From writer Kieron Gillen (The Wicked + The Divine, Phonogram, Immortal X-Men), artist Stephanie Hans (Journey into Mystery, Angela: Queen of Hel, Secret Wars 1602), and letterer by Clayton Cowles (Daredevil, Star Wars, Moonstruck), and published by Image Comics, comes Die: Loaded, the continuation of Gillen and Hans’ three time Hugo award-winner Die.
For those unfamiliar with the Die series, this new series would not be the place to start. Die: Loaded doesn’t waste time on a “previously on” recap or a gentle reintroduction. It dives straight back into the story with only fleeting reminders of what came before. New readers will be lost, so we’d heavily recommend reading Die first.
Writing/Story
This new chapter picks up with Ash at home with his wife, about a year after the group’s return from the game. The real world has moved on, struggling with the aftermath of COVID, while Ash struggles to reconnect with a child he barely knows, born while he was away in the game. When the surviving players reunite for Chuck’s long-delayed celebration of life, new players are chosen for the game, which remains bloodier than ever.
While the comic kicks off a bit slow, Gillen uses that time wisely. Ash steps back in as both narrator and guide, offering fans a grounded recap of past events in the time since the last game ended. The issue is heavy on setup, but Gillen’s conversational writing remains razor-sharp. Each character’s voice carries real weight, and every exchange feels natural to the moment, yet purposeful in driving the story forward, a delicate balance that Gillen manages with ease. The story itself is gripping as always, with the world of the game and the regular world carrying a lot of stories in both.
In terms of lettering, Cowles, also a Die alum, once again plays a crucial role in ensuring Gillen’s writing lands with maximum impact. His lettering balances intensity and clarity, using crowded inner monologues to convey the characters’ mental noise while opening up space when the story needs room to breathe. Each character’s dialogue box and voice feel distinct and deliberate, helping to shape their personalities as much as the writing itself. The scene with the Gods’ speech, in particular, carries such immediate weight and identity that it’s an absolute lettering masterclass.
Art Direction
Hans’ artwork in Die: Loaded is as breathtaking as ever. Each god and their associated themes look strikingly distinct, a deliberate visual choice that makes the double-page spread introducing them feel both chaotic and divine. The transitions between scenes are fluid and cinematic, and when the issue ramps up toward the end, her depiction of the characters’ powers is both gruesome and mesmerizing. Just like in the original Die series, Hans manages to make every page feel like a painted revelation, dripping with atmosphere and emotion.
Regarding color, Hans knows exactly when to pull back, muting tones and essentially nixing backgrounds, so that the following page hits twice as hard. This technique shines in the moment when the first new player is drawn into the game: The subtle palette that precedes it gives way to a sudden burst of color and energy that’s likely my personal favorite in the issue. It’s an event readers have witnessed before, yet Hans makes it feel entirely new.
Verdict
In the end, Die: Loaded proves to be a sequel that honors the emotional weight and creative ambition of the original while carving out its own edge. Gillen and Hans return to their series fresh and ready for many more rounds of the game. The dice have been rolled again, and if this first issue is any indication, we’re in for something extraordinary.
Die: Loaded #1 hits your local comic shop on November 12th.
From writer Christopher Cantwell (Halt and Catch Fire, Plastic Man No More!) and artist Tyler Crook (The Lonesome Hunters, Harrow County) comes a desperate yet hopeful take on one of le last century’s greatest mysteries in Out Of Alcatraz. Now collected in a complete hardcover from Oni Press, Out of Alcatraz is a tense, focused tale inspired by both real events and stories like No Country for Old Men. With a tight, intense script and absolutely stellar visual work, Out of Alcatraz is a fantastic read.
“Convicts Frank Morris and Clarence Anglin have washed ashore in San Francisco after surviving their infamous escape from Alcatraz Federal Penitentiary in June 1962. They soon meet their gruff and disappointed handler, a mysterious young woman who’s also running from something, and hope to quickly get their way north to the border — if they can even make it out of Modesto alive. As a dogged federal manhunt and chance encounters threaten the desperate convicts, everyone involved is about to discover the same bloodstained truth: life on the run is an even more hellish prison than Alcatraz could have ever been.”
Writing & Plot
Christopher Cantwell’s wisest decision in the writing of Out of Alcatraz is that this is not a conventional prison escape story. Instead, this tale covers what happens right after the escape. Morris and Anglin wash ashore on the San Francisco Bay then disappear inland to escape to the North – only to find more hardship and pain on the way. Akin to some of the great stories similar to this – think Shawshank Redemption or Of Mice and Men – Out of Alcatraz never feels triumphant and constantly challenges the reader with its depiction of the world from the perspective of two men who made a mistake. While we meet a wide variety of extra characters throughout the story, the main ones are the woman (she goes nameless until the end of the series) who istrying to get the convicts up North, and the pair of FBI agents who are on the trail of the escapees. All of the main characters are much more than they initially appear, and all have their own deeply engaging stories to follow. Cantwell runs the gamut of socio-political issues in this series – racism, misogyny, homophobia, the dehumanization of prisoners, etc. – and at times it can feel like it’s almost too much for one narrative. On the other hand, these elements are a good reminder of the time period that this story takes place in, as well as showing how little progress we’ve made in many ways. Cantwell’s fictionalization of these events works so well not just due to his thematic writing but to the simple technical ways in which he writes. His dialogue flows naturally and punches hard, and his twists come off as vaguely predictable yet still genuinely gripping. Out of Alcatraz is a phenomenally well-written comic series, and one of the most compelling stories of its kind in recent memory.
Art Direction
I should be forward about the fact that Tyler Crook is one of my favorite artists in the business. Ever since his work on Harrow County I’ve been a huge fan of his approach, and that appreciation is only strengthened by his work here on Out of Alcatraz. Crook’s signature approach to character detail and animation, with his thin linework and shading, gives each and every character dimension and a sense of realism. His sequential direction moves the story along carefully, with quieter, more tense scenes dripping slowly like molasses while the breakneck sequences come across in a staccato of imagery. His color work here is an absolute treat, with shifting watercolors in each panel. Some panels, typically during the day, have a more conventional use of lighting in them to reflect a nice summer day (albeit with an almost dreamlike quality akin to Roger Deakins work in No Country for Old Men). However, his nighttime sequences make stunning use of lighting colors, with elements like moonlight and the glow of streetlights making for memorable and almost eerie visual work. The nighttime panels have an almost mono-color aspect to them that shifts based on the angle of the light – it’s really cool stuff. As per usual, Crook also does his own lettering and the results are also stellar. His word balloons have a reactive feel that gels perfectly with the dialogue and have a distinct, hand-drawn quality about them. His SFX work is a true gem, though, as it washes over the watercolor background to highlight its sharpness while never actually overtaking the page, making it feel more diegetic. Crook continues his spree of being one of the best artists in the business today with his work in Out of Alcatraz.
Verdict
Out of Alcatraz is a phenomenal fictionalized take on a true event. Christopher Cantwell’s script is rife with desperation and humanity, making for one of the most memorable stories of its kind in recent memory. Tyler Crook’s visual work is stupendous, with his signature use of pencils and colors crafting a one-of-a-kind reading experience. Be sure to grab the collected edition by Oni Press, available today!
ULTIMATE SPIDER-MAN: INCURSION #5 hits your local comic book store on October 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: THE ULTIMATE EXIT! A SHOWDOWN WITH THE MAKER’S COUNCIL!
The clock is ticking for Miles to escape the Ultimate Universe with his baby sister! How will Miles leave a mark on the Ultimate Universe? And how will the Ultimate Universe leave a mark on Miles?! Don’t miss the exciting conclusion…and what it bodes for the future of BOTH UNIVERSES!
The issue is by writers Deniz Camp & Cody Ziglar, and artist Jonas Scharf, with colors by Edgar Delgado, and letters by Cory Petit. The main cover is by Sara Pichelli and Tamra Bonvillain.
Check out our ULTIMATE SPIDER-MAN: INCURSION #5 preview below:
Have you been reading ULTIMATE SPIDER-MAN: INCURSION? Are you excited for Marvel’s ULTIMATE ENDGAME? Sound off in the comments!
THE ULTIMATES #17 hits your local comic book store on October 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: THE ULTIMATE FANTASTIC FOUR?
Now that the Ultimates are using the Immortus Engine to its full capacity, Doom’s dream of the Ultimate Fantastic Four may finally be realized…
The issue is by writer Deniz Camp and artist Phil Noto, with letters by Travis Lanham. The main cover is by Dike Ruan and Neeraj Menon.
Check out our ULTIMATES #17 preview below:
Have you been reading Marvel’s ULTIMATES? Are you excited for ULTIMATE ENDGAME? Sound off in the comments!
CAPTAIN AMERICA #4 hits your local comic book store on October 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you!
About the issue: A NATION DOOMED!
It’s a showdown between DOOM and CAPTAIN AMERICA with the fate of Latveria hanging in the balance! As Doom prepares a fatal strike against those who stand against him, a sudden betrayal has Cap on the ropes and questioning everything he thought he knew…
The issue is by writer Chip Zdarsky and artist Valerio Schiti, with colors by Frank Martin, and letters by Joe Caramagna. The main cover is by Ben Harvey.
Check out our CAPTAIN AMERICA #4 preview below:
Are you reading CAPTAIN AMERICA? Sound off in the comments!
AMAZING SPIDER-MAN #14 hits your local comic book store on October 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: ENTER: THE GOBLIN SLAYER!
Something has been trying to kill Norman Osborn since the first issue of this volume, and they up the ante this issue! What can Spider-Man do to stop the Goblin Slayer? With all that Norman has done and could do, SHOULD Spidey stop it?
The issue is by writer Joe Kelly and artists Ed McGuinness & Todd Nauck, with additional inks by Mark Farmer & Wade Von Grawbadger, colors by Marcio Menyz & Erick Arciniega, and letters by Joe Caramagna. The main cover is by Patrick Gleason & Marcio Menyz.
Check out our AMAZING SPIDER-MAN #14 preview below:
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ComicArtFans.com (CAF) announced today that it has entered into an Event Partnership Agreement with The Estate of Jack Kirby (Kirby Estate) as represented by The Rosalind Kirby Family Trust and The Jack Kirby Museum & Research Center (Kirby Museum). The initial product of the partnership will be The Kirbys, a new awards ceremony named in honor of Jack and Roz Kirby, to be held at CAF’s Original Art Expo in February.
The partnership will cover the creation and production of fundraising, award, promotional, and other events centered on the work and legacy of creator Jacob Kurtzberg, better known as Jack Kirby, whose awe-inspiring, universally acclaimed, and broadly influential body of work included being the primary architect of the Marvel Comics Universe, as well as making significant contributions to DC Comics, animation, the nascent independent comic book publishing industry, and comic book creator rights.
“We are extremely excited to partner with CAF to help envision and create these awards, which we feel will truly honor Jack and Roz’s legacy while celebrating the passion and future of comic art in remarkable artists today,” said Tracy Kirby, representing the Kirby Estate.
“As a nonprofit organization devoted to advancing the study, preservation, and appreciation of Jack Kirby’s life and work, the Jack Kirby Museum is thrilled to formalize its long-time relationship with the Estate of Jack Kirby and Comic Art Fans through this new partnership,” said Tom Kraft, President of The Jack Kirby Museum & Research Center. “We are proud to be part of honoring Jack and Roz’s vision by celebrating creativity, generosity, and storytelling—and to continue to inspire new and future generations.”
The partnership will be overseen by a three-person committee consisting of Tracy Kirby from the Kirby Estate, Tom Kraft from the Kirby Museum, and Kasra Ghanbari from CAF. Activities under the event partnership will be conceived and designed by the CAF team, then vetted and improved by the committee for consensus approval before being produced by CAF.
The first outcome of the partnership is The Jack & Roz Kirby Awards (the Kirbys), which was created by Kasra Ghanbari and vetted by the committee at length before approval. The Kirbys will be an annual award recognizing innovation, excellence, and humanity in narrative communication. At launch, the Kirbys will consist of six award categories that celebrate the artist’s journey: New Voices, Independent Spirit, Innovator, Visionary, Storyteller, and Teacher. The award process will be overseen by an Advisory Board and Voting Committee, who collectively will nominate candidates and vote on finalists and the award winners.
CAF will be producing an annual awards show at its Original Art Expo (OAX), which for its third year will be held February 20 to 22, 2026 in Orlando, Florida. CAF is actively seeking sponsors and partners for the Kirbys, which will be announced in November along with the Advisor Board and Voting Committee members. The award statue will be unveiled in advance of the awards show, as well.
“This partnership and award are opportunities granted to us by Jack and Roz Kirby, and what they represented, to convey the importance of dreaming, creating, expressing, and evolving,” said Kasra Ghanbari, CEO of CAF. “The Kirbys will seek to identify and support unique and compelling voices and perspectives, serving as recognition and strong encouragement to a creator to continue their path with gratitude for where they’ve already reached. Individuation and capable expression are a mandate, and importantly, Jack seemed to always ask the question: What’s next?”
JACK & ROZ KIRBY
Jack Kirby (1917-1994) and Roz Kirby (1922-1997) were married in 1942, and over the next 50 plus years this is what they did together: revolutionized genres such as crime, war, romance and superhero comics including the creation of X-Men (Professor X, Cyclops, Marvel Girl/Phoenix, Beast, Angel, Iceman), Fantastic Four (Reed Richards, Sue Storm, Johnny Storm, Ben Grimm), The Avengers, The Forever People, The Inhumans, The Eternals, The New Gods, Sgt. Fury & His Howling Commandos, Captain America, Iron Man, The Hulk, Thor, Galactus, Silver Surfer, Black Panther, Wasp, Scarlet Witch, Wonder Man, Machine Man, Ant-Man, Magneto, Doctor Doom, Nick Fury, Red Skull, SHIELD, AIM, HYDRA, The Sentinels, The Skrulls, Uatu (The Watcher), Black Bolt, MODOK, Mister Miracle, Darkseid, OMAC, Kamandi, and The Demon amongst many, many other characters and properties.
THE ROSALIND KIRBY FAMILY TRUST
The Rosalind Kirby Trust upholds the legacy of Jack Kirby and ensures his creations continue to inspire millions around the world. More information HERE.
THE JACK KIRBY MUSEUM & RESEARCH CENTER
The Jack Kirby Museum & Research Center is a 501(c)(3) nonprofit organization dedicated to promoting and encouraging the study, understanding, preservation, and appreciation of the life, work, and legacy of Jack Kirby—one of the most influential creators in comics and popular culture—more information HERE.
About ComicArtFans.com (CAF)
CAF is the premier website in the world serving comic book and narrative art collectors, artists, auction houses, art dealers, and artist representatives. CAF’s deCAF mobile app is now available globally for iOS and Android devices under “Comic Art Fans” through Apple’s App Store and Google Play. Make sure to subscribe to the CAF newsletters, OAX newsletter, and CAF+ YouTube channel, as well as our Instagram and Facebook pages. Find all of our links at Linktree.
Every month, CAF has 15,000+ active users and 400,000+ visits from nearly 200,000 visitors that generate 3,000,000+ page views. Collectors may easily set up either free or premium galleries on CAF, where they’ll find over 1,000,000 pieces of art posted by collectors and artists in their galleries and personal classifieds, which is additionally supplemented by 100,000s of art pieces from art dealers and artist representative websites. CAF is proud to be a truly global hub, with more than half of our traffic coming from outside the United States, most notably from France, Canada, Italy, the United Kingdom, and Spain.
CAF’s event division includes Comic Art LIVE (CAL), the biggest virtual comic art convention in the world, which is held twice annually in May and November, as well as its Original Art Expo (OAX) in Orlando, Florida, which has immediately established itself as the premier visual storytelling art event in the world.
OAX is an art fair and trade show hybrid being developed as an annual platform to exclusively showcase the narrative arts, most especially comic book, comic strip, illustration, and collectible card art. Year three of OAX is February 20-22, 2026 and will again feature the Illustration Art Expo (IAX) and Card Art Expo (CAX) as part of OAX and will present the Jack & Roz Kirby Awards presentation. Watch the OAX 2024 Intro Footage video HERE. CAF’s event division also includes Indie Comics Creator Con (IC3), a portfolio of both in-person and virtual shows committed to providing an affordable, dynamic, and inclusive platform that brings together independent comic book creators, artists, publishers, art collectors, and fans to celebrate and support unique and diverse creators in comics.
CAF also operates the highly active CAF+ YouTube channel, a community resource that produces a regular slate of weekly content including interviews with prominent creators and art collectors; previews of major auction house events; info and announcements for our CAL, OAX, and IC3 shows; the popular Dueling Dealers and Amateur Dealers of Comic Art programs pitting professional and/or amateur comic art dealers against one another; and art sale shows directly conducted with artists, artist reps, non- profits, and other fundraising groups.
Between the CAF website, deCAF mobile app on Apple’s App Store/Google Play, twice annual CAL virtual convention, CAF+ YouTube channel, and our OAX and IC3 show platforms, CAF has in place the central 24/7 hub, networking tools, educational materials, and events to assist and enable everyone from the first-time art collector and early career artist to the most seasoned art collector, art dealer, and professional published artist.
Cartoonist Tony McMillen is no stranger to creating deeply moving narratives that connect readers back to their pasts and childhoods. Books like Serious Creatures and Atta Boy use pop culture like movies and video games to address issues like growing up and the power that the things you loved as a kid have on you, and always had some element of autobiography, albeit filtered through a fictional lens. But with his latest project, Two Kids in A Trench Coat, Tony is taking a much more direct approach and writing and drawing about what he calls his first non-fiction work about ” my adolescence, obsessed with R-rated movies, explicit music and extreme comics growing up in the 90s.” Tony is a good friend and I always want to talk to him about his latest project. So when he had some time, we sat down and talked about Two Kids in A Trench Coat. Check it out below and make sure to subscribe to Tony’sPatreon, where you can read the first chapter of Two Kids in A Trench Coat, and much, much more.
Monkeys Fighting Robots:Tony, it’s been a while since we last talked, so thanks for taking the time once again! So let’s start with the basics. Your new book is called Two Kids in a Trench Coat. Tell us what it’s about!
Tony McMillen: Thanks, it’s all about my adolescence, obsessed with R-rated movies, explicit music and extreme comics growing up in the 90s. Two Kids in a Trench Coat is my first major non-fiction work, a sorta graphic memoir (if I’m putting on airs), but it’s not a typical auto-bio comic either: I use the titular Two Kids in a Trench Coat characters as guides to walk us through all the pop culture and real life stuff I wanna explore with the book. Also — unlike my usual production method — I’m releasing the first 16 pages as a separate sort of extended preview before I finish the full book sometime next year. That’s a first for me, too.
MFR:That’s great. And having read some of these pages, I think this is something that will really resonate with readers, especially those from our generation. In a lot of ways, at least for me, these things you mentioned had a hand in raising me. I was especially taken aback by the sequence involving T2: Judgement Day.
TM: Thanks a lot! Yeah, I sawT2 in the theater as a kid, and it changed my life. I think about it all the time, including as I do in the comic, as a lens to look at my mother. My mom was a single mom and tough as hell. Sarah Conner always reminded me of my mom in a lot of ways.
MFR: Love that! So you mentioned that you’re releasing this in a way that is new for you, but are you approaching the art any differently from previous projects?
TM: I’m trying to! That’s part of why I wanna slow down and take my time with this. I want room to experiment. Maybe draw some pages using crayon and pencil? Maybe do some in watercolor? I’m already approaching things a little differently in the composing of pages by starting with writing little essays and then trying to find ways to turn those into comic narratives.
MFR: That sounds perfect. Like a slow pace allowing for introspection. Do you have a set length or page count in mind?
TM: Feels like 125-150 pages, 7 or 8 chapters. But it’s sorta early to tell. I’m very open to letting any project I work on tell me how long or short it needs to be.
MFR: Aside from the pages you have released, how are you thinking about getting this published? Are you looking at publishers, doing it yourself self or crowdfunding?
TM: I’m actively shopping it around right now. Which is another new approach for me: using this first chapter as a proof of concept to show publishers and agents what this book could be.
MFR: So, to back track a bit, when and why did you decide to finally do something more autobiographical?
TM: This particular project has been simmering in the background for a while. The first seed was a podcast I hosted with a friend of mine called Too Young for This Shit about growing up on action movies. That got me thinking about verboten and explicit material I enjoyed as a kid in general. The other big component was I have always including autobiographical elements in all my work; sometimes heavily shaded in allegory or metaphor, but it’s always about my feelings and mental state….what made me want to make a book without the usual trappings of fiction surrounding it was realizing how much I enjoy non-fiction memoirs that revolve around pop culture to tell a personal story. Most of Chuck Klosterman’s output, the Beastie Boys book, stuff like that. I realized a memoir of sorts was probably a good place for my musings on Deathlok and Spawn as absentee dad myths, or the generational shared trauma of watching the execution of Alex Murphy in Robocop.
MFR: Very spot on! I think I learned about death from watching Robocop.
TM: (Laughs) A hundred percent. Our entire generation started that movie as boys.
MFR: (Laughs). Damn, well put! What other movies or pop culture touchstones are you hitting on? Can you give us a hint? TM: Of course! The next chapter is on Friday the 13th and Christmas Day. From there we’re gonna cover the duality of gangsta rap and grunge. Image Comics, a Metallica laser light show, and Arnold Schwarzenegger’s impact. There’s a lot
MFR: Arnold was definitely a surrogate dad for a lot of us. So I guess to wrap it up, if you had to pick one movie, one comic book and one album that had the most impact on you from that era, what would they be?
TM: Ooh. Pulp Fiction, The Dark Knight Returns, Pearl Jam Vitalogy.
MFR: Awesome. Any final thoughts or anything else you want to plug?
TM: Thanks a lot, I always enjoy talking with you, and hopefully we get to do it in person again soon.
Batman #2 from writer Matt Fraction, artist Jorge Jiménez, colorist Tomeu Morey, and letterer Clayton Cowles is an incredibly refreshing, heartwarming take on the relationship between Batman and his Robins. While they’re crimefighters by night, it’s easy to see that they’re also a family, and that Bruce Wayne is a father. This creative team works together to highlight that in a very sweet way that’s sure to pull you in (if the first issue hadn’t already).
The issue starts with a flashback of Bruce Wayne teaching Tim Drake how to drive a stickshift at Wayne Manor. Tim struggles, and Damian Wayne is constantly making fun of him for it. We return to the present where Tim stops an armed robbery, but is then shot by police officers and is arrested. Alone in a truck full of criminals with grudges, he’s forced to fight to survive.
Bruce gets ready to teach Tim how to drive.
WRITING
Fraction does something really smart here by fusing the way he tells the story with the main themes present. He tells the story in a mostly linear way, but with flashbacks sprinkled throughout, showing Bruce in a simpler, mostly tech-free environment. In the present, both Bruce and Tim have various gadgets that they use to help them throughout the issue. It’s a fun contrast. It feels like Fraction is sort of trying to fuse the older toyetic nature of Batman with a new way of thinking for the character. The issue also tells you that you can keep trying for something in really simple ways, but it won’t click until you’re really put to the test. It’s a very heartwarming message. It feels like the most politically topical the character has been in ages. He’s clearly against police brutality and for reform, and often uses violence as a last resort. While this isn’t necessarily a peaceful Batman, he is for sure not to shy away from tough subjects like that, and it feels like a necessary thing for Fraction to address considering how many stories just skim over these topics.
Armed robbers mess up a job.
ART
This issue features some of Jiménez’s best paneling work. From when Robin first appears in the issue up to when he gets shot, he’s essentially in full control of each panel he’s in. He stretches out of it, or is just the largest subject in frame. Right when he gets shot though, it’s a simple red background with a black silhouette of him falling with over half of the spread being completely black, boxing him in. Going the simplistic route on it was a great choice, as it sort of displays to us how Robin’s control is gone. Jiménez also gets really creative with the space when Robin is in that truck, having to fight off the other criminals. Robin obviously doesn’t have a whole lot of room to work with, so he’s kicking off the walls and things like that in order to properly attack. Whenever his foot lands on a wall, it lands on the side of whatever panel Jiménez has put the character in. It’s a really fun use of the character’s situation that Jiménez takes full advantage of.
Robin arrives.
COLORS
For the most part, the first chunk of the book is colored normally with everyone feeling very distinct. After Robin gets shot though, the entire background of the issue turns red with him as a dark silhouette, falling. Morey keeps this going for the majority of the issue. All of Robin in the truck isn’t quite as deep and flat of a red, but it’s still there, tinting everything. It feels like it’s worst when he gets shot, and he spends the rest of the issue recovering as the red slowly fades, showing that he’s getting better. Morey’s storytelling in this issue through color is really special like that. there’s another chunk as well where Batman enters the scene, and the second he does the colors once again return to a dark sky with yellow lights illuminating the city. Morey really excels at all the differentiation of the symbolic colors here.
The police stop Robin.
LETTERS
This issue’s strongest lettering from Cowles come from the location and time cards. He does what he did in the last issue, highlighting every bat-gadget in fun ways with little boxes explaining what they are and what they do. He takes it a step further this time around though with the small boxes telling us where and when we are being incredibly personalized. They’re sort of designed like Gotham street signs. It seems like an average choice at first, but the goal of this run so far seems to be making Gotham feel just as alive as everything else. Cowles makes you feel like you’re a part of the city too, watching and influencing Batman as he does what he needs to do to protect it and us.
Robin runs from the police.
CONCLUSION
This issue is a wonderful entry in this new Batman run. In just two issues, this run has displayed more personality than other Batman works since The New 52. Every stylistic choice has amazing payoffs in the form of these incredible character moments that are defining this run early, making us all want to do and be better—to help those around us. This is a hopeful Batman who is intolerant to those that try to do what’s wrong in the face of helping others, and he’s paired with a Robin that’s willing to learn and grow. Batman is a crimefighter and detective at heart, but he’s still a father that has to prepare his children for the world ahead of them. This issue displays perfectly how he can do that in his own bat-way.
AMAZING SPIDER-MAN: TORN #1 hits your local comic book store on October 8th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: One of the most important Spider-Man writers returns to the webbed wonder! That’s right, J. Michael Straczynski is back but this time he’s digging into a very different part of Spidey history! Jump back with us to Peter’s college days at EMPIRE STATE UNIVERSITY with Gwen, Harry, MJ and Flash! But not everything is rosy and happy as a new evil rears it’s head in a way that’s sure to impact Peter’s future!!!
The issue is by writer J. Michael Straczynski and artist Pere Pérez, with colors by Guru-eFX, and letters by Joe Caramagna. The main cover is by Adam Hughes.
Check out our AMAZING SPIDER-MAN: TORN #1 preview below:
Are you picking up AMAZING SPIDER-MAN: TORN #1? Sound off in the comments!
