Suicide Squad Black Files #5 hits your local comic book store on March 6, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.
The book is written by Mike W. Barr, with art by Philippe Briones, colors by Gabe Eltaeb, with Dave Sharpe’s letters. Will Conrad and Pete Pantazi worked on the cover.
About the issue: Katana’s spirit is still trapped in the body of the evil Eve—and now she must combat the schemes of Kobra with the Suicide Squad and Halo in hot pursuit! But will Halo recognize the real Katana in time? Plus, back from the dead and behind the eight ball, the magic users of Suicide Squad Black return to Earth, and the situation is worse than ever before. Sebastian Faust is on the cusp of eliminating all magic and has possessed Deadshot, Harley Quinn, Captain Boomerang and Killer Croc to do his bidding. Waller has to pull out all the stops to save the world and avoid losing both her teams. Not everyone will make it out alive.
Check out the preview below:
Are you reading Suicide Squad Black Files, what do you think of the mini-series so far? Comment below with your thoughts.
More comics news has come out of the annual ComicsPRO (Professional Retailer Organization) gathering that took place February 21-23. Brian Hibbs of San Francisco’s Comix Experience may not be a name familiar to most fans, but he is certainly well known in the comics industry. Back in 2002, Hibbs brought a class action lawsuit against Marvel over their refusal to accept returns on comics that shipped late or had creative team changes announced after the period when retailers could alter their orders; Hibbs’s action led to direct changes in the Diamond ordering system.
In 2018, Hibbs wrote a scathing open letter to the publisher about their steep Comixology discounts on collected editions.
This year, Hibbs is in the news again after his “state of the industry” speech at ComicsPRO. He spoke, as usual, passionately and without pulling punches. Here are some selected highlights of the talk that has rippled far beyond the North Carolina hotel where it was presented:
“National sales are very poor – there are comics in the national top 100 that aren’t even selling twenty thousand copies. A significant number of stores have closed — perhaps as many as 10% of outlets.”
“First and foremost, a lot of that blame for that lies with the very people in this room. Honestly, publishers and creators will only do what they think they can get away with.”
“We have, as I see it, two major problems at the publisher level: one of content, and one of the amount of product. In terms of content, while I think that we’re at a golden age of comics right now, with more amazing material being published than ever before, the base level of quality of our core periodical product… is at a near-historical nadir.”
“Content is, of course, the thing we retailers can impact the least. ‘Make better comics’ has long been a battle cry, but its out of our direct wheelhouse. Perhaps the cry should be to ‘Make better EDITORS’?”
“Publishers are treating the customers as ‘super fans’ who are bottomless ATM machines. But every working retailer in this room can tell you that this doesn’t match the reality of our customers: the people who want (or even can afford) this endless barrage of material clumping down the pipeline is narrowing and hollowing out month after month, and is soon going to hit a number that is probably not sustainable for any of us.”
“Want a clear and current example of Marvel’s preposterous ‘flood the zone’ strategy? War of the Realms is supposed to be their major… project in 2019, but in the first month alone they’re asking us to buy into TWO issues of the series being released with no sales data, as well as FOUR different tie-in-mini-series. All six of these comics (which are built around a six issue storyline) will require final orders from us before we’ve sold a single comic to an actual reader. Is there anyone in this room thinks that this is good? That this is sustainable?”
“It isn’t just Marvel, of course; this rot and weakness penetrates down to the smallest publishers too: Zenescope and Dynamite and Archie and Action Lab, to name just a few, all seem utterly incapable of producing comics without 2-5 covers apiece, while organizations like Avatar and Boundless and American Mythology appear to have strategies utterly pinned on releasing up-priced variants of the same material for multiple months forward. None of these models are sustainable, none of them increase the number of READERS by even one.”
Whew — and those highlights offer just a taste of the overall presentation! You can read the text of his entire speech here.
This wasn’t the only news from ComicsPRO, of course. After some of DC Co-Publisher Dan DiDio’s comments to retailers were misreported and misconstrued, DiDio went on Facebook to address one hot topic in particular.
Looking at Hibbs’s speech from a fan perspective, do you agree with him about the amount of product and variants driving away customers? Do you buy less than you used to? Leave us a comment!
In case you weren’t aware, one of DC’s flagship titles is about to hit a milestone (after all, it’s where the name “DC” comes from). So, how can Detective Comics #999 setup such an important event?
The Price You Pay (not to be confused with the similarly-titled Batman/The Flash crossover), reveals the culprit behind the string of attacks on Bruce’s friends and family. It’s an unexpected twist, and one that could leave some readers feeling disappointed, even emotionally manipulated. But, what writer Peter J. Tomasi does here easily outweighs that complaint, providing a touching culmination to the story, and a brilliant setup to the milestone issue #1000.
The Writing
This isn’t the first (or even the hundred-and-first) time we’ve seen a creator delve into what makes Batman tick. Trying to reduce the Dark Knight to his core components is basically part-for-the-course in comics over the last three decades. However, it’s rarely done with as much heart, or as much love for the character, as in Detective Comics #999.
Tomasi asks simple questions: what makes someone want to dress up like a bat and fight crime? Why does Bruce Wayne subject himself to the physical and psychological torture that comes with being Batman? Why pay the cost to wear the cowl?
Well, as Bruce himself explains, “that cost doesn’t weigh as heavily as it would if I didn’t wear the cowl.”
With Detective Comics #999, Tomasi expertly sums up everything that makes Batman a beloved, timeless character. It’s not the outfit, the cool gadgets, or the vehicles, nor the dark themes. It’s Bruce Wayne’s unconquerable drive to create a world where a child doesn’t find himself standing in an alley, alone, after his parents are murdered. Bruce’s mission isn’t a quest for revenge, but rather, a mission to ensure that no one else has to experience the trauma he’s endured.
It’s ultimately Bruce Wayne’s optimism that makes him great. And above all, that’s what comes through in Detective Comics #999.
The Artwork
Doug Mahnke’s artwork shines in this issue. He finds excellent ways to transition seamlessly from intense action to more meditative moments, giving the book a full, cohesive feel. He paces the work brilliantly, arraying action sequences in tight, dynamic, and fast-paced panels, while slower moments get more space.
There are great details throughout Detective Comics #999 that drive home the poignancy of the writing. The black void of a grave, objects flying through a room, the facial expressions…it’s a testament to the artist’s skill.
The colors on this issue are well-detailed, accentuating the quality of the line work. It’s a great-looking book all around.
Final Thoughts
Detective Comics #999 was a fantastic way to close-out this era in the character’s legacy. The book encapsulates the best of Batman’s 80-year history, while setting us up for what comes next. Highly recommended.
Welcome to Earth X, where the Nazis have won. In America, the Nazis killed the Freedom Fighters and sent Uncle Sam running in the ’60s. This victory becomes a national holiday for decades, and the Reich stands unopposed. In the modern day, however, a new version of the Freedom Fighters make a big debut. After destroying a Nazi museum and giant robot, the team flies off, leaving pamphlets of the American Dream behind. Their plan is to have the people believe in it enough to bring Uncle Sam back. Will they succeed or will the Nazis have a plan of their own?
**Some Spoilers Below**
Story:
After their big return, the Freedom Fighters already have a new plan. The plan is to have Black Condor fly towards a Nazi aircraft carrier with a device that will allow the hacker, Cache, to hack into it. Before the plan begins, however, Black Condor is left hacking the cameras to observe Detroit. The African Americans there are used as factory workers, which turns out to be this Black Condor’s origin. After Phantom Lady pulls him out of his sad reminiscing, Condor goes off to complete the plan. This leads to an epic aerial battle between Black Condor and the Nazi Air Force.
This issue has the same epic battles and cool heroes we’ve seen in the last two issues and added precisely what it needed: depth. My biggest worry going into this series is that the Freedom Fighters wouldn’t get fleshed out well. Those fears have begun to fade as we learn the background of not just Black Condor but the Phantom Lady as well. Both of their origins are very different from one another, and it makes the team feel more realistic because of it. I hope we’ll be getting more of this team background; it makes the series just that more interesting.
Art:
The art team does a fantastic job of bringing the world of the Freedom Fighters to life. Eddy Barrows’ illustrations are able to bring epic action and generally creepy imagery. The origin of Black Condor is something that has burnt itself into my mind because of the art. The colorwork and inks take the book to the next level. The darker colors and inks make this book feel like a war epic. Add that to the bright colors of the American flag, and we have one great looking book.
Conclusion:
This book is excellent. The story has finally gotten that depth it needs to balance the kickass action. The art is top notch and fits the world entirely. The Freedom Fighters continues to surprise me, and I highly recommend it.
The first volume of Mr. & Mrs. X, “Love and Marriage”, is out this week from Marvel Comics, chronicling the new adventures of X-Men Rogue and Gambit as a married couple.
Mr. & Mrs. X picks up after Rogue and Gambit’s wedding in X-Men Gold. Like, immediately after. While on their honeymoon in space, the couple is called to action and thrown into the middle of Shi’ar royal family drama. Also, Deadpool pops in for a couple of issues.
“Love and Marriage” collects issues 1-6 of the series, all written by Kelly Thompson. Oscar Bazaldua and Frank D’Armata did the art and colors for the first five issues, while David Lopez and Nayoung Kim worked on issue six. Joe Sabino lettered the series, with the exception of issue two, which Travis Lanham lettered.
This is the definition of a character-driven story. There’s plenty of action and intrigue, but that’s not what drives the book. Rogue and Gambit drive it, both as individuals and as a couple. Despite this being a space adventure, Thompson has written a very grounded and relatable story about relationships. The two lead X-Men have palpable chemistry. Their dialogue and the way they bounce off one another feels like a real relationship (a real relationship, with love, and friction, and sexual tension all interwoven, and not a “made for TV” relationship). It’s fun to read. These characters are likable. And they’ve had such a complicated relationship for so long, that this story will pay off especially well for fans who have been following this duo for years.
On top of the great relationship content, Thompson also peels back some layers on Rogue and Gambit as individuals. She digs into their fears and their desires. The two are vulnerable at times (which again circles back to the relationship stuff, because one of the scariest things about being in love is letting your guard down). All of this just helps to make the characters feel more real and relatable, building on the reader’s connection to them.
Bazaldua and D’Armata’s art through the first five issues is the perfect blend between action and comedy. The fight sequences are just what you would expect from an X-Men title, and the colors are surreal, which is what you want from a cosmic story. It creates this otherworldly tone. But then the facial expressions deliver so much feeling and humor that you remember this is a comic about the people first and the action second. Lopez and Kim then pick up the baton for a one-off story in issue six, and it feels like something completely new compared to the rest of the collection (in a good way). Their story is based around an engagement party in Gambit and Rogue’s apartment, so it trades the cosmic vibe for something more traditional. This is perhaps the strongest story in the set, because it focuses solely on the heart of the book: the couple’s relationship.
The biggest downside to this volume of Mr. & Mrs. X is that the pacing feels somewhat erratic. The story feels rushed at times. But again, the plot itself isn’t the crux of this comic; it’s the characters. So it’s understandable that the team would maybe tell a quick and simple story in order to focus more on the character moments. Still, if you’re a reader that prefers story to character, this may put you off.
Bottom line: if you love funny and heartfelt stories about couples who bicker and banter, but who ultimately have each other’s backs no matter what, you need to be reading Mr. & Mrs. X.
You can buy MR. & MRS. X Volume 1: “Love and Marriage” at your local comic shop.
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 THE BABOON?!
Jaime Jones’ The Baboon is a modern version of Hanna-Barbera adventure cartoons mixed with Jones’ art style (the love child of Todd McFarlane and Will Eisner).
According to Jones,The Baboon is his love letter to the pulp stories of the 40s and 50s. The tone is light, fast, and fun. This is his first Kickstarter campaign and Jones is going for quality with a 60-page hardcover. It took Jones a little over a year to complete the book as he is the writer, artist, inker, colorist, letterer, and designer. You will recognize Jones’ work from the back-up story in Violent Love, “A Constant Distraction” from Image Comics.
Watch the Kickstarter video for THE BABOON:
One of the things that potential backers look for on Kickstarter is a completed project, and Jones has stated The Baboon 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.
About the project: To the world at large, The Baboon is a nothing more than a government myth. A figure of the shadows taking down evils wherever they lurk. To his crew -three of the greatest heroes of their time- he is a man of daring and compassion, who will stop at nothing to defend the world from the greatest evils known to man. But, to his adopted nephew, Jamie, Barton Marlow – The Baboon- is the coolest guy in the whole world. And now in his new life of adventure, Jamie wrestles with being the regular kid he once was and living up to his uncle’s expectations. A man whose fantastic exploits are unequaled for narrow escapes, fantastic adventures, and endless thrills.
The Mustelid Menace: While in search of the Jackal formula – a super soldier serum that could change the dynamic of the entire world – the Baboon is captured by the nefarious Professor Weezal. His only hope of escape is with the help of his amazing crew. But, things are strange on Mount Mustelid and the Jackal formula may be in full effect. Time is of the essence as the Baboon battles his way through armed men and hulking, carnivorous monsters. Let’s just hope they never have to go back.
What do you think? Is this the type of comic book project you want to see more of? Comment below with your thoughts.
The Funlands are a kid’s paradise, complete with sugary treats and carnival rides to enjoy to your heart’s content. And the ruler of this pseudo-Pleasure Island goes by King Kid, who is absolutely, positively not secretly a villain. The Shazam family also learns more about the seven realms of The Magiclands, which The Funlands and Earth (or, The Earthlands) are part of.
**Some Spoilers Below**
Story:
“SHAZAM! AND THE SEVEN REALMS” continues! Billy Batson’s world is turned upside down by a figure from the past while Mary, Freddy and the rest of the Shazam Family enter a realm of endless amusements, candy factories and friends in the Funlands! But what’s the catch? Plus, a shocking development within the Library of Eternity!
In the previous issue, we learn that the exclamation point of SHAZAM! represents a seventh powered letter of the name. And King Kid believes he is that seventh champion of the superpowered family. A little trip down memory lane reveals how the kid who would be king literally stumbled into what would eventually become The Funlands. He also goes on to tell Billy and the others how he wished the endless fun of the Magiclands realm into existence, as well as the other children to share in the fun. Now the King Kid is wishing Billy would tell him what the magic word is, so he can have the power as the world’s mightiest mortal.
Writer Geoff Johns has proficiently crafted the tone of this story to appeal to an audience of all ages. Younger readers will enjoy its lighthearted, straightforward narrative, and older fans will appreciate the nostalgic optimism that Johns promised a return to when he announced the DC Universe Rebirth. The issue itself is not all that exciting. Its dialogue is run-of-the-mill, primarily serving as exposition and setting up what’s to come next. Having said that, Johns sure loves his world-building.
It is no doubt that Johns is one of the best writers working in the industry today. However, it seems as if he will only take on characters if he gets to perform some major universe expanding with them. But did we really need that right now: at the beginning of the first major Shazam! series since 2008? This is also the first time seeing the modern interpretation of the Shazam! family since 2011, when they appeared in the last few pages of the first issues of the New 52’s Justice League. A simpler story that reintroduced the characters would have been helpful.
Art:
The artwork continues to be amazing in this Magiclands story. Artists Dale Eaglesham, Marco Santucci and Mayo “Sen” Naito do a wonderful job in crafting characters with vivid expressions, and scenes with so much detail that you simply must stop reading and admire. I particularly appreciated the shift in artwork style during a flashback sequence. The artwork is only enhanced by the colors of Mike Atiyeh, who makes each panel bright and easy on the eyes.
Conclusion:
Clearly appealing to a younger audience, there isn’t too much to write home about in this issue. But it will hopefully all pay off as the Shazam! family explores the Magiclands and the truth behind King Kid’s intentions are revealed.
What do you think of this current run of Shazam? Which of the Magiclands would you like to take a trip to? Let us know on the comments!
Oliver #2 picks up two years after the events of our last issue. The titular character continues growing at an accelerated rate, now nearly an adult, and he’s eager to join Prospero and the others at work to earn his keep. However, the government becomes aware that there’s a “hybrid” boy loose in London, and by the issue’s end, Oliver learns about who—and what—he really is.
The Writing
The book continues to follow the loose concept of Oliver Twist, but with a decidedly unique take on the story. Oliver #2 hinges around Dickens’s iconic scene in which Oliver asks Mr. Bumble for a second helping of gruel. Only this time, the portly official is replaced by a muscle-bound, gas mask-wearing monster with a shotgun.
There’s a lot more world building going on here, but Gary Whitta does a great job of keeping things compelling in this issue, laying things out in well-plotted narrative form. We’re able to explore more of the world, learning about it as Oliver does. We also get glimpses of the world outside London, how it operates, and the general attitude toward the ex-soldiers. This helps ground us in the comic’s environs and draws us deeper into the story.
Like the original, there’s no ambiguity about the moral implications at play here. Oliver #2 swaps the hellish conditions of a Victorian-era poorhouse for a smoke-filled factory floor. The men who call London home are treated like dangerous criminals, and their lives can be snuffed-out in a brutal manner for even a minor offense. And, although they’re not children as in the original novel, there are nods to the men’s status as victims. As one quips after being told he and his brothers should have been shot after the war, “Maybe you shouldn’t have created us…”
The Artwork
Darick Robertson’s designs are once again strong in Oliver #2. Despite the grounded, realistic style of the work, he manages to draw incredibly-expressive faces and gestures from the characters.
Robertson’s work serves the story well, and provides some striking panels here and there. That said, it is not exceptionally dynamic. He cleanly divides most of the pages into horizontal strips, so the pages flow evenly. However, the result is that none of the pages really stand out. It’s good work, but doesn’t really deliver the “wow” factor, as Robertson has demonstrated he can do with sci-fi settings.
Final Thoughts
Oliver #2 is a good next installment in this latest Dickensian adaptation. Whitta develops the story, hitting the beats of the original, but clearly making it his own. Recommended.
After a revealing twist and Clark Kent’s epic speech in the last issue’s end, Heroes in Crisis #6 opts to take a slower, more meandering route than the previous chapter.
Much of the issue centers around three characters—Gnarrk, Wally, and Harley—and their experiences at Sanctuary before the massacre. Specifically, the images they choose to conjure up in The Chambers, and how they process them. We get background material, but only towards the issue’s last few pages does the story start moving forward.
The Writing
It’s hard to surpass the last issue in terms of gravitas. However, King tries to match the emotional pitch by taking a deeper look at the source of individual characters’ traumas. Heroes in Crisis #6 is essentially a flashback, filling us in on the characters’ experiences at Sanctuary before the massacre.
King provides a sharply-introspective look at Gnarrk. He’s a man torn between two very different times, wrestling with the virtues and faults of each. He debates the merits of enlightenment philosophy, pondering whether it’s better to be free to live a “nasty, brutish, and short” life, or to be weighted-down with the chains of a more advanced society. With Wally, his repeated disappearances—and that of his family—take center stage. And of course, for Harley, The Joker is a key figure to her trauma.
Each character’s story is handled delicately and with great pathos, as we can expect from King. By the end of Heroes in Crisis #6, the flashbacks catch up to the moments the killings ensue. As teased on the cover, we finally discover the perpetrator behind the massacre in the book’s last few panels.
The deconstructions of these characters are beautiful and carry plenty of weight. But, as with previous issues, much of it is essentially tangential to the narrative. This can leave the reader feeling a bit cheated. Also, one worries how they can wrap this up cleanly with just three issues left until the run’s climax.
The Artwork
Mitch Gerads provides artwork for most of Heroes in Crisis #6, with Clay Mann drawing the first and last pages.
Gerads’s illustrations are beautiful as always. What really shines in this issue, though, is the powerhouse team of Gerads and King as a creative unit. The way Gerads contrasts facial expressions and composition within a panel to complement or contrast with King’s dialogue is superb. He demonstrates exceptional skill at letting moments hang, allowing readers to feel the emotional weight.
Gerads gets assistance on colorwork in Heroes in Crisis #6 from Tomeu Morey. The colors are vibrant, yet retain a soft, dreamy quality, perfectly complementing the artwork. The final product comes together with brilliant effect. Each panel is like a painting, and it’s a joy to look at.
Final Thoughts
Heroes in Crisis #6 is heavy on mood and emotion, with absolutely brilliant artwork. But, while it provides backstory and pathos, only the last few pages actually advance the narrative.
While Star Trek: Discovery is storming across T.V. screens, the rest of the franchise has been brought together by IDW Publishing to do battle for the enjoyment of Q and his eternal friends. The second issue of The Q Conflict has a range of covers highlighting the mix of the crews and defines the format that the story is most likely to take for the rest of the series.
Drawing influence from other crossover event type stories, such as the original Secret Wars from Marvel comics and the multi Doctor stories from Doctor Who, The Q Conflict takes on the shape of a competition, pitting the crew of various space vessels against each other. The purpose is yet unstated and the prize a bigger mystery. But when Q is involved, nothing is going to be as it seems.
The Q Conflict #2 Credit: IDW Publishing
Writing/Story
Scott and David Tipton open this issue with the awkwardness of a schoolyard team picking experience. Most of the crew have been separated out between the godlike beings and only Quark and Ensign Kim remain to be picked. Is this a comment on the popularity of these characters? Maybe.
But this moment is quickly passed and the meat of the story begins. Q sets out the rules, with a few choice inputs from Picard, and sets the goal for the first part of the game. What follows is the attainment on this goal by the competing crews and the first stage of The Q Conflict is underway.
As the story plods along, a number of the characters are spotlighted for a moment of emotion or character statement. Ensign Chekov is frustrated; Commander Worf is uncomfortable; and Riker is smug. Most of these character aspects will be known to the readers as it’s hard to believe that anyone reading this isn’t a fan of Star Trek. Therefore, these moments are unnecessary and read as such. It is possible it will lead to important story points later in the series but for now they hang in the narrative like an immobile space craft.
The aim of this issue is to establish to crew rosters and layout the ground work for the ‘game’ they are being forced to play. The Tipton’s have taken a very straightforward approach to this which means that the outcome is a touch bland. There is no real threat to overcome and each crew seem to be on a jolly jaunt rather than fighting for the safety of the universe. Ultimately, the comic follows a group of people racing against each other for a ball. It lacks drama and suspense.
Unlike a crossover event like Marvel’s Secret Wars where heroes and villains are pitted against each other in the game, The Q Conflict has nothing but heroes and therefore at this moment it doesn’t matter who wins. There is scope here for some challenging storytelling, especially as the characters come into real conflict with each other, but this issue is lacking any of that.
There is an exciting narrative hovering on the horizon, the readers just aren’t allowed to go there yet.
The Q Conflict #2 Credit: IDW Publishing
Art
The panel layouts from this second issue of The Q Conflict are thoughtfully designed. They lead the reader through the narrative and make it clear exactly which ship and crew each panel relates to. This is important for a comic like this because, in essence, everything is up in the air. The panel layouts ground the reader and focuses each location with its array of characters.
David Messina draws superb likenesses of the star ships crews and clearly has knowledge of each element of the franchise. He produces detailed work for Elisabetta D’Amico to ink and Alessandra Alexakis to color. Between them they create characters full of expression and emotion which is quite a challenge with the script they have been given.
The page layouts establish the location and the characters beautifully. The art team then build on this to make the comic endearing and provide an element of entertainment. The overall aesthetic is that of a Next Generation episode which is much warmer and comforting than the latest film franchise or Discovery.
The script is tedious in places and over written but Neil Uyetake manages to break this down in his lettering and make it flow across the pages. It’s easy to see who is speaking even if it’s not always clear from the dialogue itself. An easy to follow narrative is an important aspect of the comic which is helped by speech balloon placement.
The Q Conflict looks much better than it reads and it is a shame that the art team did not have a more exciting story to work their magic on.
The Q Conflict #2 Credit: IDW Publishing
Conclusion
A collection of easy in jokes and a lacklustre story means that The Q Conflict doesn’t live up to the potential of the first issue. The presentation is wonderful with artwork that captures the essence of a Star Trek episode but there is very little to back it up. This means that the flaws are more noticeable and any quirks are over enhanced.
Elements of the story and appearances from some characters will appeal to long term fans of the franchise. There is still potential in this series to tell an outstanding, genre busting story and as the series unfolds, this may yet come to fruition. For now, this chapter simply sets the scene in an adequate if uninspired way.
