COMICS ON KICKSTARTER is a new series we are starting at Monkeys Fighting Robots highlighting comic book Kickstarter campaigns. According to Kickstarter, $15.3 million was pledged to successfully funded comic book projects in 2018, up 27% from 2017. If you are working on a comic book related Kickstarter campaign, send us your information at info@monkeysfightingrobots.com.
What the heck is HAMSTER RAGE?
Brian Crowley’s Hamster Rage is the story of MegaBabe, leader of the super team Allied Force, and Roosevelt, her childhood pet hamster who’s now over eight feet tall, super-powered and has the mind of a hyperactive child.
The 160-page graphic novel collects the first four issues and has pinups and covers by Gene Ha, Tim Seeley, Tony Akins, Steve Seeley, Jenny Frison, Hilary Barta, Jim Terry, Ryan Browne, and Geof Darrow.
Watch the Kickstarter video for HAMSTER RAGE:
One of the things that potential backers look for on Kickstarter is a completed project, and the Ringling School of Art and Design graduate has said, Hamster Rage Chapter 1: Roosevelt VS Everyone is complete. The funds collected will be purely for printing and shipping the book to backers. Click on the widget below for more information and to grab yourself a copy.
What do you think? Is this the type of comic book project you want to see more of? Comment below with your thoughts.
Issue 4 of Buffy The Vampire Slayer marks the end of the first story arc in BOOM! Studios new Buffy-verse. With the announcement of the surprise Angel comic, also out this week, certain elements of the plot may have been given away. Or have they?
The element of surprise has been an integral part of this series so far with the creators mixing up what the fans know about the characters and their relationships with each other. Nudging a character slightly to create a different dynamic has given this version of Buffy an edge over other tie-in comics in the franchise and this issue is no different.
Buffy The Vampire Slayer #4 Credit: BOOM! Studios
Writing/Story
In this issue Jordie Bellaire has slowed the plot down, producing a character driven issue. The emphasis of the narrative is on how the lives of the central characters have been affected by the appearance of the Slayer in Sunnydale.
It open’s with Buffy and the Scooby gang training. Giles warns of the dangers of ahead, referencing Drusilla’s appearance in previous issues, and then gives Buffy the night off to relax before the coming battle.
This element of the plot allows Bellaire to focus the story on Buffy and her friends. She is able to show them as the teenagers that they were before the craziness began and how they interacted with each other. It also allows for the narrative to compare who they were before with who they are now. Bellaire does this by highlighting the small changes in their interactions; for example, the moment when Xander is late and Willow expresses concern because he is never late.
The slow pace of the comic relaxes the readers and allows Bellaire to build up the momentum leading into the final pages. She lulls the reader into a false sense of security and then slowly takes that security aware. It is something that the TV show did really well and Bellaire does it beautifully here. Although the changes made earlier in the run to one of the characters may lead the reader to guess what is going to happen, or at least who it will happen to.
Buffy The Vampire Slayer #4 Credit: BOOM! Studios
Art
As ever the art work is brilliant. Dan Mora lays out each page with a simple goal in mind; relaying the story, and then fills each panel with dynamic images.
The opening pages are an example of how good Mora is at expressing character. He employs the 9 panel grid and dedicates one row of three panels to each central character. Then each panel represents a different aspect of the character; sometimes by portraying an act which has already happened in the comic or by glimpsing something that hasn’t been explained. Each three panel row adds depth to each character so that the opening two pages contain a plethora of information.
Raul Angulo gives each scene a different color theme to distinguish each one and set the tone for the scene. The school and home scenes are fairly muted with Buffy standing out in vibrant clothing because she is the focus of those scenes.
A more unnerving color palette is then used as the story progresses and a contrast between panels on the same page picks up the mood of the characters, forcing the reader to subconsciously compare them. There is one moment later in the comic when Angulo shifts the shading tone to a deep red just on one character and instantly the reader knows the danger this character is in. It is simple but extremely effective.
The lettering, by Ed Dukeshire, manages to capture the Buffy-speak that Bellaire employs throughout. The inflections and emphasis by the characters on words and phrases is perfectly captured by Dukeshire’s work. He also creates an ambiguity with the main caption boxes making the reader double guess who is speaking. Usually this would be a bad thing but in this instance it helps to keep the narrative moving while retaining an element of mystery.
One of the area’s where Dukeshire excels is in the texting conversations. He creates believable mobile screens with the text laid out in a realistic manner. As the character tilts the mobile phone, the text is also tilted to match. Just like the straightforwardness of some of the coloring, this obvious lettering technique makes the world of difference to the readability of the comic.
Buffy The Vampire Slayer #4 Credit: BOOM! Studios
Conclusion
This issue of Buffy The Vampire Slayer is both a wind down from the opening excitement and set up for the nightmare to come. The entire creative team painstakingly make so much of the action mundane and normal so that the reader can get to know the characters better. It also helps to set the right tone for the end of the issue. From the opening there is no indication of how the narrative will progress which is perfect for this type of story.
This first arc of Buffy The Vampire Slayer has been near perfect from start to finish. Bellaire has captured the essence of the characters and given them her own spin. In turn the entire art team have all pulled out their best work to make sure that this comic would be a hit.
The Cool Kids is an old-school, multi-camera sitcom on FOX and co-created by Charlie Day (It’s Always Sunny In Philadelphia) about four seniors living at a retirement home who act more like high schoolers than wizened elder folk and lacing the hilarity with the right music is composer, Cormac Bluestone.
The Cool Kids stars comedy legends David Alan Grier (The Big Sick), Martin Mull (A Futile and Stupid Gesture), Leslie Jordan (American Horror Story: Roanoke), and Vicki Lawrence (Hollywood Squares) who all live at Shady Meadows Retirement Community. Grier is Hank Henderson, the de facto leader of a group of four, however, when one of their clique passes on, a new member fills the slot whether Hank likes it or not. That new member is Margaret Flynn played by Vicki Lawrence who is a firebrand of a woman that ruffles feathers but is clearly meant to be part of this quartet.
PopAxiom had the chance to talk to Cormac Bluestone and pick his brain about making music for The Cool Kids, It’s Always Sunny In Philadelphia and the power of workflow.
Growing Up With Music
Cormac started playing the violin at three, switched to the piano at twelve, then guitar all the way through college “As long as I can remember I’ve been playing music.”
Movies are ubiquitous “I always had a love for music in film and television, so I was fortunate to end up in a place I wanted to be.”
Growing up in the 80s Cormac was exposed to electronic music early on by a sixth-grade teacher “I was writing music in DOS.” Cormac adds “I love tech.”
Cormac is a composer but don’t be fooled, perusing his IMDB will reveal credits as an actor, producer, and cinematographer “I really wanted to be a part of this industry somehow. But editing, camera work, all that stuff, it all kind of adds up to the same idea in today’s digital age and the way things work.”
The Nightman Cometh
Cormac’s journey to The Cool Kids started with a beloved FX comedy “I have to say my first real break was It’s Always Sunny In Philadelphia and working on ‘The Nightman Cometh.’”
Cormac continues “That was my first real big TV job. I had been writing musical short one-acts for years in New York City. Me and my friends who had a theatre company would perform them in bars.”
The composer continues “The more we did, the more I thought, ‘how do we make a bigger show?’” And then came a move out west and one important Day “In L.A., we staged the ‘best-of-the-best’ and Charlie Day came to see it.”
Making The Cool Kids
What was Cormac’s first reaction to reading the script for The Cool Kids? “I loved it. I grew up in the 80s with multi-cam sitcoms, so I was so excited to get to work on a show like that. And then, you have the cast, plus guests like Jamie Farr (MASH).”
The Cool Kids is co-created by Charlie Day who shows up in a cameo in the pilot. Was it Cormac’s connection to Day that got him the gig? “Absolutely.”
Time is a significant factor in life, and when it comes to network sitcoms, there is a wildly varying amount of it “The turnaround really depends. Sometimes I get as long as a week to do an episode and sometimes it’s under 24 hours.”
But Cormac admits “Personally, I welcome the short deadlines. I’m about workflow.”
From the onset “Charlie and Paul Fruchbom who created the show, they were very clear on what they wanted. I think that’s what our audience has responded to. They know what they are going to get, but also know they’re going to be surprised.”
Musicals + Video Games
You cannot do an interview with Cormac and ignore an interesting list on his credits — Assassin’s Creed: The Musical “That was such a gem. A friend of mine was working for the YouTube channel Machinima. My friend asked me if I could do some music for this for the release of the game. The lyrics were perfect. So I made a couple tracks. The director they hired turned out to be an old friend of mine. We had some amazing singers.”
About making the short film, Cormac says, “It was an incredible experience.”
Of course, talk of video games begs the question, is Cormac a gamer? “I’ve played every Halo, every Madden. But I don’t get a lot of time to play these days.”
Cormac talks about the influence of video game music “But video game music …. today, it’s so much more cinematic too. Something like Red Dead Redemption is so incredible.”
Making Music
For Cormac, there is one crucial aspect to making music for him “I think you gotta start with a workflow. How is this going to get done? How do we do it in a way that’s comfortable?”
A part of the score-making workflow often includes temp tracks “My point of view on temp tracks is that I’ve been lucky. Some of the editors and producers I work with pick great temps.”
Cormac also thinks “But that’s a challenge too because if you have a great temp, then you have to ask ‘what can I bring to this?’”
However, he doesn’t see this as a negative “It’s a fun part of figuring that out. What is it about this piece of music that is appealing? And then how can I deliver something as good or better?”
Continuing the talk on temp tracks, there’s a reality to making movies and TV “It’s hard to edit without music.” So temp tracks are necessary, but not necessarily evil as they are sometimes portrayed.
For Cormac “The only real negative is if a project sits too long and people fall in love with a temp. But TV moves so fast these days it’s hard for that to happen.”
In regards to his current show “The Cool Kids, we did 22 episodes this season, and the temp tracks at this point are all my music from before.”
Wrapping Up
Who would you say is part of your musical DNA? “Oh, man.”
Cormac begins “I have to say Mark Mothersbaugh (Thor: Ragnarok).”
Cormac delves deeper into his first answer “[Mothersbaugh] Came from one of the biggest 80s acts — Devo. His versatility. But when I saw Rushmore in theaters, his instrumentation on it was so different than a big score, but it feels like a big score and punctuates the comedy. I learned so much about comedy.”
It might seem a bit common for musical artists to turn to composing since people like Trent Reznor, Thom Yorke, and Johnny Greenwood are making music for films and television. But in the 70s and 80s, it was rare, but another of Cormac’s picks had a similar start “One of my true favorite composers is Danny Elfman. He was part of [70s/80s new wave band] Oingo Boingo. I don’t even think he wanted to be a composer, but he got to work with Tim Burton.” And the rest is history.
More of the musical DNA comes together “Of course, various other artists. I grew up listening to Van Halen, John Williams … Alan Silvestri. It’s a real mixed bag.”
Cormac adds one more name to his list “Mike Post was someone I loved growing up, and he produced Van Halen’s Van Halen 3. It’s a great album, and you can hear what Post brings and how it marries what Van Halen does, and Gary Cherone is a fantastic singer.”
Cormac’s work is not done “We’re finishing up The Cool Kids. We’re in the very last stages.” Keep an ear out for more from the composer, because The Cormac Cometh, ahh-ah-ahhhhh!
Thanks to Cormac Bluestone and Impact24 PR for making this interview possible.
Superman’s Girlfriend Lois Lane and Superman’s Pal Jimmy Olsen were two mainstay series of DC’s Silver Age. Soon, those characters will each headline their own books again — though we likely won’t get Lois scheming to marry Superman or Jimmy as “the Red-Headed Beatle of 1,000 B.C.” (Google it).
The LA Times‘s Hero Complex has a sneak peek at Lois Lane by Greg Rucka and Mike Perkins, and Superman’s Pal Jimmy Olsen by Matt Fraction and Steve Lieber. Both are 12-issue series debuting in July.
Rucka, who formerly steered the adventures of another female DC icon in Wonder Woman, has this to say about Lois:
“Lois Lane is the best investigative reporter in the DC [Universe]. This is our truth, and this is what the book is about… [She] is often described as fearless, but that’s a mistake, because it implies that nothing frightens her. There’s plenty that frightens her; the difference is that it never stops her. She was like that before Superman entered her life, and so she remains.”
At least from the descriptions, the two books will strike different narrative tones, with Jimmy’s being the more “fun and light and optimistic.” Lieber says,
“I think there’s a lot of storytelling power in the juxtaposition of the ordinary and the extraordinary, and Jimmy is all about that… [It’s] a chance to be funny in the world full of much larger than life characters.”
You can get a taste of the two new series in the upcoming Superman: Leviathan Rising Special, as that one-shot will include short stories by creative teams for both Superman’s Pal Jimmy Olsen and Lois Lane. More preview art can be found at Hero Complex.
If you’ve been enjoying Brian Bendis’s Superman work, and the world of Metropolis he’s built, will you follow these characters to their own comics? Let us know in the comments!
The Chi is an award-winning and recently Peabody-nominated Showtime series about the lives of strangers brought together by tragedy, and Patrick Warren is the composer responsible for bringing out the feels.
Created by Emmy-winner Lena WaitheThe Chi stars Jason Mitchell, Ntare Guma Mbaho Mwine, Jacob Latimore, and Alex Hibbert who are four disparate souls who are united when their small community on the Southside of Chicago is rocked by a fateful turn of events. As their lives intersect and they deal with the aftereffects, friendships are forged and lost. The Chi began its second season in April of 2019.
PopAxiom spoke with Patrick Warren about his career in making music, working on The Chi, and being a globally known expert in playing the Chamberlin.
Thanks, Mom
The road to making music started when Patrick’s mother, a nurse, had her son learn an instrument “As a child, I was forced to take piano lessons. Somewhere around my teenage years … my mother said ‘You are old enough to make your own decisions, you can quit if you’d like.”
Patrick had never seriously considered quitting by that point, but did ponder it for a moment “I decided to keep going with it and shortly after discovered rock and roll. I’ve been obsessed with music ever since.”
Patrick studied music, eventually falling in love with composition and continuing his studies at UCLA “They would give us a little piece of video and tells us ‘you have four cellists, four violins… and a french horn. Make it go to this picture.”
However, Patrick’s musical career “… started out as a rock musician with many different bands and touring.” The young man has toured or worked with the likes of Fiona Apple, Bruce Springsteen, Bob Dylan, and Lana Del Rey.
Patrick’s career grew and evolved “I started making arrangements for string orchestras, and I think that sort of gradually started me towards film scoring.”
The Chamberlin
Out in the world, there are some weird instruments. One of them is the Chamberlin, created in 1949, which typically looks like a piano but is something entirely its own “The most well-known use of the instrument is the beginning of Strawberry Fields by The Beatles.”
The idea behind the Chamberlin was trying to put an “orchestra in a box,” and Patrick admits “I became obsessed with the idea … I took an approach to make that instrument sound as much like an orchestra as I could in the sounds and the way I would play it.”
The Chamberlin is a marvelous machine, but it’s also a unique instrument “It’s a real mechanical beast. It has motorcycle bushings and flywheels. The motors … came from a refrigerator. It was quite a contraption.” Patrick would have a full set of tools while on the road, working as a part-time mechanic to keep the machine working.
About The Chi
Patrick continued to work with musicians while expanding his skillset as a composer “I met Common when I worked on a song he wrote with John Legend for the movie Selma, the song Glory.” That song won an Oscar in 2015.
From Glory, Patrick worked with Common again on “… this amazing record called Black America Again. Common also offered something special to Patrick, creative freedom “Common said ‘do whatever you want.’”
Did Patrick listen? “I really went nuts.”
Patrick Warren with Jason Mitchell (Left) and Barton Fitzpatrick (Right). Photos by Eric Charbonneau.
Common is an executive producer of The Chi and invited Patrick to be the show’s composer “A little bit of what we did on the record became a bit of something we did on the show. It was a starting point.”
As The Chi got underway “… we weren’t really sure what we wanted musically, so there was a lot of temp music. The editors, of course, hear it all the time and start to like it. Season two was different in that they used my music as the temp.”
As for Patrick’s approach to projects like The Chi “When I write music I have the dialogue up and almost approach it as the lyrics to a song.”
https://www.youtube.com/watch?v=w2SIzEGg0oo
Making Music
Over 20 years, Patrick’s worked with musician T Bone Burnett “… a brilliant producer who asked Patrick to work on the gritty HBO show True Detective.” The show won an Emmy for Outstanding Music Composition in 2014.
Writing music for TV and film presents interesting challenges “I’ll write a beautiful piece of music for say a funeral scene, and I think I’ve nailed it. It’s not too sappy. I’ll play it for friends who love it. Then you play for it Producers, and they say ‘I like it, but I want to be in a murderous headspace. So you have to approach it in a new way. But that’s part of what scoring is all about.”
Patrick is a fan of experiment instruments and sounds, and as a science fiction fan, he admires stories that take that kind of out-of-left-field approach too “The movie Arrival starts with a string quartet, and it’s not what you expect from a science fiction film. But it lets you know that it’s not just another shoot-em-up type of movie.”
Creative work often has to be compressed down for specific effects. For instance, a screenwriter has to boil the entire story into one or two sentences known as a logline. In music, snippets of songs, usually relegated to theme songs, fill the role of setting the mood for an entire show. We talk about the simplicity of the Game of Thrones theme for a moment then Patrick, like many creators before him, declares “Writing simple melodies is deceptively hard.”
Wrapping Up
Who is in Patrick’s musical DNA? “I have to say, Tom Waits is in my DNA a lot. I’ve been a huge fan of his forever, and I got to tour with him. Such a fan of the way he writes. I love older jazz. A lot of classical.”
At night, Patrick puts headphones on with some music “… and falls asleep.”
If The Chi isn’t enough of Patrick’s music for fans to enjoy, the musician and composer worked on several upcoming albums including “A Sara Bareilles record that came out recently (Amidst the Chaos) which T Bone had me write a bunch of strings for.”
Patrick isn’t forced to play piano anymore. In fact, there’s a hint of joy as he talks about making music “It’s an absolute blast.”
Thanks to Patrick Warren and Impact24 PR for making this interview possible.
Stronghold #3 hits your local comic shop on April 17, 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 Phil Hester, with art and cover by Ryan Kelly, colors by Dee Cunniffe, and letters by Simon Bowland.
Phil Hester (The Coffin, Deathstroke, The Darkness, SHIPWRECK) and Ryan Kelly (The Wicked & The Divine, Lucifer, Saucer Country) weave a tale of cosmic horror, high-adventure and tragic romance unlike anything else in comics.
About the issue: When the last vestiges of normalcy are stripped from Michael Grey’s life, he is finally confronted by his past in the far-flung cosmos…and the enemies he made there. Can the Stronghold put the broken pieces of Grey’s life back together before the terrors he battled in the stars follow him to our fragile Earth?
Stronghold has been a critical darling for AfterShock through two issues. You can read our 5-star review of the first issue here, and our equally-glowing review of the second issue here.
Check out the full preview for Stronghold #3 below:
Do you have Stronghold on your pull list? Comment below with your thoughts on the series.
So far we’ve had the dramatic last page of Batman #50, the “Leviathan” storyline creeping through the pages of Action Comics, the return of the Batman Who Laughs, Perpetua’s looming arrival in Justice League, and the announcement of a special 25 cent comic book on sale in May. Now, DC Comics has unveiled full details for their “Year of the Villain.”
The event will be presented in three main titles: Batman, Justice League, and Event Leviathan/Action Comics. The official descriptions are below.
BATMAN: CITY OF BANE
It’s going to be a long hot summer for the Dark Knight as well, courtesy of Tom King and Tony S. Daniel as “City of Bane” begins BATMAN #75, on sale July 17. This extra-sized anniversary issue kicks off a new multi-part storyline tying together all the threads of the first 74 issues of Tom King’s epic Batman run.
Bane’s minions have moved into Gotham City, taken control and rule with an iron fist; and they aren’t above rounding up any rogue villains that aren’t ready to get with the program. Meanwhile Batman is nowhere to be found – at least not the Batman that anyone knows. And if Gotham City is already under Bane’s thumb, what kind of offer can Lex Luthor make him, and will he accept?
JUSTICE LEAGUE
In DC’s YEAR OF THE VILLAIN #1 written by Scott Snyder and James Tynion IV with art by Jim Cheung, Lex Luthor has decided once and for all that heroism is a false dream and for man to ascend to his place in the universe, he must embrace his basest, most evil instincts. But this means making an incredible sacrifice to achieve his goal and gain the support of Perpetua, the first being to be imprisoned within the Source Wall, now freed from the events of DARK NIGHTS: METAL.
Beginning with June’s issue #25, Luthor’s plans begin to crystalize in a “prelude” story co-written by Snyder and Tynion with art by Javi Fernandez. In July, he makes “The Offer” to some of the DC Universe’s most noteworthy characters; he alone holds the key to them realizing their full potential. This kicks off an epic event taking over 2019, setting the stage for an all-out clash between the forces of Justice and Doom:
July – Year of the Villain: The Offer
August – Year of the Villain: Dark Gifts
September – Year of the Villain: Evil Unleashed
October – Year of the Villain: Doom Rising
ACTION COMICS/EVENT LEVIATHAN
Beginning with the “Leviathan Rises” storyline in ACTION COMICS #1007, Brian Michael Bendis and Steve Epting continue to explore the DCU’s clandestine world of espionage and terrorism. The organization known as Leviathan continues to remove competitors from the playing field while its ultimate purpose (and the person behind it) remains unknown.
In DC’S YEAR OF THE VILLAIN #1, Batgirl and Green Arrow dive further into this mystery in a story featuring a moody style reminiscent of a spy thriller (courtesy of artist Alex Maleev), where offers are made and suspicions about the identity of Leviathan are raised. Fans can follow the ongoing mystery in ACTION COMICS #1010 (April 24), #1011 (May 11) and SUPERMAN: LEVIATHAN RISING SPECIAL #1 (May 29) before the DCU’s greatest sleuths and detectives join forces to thwart this full-blown threat as the six-issue EVENT LEVIATHAN miniseries begins on June 12.
Besides the big three titles, other DC books will carry special villain portrait covers by artists like Frank Quitely, Adam Hughes, Franics Manapul, and Stanley “Artgerm” Lau. According to DC, the covers, “will be printed on cardstock with minimal trade dress, presenting the art in a bold, dynamic setting and carry an increased cover price ($1 extra) over the standard version.”
You can also click over to DC’s announcement page to see the full press release along all the covers for the event.
Are you intrigued by a villain-centered event? Will you be all-in on this one? Leave us a comment below!
Marvel Comics announces a new series, Captain America & The Invaders: The Bahamas Triangle, with issue #1 dropping this July. The book is written by Will Eisner Comic Book Hall of Famer Roy Thomas, with art by Inkpot Award-winning Jerry Ordway, and multiple variant covers by Ron Lim and Patch Zircher.
No one has a greater love for The Invaders than Thomas; he created the original team with artist Sal Buscema in The Avengers #71 (December 1969).
About the issue: March 1941. Assigned to safeguard President Roosevelt during a fishing trip in the Bahamas, the newly commissioned Cap endures his baptism under fire — while a German U-boat (carrying the Nazi super-soldier called Der Wunderkrieger (or Wonder Warrior) heads for the island chain’s capital! His mission: to kidnap England’s once-king, the Duke of Windsor, and sit him on the throne of a defeated Britain! But others happen to be in that part of the Atlantic as well — the once-bitter rivals the Sub-Mariner and the Human Torch!
Ordway has contributed to some of the biggest books in the industry during his career, and now we get to see what he comes up with working on vintage characters from Marvel’s early days.
This will be the second Invaders series out currently, joining the series by Chip Zdarsky, Carlos Magno, Butch Guice, Alex Guimaraes, and Travis Lanham.
Check out a full-size version of Ordway’s cover below:
Are you excited to see The Invaders in their prime? Comment below with your thoughts.
Marvel Comics announces a new one-shot for July, Wolverine Vs Blade Special #1. The book is written by Marc Guggenheim, who’s no stranger to writing battle royals.
“This is a book that’s been — not kidding — ten years in the making. I couldn’t possibly be more excited for it to finally see publication. I think it’s worth the wait,” said Guggenheim to Monkeys Fighting Robots.
Dave Wilkins is the artist on the book, with a variant cover by Matteo Scalera. Wilkins has mainly been a cover artist to date, but Wolverine Vs Blade Special #1 looks to be his breakout comic. Guggenheim admitted on Twitter he is very excited for Wilkins’ amazing art.
Guggenheim has previously written both Wolverine and Blade individually, so it will be interesting to see how He brings that knowledge and experience to a “versus” story. His writing credits span comics, novels, film, TV, and even video games, and he’s also a co-developer of the DC Comics shows Arrow and Legends of Tomorrow.
About the issue: Two of the deadliest hunters ever to have stalked the night face off! Wolverine vs. Blade — ’nuff said!
Check out a full-size version of the cover below:
It’s worth noting that Wolverine is in his X-Force costume on this cover, raising questions as to when this story takes place. Ol’ Logan was just recently brought back to life after a few years, while Blade has joined the Avengers.
Are you excited for Wolverine Vs Blade Special #1? Comment below with your thoughts.
War Of The Realms: War Scrolls #1 of 3 hits your local comic book store on April 17, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview to share with you.
The 33-page book is written by Jason Aaron, Chip Zdarsky, Josh Trujillo, and Ram V. With art by Andrea Sorrentino, Joe Quinones, Ricardo Lopez-Ortiz, and CAFU. Alan Davis, Mark Farmer, and Matt Hollingsworth worked on the cover.
When Marvel says, “THE MUST-READ COMPANION TO WAR OF THE REALMS!” The publisher might be right with this tie-in. Daredevil is a unique character, and it could be interesting to see how Aaron uses Matt Murdock and what direction he sends the Man With Out Fear.
About the issue: Gifted the sight of the Bifrost, Daredevil watches all Midgard burn under Malekith’s invasion. How will the Guardian of Hell’s Kitchen…guard an entire Earth turned to Hell? Find out in a story by Jason Aaron & Andrea Sorrentino! All this and more (including a new Howard the Duck story by Chip Zdarsky & Joe Quinones!), straight from the battlefield of WAR OF THE REALMS!
Check out the full preview below:
Do you have War Of The Realms: War Scrolls on your pull list? Comment below with your thoughts.
