phillips are one of the premier sequential art teams in the history of the medium. It’s relentless in its narrative, inventive with plot, and filled with morally ambiguous characters that still manage to make you feel, care and root for them; and it’s all wrapped in gorgeously illustrated and colored pages from cover to cover. It’s also a HIGHLY accessible issue (despite heavy easter eggs and call backs for longtime fans) and a great way for new readers to check out the title out.
AfterShock Comics are gaining a reputation for producing genre challenging comics and this year there have published some outstanding work. Stronghold #1 by Phil Hester and Ryan Kelly is a genre busting take on a Superhero origin story. Fuelled by the modern obsession with voyeurism, Stronghold bonds the familiar superhero story with a cultish, disturbing conspiracy. On top of this the creators push the boundaries of comic book storytelling, employing techniques unique to this medium. If you want a new, modern take on the superhero genre, you need look no further than the exceptional Stronghold issue 1.
After his parents’ deaths, Bruce Wayne donned the cape and cowl and became Batman to fight crime. Everyone knows that much. A question many writers have struggled to answer, though, is why. What possessed him to be the Batman, and what still motivates his mission? In Detective Comics #999, writer Peter J. Tomasi and artist Doug Mahnke present the most compelling and personal, yet succinct exploration I’ve yet seen of what lies at the core of Batman’s motivation. It’s simple, but profound in that very simplicity. Batman pays the price to wear the cowl because he knows it is less than the price he would pay otherwise. This book was a fitting prelude to the landmark issue #1000. It sums up in very plain terms what makes Batman a compelling character, even 80 years after his debut.
Going to the Chapel #1 hits stores September 4th from Action Lab: Danger Zone, but we got the chance to chat with writer David Pepose about how the series came together and what readers should expect.
Chapel has one of the best pitches you’ll see in comics today: it’s Die Hard meets Wedding Crashers by way of Quentin Tarantino. Pepose himself says it’s “if Julia Roberts starred in Dog Day Afternoon.” It’s about a gang of Elvis-themed bank robbers who decide to rob a wedding, and the bride who has to play both sides against the middle to get everyone out in one piece.
Joining Pepose on the series is artist Gavin Guidry, colorist Liz Kramer, and letterer Ariana Maher.
Cover by Gavin Guidry.
This is actually our third time interviewing Pepose (and it probably won’t be our last!). Previously, we’ve had the opportunity to discuss his Ringo-nominated series Spencer & Locke with him and artist Jorge Santiago, Jr., and more recently we spoke at MegaCon in Orlando about Chapel, Spencer & Locke, and the writer’s tips for aspiring comic creators.
Read on to see what Pepose has to say about Going to the Chapel:
(And make sure to read all the way to the end for an extended preview of the first issue!)
Monkeys Fighting Robots: So how does your girlfriend feel about you writing a comic with the tagline “love is the ultimate hostage situation?” I hope your couch is comfortable.
David Pepose: Did my mother put you up to this question? Blink once if yes, blink twice if the word “grandchildren” was used. (Laughs) No, I actually wrote GOING TO THE CHAPEL because I wanted to make a comic that delved into romance and heart and action and excitement — after being inspired after completely failing as Best Man at a friend’s wedding, I actually wrote this book with my girlfriend Claire in mind, to try to make something that could be considered the perfect “date night” comic for the two of us (and hopefully the rest of the Direct Market as well).
Our provocative tagline is just a teaser — but at the end of the day, GOING TO THE CHAPEL is a love story, through and through. But it’s one that doesn’t see romance as an endgame or as a prize, but as an ongoing journey filled with all sorts of twists and turns — and while Emily has more bumps in the road than most on her way there, when she does reach her final destination, it’s all the more satisfying because it’s so hard-won. So to take the long way back to your original question: Yes. I promise I’m safe. For now. At least until the next time I see my mom.
MFR: “Bank robbers invade a wedding” sounds like a great story in itself, but Going to the Chapel has a lot of other stuff going on as well involving family dysfunction. Why did you feel like this was an important element to include?
Pepose: I think group dysfunction is a key element of a lot of my favorite hostage thrillers — you look at Dog Day Afternoon, for example, and the line between Al Pacino and the bank employees he’s holding at gunpoint starts to blur very quickly, to the point where they’re all rooting for him as he’s shouting “Attica!” at the police. So with GOING TO THE CHAPEL, when Emily’s wedding is suddenly taken over by a gang of Elvis-themed bank robbers, I wanted to lean into the inherent absurdity of it all, rather than lean quite as dark as I did with SPENCER & LOCKE.
It’s that element of interpersonal comedy that is a straight throughline from Die Hard to Inside Man — when you’re trapped with a crowd for an extended period of time in an uncomfortable space, people start to get really weird, really fast. So establishing Emily’s bizarre, rich family in the vein of the Bluths from Arrested Development felt like a natural way to build out our supporting cast and get readers laughing. Like, when it comes to dysfunctional families, we’ve all been there, right? The Andersons are used to having things their way, so to have their cluelessness throw the Bad Elvis Gang’s smash-and-grab into such disarray is so fun to write.
Cover by Lisa Sterle.
MFR: Where did the idea come from to make the bank robbers in this story Elvis-themed specifically?
Pepose: The inspiration for that came from Point Break — I really wanted to give the bank robbers a theme like the Dead Presidents, and after talking it over with my friend Troy Brownfield, the idea of the Bad Elvis Gang felt like the perfect imagery. It really just evoked those dysfunctional quickie weddings in Las Vegas, and finding ways to differentiate the Elvises — particularly Romero, our zombie Elvis — really leaned into my comedic sensibilities. But moreover, Elvis was a heartthrob from the jump, and having that quality in this romance-driven action story felt like the right call, especially once we see how Emily and Tom’s unorthodox team-up plays out.
MFR: Going to the Chapel is about Emily Anderson, a bride with cold feet. How do you approach writing a female protagonist compared to a male one? Do you confer with the women in your life to make sure your character’s voice is authentic?
Pepose: This actually goes back to your first question — my girlfriend Claire is actually a magazine editor, and a voracious prose reader, and she’s been my first set of eyes and my storytelling compass since before SPENCER & LOCKE. So everything you like about my books and my writing, I learned from Claire, since I started writing scripts as a way of impressing her. (See, I’m a romantic at heart!) The thing is, I’m a huge comics reader, and Claire is not — which is a great way for me to make sure that my storytelling is accessible and is tapping into human, relatable themes, rather than falling into the trap of pouring on more spectacle at the cost of readership.
It’s also one of the reasons I wanted to make sure we had as many women on the creative team as possible, with colorist Liz Kramer, letterer Ariana Maher, and our murderer’s row of cover artists — I wanted to make sure that at every stage of the process, someone could ping me if I was missing the point. (And I will say, I have to give a special shout-out to my friend Sierra Kagen Zanghi, who gave me some great advice at the jump that really helped inform how we wanted to promote this series as far as our cover imagery was concerned.)
MFR: The comparisons to Die Hard and Tarantino flicks makes me think that the story is going to be largely confined to the chapel (outside of flashbacks). What are the benefits and drawbacks to telling a story with one main setting? I feel like that’s a prime way to build tension.
Pepose: Every time I start a new project, there’s usually a certain set of challenges I set for myself, and with GOING TO THE CHAPEL, it was not only figuring out how to juggle the largest, most diverse cast possible, but figuring out if it was possible to do it in just one location. (One of my favorite comedies, Death at a Funeral, did this nicely — it’s like GOING TO THE CHAPEL, only minus the guns and taking place at the world’s worst funeral.) And let me tell you… it was definitely a challenge! (Laughs)
There are some scripts that I write pretty loosely, like SPENCER & LOCKE 2, and others, like GRAND THEFT ASTRO, I have a pretty firm outline already in place, and CHAPEL was definitely in the latter category. I wrote and rewrote the initial treatment at least a dozen times, because when you’ve got a cast of 15 people, you need to know where they are at all times. My artist Gavin Guidry kept me honest in that regard, as he actually designed a fully rendered, three-dimensional chapel on SketchUp, which required us to really commit to all the major plot points early — but as a result, once it was locked, the scripts came together incredibly fast.
Cover by Maan House.
MFR: What kind of direction did you supply Gavin and Liz to capture the tone/atmosphere you had in mind, and how did they take Going to the Chapel from the idea you had in your head to the book readers will have in their hands?
Pepose: Gavin and I clicked pretty early on in terms of general visual influences — stuff like Reservoir Dogs, Breaking Bad, Baby Driver — but ultimately, I felt his style was going to be what sold so many of our comedic and action scenes. I wrote down some pretty detailed descriptions of each of the characters, with reference images for outfits, their personality traits, what actors they might be similar to, and he basically nailed it on the first try. Then we’d go back and forth just in terms of page layouts and composition, which was anchored by the digital chapel Gavin built — Gavin pencils digitally and inks traditionally, so it was a very streamlined and fast process.
Liz, meanwhile, really was the person who was going to make or break selling our tone — and I think she did a magnificent job at it. I’ve been impressed with her work since I read her comic Threader at C2E2 two years back, and she’s got such a wonderfully textured style. We talked a lot about Patricia Martin’s work over in Secret Weapons, as well as Matt Wilson’s work on Black Widow, but I think Liz did a superb job at making those palettes her own. I’m usually work pretty closely with my colorists to fine-tune our pages, but with Liz, I found myself just approving page after page with no notes. She’s going to be the next Laura Martin, I know it.
MFR: You’ve tackled neo-noir in Spencer & Locke, and now you’re in the rom-com/western space with Going to the Chapel. What other worlds are you itching to explore?
Pepose: As many worlds as possible! I’m hard at work on GRAND THEFT ASTRO, my upcoming sci-fi series with artist Jordi Perez over at Top Cow — we’ve been getting everyone’s schedules together, but I’m in the final stretch on the last scripts, and I’m really excited with how it’s coming together. Beyond that, I’m wrapping up promotion on my other Action Lab series, SPENCER & LOCKE 2, which you can preorder the trade paperback collection now — we might be able to share some cool news about that series very soon.
And beyond that, I’m just excited to keep stretching my muscles as a creator, and to keep exploring new genres and seeing what kind of stuff I can dig up — I’ve got an epic fantasy story in the works that is just crackling off the page, a pair of sci-fi pitches that I’m excited to find a home for, and a scrappy little horror concept that I’m hoping to find some time to dust off soon. And I’ve got another crime story that, if I can pull it off, might be the biggest book of my career. It’s exciting just to keep taking these big swings, and I think it ties into GOING TO THE CHAPEL a lot — it took me a long time and a lot of soul-searching to figure out my path in life, but thanks to having a wonderful partner at my side showing me the way (not to mention a top-tier art team), I’m on the path where I’m supposed to be, and I couldn’t be happier.
Are you planning to pick up GOING TO THE CHAPEL? Let us know in the comments! And pre-order the book today at your local comic shop using the following Diamond codes:
GOING TO THE CHAPEL #1 (OF 4) CVR A LISA STERLE – JUL191409
GOING TO THE CHAPEL #1 (OF 4) CVR B HOUSE – JUL191410
GOING TO THE CHAPEL #1 (OF 4) CVR C GUIDRY – JUL191411
