Review: Brubaker and Phillips’ CRIMINAL Goes Monthly And Hits A Big Score

By

-

Criminal, by Ed Brubaker, Sean Phillips and Jacob Phillips, goes monthly with an excellent, moody, violent and dark double-sized debut issue from Image Comics.

Criminal #1
Written by: Ed Brubaker
Art by: Sean Phillips
Colors by: Jacob Phillips

Teeg Lawless is back in town. But he finds himself in more trouble than ever, thanks to his delinquent teenage son—and this time, fists and bullets may not be enough to solve his problems.

Writing

The world of Criminal has always been where Ed Brubaker excels the most. And having it monthly is just about the best fucking news any comics fan could hear going into 2019. Criminal is without a doubt Brubaker’s seminal work and now the scribe is going to be able to dive right in twelve times a year and drag us by the neck into that wonderful and twisted, noir world.

This issue stars Teeg Lawless, one of many reappearing characters in Brubaker’s tapestry. Teeg’s son Ricky (who has also popped up before) seems to have ripped off the wrong item from the wrong guy and now Teeg has to come up with some cash fast or else. This leads Teeg back to some old places and acquaintances (most familiar to fans); and of course, one big score. It’s a classic set up that could be a cliche but Brubaker’s too good of a writer and just elevates the whole thing. The narration, omniscient, hard-boiled, and delivered matter of factly makes just about everything read so fucking tough and hard it feels like granite.

And yet despite all the grime and grit, there is still an air of soulfulness and an element of tragedy that haunts these characters and makes you connect and care for them. Hell, you even start to root for them.

Brubaker’s love for the medium as a storytelling tool is evident also as he sneaks in little details that only four color fiends will really notice (like an occasional old school thought balloon).

It’s also great to see Brubaker continuing his use of heavy editorial and supplemental pieces at the end of his comics. Here we have a nice summary of all the Criminal graphic novels for those new to this world and a fantastic essay on the film Blood Simple by regular contributor Kim Morgan. It’s a complete package of a reading experience that works because it’s a monthly.

Art

No one draws a comic like Sean Phillips, and when it’s a crime/noir comic you are going to get comic book art perfection. Phillip draws faces that look haggard and real. His layouts and panel structure are neat, but the feel of the line work is what gives them that handcrafted and grimy look.

Throw in Jacob Phillips’ moody colors and you have the perfect pair to pull off this job. Jacob’s palette also adds a layer of freshness and experimentation that at times gives certain pages and panels a subtle, surreal vibe. It’s beautiful.

Conclusion

It’s simple, don’t sleep on this book. A new Criminal book has always been well worth the wait, and now we are getting one monthly. Just pull the fucking trigger and buy this book.

Monkeys Fighting Robots Youtube

Review: Evil Lurks In The Pages Of THE SPIDER KING: FROSTBITE

By

Darryll Robson

-

Continuing on from IDW’s monthly series The Spider King, this new one-shot follows the central band of misfits as they journey on to new adventures. Packed with humour, excitement and character, The Spider King: Frostbite is a wonderful blend of Sci-Fi and Fantasy that will appeal to a large section of comic book fans.

The Spider King IDW Publishing — The Spider King: Frostbite Alternative Cover

The Story

It’s an age-old story: a group of survivors head for a sanctuary only to discover an evil force has inhabited the land.

And so begins this one-off story featuring all of your favourite characters from the monthly run of The Spider King. But don’t worry if this is your first issue of the sci-fi/fantasy adventure comic because Josh Vann has written a story that contains everything you need to know about the world of The Spider King thus making it easily accessible.

The cast of Viking warriors and Alien friends travel through the snowy landscape, heading to a nearby settlement so that they can rest and relax. Unfortunately for them, but luckily for the reader, there are dark forces at work in the forest and an unprovoked attack by a possessed wolf is just the start of the adventure.

Vann includes enough creepy elements into the story to keep the atmosphere tense without it becoming a full-on horror comic. Instead, what Vann has written is an adventure story for all ages. It contains humour, action, suspense, and a collection of wonderful characters. The nature of The Spider King story means that there is an identifiable character for everybody and in this one shot they all get time in the spotlight.

But the real stars of this issue are the villains. A collection of alien-possessed animals who brainlessly attack the band of heroes. Vann makes the first attack scary and then ups the ante, introducing more and more creatures. Ultimately this leads to a threat that seems insurmountable for our heroes. Not everything is as it seems but the truth may turn out to be worse.

The Art

The artwork is the one thing that stops The Spider King: Frostbite from becoming a straight up horror comic, which it so easily could be; after all, the story shares similarities with some of the best horror computer games and movies. This comic definitely draws some inspiration from the Resident Evil franchise and John Carpenter’s movie The Thing. However, Simone D’Armini’s pencil work and Adrian Bloch’s colors reign it in and lean more towards the comedy element.

This is not a bad thing; The Spider King is a fun romp with large appeal, so playing down the horrific side does it justice in the long run. And it’s not to say there aren’t a few unnerving or scary elements in the comic. Contained in these pages is the scariest snowman I’ve seen since Doctor Who’s The Snowmen in 2012.

D’Armini’s inks are sharp and definite. Each firm, black line forms a defined shape within the panels which represents the warrior nature of the cast. The panels themselves have thick black boarders making each panel a statement in itself but D’Armini likes to play around with the layout. He shifts panels slightly out of sync or occasionally bleeds an image to the page edge giving certain images more narrative weight.

Across the top of this are Bloch’s colors which are a beautiful blend of pastel purples and pinks contrasted with the electric blue of the creatures. This initially gives the enemy a ghostly presence but there is also the feeling of technology written into the narrative. The color scheme reminds the reader that The Spider King combines both a fantasy world and a Sci-Fi world. There is also the sense of eternal twilight which doesn’t let up throughout the entire story. Bloch keeps it cold and dark without resorting to black shadows thereby keeping the images on the lighter side without diminishing the narrative.

Above all else, it seems that the creators of Frostbite want it to be a fun read. The lettering by Chas! Pangburn definitely reinforces this assumption. From Frodi’s weird hieroglyphics on a green background to the dialogue that breaks the confines of the speech bubbles; Pangburn enjoys breaking conventions to add humour to a page. The panel with the scary snowman, for example, contains the dialogue written so large it even breaks the additional frame that Pangburn places around it. The speech is given such emphasis that the uncomfortable moment is punctuated with a laugh out loud joke.

Additional Story

This issue also contains a back-up story. Called The Errand, it is again written by Vann and lettered by Pangburn but is illustrated by Daniel Irizarri. It is a quaint little tale with a cheeky demon-esq creature and an over tired Sigrid. Mimicking the main story, The Errand mixes mythology with science fiction to create a charming tale which finishes too soon. The build-up is great but the payoff is too easy and doesn’t really explain anything. However, the artwork is fitting and there is a more thoughtful tone given to this moment of Sigrid’s character development.

Overall The Spider King: Frostbite is an exciting romp packed with humour and entertainment. The heroes are suitably heroic and the villainous creatures are solid fantasy fare. This has a lot going for it and is easy to read and enjoy. Also, if you are new to this world, I would recommend picking up The Spider King volume 1 for more of the same Middle Ages adventures.

Monkeys Fighting Robots Youtube

Review: MURDER FALCON #4 Unleashes Demons And Metal Upon The World

By

Darryll Robson

-

In Image Comics‘ music and fantasy inspired Murder Falcon, the creators have managed to recreate the experience of listening to heavy metal music in a comic book format. They have woven the tropes of the music’s storytelling with outlandish visuals to produce an engrossing experience that has to be read to be believed.

The pacing and rhythm of a great rock album is present within the pages of this comic and there is even a soundtrack to complete the experience, Brooticus.bandcamp.com

Prepare to be surprised, prepare to shocked, but most of all, prepare to Shred!

Murder Falcon Image comics — Cover for MURDER FALCON #4 by Image Comics

THE STORY

The first thing any newly reformed band has to do is play a reunion gig. Unfortunately for Jake and Brooticus, their gig will be one of the hardest fought of their lives.

The band celebrates being ‘back in saddle’ but they are interrupted by a distant battle. Knowing that the battle is theirs, Jake leads his band against Magnum Khaos, a demon greater in strength than any they have faced so far.

Daniel Warren Johnson is not afraid to use over-the-top action and tongue-in-cheek clichés to tell the story of Jake and Brooticus. In fact, it goes hand in hand with the metal music influence that spawned this book. All good metal albums have an element of cheese about them; it’s one of the things that makes them appealing and provides a comfortable environment for the listener while the band introduce new ideas and concepts.

This approach is evident in Johnson’s Murder Falcon comics. He picks from the clichés of fantasy and music literature to create an easily accessible world for the readers while at the same time creating something new and exciting. The larger than life elements of this issue are metaphors for the internal struggles of the characters. This is reflected by Jake’s story the most, with numerous flashbacks that give the reader an insight into Jake’s past and the questionable decisions he’s made. There are also a few emotional twists which are becoming the norm for this series. You come for the Metal but you’ll stay for the heart!

The Art

Johnson is able to switch from emotional, quiet scenes to bombastic, louder than life battles on a pin head without breaking the reader’s concentration. This ability makes the reading experience fluid while maintaining the emotional punches required for the story to work. This is achieved in two ways.

Firstly, Johnson uses the panel layout to reflect the images they hold. This means that the fight sequences, with the chaotic demons and larger than life characters, have a more varied panel design including inserts, overlaps and page bleeds. For the heart felt, down to Earth moments however, Johnson employs straight forward panel grids. The difference between the two layouts changes the pace at which the reader follows the action and is almost forced to contemplate on the lack of action.

The second way that Murder Falcon differentiates between the two central stories is via the coloring provided by Mike Spicer. The opening scene has a single color theme giving it an emotional depth even before you follow the panels. A quick glance at the page of cold blues tells you everything you need to know about the emotional state of Jake at that moment. This changes dramatically as you turn to the second page where there is a host of vibrant colors spreading across each panel. Even before you get to the battle sequence there is a fantastical element to the coloring, creating the sense that it is somehow unreal, larger than life.

This dramatic shift between the periods in Jake’s life is also evident in the lettering work by Rus Wooton. For the most part, the speech balloons and dialogue reflect the chaos the characters are in. The balloons appear hand drawn, uneven, and the text rattles around inside the white space as the characters are thrown and knocked about. But when it comes to the quiet scenes, Wooton uses a much more understated approach to the lettering. What little speech there is is kept out of the way, allowing the images to breath. It is subtle and reflects the contemplative nature of the images. The transition from one scene to the next in Murder Falcon is like the shift from a fast metal track on an album to the opening chords of a ballad.

CONCLUSION

Murder Falcon continues to impress as the two story arcs each become engrossing in their own way. The fantasy element becomes more ludicrous allowing the humour to flow from the page and the emotional character arc becomes more heart-breaking, with each step pulling the reader closer to Jake. The storytelling is suburb and, just like true Metal music, it is not afraid to be exactly what it is. It is big, brash and unbelievable but it has a moving story to tell. A story which, thanks to the work of all involved, does not get buried by the fantasy element.

If you haven’t read any Murder Falcon before it will surprise you by its brilliance. The attention to comic craft, the love of the characters, and the musical influences are evident on every page. If you have ever seen The Aquabats! Super Show, then this is a comic book version of that, but for heavy metal music.

Monkeys Fighting Robots Youtube

UNCANNY X-MEN #9: Fighting Against Fatigue

By

Brandon J. Griffin

-

Uncanny X-Men marches on, fighting fatigue and staleness along with setting up the next era for the flagship Marvel title.

SPOILERS LIE AHEAD

X-Man and Legion have become one and it’s up to the massive roster of X-Men to stop Nate Grey and his horsemen from wiping out humanity.

The biggest obstacle the X-Men and their creative team face with this rapid weekly release schedule is that of fatigue. Writers Ed Brisson, Kelly Thompson, and Matthew Rosenberg have done well to avoid becoming stale by keeping the tempo high and the action constant.

While we might not be getting bored with this “Disassembled” story, there’s not a whole lot to differentiate each issue from the last. The actual progression of the story feels like it’s at a snail’s pace if you’re reading it week-to-week. My hope is that once this storyline is done and Uncanny X-Men is at a regular release schedule, it’ll be a refreshing change of pace to slow things down and dig into the mutants themselves again.

Jamie Madrox is once again a scene stealer, foiling X-Man’s plan by being a cowardly alcoholic. This was a character moment in line with Rosenberg’s recent Multiple Man mini-series. I’m willing to bet Rosenberg wrote this scene, it’s good to see that characterization continue for Madrox.

One of the biggest letdowns of this story so far has been the utilization of X-Man’s Horsemen. They’ve mostly been props and a reason to give a few characters a sweet costume redesign. With the story all running together at this point, it could’ve been nice to take a moment and examine the new scenario from these character’s perspectives.

Another sign of feeling a bit of fatigue from the nonstop action is how riveting the Beast/Anole subplot appears at first. It ends up being another instance of the government being given an X-Gene vaccine for them to weaponize but it’s a nice, quiet moment to break up all the noise. I’ll never turn down a scene where Beast gives a mutant teenager advice.

These pages are lit up by so many colorful beams and blasts. The problem is there isn’t much of an in-depth conflict behind them from the story. This issue is loud and explosive, making it a joy to look at. The emotional height of the issue is easily Jean’s showdown with her son before the beautiful final page.

Yildiray Cinar does a fine job populating these pages and keeping the background scenes entertaining. We also finally get Legion in a decently drawn suit thanks to Cinar! Colorist Rachelle Rosenberg has made every issue an explosion of eye-satisfaction. Art isn’t where the series feels the effect of a weekly release schedule (Which is a rarity).

Next issue we get Nate Grey/David Haller facing off against even more X-Men! Most importantly, our creative team has brought some long lost favorites back into an X-Men book (MAGGOTT FTW). Uncanny X-Men #9 is a solid superhero punch-fest that could use a slowdown moment or two to avoid giving readers fatigue.

Monkeys Fighting Robots Youtube

FRIENDLY NEIGHBORHOOD SPIDER-MAN #1: All About The Neighborhood

By

Brandon J. Griffin

-

Marvel’s rock star writer Tom Taylor gets a Spidey book with rising art star Juann Cabal. Friendly Neighborhood Spider-Man focuses on the people surrounding our favorite web-slinger. The all-star creative pairing previously did stellar work together on All-New Wolverine.

SPOILERS LIE AHEAD

Tom Taylor really turns on the heart and charm with his first Spidey issue. Everything you need to know about this series is in the title Friendly Neighborhood Spider-Man. This is a comic book about the immediate surroundings of one Peter Parker. He’s one hell of a guy who does everything he can to take care of the people around him.

There’s no high-octane action sequence to open our story, there’s no ludicrous villain plot threatening the lives of everyone Spidey loves. Right out of the gate this is a very plain and simple story about how much Spider-Man means to his community.

Taylor populates this neighborhood with such real people, Peter included, and right away it’s so easy to relate to and understand what we’re reading. We don’t even really spend much time with Spider-Man himself as we’re introduced to all the peripheral people we don’t spend any time with in Amazing Spider-Man; it hammers home the point that this isn’t just another Spidey title.

From the people Peter passes on the street every day, to his apartment complex neighbors, to the love of his life MJ; we spend a lot of time seeing how important Spidey/Peter are through the eyes of others.

It’s not that this issue doesn’t have action either, there is just enough to keep the pace exactly where it needs to be and remind us we’re still reading a superhero comic book. There’s also a perfect dose of classic Spidey humor, Taylor demonstrates a restraint and knack for comedic timing.

Friendly Neighborhood Spider-Man is a wonderful compliment to the main Spider-Man titles. It’s a wonderful idea to produce a series where we can spend some quieter, quality time with Peter Parker and the people around him. This launch issue is very much a love letter to the character by the creative team, a sentiment that every reader will probably share if they’re buying this title.

It’s also a title that isn’t going to be for everyone. Not every fan of superhero comics is going to dig the slower paced drama with very little punching for the massively popular wall-crawler. This series will most likely become a great accent piece to the Spidey line of books for those who just can’t get enough (Myself included).

Juann Cabal might still be an “up-and-coming” artist but he sure doesn’t seem like it here. It’s no easy task to take a script with minimal action and keep readers engaged throughout.

There are plenty of veteran artists who can lose a reader’s interest with too many pages of straight dialogue in a row. Cabal displays a wide array of emotions and navigates the story splendidly. Cabal is what breathes so much life into this lively neighborhood.

The secondary story sees Aunt May secretly going to a cancer center due to a lump she found. The tension that’s built just from her keeping a secret from her nephew is a sign of Taylor’s writing strength. He’s able to jump in here and just hit the ground running with these characters that have so much history.

The moment with Spidey and the kids, as he secretly tails his aunt, is such a classic Spider-Man moment. Dealing with the bully situation but then turning it into a whole other thing because he talked himself into a corner, but it’s okay because he saved the bus driver’s sister once; that just puts a smile on my face and a chuckle in my heart.

Friendly Neighborhood Spider-Man is a perfect accent series to a stellar Amazing Spider-Man run. We die-hard fans of the ol’ web head are in a really nice place right now. The only downfall of this inaugural issue is that it’s not for everyone; but those that it is for will cherish it for being so lighthearted, charming, and drop dead gorgeous.

Monkeys Fighting Robots Youtube

Read Captain Marvel’s Origins In THIS WOMAN, THIS WARRIOR

By

Anthony Composto - EIC

-

Ms. Marvel Epic Collection: This Woman, This Warrior is out this week, chronicling Carol Danvers’ earliest adventures, from before she became Captain Marvel.

The paperback features Danvers’ debut as superhero Ms. Marvel, following her appearances as a civilian in the original Captain Marvel series. A human endowed with Kree powers, Danvers is considered one of Marvel Comics’ most powerful characters.

This Woman, This Warrior collects issues #1-14 of Ms. Marvel, as well as Marvel Team-Up #61-62 and Defenders #57, and features a Murderers’ Row of talent. It’s written by Chris Claremont and Gerry Conway, with pencils mostly by Jim Mooney, John Buscema, and Sal Buscema (along with others, such as John Byrne and Carmine Infantino).

This Epic Collection is full of some of the best superhero storytelling the 1970s had to offer. It has big, explosive action with bright, vibrant colors. It also has some mystery and intrigue to keep you engaged, and great character development. Claremont and Conway are two of Marvel’s best writers ever – they literally helped build the company. Add the infamous art styles of Mooney and the Buscemas, and you a have a comics cocktail of greatness.

The cover of Ms. Marvel #1 states “a bold new super-heroine in the senses-stunning tradition of Spider-Man!” and the series follows through on that promise. Conway was Stan Lee’s successor on Amazing Spider-Man, so it fits that he would bring some of that world into Carol Danvers’. Right away in issue one, the writer slips in a Peter Parker cameo. Mary Jane Watson also becomes a supporting character, and Carol begins the series accepting an editor job at the Daily Bugle, where she frequently bumps heads with J. Jonah Jameson. A lot of the personal elements that made Spider-Man so popular are carried over into the world of Ms. Marvel, and it helps the reader build an emotional connection to this new corner of the Marvel Universe.

That being said, the series has a fresh voice of its own and doesn’t just feel derivative of Spider-Man.

Part of what makes Ms. Marvel feel unique is the theme of female empowerment that flows through it. There are a number of characters who scoff at the idea of a woman playing in the same room as the men, both as a superhero and a civilian. Jonah Jameson makes Carol the editor of a new women’s magazine and expects her to fill the publication with articles about diets, fashion, and recipes. He scoffs at the idea of lady astronauts, and literally says the words, “Women! Where’d they ever get the idea they were any good outside a kitchen, anyway?!” The comic was written in the 70s, but it’s scary how relevant it still feels today. Jonah, and other like-minded men, are played as the buffoons they are, and Carol shows them up time and time again, both as herself and as Ms. Marvel.

Ms. Marvel: This Woman, This Warrior is an action-packed, empowering collection that offers fun like only classic Marvel comics can. Older comics can be a bit daunting or inaccessible to modern readers, but rest assured, this Epic Collection is a good time for all. And it’s a great primer for new fans before Captain Marvel hits theaters this year.

Monkeys Fighting Robots Youtube

Review: BOJACK HORSEMAN SEASON 5 – As Funny and Heartfelt as always

By

Kieran Freemantle

-

Review: BOJACK HORSEMAN SEASON 5 - As Funny and Heartfelt as always

Bojack Horseman has a deserved reputation for being one of the best adult animated shows currently airing (or streaming). The Netflix hit blends hilarious comedy and hard-hitting insights on issues like depression. Bojack Horseman continues with this delicate balancing act in its recent fifth season.

In the new season, Bojack takes on the titular role in the TV show Philbert. He hates his character, and feuds with the creator of the show. Bojack also starts a relationship with his co-star, Gina Cazador (Brooklyn Nine-Nine‘s Stephanie Beatriz). And like every season of Bojack Horseman, Bojack quickly spirals through the season as he grapples with his demons.

Throughout the show’s run, Bojack has battled addiction and depression. No matter how good life gets for Bojack, he finds a way to screw it up. Despite saying he wants to improve, his actions frequently say otherwise. The fifth season sees Bojack go down an even darker path. He gets addicted to powerful opioids after an accident and the show slowly builds on this. It’s an engaging subplot that drives Bojack into its familiar dark territory.

One episode that brilliantly highlights Bojack’s addiction is “The Showstopper.” In this episode, Bojack’s addiction is so strong that he can’t separate reality from the world of Philbert. He becomes paranoid, which results in one of Bojack’s most despicable acts. “The Showstopper” doesn’t quite match previous penultimate-season episodes, as they had deeper emotional moments like Bojack’s fantasy life with Charlotte, or the death of Sarah Lynn. But “The Showstopper” is still a trippy episode that plays with Bojack’s new reality.

Bojack’s past also comes back to haunt him. The events of Season Two rear their ugly head and it affects his relationship with Diane. His loses someone close to him during the season and despite Bojack saying he’s okay it’s clear this event is going to be addressed in the next season.

Diane, Princess Carolyn, and Mr. Peanutbutter also each have an episode to shine. Diane had the best standalone adventure, where she runs away to Vietnam. “The Dog Days Are Over” has a very moving moment that shows how someone can be alone whilst in the middle of a crowd. Anyone who has had depression or felt isolation can relate to it. Her episode also had a fair amount of hilarious moments, and it’s the balance of humor and heart that makes for the best moments of Bojack Horseman.

Princess Carolyn’s episode, “The Amelia Earhart Story,” elaborates on her previous miscarriage, and her mother’s alcoholism. The episode showcases more of Princess Carolyn’s past, and how mother almost held her back. It sets the stage for Princess Carolyn’s future, and the difficulties of balancing her career and single parenthood. Her dreams clash.

Mr. Peanutbutter’s episode looked at his previous relationships and how they all had one disastrous night and he realizes what the common-dominator in why they failed. The episode examines Mr. Peanutbutter’s taste in women and how they changed from fun-loving gals to becoming bitter shrews. The episode also shows how Bojack ended up having Todd as a lodger.

Bojack Horseman sees some new characters join the season. Gina was the most important – she was Bojack’s co-star and love interest and a cynic with a dry wit. Gina has a knuckle down and gets on with it approach. She has pretty much given up on her dreams. Gina has the biggest arc in the season because Bojack clips away her shell and she lets her guard down which has both positive and negative effects. The decision she makes in the final episode was a strong commentary on the current situation in show business.

Hong Chau played Pickles, Mr. Peanutbutter’s new girlfriend and acts just like a pug – happy, enthusiastic and a bit stupid. Pickles is the female version of Mr. Peanutbutter – but she is only 25, she’s still figuring out her way in life. She will have a bigger role in the next season.

My favorite new character was Henry Fondle, a sex robot built by Todd. Henry is a gag character, all he does is spout pre-programmed sexual phrases that get interpreted as business commands. Todd ends up being the smartest person in the room at times because of this. It made me laugh.

Bojack Horseman is largely known for being dramatically hard-hitting, but it’s still a funny show. The fifth season has some of the best moments of humor. “Bojack the Feminist” was the best comedic episode in the season where, after a misconception, Bojack becomes a feminist icon. Bojack learns about feminist theory, Mr. Peanutbutter attempts to be tough and fails miserably, and the character of Vance Waggoner (Bobby Cannavale) was a satire of actors like Mel Gibson and Alec Baldwin and their redemption in Hollywood.

The fifth season keeps to Bojack Horseman‘s high standards. This season is not as emotionally devastating as previous seasons because it doesn’t have an event like Sarah Lynn’s death or the reveal of Hollyhock’s parentage. But the season is still funny and dramatic and fans will love it.

Monkeys Fighting Robots Youtube

Review: WONDER WOMAN #61 Asks “Where is The Love?”

By

Jose "Jody" Cardona

-

Wonder Woman finds her love with the Goddess of Love.

Wonder Woman faces off against the God of War once more. Amidst a civil war in the small nation of Durovnia, Ares serves his own form of bloody justice. Diana, trying to find Steve Trevor in the conflict, fights to stop Ares. The only thing that is able to stop the fight is the crying of a child. Before the battle, Ares used a missile to destroy a tyrant-supporting village, to which a baby is the only survivor. This lone survivor shakes Ares to his core, causing him to leave the nation to its war. Meanwhile, Steve Trevor finds another god amongst the ruins of the country: Aphrodite. What does the goddess of love have to do in Durovnia?

**Some Spoilers Below**

Story:

While Wonder Woman goes off to help civilians stuck in the crossfire, Steve Trevor speaks to Aphrodite. The pair begins to talk about love and war, with Aphrodite being sick of it. She notes that love has only caused more pain than anything else. Steve counters her argument by pointing out it’s easier to be brave for love. This goes on for a bit before Steve convinces Aphrodite to help him find Diana.

Meanwhile, Wonder Woman is in the capital, protecting those caught in the crossfire. Two of the innocents turn out to be the grandchildren of the Prime Minister. Seeing a way to end the fighting, she takes the kids to their grandfather, hoping to find peace.

This isn’t a great issue, but it’s not terrible either, mediocre at best. While it’s fantastic to see Wonder Woman in action, the conversation between Aphrodite and Steve is dull. I’ve heard the connection of love and war before in many other stories. This one adds nothing new except it gives Steve some weight to the story.

If this was a twist, turning the goddess of love into a villain, it could have been great. However, soon after, she throws aside her stance to help Wonder Woman. This team up is kind of cool, but I just see wasted potential. Wilson is a fantastic writer, and the pieces are there. It just can’t quite mesh together to achieve greatness.

Art:

This is where the comic takes a massive leap in quality. Xermanico takes over illustrating the issue, and every character looks fantastic. While I may not have been a fan of Nord’s style, I did enjoy the designs, which are now perfected. Wonder Woman and Aphrodite stand out thanks to the masterful illustrations, as well as a certain character at the cliffhanger ending. Add that with Fajardo Jr.’s excellent colors, and we have a great looking book.

Conclusion:

While there are fun bits sprinkled throughout, this wasn’t a great issue. The debate on love and war was dull and a chore to get through. The action was fine, but there wasn’t enough to keep any reader satisfied. The art, however, is a significant improvement and I hope it stays for the rest of the run. Here’s hoping the story can get on that same level in the coming issues.

Monkeys Fighting Robots Youtube

THE GOLEM REVIEW: Paz Brothers Return With Jewish Folklore Horror Film

By

Ruben Diaz

-

The Golem is a supernatural film from directing duo Doron and Yoav Paz about a woman who summons a monster to protect her village, but things don’t go as planned. The film is the first for horror website Dread Central and makes its East Coast theatrical premiere at the Miami Jewish Film Festival on January 16th. On February 1st the film opens in Los Angeles and then The Golem lands on VOD, DVD, and Blu-ray on February 5th.

A New Take

The Golem is the third cinematic retelling of the 16th-century Jewish folktale. The first two are interesting to note because they were done by the same director only five years apart. It’s a bit of fascinating cinema history. Of note, the second version from 1920 is praised as one of the best examples of German Expressionism. Flashforward to 2018 and we have the Israeli-born Paz brothers doing a new take.

If you’re not familiar with the Paz brothers, this is their third film. Their first feature, Phodilia was an exploration of modern conveniences and how it’s changing people. The Paz brothers followed that up with JeruZalem, a mostly first-person zombie film set in Israel. These films are equal parts competent, ambitious, and silly.

The Golem is more of the same which is a good thing. The brothers, one of the familiar names emerging from the rapidly-growing film scene in Israel, bring more of their unique blend to this film and it works, or it doesn’t, depending on your tastes.

The Golem Begins …

The Golem begins in the past, quickly recounting the story of a Rabbi who summons a creature to defend his people only to subject them to a horrible monster. That’s the original folktale in a nutshell. Wrapped up in about five minutes.

The film’s present-day takes place a century or two later and centers around a small, mostly isolated Jewish village. The community lives in peace even while a sickness spreads across the rest of the country. A group of outsiders blame the Jews and force them to stay within the confines of their community. Hanna, our lead played by Hani Furstenberg, isn’t having it and she turns to mystical forces to do something about it.

Hanna summons the titular creature, and it quickly proves to be a life-saver but, as summoning supernatural forces will often lead, things start to go haywire. The first appearance of the creature is a fantastic sequence and reveal. It’s masterful when a horror movie can creep viewers out in a scene that takes place in broad daylight.

Paz Brothers

Visually, the Paz brothers do not disappoint as they create a beautiful world to look at it. Jeruzalem was clever in its use of the “Google Glass”-type headset. And they do love their first-person views as The Golem features a couple of POV shots. On a technical and visual level, everything is on point including some exquisite lighting.

It’s easy to say that The Golem falls flat on a story level because it follows the familiar beats of so many movies like it. It’s got the right tropes at the right time. However, instead of exposition bombs, it offers throwing daggers that come out of the dark, only a few at a time. And the tropes are subverted by the subtle nature of the creature itself. The film creates so much creepy tension in moments where nothing is happening except for two characters staring at each other. That last sentence should also be taken as a nod to the great performances by Hani Furstenberg and the young man who plays the monster.

Final Thoughts

The writing and story in The Golem is indeed nothing to write home about. But where the movie hits bumps in the road is the Paz Brothers’ tendency to let cringe-worthy dialogue and micro-moments slip in. It happened a lot in Jeruzalem. It’s less of a problem here but still enough to really jog viewers out of the moment. Also, the choice of music is often harkening back to an old style of movie that doesn’t mesh well with the gritty-lite style going on in The Golem.

Would I recommend The Golem? Yes. It’s a lot like many other films in the genre but with a different type of monster and born from a different kind of folklore that we don’t see much often. The Paz Brothers and their unique sensibilities offer enough of the familiar and the new to keep things interesting. It might even make it into your collection of modern monster movies.

Monkeys Fighting Robots Youtube

INTERVIEW: Composer Robert Lundgren Takes On Mutant Year Zero With Synth Music

By

Ruben Diaz

-

January 4, 2019

Robert Lundgren is a composer with several films (Trappan, En sjel for mye) under his belt but an ever-growing list of credits that include video games like the new Mutant Year Zero: Road To Eden which features a lot of strategies, story, and mutated animals with guns.

Robert’s tracks for Mutant Year Zero features a blend of styles plucking inspiration from all over the place. The reason for this is the post-apocalyptic, surreal setting of the video game has created a crazy, mixed up world. Also, Robert is a musician who loves a diverse range of sonic stylings.

Using the magic spell known as telephone-icus, Robert talked to PopAxiom about Mutant Year Zero and the things that influence making music.

Press Play

Robert “… started playing the piano at six I think” and continued his musical education into adulthood. Along the way he “… got the chance about 10 years ago to work as a freelancer.”

Robert’s passion for music reaches out into a diverse set of classical musicians and modern musicians. Another genre of music that worked its way into Robert’s musical DNA “I’ve always been influenced by the music in films.” The composer and his team in Sweden believe ““You always draw inspiration from everything you’ve listened to.”

About Mutant Year Zero: Road To Eden

A video gamer, Robert says “I thought games and movies would be something fun to work on and use my musical skills to create stuff.” And along came Mutant Year Zero: Road To Eden, a turn-based strategy game that’s equal parts X-Com and Teenage Mutant Ninja Turtles. In Mutant, the players are sentient animals who must traverse a dangerous, post-apocalyptic world.

The influences on the soundtrack include a litany of bands from a specific kind of genre “For Mutant, I’ve been listening a lot to synth music like Depeche Mode, New Order, and Kraftwerk.” But the sonic texture includes other layers “… A lot of films scores like from Morricone.”

Robert laughs “I made a big playlist.”

Mutant is based on a tabletop role-playing game from the 80s. Naturally Robert “… drew a lot of from the 80s. The original tabletop game is from the 80s, so I thought about that setting a lot.”

Robert joined the Mutant project early on and says “The more the game developed visually, the more the music evolved into this 80s and synth-y style.”

What does Robert love about 80s synth? “It’s a style that gives a lot of freedom. You can always toss in more and more. More wet synths, more synth bass, or filter sweeps.”

One final thought on the influences on Mutant Year Zero and making music for video games, Robert adds “I’ve been playing the Fallout games and got immersed in the mood. So, I’ve been listening to a lot of modern game composers too like Inon Zur of the Fallout Series. His work is very appealing to me.”

Wrapping Up

Music in a movie or TV show is finite. You need 20 minutes, 30, 40, etc. In a video game, though, that music might need to go on for much longer. Robert says of composers like Zur and Jeremy Soule (Elder Scrolls) “After ‘X’ amount of hours you don’t find a repetitive pattern in those pieces.”

Mutant Year Zero: Road To Eden is available on a variety of gaming platforms. So what’s next for Robert and his team? “We’re doing a little bit of everything.”

Thanks to Robert Lundgren and Impact24 PR for making this interview possible.

Monkeys Fighting Robots Youtube

Writing

Art

Conclusion

The Story

The Art

Additional Story

THE STORY

The Art

CONCLUSION

***SPOILERS LIE AHEAD***

***SPOILERS LIE AHEAD***

Wonder Woman finds her love with the Goddess of Love.

Story:

Art:

Conclusion:

A New Take

The Golem Begins …

Paz Brothers

Final Thoughts

Press Play

About Mutant Year Zero: Road To Eden

Wrapping Up

SPOILERS LIE AHEAD

SPOILERS LIE AHEAD