Chip Zdarsky’s stellar DAREDEVIL run continues with issue #7. Matt Murdock, now retired, has a copycat running around to deal with.
***SPOILERS LIE AHEAD***
Matt Murdock is living the closest thing to regular life as he can. He’s focused on his day job, his friendships, and a potential librarian love interest. Detective Cole is recovering, both mentally and physically, before returning to duty. Kingpin reveals he is stepping away from his criminal empire.
In all of Marvel’s many superheroes, Daredevil might be the one that’s most entertaining away from the vigilantism. His struggles with religion, blindness, relationships, and profession are compelling more often than not.
It’s no different with Chip Zdarsky behind the wheel, he knows exactly what buttons to push in order to extract the right drama from Matt Murdock and his supporting cast. The themes in Daredevil #7 are far from new, but Zdarsky gives them a fresh spin, taking full advantage of the current landscape Hell’s Kitchen finds itself in.
Daredevil #7 is very much about transitions and development, Zdarsky is moving the pieces on the narrative board but without halting the pace. Kingpin’s announcement was every bit the shocker it needed to be, he’ll be very interesting to follow going forward–especially when Horn Head inevitably comes back.
The citizen-Daredevil subplot and Detective Cole’s role, now release from the hospital, should make for a highly entertaining conflict. Chip Zdarsky has this book loaded with threads that are all worth pulling on.
Matt coming face-to-face with the brother of Daredevil’s victim was a powerfully executed scene. The heartbeat text getting bigger and bigger as he seeks relief in the bathroom. Not having Matt’s eyes to use forces the creative team to share his emotions and distress in more creative ways.
The final page of this issue is absolutely dynamite, another brilliant use of text. Murdock can’t help but contribute in any way to protecting the city. He is now the city’s ears, reporting any crimes that come across his heightened sense of hearing. It’s a fantastic character moment to end the issue on.
Full marks to the creative team of Lalit Kumar Sharma (pencils), Jay Leisten (inks), Java Tartaglia (colors), and Clayton Cowles (letters). The only knock against the art is the piss-poor size of Hammerhead’s one recognizable feature–his head.
Daredevil continues to be one of the best books Marvel is putting out. It doesn’t rely on over-the-top superhero action or even much comedy. Zdarsky is delivering a compelling story and continuing to show that he’s a superstar talent.
Donny Cates and Geoff Shaw’s first GUARDIANS OF THE GALAXY arc comes to an end. “The Final Gauntlet” concludes with chapter six, our heroes try to stop Thanos from being reborn.
***SPOILERS LIE AHEAD***
Donny Cates has been on fire in the world of comics for the better part of two years. This Guardians Of The Galaxy run however has been one of his weaker titles so far. The biggest thing keeping this book from being great is the team dynamic. That continues here.
One of the big selling points of this series was Cosmic Ghost Rider being apart of the team, which we’re still waiting for. The lineup we’ve been given is stellar, bringing Moondragon and Phyla-Vell back was a wise decision. These two have yet to make an impact or really be given any time to shine.
This Guardians team had us all salivating when it was announced to be the next series by the hottest writer in comics. It hasn’t lived up to it’s potential yet, not by a long shot. Donny is a very talented creator, but perhaps team dynamics and not among his strengths yet.
It’s not just the hero side of the equation either. This story is loaded with classic cosmic characters across the board. These issues of Guardians Of The Galaxy have been about throwing all these fan-favorite characters together for the sake of how cool they all are rather than giving them a compelling reason for being together.
What is the point of assembling this all-star cast of cosmic players if the story is still going revolve around Star-Lord and Gamora? The premise of this tale was interesting enough but became less and less about the race to stop Thanos and more about Quill’s relationship with Gamora. The other members of this team deserve more than being props.
There are a few moments of charm, like Eros’ final words about how “frustratingly obvious” it was for him to be the vessel for Thanos’ return.
This is by no means a horrible Guardians Of The Galaxy run, we’ve seen how bad it can get plenty of times since the famous Abnett & Lanning run (Bendis run, I’m looking at you). It’s not an awful comic book it just hasn’t been able to deliver the quality content that we should expect from this team with these characters yet.
Donny Cates may not have delivered yet but that hasn’t effected Geoff Shaw one bit. Guardians Of The Galaxy #6 is another beautiful looking book. We aren’t getting a compelling reason for this team to be together but goddamn are they gorgeous to look at.
Beta Ray Bill has never looked better than this version from Geoff Shaw. The scene where the black hole cannon is fired and the station collapses on itself is stunning. Our cosmic landscape is breathtaking and fleshed out at every turn.
Colorist David Curiel gives these pages a ton of life with the blend of cosmic colors. Each and every character and setting fill your eyes with an ocean of beauty. Visually the book has hit the marks set by our expectations.
By the end of the issue, the extra members of the team disperse and we’re left with the core of Groot, Quill, Gamora, Beta Ray Bill, Phyla-Vell, and Moondragon. While not the team we were promised at the start, this is probably a good sign for what’s to come.
With a smaller roster to juggle, Cates might finally be able to dig into these characters and give them a similar treatment to that of his other comic books. Even if we’re immediately jumping into a story about Rocket rather than take a moment to explore the rest of the team, we should be heading in a better direction.
Valiant Entertainment’s new series, PSI-LORDS, is a highly-anticipated science fiction line focusing on four astronauts trapped in a cosmic prison. The story will follow the mythology brought to life in the Psi-Lords’ 1994 appearance in Rai and the Future Force #21, as well as their own series’ short run from 1994-1995.
It’s clear these humans are more than meets the eye, but what is their connection to the legendary god-like Psi-Lords? And how did they come to be imprisoned?
Story
Fred Van Lente’s story begins by introducing us to four people of diverse backgrounds: Beacon the intellectual, Artisan the maker, Hazard the rager, and Tank the solider. Each of these unique personalities comes from an astronautical background of some kind and have little to no recollection of how they were imprisoned. Fortunately (or unfortunately) for them, a mysterious man named Scion guides them by whispering telepathic messages into their minds. He reveals their only hope lies with him.
Van Lente does an incredible job of showing each character’s unique reaction to their predicaments. Aside from the natural disorientation any person would be experiencing, we see the various emotional reactions of each protagonist. Beacon’s cold aloofness, Artisan’s cool confidence, Hazard’s anger, and Tank’s rock hard determination allow for readers to easily imagine themselves as one or all of them.
We’re taken on a fast-paced prison break with the protagonists as they explore the compound they’re trapped in. We get to see each character bring a set of unique powers to life in brilliant displays, surprising them as much as us. But the real climax arrives when the newborn super beings realize where they’re being held and who’s holding them.
Art
Artist Renato Guedes is more than up to the task of combining elements of sci-fi art with those of a prison compound. His penciling adds impressive detail to the alien contraptions surrounding the prisoners’ cells that are enhanced by the dreary shades readers would expect inside a prison. In addition, letterer Dave Sharpe uses all the tools in his wheelhouse to make Scion’s voice come alive in the reader’s minds as much as the protagonists’.
The Comic Covers
Rod Reis’ main cover features a colorful depiction of each protagonist on a galactic background, giving readers an inside look at the story to come. Jonboy Meyers’ variant cover also features these characters but gives them more personality. We can clearly see each hero’s expression as they explore their newfound powers.
Alan Quah and Komikaki Studio’s variant cover follow’s suit with the previously mentioned covers, but leans more into each character’s personality by featuring them in a variety of dramatic poses. Marco Rudy’s cosmic variant cover also hones in on the group, but gives them beautiful cosmic trails of stardust as the name suggests.
Last but not least is Paulina Ganucheau’s pre-order edition cover. Instead of depicting all four of the story’s main characters, Gaunucheau focuses solely on the intriguing Hazard, which may allude to her upcoming importance in the story.
Conclusion
PSI-LORDS #1 is a thrilling sci-fi epic that is destined for greatness. Valiant’s creative team was wise to revive this important series and we can expect big things in the coming issues.
What did you think of Valiant’s decision to dive back into their Psi-Lords mythos? Let us know in the comments below!
If you liked Spider-Man: Into The Spider-Verse, you’ll probably enjoy Miles Morales: Spider-Man #7. Both stories focus on Miles Morales’ attempt to balance his personal life with his adventures as a superhero.
Like Into The Spider-Verse, Miles Morales: Spider-Man #7 focuses on the relationship between Miles an this uncle Aaron.
Miles Morales: Spider-Man #7
Writer: Saladin Ahmed
Pencils: Ron Ackins
Artists: Dexter Vines (inks and PP. 1-5,) Alitha E Martinez (PP. 6-10,) Vanesa R. Del Ray (PP. 11-16) and Javier Garrón (PP. 16-20)
Colorists: David Curriel & Erick Arciniega
Letter: VC’s Cory Petit
The success of Into The Spider-Verse makes it difficult to evaluate any story featuring Miles Morales. It’s especially easy to compare issues of Miles’ new solo series, written by Saladin Ahmed, to the fan-favorite film. After all, the first installment of Miles Morales: Spider-Man and the movie were only released four days apart. Every time Ahmed does something well, praising him for borrowing from the film is the natural response. As the series continues, the shadow of Spider-Verse will likely fade. But, for now, the work of directors Bob Persichetti, Peter Ramsey, and Rodney Rothman clearly influences Ahmed’s take on the titular character.
Miles Morales: Spider-Man #7 is no exception. From the importance of the dynamic between Miles and his uncle Aaron Davis to the focus on Miles’ relationships with his parents, this comic feels like a continuation of the film. The issue begins with a reunion between Miles and his uncle and, despite some tension caused by Aaron’s past as a criminal, the scene consistently features heartwarming moments. Using narration from Aaron’s perspective, Ahmed wisely shifts the focus away from Miles. Most readers already know how the young hero feels about his uncle. By turning the spotlight on Aaron and his internal thoughts, the reader gains a more complete understanding of the relationship.
Aaron is proud of Miles and his love for his nephew is tangible.
Every exchange between Miles and Aaron is intricately layered. For a moment, Ahmed delves into the sociopolitical issues surrounding a young multiethnic hero and a black man whose life choices had turned him into a career criminal. Though Davis has opted for the straight and narrow, he’s somewhat jaded about life in modern America. When Miles tells his uncle that Tombstone is going to prison, Aaron retorts, “Congratulations. Another black man going to prison. Must be Tuesday.” With just one line, Ahmed shifts the scene into a higher gear. Later on, Aaron narrates, “my nephew cares so much about right and wrong. He really thinks he can fix all this…garbage around us.” As with the aforementioned line, Aaron touches on a significant real-world issue. It would have been powerful to see Ahmed extensively explore the criminal justice system or the challenges faced by black men in modern America. But, with the limited space of a single issue, he didn’t have time to do so here. Still, these moments offer fertile ground for future development.
Using narration from diverse POVs, Ahmed shifts the focus away from Miles while painting a holistic picture of his life.
Ahmed doubles down on his usage of various narrators when he shifts to the perspective of Miles’ mom, Rio Morales. As a nurse, Rio understands the weight of the responsibility that comes with helping people. Subsequently, by having Rio narrate while she works, Ahmed still provides a glimpse into Miles’ subconscious. When describing her workalike, Rio says, “it’s a calling. But it’s also a job….It’ll drive you crazy if you let it.” It’s a safe bet that many superheroes feel that way, too. Hopefully, Ahmed will dive further into the similarities between Miles’ and Rio’s jobs as, respectively, Spider-Man and a nurse. If not, he succinctly compares the two heroes and their feelings about the pressures they face.
Miles Morales: Spider-Man #7 features four artists, which divides the issue into distinct parts.
Unlike other issues of this series, a committee of artists tells the visual story in the latest installment. Though it’s a standard length comic book, Miles Morales: Spider-Man #7 features four artists, who are each responsible for five pages. Whether the reader likes this style depends on their artistic preferences. On one hand, dividing the issue evenly makes each section feel like a vignette. Each illustrator’s contribution feels like an individual component with a distinct flavor.
Martinez’ excerpt looks like a standard Marvel comic, which pairs well with the story on the page; Miles and Bombshell fight a killer drone and bright colors, both on the heroes’ costumes and in the drone’s lasts, separates the scene from the other grounded parts of the issue. In Del Ray’s snippet, bright colors are fairly absent in the dreary hospital setting. Garrón, typically the primary artist for the series, illustrates the last few pages. Here, using cool colors and visual distortion effects to accentuate the sci-fi elements of the plot. A robot attacks Miles and, using a shiny aura, Garrón makes the mysterious antagonist look like Doctor Manhattan. The visual effects and the ease with which he defeats Miles, immediately establish the robot as a legitimate threat. Garrón takes a typical evil robot and turns it into an intriguing villain.
While some readers might appreciate this style, others will criticize the disjointed feel of the issue; each section is notably disparate from its predecessor. As a result, flipping through Miles Morales: Spider-Man #7 can feel like a jarring reading experience.
We love you too, Miles.
The influence of Into The Spider-Verse is undeniable in Miles Morales: Spider-Man #7. In several ways, Ahmed expands on the movie’s strengths. The latest installment of this series kicks off a new arc and Spider-Fans should be excited to see how Ahmed’s vision for the titular character continues to become clear. Where do you want to see him go with the series?
The mundane begins to mingle with the magical and leads to a tragedy in the latest issue of Faithless from BOOM! Studios. The continuing story features eroticism and horror in equal measures with strong adult content throughout.
Faithless #3 Credit: BOOM! Studios
Writing/Story
As Faith’s magical ability begins to emerge, her life starts spiral out of her control. At first in wondrous ways but there is always a price to pay.
Brian Azzarello slowly builds the pace in the latest issue of Faithless by concentrating on the ordinary things in the character’s lives. Faith and Poppy’s conversation may be about magic but the naturalistic tone in the speech gives the impression it could be about anything. Poppy getting dressed, packing her bag, showing concern for her cat; it all has a relaxed, normality about it.
This is continued through the short scenes of Aya at home, relaxing. Azzarello keeps the atmosphere light and cheeky, lulling the reader into a false sense of security. This allows the shocks and the weirdness to become more prevalent. The story packs a punch with surprises that will leave the reader stunned.
Faith’s descent becomes all-encompassing and Azzarello is able to drag the reader down with her. His constant focus on the little things, the details in the character’s lives, makes the comic more believable and, in turn, the reader can accept the character’s decisions. There is a naturalistic flow through the speech and actions making Faithless a highly emotional read.
Faithless #3 Credit: BOOM! Studios
Art
The emotional impact would not be so strong without Maria Llovet’s beautiful art work. She brings a softness to the world of Faithless that acts as a comforter for the reader. Llovet’s line work is fluid and free giving the scenery a used and loved feel. The characters inhabit the sets and the backgrounds are as much a part of the scene as the foregrounds.
The character work is equally impressive with subtle gestures humanising the complex characters within the story. There are some wonderfully choreographed scenes containing interactions between several characters. The contrast between these scenes inform the reader about conflicting personalities and the influence that one character has on another.
Llovet understands the complexities of movement and emotional reactions and she weaves this in to the fabric of Faithless. She creates scenes of shock, sadness, and eroticism, with seeming ease and takes the reader on an emotional journey.
AndWorld Design provides the link between Azzarello’s script and Llovet’s art work. The free hand lettering bridges the gap between the emotional visuals and the steady beats of the story. Elements of the story are given emphasis by the careful placement of the speech balloons. In some moments the punchline of a joke only works because of how speech is placed and presented in the panel.
Faithless #3 Credit: BOOM! Studios
Conclusion
The attention to detail and the focus on characterisation makes Faithless a spectacular read. The content is clearly adult in nature and at no point does the comic become about the nudity or sex; that is just another element of this world. In fact, the opening sequence of this issue is so naturalist, so obsessed with the everyday relationship between the Faith and Poppy, that the nudity becomes a part of the character building. These two characters have barely met yet they are comfortable with each other.
It is a testament to the story telling abilities of Azzarello, Llovet, and AndWorld Design that this comic is such a powerful, emotional roller-coaster of a ride. The reader is there with Faith through each high and low. As Faithless continues, shifting from reality to a place of magic, the reader is pulled 100% along with it having already committed, like Faith, to this emerging new world.
A spectacular read from start to finish with some of the most gorgeous art work gracing the pages of any comic being published today.
Written by Daniel Gordon with artwork by Adrian Sibar, Revenge of the Fanboys, which just began its Kickstarter for the second (of a planned) four issues, is described as “the greatest parody in comic book history!”
A definition of fanboys is, “a passionate fan of a particular product or company – whether it be comics, television, films, video games, etc. – blindly supports the every action of said product/company without question or reasoning.” While a fan will display admiration for a piece of entertainment, a fanboy is a devotee. They love it to the point of almost being a fault. So, what’s a fanboy to do when a greedy corporation is on the verge of shutting down a major comic book publishing company in lieu of making movies about said properties? They seek revenge, of course.
Story
What if the movie industry tried to put the comic book industry out of business?
In this alternate reality a corrupt movie executive is trying to buy out “The Big Two” to use the characters in their movies, and is planning on letting the comic book side die away. To prevent that from happening Jack and Todd have to go to the convention where the sale is going to take place and cause enough controversy and chaos to scare the movie executive off!
On the way Jack and Todd will face off against parodies of the most popular comic book creators of the past 20 years as they desperately fight to save the comic book industry!
The first issue of Revenge of the Fanboys is a satisfying introduction to the main characters and the challenges they will eventually face. We follow the main duo as they enter a major comic book convention. Each panel in the book is sprinkled with cosplayers donning familiar, yet just different enough to avoid any copyright infringement, costumes.
What occurs over the next 22 pages is a chuckle-inducing dive into comic book fanboys and comic book convention stereotypes. Writer Daniel Gordon has clearly been to a Con or two, poking fun at the long lines and the stenches one would expect to find at an overstuffed convention center. Gordon also showcases his love/hate relationship with comics through his two main characters. It is apparent from the very beginning that they love comics. They love discussing comics, and using comic references in their dialogue. They also seem frustrated by the direction the industry has veered, what with the movies overshadowing the books that they draw the source material from. We all have friends like them. Heck, we are them.
The second issue of Revenge of the Fanboys takes the story in an interesting turn. While the first book is a comedic, heightened journey through a comic book convention, the second book adds a heaping dose of fantasy and surrealism. You will find deadly and villainous writers, drug-induced trips to another plain of existence, and the discorporated head of an Alan Moore-ish looking sage. It almost feels like the story was meant to be at this level from the get go.
Art
Adrian Sibar’s artwork on Revenge of the Fanboys looks as if Skottie Young did some work on Archie Comics, and that is said with the best of intentions. Sibar crafts a unique style that’s manic and cartoonish. His work with the cosplayers in the convention hall is a fun who’s who of superheroes and pop culture characters. The characters appear in their traditionally illustrated size and style, making it seem as if the eponymous fanboys stepped into a nerdy version of Who Framed Roger Rabbit’s Toontown.
The artwork is amped up in the second issue as much as the writing. Sibar adds different artistic styles, coloring, and panel designs for each flashback and reality trip. Readers are sure to feel like they’re going on the surreal journey with the fanboys to save comic books from The Man.
Conclusion
Revenge of the Fanboys is a humorous, increasingly fantastical adventure that slams the comic book industry as much as it idolizes it.
You can read and support Revenge of the Fanboys through its Kickstarter campaign, and follow creator Daniel Gordon on Twitter for updates.
Stan Sakai brings his beloved rabbit ronin Usagi Yojimbo to IDW with a brand new full-color series. Colored by Tom Luth (Groo: The Wanderer) USAGI YOJIMBO #1 starts an epic new chapter the ongoing adventures of Usagi.
Miyamoto Usagi wanders Edo period Japan on his warrior’s journey. In the start of this three-part story, Usagi becomes embroiled in a puppet drama where the players are not quite what they seem!
Usagi Yojimbo #1 ‘Bunraku’ part 1 Written by: Stan Sakai Art by: Stan Sakai Colors by: Tom Luth Letters by: Stan Sakai
Story
Usagi Yojimbo has always been a deceptively ‘simple’ concept; a samurai rabbit. It’s the kind of ‘funny book’ idea that has been rooted in comics since the newspaper strip days. What Sakai has always done, though, is execute his idea with such care and attention to detail (throwing in LOADS of history, mythology and a growing cast of recurring characters) that an entire world has been created over the years. And it’s such a rich world, that it’s easy to drop in and out, catching glimpses through the eyes of Usagi. That’s what the best Usagi stories have always done, and “Bunraku” continues that tradition. “Bunraku” re-introduces readers to Sasuke, a supporting player and demon fighter with a mysterious past. It also touches on Japanese puppet drama, the titular Bunraku. Both of these build enough plot points and narrative momentum to get a solid story started. It’s a great introduction for new readers and a welcome return for long-time fans. There’s plenty of action, demons and monsters too.
Art
Stan Sakai’s art has always been phenomenal. His care for the craft is evident in everything from the line work to the lettering (Fun fact: Sakai lettered the Spider-Man newspaper strip for years). He is able to capture the true emotion in the faces too, which is not always easy with anthropomorphic characters that can easily slide into parody. “Bunraku” is no different, and when you add in the vibrant colors of Tom Luth, you get a comic book the pops off the page. This is classic, elegant and effective sequential art. It truly understands the language and narrative nature of comics.
Conclusion
If you love comics, you owe it to yourself to check out Usagi Yojimbo #1 from IDW. This is a classic property being given a fantastic new launch. Having a monthly Usagi book is a gift, so take advantage and follow the rabbit! Find it at your local comic book shop.
Darcy Van Poelgeest took us into some pretty bleak territory over the previous three issues. With Little Bird #4, though, he manages to up the ante even further, giving us perhaps the darkest chapter yet.
Little Bird, the people of Elder’s Hope, and all the other rebels are either dead or captured. Bishop’s plan to consolidate his power over the land seems nearly complete. And yet, there seems to be unrest within the New Vatican. Bishop needs a miracle to quell the people…and he plans to procure it from Little Bird herself.
The Writing
Little Bird #4 is perhaps the most expository issue of the series yet. Within the book’s first few pages, we discover key information about Little Bird, her origins, and her connection to Gabriel. Van Poelgeest ties the information into the narrative, revealing key points through visions rather than direct address or info dumping.
The titular character has always been shown as a competent and skilled fighter. By this point, though, she’s come into her own as a rebel, managing to escape and locate Gabriel with ease. There’s still vulnerability and dimension to the character, though, making her as compelling as ever. To that point, some of the strongest moments in Little Bird #4 are the quieter, less action-oriented ones. Gabriel and Little Bird conversing and trying to understand and relate to one another is a high point. It adds depth to one character in particular, making that individual much more of a fleshed-out figure.
Throughout the book’s first three issues, perhaps the only real weakness is that we see characters enter and leave the narrative before they’re fully-developed. On multiple occasions, we’ve seen characters die, without fully feeling the emotional weight. In Little Bird #4, though, we really do feel the significance of the last few pages.
It’s skillful, solemn writing, hitting the right emotional beats from page to page. This makes for one of the strongest issues in the run so far, and sets us up for the climax in issue #5.
The Artwork
Ian Bertram again turns in excellent illustrations for Little Bird #4. While his work on this issue is a little less expansive in its design, it makes up for that with a level of coherence and cohesion that was present, but not always consistent in previous chapters. Bertram manages to inject plenty of dynamic images into the work, while maintaining an even flow between panels. The reader always feels grounded in the scene without ever feeling lost.
What Bertram manages to achieve brilliantly in this issue is focusing the reader’s eye on the characters, while still keeping up the imaginative settings in the background. When the work opens up into a large panel that dominates much of the page, it feels that much more impactful.
Matt Hollingsworth’s colors in Little Bird #4 have an integral, symbiotic relationship with Bertram’s illustrations. They’re moody and dark, yet full of life. It’s hard to imagine one without the other. As a bonus, a gallery of the pair’s artwork occupies the last quarter of the book, offering more poster-worthy imagery.
Final Thoughts
Little Bird #4 is another excellent chapter in one of the most original, compelling narratives of the year in comics. Still worth it, so pick it up at your local comic shop on June 19.
Buffy the Vampire Slayer #8 hits your local comic book store on September 4, but thanks to BOOM! Studios and 20th Century Fox Consumer Products, Monkeys Fighting Robots has an exclusive look at the three covers for the issue by Kevin Wada (She-Hulk), Becca Carey (Bitch Planet), and Mondo illustrator Marc Aspinall. Check out the covers below.
Wada’s cover features Anya, the proprietor of Sunnydale’s hottest underground magic shop:
Carey pays tribute to the season two episode, “Halloween”:
Buffy and Angel meet at a Halloween party on Aspinall’s cover:
About Buffy the Vampire Slayer #8:
This game-changing issue of the acclaimed series will debut in stores September 4, 2019. While the Slayer and the rest of the Scooby Gang were fighting to save Xander’s soul, the Mistress Drusilla and her lieutenant Spike were busy searching for a way to open the gates of the Hellmouth so they could flood Sunnydale, then eventually the world, with demons and hell on Earth. And they’re close. Can Buffy stop them in time to save the world from utter destruction?
Buffy the Vampire Slayer is written by Jordie Bellaire (Redlands), with art by David López (Captain Marvel). Joss Whedon serves as a story consultant on the book.
What do you think of BOOM! Studios version of Buffy? Comment below with your thoughts.
In September, Marvel Comics goes off the deep end with the 40-page anthology one-shot called CRAZY #1, featuring the return of Obnoxio the Clown.
The issue features the writing talent of Gerry Duggan, Frank Tieri, and Jon Adams to name a few. Don Simpson, Scott Koblish along with several others will help bring Crazy #1 to life artistically. John McCrea’s artwork graces the cover.
“I actually grew up a “Crazy” kid — with everything from Obnoxio the Clown to Teen Hulk– so it’s been an absolute blast to be part of the revival. And the best part is? Me and John Cerilli will be doing more Ziggy Pig and Silly Seal bits for this! Hey, we told fans if they supported that whacky book that there’d be more– and since fans were crazy enough to do just that– we figured Crazy would be the most apropos place for their return. I don’t know about the rest of you, but I think this calls for a round of floor sandwiches and mouthwash martinis to celebrate…,” said Tieri.
Ziggy Pig and Silly Seal
The editor on the book, Mark Paniccia chimed in with a behind-the-scenes look at the brainstorming process of Crazy #1.
“The brainstorming sessions for this were a blast. Part of it was looking through the old magazines and remembering how much we loved seeing Marvel making fun of itself…all those in-jokes the staff was letting readers in on and the fact that Marvel was cool enough to show its funny side…not take itself so seriously. The other part was looking at each other and saying, “Hey, we get to make fun of ourselves and not take ourselves so serious!!! Wouldn’t it be hilarious if…?” As we each took a turn throwing out ideas, it just kept growing to the point where we didn’t have room for everything. There’s a lot of funny stuff that had to get cut. But there’s going to be something for everyone. Like the original, there’s a variety of ridiculous humor in this book. We’re celebrating the fact that we can tickle ourselves and not have to worry about how loud we’re laughing,” said Paniccia.
MARVEL’S GREATEST…ER…MOST DEMENTED COMIC MAGAZINE
OBNOXIO THE CLOWN is back and so is one of MARVEL’S most hilarious titles thanks to a momentary lapse in sanity on the part of a few over-worked editors and a gang of writers and artists ready to take advantage of it. No superhero is safe! No comic book event is sacred! Will the Marvel Universe ever be the same? Will, we want it to?
Not Final Artwork
What do you think, are you going to add Crazy to your pull list? Comment below with your thoughts.
