FANTASTIC FOUR #2 hits your local comic book store on December 7th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: Reed and Sue are on the run from — well, a lot of things, actually! Things are not going great for the Fantastic Four. They find themselves in even more trouble when they stop in a small town with a terrible secret! That terrible secret is revealed literally on the second page of this issue, and Reed and Sue spend the rest of the issue trying to survive it, but stop reading here if you don’t want it spoiled…Yep, it’s Reed and Sue versus a town full of killer Doombots.
The issue is by writer Ryan North and artist Iban Coello, with colors by Jesus Aburtov, and letters by Joe Caramagna. The main cover is by Alex Ross.
Check out the FANTASTIC FOUR #2 preview below:
Are you reading FANTASTIC FOUR? Sound off in the comments!
From Titan Comics and original Mangaka Takashi Okazaki comes the newest edition of a cult-hit samurai action series with Afro Samurai Vol. 1. As part of Titan’s new manga publishing initiative, this hip-hop and sci-fi influenced sword manga is getting a new lease on life with a “Director’s Cut” celebrating the 15th anniversary of the anime adaptation. With a simple yet entertaining story and hyper-stylish visuals, Afro Samurai is a blood-spattered blast of a read.
“In a feudal, futuristic Japan, samurai battle to become No.1 and rule the world, but when his father, who holds the coveted position, is challenged and killed, the young Afro Samurai vows vengeance. Relentlessly pursued by murderous assassins, will he stay alive long enough to keep his promise?”
Writing & Plot
Okazaki’s opening chapters here in Afro Samurai Vol. 1 are exactly what a reader would expect from a sword/battle manga. The protagonist, nicknamed just “Afro” for short, becomes the No. 2 swordsman in the world after watching his father, the former No. 1, get killed by a mysterious assassin. The rest of the story up to this point is Afro being pursued, challenged, and ultimately dominating all those foes who come after him. It’s a simple and familiar story that is nonetheless a blast to read. Afro is your staple stoic protagonist, speaking few words and preferring to let his bladework do the talking. The only fight he’s interested in is the one against No. 1 to avenge his father – all the others are just practice. Okazaki takes noticeable influence from other great samurai works like Vagabond and Yojimbo, while also sprinkling in cyberpunk and sci-fi elements. Modern weaponry and cybernetic implants co-exist in this twist on feudal Japan, creating something that feels akin to Frank Miller’s Ronin or Samurai Jack. Despite these extra genre features, this is a lone samurai story through and through, with just enough character to keep readers attached to Afro’s coolness to keep the pages turning through all the bloodshed.
Art Direction
Afro Samurai’s simplicity with its storytelling is ultimately made memorable because of Takashi Okazaki’s artwork. His penciling covers the page with fantastic character design, stellar animations, and a unique use of shading and color that makes this manga stick out among its contemporaries. The actions flows smoothly and with massive energy, as Okazaki focuses on emphasizing speed in his fight scenes. Duels happen and are over in a sequence of simple yet carefully constructed panels that carry mountains of momentum for every sword stroke and gunshot. As with most Manga, there’s almost no coloring aside from Okazaki’s smoky sprays of red blood. He evokes a visual style similar to Hiroaki Samura’s work in Blade of the Immortal, along with hints of Western artists like Moebius. Okazaki wears his influences on his sleeve, but utilizes them in a fashion that creates an experience that is unique unto itself.
Verdict
Afro Samurai Vol. 1 is an entertaining and ass-kicking set of opening chapters for this cult-hit manga. Takashi Okazaki makes his influences plain as day, but crafts a story with those influences that is both familiar but refreshingly unique. If you’ve read manga, Afro Samurai’s narrative won’t strike you as anything new – but its visual style and genuine flair will keep you hooked. Be sure to grab this new edition when it hits shelves on December 13th!
BLACK CLOAK #1 hits your local comic book store on January 11, 2023, but thanks to Image Comics, Monkeys Fighting Robots has a six-page preview for our readers. The book is written by Kelly Thompson, art by Meredith McClaren, and with letter work by Becca Carey.
About BLACK CLOAK #1: Eisner Award-winning writer Kelly Thompson (Black Widow, Captain Marvel) and fan-favorite artist Meredith McClaren (Jem & the Holograms, Super Fun Sexy Times, Hinges) will launch the mystery/fantasy mashup Black Cloak. Blade Runner style mixes with Saga-esque drama in a delectable fantasy/sci-fi blend as two Black Cloaks try to solve the murder of a beloved prince in Kiros—the last city in the known world—before his murder tips the city into war. Detective storytelling, fantasy creatures, magic, neo-noir sci-fi all collide in a spectacular triple-length first issue hitting shelves in the New Year.
Enjoy the preview below.
Are you going to add BLACK CLOAK #1 to your pull list? Let us know on social media.
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.
The Counterfeit, written by Jonathan Thompson (Night of The Comet/A Game of Doubles/All In) with art by Rossano Piccioni (Burn Residue) is just the latest Kickstarter campaign by Thompson that has successfully reached funding. But with this particular one, Jonathan is doing something different. The Counterfeit had a campaign run of just TWO WEEKS, in which it was successfully funded. What comes next is not only innovative new ways to use and reward stretch goals but the launch of an entire crime/horror comics imprint as well, BLOOD RUN COMICS. Jonathan is bringing back past collaborators and characters with BLOOD RUN, and it sounds awesome. So check out the interview and make sure to head over and get in on this printing of The Counterfeit and be a part of the launch of BLOOD RUN COMICS!
Art from THE COUNTERFEIT
Monkeys Fighting Robots:Jonathan this Kickstarter campaign for The Counterfeit is different than your others. Not only is the campaign length shorter (two weeks) but you are also launching an imprint, Blood Run Comics. What made you decide to take this leap? Jonathan Thompson:This is a way to consolidate the two partnerships I’ve been working on in comics with Attila Schwanz (NIGHT OF THE COMET) and Rossano Piccioni (BURN RESIDUE). The plan is to alternate books in a series with both. With Rossano, it’s a series of one-shots in the COUNTERFEIT world and Attila and I are developing a MORDRED series for next year. Two weeks is an experiment on top of an experiment. The mid-campaign times don’t net much movement so I figured I’d chop them out and see what happens.
MFR: The name is so evocative. What’s behind the name BLOOD RUN? JT: Honestly, just felt fun. Coming out of BURN RESIDUE and NIGHT OF THE COMET I established a tone with both creators and I wanted to find the right way to sell it as its own imprint. You know, just playing around and having fun. I like the idea of letting the BLOOD RUN.
MFR: So give us some details on The Counterfeit. What’s the ol’ elevator pitch? JT: THE COUNTERFEIT is a crime one shot following a money counterfeiter and an FBI agent who’s on his tail. The story opens up with the feds raiding the counterfeiter’s print shop, but he’s easily able to wriggle out of their hands. What happens next is a dueling narrative with both characters thinking they are the hero until they converge in one big bang.
Art from The Counterfeit
MFR:Can you talk about the Mordred series with Attila that you mentioned? What’s that about? JT:MORDRED will be four magazine-sized 48-page issues about King Arthur’s bastard son. I am so excited about this one. If you know anything about Attila’s art, you’ll be excited too. It will chronicle Mordred’s quest to hold Excalibur and rule Camelot. It’s going to be insane and should be coming in March. And I should say that while this is a one-book campaign it is about building for the future. That’s why we have a low goal and short run time. Once we hit our main goal I have a bunch of landmark stretch goals that will get backers more of what’s coming. They’ll get extra pages in this issue along with previews for MORDRED and the next part of the COUNTERFEITER story.
MFR: I can’t wait to see Atilla draw Mordred. That’s a perfect fit. JT:I know, right? I have a lot of ideas circling around but we’re going to be doing some development stuff soon. We have a stretch goal that will get all backers of THE COUNTERFEIT this preview. JT:Yeah, I know. It’s going to be great.
MFR: Anything final you wanna drop before we wrap it up? JT:I’d just say that I’m excited for the future and what we can build here. I think MORDRED in particular is going to light a fire so big you can’t miss it. THE COUNTERFEIT is live until Dec. 2nd so get on it while you can. I hope to exceed our goal so we can load backers up with previews for a lot of great comics coming in the new year. And don’t forget to pre-order your copy of NIGHT OF THE COMET coming from Source Point Press in January!
*Editors Note: As of this writing, The Counterfeit has been successfully funded.
Kamen Rider Zero-One #1 is the next chapter of the legendary franchise having more presence in America. With the release of the series in America on blu-ray, along with the release of the TV series of Kamen Rider Kuuga and its manga, fans are finally getting a chance to experience this Japanese born series through proper channels. This continuation of the Kamen Rider mythology arrives thanks to Brandon Easton (writer), Hendry Prasetya (artist), Bryan Valenza (colorist), and Jamie Martinez (letterer).
Aruto Hiden is Kamen Rider Zero-One! Along with his trusty humagear companion Izu, he’s saved the world numerous times as the insectile superhero! But when his company Hiden Intelligence is attacked by the mysterious Ragnarok, Arturo must face not only the volcanic cluster cell-powered villain, but also his own past…
Writing
The issue obtains a good balance for fans of the series and those who may be coming into the comic fresh. It recaps the events of the TV series but does not reveal major moments and spoil it for those who didn’t watch the show. At the same time the issue offers enough introduction to all the elements of the series it can still serve as a comic on its own. Many adaptations of existing properties do not always share the same luck when they attempt a transition to comics.
Brandon Easton made sure to do their homework before writing this issue. All the characters maintain the voice and feel of their TV counterparts. From Aruto’s lame jokes to Isamu doing his best not to laugh at them makes the character feel very on point. The introduction of Ragnarok is not explained but this feels very intentional. As if the remainder of the series will serve to answer the question, “Who is this mysterious rider.” This mystery will ensure those who purchase the first issue will come back for the second.
Artwork
The art by Hendry Prasetya succeeds in channeling the original series. The appearance of Ragnarok feels reminiscent of when a new major player would appear in the series, complete with a sense of foreboding and terror. The panels offer great energy and keep the reader engrossed in the action.
The color work by Bryan Valenza captures the effects of the show. The transformation and attacks are all energized thanks to the coloring and add weight to the action scenes. The weight of each punch, kick, and special move is accentuated thanks to the impressive use of color.
The lettering by Jamie Martinez helps with the flow and energy of the storytelling. The position of the word bubbles helps to perfectly encapsulate the scene where Aruto tells one of his pun based jokes and Isamu suppresses a laugh. This was one of the running gags in the television series and this use of proper lettering recreates the energy of the scene in a very impressive manner. The lettering also helps to get a great sense of flow as the combat erupts between Zero-One and Ragnorak by helping to direct the reader’s eye from one panel to another.
Conclusion
Kamen Rider Zero-One #1 is a fantastic gift to fans of the show but it’s perfect for anyone looking for an action filled book. The mini-series is set up to be another great way for the Kamen Rider franchise to have more exposure in America. Hopefully, if things go well, this won’t be the last time a Kamen Rider series will get an original comic story and fans will be able to experience more stories of this quality in the future.
Frank Miller Presents – RONIN: BOOK II #1 hit your local comic book shop today. The six-issue mini-series is written by Frank Miller, with art by Phillip Tan and Daniel Henriques, and you will read John Workman’s letter work. Miller also created the series and worked on layouts.
As part of the Panel Breakdown series, we analyze this issue and enjoy the spectacle and giant layouts used in the comic. Check the video below.
Did you pick up RONIN: BOOK II #1?
About RONIN: BOOK II #1: Frank Miller returns to one of his most critically praised and influential body of works, RONIN. This six-part mini-series follows the original work and takes Casey and her newborn son across the ravaged landscape of America. With layouts by Miller, the beautiful panoramic art by Philip Tan and Daniel Henriques captures all the energy and excitement of the original series, taking the characters and world into a direction all its own. Not to be missed!
WHO KILLED SARAH SHAW? is a Patreon-exclusive weekly webcomic, but thanks to the writer Frankee White, Monkeys Fighting Robots has a five-page preview to share with our readers. Adam Markiewicz is the artist on the series, with cover color art by Nicky Rodriguez, and Tim Daniel / Second Rocket handled the logo & cover design.
About WHO KILLED SARAH SHAW?: This project is a labor of love. It’s planned to be our longest story yet, hopping between past and present with a varied cast of characters in the fictional but fully realized town of Hardground.
Our hope for this story is that as you spend more and more time with the citizens of Hardground, you’ll become invested in the tangled web of their lives and become compelled to join Jes and Dave in their search for the truth.
The title of the story isn’t just a snappy eye-catcher; it’s a question, a plea, to you, the reader: WHO KILLED SARAH SHAW?
DAHLIA IN THE DARK #1 hits your local comic book store on December 7, but thanks to Mad Cave Studios, Monkeys Fighting Robots has an exclusive trailer reveal and the first four pages of the book to read. The book is written by Joe Corallo, with art by Andrea Milana, and you will read Micah Myers’ letter work. Andrea Milana and Chris Shehan worked on the covers.
About DAHLIA IN THE DARK: A washed-up hitman, Donny Dahlia, takes one last job transporting a package cross country in the hopes of seeing his estranged daughter again. Little does he know this job will get him caught in the middle of a war between the fairy realms that could determine the fate of humankind.
Enjoy a four-page preview below.
Do you have DAHLIA IN THE DARK #1 on your pull list?
From Ice Cream Man creators W. Maxwell Prince and Martin Morazzo comes a tale of fine art conspiracy, murder, and the madness behind the paintings in Art Brut #1. Featuring colors by Mat Lopes and Chris O’Halloran, as well as lettering from Good Old Neon, this opening chapter is a clear tribute to Silver Age adventure comics, but injected with Prince and Morazzo’s personal brand of modern absurdity. For fans of Ice Cream Man – or just inventive comics in general – this is a definite must-read.
“The world of fine art is falling apart, and only ART BRUT knows how to fix it. Alongside the Bureau of Artistic Integrity, Arthur Brut the Mad Dreampainter (and his trusty sidekick, Manny the Mannequin) must dive back into the very paintings that made him insane…or reality itself might just crumble to pieces. A colorful, gonzo romp through art and art history, ART BRUT is equal parts police procedural, hyper-fantasy, and psychological thriller-a veritable Pollock-splatter of comics genres tossed onto one giant pulpy canvas!”
Writing & Plot
Lovingly familiar yet wonderfully creative, W. Maxwell Prince’s script for Art Brut #1 is delightfully absurd in the most compelling ways. Like an episode of Johnny Quest after dropping acid at the Louvre, Prince’s story is a tribute to classic Silver Age adventure done with an exceedingly clever plot around the world of gallery art. Art Brut, an insane “Dreampainter,” is called upon to assist in solving a series of art-based murders happening across the globe. Little do his handlers know of the secrets behind the fine art world – and of the worlds existing behind the canvas. As readers of Prince’s work would expect, his script walks the tightrope of complete insanity and genuine humanity. In the middle of this abstract adventure comic lies a compelling story about a man whose sanity lies on the other side of the painted picture. Prince’s humor consistently lands and fits in with the tone of the story perfectly. While Art Brut does have its bloody bits, it isn’t a horror comic and stays consistently light-hearted throughout – with a couple melancholy scenes during the more intimate character moments. Brut is a character I can’t wait to uncover more about, and his adventures with his sidekick Manny the Mannequin are no doubt going to be a ridiculous ride as Prince explores the secrets behind this world of art.
Art Direction
Art Brut #1’s biggest draw for many is likely to be the unmistakable style of Martin Morazzo’s pencils. Before Ice Cream Man became a modern classic, Morazzo honed his unique sense of animation and character design in this eccentric indie comic. For those who may be worried that because Brut is an older comic the quality may not be quite up to snuff, have no fear. Morazzo’s work here looks as though this could be an Ice Cream Man follow-up instead of its predecessor. His signature style may be divisive to some, in a similar way Frank Quietly’s work is – after all, their penciling approach is alike. However, for those in tune with how unique this comic is and can accept an out of the ordinary art style, Morazzo’s work here is an absolute treat. His work here is perfectly complimented by the colors of Mat Lopes. The color artist behind The Dreaming and Ka-Zar brings his dynamic and dreamlike visual approach to this weird take on art itself and does so with a spectacular finish. Every panel smacks the reader in the face with vivid colorwork, and Lopes nails the transitions from the “normal” world to the weird artistic world with a smooth yet jarring finish. His work makes the pages seem like they could be reached into, much like the paintings Art and Manny investigate. Visually, Art Brut is an even more stunning achievement than Ice Cream Man, and captures this strange world of artistic conspiracy brilliantly.
Verdict
Art Brut #1 is a delightfully strange and utterly unique comic that wears its influences on its sleeve, but is still very much its own beast. W. Maxwell Prince’s script is often hilarious, but also deeply human, with a sense of levity brought out by his clever dialogue and Silver Age sensibilities. The visuals from Martin Morazzo and Mat Lopes bring out that familiar style that fans of Ice Cream Man will be pleased to see, but with a very different tonal approach due to the colorwork. Be sure to grab this remastered issue when it hits shelves on December 14th!
Arcade has always been an interesting foil for superheroes. Usually appearing in the pages of X-books, Arcade had a stint going after other characters in Avengers Arena. MurderworldAvengers feels similar to Arena, but this series allegedly features no super powered individuals. Jim Zub and Ray Fawkes write this issue. Jethro Morales is the penciler with Matt Milla on colors and Cory Petit on letters.
WRITING
Jim Zub has done some great work for Marvel comics. His work on Thunderbolts alone makes him a fan favorite writer. Having him take on something like Murderworld Avengers seems like a win-win for everyone. What works for this story is that we are introduced to a bunch of no name characters. Zub and Fawkes focus most of the story on Paul Pastor, a young streamer who has gained a decent following. He get an invite from Arcade to make a documentary about Murderworld, which he gleefully accepts. Zub and Fawkes also have a winner take all, survive or die million dollar competition going on at the same time. Things get messy and no one is safe. Another thing Zub and Fawkes establish is that Arcade is a ruthless and formidable villain. It’s almost as if Arcade is similar to Jigsaw from the Saw franchise. Things he says can be misleading and many things are booby trapped. For any regular character in this story, no one can be trusted and nothing is safe. Zub and Fawkes give us a wonderful introductory issue that will leave you questioning what happens next.
ART
The pencils by Jethro Morales do a very good job of portraying all the dangers of murderworld. The number of panels that have exploding duffel bags are effective and help establish danger. Morales makes his money this issue on the number of different facial expressions we see. Arcade alone goes from being sinister, to making a joke, to laughing all on one page. He truly seeks joy in the misery of others, and Morales captures that perfectly. When the “Avengers” show up, Morales allows them to look just different enough to throw off readers initially. Morales has great shading in this issue as well. As Paul tries to escape death, Captain America is by the monkey bars shaded wonderfully. The pencils really bring this concept to life. Morales’ pencils work well with the script and make this issue easy to look at.
The colors are handled by Matt Milla, who always brings his A-game to any book he’s on. Milla uses lighter colors to distinguish when Paul is on his live stream. This makes it easy for the audience to see what is being shown on the web cam and what is happening in realm life. After that, the colors a vibrant. Arcade’s red hair sticks out when he appears on panel. When something explodes, and lots of things explode, Milla uses bright reds and orange to capture the page. As always, Milla has a great showing as colorist. He’s truly one of the best in the business.
The letters are done by Cory Petit. In an issue like this, with lots of action and explosions, sound effects are very important. Petit utilizes that extremely well. As a player gets shot, a big “BLAM” appears above their head. This is perfect placement as well as a great font for the action. As the contestants are attacked by the villains in Murderworld, a contestant fights back. Petit uses a see through “FZAMM” in the middle of the page. This is good placement as well, and it’s see through so the letters don’t block any of the action.
CONCLUSION
Murderworld Avengers #1 offers readers a good script from Zub and Fawkes with a story that makes us believe no one is safe. The art elegantly brings to life the beautiful chaos that is Murderworld. There may not be a more exciting book on the shelves this week. Avengers Murderworld #1 is available at a comic shop near you!
