Animosity #20 hits your local comic shop on April 17, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview to share with you.
Animosity is AfterShock Comics longest running series.
The 32-page book is written by Marguerite Bennett, with art and cover by Rafael De Latorre with Ornella Savarese, colors by Rob Schwager, and letters by Marshall Dillon.
About the series: One day, the Animals woke up. They started thinking. They started talking. They started taking revenge. Now, a dog and his girl are trying to get away–out of New York City, and all the way to San Francisco, to the only person who might be able to protect and save her.
Check out the full preview for Animosity #20 below:
Do you have Animosity on your pull list? Comment below with your thoughts on the series.
After making-off with Emperor Dragan’s treasure and supplies, Sonja plans her next move in Red Sonja #3.
This chapter sees the titular barbarian plotting how to defend her people and the treasure captured in issue two. At the same time, she must weigh how to handle a band of mercenaries interested in the same score.
The Writing
Mark Russell continues to excel as the writer behind Red Sonja #3. The book is well-paced and thoroughly engaging, with very little narrative flab.
Issue three offers less humor than the previous chapter. However, there is more emphasis on character development, specifically with Sonja herself. She displays immense competence as a leader, but her skills don’t come from nowhere. We see flashbacks to a younger Sonja under the tutelage of her master, Domo of Khitai. This provides insight on how Sonja developed from a hot-headed raider into a wise warrior.
Loyalty is a dominant theme in Red Sonja #3; specifically, how loyalty stands up against the prospects of wealth. We see the lessons learned in flashbacks play out in the present-day narrative, and how they relate to broader themes within the book. As Domo explains, “Nothing is more dangerous than a man with no loyalty.” Sometimes, you can do much better with a small band dedicated cadre than with an undisciplined army.
The Artwork
While not as action-packed as the last issue, the artwork in Red Sonja #3 is still stunning. Characters possess a kinetic sense of energy, with bold and expressive designs. Readers get a true sense of emotional tone through characters’ gestures and faces.
Mirko Colak pays meticulous attention to detail; his eye for backgrounds and architectural designs helps bring the world of the book to life. Of course, the bold colors, especially as the action heats up in the book’s second half, make the visuals pop off the page.
Final Thoughts
Red Sonja #3 continues this latest, excellent run with the character. Skilled storytelling and excellent artwork elevate this run above the standard for the sword-and-sorcery genre, making it a must-read series.
Classic Marvel Comics fans, IDW Publishing has some good news for you: they’re teaming with Yoe Books for a new hardcover reprint series of Marvel material from the Golden Age onward.
Publishers digging into their archives is nothing new, from Masterworks to Complete Collections to Epic Collections and more. What sets this new venture apart, at least from the outset, is that their first release is a dedicated book of comic art rather than a story reprint collection. Marvel Masterwork Pin-Upswill collect exactly what the title promises: pin-up pages from a variety of issues and artists. This is a rare treat, as pin-ups — which used to appear inside Annuals or “Giant-Sized” issues — have often only been reprinted in the Omnibus books (unless you’re lucky enough to own the original comics, that is).
So far, the company has revealed art by Steve Ditko (Spider-Man, Doctor Strange) and Jack Kirby (The Thing), though the press release offers many more names, including Jim Steranko, Wally Wood, Barry Windsor-Smith, and John Byrne. Curiously, they also refer to this being a lineup of “legendary Silver Age creators”; while Windsor-Smith debuted at Marvel in the late 1960s, Byrne’s work didn’t appear until well into the Bronze Age.
IDW has yet to announce any future books in the series, but based on the first offering alone this is off to a promising start. The official press release is below:
SAN DIEGO, CA (April 2, 2019) – IDW Publishing and Yoe Books are proud to announce a new line of Marvel Comics collections, a sensational series of large-format hardcovers curating the finest artwork from the Golden Age’s four-color foundations all the way up to the Marvel Age’s dizzying heights!
Coinciding with the year-long celebration of Marvel’s 80 years of publishing, Yoe Books will debut their retrospective look at the House of Ideas with Marvel Masterwork Pin-Ups, which will be followed by additional entries in 2019.
In Marvel Masterwork Pin-Ups, the pulsating pin-up artwork of legendary Silver Age creators – including Jack Kirby, Steve Ditko, Jim Steranko, Don Heck, John Byrne, Barry Windsor-Smith, John Severin, Wally Wood, Dan Decarlo, John Romita, and many more – is collected for the first time ever into a single volume, accompanied throughout with witty wordage, pulse-pounding patter, and zany zingers by Stan “The Man” Lee!
Fans will treasure large, deftly drawn pin-ups by these marvelous artists of Spider-Man, Thor, Doctor Strange, Captain Marvel, The Hulk, The X-Men, the Fantastic Four, and many more, plus nefarious villains led by Doctor Doom – and even Millie the Model by Dan DeCarlo!
“I’m the person that I am (such as that is) because of Stan, Jack, Steve, and the other early Marvel creators inspiring me in my Peter Parker teenage-years,” says multiple Eisner Award-winning editor Craig Yoe. “To take this ‘journey into history’ with this – the first in a line of Marvel books – is an amazing, fantastic, incredible thrill for this proud charter member of the Merry Marvel Marching Society!”
Marvel Masterwork Pin-Ups is now available for pre-order via online booksellers and comic book specialty retailers. Visit www.comicshoplocator.com to find a store near you.
Marvel Masterwork Pin-Ups
by Jack Kirby, Steve Ditko, Jim Steranko, Don Heck, John Byrne, et al.
ISBN 978-1-68405-520-3
$34.99 (US)
120-page, color squarebound hardcover, 9″ x 12″
Does this book look like something you’ll be checking out? Are you excited for a new hardcover series of classic art material? Leave us a comment!
Sabrina The Teenage Witch has gone through a number of iterations in and out of comic books since her debut in 1962. From the wholesome, yet mischievous teen in 1960’s and 70’s cartoons, to the 90’s-era family/high school sitcom, to her darker turn in The Chilling Adventures of Sabrina. Much like superhero comics, Sabrina and her Archie counterparts have been able to endure for decades, changing with the times to reflect the culture of the era.
The most recent take on Sabrina is a concoction of the versions the character and her world had taken for nearly sixty years.
**Some Spoilers Below**
Story
BRAND NEW SERIES! Sabrina is a teen witch who’s struggling with balancing the double life of high school and her burgeoning powers. Newly relocated to Greendale with her aunts Hilda and Zelda (also witches), Sabrina is trying to make the best of being the new girl in town which so far includes two intriguing love interests, an instant rivalry, a couple of misfits that could turn into BFFs, and trying to save the high school (and maybe the world) from crazy supernatural events. NBD!
Sabrina the Teenage Witch #1 is very much an amalgam of the wholesomeness of the character’s debut, the family comedy and teen romance of the sitcom, and even a dose of the terrors from last year’s Chilling Adventures. Writer Kelly Thompson has successfully captured this in a single issue.
The first page reads as if it will be another version of Chilling Adventures, when the next few pages shifts the tone and reads like a sitcom. We are treated to comedic banter between Sabrina and Salem, followed by an introduction to her Aunties Zelda and Hilda. Then we go along with Sabrina on her first day in a new school. There, she encounters potential friends, probable love interests, and definite bullies. This is all before the story returns to the situation Sabrina found herself in on the very first page.
What Thompson has done exceptionally well is her use of Sabrina’s inner monologue. It is constantly going and filled with curiosity, sarcasm, confidence and angst. These are qualities most people identify with, particularly on their first day in a new school.
Art
Artists Veronica Fish and Andy Fish give the characters and world of Sabrina a quirky, yet somewhat grounded look. The illustrations are light and charming, but not overly cartoonish, like what is found in a classic Archie comic. The coloring also works well, with a bright, pastel palette. Those pages are contrasted by darker shades in the chilling moments that bookend the comic.
Conclusion
Sabrina The Teenage Witch #1 is a well-told reintroduction, blending sitcom humor, teen romance, high school drama, and a dash of horror.
What did you think of Sabrina The Teenage Witch #1? Let us know in the comments!
For too brief a time in the late 1980s, The Storyteller showcased relatively obscure folktales for television audiences worldwide. Though the show only went on for 13 episodes (including the sequel series Greek Myths), its legacy lives on to this day. This includes a television reboot currently in the works, and a novel adaptation. There is also a set of graphic novel miniseries’, each an anthology featuring a particular creature of fairy tales and mythology. So far, the series has covered Witches, Giants, Dragons, Fairies, and most recently, Sirens.
**Some Spoilers Below**
Story
The critically acclaimed Jim Henson’s The Storyteller celebrates four mythic tales of Sirens, inspired by folklore from around the world and told in the spirit of Jim Henson’s beloved television series. In this first issue, Polish writer Sztybor Bartosz teams with artist Jakub Rebelka (Judas) to reimagine the classic Polish folktale “The Fisherman and the Mermaid”. The fisherman is not happy with his life. He works all the time, struggling to make ends meet rather than spending time with his wife and their daughter. One day, while fishing, he hears a mermaid singing and the song overwhelms him with joy. He can’t stop thinking about this song so he captures the mermaid and imprisons her.
In the first of four stories from Jim Henson’s The Storyteller: Sirens, writer Sztybor Bartosz does solid work in setting the tone right from the beginning. Once the story moves from the introduction by the Storyteller, and into the tale itself, it’s a somewhat rigid structure, reading more like storyboards than a graphic novel.
The story is a much more toned down version of its source material, but still manages to maintain its message. The fisherman longs for happiness, but cannot find it in his work, nor in his family. When he finds the siren, he is captivated by her singing, so much so that he puts her under lock and key, so that only he hear her song whenever he wanted. It brings him some joy, but at a cost. Bartosz captures themes of obsession, gluttony, and taking things for granted, all in a 20 page comic geared toward children. The ending in particular will tug at the heartstrings, no matter the age of the reader.
Art
Like the writing, the artwork isn’t the most innovative. Jakub Rebelka’s work might been more effective if he had taken some creative liberties. He could have used a more fantastical approach to the visual storytelling and worldbuilding, as opposed to simply illustrating it word-for-word. The characters have a distinctive look, like something out of a children’s book, with long faces and oversimplified expressions.
What stands out in the artwork of The Storyteller: Sirens is the coloring, with each panel tinted in shades of blue and green. It gives the story a wet and dreary undertone as the fisherman struggles to find happiness. This is contrasted by the warm red and orange tint in the Storyteller’s den, feeling as if we are right there next to him by the fire as he shares his tale.
Conclusion
For fans of the original series, Jim Henson’s The Storyteller: Sirens #1 is great for the kids and for the inner-child. It’s simplistic, but worth a look.
Are you ready to dive back into the tales of The Storyteller? Share in the comments!
In Justice League #21, the stakes have never been higher for the team. In the previous issue, the Leaguers were getting a taste of a Utopian future, courtesy of their older selves. However, a telling truth was bubbling up to the surface. Now, with the truth of this pristine multiverse revealed, they must make a choice that affects everyone and everything.
**Some Spoilers Below**
Story
The Justice League pulls back the curtain on their futures and learns that not everything is what they’ve seen. The team goes to confront the Justice League of Tomorrow for the truth, but can they handle it? Meanwhile, with his powers waning, Superman struggles to remain hopeful on a world with no sunlight.
This story is simply exciting. And big. It just feels so massive. Scott Snyder and Jorge Jimenez have taken Justice League and made it the tent-pole comic book that it deserves to be. For twenty-one issues, the story has escalated and escalated, always offering answers but never without revealing new twists. This particular arc is nearly perfect thus far, besting even the current DC event series’ Heroes in Crisis and Doomsday Clock.
As grand and cosmic a tale as this is, Snyder still manages to inject a good amount of heart and humor into Justice League #21. One of the more standout moments from this issue is Batman relishing in the glistening New Gotham City with the older Dick Grayson. It’s a future where even Batman has found peace. Unfortunately, that doesn’t last too long. When Batman comes to terms with the reality of this future, he loses all hope in, well, hope.
Jarro is a standout once again in Justice League #21, with hilarious one-liners and proving himself as the hero we never knew we needed to fight alongside the League. Another great moment of levity is when the Flash asks The World Forger to slow down to better understand the situation.
It’s great to see Snyder experiment with these characters and situations. The story is fun and epic, and just keeps getting more exciting with each issue.
Art
Jorge Jimenez has a very clean style that works in just about every setting. Each panel has so much character and life in it. Jimenez is a master of the kinetic style. A unique visual enhances the motion, such as a glow around the characters or vivid light trails.
Jimenez also adds so much expression in the eyes of the characters. This is particularly seen on Shayne, the son of future J’onn J’onzz and Kendra Saunders. There is a genuine energy to his work in Justice League. His art features a striking glow around the characters that make the book feel that much more ethereal.
It’s hard to talk about this most recent run of Justice League without mentioning the fantastic splash pages, and this issue is no different. This time, Jimenez crafts an ingenious meta page when Mxyzptlk begins to ‘unimagine’ reality.
Conclusion
Scott Snyder, Jorge Jimenez, and the rest of the art team are making Justice League one of the best comic books currently on shelves, in terms of a grand, fulfilling story and unmatched visuals.
What did you think of Justice League #21? Let us know in the comments!
Readers who grew up in the 90’s will undoubtedly remember the classic Nickelodeon cartoon Rocko’s Modern Life. The off-kilter show generated a cult following, facilitating the creation of its first comic line back in 1994. Now KaBOOM!, an imprint of BOOM! Studios, is making more waves with ROCKO’S MODERN AFTERLIFE #1, which centers around an unexpected influx of zombies into Rocko’s home of O-Town.
Story
The story brings the reader into the average day of Mr. Bighead, Rocko’s antagonistic neighbor. We see him rattling off his opinions on a “Buttfeed” article as Rocko passes him on the street. Bighead then proceeds to list off the reasons things haven’t gone his way in life, attributing his struggles to wallabies and Millennials. But disaster strikes when a zombie attack interrupts his rant.
Anthony Burch’s story is in many ways a cultural commentary on our society’s addiction to technology. The story makes its point by showing people transforming into zombies after spending an inordinate amount of their time plugged in. Rocko serves as an example of the ideal mindful individual, seeking meditation and tranquility in lieu of the instant gratification our gadgets bring.
But Rocko’s routine is disrupted when the zombie takeover begins to affect his friends. He must decide whether to stay in his technology-free bubble or venture into the post-apocalyptic wasteland of the undead.
Art
Mattia Di Meo and Francesco Segala craft artwork reminiscent of the animated series. Meo’s details hit their mark, from the wrinkled lines on Rocko’s brain as it pops out of his head to the extreme expressions given to Heffer as he tells wild stories. Segala brings these characters to life with transitions from the bright colors of the main characters to the dull grays of their zombified counterparts. Jim Campbell ties all of the elements together with thin lettering that almost blends in with the illustrations.
Ian McGinty’s main cover brings to mind classic zombie films, showcasing the protagonists as they fend off the undead. And Joven Paul’s dark purple shades set the tone of this horror-themed work.
Joey McCormick and Jorge Corona also provide wonderful illustrations in their preorder connecting cover and unlocked retailer variant cover, respectively. McCormick’s cover illustrates the chaos devastating effects on O-Town, complete with fires and wreckage. And Corona’s version brings the carnage closer to home by crafting zombified versions of the protagonists.
Conclusion
KaBOOM! and Nickelodeon have concocted an entertaining expansion upon the Rocko’s Modern Life franchise. This issue brilliantly uses the metaphor of a zombie apocalypse to unpack the theme of modernity’s addiction to technology.
Did you think this issue kept with the quirky tone of the television series? Let us know in the comments below!
Grant Morrison left Hal Jordan in quite a pickle at the end of THE GREEN LANTERN #5. Countess Belzebeth charged with the final Blackstar initiation task of murdering his colleague Adam Strange, Rann’s hero and protector. Will Hal succumb to the demands of the militia and kill an innocent man? Or will he manage to escape Controller Mu’s grasp?
Story
The story picks up with last issue’s intense staredown between Hal and Adam. The former Green Lantern requests a fair fight, so Belzebeth takes the two to an open field and offers Adam his weapon. One is reminded of the American and European duels from ages past as the two warriors stand back to back and take their ten paces.
Morrison does a fantastic job of providing space for the reader’s anticipation to build. We watch as Adam pleads for his life and family, even hearkening back to their lasting friendship as members of the Justice League. But the line that hits the hardest is his wife Allana’s indictment of Hal’s status as their policeman, sworn to protect Rann’s people. This inevitably conjures up real world incidents of police brutality and corruption in the reader’s mind.
How are the people supposed to trust anyone when their own protectors turn on them? What happens when we can no longer trust these protectors?
Readers will be on the edge of their seat as Hal attempts to make an impossible decision. They will finally see if he rejects his status as the universe’s protector or succumb to the demands of Mu.
Art
The main cover for GREEN LANTERN #6 showcases the best of Liam Sharp’s penciling and Steve Oliff’s coloring. Both Hal and Adam are drawn with incredible detail, highlighting each hero’s toned muscles and sleek battle equipment. And Oliff’s coloring makes these characters pop off the page with the bright red, yellow, and green inks.
Lucio Parillo’s variant cover focuses solely on Hal and the cosmic nature of his quest, surrounding the Green Lantern with celestial bodies.
Sharp, Oliff, and Steve Wands pair amazing artwork with Morrison’s equally amazing writing. Sharp’s penciling gives definition to the characters across the ever-changing landscapes across Rann. At the same time, Wands’ lettering helps frame these characters, using font styling adjustments to distinguish each character’s speech. And Oliff’s coloring, much like the main cover, highlights the brilliance of the warriors’ dazzling light-fueled weapons.
Conclusion
This issue takes readers right into the heart of Mu’s empire, wondering if Hal can find his way out of this duel with Adam and somehow topple the Blackstar order. If not, the former Green Lantern might be walking down a road with no return.
Did you like Adam Strange’s appearance in this issue? Let us know in the comments below!
Resurrecting a series killed-off before its time—and doing it well—isn’t easy. It helps to have the same creative team behind the relaunch, as is the case with Section Zero #1, though.
The series about a globetrotting group of supernatural investigators debuted back in 2000. However, the run ended after just three issues when its imprint, Gorilla Comics, folded. After a lengthy campaign to revive the series, creators Karl Kesel and Tom Grummett finally got their shot back at Image Comics.
The Writing
The book is billed as “Jack Kirby-does-The-X-Files.” While Section Zero #1 doesn’t seem particularly Kirby-esque, the sentiment’s not unfair. It does take a more outlandish, “comic book” approach to many of the same secret government organization tropes. The book reads like a ‘90s story in that regard.
There’s plenty of action throughout, and the book doesn’t waste much time getting into the thick of it. We have enough exposition to keep us up-to-speed, but Kesel paces it well.
It’s fun, and it has notes of intrigue from a storytelling standpoint. Where we fall flat in Section Zero #1, though, is characterization. We’re introduced to five primary characters, each of whom ticks a box on the checklist of clichés. We have the lone-wolf rogue who wears sunglasses at night, the calculating and jaded operative, the childish waif, the father figure, and the newcomer thrown into an uncomfortable new scenario. However, we don’t really get much in terms of actual character outside of those prescribed roles. That’s a problem given the book is primarily character-driven.
Characters don’t feel motivated and, in essence, they read like cardboard cutouts, rather than unique individuals in their own regard. That, and the decision to snatch a newbie out of the field and throw him into secret agent work with no vetting feels unrealistic.
The Artwork
The artwork in Section Zero #1 is respectable, though Kesel and Grummett definitely play it safe. Perhaps “utilitarian” would be a good way to describe it. The line work is bold and well-detailed, and they make it easy to follow along and interpret the action on the page. Figures are dynamic, and do a great job of conveying energy and movement.
That said, the creators don’t take many risks from a visual standpoint. Given the “out-there” concept behind the series, it would have been interesting to see them embrace the weirder side here and there. Instead, the artists stick to pretty conventional framing, design, and layout.
The colors tend to be more muted compared to contemporary works. However, the artists employ a wide color palette, giving the work a nice, vibrant look.
Final Thoughts
Section Zero #1 is a decent introduction to this long-in-the-works revival. If the creators can work out the kinks in differentiating their characters, they may have something great on their hands.
The God of Thunder himself, Jason Aaron, brings us his massive Marvel crossover story. WAR OF THE REALMS finally begins and assumes control of Marvel’s 616 universe.
***SPOILERS LIE AHEAD***
Jason Aaron first began spinning his massive Asgardian tale back in Thor: God Of Thunder #1 in November of 2012. He’s had an ongoing Thor series ever since. War Of The Realms is an awesome culmination of all his Thor work as it clashes with his current Avengers work at the forefront of Marvel’s universe.
Along this almost-seven year long journey, we’ve seen Malekith develop from a beaten villain buried in a dark hole to the dastardly villain garnering the attention of every major Marvel hero. Malekith’s development throughout Aaron’s run has been highly entertaining and should firmly plant him atop the list of Thor’s gallery of rogues.
Malekith has been on a rampage, waging war on all ten realms. The only one left standing is that of Earth. Once the dark forces start invading New York, it’s a magnificent display. Russel Dauterman makes this a moment to remember as our favorite heroes come face-to-face with dark elves and trolls for the first time.
This kind of epic crossover hasn’t happened in a long time for Marvel. Giving stories this huge a break for a while did wonders to raise the level of anticipation for this event. The scale and stakes War Of The Realms presents are immediately engaging and deeply enthralling.
Throwing a bunch of mystical sh*t into the middle of New York and have all our heroes throw a bunch of science and punches at it is the classic Marvel way. It may have taken a lot longer than promised, but War Of The Realms is the moment that we were promised when Marvel Legacy launched; with it’s mission statement being focused on delivering this exact kind of story.
Jason Aaron extracts exactly what he needs to from every character moment and interaction. From Spidey meeting Freya to Punisher diving out of a window to shoot at Frost Giants, every page is loaded with comic book gold. Every opportunity for banter is flawlessly executed. Jason Aaron is a fully-formed comic book rock star.
It’s loud, it’s messy, it’s colorful and beautiful. There’s plenty of memorable action headed our way and plenty of surprises. Loki owns the first shocking moment of War Of The Realms, although it’s probably the fourth or fifth time we’ve seen him “die” in the last two years. Regardless, the moment provides a satisfying shock and allows Dauterman to unleash some of his most gruesome artwork.
There’s also a great deal of really amazing panel layouts and transitions throughout this issue. The lettering by Joe Sabino makes it’s presence known as well, exploding off the page more than a few times. Colorist Matthew Wilson proves why he’s one of the best in the business with his rushes and waves of color literally pouring into your brain and spilling out of the pages.
Jason Aaron has himself a top notch creative team once again to tell quite possibly his most spectacular tale. This issue will satisfy those who have been reading along since 2012 and those who have just come on with any of the more recent Marvel relaunches.
War Of The Realms is here to burn your face off with all the elements that made Marvel’s epic events matter in the first place. Strap yourself in and enjoy the ride!
