The acclaimed, Billboard-peaking singer/songwriter/producer charts her journey from isolation to enlightenment in this sister project to last May’s album.
LOS ANGELES, CA— Z2 Comics and singer/songwriter/producer Alison Wonderland have announced a new graphic novel, LONER. Z2 Comics co-founder Sridhar Reddy is co-writing the book alongside Wonderland; Minomiyabi, Alex Heywood, Kelsey Ramsay, BRÄO, and Taylan Kurtulus all provide interior art, with Alex Heywood on cover art.
The project expands on the themes of isolation and redemption that punctuated Wonderland’s third full-length album of the same name, released last May. After enduring cataclysmic life shifts, Wonderland felt a deep lull that coincided with the global pandemic, ultimately allowing the musician to reflect and find empowerment throughout the following months.
The LONER graphic novel witnesses the acclaimed DJ and musician channel those themes into a dimension-spanning, psychedelic personal journey of creation and loss. The project explores the waves of panic, grief, and forgiveness that come with the highs and lows of making something beautiful. Ranging from real-life conflicts of bullying and anxiety, to otherworldly sci-fi dealing with metaphysical monsters, LONER also features a fully-playable fantasy RPG module complete with character sheets and map.
“At Z2 we’ve always felt the best stories, no matter how fantastical or out there they may be, have to always come from a place of genuine truth,” explains co-writer Sridhar Reddy. “Working with Alison on this project was a gift to the creative team because, like her music, she was truthful and open to the story she wanted to tell. It’s very much her emotional journey, and we count ourselves fortunate to be on this ride with her.”
Z2 Comics and Alison Wonderland present LONERin both softcover and hardcover formats. Deluxe editions include a hand-signed edition of the book, four prints, a limited edition CD of the album with exclusive art, and custom pair of Crocs shoewear. LONER will release in winter 2023.
From writer HS Tak (Redshift, Boy-1) and artist Isabella Mazzanti comes a tale of vengeance from Feudal Japan in Hitomi #1. With colors by Valentina Napolitano and lettering from Rob Jones, this first issue blends the approach of Japanese folktales with that of modern storytelling techniques to create a comic that offers great social commentary while also being deeply compelling and entertaining. With a sharp script and stunning artwork, this is yet another must-read first issue out of the Image stable.
“In Feudal Era Japan a drifter with no prospects begins training in secret under Yasuke a once-famous displaced disgraced warrior as she struggles to find her place in a society entrenched in discrimination and violence.”
Writing & Plot
HS Tak combines the style of Japanese legend with that of Western comic style conventions with his script for Hitomi #1. He takes elements from modern revenge tales and combines them with the stylistic dialogue approach of Kurosawa-esque Japanese to English localization and familiar genre tropes to make something that still feels unique. Tak’s protagonist is a young drifter with designs on taking revenge against the samurai who killed her parents. This samurai we learn is Yasuke – the legendary African sword-bearer who served under Oda Nobunaga. As this chapter continues and we see more of the two characters’ respective lives, we learn this tale is more complicated than either realize. Aside from this comic’s excellent premise and outstanding dialogue sensibilities – with Tak combining modern dialogue with what feels like period-correct flowing prose to great effect – this comic’s greatest accomplishment is its needed commentary. The western world has an ignorant tendency to romanticize the samurai as honorable warriors. This perspective ignores the harm this ruling class had upon the lower working classes of Feudal Japan. From drafting poor farmers into meaningless wars to doling out absurd punishments for minor non-offenses, the samurai were in truth far from the dignified legends we often think of them as. Numerous manga over the years have demonstrated this fact, such a Lone Wolf and Cub, Inoue’s Vagabond, and Hiroaki Samura’s Blade of the Immortal. Hitomi is a notable rarity in Western comics – and other mediums – in how it shows the injustices perpetrated by many samurai. These elements, combined with a fiery and immediately likeable young protagonist and complex plot development, make this one of the most engaging first issues of 2022.
Art Direction
Hitomi #1’s Feudal setting and expressive cast of characters are captured beautifully by the pencils of Isabella Mazzanti and Valentina Napolitano’s coloring. Their combined style creates a comic intentionally reminiscent of an old emakimono scroll painting. Mazzanti’s attention to detail with her approach to 16th Century Japanese architecture, art, and clothing, makes this comic feel timeless. Her sequencing is also stellar, with the whole issue feeling well-balanced and expertly paced. Every other page has a spread or panel that is worthy of being in a gallery – or at least as a desktop background. Napolitano’s flat-style colors bring home the 16th century feel of this comic, with her tones having that scroll-printed appearance that makes this issue like nothing else on shelves today. The lettering from Rob Jones has a classical hand drawn look that matches the comic perfectly. His SFX work has a very distinct approach as well, with a sort of minimalist but noticeable punctuation of sound in each panel where he uses it. Overall, Hitomi #1 is a stunning comic book and an excellent representation of traditional Japanese styled art in a Western comic.
Verdict
Hitomi #1 is a compelling and thoughtful Western take on a tale of vengeance in Feudal Japan. HS Tak’s script blends classical genre sensibilities and blends them with modern style as well as great commentary to craft a story that is smart and massively engaging. The visuals from Isabella Mazzanti and Valentina Napolitano make for a beautiful rendition of classical Japanese artwork and modern sequential direction and expressiveness. This is one of the best debut issues of the year so far, so grab it when it hits shelves on October 12th!
EARTHDIVERS #1 hits your local comic book store on October 5, but thanks to IDW Publishing, Monkeys Fighting Robots has a seven-page preview for our readers. The book is written by Stephen Graham Jones, with art by Davide Gianfelice, Joana Lafuente drops the colors, and you will read Steve Wands’ letter work. The main cover is by Rafael Albuquerque, with variant covers by Maria Wolf, Aaron Campbell, and Christian Ward.
About EARTHDIVERS #1: The year is 2112, and it’s the apocalypse exactly as expected: rivers receding, oceans rising, civilization crumbling. Humanity has given up hope, except for a group of Indigenous outcasts who have discovered a time travel portal in a cave in the desert and figured out where everything took a turn for the worst: America. Convinced that the only way to save the world is to rewrite its past, they send one of their own—a reluctant linguist named Tad—on a bloody, one-way mission to 1492 to kill Christopher Columbus before he reaches the so-called New World. But there are steep costs to disrupting the timeline, and taking down an icon isn’t an easy task for an academic with no tactical training and only a wavering moral compass to guide him. As the horror of the task ahead unfolds and Tad’s commitment is tested, his actions could trigger a devastating new fate for his friends and the future.
Enjoy the preview below.
STEPHEN GRAHAM JONES:
Stephen Graham Jones is the New York Times bestselling author of nearly thirty novels and collections, and there are some novellas and comic books in there as well. Most recent are The Only Good Indians and My Heart is a Chainsaw. Up next are Earthdivers and Don’t Fear the Reaper. Stephen lives and teaches in Boulder, Colorado.
DAVIDE GIANFELICE:
Comic book artist, illustrator, and visualizer working for such important publishers as Marvel, DC Comics, IDW, Dark Horse, Skybound, Image, Sergio Bonelli Editore, and more.
What will one young girl do to protect her brother?
Image Comics’ newest adventure is about to begin in Kaya #1. Written and illustrated by Wes Craig (Deadly Class), this is the story of a young girl named Kaya, her magical arm, and a quest to safeguard her little brother.
Decisions must be made if they want to survive in this world.
If you’re still lamenting the conclusion of Deadly Class, then I have some good news for you. The mind behind the series, Wes Craig, has been working on a new project for some time now, and it’s finally ready for the public. That new project is Kaya. The series promises to be one part fantasy and one part struggling for survival, portraying the lengths one girl will go to fulfill her vow.
Kaya #1 kicks off the series with an oversized issue, giving readers plenty of time to get used to this new world. It’s a grim world, but it’s exactly what we’re looking for right now. And don’t forget to look out for that Jack Kirby-inspired variant cover; it’s incredible.
The little prince is hungry.
Writing
There is something so incredibly exciting about diving into a new series. It’s like picking up a bundle of endless potential. Of course, the fact that this series happens to come from somebody with so much industry experience makes it all the more exciting.
Perhaps the most interesting decision thus far is Wes Craig’s choice of narrator. The guiding voice of this story is not the title character, Kaya, but rather her younger brother. This fact has some potential implications, but it is too soon to start down that road of theory-crafting.
Just one issue in, and it’s already clear how difficult this adventure will get. This is a desolate and dry world, devastated by enemies and their actions. Yet, despite this somber setting, there’s a spark of hope. This spark grows stronger, eventually leaving us with a promise for something more. It should be enough to get most readers coming back for more.
They say there are two sides to every dispute.
Artwork
The artwork in Kaya #1 is worth writing home about. Craig’s style is in full force here, with descriptive characters, vibrant colors, and punctuated lettering. It all adds to the world’s atmosphere.
The deserts of Craig’s world appear as infernos, because of Jordan Wordie’s colors, with flaming sunsets and nothing but sand for miles. The heat and dryness practically wave off the pages. One thing is clear – this would not be a fun place to visit.
The consistent setting allowed the characters to take center stage, primarily Kaya. Her design is bold, pulling eyes to her every time she appears. In stark contrast is her brother – his appearance tells a different story.
Many details help bring the artwork (and the story) together. The lettering by Tom Napolitano did wonders to bring many of these details to life—everything from the complaints of a hungry child to the ripping of a net.
Trouble added to more trouble.
Conclusion
Kaya #1 is a solid start to the series. It promises us a story that will be full of danger, determination, and change. In other words, this is the perfect story to dive into right now. Kaya #1 hits your local comic book shop on October 5.
James Kochalka’s Dragon Puncher (Book 3): Dragon Puncher Punches Back hits your local book store on September 20, but thanks to Top Shelf Productions, Monkeys Fighting Robots has a five-page preview for our readers.
About the book: The world’s cutest book series about a cat who punches stuff just got even cuter, because this time the dragon is a big cute baby one! Dragon Puncher’s human sidekick Spoony has got his fuzzy monster pajamas and a new and improved extra-long spoon, so he’s ready for anything. But Dragon Puncher mistakes a big ball of yarn for an evil dragon, which attracts the attention of a real dragon. Still, it doesn’t matter who started it. If you punch Dragon Puncher then Dragon Puncher punches back!
Enjoy the preview below.
About James Kochalka: James Kochalka is, without question, one of the most unique and prolific alternative cartoonists working in America today. His comics have been published internationally by nearly everyone from the smallest alternative publishers to some of the largest publishing houses on earth; He’s recorded several music albums under the name James Kochalka Superstar (in 2016, his Song “Britney’s Silver Can” was named one of the 10 greatest songs of the year by Rolling Stone); and he’s developed animated cartoons for Nickelodeon and Cartoon Hangover. He is the first official Cartoonist Laureate of the state of Vermont, appointed in 2011. Among his best-known works are the Monkey vs. Robot series, the beloved children’s series Johnny Boo, Dragon Puncher, Glork Patrol, and Banana Fox, and his magnum opus, the 14-year span of daily diary comics known as American Elf.
Monkeys Fighting Robots is excited to announce that Eisner Award-winning creators Sergio Aragonés and Mark Evanier are teaming up once again to conclude the epic storyline of Groo and the gods in GROO: GODS AGAINST GROO, beginning this December from Dark Horse Comics.
The new series will cap off the saga that began in GROO: FRAY OF THE GODS and continued with GROO: PLAY OF THE GODS. Evanier and Aragonés will co-write the series, with Aragonés working as penciller and inker. The two will be joined by Carrie Strachan on colors, and Stan Sakai on letters.
About GODS AGAINST GROO: The bumbling barbarian Groo has made quite a name for himself, traveling the land and cleaving a path of destruction and cheese dip. He is either so greatly feared or favored wherever he goes, Groo’s earthly reputation causes a Groo deity to arise in the heavens! While Earthbound Groo hungers, his Divine Groo alter ego unleashes chaos! Plus, Sergio’s legendary back cover Rufferto strips return!
GROO: GODS AGAINST GROO #1 (of 4) will hit your local comic book store on December 21st, and is available for pre-order starting this week.
Praise for the Groo and the gods saga: “This fray is fraught with fights, fancy, and fun. Aragonés and his collaborators have created another masterpiece guaranteed to please readers of all ages. Highest possible recommendation.” – SciFi Pulse
“Groo is a beloved and wonderful character and Sergio’s work bringing his adventures to life over the years will never stop being excellent.” –PopCult HQ
“Groo’s as good as it’s ever been.” —Slings and Arrows
Are you excited for the upcoming GROO series? Sound off in the comments!
Bloodshot Unleashed #1 hits your local comic book shop on September 21 from Valiant Entertainment. Bloodshot was created in 1992 by Kevin VanHook, Don Perlin, and Bob Layton when Valiant comics burst onto the scene. He was instantly one of Valiant’s most popular characters and, to date, the only one to get a live-action movie. However, after several successful runs with various writers, Bloodshot needed a fresh start. Enter Bloodshot Unleashed. With writer Deniz Camp taking over, we get another installment to the Bloodshot mythos. Jon Davis-Hunt is the artist. Jordie Bellaire lays down the colors, and Hassan Otsmane-Elhaou does the lettering.
WRITING
Deniz Camp brings his take on Bloodshot with this new series. This version works because it deals with Bloodshot overcoming his PTSD. Camp tells this story through two different points in Bloodshot’s life; the past and the present. In the past, Bloodshot is suicidal with no purpose. As we move to the present, Camp gives us the Bloodshot we’ve all come to know. He’s back to being the killing machine taking down villains. Camp almost makes it seem like we’re dealing with two different characters. Past Bloodshot is destroyed by his guilt over the loss of his family. He can’t move past this, understandably, and it consumes him. Present Bloodshot is a man with a mission again. He’s deadly and ready to fight. Camp gives us a good story that feels fresh for the character. It will be interesting to see where things go from here.
ART
Jon Davis-Hunt handles the pencils in this issue. What stands out with the pencils in this issue is the number of panels used per page. Davis-Hunt gives us several pages with multiple little panels. These are effective for conveying the surroundings of a character. For example, in one section, we see bodies and blood as Bloodshot scans an area. As a reader, it feels like we’re seeing what Bloodshot sees; quick glances at the destruction that has been happening. Davis-Hunt also has many graphic panels in this issue. Seeing someone get shot in half and then re-congeal is always cool. Davis-Hunt gets the opportunity to draw a ton of gruesome panels, and he knocks it out of the park.
The colors by Jordie Bellaire are amazing, as always. Bellaire used a darker color palette for the panels in the past. This could signify a darker time in Bloodshot’s life. The walls are dark red; the sky is also darker. When we move into the present, Bellaire colors the sky lighter. The present is definitely a better time in Bloodshot’s life, and the colors reflect that. Bellaire colors him with more energy in his face as Bellaire lights up the page as bright yellow explosions rip across an abandoned city. This shouldn’t be a shock, but Bellaire is one of the best colorists in the comics industry. She consistently brings her A game to every book she touches. Bloodshot Unleashed #1 is another example of this.
The letters by Hassan Otsmane-Elhaou are integral to the story. Otsmane-Elhaou uses big clear letters to signify the past and present. These are also transparent, so we can see the panel. Otsmane-Elhaou makes great use of sound effects. As Bloodshot battles a foe in the streets of an abandoned city, we get a “THKK” as Bloodshot throws a grenade. A masterfully lettered panel has an establishing panel of a house split in two. As a gunshot goes off, Otsmane-Elhaou uses the “BANG” to bridge the gap between the broken house.
CONCLUSION
Bloodshot Unleashed packs enough action and emotion to make Michael Bay jealous. Deniz Camp writes a compelling first issue that gives readers a relatable and compassionate hero. The art delivers and makes looking at this issue an absolute delight. Again, Bloodshot Unleashed#1 hits your local comic book shop on September 21.
A LEGACY OF VIOLENCE hits your local comic book store on October 5, but Monkeys Fighting Robots has a six-page preview for our readers, thanks to Mad Cave Studios. The issue is written by Cullen Bunn, with art by Andrea Mutti, and you will read Rus Wooton’s letter work.
About A LEGACY OF VIOLENCE 01: When Dr. Nicholas Shaw joins a humanitarian medical outfit in Honduras, he hopes to recover from a recent traumatic event and actually help those in need. But something sinister has followed Dr. Shaw, something that wants to put his medical skills to ghastly tests, something connected to the young doctor’s past… and to untold horrors that occurred long before he was born.
KAYA #1 is an excellent read with an emotional story, gritty art, exciting panel layouts, spectacular colors, and clean letter work. This week, Monkeys Fighting Robots talked with the creator of KAYA, Wes Craig (DEADLY CLASS and GRAVEDIGGERS UNION). Craig handles art and story on KAYA, with colors by Jason Wordie and letter work by Tom Napolitano. The new ongoing series from Image Comics hits your local comic book shop on October 5, with a final cut-off for pre-orders on September 12.
About KAYA #1: After the destruction of their village, a young girl with a magic arm and a fighting spirit is tasked with delivering her little brother to a faraway safe haven. There he’s destined to discover the secret to overthrowing the all-powerful empire that destroyed their home. This is an astonishing, immersive story about siblings surviving in a world full of monsters and mutants.
Enjoy the interview below.
MFR: Wes, thank you for taking the time to talk with me.
CRAIG:No problem, thanks for having me.
MFR: I read the first issue and then found the prologue during my research. How do you want a new reader to experience KAYA?
CRAIG:Yeah, the prologue is up on Webtoons as a quick introduction to the world. I wanted something out there for free that people could easily check out. If they like that, they can pre-order KAYA #1 at their comic shop or online now. That begins a longer story that takes place over the first five issues.
MFR: What does your script look like when you are the artist and the writer?
CRAIG:Pretty traditional but with some weird quirks, I guess. For one thing, I write it all out by hand. I find the ideas come easier when they’re written out on paper instead of on a computer screen. I make two columns, one for panel descriptions and one for dialogue. It’s all pretty spelled out for me by the time I get to doing the real drawing. But unlike working with a writer, there’s a lot of adjustment throughout the process since I don’t have to check with anyone else. Lots of adding and subtracting dialogue and images.
MFR: I was impressed with how emotionally invested I was by the end of the first issue. Can you talk about your writing process and how you developed the main characters?
CRAIG:That’s great to hear. I’ve been slowly building up this world while drawing Deadly Class, so some of the development is a distant memory at this point. But I’d say finding an emotional connection to the characters is vital. And figuring out what the reader reacts to emotionally. It’s embarrassing to say because this should have occurred to me much earlier, but I didn’t used to take the reader into account. I used to just write the story I wanted to write, for myself. But if I’m just writing it for myself, what am I doing really? I write stories to share them. It should be a back and forth between writer and reader. So you always have to think about their experience, emotionally, intellectually, etc. And hopefully make characters that are three-dimensional enough that they stand up and walk on their own and aren’t just slaves to your plot. I think that’s what Kaya and her little brother Jin do.
MFR: Kaya’s design is badass. Did it take you several iterations to get to her final look?
CRAIG:I’d say she was pretty fully formed from the beginning. Her metal super-powered arm, the dreads and black across her eyes. But originally, way, WAY earlier in the development of the world, she was an adult. Eventually, I thought, if she was a young girl, that’d just make everything that much harder for her. And making things harder for your main character is always a good idea. Haha.
MFR: What were the conversations like with Jason Wordie deciding on a color palette for the universe of KAYA?
CRAIG:We talked it over a bit and I sent him some images of the desert at different times of day to show him what I had in mind. And pointing out where the color becomes more subjective than objective, usually because one of the characters is going through some intense emotion.
But also trying to leave Jason room to explore and have fun. I think at first there’s more “direction” as you’re feeling each other out. But that becomes smoother as you get comfortable with each other.
MFR: The panel layout in the book works well to communicate the story, the action, and especially the emotion from Jin. Can you talk about the panel layout of the first page and what you were trying to accomplish?
CRAIG:I think it was just trying to pull out to see how stark this land is that they’re dealing with for the first issue (that landscape will continue to change as Kaya and Jin continue their journey), and how unforgiving it is. Jason REALLY brings that intense heat to life in his colors. And then pulling in tight on the characters to experience how that heat’s affecting them. With a new comic, I don’t feel like you have very long to hook the reader, so I needed Kaya and Jin to be in deep trouble right away. I wanted the reader to wonder, “how will they get out of this?” almost from the beginning.
MFR: The letter work by Andworld is very clean. Was that the plan from the start? (The all-white Onomatopoeias works so well.)
CRAIG:Yeah, that’s something I do in Deadly Class too, with colorist Lee Loughridge. Those sound effects are hand drawn. And for the lettering, Tom Napolitano from AndWorld Design is handling that and he blows me away. We’re working together to make something that’s open, easy and fun to read. Between him and Jason’s colors, it looks so good. I feel very lucky to have them with me.
MFR: With a new issue like KAYA, how do you measure success?
CRAIG:Well, unlike Deadly Class, I don’t have Rick Remender’s name on this one, so I’ll try not to measure it to that level in terms of how many copies I sell. But from the little bit I’ve put out there so far people seem to really dig it, so that’s amazing to hear. I feel successful on a personal level because I think the characters are very real, and the story is strong, and I LOVE drawing it. Now all that’s left is the financial side of it. Will it be successful enough to do the comic for as long as I want? I’m doing my best to get the word out about it. But at the end of the day, a lot of that is out of my hands. So I’d say, if I can pay the rent and continue to do this comic for as long as I’d like (a few years), then that’s success. Anything beyond that is just gravy.
MFR: A year from now, you have a table at a convention, and you see someone cosplaying as KAYA; what will your reaction be?
CRAIG:Oh my god, I haven’t even thought of that. That would be so cool. I’d probably have to give them something from off my table, at least.
MFR: Wes, thank you again for your time, and best of luck with the series.
CRAIG:Thanks a lot! You can pre-order KAYA #1 until September 12, and the first issue comes out OCTOBER 5. For more on all that, you can follow me online at @WesCraigComics.
Do you plan on adding KAYA to your pull list? Comment on social media.
GOLD GOBLIN #2 is coming to your local comic book store in December, but thanks to Marvel Comics, Monkeys Fighting Robots has the exclusive first look at the issue!
The series will spin out of “Dark Web”, the upcoming Spider-Man/X-Men/Venom crossover. AMAZING SPIDER-MAN readers will know that Norman Osborn has turned over a new leaf recently, and GOLD GOBLIN will focus on the former villain’s turn as a hero.
About the issue: BEING A HERO ISN’T FOR EVERYONE…
Norman Osborn faced Chasm in DARK WEB #1 and has to face another terrifying opponent in this issue!
Norman’s only been a super hero for a few days…but his tenure might be quite short!
The issue is by writer Christopher Cantwell and artist Lan Medina; the main cover is by Taurin Clarke.
Get your first look at Clarke’s GOLD GOBLIN #2 cover here:
Are you reading AMAZING SPIDER-MAN? Sound off in the comments!
