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Review: TRUST FALL #1 Strives For Artistic Brilliance

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Criminal Underworlds, family gatherings and dynamic magical violence form the backbone of AfterShock comics‘ new series Trust Fall.

Ash is a young woman trapped inside her family home. She has a ‘gift’, some call it a blessing, some call it a curse, but her gift means she is over protected by her family. They keep her house bound except for special missions and as a result her view on the world is slightly off-kilter.

 TRUST FALL #1 Strives For Artistic Brilliance
Trust Fall #1 Credit: AfterShock Comics

Writing

Christopher Sebela introduces the reader to this world from the point of view of Ash. We see the world as she sees the world; see it as she has come to understand it. The city she lives in, known to her as The Wild, is like any other major city in the world but Sebela is able to distort the image because of Ash’s unique world view. In a lot of respects, she has lived a sheltered life and Sebela brings this out through the narration.

There is a running theme based on ‘definitions’ throughout the comic, with Sebela portraying the world from the inside of this emerging criminal family. Ash’s view of the people around her has been manipulated by her family and her upbringing. Sebela is setting up his central character for a fall, referenced in the title and again in the early pages of the comic. The reader gets to know the world Ash lives in, as she sees it, so that we can then learn about the ‘real’ world in time with Ash.

Trust Fall is set up as a coming of age story, a tale of self-discovery in a criminal world tinged with magic. Family features as the central point for Sebela’s discussion, as he makes it clear that families can be loving, protecting, and caring but also, cruel, manipulative and self-centred. In Trust Fall Sebela is asking what it means to be a part of a family, for good or bad.

TRUST FALL #1 Strives For Artistic Brilliance
Trust Fall #1 Credit: AfterShock Comics

Art

Chris Visions’ art work is overflowing to the point that the pages can barely contain it. He creates a sense of dynamism that affects not only the images within the panels but the panels themselves.

The layouts are anything but consistent. He mixes up the use of gridded pages with stacked images to push the narrative forward and create a vibrant, ever moving, atmosphere. The action sequences are outstanding and capture the chaotic nature of the violence they portray. The boarders break down and gutters disappear as one action leads into the next, extending a brief moment in time so that it seems to last much longer.

The overlaid conversation gives the moment more of a temporal rigidity as the act of reading enforces a sense of timing onto the reader however, the energy created by the visuals takes over and pushes the reader forward at a much faster pace.

Even when you get to sedate scenes, such as a family meal, Visions’ art work is bursting with uncontrollable energy. The emotional conflicts between the characters is represented not only through the figures interactions but the layouts and colors. There is a physical sense of overpowering and oppression around the table. Trust Fall’s emotional impact is relayed through the art work, while Sebela’s narration and speech unleashes the plot.

There is a lot of exposition and narrative throughout Trust Fall but it’s barely noticeable as Hassan Otsmane-Elhaou threads it into the art work as if they are one and the same. He stacks and overlays the speech balloons to match Visions art style, creating a multi layered image. Often the speech is the main focus for the reader, leading them through the page but at other times, the lettering slips into the back ground almost, to allow the art to tell the story.

TRUST FALL #1 Strives For Artistic Brilliance
Trust Fall #1 Credit: AfterShock Comics

Conclusion

Trust Fall is a densely packed first issue in every sense. There is a solid plot inhabited by a number of very strong characters. Sebela has crafted his world building into the story structure so that it works on several levels to give the reader a deeper understanding of the characters and settings.

This layering is then visually represented to perfection by both Visions and Otsmane-Elhaou. The aesthetic of Trust Fall stands out from the crowd and makes a significant mark in the sea of comic books that are available. The energy is so vibrant that a quick flick through would entice any reader.

As first issues go, you couldn’t ask for more; Trust Fall has emotion, intrigue, action, and stunning visuals.

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Review: ORPHAN AGE #3 Shines A Light On The Victims

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Continuing the journey through the empty wastelands of America, Orphan Age from AfterShock Comics takes a sedated look at survival in a harsh world. It has more in common with the 1970’s Terry Nation T.V. series The Survivors than it does The Walking Dead but whatever it’s influences Orphan Age has a compelling story to tell.

ORPHAN AGE #3 Shines A Light On The Victims
Orphan Age #3 Credit: AfterShock Comics

Writing/Story

In this issue Princess must learn a number of lessons. In order to survive in the world, she must face the realisation that the utopian ideal she grew up with was a cover to protect her from the cruelties of nature. Not everyone was as lucky as her father when the Adults died 20 years previously.

Each issue of Orphan Age stands alone as a discussion around one aspect of Ted Anderson’s future world.  In this third issue, the concept of nature and nurture is examined as Princess comes face to face with an uneducated, uncivilised survivor of the mysterious incident that left the world in the shape it is.

Anderson uses the confrontation to illustrate Princess’ upbringing and compare it to the characters around her. It is also a catalyst for Daniel, Princess’ protector, to speak about his past and final allows the reader to see some of the transitional period between before the incident and the present of the comic.

Although the Feral character in this issue is nothing more than a plot device to question the current status que around the characters and the world, it is an effective one. A simple character that is neither hero or villain provides Anderson with an opportunity to compare the central cast. He is able to advance the world view while developing the characters via a simple, yet effective, narrative.

In plot sense not very much happens in this issue but as it is all about creating character driven drama, Anderson is successful in providing an emotionally gripping story.

ORPHAN AGE #3 Shines A Light On The Victims
Orphan Age #3 Credit: AfterShock Comics

Art

For this issue to succeed, Nuno Plati has to focus on the details and bring the characters to the foreground. So much of this comic is drawn from a medium or close up view point so that when there is a wide shot it really stands out. The relationships of the central three characters is reflected via the environment and their impact upon it. At times they blend into it, as if they are comfortable within the world they live. Other times they stand out, shocking grey figures against a garish orange backdrop, as far from the world as they can be while still being a part of it.

The ever changing conflict that they encounter as they travel across this America is visually more evident in this issue than it has been in previous issues. The color work by Plati and Joao Lemos really stands out and, in turn, makes the character’s conflicts stand out. The story may be sedate but the force of the art work is not. There are some powerful images and the extreme close ups with heavy black lines give the comic an emotional weight.

There is a claustrophobia to Orphan Age, despite the vast wilderness that it is set in. This is brought about by the tight points of view that Plati uses for his panels and is aided by Marshall Dillon lettering. His stark white speech balloons stand out against the naturalistic backgrounds and intentionally crowd the characters. This serves as a reinforcement of the character driven narrative but also makes the open, large vista panels that much more impactful. Not only is the reader able to see something of this world but it free from sound and speech; it becomes an all-encompassing space which in turn emphasises the closeness of the characters.

Dillon’s placement of the speech covers the backgrounds, removes any void and traps the characters together in an emotional and physical struggle for space.

ORPHAN AGE #3 Shines A Light On The Victims
Orphan Age #3 Credit: AfterShock Comics

Conclusion

Orphan Age is a comic about three characters and their emotional journey. That concept is more evident in this issue than in previous ones and the character work, both narratively and visually, is extremely engaging. Princess has an innocence which is slowly being eroded away and the tragedy of this can be seen in Plati’s panels of her. His framing and composition, although following a fairly ridged layout with grids and white gutters, is surprisingly emotional. He creates a huge empathy for Princess within the reader.

It has taken a few issues for Orphan Age to find its feet but this issue is definitely the best so far. Emotional and thought provoking. Plus, it is a great jumping on point for new readers.

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INTERVIEW: Composer Dominik Scherrer Marries Sounds For Amazon’s The Widow

The Widow is an Amazon thriller series that takes Kate Beckinsale from Wales to the Congo where danger and intrigue await. Emmy-nominated composer Dominik Scherrer adds the sonic layer that takes all the drama to new heights.

The Widow stars Kate Beckinsale as Georgia Wells, a widow who lost her husband in a plane crash in Africa three years earlier. However, a news report on violence in the Congo leads Georgia to believe that her hubby is still alive and well. Soon, the titular widow is chasing the mystery but in her way are thugs, a husband that doesn’t want to be found, and the African heat which reportedly took its toll on Kate Beckinsale.

PopAxiom made a vow to Dominik Scherrer that we would interview him for better or worse, until about 30 minutes do us part, about making music, the award-winning Requiem, and Amazon’s The Widow.

Award Winner

The night before our interview, Dominik received his second Ivor Novello Award, this time for Best Television Soundtrack for the score to the Netflix/BBC series Requiem. The Ivor is an Oscar-level big deal in the UK, and so the post-award celebration was undoubtedly a big deal too. “It was certainly a late night last night.”

Dominik’s work on Requiem included co-composer Natasha Khan, better known as musical act Bat for Lashes. “Natasha had worked previously with Chloë Thomson, the cinematographer on Requiem and she was the one who suggested bringing in Natasha.”

The rest is award-winning history. “We did a few weeks together in my studio where we were kind of bashing out ideas and came up with some crazy stuff. It was quite a lot of fun.”

Audio-Visual

Dominik comes from a musical family and trained in the “flute and piano” from an early age. But, like most teenagers, Dominik, “… felt a need to rebel against that whole … classical music environment. I had a band and bought a synthesizer and moved more into rock territory. I was singing and making more contemporary music.”

Classical training lead to a rebellious age of experimentation. But there was always an audio-visual component to making music for Dominik. “I was always interested in image and music together. So, when I was a teenager, I was making films as well. One of the main reasons was so that I could have films to write music too.”

Those movies were, “… an adaptation of German literature. I was into the ‘Werner Herzog school of filmmaking.'”

Later, Dominik, “… started to write these operas that were made for the screen. At the same time, a lot of people started to ask me to write soundtracks for their films.”

A few dozen or so scores later: “Eventually I sort of realized ‘I’m a film composer now.'”

About The Widow

Generally, Dominik says, “These kinds of projects, you’re not really given specific direction. Your job as a composer is to put together a concept. And then you discuss that.”

However, he adds a desire from director Sam Donovan to have, “A lot of vocals. It’s always emotive to have voices.”

Creating music for a television series is a process that includes some evolution. “On a 50-minute episode, there might be 35-40 minutes of music.” And The Widow is eight episodes long.

But Dominik thinks, “The first episode is always the hardest, but as it goes on, you can relax more into the score.”

widow-amazon-series

Into the Congo

Helping to inspire the soundscapes of the show is the location which Dominik says, “… has to be reflected in the score.”

He adds, “Rather than having a few instruments here and there that it should be part of the DNA of the score.”

Dominik shares a little musical knowledge about the sounds of the region: “One of the amazing things the Congo is famous for is these amazing guitar riffs. There are some amazing artists. I thought that could be translated into something that would work in a thriller context.”

About The Widow‘s thrill ride, Dominik says, “It ramps up definitely.”

Wrapping Up

Dominik was classically raised but certainly branched out to all corners of the music-sphere. So, what’s in his creative DNA? “Bach, that’s still the big thing that lit the musical fire and stays with me all the time.

Inspiration from the less classical realm includes, “Nick Cave. I first heard him when I was 15 or 16 and his band The Birthday Party.”

In the film soundtrack world, there’s always John Williams. But, for Dominik, “The collaborations between director Peter Greenway and composer Michael Nyman like A Zed & Two Noughts (1985) or The Cook, the Thief, His Wife & Her Lover (1989) expanded the way film and music could coexist. I was electrified by work like that and began my search to explore more possibilities.”

All eight episodes of The Widow are available on Amazon. And more music from Dominik is on its way. “I’m working again with Tom Shankland, who I’ve worked with a few times in the past. He was a director on Ripper StreetAgatha Christie’s MarpleThe Missing. We’re working on an eight-part BBC/Netflix drama set in the 70s in southeast Asia.” Dominik will even be heading to Bangkok to record tracks for the new series, so, stay tuned!

Thanks to Dominik Scherrer and Impact24 PR for making this interview possible.

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Review: GRAVEYARD SLAUGHTER #1 Offers Spine-Tingling Horror and 80s Nostalgia

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Graveyard Slaughter is a new horror anthology comic book headlined by writers Cullen Bunn and Kevin Watkins, along with an impressive roster of artists. With just over three weeks left on its Kickstarter campaign, the book is described as “dedicated to rekindling the feel of the horror movies you might have picked up at your local video store.” And much like those schlock films in the back of the video store, this is an entertaining piece of vintage horror worth checking out.  

Way back when, a video store was the place to check out the movies after it had left theatres. In those same stores, there were some movies deemed too shocking for the front-most shelves. In the darker, chilling corners were gonzo flicks of the 80s like Creepshow, Fright Night, or Hellraiser. Nowadays, streaming and video-on-demand are the main methods of content consumption. Still, fans of that particular era of horror films are eager for a nostalgic trip back to that video store and its more spine-tingling offerings. If this resonates with you, Graveyard Slaughter just might be the book to scratch that itch.

graveyard-slaughter-cover

Story

Graveyard Slaughter is comic book anthology that embraces the bloody madness and nostalgia of 80s VHS gore. Those passionately curated horror sections of the deep dive video rental stores. We invite you to get a membership at our video store…Video Hell. Graveyard Slaughter will be running on Kickstarter all through June. Once funded…we plan on delivering the book by Halloween 2019.

Over 50 terrifying pages of madness co-written by New York Times best-selling author Cullen Bunn and Kevin Watkins. Art provided by legendary Ghost Rider artist, Javier Saltares; rising star Pumpkinhead artist Blacky Shepherd; Gary Bedell and Adam McLaughlin. Letters provided by A Larger World Studios’ Troy Peteri. Introduction provided by Bram Stoker Award winning and best-selling author Paul Tremblay.

Graveyard Slaughter contains four short tales of terror, each involving teens or kids paying a horrendous price while playing a game. Another four vignettes weave around the short stories, each a terrifying instance in “your local Video Hell.”

Each story manages to deliver on the gruesome, campy material to varying degrees. Both Bunn and Watkins clearly love the sub-genre, and it shows in this anthology. One standout is Kill With One Eye Open, about a group of teens sitting around a campfire, listening to the tale of a maniac slasher. You can easily tell where the story is supposed to go, which it does. However, just before it ends, the story veers in a twisted and fun way that is sure to delight the reader’s inner monster.

Art

The cover alone is a truly satisfying piece of artwork. It wholly evokes that 80s horror vibe with its neon purple highlights, collage of campy monsters, shelves of VHS tapes in the backdrop, and an arcade console at its center.

Four artists bring an array of styles to Graveyard Slaughter – Javier Saltares, Blacky Shepherd, Gary Bedell and Adam McLaughlin. Troy Peteri of A Larger World Studios provides the letters for the entire book. Each story is presented in black and white illustrations, giving the book a bleak and otherworldly air. The lack of color also gives the book a low-budget feel, much like the films it takes its inspiration from.

The artists don’t hold back when it comes to the gore and horror. The blood, monsters, and dismemberments will truly make your skin crawl. One particular image that stands out is at the end of the third Video Hell segment featuring a facelift (of sorts) reminiscent of the terrifying illustrations found in Scary Stories to Tell in the Dark.

Conclusion

There really isn’t too much to look for under the surface of Graveyard Slaughter, which is by no means a negative comment. Come for the monsters, the gore, and the scares, and stay for the exact same reason. It’s truly an enjoyable read for anyone that loves the camp, gore, and horror that the 1980s did so well.

Graveyard Slaughterhouse is scheduled to be released just in time for Halloween 2019. You can check out and support the Kickstarter campaign here.

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Marvel Comics Exclusive Preview: SILVER SURFER BLACK #1 By Donny Cates And Tradd Moore

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SILVER SURFER BLACK #1, written by Donny Cates with art by Tradd Moore and Dave Stewart, hits your local comic book shop on June 12, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for you.

“When Donny Cates wrote the first issue of the new GUARDIANS OF THE GALAXY series, we both agreed that Silver Surfer’s adventure wasn’t going to end there, that there was still more story to be told about what happened to all the cosmic heroes that got sucked into the Black Order’s wormhole. But Donny’s imagination really kicked into gear when artist Tradd Moore signed on! Readers won’t realize it, but SILVER SURFER: BLACK is a culmination of everything Donny has been writing since his THANOS run. And Tradd Moore is delivering some of the craziest visuals seen in a Marvel Comic today,” said Editor Darren Shan via Marvel.com.

PSA – I don’t think you are prepared for Moore’s art on this book! Please sit down before proceeding to the preview.

About SILVER SURFER BLACK #1 (of 5):

Spinning out of GUARDIANS OF THE GALAXY #1, almost the entire galaxy’s defenders have been blown through a black hole, including the Silver Surfer! But the story doesn’t end there… In order to fight back the oblivion, Surfer will have to fight to save his own soul and not lose himself to the void. Follow the Sentinel of the Spaceways on a journey that will change him forever!

Check out the four-page preview below.

Marvel Comics Exclusive Preview: Donny Cates' SILVER SURFER BLACK #1

Marvel Comics Exclusive Preview: Donny Cates' SILVER SURFER BLACK #1

Marvel Comics Exclusive Preview: Donny Cates' SILVER SURFER BLACK #1

Marvel Comics Exclusive Preview: Donny Cates' SILVER SURFER BLACK #1

Marvel Comics Exclusive Preview: Donny Cates' SILVER SURFER BLACK #1


What do you think, are you going to add SILVER SURFER BLACK to your pull list? Comment below with your thoughts.

The Silver Surfer was created by Jack Kirby and first appeared in the comic book Fantastic Four #48, published in 1966.

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Marvel Comics Exclusive Preview: SYMBIOTE SPIDER-MAN #3 (OF 5)

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SYMBIOTE SPIDER-MAN #3 written by Peter David, with art by Greg Land hits your local comic book shop on June 12, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for you.

Electro has a ridiculous costume but looks amazing when done right. Land is one with the force in SYMBIOTE SPIDER-MAN #3.

About SYMBIOTE SPIDER-MAN #3 (OF 5):

From comic titans, Peter David and Greg Land, comes the third installment of an all-new Spider-Man tale set during the original ALIEN COSTUME SAGA. After glimpsing the strange abilities of Spider-Man’s bizarre black suit, Mysterio is determined to uncover the secrets of the enigmatic ensemble – secrets Peter Parker hasn’t even realized. Uncovering a shameful secret from Black Cat’s past, Mysterio may have found the blackmail necessary to get close to the suit, and in doing so will set Felicia down a path where any misstep could result in her losing Peter forever.

Check out the four-page preview below.
Marvel Comics Exclusive Preview: SYMBIOTE SPIDER-MAN #3 (OF 5)

Marvel Comics Exclusive Preview: SYMBIOTE SPIDER-MAN #3 (OF 5)

Marvel Comics Exclusive Preview: SYMBIOTE SPIDER-MAN #3 (OF 5)

Marvel Comics Exclusive Preview: SYMBIOTE SPIDER-MAN #3 (OF 5)


Are you reading SYMBIOTE SPIDER-MAN, do you like these prequel books? Comment below with your thoughts.

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Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

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VENOM #15 written by Cullen Bunn, with art by Iban Coello and Alberto Jimenez Alburquerque hits your local comic book shop on June 12, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive preview for you.

Bunn writing Venom, is it my birthday? Bunn is a horror writing machine and Eddie Brock with the symbiote can be horror personified!

About VENOM #15:

Battered, bleeding and at the end of his rope, Malekith’s War Witches and their henchmen threaten to overwhelm Eddie Brock. Meanwhile, Eddie still has 9-year-old Dylan in tow… Now he just needs to keep him alive.

If Kyle Hotz has some inner demons, he put them all into the cover for this issue. Hotz gives off a quick Sam Kieth / Marc Silvestri hybrid vibe with is Venom. Andres Mossa worked on colors, and Clayton Cowles lettered the issue.

Check out the four-page preview below.
Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In

Marvel Comics Exclusive Preview: VENOM #15 War Of The Realms Tie-In


What do you think, are you going to pick up VENOM #15? Comment below with your thoughts.

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Review: You’re in Bane’s World Now in BATMAN #72

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Tom King’s been pretty upfront about the fact that he’s deliberately writing a long, overarching story with his run on Batman. The writer’s spent these last 71 issues constructing an intricate, interwoven narrative. Nearly three years spent unraveling the story. Now with Batman #72, those plot threads start to reconvene as we move toward the story’s climax.

The Writing

Following on the previous issue, Batman #72 is occupied by one continuous brawl between Batman and Bane. There’s no verbal interchange. There are just the two characters beating the hell out of each other while a narrator provides the monologue. The presentation can be a bit tedious at times. However, the details about the hands-on role Bane played in the story offer enough to keep the reader’s interest.

The reader can presume (probably correctly) who is speaking, but we don’t know definitively at first. The speaker recounts every step in Bane’s grand plan to break The Bat. And, over the course of the book, readers begin to see a different perspective emerge from the story.

Follow me on this one: we’re not reading “a Batman story” here. His name may be on the cover, but this isn’t Bruce Wayne’s story…it’s Bane’s story. Batman #72 forces us to see the entire run in a different light. Once we do, pieces of the puzzle start falling into place. From the beginning of King’s run back in 2016, Bane was always the character with the narrative. He’s the figure whose actions motivate and advance the plot. He’s the one who acts; Bruce, in contrast, simply reacts to circumstances. It’s Bane’s arch, not Bruce’s.

That interpretation may be controversial, but it’s backed by the text in Batman #72. “Yes, you knew then, the one truth in this life,” the narrators says, “That everyone bows to someone. And as such, that there is one man ascendant…and that man is not a rich boy in a cape and cowl.” Bane’s motivation is to prove himself, once and for all, to be Batman’s superior, as it has been since the character first appeared.

Although it’s primarily a recap, the issue feels like a turning point, propelling the narrative toward its climax. Thus, the reader doesn’t feel cheated by a simplistic rehashing of our story up to now.

Batman #72

Batman #72

The Artwork

The art team of Mikel Janin and Jorge Fornes provide solid, and occasionally striking images here. The inks are heavy and shadowy, with just a touch of cartoonish flair.

As mentioned, much of Batman #72 is dominated by the fight between Bane and Batman. These pages keep their focus fairly tight on the characters, but you never feel lost or disoriented. The visuals flow well from page to page. Every two pages, the artists open up to a full spread, presenting key moments from the series up to now. They’re well done, and don’t interrupt the action.

That said, there’s a disconnect between what we’re seeing on the page and what we’re reading. This makes it hard to tie the two together. The end result is that Janin and Fornes’s illustrations feel like an accompaniment to the monologue, rather than as part of the whole. It’s a good show, but it feels somewhat wasted when the reader’s attention is more focused on the  narrator, rather than the action.

Final Thoughts

Batman #72 is above-average for a recap issue. It refines the narrative, rather than just regurgitating it, but its value hinges largely on the next issues.

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DC Vertigo Exclusive Preview: HOUSE OF WHISPERS #10

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House of Whispers #10 hits your local comic book shop on June 12, but thanks to DC Comics and Vertigo, Monkeys Fighting Robots has an exclusive six-page preview for you.

The book is written by Nalo Hopkinson and Dan Watters, with art by Dominike “Domo” Stanton and Nelson Blake II, John Rauch worked his color magic, and the cover is by Sean Andrew Murray.

About the comic:
Erzulie and her two sister-selves face off against the god of stories himself, Ananse, in a storytelling battle for the ages! If Erzulie wins, her husband becomes untangled from her houseboat; if Ananse wins, a prize most delectable comes his way. Meanwhile, the souls of the undeceased return to their bodies, and with them the guilt and pain of the memories of what they did during their soulless time.

House of Whispers is part of the SANDMAN UNIVERSE series of books, which launched back in August of 2018. The line revolves around the world of Neil Gaiman’s Sandman, with Gaiman himself overseeing and curating the comics.

Check out the six-page preview of HOUSE OF WHISPERS #10:

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10

Exclusive Preview: HOUSE OF WHISPERS #10


Do you have HOUSE OF WHISPERS on your pull list? Comment below with your thoughts.

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AfterShock Exclusive Preview: MARY SHELLEY MONSTER HUNTER #3

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Mary Shelley Monster Hunter #3 is out June 19th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive seven-page preview to share with you.

The 32-page book is written by Adam Glass and Olivia Cuartero-Briggs, with art and cover by Hayden Sherman, and letters by Sal Cipriano.

About the comic:
Displeased with her first attempt at creating man, Victoria prepares to end the creature’s life mere moments after it began. Horrified, Mary convinces Victoria to allow her to educate Adam—as she names him—before making any rash decisions. Though the results of Mary’s work are astounding, the events that follow lead her to wish she had just let him die…

Brought to life by Adam Glass (ROUGH RIDERS, THE NORMALS, THE LOLLIPOP KIDS) and Olivia Cuartero-Briggs (TV’s The Arrangement) with art by Hayden Sherman (COLD WAR, The Few, Wasted Space), MARY SHELLEY MONSTER HUNTER is historical fiction at its most (After)shocking!

You can read our review of Mary Shelley Monster Hunter #1 right here on Monkeys Fighting Robots.

“not only does the book divulge the secret life of the infamous horror writer, it puts a new spin on Shelley’s own masterpiece, Frankenstein; or, The Modern Prometheus.” – MFR Critic Michael Fromm

Take a look at MARY SHELLEY MONSTER HUNTER #3:

mary shelley monster hunter #2 exclusive advance preview aftershock comics

mary shelley monster hunter #2 exclusive advance preview aftershock comics

mary shelley monster hunter #2 exclusive advance preview aftershock comics

mary shelley monster hunter #2 exclusive advance preview aftershock comics

mary shelley monster hunter #2 exclusive advance preview aftershock comics

mary shelley monster hunter #2 exclusive advance preview aftershock comics


Are you reading Mary Shelley Monster Hunter #3? What do you think of the series so far?

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