Self-Published Spotlight: Mahdi Khene and Zuperhero Comics

By

-

February 6, 2023

Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.

Cartoonist Mahdi Khene recently made a big splash with his Bootleg Spider-Man ‘zine. After getting featured on the Cartoonist Kayfabe YouTube channel, this self-published ‘zine swung its way toward incredible demand and high prices. And rightfully so, as Bootleg Spider-Man was a fantastic bit of comics. But Khene is no one-hit wonder, and his self-published black-and-white comic, Steel Streets is his real masterwork. A knowing homage to Teenage Mutant Ninja Turtles, outlaw black and white comics and 80s exploitation and genre films like Robocop, Steel Streets is a must-read. The insanely prolific and busy artist took some time to answer some questions about his work, process and just comics in general. So sit back, read the interview, and then hit up Khene to grab some of his books (but good luck grabbing a copy of Bootleg Spider-Man!).

Monkeys Fighting Robots: Mahdi, thanks for talking to us! So my first question to everyone is always how they got into comics. What’s your comic book origin? DO you remember your first comic?
Mahdi Khene: My pleasure! The preverbal origin story eh? I think I must have gotten introduced to comics as a kid through books like Asterix et Obelix, Lucky Luke, Corto Maltese, etc. I’m from Algeria originally, so the Bandes Dessinees were more accessible to my family and me than what folks were reading in the states. When I was around 3 we moved to New York. Rather quickly after that, I discovered Dragon Ball Z, Spider-Man and all the Marvel comics. The McFarlane & JRJR runs definitely left their mark.

MFR: Do you still read current comics? What books do you read these days?
MK: Growing up I phased in and out of comics. I was making music, painting, making collages… So, about a year and a half ago, when I started getting back into it again, I decided to brush up on my reading! So I don’t know about current comics but I’m definitely playing catch up. For example, even though I grew up with TMNT I had no idea it had been a comic! Imagine discovering Eastman & Laird’s Teenage Mutant Ninja Turtles at 30… I’m embarrassed!

MFR: It’s never too late to discover TMNT! So when do you decide to create your own comics?
MK: I’ve always drawn since I can remember. All sorts of characters and little one-page stories… I loved the idea of a whole narrative in one picture. I remember in my 20s I had done a series of portraits where each face represented a different neighborhood in NYC. What I’d do is hang out in the neighborhood for a while and then come home and just paint a face that came to mind. Some kind of condensed, internal, sequential art. So the craft was never too far away. Right before comics, I was pursuing a music career! It was going pretty well, I had jobs lined up, residencies, etc. but then the big C happened. Covid sorta took all the gigs away, so like a lot of people I was kinda left to my own device. Then one night after binge-watching Smallville for maybe the 100th time in my life I thought, “Hey, why don’t I make up a superhero.” And that’s how the Zuperhero Universe was born. Comics gave me the artistic outlet that I needed. I fell head over heels!

MFR: Amazing “Somebody save me indeed” haha. Steel Streets is your main book, which I adore! Can you tell our readers what it’s about
MK: Thank you! Steel Streets is my homage to the comics of the 80s, the black and white boom, the gritty nature, the Ninja Turtles… It’s my tribute to the indie comics world. It’s about an amnesiac Ninja, who while seeking revenge for the death of his father is tangled up in a covert readiness project that mutates him and sets him on a collision course. I very much wanted to continue the spoofing nature of TMNT. They spoofed Frank, so I thought I’d do the same. Master Stick & Master Splinter? Master Plank! The Hand & The Foot? The Head! It’s all in good fun.

MFR: Yeah, Teenage Mutant Ninja Turtles is the first inspiration I can see in Steel Streets, but as a Robocop superfan I see some of Officer Murphy in the main character’s design. Am I right on this? And what other books, films or media have informed Steel Streets?
MK: Haha! Yes absolutely. I think when I opened the 80s pop culture floodgates a lot of different things started coming at me. It’s New York City. I want people to read the characters with thick New York accents. I want there to be synths playing in the action sequences. I even made a fake movie poster where I had Marisa Tomei & Danny DeVito in starring roles. So yeah, spot on!

MFR: From following you on social media, I know you are very prolific and bang out work at an amazing pace. I also know your day job, like mine, is in an extremely busy industry. How do you find time to create so much work with so much quality?
MK: Yes… yes… the service industry! I’ve always loved it. I’ve been working in service for over a decade now, waiting, bartending, security, you name it! For me, it’s one of those jobs that lets my mind wander. My cafe job had really great hours that let me basically have a whole day of drawing after my shift. As for finding the time, I mean… it’s all about the hustle. I’d draw on my lunch break, before work, after work (during work…shhh don’t tell my boss!) My goal was always to do art full time so I didn’t stop. I saw a Todd McFarlane interview once where he said you had to do a page a day. So that’s what I did and still try to do.

MFR: What’s your creative process like? Analog or digital? Like how do you create an issue of Steel Streets from start to finish?
MK: It really depends on the day. I’m not a purist by any means so I use whatever tools I have at my disposal. It’s not uncommon for an issue of Steel Streets to have a mix of digital and analog pages mixed throughout. I’m lucky that my style doesn’t change with a different medium so it usually goes unnoticed. For the most part, it has to do with what I’m ABLE to do. I’ll have my iPad with me on days I work at the day job to bang out a panel, but on a day off when I’m at the studio I do enjoy ink on paper. Lately, I’ve been fusing the two where I’ll blue line the pencils digitally, print it out, and then ink traditionally. It’s all good to me.

MFR: I also love all the fake ads and dates you give the issues and ads. Was this fun aspect of the book always part of the plan? And how do you come up with those ideas?
MK: Ha! I like ‘em too. They’re a lotta fun to make. Well, that’s a tradition that comes from the first series I did, “Zuperhero Comics Presents…” Essentially I pretended that Zuperhero Comics (My publishing house) had been around since the 50s. So some books are dated 1952, some are 1965. I was just imagining an alternate world where Zuperhero Comics was pumping out books alongside Marvel & DC. That’s why that comic book is called “Zuperhero Comics Presents…” while the individual issues are called “Black & Red” or “The Adventures Of Zalool”, as if those were individual titles released by Zuperhero Comics. It gets a little Meta. As for the content of the ads… I’m just trying to make people around me laugh.

MFR: So Bootleg Spider-Man was the first thing I read from you. That ‘zine has caused quite a stir. Can you tell us how this big swing got started? Why a bootleg book?
MK: I was at Baltimore Comic Con doing a Spider-Man commission. Folks kept telling me they liked my take on Spidey, that I made him look creepy… uncanny… So that kinda launched me into a Spider-Man reading binge where I reread a bunch of Ditko, Romita, & Mcfarlane. Then one day I posted a photo on the Cartoonist Kayfabe Ringside Seats Facebook group with a caption that read “What I wouldn’t give to do a Black & White Spider-Man issue.” Someone commented that I should do a bootleg. That idea never occurred to me before! Then I thought…” Wait a second… I CAN just make a black-and-white Spider-Man issue!”. So I did.

MFR: What’s the response been like for you because I have seen it listed for sale at some outrageous prices. How did you feel when all that awesomeness started happening?
MK: Getting my own Cartoonist Kayfabe episode was a real honor. Felt like I won an award. To get so many eyes on the bootleg was amazing… but then to have those people stick around and enjoy my other work was surreal. It launched me to another level in my cartoonist career and obviously, I’m enjoying every second!

MFR: As a reader, I know what fun a bootleg book is to read and see, but as a creator what does the bootleg concept do for you?
MK: It’s fun! It’s a parody. I don’t think I’d do a serious bootleg. It’s a fun way to tribute characters that I love and make them do insane things. I’m all for it. I think it’s the only way to push the envelope a little bit. It’s cathartic in a way.

MFR: Besides Steel Streets, what else are you working on?
MK: Steel Streets is definitely my main squeeze right now but I have all sorts of little projects running around. There’s a fun underground comic I’m doing called “Full Power” & and a retro sci-fi kinda thing called The Country Gentleman And of course, Light Wood Magazine might get a second issue… All in due time!

MFR: Finally, where can readers find you and your work?
MK: You can find me on Instagram, Facebook, and Patreon under @mahdikhene. And all my books at www.zuperherocomics.com.

Monkeys Fighting Robots Youtube

Project 365: One Comic Every Day, Week 5

By

Darryll Robson

-

February 5, 2023

The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I have committed myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favorite hobby again.

Last week had a superhero slant, with Spider-Man featuring a lot, and I still have many more Spidey titles on my reading desk for the next few weeks. This week will probably be a mixed bag as I haven’t specifically picked anything out or have any reading agenda. Next week, however, will be focused heavily on one thing. You’ll have to come back here then to find out the what and why of it.

But I’ve got 7 comics before then, so without further ado..

Comic Number 29: Doctor Who Classics Volume 3

Everyone is familiar with Grant Morrison’s mind bending, philosophical superhero comics, and Dave Gibbons is the Watchmen artist, so big, BIG names on display here. But it’s also a well known fact that if you’re a British creator and born after 1963 then you’ve had a go at Doctor Who at some stage. Every single British actor has been in the series (not an actual fact, but not far off) and every writer or artist has worked on a strip for Doctor Who magazine. Are you even British if you haven’t?

So, it should come as no surprise to find both Morrison and Gibbons in this little collection of stories featuring Doctors numbered 4, 6, and 7. Today, I read the opening few stories with numbers 6 and 7 worming their way through some bizarre backwaters of the universes.

A fun read with plenty for Whovians, like myself, but it’s not groundbreaking stuff. It won’t change the way you look at Doctor Who or comics. But, it is quintessentially Doctor Who.

Comic Number 30: Secret

When it was first announced, Secret was to start coming out at the same time as another Jonathan Hickman title, The Manhattan Projects. At the time, I decided to buy one on a monthly basis and the other, if it was successful enough, I would wait for the trade. I settled on Secret as the monthly, and I’m still not sure if I picked the right one or not. The Manhattan Projects was by far the more successful of the two, which meant that it had a regular release and was collected fairly quickly. Secret, on the other hand, took two years from issue 1 in April 2012 to issue 7 in April 2014.

Jonathan Hickman knows how to tell a story. It’s the reason he is so successful. His early work Pax Romana and A Red Mass for Mars are sufficiently groundbreaking for a new voice in comics. He then made his name with his phenomenal Fantastic Four run followed by a massive stint on the Avengers comics. But all the while, he’s produced indie books such as The Black Monday Murders, Decorum, and the aforementioned The Manhattan Projects. That’s not including East of West, which I will no doubt do a read through later this year as it is simply one of the best comics of the last 50 years.

Secret is a bit more low key than other titles, but it is still a stunning piece of work. The artwork by Ryan Bodenheim is emotionally charged, making the violence so much more violent. And his character work is stunning. Michael Garland provides minimalist colors — a style that was becoming more popular in 2012. The contrast this created not only suits the story but enhances the overall tone.

And then there’s Rus Wooton’s lettering. Wooton’s work doesn’t just tell the reader the story, it is embedded into the narrative with perfectly placed word balloons and superb text layout. Take, as an example, the panel below. The script is telling you about something that has happened but the balance of the lettering, the shape of the two stacked balloons and the placement within the image, gives the speech physical and emotional weight. The hand is virtually holding the two balloons in a balanced shape but the gap between the fingers and the speech adds an element of uncertainty, as if the whole thing is about to topple over and come crashing down. It’s almost like a fore shadowing of what’s to come.. Surely comics can’t be that clever. Can they?

It’s genius.

Comic Number 31: SuperZero #1

More from AfterShock Comics, this time one of their earlier titles, released in the publisher’s first year, 2015. This is a superhero comic with a difference: there’s no actual superhero in it. At least, not in the first issue.

The mini-series was created and written by Amanda Conner and Jimmy Palmiotti, who produced a large volume of Harley Quinn comics, and there is something of the outcast element in this story. In fact, the central character, Dru, is just a geek like one of us, trying to find her place in the world. Years of indulging in comics and counter culture may have given her a distorted view of the world around her, but her desire to be important in some way is something that most people can identify with. The obsession with detail and being able to use pointless, extensive, knowledge for something other than trolling people online is the driving force behind Dru’s motivation to become a superhero.

The artwork draws on superhero traditions while also expressing the mundanity of normal life. Dream sequences explode with color and action shots, cementing Dru’s impression of the superhero life. However, this doesn’t always flow into her ‘real’ life. The pain is shown on the characters faces and through the body language; almost too close to the bone in some instances.

The first issue is an impressive opener to the series. It is quite word heavy, however, this suits the narrative as it becomes more of a comment on superhero and comic culture rather than an actual superhero story.

Comic Number 32: The Amazing Spider-Man: Origin of the Hobgoblin

I may have mentioned before that I’m a fan of Spider-Man, especially the late 1970s/early 1980s’ stories. And the Hobgoblin is one of my all time favorite characters, more so than the much more famous Green Goblin and the infamous, uber popular, Venom. Give me the orange mercenary with a ridiculously convoluted history any day of the week.

What I enjoy about this collection is that it sets the scene for the creation of the character. The first three comics, which are the ones I’ve read today, are from The Spectacular Spider-Man issues 43, 47, and 48, and feature the villainous Belladonna, whose manipulation of the fashion world introduces Robert Kingsley to the world. Kingsley will go on to play a major role in the Hobgoblin story, but in this opening arc, he is a weasel of a man who is pushed to breaking point.

The scripts by Roger Stern combine exhilarating action and tragic comedy which is captured on the page by the various artists: Mick Zeck, Steve Michell, John Costanza, Bob Sharen, Marie Severin, Bruce Patterson, Rick Parker, and Ben Sean. Phew, a lot of people worked on this story. As a set up for the coming Hobgoblin storm, these three issues are brilliant. A self contained story that arranges so many pieces for future stories.

Comic Number 33: Life Is Strange #6

I bought a grab bag of comics from a local shop this week. 10 comics for £10. All surprises (it was a sci-fi bundle, so a small idea of what to expect. I have in the past bought the Horror bundles and got some utter gems).

Two of the comics inside were Life is Strange issues 6 and 7. I’ve never heard of the comic before but I have seen Emma Vieceli’s work on a few things, namely Doctor Who and a manga version of Hamlet. After reading the first issue I am definitely going to track down more issues of this. The time bending story is fueled by a realistic, emotional character almost to the point that you could easily forget the science fiction element of the comic, especially in this issue. There are a few hints to a stranger, larger picture, but for the most part it about the relationship between friends. Vieceli’s characters are honest portrayals of young adults, with identifiable lives and problems. The artwork by Claudia Leonardi (with colors by Andrea Izzo) makes the mundane interesting through clever set up panels and great character design.

I’ll be honest, the cover to the issue 6 that I have put me off but I have learnt not to judge a book by it’s cover thanks to the 4 issue masterpiece RunLoveKill which had the most deceptive covers ever. They in no-way represented the contents of the comic.. which is part of a much larger conversation.

Life is Strange is great and this issue is enough to hook me into reading more.

Comic Number 34: Harrower #1

Who doesn’t like a bit or murder and mayhem on a Friday night? Just after reading this (which is due out from BOOM! Studios next week), I watched the movie Smile. Thematically, the two are very similar because there is an unknown murderous force praying on unsuspecting people but there is also something else, darker, more complex, going on behind the blood soaked bodies.

Harrower is a homage to classic slasher and cult horror movies dating from the 1960s onward. It plays with the clichés of the genre, introducing the characters you can instantly recognize as the ‘jock’, or the ‘loner’, but doesn’t fall into the trap of being tired or rehashed. There is a vibrancy and an energy in the comic that makes you flick through the pages with excitement and trepidation. You know that something horrible is going to happen and you want to get to it as soon as possible, to get it out of the way, but at the same time you don’t want to see what it is.

Justin Jordan and Brahm Revel have put together a wonderful take on a classic horror narrative and I am hooked. Towns with secrets that cause bloody mayhem.. what’s not to like?

Silver Surfer Ghost Light #1 Credit: Marvel Comics

Comic Number 35: Silver Surfer: Ghost Light #1

Bit of a punt, this one. I haven’t read anything with the Silver Surfer in it since (checks comic collection) his appearance in the Planet Hulk story line. My knowledge of the character is therefore limited, but I get the gist: herald of Galactus, flies on a surfboard, wears a suit that makes it difficult to accessorize. One of the space heroes in the Marvel Universe.

But, all flippancy aside, this new number one is a very good read. It has a dramatic opening page which leads sweetly into the main story: a drama set around a family who have just moved to a new, quieter town. John Jennings gives each of the family members their own unique voice, appropriate to their age, and the art work (by Valentine DeLandro) flows through the pages like a man on a silver board. Matt Milla’s colors give the scenes the required amount of tension and make the science fiction elements really jump off the page.

This was a fun read for an early Saturday morning and I think fans of the Surfer will love this.

Over a month into the year now. Where is the time going? This week has been the first week that I’ve struggled. Not the actual reading, it’s easy to find 10 minutes to pick up a comic, but writing about each one has been difficult this week. Partly due to the fact that a comic like Secret deserves thousands of words written about it and not just a paragraph or two. And partly because I have not had the time on specific days to write about what I have read. I also planned on reading all of SuperZero but only read the first issue. The question is do I now devote additional days to the other issues in the mini-series or drop it to find something new? Reading different eras or titles of a comic, such as Spider-Man feels somehow different to spending a week on one title like SuperZero.

We shall see how Week 6 goes, especially as it’ll be a little bit different to what I’ve done so far.

So, see you next week, and don’t forget to let me know in the comments what you’re reading!

Monkeys Fighting Robots Youtube

Marvel Comics Exclusive Preview: BLACK PANTHER #14 — Enter Namor!

By

Anthony Composto - EIC

-

February 2, 2023

marvel comics exclusive preview black panther namor wakanda

BLACK PANTHER #14 hits your local comic book store on February 8th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
ENTER NAMOR!

Battered and beaten after his grueling battle with Captain America, T’Challa has everything to prove and nothing left to lose. So when Namor arrives on the scene, Black Panther is determined to make him pay for the pain he’s inflicted on Wakanda in the past. But the terrorists of his making still loom large, and Namor never goes anywhere without a plan – and an angle?

The issue is by writer John Ridley and artist Germán Peralta, with colors by Jesus Aburtov, and letters by Joe Sabino. The main cover is by Alex Ross.

Check out the BLACK PANTHER #14 preview below:

Are you reading Marvel’s BLACK PANTHER? Sound off in the comments!

Monkeys Fighting Robots Youtube

Five-Page Preview: THE ONES #4 From Brian Michael Bendis and Jacob Edgar

By

Matthew Sardo

-

February 2, 2023

THE ONES #4: Read The First 5 Pages From Brian Michael Bendis and Jacob Edgar

THE ONES #4 hits your local comic book store on February 22, but thanks to Dark Horse Comics, Monkeys Fighting Robots has an exclusive five-page preview for our readers. The book is written by Brian Michael Bendis, with art by Jacob Edgar, K.J. Diaz drops the color, and you will read Joshua Reed’s letter work. Mike Allred with Laura Allred created the variant cover. Enjoy the preview below.

About THE ONES #4:
A whole new thing by Brian Michael Bendis and Jacob Edgar! THE ONES–every single person in every mythology that was told they were THE ONE teams up to defeat . . . THE ONE. The actual one. The real actual one. Well, that’s what the prophecy said, and it didn’t happen. So, is this entire prophecy about the Ones a bunch of crap or what? I mean, we’re just going to let toddler Satan do whatever the hell he wants? Will the chosen ones live to fight another day or are we all effed?

Do you have THE ONES on your pull?

Monkeys Fighting Robots Youtube

Review: RICK AND MORTY SEASON SIX is an Improvement Previous Two Seasons

By

Kieran Freemantle

-

Rick and Morty’s fifth season was the most inconsistent season the series has produced. Season Six had its work cut out to win back dejected fans.

The end of Season Five saw Rick and Morty in their most dire situation: stranded in space with their portal gun not working. Even worse, Rick’s old nemesis re-emerges. But along with the expressive lore, there was also fun to be had with Summer getting stuck in a Die Hard scenario, super-intelligent dinosaurs revisiting Earth, and Morty joining an order of knights from the Sun.

Since the end of Season Three, Rick and Morty had lost its luster. The seasons became more inconsistent, the intelligent episode was lost, and more episodes seemed to be made for shock value. It went from being the show that it was cool to like to a show trying desperately to remain relevant. However, season Six marked a massive improvement over the previous two seasons, producing some great episodes and only one terrible episode.

Season Six’s first half was stronger. It felt much more akin to the show that fans fell in love with. Some episodes were more creative, character-driven, and emotionally deep. “Rick: A Mort Well Lived,” “Bethic Twinstinct,” and “Analyze Piss” were the most character-driven episodes of the season.

“Rick: A Mort Well Lived” was a great revisit of the video game ‘Roy.’ Morty’s mind was split across the video game, and Rick needed to convince the various Mortys to return to the real world. It explored the relationship between the pair and showed the different viewpoints amongst the Mortys. It also raised some existential questions about the offspring in the virtual world. “Bethic Twinstinct” was a focused episode about Beth undergoing self-reflection and self-discovery and doing it through her relationship with Space Beth. Finally, “Analyze Piss” deals with the heavy subjects of suicide, legacy, and purpose, with Rick ending up trying to do a good deed for a deceased man.

The season’s most creative and best was “Night People.” In this episode, the Smith family was able to program their bodies to do tasks while they were asleep. However, they enter into a feud because of Rick’s pettiness. It was hilarious and inventive. These attributes were shown when the Day Smiths and Night Smiths entered into a physical fight and constantly lost and regained consciousness. It’s the type of episode that made fans fall in love with the show.

However, there were some duds as well. The worst episode was “Final DeSmithation,” which was a long incest joke. In that episode, Jerry gets a fortune cookie saying he is going to have sex with his mother, and he is trying everything in his power to avoid this. Jerry teams up with Rick to find where all fortune cookies are manufactured. The concept and execution were like an episode of Family Guy or South Park.

Some of the episodes had the issue of being bland and formulaic. It added to the sense that Rick and Morty had lost its spark and went from being a trendsetter to being another show in the crowd. It’s hard for a show to maintain quality throughout a season, let alone its entire run, but the first three seasons of Rick and Morty had a consistent quality. “A Rick in King Mortur’s Mort” felt formulaic as it showed Morty joining an order of knights but nearly getting his penis cut off. There were some funny moments when Morty destroyed a religious brief, but it had a feeling of been there, done that. It ends in the same way as “The Vat of Acid Episode,” where Rick and Morty fake their own deaths.

The most divisive episode of the season was “Full Meta Jackrick.” This episode was a sequel to Season Four’s “Never Ricking Morty” and was about writing devices and tropes. As the title suggested, “Full Meta Jackrick” was a self-aware episode that deconstructed the writing process. It was an episode that required a high tolerance for this type of writing and humor. People who enjoy writing will get a kick out of “Never Ricking Morty,” but others will find it up its own butt.

Season Six was Rick and Morty was better than the previous seasons. Fewer episodes were made for shock value, and there was only one bad episode. Some great episodes and moments showed what Rick and Morty could be capable of.

Monkeys Fighting Robots Youtube

REVIEW: SINS OF SINISTER #1 Takes Our Heroes Into The Unknown

By

Jeremy Carter

-

Picking up right after the final page of Immortal X-Men #10, Sins of Sinister #1 rolls onto comic shelves this week. Kieron Gillen and some of the current x-writers are trying their hand at doing an Age of Apocalypse event. I have to tell you, this is very exciting. Anyone who knows Gillen’s work during his Uncanny X-Men run should know that he loves Mr. Sinister. He’s been a thorn in the side of the mutants for far too long. With Sins of Sinister, we’re finally seeing how things would shake out if he finally won. Joining Kieron Gillen on this issue are Lucas Werneck on pencils (as well as other artists who chip in for a page), Bryan Valenza on colors, and Clayton Cowles on letters.

WRITING

Kieron Gillen starts off this issue hot. Aside from the current timeline, we are treated to events that will happen a year down the road and five years later. Gillen allows the events of the future to be so interesting that you honestly want to read about how it all happens all at once. Gillen’s voice for Mr. Sinister is perfect, as usual. He allows him to live up to his name as he wreaks havoc on the world. Unfortunately, no one is safe from Mr. Sinister’s reign of terror as superhero teams and villains fall. Gillen establishes Mr. Sinister as a conniving tactician as we see him have a plan to take out heavyweights like Dr. Doom to Thanos. This event has the feeling of great tension as you read it. Gillen makes it feel like the stakes are high and that anything is possible. One of the most important things you need to do as you go through this issue is to question what will happen next and what will be the effects of this. I don’t know the answer to either of these questions, but things can’t ever be the same after Sins of Sinister.

ART

The pencils by Lucas Werneck are excellent, as usual. He does have some help on this oversized issue from artists like Joshua Cassara and Travel foreman. Werneck recreates the pages from House of X as Charles resurrects Cyclops flawlessly. He uses Sinister instead of Charles, but the page is fantastic. This is an emotional issue, so Werneck has to nail the look of the characters as they are taken by surprise. Werneck particularly nails the pages with Storm as the council blindsides her. Werneck uses a couple of close panels of Storm’s eyes. These panels are effective in conveying the shock from Storm. Seeing Professor X and Emma approaching her with devilish grins on their faces is also an uneasy image. Werneck and the other guest pencilers make this a special issue with their iconic pages that will last with you after the book is put down.

The colors by Bryan Valenza are integral to this issue. Valenza has to color and set the mood for some pages that show a happy apocalypse situation. As Emma and Professor X talk about wearing their sinister diamonds and showing them off, Valenza uses bright and light backgrounds. It’s a creepy page, and it’s made even creepier by the light tone of the background. The colors get a little darker as Valenza transitions into the Ben Urich portion of the issue. As Urich looks out the window, a sepia-like tone is used. Finally, Valenza uses bright whites for Storm’s lightning outlined in blue as she attempts to escape from the quiet council. This works well and highlights the lightning and makes it pop. Valenza does an excellent job with this issue and stepped up to the plate for such a high-profile book.

Clayton Cowles is on the letters for this issue. The most impressive lettering in this issue comes when Storm triesg to escape the council. Cowles uses a giant see-through “KRRRAKOOOM” as she calls down a massive thunder strike. This takes up the whole panel. Word balloon placement is impeccable. As Ben Urich talks with J. Jonah Jameson, it’s a close panel. Cowles ensures all the word balloons are above Ben’s head and out of the way of the image. Cowles is one of the best in the business when it comes to letters. This issue is another example of his professionalism and dedication to his craft.

CONCLUSION

Sins of Sinister #1 sets the stage for an exciting crossover for our favorite mutants. Kieron Gillen has earned all the praise he receives for his attention to detail and well plotted out stories. He’s been building this up for his entire run on Immortal X-Men, and everything feels natural. The art is superb, and all the guest artists help diversify this issue’s look. Sins of Sinister #1 is available at a comic shop near you!

Monkeys Fighting Robots Youtube

REVIEW: Wandering the Wastelands in FORTRESS #3

By

Hank Essman

-

Comics thrive on cool character designs. Sure, there are more grounded, experimental, or contemplative ways to approach comics. But superheroes, shonen, and all sorts of genre comics in between live or die on stylish their leads can be. Just ask Spawn. Fortress #3 by Joel Van Der Knapp demonstrates this principle with its parade of cool, sketchy, sci-fi designs. There are world-ending stakes here, but you still might want to take a few extra seconds to stare at each page.

Caleb’s come apart. The man was once a super-soldier in The State Wars, a revolution fought against government-sanctioned death robots. But his powers relied on specialized bionic limbs to harness and keep his abilities under control. Limbs that were stolen. The culprit? A mysteriously independent death robot named Vogon. So Caleb was put into stasis to keep him alive while others searched for his missing limbs. It’s a fellow veteran, Itar, who finally gets a lead and wakes him up. The world he awakes to is a wasteland, still bearing the scars of civil war. But Itar has a plan. Reassemble Caleb’s old super-soldier team, Fortress.

Fortress #3 only checks in briefly with Itar and Caleb, instead focusing on the side characters of a rapidly growing cast. All of them straddle the line between robot and human. Like the bounty hunter, Kyra, searches for her husband’s memory files to try and restore some humanity to his robotic shell. Or an outdated battle droid named “Old Roy” who uses an old war-machine ritual to acknowledge the cost of his victories.

Sure, there might not have been enough time to fully sit with these characters yet. That’s the price of serialized storytelling—26 pages to get in and out. But Van Der Knapp has taken many fun sci-fi high concepts and tied each to a stylish character design. So the issue finds a lot of joy in introducing them one by one. Like Axel, whose “distorted, elongated frame wields supercharged arms, the electricity cutting through the dry air.” Or the aforementioned husband of the bounty hunter, introduced on the first page as “A shell that holds remnants of a man.”

But in contrast to the issue’s love for descriptive narration, the art is often sparse and sketchy. Backgrounds can be as little as a few lines suggesting hills or a gradient. Outlines are drawn in thick brushstrokes. So much of the focus falls on the characters, who get cool, varied designs with introductory splash pages designed to show them off. There’s a detached, alien feeling to many – of all the characters introduced so far, only three have visible, expressive faces, which reflects the book’s blown-out wasteland of a world.

As for the colors, Van Der Knapp manages to get a lot of mileage out of shades of blue and pink. Pink dominates each page, and blue saved for highlighting the outlines of each character. Though it also shows up in finer details like the readout on a scope or outlining details in a dark room. Pink may not be the first color many would choose for a post-apocalypse, but the bright shade overwhelming each page conveys its own bleak tone. Especially in a desert wasteland where the sun’s constantly beating down.

As for the lettering, Fortress continues its dedication to its characters by using fonts to communicate voice. Vogon speaks in a bold, uniform font, befitting a machine. The untrustworthy Hexa talks in a scratchy, jagged font. While characters like Itar and Caleb speak in a font that’s more naturalistic and handwritten.

VERDICT

Fortress #3 manages to make set-up for future issues pretty damn enjoyable. Van Ker Knapp has a severe knack to cool-looking characters with fun hooks. And with the comic finally back on track after a long hiatus, it’s a good time to jump on. You can find buying options for the comic on its official site.

Monkeys Fighting Robots Youtube

The History and Evolution of Censorship in Comics

By

Don Draper

-

January 30, 2023

The History and Evolution of Censorship in Comics

Comics have a long and complicated history with censorship, dating back to the early 20th century. Previously, the release of a new comic book was like a game of roulette where you cannot fully be sure how society and the government will react to it, and unlike modern casinos, the authors did not have a 200% deposit casino bonus in UK. In this article, we will explore the history of censorship in comics, including notable controversies and their impact on the medium.

Early Controversies

In the early days of comics, controversy often centered around concerns about juvenile delinquency and the content of comic books. One of the first major controversies occurred in 1954 when psychiatrist Fredric Wertham published a book called “Seduction of the Innocent.” This led to a Senate subcommittee hearing on juvenile delinquency, which focused heavily on the content of comic books.

Comics Code Authority

In response to the controversy, the comic book industry established the Comics Code Authority, a self-regulatory organization that set standards for content in comics. The Comics Code Authority prohibited depictions of violence, gore, drug use, and other controversial themes, leading to a decrease in the diversity of content in comics.

Underground Comics

The emergence of underground comics in the 1960s and 1970s helped pave the way for alternative and independent comics. These comics often explore a wide range of themes and styles, including autobiographical and personal stories, social commentary, and experimental art.

Notable Cases of Censorship in Comics

Censorship in comics has been an issue in many countries around the world, including in Europe. Here are a few examples:
In France, the graphic novel “The Tintin in the Congo” has been criticized for its depiction of Africans as primitive and subservient to white colonialists.
In Italy, the comic book “Valentina” was banned for its sexual content, and the creator was briefly arrested for obscenity.
In the United Kingdom, there were several high-profile cases of censorship in the 1950s and 1960s, including the trial of the publisher of the horror comic “The House of Hammer” for obscenity.

Evolution of Comics and Censorship

While censorship of comics is still a topic of debate and concern in some areas of the world, the medium has come a long way from its early days of strict regulations and censorship. Here are a few examples:

In the United States, the Comics Code Authority has been defunct since 2011, and many mainstream comics now tackle mature themes and address social issues that were once taboo.
In other parts of the world, censorship of comics is still a more significant issue. For example, in China, the government regulates and censors comics, and some creators have been arrested or punished for their work.

Conclusion

Censorship has played a significant role in the history of comics, from the early days of concerns about juvenile delinquency to more recent debates about the appropriateness of certain themes and content. While censorship remains a contentious issue in some areas of the world, the medium has evolved and changed, with independent and alternative comics offering a space for creators to push boundaries and explore new forms of storytelling and artistic expression.

Monkeys Fighting Robots Youtube

Project 365: One Comic Every Day, Week 4

By

Darryll Robson

-

January 29, 2023

The premise is simple: read one comic every day for the entire year. It seems like a simple task but there is no way that I read 365 comics last year, even if you count the individual issues in collections. So, this year, I have committed myself to this reading challenge, in the hope that I can broaden my reading habits and fully engage with my favorite hobby again.

I will always be a Spider-Man fan. He was the first superhero I really got into when I was young and I still pick up copies of the 1980s issues when I see them in the wild. Over this weekend I was sorting through my books and dragged out my box of Spider-Man comics. Whenever that happens I end up with a stack to read through. So I have several runs of different Spidey related titles on my reading desk which I will drip feed in over the next few weeks.

With that said, it’ll come as no surprise as to what my first comic of this week is..

Comic Number 22: The Spectacular Spider-Man #149 (and #s 151, 153, and 155)

I love the Gerry Conway and Sal Buscema run on The Spectacular Spider-Man in the late 1980s. The complex, multi-plot narratives and accompanying noir-esq artwork triggers all the right excitement centers of my brain. There are elements of Dick Tracy (with the grotesques for villains), and pulp fiction noir, but there is also the ongoing soap opera of Peter Parker and friends, fantastical elements with the Chameleon and, of course, horror plays a major role with characters like Carrion, the cover villain for issue 149. Carrion is one of those characters that I have always loved, like the Hobgoblin, because there is a macabre and tragic element to them. This issue sees the birth of a new Carrion, from the jealous science student Malcolm McBride. The setting for the story is suitably creepy as Sal Buscema creates a gothic horror environment in the center of New York through the use of cellars and graveyards.

However, it is the extended fight sequences in issue 153 that really shine in this mini-run. Tombstone, another one of my favorites, is both menacing and imposingly violent. The extended bullying story-line that feeds through all of these issues moves from intimidation to a brutal murder in some very expressive scenes. Conway writes the characters so well. He gets under their skin and brings out their complexities in such a short space of time.

At this period in time, The Spectacular Spider-Man was a blending of genres all wrapped in the cover of a superhero story. Even now, after 25 years, I love this stuff.

Comic Number 23: The Uncanny X-Men #130

You can take what I wrote about The Spectacular Spider-Man and apply it to this run of X-Men comics. With Chris Claremont on writing duties and John Byrne/Terry Austin on the art, there’s not much else you need to know.

Inside this issue are: The Hellfire Club; the second appearance of Emma Frost and Kitty Pryde; the first appearance of Dazzler; and it’s all downhill from this point on-wards for the X-crew thanks to a little story line called Dark Phoenix. This issue from the beginning of 1980 comes in the middle of one of the best X-Men sagas and is, itself, an absolute treat to read. The artwork is dynamic but also captures the subtlety of the characters emotions. The color work from Glynis Oliver (credited as Glynis Wein) sets the atmosphere and tone of the story, managing to use the lower grade printing of the time to great effect. The lettering, by Tom Orzechowski, has a crisp, uniform look to it that fits beautifully with the artwork and allows the script to flow through the page.

Even the feel of this comic is just right; it wants to be held and read, the crisp pages folding back along the spine to reveal the dangerous world that envelopes the mutant family. The very fabric of this comic draws you into a world that is easy to become lost in. It would be a crime to ‘slab’ this comic. It has been designed to be read.

Bulls of Deacon Hill — Bulls of Beacon Hill #1 Credit: AfterShock

Comic Number 24: Bulls of Beacon Hill #1

A little bit of a preview from AfterShock Comics (although it should be in shops by the time you read this). I don’t really know what’s going on with the publisher at the moment which is a shame because they have, over the last few years, put out some of the greatest comics of recent years. So, hopefully they can sort out their problems, pay all of their creators what they owe them, and continue publishing exceptional books.

Take Bulls of Beacon Hill as an example. The narrative follows Christoper Boldt, a doctor on the verge of setting up a hospital for patients who can’t afford medical care and is about to announce his bid for a place on the Boston Council. Also, his father is the head of the city’s mafia and is not impressed by his son’s life.

Steve Orlando tells a riveting crime drama with an excellent central cast. The opening has a wonderful Citizen Kane homage with a baseball standing in for the infamous sledge. Andy Macdonald’s artwork is spot on. It’s emotional, disturbing (when it needs to be) and very powerful. Macdonald captures the mundane experiences of the lead couple, Charles and his boyfriend Bill, with a delightful charm that you almost feel betrayed when a shadow starts to fall over their lives. It is a superb way of drawing the reader into the story.

Additional call outs to Lorenzo Scaramella and Carlos M. Mangual on colors and letters respectively, because the impact of the story wouldn’t work without their work bringing the narrative together.

This is a new comic, on the shelves now, so pick it up.

Manga Spider-Man — Spider-Man: The Manga Credit: Marvel Comics

Comic Number 25: Spider-Man: The Manga (various issues)

It was originally published in 1970 in Japan but it wasn’t until 1997 that Marvel published a translated version. Written by Kōsei Ono and Kazumasa Hirai and illustrated by Ryoichi Ikegami, the series was a rough re-telling of its American counterpart, at least in general terms. High school student Yu Komori is bitten by a radioactive spider and suddenly finds himself able to do anything a spider can do. He builds his own web-shooters and dresses in a loose fitting costume to fight the new enhanced criminals that have started to show up in Tokyo.

The art work contains all of the traits you would associate with manga: extreme close ups, a focus on characters with little backgrounds, and highly detailed scene setting panels. There is an excessive use of motion lines which fits well with Spider-Man’s speed and unnatural movement. Unfortunately, the script isn’t as impressive but I wonder how much of that is down to the translating process. A quick flick through any of the issues of Spider-Man: The Manga and you can instantly tell that the layouts have been altered and edits made. Apparently (according to a quick Wikipedia search) the comics were edited for violence and this is obvious in some of the page layouts.

The flow of the comic doesn’t quite have the energy that I am used to with my manga reading (although I am not a big manga reader) but I definitely enjoyed the handful of issues that I have. I also love seeing a completely different interpretation of the character, seen from a new cultural viewpoint. I am also intrigued by the creators and will be looking into their other work.

Comic Number 26: Shadow of the Bat #12

Before Knightfall all Batman had to worry about was annoying, untrained, semi-thieves like The Human Flea. In this daft little tale penned by Alan Grant, Batman is on the trail of Mortimer Kadaver who is a criminal with a short life expectancy. But before the villain goes into that long sleep he plans to take the rest of Gotham with him using fleas to spread the plague.

This story has a gothic thread woven into its fabric, one that artist Vince Giarrano picks up and runs with. His dark, scratchy style suits the narrative and there is something unhinged about the way he draws the central characters. Even Batman melts into the panels with wiry tendrils and heavy shadows. The story may be simple but the execution is wonderful. Adrienne Roy’s colors create a brooding atmosphere while there is an element of whimsy to Todd Klein’s letters, highlighting the contrast of dark and light, good and evil, drama and comedy.

I haven’t kept many copies of Shadow of the Bat but I hang on to this one because there is a creepy charm to the, quite horrific, story inside.

Comic Number 27: The Amazing Spider-Man #334

A bit more Spidey action, this time from 1990 and the start of the epic (maybe..) story The Return of the Sinister Six. Doctor Octopus is recruiting some of Spider-Man’s greatest villains as he hatches a plan to finally beat the infuriating web head.

This story written by David Michelinie is unnecessarily elaborate with Doc Ock creating the most ridiculous setup just to get Electro’s attention. Although with Erik Larsen on Art Duties, nothing can be too ridiculous. In all honesty, I’m not a fan of Larsen’s art style and I have trouble getting on with some of his character work, especially his female characters. In this issue there are some panels that have overtly complicated renditions of Doc Ock, so much so that I stopped reading to try and figure out how his arms were working. For me, Larsen’s layouts and over drawn panels pull me out of the story and don’t enhance it. He does draw a very good Spider-Man, though.

I’m two parts into this story and I’m enjoying it, in the same way I enjoy a Ferengi heavy episode of Star Trek. I’m not bothered about the main story and I’m only watching for the small character moments.

Comic Number 28: Star Trek #1-3

Next week sees the release of Star Trek #4 from IDW Publishing so I’ve re-read the previous issues to bring me up to speed. IDW have released a lot of Star Trek comics over the years but the last few years have had the best runs since DCs series in the 1980s. Year Five was a wonderful run set just after the Original Series and the current run is set after the end of Deep Space Nine. There is an outstanding cast of characters, old and new, with a universe shattering central premise that allows for the return of so many characters and races from Star Trek lore.

Collin Kelly and Jackson Lanzing understand the world they are writing in and, just as importantly, understand the audience they are writing for. If you are a fan of Star Trek you should be all over this series like a Tribble on a Klingon.

Monkeys Fighting Robots Youtube

Marvel Comics Exclusive Preview: SCARLET WITCH #2

By

Anthony Composto - EIC

-

January 26, 2023

marvel comics exclusive preview scarlet witch 2023

SCARLET WITCH #2 hits your local comic book store on February 1st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
SCARLET WITCH BATTLES DREAMQUEEN! Wanda Maximoff is no stranger to grief, so when Viv Vision stumbles through Wanda’s door, exhausted and terrified of the nightmares playing her mother’s death on repeat, Wanda dives into Viv’s dreams to find the cause of the android’s suffering. And it turns out Viv isn’t alone in her mind… Scarlet Witch faces off against DREAMQUEEN in a reality-bending battle for Viv’s freedom! PLUS! This issue includes a special super-heroic back-up story featuring Scarlet Witch and Storm celebrating Black History Month!

The issue features two stories: The main story is by writer Steve Orlando and artist Sara Pichelli, with colors by Matt Wilson; the back-up story is by writer Stephanie Williams and artist Chris Allen, with colors by Dee Cunniffe. Both stories are lettered by Cory Petit.