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Peter David Takes Down Bill Maher The Best Way A Writer Could

Peter David Takes Down Bill Maher The Best Way A Writer Could

Comedian Bill Maher was at it again Friday night trying to tear down the medium of comic books as childish and informing the world to grow up. Last year, Maher used the death of Stan Lee to pen three paragraphs poking fun at the fans who enjoyed and appreciated Lee’s work.

“I don’t think it’s a huge stretch to suggest that Donald Trump could only get elected in a country that thinks comic books are important,” said Maher.

The problem with Maher’s comments this week and last year are they don’t come from a place of fact. They are designed for a cheap laugh and to ruffle feathers. He’s acting more like Trump than the fanbase he’s attacking.

One positive that has come out of this is that a very talented writer penned his own opinion article on the subject and knocked it out the park. Peter David posted to his Facebook on Saturday a statement that defends the medium and puts everything into perspective.

Check out the statement below:

“Bill Maher has informed us, both on Twitter and again last night, that comic books are for kids and that fans of them are basically stunted individuals who are unable to accept adulthood.
So let’s talk about fans.

Fans love to argue. They are particularly big on arguing who their heroes can defeat. And periodically they gather in large crowds, sometimes numbering over 50,000. They pay ridiculous entry fees to get in, and many of them dress up like their favorites. In the places where they gather, they cheer on their respective faves, chant together, eat and hang together. They buy a ton of merchandise, dropping hundreds of dollars at a time. And if they’re lucky, they get autographs and go home happy. Hell, on rare occasions they even attend parades dedicated to their heroes.

And that’s just Mets fans.

It’s also Yankees fans, and Phillies fans, and Dodgers fans, and Jets and Giants fans, and Knicks fans, and so on throughout the country.

Hell, Bill Maher even profits off it, since he bought a minority share of the Mets in 2012.

And all these games…they involve balls. Isn’t that interesting? Large ones, small ones, that get bounced or hit or thrown. Balls, which are–as you know–one of the favorite toys of babies.

Yet interestingly no one, not even the profiting Bill Maher, ever accuses sports fans of being juvenile. Of being overgrown children. Get a whole bar riled up about Yankees versus Red Sox and no one is going to say, “My God, grow the hell up.”

That’s because, as Neil Gaiman pointed out, if you have stories told via words alone, that’s books and the realm of adults. Have pictures by themselves and that’s art, and also for adults. But the moment you combine words and pictures, assholes believe that that makes it entertainment purely for children.

I’ve said this before but it bears repeating: comic books aren’t juvenilia. Comic books are modern myths. The definition of a myth is something that is defined within its own essence. If you ask someone, “Who is Gomez Addams?” they will reply, “He’s a character created by cartoonist Charles Addams.” IF you say, “Who is Superman?” people will likely respond, “He’s a superhero, the last son of Krypton, with the secret identity of Clark Kent.” In the same way that if you ask who Hercules is, you’ll be told that he is a half-god born of Zeus having an affair with a mortal. You don’t put it in context of its creation; you define it as itself. People who find Spider-Man fascinating are just as valid and adult in their interests as someone who studies Arthurian legend. The fact that it’s happening in modern time and we know who the creators are doesn’t make it any less mythic.

Nor is the multi-billion dollar success of their movies proof of their crossover appeal, according to Maher. “They’re all the same!” he declares, asserting that ALL comic book movies are about superheroes fighting over “glowy” things (like athletes fighting over a ball, remember.). The short answer is, Yeah, right, “Black Panther” is just like “Wonder Woman” (neither of which involved anything glowing.). The longer answer is, Yeah, right, super heroes fighting over glowing things is sure an accurate description of Men in Black. Or Road to Perdition.. Or Kingsmen. Or V for Vendetta. Or From Hell. Or 300, Sin City, American Splendor, Atomic Blonde, Ghost World,Dredd, Scott Pilgrim vs the World, and on and on.

BUT, Maher further asserts, comics aren’t literature. Well, let’s figure that out. The dictionary definition of literature is: written works, especially those considered of superior or lasting artistic merit. So what’s lasting merit? It seems reasonable to assume that it’s obvious: something that lasts. That transcends generations. So since Action Comics #1, which was produced over eighty years ago, still has resonance, that would seem to satisfy the definition, as does Spider-Man who was created fifty-five years ago. But perhaps it’s deeper than that. Perhaps to be literature, it must be critically acclaimed. Like Watchmen was when it won the Hugo. Like Sandman when it won the Bram Stoker award. Like Maus was when it won the Pulitzer.

How many Pulitzers do you have on your shelf, Bill?

I’m not pissed off with Maher because he went off on a rant about fans. God knows I’ve done that myself. I’m pissed off because he went off on a rant that was factually wrong, demonstrably inaccurate, and incredibly unfair. His words come from ignorance, and I wish to God he would do something, anything, to educate himself.”


What do you think of David’s statement? Comment below with your thoughts.

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Advanced Review: Murder And Mystery Is In Store For THE GIRL IN THE BAY #1

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Coming from the Berger Books imprint of Dark Horse Comics, The Girl In The Bay is a mature readers comic that blends aspects of Birthright with The Crow. A brutal attack leads the central character on a journey beyond anything she could imagine as she is forced to face herself, literally, and seek revenge against the man who left her for dead.

An Eisner Award winning writer, J.M. DeMatteis (The Amazing Spider-Man, Justice League Dark), has teamed with an excellent artist, Corin Howell (Ghostbusters: Answer the Call), to bring this new four-part dark adventure to the shelves. Magic, mayhem and murder, what more could you possibly want?

The Writing/Story

The Girl In The Bay opens in 1969 with a young woman sinking into the depths of the Sheepshead bay, a trail of blood seeping out of her. Her name is Katherine Sartori and she is about to tell her story from beyond the grave but is she really dead or has something else happened to her?

The early part of the story is set in the changing times of the late 1960’s and the writer, DeMatteis contrasts the turbulent world with the innocence of youth. Panels featuring the Manson Family sit above panels of teenagers chilling out in a cosy bedroom. DeMatteis first introduces the central character by showing the reader the horrible death that awaits her before leading us through the last day of her life. However, because the voice over is Katherine’s, the reader already knows that the scene from the first page isn’t the end of the story. Unless you assume a posthumous narrative ala American Beauty.

DeMatteis introduces the characters that Katherine interacts with on a daily basis and depicts her life as that of a normal, albeit rebellious, 1960’s teenage girl. She is experimental, self-assured and comfortable with her life. Katherine is an independent and positive young woman which makes the betrayal of trust that leads to the attack on her even more upsetting. Just as the decade is emerging from playful innocence into darker times, so to Katherine’s youthful optimism is exploited by a cruel and merciless figure.

There is a romanticism to the opening of this comic that is reflected through the poetic nature of Katherine’s inner monologue. This changes halfway through The Girl In The Bay when the story catches up with the opening page. The second half is shrouded in confusion and mystery. The voice over disappears for a while leaving the reader in the dark just like Katherine and when it returns it has a darker tone: there is an element of cynicism to it.

DeMatteis wants the reader to be separated from their comfort zone just like Katherine is and the subtle change in the narrative voice ensures this.

Interior art from The Girl in the Bay
The Girl in the Bay #1 Credit: Dark Horse Comics

The Art

There is a darkness to the art work throughout The Girl In The Bay. Howell’s figures are very well defined. She uses delicate inked lines to form the characters and then heavy shadows to reflect emotional states. Often characters, especially Katherine, are cast in all consuming darkness sometimes foreshadowing the twists in the narrative and at other times highlighting despair or loneliness.

Howell adds a lot of detail into the scenery. This helps to create a firm setting but also helps with the contrast between the 1960’s and the present day. It is clear that the landscape has changed, again illustrating the move from innocence to experience; that classic poetic discourse made famous by the likes of William Blake.

More contrasts can be seen in the color work of James Devlin. There are some subtle shifts in the color palettes, most notably when the romance element turns to violence where the soft pinks become harsh reds. But there are also starker color choices that set the tone for the page. A three-page sequence, for example, is made up of a page of soft, romantic colors, followed by a page of cold blue and finally the shift to a warmer aquamarine page. The narrative beats for these pages are expressed through the color choices; love followed by violence followed by an ethereal acceptance. In The Girl In The Bay Devlin displays a fine example of how to use color to enhance the emotional aspects of the narrative.

Clem Robins also does a great job of visually expressing the emotional aspects of the narrative through the lettering. Although it is not as obvious as Devlin’s colors, Robins’ lettering picks up on moments of surprise and realisation in the dialogue and translates this into a visual element of the panels. A prime example of this is when Miss Horowitz, Katherine’s neighbour, thinks she recognises Katherine. Robins changes the font and the speech balloon to emphasise this recognition from one panel into the next by shifting from a smaller font in a small balloon to a bold font in much bigger balloon.

Robins also gives Katherine her own typeface in the narration, differentiating this from everyone else in the comic. This makes the reader understand that the narration is separated from what they are seeing and acts like a voice over in a noir movie. The narrator has knowledge that the characters and the reader doesn’t have which means that you automatically take more notice of what is being said.

Conclusion

Although this story may be building towards a ‘revenge from beyond the grave’ tale like The Crow, it is also a reflection on history and how the world has, or hasn’t, changed. The story opens on a turning point between ideologies; the innocence of the 60’s is about to disappear with the arrival of the 70’s. This change is reflected in Katherine as she is thrust from her home into the strange new world of the future.

Although the narrative is very personal, it’s all about Katherine, the comparisons with the world as a whole are there. The World moves on, forgetting the tragedies of the past. Just like Miss Horowitz, the World has aged and become more disorganised.

The Girl In The Bay is an intriguing read with a lyrical script and Art to match. The narrative flows through the panels and across the pages like the stanzas of a poem. Howell’s artwork is a beautiful accompaniment to DeMatteis’ dialogue. This is an excellent first issue and promises to be an exceptional series.

 

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Brian Bendis Teases LEVIATHAN Event

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Brian Bendis has revealed his plan for a new DC Comics event called Leviathan. The information comes courtesy of the Jinxworld newsletter in the recent Cover #5 by Bendis and artist David Mack. Bendis’s Scarlet partner, Alex Maleev, will be joining him on this new venture.

We wrap up [SCARLET] with issue #5. Then Alex has asked me to do some DC comics with him. He’s always wanted to do DC comics with me. He’s always wanted to do Batman and other characters with me. He’s talked about it for years. So when I was coming to DC Comics, we knew we were going to bring our creator-owned stuff with us, but we also knew that there was an itch that needed to be scratched.

So our personal reward for finishing the fully painted SCARLET VOLUME 3 graphic novel is our fully painted contribution to DETECTIVE COMICS #1000. Our first proper Batman story in this landmark publishing event. We are so honored. It’s already done, and it’s gorgeous. I’m very excited to be part of that project. ACTION COMICS #1000 and DETECTIVE COMICS #1000. Self-high-five!

After DETECTIVE #1000, Alex and I will be embarking on a major DC project. It’s called LEVIATHAN. You will soon hear a lot about it. It’s something so big, so monumental to the DC Universe; it was worth pausing our numerous creator-owned stuff for. This special event story lets Alex do everything he’s ever wanted to do at DC.

Leviathan — the criminal enterprise that both creates genetically altered metahumans and brainwashes ordinary people into working on its behalf — debuted in Grant Morrison’s Batman Inc; Bendis has recently woven the organization into his runs on Superman and Action Comics.

DC readers may remember Bendis’s tease for “Leviathan — A DC Comics Mystery Event” on the splash page of Action Comics #1003, which begins:

Starting in Action Comics 1007, it is revealed that something or someone is stealthily taking out ALL the secret organizations in the DC universe.

bendis leviathan

Are you looking forward to Bendis’s first DC event since he joined the publisher? Comment below!

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DC Comics Exclusive Preview THE TERRIFICS #12

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THE TERRIFICS #12 hits your local comic book store on January 30, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
The Terrifics disband, but they’re going to need to get back together if they’re going to save Mr. Terrific from Doc Dread’s new team, the Dreadfuls! Plus, Rex Mason takes a huge plunge, Phantom Girl bolts Bgztl and Plastic Man stretches out the family drama with his son Luke, who’s struggling with his own super-elastic powers. Will our heroes reunite in time to save Mr. Terrific—from an evil version of themselves?!

The Terrifics is written by Jeff Lemire, with art by Viktor Bogdanovic, Jonathan Glapion helped out on inks, Michael Spicer worked on colors, and Tom Napolitano lettered the book. Evan “Doc” Shaner scared us with his “Meet the Dreadfuls” cover.

Bogdanovic’s art is straight from Todd McFarlane’s playbook of amazing facial expression with a slight bend towards caricature. The art in the first page starts in realism with an extreme closeup, but as the book continues you will notice the emotion of each scene takes over and pushes the art in a different direction.

Check out the preview below:
DC Comics Exclusive Preview THE TERRIFICS #12

DC Comics Exclusive Preview THE TERRIFICS #12

DC Comics Exclusive Preview THE TERRIFICS #12

DC Comics Exclusive Preview THE TERRIFICS #12

DC Comics Exclusive Preview THE TERRIFICS #12

DC Comics Exclusive Preview THE TERRIFICS #12


Do you have The Terrifics on your pull list, what do you think of Bogdanovic’s art? Comment below with your thoughts.

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DC Comics Faces Layoffs and Restructuring

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The news broke Wednesday, confirmed by The Hollywood Reporter, that DC is undergoing a major restructure intended to focus the company primarily on the publishing side of business. Around three percent of DC’s 240-person workforce has been laid off as part of this shake-up.

The most well-known names to be let go thus far are senior VP sales trade marketing John Cunningham, VP consumer marketing Eddie Scannell, and senior VP art director Mark Chiarello.

Moving forward, the company will be organized into three divisions: Editorial, overseen by editor-in-chief Bob Harras; Production & Manufacturing, overseen by senior VP manufacturing and operations Alison Gill; and the new Publishing Support Services, which will handle sales, marketing and promotion, overseen by DC veteran Hank Kanalz.

DC Collectibles, which handles merchandising for the company, is moving to Warner Bros. Consumer Products’ Toy team.

THR also ran a copy of the memo to DC employees, written by Pam Lifford, President of Warner Bros. Global Brands and Experiences:

Today has been a challenging day. We have made organizational changes across DC that we believe will help to strengthen and evolve the division for future success. With these changes come difficult decisions which we take very seriously.

We recognize and appreciate that all of our employees have made considerable contributions to our business and that it is difficult to lose colleagues, many of whom have been here for a long time and have made an important impact on DC. We thank them for their hard work and dedication to DC. As always, we are committed to taking care of our employees and will be as thoughtful as possible with those who are impacted by these changes.

Together with Dan and Jim, and the executive team, we have spent time assessing DC’s business, as well as the comic book publishing landscape. DC is going back to its roots of delivering epic stories with our world-class characters, stories, and brands. Being a premier house of storytelling will never go out of style, and we intend to ultimately super-serve our existing fans, while providing new compelling content that engages and excites even more fans around the globe. Rest assured, the direct market will remain at the heart of our business – and will continue to be one of our greatest strengths.

The new streamlined structure is focused on creating, delivering and supporting a robust publishing operation that will allow DC to be nimble, navigate an industry in change, and thrive. As we communicated today, we are forming three distinct work streams – Editorial, Production & Manufacturing and Publishing Support Services.

  • Editorial will continue to be run by Bob Harras, SVP & Editor-In-Chief, who will now also be responsible for new initiatives and global publishing, editorial scheduling, and art direction
  • Production & Manufacturing will continue to be run by Alison Gill, SVP Manufacturing & Operations
  • Publishing Support Services is a new business unit consisting of all departments that support the sales, marketing and promotion of our books, and this will be run by Hank Kanalz who is taking on additional responsibilities as SVP Publishing Strategy & Support Services As a result – DC Collectibles and its team will be part of the Consumer Products Toy team moving forward.

We recognize there are other groups across DC who are not fully dedicated to supporting the publishing business and, therefore, are not directly addressed in today’s news. As The Global Brands & Experiences structure continues to develop, I look forward to sharing more with you as that evolves.

Many of you will have questions, and in the coming days, you will receive more information from Bob, Alison, and Hank about their teams. Together with Dan and Jim, I will be hosting Town Hall meetings Thursday on the individual floors to discuss these changes and provide more insight.

Thank you again for your support, hard work and loyalty to DC. Each of you are incredibly valued, and I look forward to seeing you tomorrow afternoon where I will do my best to answer any questions.

Pam

Of course, this isn’t the only big news to shake DC in the past year. DC Entertainment President Diane Nelson left her position last June after 22 years at the company; one week later, Geoff Johns stepped down as DC President and Chief Creative Officer to write and produce new content instead.

Do these moves sound like the right direction for DC? Comment below!

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Exclusive Interview With ASSASSIN NATION’s “Dave” – Must Read

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Assassin Nation #1 hits your local comic book store on March 13, but today, Monkeys Fighting Robots has teamed up with Image Comics to bring you an exclusive interview with Dave, an actual assassin from the series written by Kyle Starks with art by Eisner award-winning artist Erica Henderson.

About Assassin Nation:

The World’s Former Greatest Hitman hires the 20 best assassins in the world to be his bodyguards. These mean-as-hell hired guns and murderers must work together to keep the new crime boss safe while attempting to solve the mystery of who’s trying to off him. With the same laugh-until-you-cry spirit of action-comedies like Hot Fuzz, Tropic Thunder, and Deadpool, ASSASSIN NATION is the bombastic, side-splitting murder-fest you’ve been waiting for.

Hot off her breakout success at Marvel, two-time Eisner award winner Erica Henderson teams up with Kyle Starks for a hilarious twist on the hitman trope that will have readers laughing in the aisles.

You may be asking yourself, “who is Dave?” And the truth of the matter is we don’t know (he’s an assassin; his Tinder profile was kind of vague). After reading the first issue, we had some serious questions for this autograph-seeking modern day man of mystery.

MFR: On a scale from one to fainting at a Beyoncé concert, how excited are you to rank in the top 20 greatest assassins in the world?

dave assassin nation image comics erica henderson

DAVE: I mean, I gotta tell you, it’s a real honor. But you can’t get there without hard work. But being in the top 20 means you’ve made it. I mean, sure, no one in the top 10 takes you serious but getting into the top 20? That’s crazy!

MFR: How did you get into the killing-for-money game?

DAVE: I spent a lot of time in DMZs for the military, and when I got out I wasn’t sure what to do with myself. Getting into the private sector just sort of happened. I told my wife, I said, “Wife, if you got a knack for something, you just can’t waste it.” So I’m out here doing the best I can.

MFR: Fernando, F*ck, Bishop. Kiss/marry/kill?

DAVE: Oh wow. Marry, kiss, kill, I guess? I don’t really know these guys all that well. It’s not like we have poker games every Friday night together or something (dang that’d be cool, I wonder if they’d be interested…).

MFR: What’s one thing you always pay good money for?

DAVE: Let me tell you something you should never skimp on: lawn care and steaks. You got a good lawn? You’re everyone’s friend. You got a good steak? King of the castle.


What did you think of the interview? If our Editor-in-Chief Anthony Composto goes missing in the next 48 hours, we might want to call Dave to see if Anthony is okay…

ASSASSIN TOUR 2019

Check out the Assassin Tour and meet more characters by visiting these websites:
Thursday, 1/24: Monkeys Fighting Robots – Dave
Friday, 1/25: The Beat – Bishop
Monday, 1/28: Paste Magazine – F*ck Tarkington, Meat Stick
Tuesday, 1/29: Multiversity Comics – Fernando
Wednesday, 1/30: SYFY Wire – Smoke, Wistful Stan

Bug your comic book store to order Assassin Nation #1 by February 18 (Diamond code JAN190122), and pick up your copy on March 13.

Exclusive Interview With ASSASSIN NATION's "Dave" - Must Read

Exclusive Interview With ASSASSIN NATION's "Dave" - Must Read

Exclusive Interview With ASSASSIN NATION's "Dave" - Must Read

Exclusive Interview With ASSASSIN NATION's "Dave" - Must Read

Exclusive Interview With ASSASSIN NATION's "Dave" - Must Read

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[Review] CRYPT OF SHADOWS #1 Pays Tribute to Classic Horror Comics

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Horror has always been an integral part of the Marvel brand. Whether it’s one of the pre-Comics Code creepers, or the widely-popular Marvel Zombies that debuted in the mid-‘00s, you can’t overlook the genre’s importance to the company’s legacy. Now, in honor of their 80th anniversary, Marvel are putting out a series of one-shot revivals of classic titles from the publisher’s past, beginning this week with Crypt of Shadows #1.

The Writing

The original Crypt of Shadows ran from 1973 through 1975. This new volume, however, reads like a classic Golden Age horror comic, but with a modern tone and sensibilities.

The issue features two stories tied together by a third narrative about a man with cynophobia (fear of dogs). Al Ewing provides writing duties for all three, and you get a sense he’s loving the hell out of it. There’s a zeal for leaning into genre conventions, embracing the campy quality of classic horror comics. However, Ewing manages to include enough new elements and surprises to keep things fresh.

The three stories in Crypt of Shadows are interconnected, eventually merging into one narrative by the book’s end. That shouldn’t come as a surprise; in fact, it’s clearly telegraphed. What is interesting is seeing how they come together, flipping the narrative on its head. The book opts for psychological, rather than supernatural horror, delivering an effective, yet very fun read.

The Artwork

Three different artists provide ink for the different stories, each with their own charm. Gary Brown employs a sketchy style for Cynophobia, which he uses to truly gruesome effect in bringing some of these hellhounds to life. The art shines in this story, especially towards the book’s end.

The other two artists in Crypt of Shadows #1, Stephen Green and Djibril Morissette-Phan, tend toward a more realist style. Their work is similar to what you would find in the pages of an old-school horror comic, which I mean in a very positive way. Both employ heavy inks, giving each panel a shadowy look that perfectly reflects the tone.

The colors provided by Chris O’Halloran are an incredibly important to the book’s overall vision as well. He employs vibrant, spooky tones that absolutely scream “Halloween,” especially on the stories Cynophobia and Grave Errors!

Final Thoughts

Crypt of Shadows #1 is a worthy tribute to Marvel’s legacy of horror. Whether you’re a fan of the genre or not, this volume is definitely worth grabbing.

 

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Review: FREEDOM FIGHTERS #2 is an Action-Packed Thrill!

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The Freedom Fighters Take On The Nazis in an Explosive Way!

Earth X. A world where the Nazis won World War II. Where Adolf Hitler took America and killed its heroes, the Freedom Fighters, with them dead and their leader Uncle Sam vanishing, no one can stop the Nazi war machine. Decades pass and all hope for a free America appears to be gone. On the day of the Freedom Fighters’ deaths, a Nazi museum is destroyed. The culprits of this bombing reveal themselves to be a new version of the Freedom Fighters! To combat the reborn team, the Nazis send a giant robot to face them. Will the Freedom Fighters fall before they get a comeback?

Freedom Fighters 2 cover

**Some Spoilers Below**

Story:

Picking up from right where we left off, the Freedom Fighters face off against a giant robot. We watch as each member of the team contributes to the fight. From Human Bombs explosive attacks to Doll Woman’s infiltration of the machine, no member is left out. The Fighters seek to gather information out of the machine to help their fight against the Nazis. After they clear the machine, they begin to fall back in their wicked escape ship. All the while, they’re scattering pamphlets of Uncle Sam everywhere. This begins to bring the long lost leader of the Freedom Fighters back from the dead.

Freedom Fighters 2 p1

The biggest problem with this issue is also its greatest strength. This issue doesn’t give us character development in any sense. We don’t know the origin or personality of any of these characters. One could be disinterested because of this, but that’s where the positive comes in. Not many readers know of the Freedom Fighters. Their most popular appearance came in the Crisis on Earth X TV crossover, and it was just a single member. We need to know what these characters can do. How? With one big, badass fight scene. Each of the Fighters played their parts, showing off their strengths and powers. It was just a ton of fun to behold.

Art:

The art for this issue was extremely well done. The battle almost cinematic levels of detail. Everything feels big because of the amount of effort put in. The page of the Human Bomb destroying the giant robot is still etched into my mind as I type this. There are so many panels similar that are just a wonder to behold. Whether it be the grandiose details of the battle or the expert colorwork, this was a great looking comic for the Freedom Fighters.

Freedom Fighters 2 p2

Conclusion:

While it’s not the issue I was hoping for, I did have fun with the Freedom Fighters. The battle against the regime is an excellent showcase of the heroes on Earth X. It gets even better when the art matches the action of the story. While it is fun, the story does need to move on from this. We need to connect with our heroes or else this is just going to be a hollow action romp. As it stands, however, if you love action filled comics, this is the one for you.

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Review: NAOMI #1 Introduces Us to the Titular Character and her World

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Welcome to the Small World of Naomi!

Brian Michael Bendis has been making waves since his arrival at DC Comics. Sometimes they’ve been great waves with exciting stories, other times have been confusing and subpar. One of the more interesting waves is the new imprint, Wonder Comics. This imprint will be centered on teenage heroes and curated by Bendis himself. The first of this imprint, Young Justice, was a decent read. The next of the imprint is the story of Naomi. This is a new character that will go on an adventure that will affect the whole DC Universe. So just who is Naomi?

Naomi 1 cover

**Some Spoilers Below**

Story:

After a small town in the northwest gets a visit from Superman, a young girl begins investigating. This is Naomi, and she is fascinated by Superman. She is curious about why he has come to their little town. She also begins investigating the other time anything strange happened. Everyone appears to be avoiding the topic, much to the young lady’s annoyance. The reason Naomi wishes to know is that she wants to learn if she is special.

Naomi 1 p1

This issue is primarily used to give us an understanding of Naomi. As this is a new character, we spend a majority of the issue learning a ton about our heroine. It’s clear that this story will be a more character-driven series rather than an action-packed one. The only action we get this issue is the fight Superman gets into at the start.

I prefer a balance of both action and character-driven narratives. Because of that lack of action, I was getting bored by the end. The cliffhanger saved it, but overall I just couldn’t get into it. Maybe this will change as we learn more of her origin, but right now, I’m just “meh” about this opener.

Naomi 1 p2

Art:

The art is by far the best part of this book. Each panel is breathtaking in illustration and colorwork. Jamal Campbell is the artist for the issue, and he gives it his all on every page. The character designs feel grounded in reality, especially in their facial expressions. There’s a scene in this where Naomi is on the verge of tears from the mystery weighing on her. Each panel shows a little bit more of the sad frustration until she starts to cry. It’s full of emotion, incredibly realistic, and I loved it. I hope the artist isn’t going anywhere, because I already can’t imagine this comic without his skill.

Naomi 1 p3

Conclusion:

I like certain aspects to this story. Naomi is an interesting character, and I want to see where her story goes. The art is also incredible, being full of excellent colorwork and skillful illustrations. This issue might have been average thanks to a lack of real excitement, but I actually can’t wait for the second issue.

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INTERVIEW: Director And Star of THE GOLEM Discuss Bringing Jewish Folklore To Life

The Golem is a new horror film from Doron and Yoav Paz about Hanna, a woman (Hani Furstenberg) who turns to mystical forces to save her village that’s based on a centuries-old Jewish folktale.

The Golem is a fun horror flick with some great, underlying themes about fear and motherhood. The Paz brothers have evolved as filmmakers since they got a lot of attention for their mostly first-person horror flick JeruZalem. The Golem provides great visuals through an entertains story. At the heart of it is Hani Furstenberg and her performance that holds the whole movie together.

PopAxiom spoke with director Doron Paz and lead actor Hani Furstenberg about their work on The Golem.

Finding Hanna

Hanna is the complicated protagonist of The Golem. She’s solemn but caring, and when the village is under threat, she does what she feels she has to do. It’s a meaty party to play for any actor “I knew Hani was the right woman for the role. I contacted her, and she ditched us two hours before our meeting.”

Doron continues the story “We continued looking for the right protagonist for the film, and no one was the right one. So we tried again, and we contacted Hani again, and this time she read the script.”

Hani’s a fan of horror but “It wasn’t the first thing I wanted to do. I found my love for cinema through horror and thrillers. At about nine or ten I started to make films, and they were always horror films.”

Hani continues the story “A friend finally urged me to be a part of the project and read the script … I fell in love with the heart of the story. It’s a very special film in the genre.”

About The Golem, the singer-actor says “It’s so much more than just a horror film. It’s a period piece, a drama … arthouse thriller and Jewish folklore … so many different kinds of stories.”

Making The Golem

For Doron, making the film started with a realization “It was really amazing to us that no one had touched this story. Hundreds of years old, such an interesting folktale, and it was left alone for one hundred years on film.”

The Golem is a period piece and finding the right place to make it all happen was key “The location was so important to the mood. We shot in Ukraine, in the middle of nowhere. It was a studio that was left there.

Hani adds “It was the coldest summer in Ukraine. It was freezing.”

But ultimately, for the team “… it really put us in the mood as the filmmakers. So often you shoot a scene then go home to your family and friends. Here, we were so isolated, and it was all about the film.”

Hani describes the place “It was acres and acres of land. So much green. Beautiful. It didn’t feel like a [film] set. It really felt like we were in this other time.”

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Becoming Hanna

The protagonist in The Golem, Hanna, faces internal and external threats that make the character go through a lot in the 90-minute runtime. How did Hani stay sane through all these horrors? “… With a lot of help from a lot of people.”

Hani’s preparation for the role started before she was even cast and didn’t even know it “I happened to be watching Handmaid’s Tale, the first season. That was a big inspiration.”

About the character of Hanna “This woman … is very smart, opinionated, tries to break through what is supposed to be her part in this life and world.”

Making A Monster

The Golem fits into a lot of subgenres, but first and foremost it’s a monster movie. How did the creature come to be? “In the first draft of the script … something was missing. We had this huge monster, and it wasn’t interesting enough. And we got into, should the monster be CGI or a costume.”

However, the Paz Brothers kept brainstorming and realized “The idea of The Golem is much more interesting than the appearance of the creature.”

Soon after, one decision made that put the whole puzzle together “Once we settled on doing the creature as a child, the rest of the story wrote itself.”

Working Brothers

Think of Doron and Yoav as the Israeli Coen Brothers yet it’s rare to have two brothers working together as directors of a single film. Hani admits “I did not know what it would be like to work with … not only two directors but brothers. But they work amazingly together. They really compliment each other. There’s also something very symbiotic about how they work.”

According to Hani, there’s little disagreement on set between the Paz Brothers, but Doron jokingly admits “We only argue a lot when we’re alone in the editing room.”

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Wrapping Up

What is next for the Paz Brothers? “We have so many stories that we want to tell. We wake up with a new idea, and we go crazy for weeks developing it then another idea comes up. I want to do them all! We’ll be shooting something this year but I can’t talk about it.”

Hani jokes “Will I be in it?”

Doron replies “Maybe. It’s going to take place in Germany so practice your German.”

As for Hani, you’ll see plenty of her very soon “I have two series that came out in Israel. One is called False Flag. The other is Asylum City and the first season just started. It’s a cop-based thriller. And you’ll see me in the new season of American Gods.”

The Golem, in theaters on February 1st
and available on DVD, VOD, and Blu-Ray February 5th.

Thanks to Doron Paz, Hani Furstenberg, and Big Time PR
for making this interview possible.

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