STORM #4 is coming to your local comic book store January 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has the exclusive first look at two stunning variant covers for the issue!
About the issue: A FLAME IN THE WIND! DOCTOR DOOM is the SORCERER SUPREME. He has special plans for Earth’s mutants. He would like to discuss them with the beautiful STORM over fine cuisines and expensive wines. What could possibly go wrong? The epic saga continues – with this new installment featuring a battle that Latveria will never forget.
The issue is by writer Murewa Ayodele and artist Lucas Werneck, with colors by Alex Gomes, and letters by Travis Lanham. The main cover is by Mateus Manhanini. The variant covers revealed below are by David Nakayama and Karen Darboe, respectively.
Get your first look at David Nakayama’s STORM #4 cover here:
and check out Karen Darboe’s cover here:
Are you reading Marvel’s STORM? Sound off in the comments!
From writer Rick Remender and artist Paul Azaceta comes The Seasons, a surprisingly dark mystery about the Seasons sisters: Summer, Winter, Autumn, and Spring, and a deadly horror that seems to be striking major cities. With coloring by Matheus Lopes and letters by Rus Wooton, The Seasons #1 is visually striking and gripping from the first page. With colors that would make Yellow Submarine look muted, this first issue hits the ground running, establishing a horror chasing our plucky heroine, and a vibrant yet complex world affected by it.
Writing/Plot
Issue #1 of The Seasons is mostly divided into three segments. It begins with an interesting premise: A blight has affected some large metropolises across the globe and effectively cut off all communication with those cities. While we are not shown the true reason behind this, a strange figure is seen lurking in the wake of the disaster, as a news report by Autumn Seasons narrates the horrific scene. Then we cut to Spring, who the readers follow for the remainder of the issue as she chases a runaway letter, in a style very reminiscent of comics like The Adventures of Tintin.
This issue is an enjoyable ride along with Spring, although the story feels like a reverse sandwich, with the plot mostly being provided at the starting and ending pages. This however does not detriment the story overall, as Remender does a great job of stating just enough to keep the attention on the overall mystery. He makes Spring’s personality and nature clear from her quick interactions with the townspeople, and establishes the overall feel of the world around by employing a wise, “show, don’t tell” approach.
Art Direction
For the most part, horror comics tend to revel in the darkness, using bright colors sparingly and often to signify blood or gore. Yet, The Seasons shifts this by having the colors be dazzlingly bright and inviting. Similarly to how Pennywise was a clown so that children would feel safe and want to follow it, the colors here have the same effect, making the populace want to follow and chase their coming demise. Azaceta’s character designs work perfectly with Lopes’ coloring, as they don’t seem out of place or jarring. Lopes, however, actually uses neon color surprisingly sparingly on a re-read, which increases its impact on the incredible 2-page spread near the end of the comic.
Although the entire artistic team was on top of their game for this issue, letterer Rus Wooton’s work was especially of note. Every movement flows dynamically, as impact effects seamlessly blend into the action. Each hit, fall, jump, and drop looks impactful and stand out clearly to show their weight, but also blend in perfectly with the style set forward by the rest of the team. The vibrancy of color within each background noise and frame also often indicates their volume, which does wonders for allowing the reader to feel the action alongside Spring.
Verdict
The Seasons #1 is a great start to what is hopefully a long journey. There are many cards up in the air, three Seasons sisters to meet, a dark mystery to solve, and a world to explore. This first issue expertly sets all that up with an impressively limited dialogue and exposition. Whatever comes next, this artistic team has truly crafted something special here.
THE INCREDIBLE HULK #19 (Legacy issue #800!) hits your local comic book store on November 27th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive eight-page preview for you!
About the issue: CELEBRATING A HULK-SIZED ISSUE #800!
Has Hulk finally met one stronger than himself? After a crushing defeat at the hands of ELDEST, the Incredible Hulk is a slave, and the return of the Mother of Horrors is imminent! Hulk’s only hope is the newly resurrected Charlie Tidwell, who takes on the SKINWALKERS OF LYCANA to save Hulk… But what ancient power did the Skinwalkers awaken within her to bring her back? Can her mysterious new power give Hulk the edge he needs to defeat both the Skinwalkers and the immortal ELDEST?
PLUS: all-new tales of the extended Hulk family featuring She-Hulk, Braun and the Red Hulk!
The issue’s main story is by writer Phillip Kennedy Johnson, and artists Nic Klein & Danny Earls, with colors by Matthew Wilson, and letters by Cory Petit. The main cover is by Klein.
This 800 issue celebration will also feature backup stories by creators Torunn Grønbekk, Greg Pak, Benjamin Percy, Lan Medina, Geoffrey Shaw, Lynne Yoshii, Romulo Fajardo Jr., Bryan Valenza, and more.
Check out our INCREDIBLE HULK #19 preview below:
How long have you been reading THE INCREDIBLE HULK? Sound off in the comments!
The next big title in the Energon Universe is finally here: G.I. Joe #1 from writer Joshua Williamson, artist Tom Reilly, colorist Jordie Bellaire, and letterer Rus Wooton takes every bit of setup from the past year and ties it together for a new beginning. Where Void Rivals handles the cosmic side of the universe, and Transformers working to tell the story of the Cybertronians, G.I. Joe pivots to tell us the story of what exactly the humans and US government are doing to combat these changes to their world.
The issue starts with a quick introduction of G.I. Joe. The team consists of Duke, Baroness, Stalker, Rock ‘n’ Roll, Cover Girl, and Clutch. They run a training exercise, but quickly realize that if it weren’t a simulation, they’d be completely and totally outmatched. On the Cobra side of things, we have Destro rallying troops while Cobra Commander tests out the new Energon powered weapons that Cobra has developed. Duke is given a pep talk from Hawk, the general behind the team. He tells him that the team may be outnumbered and outmatched, but says that as long as each member is the best version of themselves, they can succeed. This fires Duke up, and they go to be debriefed on the team’s first mission.
Duke’s History is revisited
WRITING
A few miniseries have released this year leading up to this issue. There’s been Duke, Destro, Cobra Commander, and Scarlett. Each had a fairly self-contained story that ended on a cliffhanger, leaving the door open for something big. G.I. Joe is that something. It’s impressive how Williamson was able to take most of those loose threads and not only create a self-contained first issue, but also respect the events of each series listed, acknowledging right off the bat that they happened and were crucial to this series’ story.
Every single character is properly introduced as though this is the first we hear of them, but Williamson uses the history crafted by himself and others to enhance everyone. This can be your first interaction with Duke, and he’s presented as a leader with a rough past. However, Williamson puts the issue together in a way where if you have read Transformers and Duke, everything his character does and has been through with his supporting cast feels like it reaches a strong new level that can only grow from here.
It’s a very well-written first issue. All the cards are on the table, it’s well-paced with some fun action, and it poses a couple of questions to be answered later. True to form, it almost has the pacing of a Saturday morning cartoon. We start with a fun action scene used to introduce each individual character with a little bit about their past, and then move onto the nefarious opposition in the form of Cobra with some other shenanigans taking place throughout. Williamson understands what this comic should be. He’s catering to older fans while not alienating a new potential audience. It’s a status quo that feels fresh for old fans, and exciting for new ones.
G.I. Joe in action
ART
If Williamson sets up the issue as a Saturday morning cartoon, Reilly helps in cementing that look. The art gives the impression that the book is serious in tone. It’s incredibly detailed, and the characters convey a lot through facial expressions and body language. Reilly also adds an animated layer to that. The characters feel expressive, and like they were pulled from an episode of a G.I. Joe TV show. The issue’s action is no exception to this. There’s one part where Duke jumps off a building to grab onto a helicopter, and the entire sequence from the buildup of the run to the action leap carries a suspense that defines the issue. Every sequence like this evokes some emotion that keeps you itching to turn the page.
The paneling is also really well thought out. More action-oriented scenes are choppier with smaller panels, while scenes featuring weighted conversations have taller and wider panels to give each character more space. It really helps connect us to the characters, because it feels like there’s room for the reader to really understand this team. A really clever thing here too is that when new characters are introduced, there’s a panel or set of panels after that establish the character or show a glimpse of their past. It helps in immediately connecting the reader to them, as well as instantly showing what part of their whole deal is.
The team faces off against some drones
COLORS
One specific fight scene about halfway through the issue really stands out, featuring a new character named Risk. He gets into a club and starts a fight, and then is called to retreat by some higher power. What makes it interesting is that it’s completely done in yellow and purple coloring. The placement of every color felt really special, and Bellaire uses that to immediately tell us something about this new character. The purple parts seem to represent what is in Risk’s control—what he anticipates and what he is determined to do. The yellow represents uncertainty. While it could probably just pass off as the club’s strobe lighting in-universe, the panel placement of each color felt very intentional. When Risk is searching for someone, it’s yellow. When he fights, it’s purple. Near the end of the scene, the yellow fades to a softer shade as Risk gets the message on his watch to leave, which is the only thing that appears in red. The entrance of a third party. It tells us right off the bat that the character is meticulous and collected, but can be impatient and caught off guard.
Bellaire also does a great job creating parallels between G.I. Joe and Cobra. There’s this great specific double page spread where Duke is on the left with blue shading covering him with a stripe behind him. On the same page on the right side stands Destro, covered in red with a red stripe behind him. It’s a simple contrast, but easily introduces us to the opposing forces, clearing up and questions about it.
More members of the team are introduced
LETTERS
The issue’s lettering really tops off the aesthetic. Wooton puts extra work in to give that cartoony feel, introducing each character with their own logo, regardless of their importance comparatively. The Joes all get logos in the same font, with Destro and Cobra Commander getting special ones reminiscent of their series logos. It keeps everything simple to keep track of doesn’t leave anyone out, no matter how small.
The onomatopoeia placement this issue is also very well done. In the scene with the helicopter mentioned earlier, there are sounds coming from above and below the chopper. The sounds above are the blades spinning, and those below are from the machine gun attached to it firing. The effects are placed accordingly, and strongly differentiates what exactly is doing what. It’s a very clear vision that Wooton executes well.
Baroness Improvises
CONCLUSION
The issue has a clear mission and completes it efficiently. It has to introduce you to a new band of characters while not alienating those who already know the franchise inside and out. It has to sell you on a story that feels important enough to be told in the same universe as giant robot aliens and space wars. The team involved in making this checks every box here and impressively displays a debut issue that feels like a necessary and welcome addition to Skybound’s Energon Universe.
STORM #2 hits your local comic book store on November 20th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: STORM is dying. An unknown form of radiation poisoning from the OKLAHOMA INCIDENT has turned her cells into ticking time bombs. As her final hours count down, will she find a cure for her illness at NIGHT NURSE’s new super-hero hospital, or will it require enchantments from DOCTOR VOODOO to save her life?
The issue is by writer Murewa Ayodele and artist Lucas Werneck, with colors by Alex Guimarães, and letters by Travis Lanham. The main cover is by Mateus Manhanini.
Check out our STORM #2 preview below:
Did you pick up the first issue of STORM? Sound off in the comments!
SPIDER-GWEN: THE GHOST-SPIDER #7 hits your local comic book store on November 20th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: DEADLY ATTRACTION!
Gwen has a new archenemy to add to her list – the all-new BLACK TARANTULA! He’s got his web strung through all manner of crime in New York City, and it would be much easier to take him down…if it were not for the undeniable spark between them!
The issue is by writer Stephanie Phillips and artist Von Randal, with colors by Matt Milla, and letters by Ariana Maher. The main cover is by Mark Brooks.
Check out our SPIDER-GWEN: THE GHOST-SPIDER #7 preview below:
Are you reading SPIDER-GWEN: THE GHOST-SPIDER? Sound off in the comments!
From modern icon Jeff Lemire (Sweet Tooth, Descender) and artist Teddy Kristiansen comes a dour new chapter in one of comics’ greatest original universes with Black Hammer: Spiral City #1. Featuring letters by Nate Piekos, this new issue sets up where the home of our favorite heroes is headed after the second cataclysm – and how much trouble the town is about to be in. With a compelling, storybook-like script and fitting visual work, this new era in Black Hammer is off to a strong start.
“Black Hammer: Spiral City picks up after The End, following the Second Cataclysm and the rearranging of the universe. Many of its lost heroes have returned, but there is no homecoming parade as anti-superhuman sentiment grows, fueled by recent events and stoked by Malcolm Gold, the former head of T.R.I.D.E.N.T, now running to become Spiral’s new mayor. Making matters worse, Spiral Asylum has shut down with many of its low-risk, mentally ill superhuman inmates being set loose into the streets. With this reshaped Black Hammer Universe as the backdrop, several new stories begin to unfold and intertwine, creating a rich portrait of some lesser-known inhabitants living on the fringes of Spiral City.”
Writing & Plot
Jeff Lemire brings readers back to the home of Abraham Slam and Barbalien in Black Hammer: Spiral City #1, but now the heroes are unwelcome. After the events of Black Hammer: The End, Spiral City is a place afraid of its own past and what heroes may bring. Many blame the catastrophes on the actual heroes, relegating the supers to 2nd class citizens. Lemire tackles this story with a combination of storybook-like overhead narration and his usual brand of naturalistic dialogue. Each character is introduced (or reintroduced) with their scene that sets the stage for the coming story and how they are coping in this new version of the world. Even with Lemire’s wording about the dire situation Spiral City faces, the narration feels neatly juxtaposed to the actual in-story sequences in a neat way to bring all the pieces together. All of the characters have intriguing stories going into the next chapter, but none can beat Inspector Insector. Other than the top-tier name, his friendly-noir attitude and dialogue being at odds with the conflict and refuse in Spiral City makes him immediately likable and charming. I would read an Inspector Insector solo series in a heartbeat.
Art Direction
Teddy Kristiansen’s visual work in Black Hammer: Spiral City #1 manages to nail a variety of thematic tones with unique artistic style. Kristiansen switches from a children’s storybook style while illustrating Lemire’s narrative introduction and transitions, to a more conventional (but still unique) comic-book form with ease. His thick, crayon-like linework is filled in by his watercolor styled hues, pulling readers into the dreariness of the wrecked, troubled city. His character designs are unmistakable, and his facial animation work is stellar. From Lemire’s original designs to the new characters like “the Princess,” but none can take away the spotlight from our trench coat-clad Inspector. Kristiansen’s panel direction is nothing out of the ordinary, but it carries the story along at a careful even pace. As great as the main story’s art is, the highlight is still the clever transition points. Kristiansen’s picture book art style in these sequences brings the cast of characters to life in a new light, with a brighter tone that offsets the sequences to show a more “idealized” reality for these superheroes. Nate Piekos’s lettering is another star in this comic. His word balloons are filled with tonally expressive lettering that fits the mod of every scene perfectly – but once again, it’s the transitions that really set his work apart. The children’s book aesthetic of Piekos’s lettering on these pages is the extra touch that makes the sequences work. Overall, Spiral City is a visually rich start to this series.
Verdict
Black Hammer: Spiral City #1 is an intriguing opening chapter to this new series in one of the best original universes in the comics medium. Jeff Lemire’s script is clever and compelling, crafting a dire situation and setting up tension for the new & returning cast of characters. Teddy Kristiansen’s visual work is thematically deep and detailed, perfecting the reading experience with his dour views of Spiral City and his stellar character work. Be sure to grab this debut issue when it hits shelves on November 13th!
DEADPOOL #8 hits your local comic book store on November 13th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: IT AIN’T EASY BEING DEAD(POOL)!
Ellie Camacho, Mini Merc with a Mouth, Regenerating Teen Degenerate… It’s no laughing matter wading into Wade’s wide world, but Ellie and her half sister symbiote-wolf, Princess, are going to kick butt and take names now that the original ‘Pool is out of the picture. And no one’s going to stand in the way of their REVENGE! But if Ellie can’t track down an OLD FRIEND of Deadpool’s, Ellie’s career just might end before it ever begins!
The issue is by writers Cody Ziglar & Alexis Quasarano, and artist Rogê Antônio, with colors by GURU-eFX, and letters by Joe Sabino. The main cover is by Taurin Clarke.
Check out our DEADPOOL #8 preview below:
Are you reading DEADPOOL? Sound off in the comments!
SPIDER-MAN: BLACK SUIT & BLOOD #4 hits your local comic book store on November 6th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!
About the issue: NO QUIPS, JUST TWHIPS!
Celebrate the 40th anniversary of SPIDER-MAN’s black costume – “BLACK, WHITE & BLOOD”-style! Iconic AMAZING SPIDER-MAN scribe and Venom co-creator DAVID MICHELINIE returns to utterly upend the web-slinger’s world! G. WILLOW WILSON teams Spidey up with the Black Cat for a heist that will challenge everything Peter believes in! And rising star HAYDEN SHERMAN’s nail-biting tale sends Peter Parker on a dark, twisted journey when a foe out of his past returns hungry for vengeance – and to force Spider-Man to confront old sins!
The issue features three stories. The first is by writer G. Willow Wilson and artist Valentina Pinti, with colors by Luis Wences; the second is by writer David Michelinie and artist Tadam Gyadu, with colors by Dee Cunniffe; the final story is written and drawn by Hayden Sherman. All stories are lettered by Joe Caramagna, and the main cover is by Mahmud Asrar and Romulo Fajardo Jr.
Check out our SPIDER-MAN: BLACK SUIT & BLOOD #4 preview below:
Have you been reading SPIDER-MAN: BLACK SUIT & BLOOD? Sound off in the comments!
Superman #19 marks the beginning of a new status quo for Superman and company. With Absolute Power over, this is the first new issue of Superman after DC’s All-In relaunch. Joining writer Joshua Williamson and letterer Ariana Maher are new series artist Dan Mora and colorist Alejandro Sánchez. It’s the first issue of a new storyline, starring Lois Lane as Superwoman, and the return of Doomsday (back from hell). The team sets that up nicely without telling us why, establishing an exciting mystery.
The issue starts with the Time Trapper talking to a blazing Superman in a far future. The two talk, and then we’re taken to the present day’s Daily Planet, where Jimmy Olsen is showing Lois pictures that he’s taken for the front page. Lois says she wants a picture of the new Superwoman. An explosion sounds off in the distance, and Lois leaves Jimmy and rushes to the supply closet where Clark Kent is already waiting. The two unbutton their shirts to reveal their matching bright S emblems, and they fly towards the danger together.
Time Trapper approaching Superman
WRITING
This story feels like it’s very exciting to Williamson, therefore making it feel exciting to the reader. Not all our questions are answered in this first issue, but that’s okay! He builds up to the reveal of Superwoman well here. Williamson has written a great Lois for the majority of the run, and this issue marks one of the best instances of that. Lois and Clark working together as a superpowered married couple is an incredibly entertaining idea. Williamson really utilizes it to its fullest here by having Lois feel as though she’s on top of the world. He then contrasts that with Clark reminding her to not lose herself in it.
In this issue, we also learn that there’s definitely more to Lois gaining her powers than meets the eye. Something that either insinuates that she might not have them for long, or that the more she uses them the more she exerts and damages herself. Whatever it is, it’s an interesting little ticking timebomb that Williamson has set up that hopefully leads to a big moment.
Time Trapper and Superman talk
ART
Mora astonishes with every book he’s on. He constantly puts out impressive work that somehow manages to surpass his last, and this is no exception. He draws an amazing Superman and Lois, and his Superwoman design for Lois is really striking. It’s a great take on the classic Superman suit with some touches that really change it to make it hers, like the gloves that go up her forearm and soles at the bottom of her feet.
Mora also just captures the general vibe of each character’s feelings in this. There’s one panel where Lois and Clark are flying together for the first time and he flies straight while she flies at an upward angle, crossing his path. He’s used to this by now, but she’s taking it all in and appreciating it to its fullest. It’s a great small contrast. Not just that, but Mora also panels exceptionally in this. There’s one specific set of them where each curve of Superman’s crest is a new panel, and it just looks beautiful.
Jimmy shares his photos with Lois
COLORS
Sánchez hits the ground running here. Superman of the future is covered in flames, and they look astonishing. The oranges and yellows and reds in that beginning portion all come together naturally and beautifully.
There’s another great detail too that really sells the issue for Lois. The Daily Planet is so hectic for her. It’s all darker colors when she’s there with no escape. No matter how far through the Daily Planet she goes, it’s still shrouded in these darker colors. When she suits up though, Sánchez flips it completely. It’s all bright colors, Lois glowing especially in them. Even the interiors of the planet look brighter than they were before. It’s a really nice touch.
Superman and Superwoman fly together
LETTERS
Maher does her best here to give not only the characters, but the city itself a personality through the lettering. A couple have their own custom logos that pop up in the speech bubbles, and they really help to tell us about the character before we even see them. In Doomsday’s case, his logo doesn’t look much different from regular text, but it’s all rigid and messy, like it’s meant to represent someone more barbaric than the average person.
Maher also gives Metropolis itself some life, adding extra text to the civilians on the ground below the heroes. We know Superman can hear them, but now we see that too, and Lois as well considering most of the issue is told from her perspective.
CONCLUSION
This team really rounds out a great Superman issue that not only looks beautiful, but houses some really intriguing story beats as well. It feels like what the first issue of a new story in an already running comic should be, and doesn’t lose any steam with this being the nineteenth issue.
This book really needed something fresh and exciting after those Absolute Power issues, and this is it. It’s a new beginning for Superman and Superwoman as much as it is for some of their enemies, and exploring that in the future is going to be very exciting.