PUNISHER: WAR MACHINE Celebrates Frank Castle Without Glorifying His Killing

Punisher: War Machine volume two is out November 14th, and it’s an action-packed celebration of everything Punisher fans enjoy, but it a tactful, tasteful way that doesn’t glorify murder.

This volume is written by Matthew Rosenberg, drawn by Stefano Landini and Guiu Vilanova, colored by Lee Loughridge, and lettered by Cory Petit.

Last volume, Nick Fury gave Frank Castle the War Machine armor to go overseas and topple a violent regime. Castle of course went rogue, almost started a nuclear war, and refused to return the armor. Now, he’s back in New York City, and the superhero community isn’t too happy to see him running around killing people in their dead friend’s armor.

There’s a lot to love in this run, even if you’re not a typical Punisher fan. Rosenberg’s dialogue is as smart and witty as it always is, and it’s so great to see him writing Hawkeye and Winter Soldier again. The action is kick-ass, thanks to dynamic art by Landini and Vilanova, as well as explosive coloring by Loughridge. And almost all of Marvel’s New York-based supersquad makes an appearance, allowing both Rosenberg and the art team to play in the sandbox and have fun smashing their toys together.

Whether you like action, humor, redemption stories, or spy thrillers, there’s something for you in Punisher: War Machine. But what volume two does so well is celebrate Frank Castle without excusing his lethal methods.

Punisher uses the armor to its full potential, taking out bad guys and Hydra scum in over-the-top ways like he never could before. And he does it all to clear his name and redeem himself from siding with Hydra during Secret Empire. So on the one hand, you get big, fun action with some purpose behind it. You feel for Frank; he was manipulated and wants to make good.

Meanwhile, Captain Marvel and the rest of the superheroes are chasing him down. This volume is one long game of cat and mouse. They constantly condemn him for being what he is: a killer. And, without spoiling anything, the ending really sends the message home. Say what you will about Frank Castle. Agree or disagree about his tactics. But the man is not a hero.

But, then again, he wouldn’t claim to be one.

Punisher: War Machine is complex like the best Punisher comics are. It presents both sides of the “Frank Castle Argument” without really taking a side, but also without excusing murder, allowing the readers to think for themselves. And above all, it’s fun. You can pick up both volumes this Wednesday for a complete story that packs a physical and philosophical punch.

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Five Terrifying Moments From IMMORTAL HULK Volume 1

Anthony Composto - EIC

Immortal Hulk volume 1, “Or Is He Both?”, is out November 21st, and it’s a must-read for fans of both superhero comics and horror.

The series is written by Al Ewing and drawn by Joe Bennett, with inks by Ruy José, colors by Paul Mounts, and letters by Cory Petit.

This is one of the best ongoing series Marvel has going right now, and what makes it work is that it is first and foremost a horror series. Not action or sci-fi, not even superhero, but horror. It returns the Hulk title to its roots, leaning hard into the monster angle, and the Jekyll and Hyde nature of the titular character. The repeated motif of “the night is his time,” meaning Hulk’s, drills home this monster theme, and makes fans fear ol’ Jolly Green for the first time in a long time.

And while Ewing’s scripts are good and scary enough, Bennett’s pencil work elevates the title to a whole other level. The detail in his work, and the way he draws facial expressions (especially Hulk’s) will raise the hairs on the back of your neck. Huge credit to José’s inks and Mounts’ colors as well. Good horror is all about atmosphere, and in comics, that comes down to the shadowing and the coloring. That’s where the tone comes from. Immortal doesn’t feel like your run-of-the-mill Big Two comic. You could have told me that this was an indie horror series, and I would have believed you based on the art. Just looking at it – without reading a word – you can feel the tension.

So without further ado, let’s talk five of the series’ most terrifying moments:

5. Sasquatch Rises

After Walter Langkowski dies on the operating table, his alter ego Sasquatch rises. The transformation is something out of An American Werewolf in London. The panel layout here is brilliantly done, showing the transformation in quick bursts, leading to a tense page turn. What truly makes this scene chilling are two panels that cut to Bruce Banner in the waiting room. While Walter turns, Bruce is saying “It’s night. And the night is his time,” followed by “We need to evacuate the hospital. Now.”

These three pages are a master class in building suspense and delivering a frightening page turn.

4. Dr. Frye Poisons His Son

When Hulk confronts a scientist who’s been toying around with gamma radiation, the scientist reveals his terrible secret. After developing a gamma-powered healing serum, he gave some to his football player son as a precaution. Obviously, this is a terrible idea. As we watch the son die via flashback, gamma ooze flows out of his eyes, nose, and mouth, and it’s sickening. A very different kind of scary compared to our previous example, but effective nonetheless.

3. The Priest’s Story

Issue three of Immortal jumps back and forth between four stories, as a cop, a bartender, a priest, and an old lady each tell a reporter about a Hulk incident from different perspectives. Each section is done by a different artist, and they’re all great. The priest’s story, however, takes the cake. First off, it’s the most tragic and most intense. While the other three are lighter and even humorous at times, the priest’s story is the emotional core of the issue. Second, it’s drawn by Garry Brown, who is a natural horror artist. His work is graphic, edgy, and dark.

2. “What Do YOU Think?”

One page. Six panels. Hulk stands over a terrified young man. Each panel, Hulk gets closer and grows larger as the young man pleads for his life. Again, the page structure is A+ (actually, it’s the same layout as the Sasquatch transformation) and the tension builds with each panel. But perhaps the most chilling aspect of this moment is the smile that slowly grows over Hulk’s face.

1. “She Was Twelve.”

This is the first time in Immortal that we see Hulk in full. First, the lead-up to get to the reveal is great. We see the young man from the previous example hanging out with some gang members before a monster seems to crash through the wall. He runs from the house, gunfire and shouting behind him, and heads for his car. He drops his keys, real horror movie stuff. As he slowly turns around, a shadow casts over him, leading to a page turn, and then BAM. We see a monstrous Hulk in a huge two-page splash, complete with a full moon behind him. That not enough? Turn the page. BAM, another two-page splash, a close up on Hulk’s face (with the full moon still behind him). Ewing cranks up the intensity by having Hulk only state the name and age of a young girl that the man had killed earlier in a robbery. We know why the monster’s come to play, and it’s not going to be pretty.

Anyone who doubts that you can do horror effectively in comics needs to read Immortal Hulk. Ewing, Bennett, and company show how terrifying simple, slow-build tension can be.

Immortal Hulk volume 1, “Or Is He Both?”, is available online and in stores November 21st.

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[review] Get a ‘90s Nostalgia Fix With DISNEY AFTERNOON GIANT #1

David DeCorte

Like many “nineties kids,” the Disney Afternoon block was a formative television ritual for me. While the recently-relaunched Ducktales cartoon series and comics from IDW are great in their own right, neither have quite scratched the nostalgic itch like Disney Afternoon Giant #1.

The new bimonthly series from IDW picks up right where the original TV block left off. This first issue offers new adventures for Scrooge McDuck and the classic Ducktales cast, plus the long-awaited return of Chip, Dale, Gadget, Monterey Jack, and Zipper of Chip ‘n Dale Rescue Rangers.

On the one hand, you could chide this as cashing-in on the nostalgia of people in their late-twenties and thirties. And…you might be right. Still, I can see plenty of readers outside my own easily-manipulated demographic finding plenty to love here, too.

The Writing

The Ducktales comic series, launched under IDW last summer, draws heavily on the classic Uncle Scrooge comics by Carl Banks. In contrast, Disney Afternoon Giant #1 emulates the writing of the Disney Afternoon cartoon loosely adapted from those original works.

Warren Spector, a veteran of other Ducktales comics, handles writing duties for the book’s first half. The story focuses on Scrooge taking a bet with his rival, Rockerduck, and shipping off on a new adventure. There are plenty of ridiculous plot contrivances throughout, but that was always a hallmark of the franchise. Fans of the series will feel right at home here, almost like the panels are ripped straight from the TV screen.

Ian Brill tackles the book’s second story, focused on the Rescue Rangers tracking down the key to a global mystery. I felt this was the stronger of the two stories overall. While not everything added up just yet, the premise was easier to follow, and the story felt more engaging and developed. I’m excited to see where it will lead in the next issue.

The Art

The artwork in Disney Afternoon Giant #1 is a treat, even if you’re not a fan of the original cartoons. Leonel Castellani helmed the line work for both stories, with help from Jose Massaroli and others on the Ducktales segment.

The lines on the Ducktales story have the distinctly cartoonish, thick outlined look, which works well in context. The pages are busy, especially with the vibrant colors provided by Braden Lamb.

However, the Chip ‘n Dale story had the leg-up in the art department as well. Many of the Ducktales panels felt rather static; a fact that was highlighted in contrast to the more kinetic frames in the Chip ‘n Dale Rescue Rangers segment. I felt the Ducktales pages were trying to skew toward both the older comics and the television show for inspiration, and while they’re still doubtlessly charming, they fall short of really evoking either as a result. The Rescue Rangers pages, in contrast, go full-in on the cartoon aesthetic, and it comes across beautifully on the page.

Final Verdict

Disney Afternoon Giant #1 offers plenty of nostalgia fuel for fans of the classic Disney Afternoon shows. However, I can easily see younger readers who’ve never been introduced to the source material enjoying this. I highly recommend it, both for kids of the nineties and now.

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Review: OVERLORD Is Just As Fun As It Sounds

Sean Boelman

Overlord is the newest film produced by J.J. Abrams and his Bad Robot label. It is about a group of American soldiers who invade France on the eve of D-Day, finding unexpected horrors behind enemy lines.

If you can accept this for what it is, it is sure to be one of the most fun action movies of the year. It doesn’t really challenge the audience intellectually, nor does it have a particular moral or message. You’re pretty much just watching a movie version of the Call of Duty zombie mode, and that’s okay.

That being said, the film still crafts characters that are thoroughly compelling. There are a few moments that may be slightly emotionally manipulative, but they work nonetheless. Even though the characters do conform pretty closely to their archetypes towards the beginning of the story, they end up defying them in multiple ways by the end.

Furthermore, the script isn’t entirely predictable. It is crazy and chaotic, and there is no way of knowing whether a character is going to make it through the night or not. This keeps you on the edge of your seat for almost all of the movie. Even when you think the characters are safe, they aren’t.

The opening sequence of this film is one of the most exhilarating action sequences in a very long time. It’s crazy, loud, violent, and has a sense of urgency. The movie throws you right into the action with little preparation. If you get the chance to catch the film in IMAX or another PLF, you definitely should, because this sequence alone makes it worth the extra cost.

The visuals are great too. The production design is very immersive, taking the audience back in time to WWII. There were also other little things like the title font that add to the atmosphere. The cinematography is great too. Perhaps most impressive about the execution, though, are the film’s effects. The CGI and practical effects are both great. The design for the monsters is surprisingly really creepy.

The actors are also very good. Jovan Adepo plays the protagonist, and he does an excellent job. He gives a lot of emotion in the role and has a lot of charisma. John Magaro is a standout in the supporting cast, serving largely as the comedic relief. The biggest standout, though, is Pilou Asbæk, who plays the villain. Granted, he is hammy, but the movie is campy as a whole, so it fits right in.

Overall, Overlord is one of the most fun movies to come out this year. It’s dumb and campy, but it embraces that, making this film a worthwhile watch.

Overlord is now playing in theaters.

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Review: THE GIRL IN THE SPIDER’S WEB: A NEW DRAGON TATOO STORY Is Too Wrapped Up In Action

Sean Boelman

The Girl in the Spider’s Web: A New Dragon Tattoo Story is the newest film following the character Lisbeth Salander, based on the fourth book in the Millennium novel series. This entry serves as a reboot, with an entirely different cast from David Fincher’s 2011 English-language adaptation of The Girl with the Dragon Tattoo.

This is the first time in which a novel in the series is first being adapted in English rather than its native Swedish. The film follows Salander as she finds herself caught in a web of criminals and lies that may have a tie to her past.

This did not feel like a Millennium film (or a so-called Dragon Tattoo Story). There are some scenes in which that tone came through, but for the most part, it was different — in a bad way. The series is known for being dark and gritty and having unflinching brutality. This instead feels like a Bond rip-off with a female protagonist and more blood.

spiders web foy vigilante — Lisbeth Salander (Claire Foy) in Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB. Photo Credit: Reiner Bajo; © 2018 CTMG, Inc. All Rights Reserved.

Another big difference is the way in which the protagonist is portrayed. In the other films, Salander is a strong, but scarred woman. In this movie, her scars don’t really show. She just seems like a hardened person. It doesn’t give any reason, and as such, she isn’t quite as sympathetic.

The first scenes start the film off with a lot of potential. The scene that was heavily featured in the trailer, in which Salander gets vigilante justice by extorting a CEO that has cheated on and beaten his wife, is the scene that perhaps most accurately captures the tone of the series. Unfortunately, this scene was shown almost in its entirety in the trailer.

After that, it’s pretty much completely different stylistically. You can tell by the title sequence alone that it is trying to be like a Bond movie. For what it is, it’s still quite fun, but it isn’t to the quality that a fan of the series would expect.

spiders web stanfield — Ed Needham (Lakeith Stanfield) at the cliff in Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB. Photo Credit: Reiner Bajo; © 2018 CTMG, Inc. All Rights Reserved.

There were some action scenes in the film that were actually quite impressive. Two that jump out are the breakout sequence and the climax. These scenes are nicely-shot and exciting. Again, they’re a bit big for the series, but they’re fun nonetheless.

The character of Edwin Needham, played by Lakeith Stanfield, is also a welcome addition. This is the only character that is made to be particularly interesting, and Stanfield is as great as ever in the role. His character is honestly interesting enough that a spin-off based on his character could be a solid next move for the franchise.

Overall, The Girl in the Spider’s Web: A New Dragon Tattoo Story doesn’t deliver what its title promises. Still, it is interesting enough to be passable entertainment for those who are not picky.

The Girl in the Spider’s Web: A New Dragon Tattoo Story is now in theaters.

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Review: POSTCARDS FROM LONDON Doesn’t Warrant Your Visit

Sean Boelman

Postcards from London is a new indie drama from director Steve McLean and starring Harris (Beach Rats, The Darkest Minds). It is about a young man from the English countryside that moves to London, where he becomes a male escort that specializes in post-coital conversation.

This film obviously wants to be far better than it actually is. There is a lot of potential in the premise, but the execution is so flawed that the movie is severely disappointing and feels like an almost complete waste of the talent involved.

Perhaps the biggest issue with the film is its overwhelmingly dream-like nature. Every moment of the movie is surreal and trippy, and as such, none of it is believable. This becomes particularly problematic when the film is attempting to establish realistic emotions and characters. Even the scenes that are the most logical still don’t feel real.

Additionally, the movie thinks that it is “smart” because of the many allusions it contains to fine art, although that is far from the case. The film only contains the most basic, Wikipedia-level facts about artists and their work. This does nothing but make it seem pretentious and out-of-touch.

Furthermore, the movie lacks clarity. For example, a significant plot point involves a mysterious psychological illness. There are so many questions about this illness left unanswered. What causes this illness? Is it curable? Does it have a name? This is only one example of a frustratingly ambiguous plot point that distracts from the film’s intentions.

The narrative as a whole feels disjointed, too. There are multiple times in which the movie seems to jump from one point in the protagonist’s arc to another without the necessary development in between. As such, it is less of a cohesive arc and more like a series of line segments that roughly arrange into the shape of an arc. Because of this, the story feels unsatisfyingly incomplete.

On one hand, the film’s neon-soaked color palette is gorgeous. On the other hand, it is largely ineffective because it is used so excessively. Visually, the movie goes beyond feeling surreal into feeling outright artificial. The editing is very rough too. There are quite a few cuts that were not smooth. There are also multiple swipe transitions and iris effects that look out-of-place.

Overall, Postcards from London is a largely disappointing film. It had a lot of potential, but got too caught up in fantasy to deliver anything resembling a logical or satisfying story.

Postcards from London is now playing in select theaters.

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[Review] OUTER DARKNESS #1 is a Horror/Sci-Fi Treat

David DeCorte

We’ve got the rag-tag crew on a deep-space recovery mission. The cynical, washed-out commanding officer pining for the one he lost. The humans who arrogantly master a technology they may not fully comprehend. Yes, Outer Darkness #1 dishes up just about every genre cliché imaginable…and the final product may be one of the most interesting sci-fi comics of the year.

Facing grim prospects after a mutiny, Rigg receives the opportunity of a lifetime: the captain’s chair on his own ship. The vessel, Charon, is headed out on a recovery mission beyond the outer solar system, opening the door for plenty of cosmic horror in the blackness of space.

The Writing

Working with homage and genre tropes is not an inherently bad thing. The key is a writer who knows how to use those tropes effectively to subvert expectations, engage readers, and tell an interesting story. And when it comes to a love and understanding of genre tropes, John Layman is the ideal candidate.

As mentioned, Outer Darkness #1 borrows from just about everywhere. Readers can pick up on as many touches of Star Trek, Event Horizon, and the work John Scalzi as of Moby Dick. However, the genre-picking is done in expert fashion to ensure that the right story elements pop at the right time.

One of the book’s greatest strengths is in its sincerity. Layman’s love for his inspirations comes through loud and clear, without the grating urge for self-aware parody. The goal isn’t to deliver the kind of commentary that is, at this point, as cliché as the genre tropes being parodied. Outer Darkness #1 simply delivers a charming and engaging space opera/supernatural horror story.

The Art

The artwork by Afu Chan provides an interesting match for the grittier story content. Chan’s characters throughout have a slightly rounded design, giving them a just slightly-cartoonish touch. Often-minimal backgrounds and wider palette of colors than is typical for a gritty sci-fi/horror story reinforce this.

Where the work really shines here in Outer Darkness #1 is in the non-human creature category. Though we only get short glimpses of the aliens, gods, and other supernatural beings inhabiting the world, it was more than enough to convert me to the book’s aesthetics.

From the first pages, we find creatures that lie somewhere between deep sea animals and psychedelic takes on Lovecraftian horror. I’m excited to see what other monsters Chan has in store as the series continues on.

Final Thoughts

Outer Darkness #1 is a loving tribute to genre tropes, but is still engaging even on its own. I expect great things from this series moving forward, and highly recommend picking it up.

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Seven Epic Moments From VENOM Volume 1 By Cates & Stegman

Anthony Composto - EIC

Venom: Rex is out in trade paperback on November 21st, and we’re breaking down seven of its most epic moments.

The series is written by Donny Cates and drawn by Ryan Stegman, with inks by JP Mayer, colors by Frank Martin, and letters by Clayton Cowles.

First, let’s get one thing clear: Venom is an entirely epic series. Stegman’s pencil work is off-the-chain in terms of depth and detail, and Cates’ storytelling is big, over-the-top, and FUN. These guys are celebrating all of the insanity that made Venom popular in the 90s while simultaneously deconstructing and redefining his character. You could throw a rock and hit an “epic moment” from this volume; in fact, I had to extend this list from five to seven because I couldn’t whittle it down and further.

Point is, Venom is top-of-your-pull-list material, and any superhero fan worth his or her salt needs to be reading it. Now let’s talk epic moments:

7. God Is Coming

Issue one ends with a symbiote dragon flying over New York City as lightning crashes and three simple words: “God is coming.” If this doesn’t perfectly convey the tone of this series, I don’t know what will. Cates and Stegman don’t pull any punches in the debut issue. They let you know that this is going to be a story of epic proportions unlike anything you’ve seen before, and the stakes are high.

6. The Symbiote Revives Eddie

When Eddie is critically injured, his Other brings him back to life by mending his broken bones, reconnecting his veins, and manually pumping his heart. Now, we’ve always known that the symbiotes keep their hosts alive and have healing powers, but I don’t know that we’ve ever seen it so detailed before. I mean, we literally see Eddie’s Other heal him on a cellular level. This is what Cates and Stegman’s run is all about: adding on to the character’s mythology and exploring the unknown. More on that later.

5. Miles Gets Eaten

Miles Morales shows up in issue three to briefly fight Venom before they team up against the Grendel (symbiote dragon). Once Eddie learns of Miles’ “Venom Blast” power, he has an idea. He hurls Spider-Man into the Grendel’s mouth, and Miles unleashes all of his blast at once. It’s a fun, humorous little team-up moment that again shows how Cates can push characters to their fullest potential.

4. Venom Goes Rambo

To try and bring down the Grendel, Venom loads up on anti-symbiote weapons. This isn’t some deep or metaphorical moment. This is just cool. It’s Cates and Stegman literally playing in the Marvel sandbox and having fun. Something like this could easily be dumb or silly in the wrong hands, but with this creative team, it feels so genuinely fun. These guys know how to do over-the-top stuff without compromising the integrity of the story.

3. Eddie Burns

Eddie locks his enemy in a furnace and holds the door shut. He orders his Other to go inside him and turn off his pain receptors. He burns. This is such a strong character moment for Eddie Brock. This is him being the hero that he’s always thought himself to be. It’s not only a visually intense moment, but an emotionally intense one as well. It’s the kind of moment where you hold your breath while reading it.

2. Venom Flies

COME ON! Not only do we learn that the symbol on Venom’s chest is actually a dragon, but he actually spreads wings and flies?! And we see it in a gorgeous two-page splash? If you can’t appreciate how badass this is, I can’t help you. You must be really fun at parties.

Again, stuff like this is what this run is all about, adding to the Venom mythos and fleshing out the symbiotes’ history. And perhaps the best example of that is…

1. Knull’s Origin

I’ve said it twice, and I’ll say it a third time: this is what Cates and Stegman’s Venom is all about. Not only is Knull’s origin an epic tale of darkness and horror, but it explains so much about the symbiotes. It explains where they come from, why they fear fire and certain noises, why they need hosts, and more. Hell, it explains where the Necrosword from Jason Aaron’s Thor: God of Thunder comes from. This stuff is what makes this series so special and enjoyable to read. The action and craziness is just icing on the cake. And it’s delicious icing, but the rich, flavorful cake underneath is what gets you addicted.

I can’t believe it’s taken me this long to use this word in this article, but this run on Venom is metal. If you like balls-to-the-wall storytelling, do yourself a favor and pick it up ASAP.

Venom: Rex is available in stores and online November 21st.

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New Series STRONGHOLD Reveals Earth Is Actually An Alien Prison

Anthony Composto - EIC

November 9, 2018

Stronghold is a new “tale of cosmic horror, high adventure and tragic romance” announced by AfterShock this week, from Phil Hester, Ryan Kelly, Dee Cunniffe, and Simon Bowland. Issue one is out February 20th, 2019.

About the series:
Our planet is actually a prison designed to both trap and shelter an amnesiac alien entity of incalculable power. Now known as Michael Grey, this cosmic angel of destruction currently believes himself to be an ordinary, midwestern insurance underwriter, who belongs to a global secret society dedicated to making sure he never discovers the truth about his past.

To make matters worse, our hero has fallen in love with Michael Grey. And for their love to be born, Earth must die.

STRONGHOLD #1 / $3.99 / 32 pages / Full Color / ON SALE 2.20.2019
Writer: Phil Hester
Artist: Ryan Kelly
Colorist: Dee Cunniffe
Letterer: Simon Bowland
Cover A: Ryan Kelly
Cover B: Tyler Walpole

This series is built on a huge, high concept idea, that Earth was only created as a prison for an amnesiac alien. A concept like this holds not only tremendous story potential, but tremendous philosophical potential as well.

Stronghold isn’t Phil Hester’s first foray with AfterShock; he’s also the artist on Shipwreck, written by Warren Ellis. Hester had some thoughts on the new series that he shared via press release:

PHIL HESTER ON WHAT THE BOOK IS ABOUT AND WHY HE’S EXCITED FOR IT TO COME OUT:

“Stronghold is about a college student and delivery driver named Claire who has fallen in love with a sad sack insurance adjuster on her delivery route named Michael Grey. Claire also happens to belong to a centuries-old secret society called The Stronghold who believes this insurance adjuster is actually an immortal, amnesiac elder god whose awakening would ignite a cosmos-wide Armageddon.

Like all young people, Claire feels restless in her strict faith, but when she tests it by revealing herself to Grey, the results threaten to destroy not only her order, but the world. On the run from The Stronghold, alien enemies, and Grey’s own broken, haunting memories, they both realize that for their love to be born, Earth must die.

A story that begins as a lively, adventurous romance spins into a deeper, darker science fiction tale of existential terror and ultimate sacrifice. It’s very much in the flavor of past work of mine like The Coffin and Deep Sleeper (both with Mike Huddleston). If that’s not enough to hook you, come for Ryan Kelly’s amazing artwork, which alone is worth the cover price. He’s really leveled up on this one. As an artist myself, I’m in awe.”

PHIL HESTER ON SOME OF THE PRIMARY INFLUENCES THAT LED HIM TO THE BOOK:

“Like every kid, I was enthralled by “hidden destiny” stories like King Arthur, The Prydain Chronicles, and then as a young adult, stuff like Mage and Dune. As I matured, I saw how these stories were much more than wish fulfillment or simple power fantasies, but cautionary tales about how stepping onto the heroic stage often costs you your personal happiness. I wanted to take that one step further and ask, what if pulling the sword from the stone not only wrecked your life, but all life? Is claiming your identity worth annihilating everything you love? Is taking that red pill worth ruining everyone else’s lives?”

PHIL HESTER ON BALANCING THE TELLING OF AN INTIMIATE ROMANCE AGAINST A BACKDROP DEPICTING A CATACLYSMIC STORY OF LITERAL EARTH-SHATTERING PROPORTIONS:

“Nothing heightens the unreality of a fantastical story like keeping the real aspects of it authentic. What makes Stephen King’s work scary isn’t the big bad monster as much as how effectively he contrasts it with the reality of everyday life. The most frightening parts of The War of the Worlds radio broadcast or the original Night of the Living Dead film are hearing and seeing the mundane media reports struggling to grasp the bizarre events. To maintain that contrast, I sort of have to keep a bright line in my mind between the down-to-earth details of falling in love and the vast cosmic cataclysm yawning underneath everyone’s feet. If a reader can feel the authenticity of the relationship, they’ll feel like they have a stake in its success or failure in the face of these otherworldly forces.”

Stronghold #1 is out February 20th of next year.

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STAR WARS NEWS SPIEL: Disney+, CASSIAN ANDOR Rogue One Series, Star Wars Land updates, and Rey’s Lightsaber Reveal

Daniel Forster

November 9, 2018

Breaking down STAR WARS NEWS from week 2, November 2018. BECAUSE IN A GALAXY FAR, FAR, AWAY — THERE’S NEVER A DULL MOMENT.

After several weeks of crickets chirping around the Lucasfilm ranch, Bob Iger and crew opened the Star Wars news floodgates by announcing a Cassian Andor series for the upcoming Disney streaming service (Disney+, sometime in 2019).

Diego Luna Returns As Cassian Andor In Rogue One Series

Cassian Andor and K-2 in Rogue One, returing for prequel series on Disney+ — Image via Disney Studios and Lucasfilm

Taking place prior to the events of Rogue One: A Star Wars Story, the Cassian Andor series will dive deeper into the early days of the rebellion with Diego Luna reprising the role.

“Going back to the ‘Star Wars’ universe is very special for me,” Luna says via a press release statement, recorded by Variety. “I have so many memories of the great work we did together and the relationships I made throughout the journey. We have a fantastic adventure ahead of us, and this new exciting format will give us the chance to explore this character more deeply.”

Described by Disney as a “rousing spy thriller,” the Cassian Andor prequel series is a pleasant addition to the already jam-packed lineup including Jon Favreau’s The Mandalorian, along with several MCU live-action spin-offs.

But don’t expect the Cassian Andor series upon launch of Disney+.

Production and filming aren’t expected to begin until Luna is finished filming the new season of Narcos on Netflix. Likely, the Cassian Andor series will release after Favreau’s The Mandalorian. Meaning those who subscribe to Disney+ will have a steady flow of geek content coming their way, whether it be out of the Star Wars universe or the MCU. Which would explain why Bob Iger announced Lucasfilm and Disney were putting the brakes on big box-office like films.

“In this era of unprecedented consumer choice, brands matter more than ever,” Iger states. “We always believed we had the brands and content to be extremely competitive and to thrive alongside Netflix, Amazon, and anyone else in the market.”

Rey’s Lightsaber Reveal

Rey's lightsaber Star Wars News from The Last Jedi — Image via Lucasfilm, Star Wars Show, and Disney Studios

Whether intentional or not, the Star Wars Show this week played off the slow news cycle by featuring the ever-changing contents of the Lucasfilm ranch display case. One of these items is Rey’s (Anakin Skywalker’s) blue lightsaber. The same one her and Kylo Ren split in two during the throne room scene in “The Last Jedi.”

Ending the Luke Skywalker (The Last Jedi) debate: Canon Vs. Eu Legends.

Speculation and rumors were afoot regarding whether the lightsaber could be saved and rebuilt. Upon viewing the model up close, however, it’s clear the Kyber crystal is broken in half.

This is good news for fans who want Rey to have a new lightsaber in Episode IX. The big question, however, is what type will she choose? Will it be the first double-bladed light side lightsaber to be featured in a Star Wars film, or will she stick with one of the classic styles? Maybe, just possibly, it’ll be completely unique and original? Although, we’re not holding our breath on that one.

Other Star Wars News

Star Wars land construction in California and Florida is rapidly progressing.

“These are the biggest lands that we’ve ever built and, in both cases, not only are they big in size and scale they’re huge in ambition — in terms of both the experience that we aim to create,” Disney stated in a press release statement.

“[Star Wars land] clearly is the biggest thing that we’ve ever done at Disneyland since it opened in 1955. And we think it’s going to drive a huge increase in demand. “We think we’re going to have some interesting challenges on our hands to manage that demand, but that’s a good problem to have.”

Talking Bay 94: A Star Wars Podcast discussed an interesting topic from The Last Jedi this week, stating an Admiral Ackbar death scene was filmed. It was cut, however, so the focus could be on General Organa instead. While most fans already assumed this, it was nice to have clarification. Admiral Ackbar, despite being a true side character, deserved more than simply a name mention. Even if the scene was eventually left on the editing room floor.

John Boyega may be wielding a lightsaber again in Episode IX.

We’ve got you in this one bro! TRUST me!

— John Boyega (@JohnBoyega) October 29, 2018

It’s unlikely Disney will confirm this, but it’s neat to think Finn and Rey might be fighting side-by-side against Kylo Ren again. This time, however, they’ll each have a lightsaber. Especially if Finn’s is a custom built for him like Rey’s.

What’s got you the most excited this week in Star Wars news? Does the Cassian Andor series sound interesting and will it include K-2SO? Let us know in the comments below and tune in weekly for the Star Wars News Spiel via Monkeys Fighting Robots. “May the Force be with you, always.”

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