MOON KNIGHT #16 hits your local comic book store on October 19th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: While Moon Knight ventures into unknown territory to make a new friend of an ancient monster, Hunter’s Moon stalks the rooftops on his own, intent on his own definition of justice. Little does he know that he is far from the only one stalking the nighttime cityscape…
The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Stephen Segovia and Rachelle Rosenberg.
Check out the MOON KNIGHT #16 preview below:
Are you reading MOON KNIGHT? Sound off in the comments!
Cartoonist Jamie Jones launches a Crowdfundr campaign to fund the publishing of THE BABOON: TEMPLE OF ETERNAL LIFE n October 18th, but thanks to the creator, Monkeys Fighting Robots has an eight-page preview for our readers.
“I have been working on the Baboon for the past three years. I can’t stop thinking about him and the Baboon Crew. I keep coming up with stories faster than I can make the comics! These characters, this world is ever expanding in my head, and I can’t stop telling these stories,” said Jones.
About THE BABOON: TEMPLE OF ETERNAL LIFE: The secrets of life everlasting lie hidden deep within the jungles of South America. Magics guarded by traditions of long-forgotten cultures. Traditions that hold no meaning to the modern man. Old friends, Ancient warriors, and magics far beyond the mortal coil collide. To save the world, THE BABOON must battle the past to ensure his family’s future.
Enjoy the preview below, and check out the campaign here: BOW TIE PRESS
What do you think of Crowdfundr vs. Kickstarter? – drop us a line on social media.
The Swedish legends join Ben Laverock, Blake Armstrong, Scott Bramble, and Scott Dewey for a tale of post-apocalyptic dark fantasy.
NEW YORK CITY—Z2 Comics is proud to announce In Flames: The Jester’s Curse, a graphic novel celebrating the legendary Swedish melodic metal institution. The book expands the post-apocalyptic fantasy behind the quintet’s world, following the band’s grim mascot, Jesterhead, as he emerges from the Wasteland. He soon finds himself trapped in Dead Eternity—a distorted reality where worlds collide and nightmares thrive. The tortured figure attempts to recover his lost memories… but the devious Whoracle Queen wants him first.
“We’re passionate fans of the comic book medium,” In Flames explains. “We’re proud to contribute to that tradition with The Jester’s Curse. This is your first descent into our dark fantasy universe, based around our trusty mascot—the Jesterhead! Get in and get lost!”
Overseen by Blake Armstrong, the graphic novel features writing from Armstrong, Ben Laverock, and Scott Bramble with art from Scott Dewey and Armstrong.
“The Jester’s Curse has been my dream project for nearly a decade. After all these years, I believe we finally found the perfect artistic collaboration to give readers a book that lives up to the music and world of In Flames,” Armstrong explains. “The epic continuation that Scott Dewey and Ben Laverock have created is beyond what I could have imagined for this story, and I only hope it will connect with fans the same way In Flames’ music has connected with us.”
Founded in 1990 in Gothenburg, Sweden, In Flames has spanned 13 LPs and 3 EPs to become one of the most prolific and innovative metal bands the world over. Consisting of members Björn Gelotte, Anders Fridén, Chris Broderick, Bryce Paul, and Tanner Wayne, the quintet has been nominated for three Grammis, Sweden’s most prestigious musical accolade, and have won two; netting the 2004 award for the Hard Rock/Metal Album of the Year for 2004’s Soundtrack to Your Escape as well as the same award for the LP Come Clarity in 2006. The band has sold more than 2.5 million records over the course of its career.
The group will release its 14th studio album, Foregone, via Nuclear Blast on February 10, 2023; watch the video for their latest single, “Foregone Pt. 1.” In Flames is currently on tour in America with Meshuggah and will start their European run with At The Gates, Imminence, and Orbit Culture next month.
“I’ve watched the development of this story, and have been a fan of this project for a long time,” Z2 Comics editor Rantz Hoseley says. “When the opportunity arose for Z2 to publish the complete book, we didn’t hesitate to partner with In Flames to bring this wonderfully insane story to the fans!”
Z2 Comics and In Flames present The Jester’s Curse in standard hardcover and deluxe hardcover editions. The deluxe hardcover will come with a print triptych by Blake Armstrong. Oversized platinum editions will come signed by In Flames with an elegant slipcase and the triptych art prints. Z2 Comics will also exclusively release the single “The Great Deceiver” in a crystal-clear 7-inch vinyl with etched B-Side, limited to 500 copies, as well as a limited-edition Jesterhead Action Figure. All of items are set to release in Spring 2023.
Preorder now at https://z2comics.com/products/inflames
About In Flames:
In Flames represent the best of metal’s past, present, and future. In Flames are as vital and even more energized today than when they unleashed classics like Come Clarity and Clayman in decades past. The band built a stunning reputation with devastating, crowd-moving, inspired performances around the world at every major rock and metal festival imaginable, headlining multiple treks, and touring with the likes of Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation, and Lamb OfGod. They regularly headline some of the biggest stages and festivals in the world. Foregone, the furious fourteenth studio album, combines the greatest aggressive, metallic, and melodic strengths of their landmark records with the seasoned songwriting of their postmodern era. A sense of pride, accomplishment, and continued vitality are evident every time the band takes the stage, and all over Foregone. Melodic death metal pioneers and innovative purveyors of groove, the artistry, influence, stature, and future of In Flames loom as large as the heavy metal horizon itself.
About Z2 Comics:
Recently dubbed the “Hottest brand in music” by Forbes, Z2 Comics has quickly become the premier destination for authentic graphic novels and collectibles, created in partnership with top-tier artists, musicians and pop-culture icons. Distributed globally via Simon & Schuster, Z2 has produced 50-plus unique graphic novel properties, collaborating with Gorillaz , Blondie, Elvis Presley, Balmain, Joan Jett & The Blackhearts, Jason Derulo, The Grateful Dead, Machine Gun Kelly, Sublime, Beethoven, RZA, Mötley Crüe, Vince Staples, Cheech & Chong, The Doors, Anthrax, Public Enemy, Ronnie James Dio, King Diamond, All Time Low, Ivan Moody, Yungblud, Cypress Hill, Babymetal, Major Lazer, RZA, Alter Bridge, Sturgill Simpson, Poppy, John Lee Hooker, and Charlie “Bird” Parker. Learn more at Z2comics.com, and follow us on Instagram (@z2comics) and Twitter (@z2comics).
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.
Jonathan Thompson(Burn Residue, Night of The Comet, Airplane Mechanics) continues to be one of the most dedicated writers in indie comics. A master in just about every genre, Jonathan also has the amazing ability to find the perfect artist for every project. With his latest book, the racing comic ALL IN, Jonathan tapped Argentian artist Jok to join him in the race. Jonathan and Jok took a quick pit stop to give us a lowdown on the well-oiled machine that this comic is going to be. Check out the chat below and make sure you head over to the book’s Kickstarter campaign and ensure it reaches the finish line!
Monkeys Fighting Robots:Jonathan I have already asked you this before, but for Jok, what’s your comic book origin? How, when, and where did you fall into this wonderful medium? Jok:I’ve been doing comics since I was 5 ( silent comics, since I didn’t know how to write then). I kept reading and doing them profusely during my childhood and my teen years. I was already in contact with a local pro by then. And at 18 I began some formal study of comics. With a very prestigious professor and a renowned artist-creator called Oswal. Very famous in Argentina and Europe. Later, my self-publishing days began, in my 20s. And in 2001 I started my own professional studio with a few colleagues. Sorry for the long account, seems like I’m a veteran already! (laughs)
Jonathan Thompson: I like this because this is the best way for me to learn about my collaborators. My conversations are always about work, work, work!
MFR: So what’s the collaboration process for All In between you guys? How did this race start, so to speak? JT:Well, Jok and I first worked on a pitch together for ONLY BAD THINGS HAPPEN AT NIGHT. Like most artists I hunt down, I found his work first online and chased after him. I really enjoyed what he did with my script for OBTHAN and knew there was an energy to his work that could really be fun to work with. I also had a back-of-my-notebook idea for a race comic. A one-shot with high stakes and two lead characters. I wanted to make something in a different style, which is where we landed on the horizontal style of the book. I knew Jok would do something that would really speed off the page. I trust Jok to do what he does best. He sends me the thumbnails and I suggest little tweaks, and then he flies. I hope he’s having as much fun with this one as I do watching pages come in!
Jok: OBTHAN pitch was a lot of fun, even though the atmosphere was quite heavy and a bit dark. When Jonathan told me about ALL IN, it sounded like a great mixture of genres, which I always appreciate. Sci-fi and racing combined into a straightforward story featuring two charismatic characters. The landscape format made it risky, but even more fun! I believe he had the concept very clear in his mind. I just needed to play along.
MFR: What challenges did that landscape/horizontal layout of the book have? And did this format lead either of you to discover something new about creating comics? Jok:I´m quite familiar with the horizontal format since I´ve been producing many projects for websites over the years (I did literally thousands of pages for David Lloyd´s Aces Weekly). Also, many of my childhood comics here in Argentina were featured in horizontal format. So, for me, it was quite natural. Except for the double spread, which I´ve never done (or even seen!) before.
MFR: Did any particular creator or project influence ALL IN? Any specific comics, movies or stories? JT:Speed Racer. I knew I wanted to do something high-octane and a little more on the action side this time. I was also inspired by Daniel Warren Johnson’s storytelling with books like Space Mullet and J.H. William’s ECHOLANDS for format.
Jok:My influences or reference stuff came from weirder places, almost unconnected with racing topics in fiction. For the city, I went for an industrial/rusty look and maybe a bit of Robocop´s Detroit. Characters were very clear in Jonathan´s description, I just added a little 80s vibe to them. Strictly on the racing department, I went for a Mad Max/dragster look for the cars. And some Blade Runner atmosphere all over the place (can´t help it!)
MFR: So would both of you agree ALL IN has a cinematic look and feel to it? Jok:As a big fan of cinema many of my influences come from movies, so hopefully, some of that love shows on the page. I like to analyze storytelling from movies and series and, sometimes, try to adapt those resources to the comics medium. Narrative rhythm is not easy to define, but I tend to naturally think of some scenes or particular shots using a cinematic sense. I believe some of these devices blend naturally with comic medium and help provide solutions to keep a safe and smooth narrative flow (if used in the right dose).
JT: I think the widescreen nature of the layout does add to that cinematic feel. But, really, I think any story with the right energy can give that. You know the things I’m most excited about in this book are the racing pages and the big climax. When I say, you haven’t seen anything yet, it’s really true. The way it all comes together thanks to Jok is really going to be something breathtaking!
The Kickstarter campaign for ALL IN ends on Friday, October 21, 2022. Click here to support the book!
WHERE STARSHIPS GO TO DIE #5 hits your local comic book store October 26th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: The survivors of the salvage crew finally discover the wreck of THE DEADALUS, Earth’s first interstellar starship. They’ve also discovered the alien entity that crashed it into the ocean – a berserker probe that has judged humanity unworthy of space travel. As a World War threatens to break out on the surface, our heroes find themselves trying to prove to the entity that humankind is not only worthy of the stars, but of survival.
The series is by writer Mark Sable and artist Alberto Locatelli, with colors by Juancho!, and letters by Rob Steen. The main cover is by Jeremy Haun and Nick Filardi.
Check out our WHERE STARSHIPS GO TO DIE #5 preview below:
Are you reading WHERE STARSHIPS GO TO DIE? Sound off in the comments!
An impending snow storm in small town America forms the setting for BOOM! Studios The Approach, a new mini-series from writers Jeremy Haun & Jason A. Hurley, and artists Jesús Hervás & Lea Caballero. Billed as a “turbulent new horror,” the opening issue is pure scene setting, introducing the characters and location. The narrative tension builds as the reader becomes familiar with the claustrophobic setting and the limited cast. The mood is then heightened with the introduction of something unexpected and out of the ordinary.
For a snap comparison, think The Thing meets 30 Days of Night. The Approach promises to be an uncomfortable ride, and — being a mini-series — none of the characters are safe. This is the perfect setting for a horrific encounter.
The Approach #1 Credit: BOOM! Studios
Coming In..
The construction of this first issue is solid and enticing. Just like Steve Niles’ 30 Days of Night, Haun and Hurley lead the reader through their world in the footsteps of a single character: Mac. Mac works for a small airport and is charged with making preparations for an unexpected landing during an escalating snow storm. As the environmental situation worsens, the claustrophobia intensifies. The creators produce a tangible feeling of the world shrinking around their cast; of a nightmare closing in. The strength of this opening issue is the knowledge that something is going to happen but not knowing what it is or when it’s going to rear its ugly head.
The writers want the readers to empathize with the cast, so each interaction becomes a character moment, teasing out a little bit of information in each panel and scene. Mac is obviously the center of attention, but there are a number of other characters who enter the story with backstories and traits that are instantly intriguing. Like the population of Barrow, or Matt Hawkins’ town of Eden in Postal, the small, contained cast each seem to serve a narrative purpose, although what that purpose is has yet to be disclosed.
The Approach #1 Credit: BOOM! Studios
The Landing
Hervás and Caballero provide some outstanding atmospheric work, using the negative space produced by the snow fall to great effect. Shadowy shapes loom out of the whiteness of the page. This draws the reader’s attention to the interior panels, full of shadow and color, but also allows for some stunning visual panels such as a plane flying out of the storm.
The composition of the pages are wonderful. The panels are layered on top of each other, often employing the use of a single point of focus running through the central axis of the page, a visual technique used by movie directors such as George Miller. The opening page is a prime example of this with the ‘Bzzz’ sound effect in the top panel opening the story and the page. The reader is then led down the center of the page, across Mac’s spine, down the window pain and directly onto Mac in the final panel. The sound effect at the beginning tells the reader that the telephone conversation is important and the rest of the panels all lead us to Mac being the central aspect of the narrative. Here the artists have manipulated the page to highlight the important aspects of the narrative. They use the format of the comic book page to its best ability.
This is something that is true to the comic book as a whole, with the cover being as important to the story as the rest of the art work. The story starts with the single engine aircraft flying out of the storm and ends… well, you’ll just have to buy it to see where it ends.
The color work is striking, with Brett Weldele using the contrasting orange of the characters’ uniforms perfectly against the white of the snow storm. Your eye is drawn all over the page following the moving cast members as they struggle with the environment. Add to this the excellent placement of Ed Dukeshire’s lettering and you get a uniform experience from the artwork. It gels together like the work of a single artist. Dukeshire understands the narrative flow of comics and leads the reader through the panels and the pages effortlessly. You will only notice the lettering when it becomes important, such as with the sound effects at the beginning.
The Approach #1 Credit: BOOM! Studios
Conclusion
Horror works well when you have a good villain, massacring their way through a bunch of victims, but it works even better if those victims are actual, fully-rounded characters. In The Approach, Huan, Hurley, and company have spent their first issue introducing the characters and building an empathetic cast. The tension within the narrative slowly grows as Mac moves from location to location, scene to scene. It is a masterclass in modern horror comic book storytelling.
The artwork compliments the tone of the script and draws the reader into this blizzard encased world. The creative team works together to create a cohesive comic that works at the panel level, the page level, and even as the full comic book package from cover to cover.
As October crawls on and more and more horror comics come out of the woodwork, it is a pleasure to read a contemporary comic that lives up to the history of the genre in this format.
The Imperfects is a new series on Netflix which premiered in September. It’s the story of a disparate group of friends who develop superpowers. Rafaella Rabinovich helped tell the story through a varying sense of style.
Abbi (Rhianna Jagpal), Tilda (Morgan Taylor Campbell), and Juan (Iñaki Godoy) are three young adults who share a common need to use a prescription drug provided by Dr. Alex Sarkov (Rhys Nicholson). But when their supply runs out, each character begins to experience strange side effects. Abbi, the brains of the bunch trying to get into Oxford, is a succubus who releases pheromones that make her irresistible. Juan, a comic book artist, turns into a chupacabra and becomes known as the Terror of Tacoma. Finally, Tilda, the resident rebel and rocker, develops the powers of a banshee to scream so loud that she can destroy objects. Together, these reluctant friends will learn the truth behind their condition and face enemies.
PopAxiom spoke with Rafaella about becoming a costume designer and the story within the story of the look and style of The Imperfects.
Lifetime
Rafaella’s creative journey began with a gift. “When I was 12 years old, I got a Canon AE1. It was a beautiful gift. I still use it 20-some years later. I was constantly taking pictures of everything and everybody.”
“I went to art school for what I thought was photography,” she says, “but I was exposed to all this other stuff.” Her time in school helped Rafaella realize that “what I loved to do was frame a stage which had a lot to do with photography. So, to study set design, I had to study costume design and eventually fell into costume design.”
The move from theater to film and television was a pragmatic choice. “Capitalism is a very real thing, and there are some places around the world where you can live a fruitful life in the theater. But I live in Vancouver, where it wasn’t sustainable for me. So I ended up working for Cirque de Solei; I worked on two different shows while on tour with them. Then, at the end of my contract, I was offered my first job as a costume designer on a Lifetime film.”
About The Imperfects
“The Imperfects team is Nomadic, and I did the last season of The Detour a few years ago,” she says about her initial connection to The Imperfects through Nomadic, the company behind the series production. “I interviewed with Dennis Heaton, who is the showrunner and writer. He’s incredible.”
Rafaella “read the pilot” before the interview with Heaton. “So, in the interview, I brought various references. Things at the time I brought to the table became the baseline for the show. I put my boards forward, and it was a perfect match.”
The Imperfects features a stylized mix of modern elements that keeps things visually popping and interesting. “It was a mutual creative decision to put forward something stylized. We did a great job of doing that without making it completely stereotypical. It gives you more of a feeling that, whatever your style, ‘I want to wear that.'”
“We block shot two episodes at a time. It was a studio show, so that was available. Sometimes I’ve worked on shows where all ten episodes are shot together because of locations. So, in those cases, we must know a lot in advance. In this case, we analyzed the script, had multiple conversations about options and then created boards to show the filmmakers. There are a lot of moments where we took that extra step to offer something more elevated.”
The Imperfects also tells viewers more about the characters through their clothes. “We wanted to offer color and personality. We told a story with Tilda’s jackets where we pieced them together as armor. There are times she doesn’t wear them. It has to do with her childhood and being able to open up.”
Wrapping Up
Rafaella is a self-proclaimed “visual hoarder” who finds it hard to pinpoint just one influence. “There’s so much of what I love about what the visual arts offer us.”
“If I had to think of one person, it’s Marlene Dietrich,” she says. “Her gender-bending ability and her consistent boundary-pushing.”
But Rafaella thinks, “A lot of what lives in my DNA is cultural. Israel is a hub close to Europe, and I had a South American father, so there was always a lot to look at.”
What’s coming next? “Nothing that I can talk about yet. Hopefully, a second season.”
Is The Imperfects on your watch list?
Thanks to Rafaella Rabinovich and Impact24 PR
for making this interview possible.
From writer Ed Brisson (Ghost Rider, Beyond the Breach) and artist John Timms (Superman of Metropolis) comes a new era and the return of one of the best bat-concepts from the last 20 years in Batman Incorporated #1. Featuring colors by Rex Lokus and lettering from Clayton Cowles, this international team-up comic offers an intriguing plot and entertaining character dynamics that I can’t wait to watch be fleshed out more. Backed up by some stellar visuals and sequential direction from the art team, Batman Incorporated is off to a strong start, but will have to build some serious momentum to compare to the now-classic Morrison-era.
“From the pages of Batman comes an all-new, all-exciting adventure for Ghost-Maker and his Batman Incorporated team! The team’s trust issues and detective skills are immediately put to the test when someone from Ghost-Maker and Batman’s recent past is brutally murdered…Is this an isolated event, sending a message to the two? Or is this the start of something darker and more sinister? (Hint—it’s sinister and dark!)”
Writing & Plot
Ed Brisson has the unenviable task of following up on the legacy created by industry icon Grant Morrison with his script for Batman Incorporated #1. Fortunately, this comic is clearly planted in the here and now rather than trying to capitalize on references to the now classic original series of the same name. Directly following recent events in the main Batman series, Ghost-Maker now leads the international cabal of masked crimefighters made up of members new and old. Batman of Japan, El Gaucho, Knight, Chief Man-Of-Bats and Red Raven, and more are joined by newcomers like Clownhunter and Grey Wolf for a team that’s as varied as they are interesting. What makes this idea so intriguing is seeing how these characters interact with each other and under the new command of the ice-cold Ghost-Maker. Batman’s newest ally and protégé is one of the best things to come out of the current era of Bat-comics, and Brisson nails his prickly nature perfectly. Every character feels different and reads with a different sort of inflection, allowing these many personalities to shine through. The core plot, while not very unique in the world of Batman, is still intriguing enough to keep readers glued to the page while following the clashing conversations. If there’s anything that could be improved upon in upcoming issues, it would be creating more moments for readers to familiarize themselves with the team and their relationships. Brisson is off to a solid start with this new iteration of Batman Inc., and it will be interesting to see where this series goes next.
Art Direction
Bat-books have received their fair share of high-quality stellar art in their pages. That trend continues with the work of John Timms for Batman Incorporated #1. Timms brings a visual style that combines modern superhero comics standards with some elements from the late 90’s. His lines and shapes are sharp and angular, with some heavy shading and moderate hatching for texture. His characters are obviously recognizable, but still have a slight spin on them due to Timms’s personal art style. As per usual with the bigger DC comics, there’s a very high-fidelity look here that Timms first nailed in his work on Superman of Metropolis, and he’s able to translate that over to a Bat-book with ease. His sequential direction is sharp and well-paced, with a great mix of overlaying panels and splash pages to highlight the big moments and keep the story’s momentum moving forward. The colors from Rex Lokus are vibrant and varied, with his work being much of the reason this comic matches the aesthetic built in other current Bat-comics. The palette Lokus uses is dense, with a high-fidelity appearance on every panel. The lettering from Clayton Cowles looks surprisingly hand-drawn for a mainstream superhero comic, while also having great font shifts and SFX work to keep the reading experience feeling natural. Overall, Batman Incorporated #1 is an outstanding looking comic thanks to a great visual team.
Verdict
Batman Incorporated #1 is a solid start to this reimagining of a modern classic. Ed Brisson’s script successfully juggles character interactions with an engaging plot to create a chapter that stays compelling from beginning to end. The visuals from John Timms and Rex Lokus offer high-fidelity and intense visuals with great pacing and action to pull readers into the DC universe with this team. Be sure to grab this debut issue when it hits shelves on October 11th!
THE ABYSS #4 is out now at interpopcomics.com, and Monkeys Fighting Robots has an exclusive three-page preview of the debut issue, courtesy of InterPop!
About the book: A corrupt king with devastating powers, sinister siblings from beyond the grave, and a criminal cult leader–all this and more await readers of THE ABYSS! The Red King will shock and terrify you as the origins of this fallen acolyte are revealed. Meet the team of mighty Emergents who first defeated him and his three deathly daughters! The Abyss used his infamous mind control to help seal away the Red King last time, but can he muster the strength to do it again? As robotic villain Daddy-2.0 threatens to resurrect the Red King and take over the masses, can the Abyss and his team protect Culverton from the combined power of these two evil forces? Heroes will clash and terrible sacrifices will be made in THE ABYSS #4!
The series is by writer John Rozum, artist Cliff Richards, colorist Chris Sotomayor, and letterer Carlos Mangual. The main cover is by Richards and Sotomayor; there is also a variant cover available by Miguel Sepulveda with Alex Sinclair.
Check out our preview of THE ABYSS #4 right here:
Are you reading any of InterPop’s offerings? Sound off in the comments!
From writer John Zuur Platten and artist Christian Dibari comes a 90’s as hell tale of crooked cops and cursed firearms in Revolvers #1. Featuring colors from Simon Gough and lettering by Troy Peteri, this Top Cow comic book starts off in the land of familiar action and crime movie tropes but makes itself more enticing with its brutal visuals and teases of hellish lore in the final pages. With a derivative but entertaining script and some great visuals, Revolvers will not doubt be a hit with readers looking for something with a little blood spatter.
“Hampton Wales, a Detroit homicide detective, finds himself trapped in a mysterious and violent reality, only to find himself dead while attempting to solve a seemingly average and routine homicide. Confronted by an immortal tormenter known as La Piton (the Python), Hampton begins a dark and twisted quest to find out why and how he died. To do so, he must face off against a legion of gun-toting, deceased Revolvers within the Moratorium, a hellish version of Purgatory. Hampton will need to “kill or be killed” to have enough time to unravel his demise and discover it was by his own hand, someone else, or something more sinister.”
Writing & Plot
Revolvers #1 starts its story off as a formulaic R-rated detective story before diving more into its supernatural plotline. For the first two-thirds of the issue we follow depressed detective Hampton Wales as he recounts his day to a prostitute (he’s married, by the way). He’s gotten a man killed, his partner is bloodthirsty and corrupt, everyone on the force is on the take, etc. The majority of this comic is ripped right out of a 70’s or 80’s grindhouse police movie, and if you’re way into that then great! However, it’s so familiar that it would be easy to lose interest in the story before the comic reached its horror-style focus. Once the comic gets gory and starts dealing with the occult, it becomes a much more engaging read. The notion of a cursed, unnatural firearm isn’t new either, but it’s a cool enough plot device that, alongside the rest of the comic’s events leading up to Wales receiving the revolver, the end of the book makes up for much of the book’s prior flaws. The dialogue is a bit on the cornball side, and it honestly works perfectly for the book. As comic book plots go, this is a pretty safe bet for an Image book – especially for fans of the grindhouse-style edge of 90’s Image.
Art Direction
The dark city streets and nightmare underworld visions of Revolvers #1 are brought to life by artist Christian Dibari. His hatching-heavy, angular designs craft the exact aesthetic this comic deserves. Every panel is bathed in shadow, thanks to how Dibari shades surfaces and characters. There is a lot of effort put into making this vision of Detroit as run-down and crime-ridden as possible, and the art really does a great job of selling that oppressive and violent atmosphere. Character designs are pretty bog-standard, but that isn’t really important in a book like this. Where Dibari really gets to shine is with the bloody landscapes and twisted flesh when the supernatural stuff materializes. From freshly skinned bodies to towering spires of gore and eyes, Dibari does a stellar job of creating striking scenes that feel like something out of a video game. His sequencing is solid as well, with careful shot choices and panel variation carrying the reading experience along at a steady pace. Simon Gough’s colors do a solid job of cementing the book’s gritty aesthetic with a dark, almost muddy color aesthetic. Because of the book’s setting and overall vibe, he doesn’t have much to work with outside of blacks, browns, and reds, but it’s still impressive work that works in service of the story. Overall, Revolvers has the exact sort of visual experience this brutal, grimy, 90’s style throwback needs.
Verdict
Revolvers #1 is a solid first issue for fans of edgy Image comics. John Zuur Platten’s script starts off held back by overly formulaic tropes, but becomes much more engaging once the dark supernatural material kicks in. The visuals from Christian Dibari and Simon Gough are sharp, dark, and well-directed, making for a comics experience that will bring readers back to the 90’s and early 2000’s of brutal & hard-edged comic books. Be sure to grab this debut issue when it hits shelves on October 5th!
