Scott Snyder and Jock’s Batman Who Laughs #5 is out this week, and it made me think about my relationship with DC Comics writer Tom King. There are healthy ways to talk about creators you do not connect with, and it has more to do with how you interact with the medium than how a story arc unfolds.
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About the Monkeys Fighting Robots Podcast
Never heard of Matt Sardo? For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
War Of Realms: Spider-Man & League Of Realms #1 (of 3) hits your local comic book store on May 15, but thanks to Marvel Comics, Monkeys Fighting Robots has a five-page preview for you to look over.
The book is written by Sean Ryan, with art by Nico Leon. Ken Lashley worked on the cover. Ryan is very excited about the War Of Realms Tie-In, check out his Twitter feed.
About War Of Realms: Spider-Man & League Of Realms #1 (of 3): WAR OF THE REALMS TIE-IN! In order to win the War of the Realms, we need a LEAGUE OF REALMS! Thor once led this team with one representative from each fantastical realm, but the League has a NEW leader and representative of Midgard- SPIDER-MAN! Spider-Man must Frodo-Up and lead this ragtag group of SCREWBEARD THE DWARF, UD THE TROLL, RO BLOODROOT THE WIZARD, SIR IVORY HONEYSHOT THE LIGHT ELF, and TITANYA THE MOUNTAIN GIANT! But who will represent ASGARD?! And, as Spidey is a terrible leader, could this team possibly achieve ANYTHING?!
Check out the five pages below:
Do you have War Of Realms: Spider-Man & League Of Realms #1 (of 3) on your pull list? Comment below with your thoughts on War of Realms.
A Walk Through Hell #10 hits your local comic shop on May 29th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
The 32-page book is written by Garth Ennis, with art by Goran Sudzuka, colors by Ive Svorcina, and letters by Rob Steen. Goran Sudzuka worked on the cover.
About the issue: With the answers they need finally within their grasp, Shaw and McGregor seek a guide to the strange and disturbing world in which they find themselves. But McGregor makes a fateful decision in this quest for understanding, and soon the horrors of his own past are laid bare. And all the while, the clock ticks towards midnight…
The tagline for the series is ‘the next chapter in a new kind of horror story for modern America.’
Check out the A Walk Through Hell #10 preview below:
Do you have A Walk Through Hell on your pull list? Comment below with your thoughts on the series and AfterShock Comics.
Prolific composer Jared Faber (Teen Titans) creates the score for Splitting Up Together, an ABC TV-series, produced by Ellen Degeneres, best described as a dramedy because though it’s presented as a 30-minute, single-camera sitcom, there’s a lot of the “feels” going on too.
Splitting Up Together stars Jenna Fischer (The Office) as Lena and Oliver Hudson (Scream Queens) as Martin, a divorced couple who agree to stay living together. The arrangement is a bit awkward as each parent takes turns watching over the kids while the other lives the single life from the garage-turned-apartment. Wackiness ensues but so do a lot of tender and touching moments as Lena and Martin rediscover their friendship and rekindle their romance — maybe. The “will they, won’t they” trope is alive and well in some highly entertaining ways. Jared’s job in all of this is underscoring the dialogue and visuals with the right notes that will accentuate the hilarity while drawing out the drama.
Think of your favorite show, and you’ll likely think of its theme song too. Those opening notes set a mood for the show. For Jared “It’s all about trying your best to get inside the aesthetic of the show … and what the show needs to feel like.”
Of course, film or television productions have a hierarchy, and Jared isn’t left in a void to figure out this “feeling” on his own “Usually, doing one [theme song] comes with instructions from the show creators. I did Boss Baby on Netflix, and they were really specific. They wanted a hip-hop thing … but also some weight to it. Some horns and layers.”
Part of the fun of composing is the challenge of getting this “feeling” and “weight” right: “It’s a theme song but also a rap song for a kids show, but they wanted to make as many references to financial devices and the kind of words you’d use in business.”
Listen to the song, and you’ll note that Jared nailed the request. “My favorite line from it is ‘My duty is fiduciary.’”
Not all show creators are created equal and, for Jared, one, in particular, is attuned to making music. “In the case of a lot of the shows I worked on with Emily Kapnek, like Suburgatory and Selfie or As Told By Ginger, we wrote those theme songs together. She had a very clear idea of what she wanted it to be. We’d kick it back and forth a little bit until we landed on it.”
How many drafts come out of those back and forths with Emily? “Sometimes there’s a lot.”
Music Not Heard
Show creators and composers are two levels of the final product known as the TV show. And as with any creative endeavor, there’s a lot of feedback to consider, the push and pull is part of the fun, “Best case scenario, you nail it the first time and maybe tweak it. Usually, it goes back and forth between the network. Can you make this more prominent in the song or change this lyric?”
As a matter of course, the process produces “… a lot of pieces of music that don’t make it.”
But consider that practice makes perfect and every unused song was a step towards a more honed skillset and a successful piece of work. Does the leftover music ever see the light of day, though? “… you think, ‘oh I can use this down the road …’
Jared takes us to where that road typically leads. “Inevitably, I wind up creating something custom each time.”
However, along with the ability to experiment and grow as an artist, these pieces of music are in Jared’s creative DNA. “Sometimes something from the past will inspire an idea.
Jared’s simple suggestion is to “… keep all those scraps, you never know when they may return to help you later.”
Growth is a part of human existence, and we all look back to things we’ve done and see them in a different light. “There are things that later on I feel I got right, but sometimes you think you could do it better today.”
Perhaps there’s a bit of magic in naivety mixed with youthful passion. For Jared, there’s a bit of truth to that when he looks at his past work. “Sometimes, there’s little creative moments, little gems because I was really searching since I didn’t know entirely how to do it yet.”
About Splitting Up Together
In preparation for this interview, I watched a couple of random episodes of Splitting Up Together. Within minutes of the first one, I understood the characters and the show. Jenna Fischer is her usual funny self though in a whole different way than Pam on The Office. She’s also endearing too, as is Oliver’s Martin who is the perfect counter to Lena. As the show balances comedy and drama, Jared must do the same with the score. “That’s really the challenge of that show. Trying to walk that line between the comedy and the emotional.”
Jared asserts, “Every episode is funny, but some episodes are heavy.”
The prolific composer accepts the challenge every time and focuses on “… bringing some genuine emotion to the music.”
Another chaotically fun aspect of making music or doing any other creative job is the uncertainty of when things will be “right.” Working on Splitting Up Together on a day-to-day basis “There are some scenes where you just nail it. But then the next five days you try to repeat that, and it doesn’t seem to come as smoothly. We’re always trying to chase that emotion.”
Is The End Nigh?
Making ten, twenty, or thirty minutes of music is filled with all manner of challenges. But, sometimes challenges come in small packages such as the theme song. “Sometimes … I feel like I don’t have a chance to develop it. You have to get right to the point quickly, and then it’s over. Some of them are twelve seconds.”
Over the past ten years, there’s been a dramatic shift in the way people watch television shows. A growing majority view things on streaming services like Hulu. Another popular service, Netflix, lets you “skip the intro,” to which Jared replies “… drives me crazy.”
And in the age of binging, Jared says “… I like to watch the theme song. It puts me in the mood.”
He shares the moment he sits down to watch one of his favorite shows. “Whenever I watch the Narcos opening I’m like ‘Alright, let’s go!’”
However, there’s more content than ever. Is the theme song in danger? “I don’t think so.” Agreed. What Game of Thrones fan doesn’t love that epic theme by composer Ramin Djawadi?
Wrapping Up
Jared’s got the music in him, and the artist formerly known as J-Radical has more than just scores coming for our us. “I have a project that I work on right now that really speaks to a lot of where I come from musically and music that I love. It’s called War and Pierce, I do it with Sunny War and Chris Pierce.”
Jared gives us his quick description of the kind of music that’s coming “… bluesy, singer-songwriter, Americana thing. It strikes to the core for me.”
While Splitting Up Together comes to the end of its second season, Jared is also busy making superheroes sound, well, super! “I’m working on the sixth season of the Teen Titans TV show.”
Thanks to Jared Faber and Impact24 PR for making this interview possible.
Damian is missing in action, leading Batman and Alfred to open Detective Comics #1003 with a citywide search operation. Meanwhile the Arkham Knight, holed up in her base beneath Arkham Asylum, reveals her identity to her captive. Only…Damian can’t seem to recognize her. This begs two questions: what is the Knight’s vendetta against Batman, and what is “The Eclipse” she keeps mentioning?
The Writing
The writing in this issue strikes a relative balance between action and exposition. After a brief standoff between her and Damian, the Arkham Knight promises him that Batman’s paths will cross hers again soon. This leaves the bulk of Detective Comics #1003 to the mission of cracking the Knight’s identity.
Although we know little about Arkham Knight, we actually learn a good amount about the character by what we see. The Knight has a code and keeps to it. This is her way of trying to establishing moral superiority in the conflict with Bruce. We also see the depths of the legion’s devotion to their leader. They willingly subject themselves to brutal punishment for defiance. All the while, they make cryptic references to a fanatical obsession with bringing “The Eclipse” to cleanse Gotham of Batman.
It’s clear that The Arkham Knight has the asylum under complete control, even recruiting inmates into her plan. She’s equal parts revolutionary, and doomsday cult leader.
Unfortunately, Detective Comics #1003 falls a bit flat in terms of story dynamics. While still compelling, the book’s emotional peak arrives around a quarter of the way through. Thus, the tension is not quite as high here as in previous issues, leaving this chapter feeling like a bit of an anticlimax.
Of course, Tomasi still manages to provide a hook on the last page, ratcheting the tension back up and ensuring you come back for the next issue.
The Artwork
Brad Walker’s artwork remains strong overall in Detective Comics #1003. His style is on point, and he hits the beats of the story nicely. I appreciate that he never rests on one image for too long. That said, there’s not as much striking imagery to sink our teeth into compared to other issues in this run. While imagery changes fast, there aren’t as many stand-out moments.
The comic doesn’t seem to flow as easily as other recent issues, either. Most of Walker’s illustrations are tightly-cropped and visually-similar. However, he repeatedly breaks the continuum of movement from one panel to the next. As a result, it can sometimes be difficult to follow along visually.
Fairbairn provides color duties for Detective Comics #1003. Like with our last issue, the palette he employs is an interesting choice, though it works well alongside Walker’s artwork.
Final Thoughts
While it doesn’t provide as much excitement as the last two issues, Detective Comics #1003 is still a very solid chapter in Tomasi’s ongoing story. It advances the narrative, keeps the reader’s interest, and makes you want to learn what will happen next.
The Outsiders have always been an odd group to me. Originally Batman formed the team when he no longer felt himself align with the league. The members consisted of heroes that were outside the norm. Heroes such as Metamorpho makes sense, as he’s more monstrous in appearance. Characters such as Katana and Black Lightning are characters that are definitely the norm and have even been apart of the Justice League. Years later I still don’t understand what they’re supposed to be other than just another superhero team. Now we have a new iteration of the group, consisting of older heroes and new ones. Will this new team change my opinion on them?
**Some Spoilers Below**
Story:
We open on two different views. The first involves a young woman, Sofia, who gets attacked by a mysterious Metahuman and is revealed to have superpowers of her own. The other is the actual Outsiders who are on a mission to stop a serial killer. While Orphan is still as calm and ninja-like as ever, Signal is on edge, demanding the senior members show up. Almost on cue, Black Lightning and Katana leap in and tear through this D-list villain. Lightning, who is playing the role of leader of the team, continues to question Batman’s reasons behind the team. Before he can turn his leadership mantle in, however, Bruce approaches the team with the next mission: find Sofia.
This first issue is a good one, especially for those who don’t know much of the team. From the emotional baggage of Signal to Black Lightning’s leadership skills, any reader will be able to get a grasp of the characters that make up the Outsiders. One of my favorite moments in the issue is this interaction between Katana and Lightning on whether they should leave or not. It was a nice bit of dialogue and action that gave a look into their psyches.
There is one major problem to this issue, and it involves the title character. Despite the comic being labeled Batman and the Outsiders, there’s not much Batman in it. This could be seen as a benefit for the B-list heroes to get their time in the spotlight. The problem is Batman needs to have a more prominent presence than given here. This will probably change over time, but for this issue, it was off-putting.
Art:
The art for this issue is pretty good. The art team goes above and beyond to make the Outsiders look good both on and off the field. The action pops off the page thanks to impressive colorwork as well as capture genuine human emotions in the illustrations. If the team keeps up the good work, we’ll have a contender for best looking Bat-Family book.
Conclusion:
I was surprised at how well done the opening issue turned out. With few references to past arcs, a new reader can hop in without really needing too much context. The book also has the look to keep readers entertained thanks to the art team. If you’ve been wanting to get into the team, this is the perfect issue for you.
W. Maxwell Prince’s ICE CREAM MAN series knows how to throw curveballs to its readers, and issue #12 is no exception. The story is set in a post-apocalyptic future where humanity has annihilated itself through a combination of war, disease, and global warming. The only hope of a future lies in a pilot named Noah who searches the universe for a habitable “seed planet.” Will this re-telling of the Biblical Flood story end happily, or will the ever-elusive Ice Cream Man have something to say about it?
Story
The protagonist Noah serves as a modern-day archetype of humanity’s post-apocalyptic progenitor. Tasked with securing humanity’s future, it’s clear he’s using all his strength to withstand the tremendous pressure.
Unfortunately, it appears he rest of the universe may be unsuitable for life. But the last hope of the human race presses on. His desperation fuels an undying resolve to give humanity one last fighting chance. The unyielding faith in a brighter future is awe-inspiring.
The suspense starts to build when Noah’s A.I. “b0b” alerts him of hostile creatures in an upcoming asteroid belt. These are the Space Spiders of Gunz’llah, and they’re hungry for any ship metal they can sink their teeth into. These threats and a familiar face put Noah to the test as he races to find a suitable home for Earth’s fresh start before it’s too late.
Art
Martín Morazzo off-kilter drawing style does wonders for this issue’s storyline. His thin sketching captures the hopelessness within Noah’s expressions at the sight of the horrors he encounters traveling through space. Chris O’Halloran’s coloring helps Morazzo’s illustrative scenes transition easily with gradual transitions from the dark background of space to the brighter hues when the story calls for an action sequence.
Good Old Neon’s lettering does a great job a differentiating multiple lines of dialogue, including Noah’s, and even b0b’s. Each entity’s speech balloon is a different shape, with Noah’s being rounded to emphasize his organic composition and b0b’s being sharp like electricity to allude to his robotic nature. Even the narration/ship log has a unique dialogue box to draw the clearest distinction.
Morazzo and O’Halaloran’s main cover depicts Noah’s ship floating near Earth, which serves as a reminder of what the character is trying to rebuild. Tula Lotay’s variant cover gives us an up close and personal look at the nefarious Ice Cream Man. Streaked in a shade of orange eerily similar to the narration’s lettering boxes, one can’t help but suspect he might be pulling the strings.
Conclusion
ICE CREAM MAN#12 combines elements of horror, science fiction, and myth in a way that engages the reader throughout the whole story. It also serves as a sobering reflection of the destructive path our world is barreling down.
Did you think this issue captured the essence of sci-fi horror? Let us know in the comments below!
Weeks of battling the violent zombie-like Byonin has left Ronin Island devastated. But now that the situation appears to be under control, Hana ventures forth with General Sato in order to protect the rest of the region. The RONIN ISLAND saga reaches new heights with these events as Hana, Kenichi, and Master Ito leave their island and attempt to join forces with the region’s new shogun.
Story
Last issue Hana learned an important lesson while defending her island with Ito: One can’t claim to be “together in strength” if they’re not willing to look beyond their tribe. And seeing the nobility of Sato, however distorted through sheer haughtiness, motivates her to offer her samurai skills to his campaign against the Byonin.
In an astonishing act of good faith, Sato bequeaths an impressive samurai sword to Hana, claiming her own won’t be effective in the coming fight. This simple action speaks volumes; it shows how Sato values Hana’s abilities and tenacity above the superficial qualities of status and lineage Kenichi embodies. Greg Pak’s reversal of the stereotypical general image allows readers to sympathize with Sato, as well as Hana.
The anticipation of finally meeting the mysterious shogun will have readers gripping the edge of their seats. But will this ruler reward Hana in the same manner as Sato? And where will Kenichi play into all of this? These questions and more are set to be answered in this exciting issue.
Art
Giannis Milonogiannis’ pencils continue to astound readers with his depictions of the East Asian landscapes. Readers become fully immersed in the story’s coastlines, fields, and forests. In addition, Irma Kniivila’s transition from the quiet, cool colors of the island to the harsher, warm colors of the shogun’s encampment juxtaposes the safety of home and the riskiness of travel abroad.
Simon Bowland’s lettering completes the ensemble of inner artwork by using bold styling to place the focus on the story’s key words/phrases, such as “each other,” “whole world,” and “trust,” to name a few.
In addition, Milonogiannis and Msassyk’s main cover features Hana fending off a sword to show her fighting prowess and determination readers witness throughout the story. Ethan Young’s preorder cover takes another approach by featuring a detailed drawing Sato, who largely serves as a reflection of Hana’s own ideals. Kris Anka’s unlocked retailer variant cover emphasizes this notion further by using Sato’s image as a stand-in for Hana’s reflection.
Conclusion
RONIN ISLAND #3 gives readers a full-circle look at Sato’s character, showing his many similarities to Hana despite their superficial differences.
Where do you think Hana and Kenichi will fit into the new shogun’s regime? Let us know in the comments below!
The Batman Who Laughs #5 hits your local comic book store this week, with Scott Synder, Jock, David Baron and Sal Cipriano pushing the Cape Crusader to the darkest corners of Bruce Wayne’s mythos.
Batman and the Batman Who Laughs continue to battle it out over the fifth issue of the mini-series, with the winner destroying or saving Gotham. Synder and Jock bring shock and awe to the pages of the comic as the series continues to get darker and darker. After re-reading issue one through issue five in a single sitting, the series is very dark and depressing in a lump sum (I had to get some ice cream before writing this review). The story is at that point of the “hero’s journey” where all hope is lost, and Snyder has me believing that there will be no happy ending for our hero.
The rain on the first page sets a tone that weighs you down and hits you on a deeper level. Snyder’s script is more like a eulogy than a table setter. Jock’s art is so raw that you feel every bullet that hits Batman’s cape. Five pages in, you are so emotionally exhausted by what just went down that you might need a week or two before you show another human being page six from The Batman Who Laughs #5.
The Batman Who Laughs #5 felt like Return of the Jedi at times. Snyder has turned into Emperor Palpatine, and he’s trying to persuade us to join the Dark Side. At this point, I can’t tell if Batman in this metaphor is Luke Skywalker or Darth Vader. Either way, Batman is as close as he’s ever been to embracing the Dark Side. Snyder’s tone for the Batman Who Laughs continues with a beat that is overpowering and smothers all light from a room. Thinking back on the issue, all I see is darkness and red letters.
Baron’s color palette makes The Batman Who Laughs #5 a gorgeous book with a vast spectrum of background color that invokes an emotional response. The green, yellow, and purple are powerful and elevate Jock’s storytelling. Cipriano’s letters are built upon the foundation of a mad man, multiple madmen at that, and everyone has a visually clear voice because of his work.
There are more profound concepts in the book about who Batman is and his relationship with Gotham, but Snyder and the rest of the creative team on the issue do such a fantastic job with the story, that I don’t think Gotham will survive. The Batman Who Laughs #5 pulls a Toy Story 3, in the fact that I thought the toys were going to die! This is how I feel about Gotham and Batman. Great storytelling is convincing readers of the emotional highs and lows of the series and The Batman Who Laughs accomplishes that feat.
Read the first five pages of The Batman Who Laughs #5 below.
Come back here after you read The Batman Who Laughs #5 and tell me what you think in the comments below.
Amidst all the chaos and insanity of War Of The Realms, a new team emerges. Greg Pak brings us the New Agents Of Atlas in the latest tie-in to Marvel’s extremely fun event.
***SPOILERS LIE AHEAD***
Our old friend Jimmy Woo is back within the pages of Marvel Comics to bring us the New Agents Of Atlas. This time he’s recruiting some of the up and coming heroes from the 616 before Malekith’s crusade forces them to band together.
War Of The Realms has been a wonderful crossover event hearkening back to when these huge stories were at their peak. It’s very fitting that now would be the time to resurrect a dormant title with an all-new team rising to face this universal threat.
The team’s lineup consists of a few faces you’ll recognize (Amadeus Cho, Cindy Moon, Shang-Chi) along with a handful of bad-ass women you may not be familiar with. War Of The Realms: New Agents Of Atlas #1 also marks the first appearance of Luna Show, a K-Pop superstar crime fighter. Crescent and Io make their comic book debut, coming over from the Marvel Future Fight mobile game.
Greg Pak is a veteran and absolute pro, this introductory issue is a very easy pill to swallow. We’re quickly introduced to a lot of characters but they all get their proper due enough to get the point across to the reader. There’s no fat in this issue, it’s straight to business and right into the action.
Gang-Hyuk-Lim also displays veteran talent, giving us an easily digestible and explosive first issue. Lim gives each new agent of Atlas distinctive characteristics and personality. The more this group develops into a team, there’s sure to be some wonderful looking action.
Colorist Federico Blee delivers a bright and upbeat display of color. Sindr and her forces specifically stand out with the color making the difference.
Kamala Khan is becoming like Spider-Man, appearing in title launches to get things off to a good start. Ms. Marvel is an absolute joy whenever she appears, her presence is the proper way to bridge the gap between Amadeus Cho’s tenure with the Champions into becoming an Agent of Atlas.
The only knock against the time each character gets is that we don’t get nearly enough Shang-Chi, but it’s for the purpose of getting a crash course in all the lesser known players. One of the biggest bad-asses in Marvel’s 616 is Shang-Chi, any time he gets a spotlight we’re likely in for a treat.
Shang-Chi’s relationship with Amadeus Cho could be an interesting one. After Cho’s recent Hulk rage episode he’s not as confident as we’ve come to know him. Shang-Chi telling him his worst nightmare is being charge makes for some juicy drama coming our way.
Pak chooses the forces of Sindr to square off against our Atlas heroes, a formidable foe. It’s revealed that Sindr actually tricked these elemental heroes into appearing in order to serve her evil agenda. The fact that this isn’t just a random collection of heroes facing a random horde of enemies bodes well for New Agents Of Atlas.
Cindy Moon (Silk) is an underrated character in her own right, it’s exciting to see Greg Pak plucking her from the unused character void and breathing new life into her. Silk has so much story left to tell after her brief involvement in both Dan Slott’s Amazing Spider-Man and Spider-Verse.
War Of The Realms: New Agents Of Atlas #1 properly resurrects and re-purposes a Marvel property that has been dormant too long. Greg Pak immediately proves he has a voice for a handful of underrated characters that deserve to be taken off the shelf (as well as some new ones).
