Review: VANISH #1 Is Pure 90’s Edge

By

-

From modern comics all-stars writer Donny Cates (God Country, Thor) and artist Ryan Stegman (Inhumans, Absolute Carnage) create a tale of rejecting magic and blood-soaked vengeance, 90’s style with Vanish #1. With JP Mayer on inks, Sonia Oback’s colors, and letters by John J. Hill, Vanish is an edge-filled and grimy love letter to Image comics of yester-year, but with its own insane twists. Featuring a gnarly script by Cates and gritty-yet stunning art from the visual team, Vanish #1 is a must-read for old-school Image Comics fans.

“Oliver Harrison was a mythical hero who slayed the greatest threat to his realm before even hitting puberty. But that was then. As an adult, Oliver leads an average cookie-cutter suburban life—aside from the fact that he’s mentally unstable, massively paranoid, smokes like a chimney, and gets blackout drunk every night to hide from his horrific nightmares. Will the arrival of a superhero team called the Prestige prove the madness isn’t all in Oliver’s head? And what about all the epic fantasy crap from his childhood?”

Writing & Plot

It would be easy to misinterpret Donny Cates’s writing in Vanish #1 as dark cynicism – if everything wasn’t so tongue-in-cheek. The overall plot – a wizard turned angry drunk takes vengeance on some superheroes tied to the death of his parents – is pretty cookie-cutter as a concept. However, specific details and circumstances arise to specifically throw these tropes sideways. These little plot events are by and large shocking in hilarious ways, while still absolutely coming off as something that would have been dead serious in a 90’s comic. Cates’s dour narrative and character-specific predictable dialogue perfectly set the expectation for the sort of comic this will be. Vanish immediately has that grimy and nihilistic touch that will ingratiate itself with 90’s Image diehards and fans of that sort of storytelling in general. The comic’s clincher though is one particular scene that I cannot spoil, but is flat out one of the most hilarious twists in comics this year. Cates knew exactly what he wanted this story to be and went for it, all while making something that can still be compelling to those wanting a more class-style grimdark comic book.

Art Direction

Anyone who has been reading Marvel comics for the past several years is familiar with the work of modern artistic heavyweight Ryan Stegman. Having him as the penciler for a throwback-style book like Vanish #1 is a perfect fit. Stegman’s hatching-heavy and detail-focused work comes across like the work of McFarlane or Silvestri but with a slice of modern refinement. His characters all look unique while simultaneously appearing very 90’s. He captures the grime and pollution of the “current” timeline city Oliver lives in now, then switches over to a place of magic without skipping a beat. Due to his specific art style however, the aesthetic never skips a beat. Even the majestic magical realm we visit retains an element of edgy darkness. A lot of this consistency is helped out by JP Mayer’s inks, which perfectly complement the atmosphere. Stegman’s action choreography and sequencing are busy, but easy to follow and well-paced. Vanish is constantly throwing hooks at a breakneck pace, but it’s also structurally expertly managed. The colors from Sonia Oback are rich and vibrant, but intentionally smothered so as to keep with the book’s aesthetic. Every panel feels like it has a layer of grease over it, but this is very much the point. This coloring approach caps off that classic 90’s feel Vanish goes for. Finally, John J. Hill’s letters carry the reader through with dynamic and easy to read fonts, with great SFX design. He utilizes a couple of different font styles for different characters, one in particular being very unique. The SFX work mimics a more old school approach, however, just like book as a whole, still delivers something modern and original unto itself. Visually, Vanish #1 is a love letter and a marvel on its own.

Verdict

Vanish #1 is a smart and compelling love letter to Image Comics of yesteryear. Donny Cates’s script is brutal and grim exactly when it should be, while being punctuated with hilarious twists that make the story an unexpected joy to read. The visuals from Ryan Stegman, Sonia Oback, and John J. Hill are brutally stunning and intricate, combining that grimdark 90’s aesthetic with modern artistic touches and skillful sequencing to make this book a blast to read. Be sure to grab this new #1 when it hits shelves on September 21st!!

Monkeys Fighting Robots Youtube

Review: SHOCK SHOP #1 Presents Double The Horror

By

Darryll Robson

-

Shock Shop #1 Cover Art Credit: Dark Horse

There is always an audience for horror, whether it’s a movie, a TV series, a novel, or comic. The genre is massively popular and attracts committed, passionate fans, who love to indulge in new offerings. Therefore, a new horror anthology title is a welcome addition to the monthly schedule, and is exactly what Dark Horse Comics are offering with their new flip comic Shock Shop, due out on 7th September 2022. The new comic features two stories written by Cullen Bunn and each is illustrated by a different team.

It’s horror; it’s comedy; it’s pantomime. Everything a good horror anthology should be.

Introducing..

The format of the comic is a clever marketing trick, encompassing two separate covers, one for each story. This allows for the publishers to create a range of appealing covers that can be marketed to different groups within the horror audience. It also leans into the variant cover crazy without having to flood the shelves with too many different versions of the same comic. A variety of superb artists can produce wonderful cover work that can, ultimately, get into more hands. It’s a neat trick.

Another neat trick is introducing a host into the stories. The relationship between hosts and comic horror anthologies dates back to the beginning of comic books and was borrowed from other popular media. From Old Nancy in The Witch’s Tale radio series from 1930 and the ushers and compares of Le Théâtre du Grand-Guignol in Paris which opened in 1897, and whose legacy is referenced within the pages of Shock Shop, the purpose of the host has been to lead the audience into the uncomfortable stories and provide a barrier between the worlds. EC’s Tales from the Crypt and related titles did this superbly with their mix of monstrous and comedic hosts. In those comics each one would go beyond introduction and act as storyteller, interjecting at opportune moments to remind the reader that they are reading a fantasy, a fiction, and often make light of the situation.

Within Shock Shop, Cullen Bunn gives the audience Desdaemona Nimue Moreau and her comic shop of horrors. She gets a full page spread for each story in which to set the tone and give the readers a visual treat of in-jokes and referencing. It could be argued that this is not enough as she is the most intriguing character in the comic and hints at the exciting world around her. However, unlike Rick from Image Comics’ Ice Cream Man, Desdaemona plays no part in the stories, adopting a more traditional role of host from 1950’s horror anthologies. She introduces the story and then, sadly, disappears from the comic.

The Host welcomes you into Shock Shop #1 Credit: Dark Horse

Two Tales Told Well

The two stories are: Something in the Woods, In the Dark drawn and coloured by Danny Luckert, and Familiars drawn by Leila Leiz, coloured by Bill Crabtree. Lettering for both is provided by Nate Piekos.

Out of the two, Luckert’s is more visually stimulating with intense storytelling across the page. His colours are expressive and bring out the acting of the characters. This story is full of emotional exchanges, knowing looks, and empathetic glances. Even before the disturbing, mutated body horror shows up, Luckert has conjured up an uncomfortable and tense atmosphere that is only exaggerated by the wilderness setting. More and more, the simple concept of nature is becoming alien and uncontrollable which makes it a perfect setting for a tale of horror, such as this.

Although, that is not to say that Leiz’ work is lesser; it’s just different. The second tale is more comedic in tone and has a flight of whimsy about it that is reminiscent of the late 1980’s Ghostbusters comics. The clever use of red lenses over occasional panels puts the reader into the position of the spirits haunting the house and humanises them potential threat. The red washes are unsettling, but because the reader has been transposed into the role of the ‘ghost’, the artists create a sense of empathy often missing from ghost stories. The panels and pages are cluttered and busy, representing the chaos of the central character who has been uprooted and thrust into a new home. The divorcee is shown to be somewhat irresponsible which in turn explains why he does not take his situation seriously. Leiz’s triumph here is the setting, the way in which she handles the urban environment to tell the reader something about the character. It’s a harder sell, from a horror perspective, especially with the amount of humour on the page, but the character building is still impressive.

Side by side, the two stories work visually well together. Each provides something slightly different in style and tone but there is a similarity brewing within the stories themselves. The simplest way to illustrate the differences is to look at the lettering by Nate Piekos. For the intense, family drama, Piekos carefully choreographs the speech, giving enough weight to each statement. Often he changes the font size or uses bold text to emphasise an argument or backhanded comment. His purpose in the first story is to create tensions between the characters and the location. Within the second story, however, there is a more chaotic approach to the lettering. Piekos plays with the word balloons, changing their shape, sometimes subtly and sometimes drastically. In each instance it tells the reader something about the person speaking. In this story Piekos is focusing on the characters and the way they speak, rather than their actual speech.

Conclusions

When you pick up an anthology comic, not every story will appeal, but you tend to know what to expect from a horror comic. Nothing will come as a surprise, except what is supposed to, narratively speaking. And Shock Shop is no different. It blends modern comic storytelling with classic horror tropes to create enjoyable stories. The contrasting artwork between the two stories gives each one a different tone and if you read them in the right order (Something in the Woods first) the change lulls the reader into a safe space at the start of tale two.

However, despite the lighter tone of Familiars, both stories have the same narrative beats with similar setups. The locations may be different and the dynamics between the characters are more intense in Something in the Woods, but the progression of the stories follow the same pattern. This means that whichever story you encounter second has less of an impact, and may leave you feeling indifferent. Something in the Woods is the stronger horror story, and placed next to Familiars, it becomes obvious, which is then a disservice to the latter.

With Shock Shop, Dark Horse Comics are giving readers two stories spread over four issues. This means that you don’t get a full story, only parts of two, and this ultimately ends up like a taster menu. It wets you appetite but does not satisfy it. One of the greatest appeals for most anthology titles is the one-and-done stories. The Haunt of Fear, Creepy, The House of Mystery, all succeed in telling short stories issue after issue and some of the best creatives working for those titles were able to tell complex and terrifying tales in eight pages or less. With Shock Shop, the artwork is good and fits the tone of each story, there just isn’t enough of each terrifying tale. It’s like watching a horror movie until the first jump scare, turning it off, and then watching a different movie until the same point.

Everything about this comic is great except there just isn’t enough of it. Not enough of the actual stories, not enough of the host, and not enough of a sense of anthology. On this particular occasion, it may be worth waiting for a few issues to come out before sitting down to read them, or buy the trade.

Monkeys Fighting Robots Youtube

Review: ABOVE SNAKES #2 Is Far, Far Above Par

By

Darryll Robson

-

The second issue of the modern western comic Above Snakes, published by Image comics, is out now. It draws inspiration from a vast catalogue of genre greats, and is undoubtedly a western, but does not limit itself to that moniker. Following such titles are Undone By Blood and the sci-fi western East of West, Above Snakes uses a genre base as a jumping off point for something greater.

Whenever you think of a Western, your subconscious is automatically flooded with a series of tropes that color your impression of the Western that you are about to enjoy. If the creators have done a good job, then they will present these tropes to you in a satisfying and, hopefully, new way so that the product is not stifled and dull. If they have done their job really well, then they will ignore or even subvert these tropes and present a Western that blows your mind. Stephen King did it with his fantasy/western The Gunslinger, as did the Cohen Brothers with their remake of True Grit; see also T.Vs 1883, and DeConnick/Rios/Bellaire’s Pretty Deadly for Image Comics.

Above Snakes definitely falls into the latter grouping. It re-presents the characteristics of the genre while integrating themes that feel more relevant to today’s society. The overwhelming need for vengeance is the backbone of many western tales, but the post-modern storytelling and small supernatural element gives Above Snakes extra dimension. Great character work is woven through atmospheric artwork and the script is humorous and tragic in equal measures.

Above Snakes interior art Credit: Image Comics

Stories within tales…

The second issue of Above Snakes sees the central character, Dirt, play at having a normal life. At least for a very short period of time. And the concept of “play” is important here, because what writer Sean Lewis is giving the reader in his script is an over-the-top performance piece, bordering on a sitcom at times. Several of the sequences are played for laughs and the banter between Dirt, Speck, and Annie forge their characters early in the comic. This then makes the second half of the comic more impactful because those that make us laugh get into our hearts and we are forced to feel their tragedies with them.

This issue’s themes are centralised around fate and not being in control of your own story. The opening of the comic frames this idea succinctly, however the first half of the comic continues to toy with this idea in one way or another. Lewis and artist Hayden Sherman create an air of performance in a bar sequence that could almost have the caption “filmed in front of a live audience” over it. The characters act for the readers in exaggerated ways and there is a sense they are projecting directly out of the comic, like a stage performer acting for the audience. This is quite unusual in comics, which more often than not are trying to draw the reader into the world, but Lewis and Sherman handle the outward performance perfectly.

Above Snakes #2 Bar Scene Credit: Image Comics

Letter me this.

There is a reason that people get excited seeing Hassan Otsmane-Elhaou’s name on a comic cover and a quick flick through the pages of Above Snakes will demonstrate why. The lettering leaps from the page and, on occasions, smacks you in the face. Otsmane-Elhaou’s work is sublime, and there is so much going on just with his letters alone that you almost forget Sherman’s artwork is behind it. In most comics, this would be seen as a bad thing, lettering is supposed to be an invisible art form after all, but on these pages so much of the story and the characteristics are brought alive by the lettering. It acts as an equal partner to the rest of the artwork. In fact, it is obvious that Sherman leaves space for the elaborate letters and, in return, Otsmane-Elhaou integrates the word balloons into the artwork. On the second page for example, liquid drips from a spoon and falls over the speech in a beautifully integrated way.

These are the elements that make reading comics worthwhile. They give you something that you can’t get anywhere else. If you want a narrative where a desperate man hunts the killers of his wife/child/dog then film and television is full of them. But, you will only get the Above Snakes version of that narrative in the comic format because the creators are using the narrative as an excuse to play with the medium.

Conclusion

If you love westerns then, yes, you should be reading Above Snakes. However, if you love the comics format, then you should definitely not miss this wonderful example. Sherman’s coloring is unrealistic and garish in a way that only works in comics. Saturated panels and blocks of color for certain characters give each page an emotional atmosphere that precedes reading. This allows the creators to control the reader on every page turn thus creating an emotional flow that dictates expectations.

In the same way that lights are used to create mood on a stage, Sherman uses color as a signifier for emotional context. Even the lettering takes this on board to separate aspects of the storytelling. The slightly supernatural element of Speck, for example, is reflected by speech balloons that stand out against all of the speech balloons surrounding them.

Lewis’ narrative is gripping and packed with character. The comedy is timed perfectly and the drama hits home every time. There are some heartbreaking scenes, which is an impressive feat for characters that you have just been introduced to. This narrative is then presented in the best possible way by two exceptionally talented artists, Sherman and Otsmane-Elhaou.

I very rarely use the term “must buy” but in this case, I think it would be a crime not to use it.

Monkeys Fighting Robots Youtube

Review: Beast is a fun survival thriller

By

Eric Trigg

-

Beast is a straightforward survival thriller that doesn’t overstay its welcome. The story might not deserve the talent of Idris Elbra, but seeing him battle a lion on the big screen makes for a fun theatrical experience. Beast is similar to movies like Crawl, Burning Bright, and other survival films. It’s drenched in tension, has excellent pacing, and Elba delivers a strong performance. Beast does include some lackluster CGI and the writing can be unbearable at times, but this was an adequate man vs creature film.

These types of projects can be hit or miss, but Beast accomplished a lot in the 90 minutes it had to work with. After the hard-hitting opening, the film spends time letting the viewer grow attached to the characters. Not allowing itself to become a highlight reel of carnage, Beast gives viewers a reason to care for the characters before the lion is introduced. Directed by Baltasar Kormakur and written by Ryan Engle, Beast follows Nate Daniels (Elba), a newly widowed man traveling to South Africa with his two daughters, Norah and Meredith.

Elba is joined by Leah Jeffries, Iyana Halley, and Sharlto Copley for this thrilling adventure story. Elba steals the show in his role, which seems to have inspired his on-screen daughters because the trio has phenomenal chemistry. Nate is blaming himself for the recent loss, and his daughters are trying to process it as well. Nate’s struggles allow Elba to deliver a heartfelt monologue that highlights the guilt Nate lives with. While Beast delivers a formulaic story, it makes the character’s survival more significant by making them relatable. Still, Engle’s script relies heavily on stupid decision-making. Beast could have been 10 minutes shorter if the writing made the characters more intelligent.

Despite the nonsensical character decisions, the film manages to be an engaging delight from start to finish. It excels at letting suspense and tension carry the narrative, which leads to effective pacing as well. Although, once our main group becomes trapped in a vehicle, Beast does begin to drag. During this time, characters you’re expected to cheer on become tiresome. For instance, Meredith (Halley) references topics that won’t help them escape the lion at the most inconvenient moments. In an effort to express frustration at her dad, she nearly becomes unlikable.

Philippe Rousselot’s gorgeous cinematography is the perfect distraction from the useless jumpscares Beast decides to incorporate. Jumpscares are only effective when they are not formulaic and when it’s earned. The jumpscares presented in this movie are not earned but will make for an entertaining experience for someone. While the lion depicted is effective enough to spark terror, the CGI isn’t that great. Sadly, practical effects are becoming a thing of the past. As mentioned, performances are great overall, but Idris was consistently delivering a strong performance.

There are times when the acting feels like it’s undermining the tension Beast thrives in. Elba carrying the film saves it from any major downfalls, but those glimpses of poor acting are a small detriment. Kormakur’s direction is solid and he understands how to keep you on the edge of your seat. Beast only suffers from the lackluster CGI and its overreliance on poor decision-making. This movie probably would have gone straight to streaming if it didn’t feature Idris Elba.

Beast is a fast-paced survival film that keeps you on the edge for the vast majority of its runtime. This is an effective 90 minutes of engaging activities with a strong lead performance from Elba. Awful CGI aside, Beast was a solid addition to this genre of survival horror movies. If a sequel happens, I hope the lion returns with a new group of allies to assist in the carnage.

Monkeys Fighting Robots Youtube

Review: Rover’s a Ronin in SAMURAI DOGGY #1

By

Hank Essman

-

If there’s anything the last decade of action movies can teach us, it’s never kill a man’s dog. But in the world of Samurai Doggy, dogs are well-equipped to avenge themselves. So when a man kills a dog’s mother and kidnaps his siblings? It’s a recipe for revenge that sends the titular Samurai Doggy on a mad manhunt. So join writer Chris Tex and artist Santtos for an issue that takes no prisoners. Though if it did, they’d have to be kept in a kennel.

Twenty years ago, a young dog known only as Doggy saw his mother murdered in front of him. Doggy’s attempts at fighting back lost him his eye. Then, left for dead, he watched as the killer kidnapped his nine siblings. All that saved him was a robotic vulture deciding to raise the young boy in lieu of stripping him for carrion. Now fully grown, Doggy searches a futuristic city with the vulture in tow, searching for signs of the killer and his missing siblings.

In Doggy Samurai #1, Chris Tex writes a straightforward tale of revenge, colored by its offbeat world and characters. The details that provide the most character often come from Doggy being, well… a dog. Touches like his tragic backstory having nine siblings stolen away in a sack, or that the one clue to his mother’s killer is the scent off an old, dirty collar. Though the robotic side of Doggy’s world doesn’t get as many playful nods. Probably because most of the issue’s robots exist to be cut down in sprays of oil and messes of wires. The issue’s solicitation promises a “journey to defeat the greatest empire of machines and robots that has ever existed,” so doubtless the robots will feature more heavily as the title goes on. But the story for now focuses itself on setting up Doggy’s mission and promising a fight between him and a huge crowd of robots. It’s a struggle that promises to continue on into the next issue, though hopefully more exploration of the strange setting Doggy finds himself in will come as well.

Santtos pulls triple-duty as artist, colorist and letterer, which helps give the comic its unique, singular look. Doggy’s big red duster and bulky harness give him the appearance of a wandering cowboy, but with a red sash and katana to drive home the “samurai” part of his title. It’s a look that makes him feel immediately alien amidst the neon-soaked city of Skypanel, his reds and brown contrasting with the city’s bright blues and purples. There’s a clear manga influence in the storytelling, with a focus on up-to-down movement between panels and clear, large, rectangles that guide the eye through size and shape, often allowing for large gutters between. In action scenes, backgrounds blur into motion lines along with Doggy’s arm, pieces of his enemies flying about the page.

After a striking opening in greyscale, Santtos uses a washed-out color palette to bring a sense of malaise to the futuristic dystopia. The city itself may have bright, neon colors, but the sky is consistently a dull brown-yellow, only taking a blue hue in scenes where Doggy looks down at the city from a grassy hill outside it. But when he re-enters the dust clouds of the urban sprawl, the sky regains its sickly tone.

As for the lettering, certain sound-effects are given street-graffiti flair. The “Bang” from Doggy’s gun, or a menacing “Grooom!” wouldn’t be out of place among the tags he passes on a concrete wall. The opening monologue also takes on a more uneven, handwritten font that helps get across the personal nature of Doggy’s inner thoughts.

VERDICT

Samurai Doggy #1 proves revenge is best served with a distinct sense of style. From the electric mix of anthropomorphic animals and humaniod robots, to the centerpiece one v one-hundred fight scene that delivers on kinetic carnage, there’s a whole lot this book does to stand out from the pack. It’s out from Aftershock today, so make sure to pick one up.

Monkeys Fighting Robots Youtube

Marvel Comics Exclusive Preview: DEADPOOL: BAD BLOOD #4

By

Anthony Composto - EIC

-

August 25, 2022

deadpool bad blood marvel comics exclusive preview liefeld

DEADPOOL: BAD BLOOD #4 hits your local comic book store on August 31st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
The secret history of Thumper has been revealed! But now that Wade Wilson knows the massive masked man’s motivations – not to mention his startling true identity – what does that mean for Deadpool? Plus: Whose side is Garrison Kane on, anyway? And why is Wade suddenly trading blows – and bullets – with Domino? Isn’t she supposed to be his ally on this crazy caper? Prepare to experience the explosive finale of Rob Liefeld’s ultimate Deadpool story!

The story is from Deadpool co-creator Rob Liefeld, with a script by Chris Sims and Chad Bowers, pencil by Liefeld, inks by Liefeld, Shelby Robertson, Adelso Corona, and Marat Mychaels, colors by Romulo Fajardo Jr., and letters by Joe Sabino.

Check out the DEADPOOL: BAD BLOOD #4 preview below:

Are you reading DEADPOOL: BAD BLOOD? Sound off in the comments!

Monkeys Fighting Robots Youtube

AfterShock Comics Exclusive Preview: SAMURAI DOGGY #2

By

Anthony Composto - EIC

-

August 25, 2022

aftershock comics exclusive preview samurai doggy 2

SAMURAI DOGGY #2 hits your local comic book store September 14th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

About the issue:
As Samurai Doggy and his robo-vulture mentorRei set out to uncover the truth behind Doggy’s mother’s brutal murders, he first must unravel a gangster scheme within a popular amusement park – but will he be able to take down the gang, or will they take him down first?

The series is by writer Chris Tex and artist/letterer Santtos. The main cover is by Santtos.

Check out SAMURAI DOGGY #2 preview below:

Did you pick up the first issue of SAMURAI DOGGY? Sound off in the comments!

Monkeys Fighting Robots Youtube

Read The First 6 Pages Of THE BLACK GHOST #1 (Season 2)

By

Matthew Sardo

-

August 25, 2022

THE BLACK GHOST SEASON 2 #1 (of 5) drops on Amazon on Tuesday, August 30, but thanks to the team at Comixology Originals, Monkeys Fighting Robots has an exclusive 6-page preview for our readers. The book is written by Alex Segura and Monica Gallagher, with art by George Kambadias, Ellie Wright drops the colors, and you will read Taylor Esposito’s letter work.

About THE BLACK GHOST SEASON 2 #1:
SHAME THE DEVIL, part 1 of 5 – “What the Dead Know”
As Lara tries to balance her life as the Black Ghost, work, and her personal life – she gets a startling message from her own past.

Enjoy the preview below.

About THE BLACK GHOST series:
Meet Lara Dominguez—a troubled Creighton cops reporter obsessed with the city’s debonair vigilante—The Black Ghost. With the help of a mysterious cyber-informant named LONE, Lara’s inched closer to uncovering the Ghost’s identity. But as she searched for the breakthrough story she desperately needs, Lara will have to navigate the corruption of her city, the uncertainties of virtue, and her own personal demons. Will she have the strength to be part of the solution—or will she become the problem?

Monkeys Fighting Robots Youtube

PREY: How to Re-Imagine a Genre Icon

By

Justin Munday

-

August 25, 2022

In this era where nearly every big-budget Hollywood genre film is a comic book adaptation, distant sequel, or reboot desperately clawing at franchise potential, Prey is a godsend. Director Dan Trachtenberg, screenwriter Patrick Aison, and cinematographer Jeff Cutter have created a new installment for one of Sci-Fi’s most beloved and iconic franchises that stands tall as an expertly-crafted re-imagining. Starring Sioux actress Amber Midthunder, Prey changes the perspective to that of a Comanche tribe 300 years ago and reintroduces the iconic Predator in a much more primal form. These changes, plus a robust thematic core that utilizes the film’s cast, setting, and real-world history to significant effect, land audiences with a film that rivals the original Predator as the best film in the franchise – and an absolute must-see for genre fans.

Almost 300 years before Major Dutch and his team of special-ops would take on the Predator in the jungles of South America, a Yautja (the canon name for the Predator species) lands in the Northern Great Plains to take trophies from a largely un-hunted Earth. At the same time, Naru – played by Midthunder – is attempting to prove to her Comanche tribe that she is every ounce the hunter her older brother and the rest of the men are. She and the other hunters cross paths with the alien killer (as well as some white French fur traders), and the action begins.

There are two main ingredients for why Prey works so well. The first is that the film knows the audience is well aware of what the Predator is. As a result, the slow, tense buildup that worked so perfectly in the original 1987 film isn’t needed. Instead, Trachtenberg and Co. tease how this Predator differs from past iterations. While the original had the alien trophy hunter leaving trails of skinned bodies and silently tracking soldiers via trees, Prey sees a Yautja steadily “dipping his toe” into a new world’s potential quarry before ever coming up against humans. This plot progression parallels the film’s other main ingredient: how much Prey cares about its characters.

Naru, the film’s protagonist, is immediately set up as a relatable and very human character. While she’s a skilled survivalist and competent hunter, most of her tribe refuse to see her as anything more than a gatherer and healer. She is joined by her brother and the tribe’s best hunter Taabe, played by Dakota Beavers, her sympathetic but lightly condescending mother Aruka, played by Michelle Thrush, and most importantly her faithful canine companion, Sarii. Watching Naru bounce off these characters and have meaningful conversations while simultaneously witnessing her development as a warrior is highly endearing. We, as an audience, are compelled to root for Naru as she struggles and innovates her way through the increasing brutality of the Predator’s hunt – as well as other obstacles thrown in her path. Her existence as a character is truthfully a testament to what the Predator films have been since the beginning. Strength and conventional combat ability aren’t factors against the Predator – only cunning is. We watched a team of elite spec-ops armed with the best weaponry the U.S. Government can provide get massacred one by one in the original. What ended up winning? Survival skill and intelligence by using traps made of sticks and stones. In this regard, Naru is the toughest and most capable protagonist we’ve witnessed in this series thus far. Her entire existence revolves around survival skills and understanding the environment. The fact that she is also such a relatable and well-crafted character in all other regards makes her the best protagonist in the Predator franchise’s 35-year history. These well-constructed elements in both herself and her supporting cast make the audience worry more about the risks they take and help make the film all the more intense.

Speaking of intensity, Prey stands tall not only in this franchise but in the genre as a whole with a perfect mixture of tension, well-choreographed action, and ever-brutal kills. The steady buildup to the meeting between the Predator and the Comanche doesn’t utilize the mystery of the first film – again, it doesn’t need to. Instead, the first act of Prey utilizes a sense of dramatic irony. We, the audience, know what Naru and her tribe are about to come up against, while they have no idea. This builds a different kind of tension that is almost as effective as the unknown threat the alien posed in Predator. Even with most of the mystery about the Predator uncovered, this new iteration still gives viewers plenty to be surprised by. With a more warrior-like hands-on approach, cool new killing tools, and a more “feral” physical design, the iconic movie monster still offers plenty of surprises to keep things fresh yet familiar. Prey also boasts the most impressive fight sequences and some of the most gnarly kills the franchise has seen. There are points where you would think the Feral Predator is more interested in experimenting with the art of blood spray than he is in taking trophies. Scenes where the hunter goes toe to toe with some of Earth’s greatest carnivores, are intense and insanely cool, but even those moments are topped when humans decide to challenge this invader. Outside of the tense and crafty final showdown between Nary and the Predator, a sequence where Naru’s fellow hunters face off against him and a particular fog and ash-covered slaughter-spree (you know the one) are absolute franchise highlights.

Prey‘s more technical filmmaking aspects almost never fail to impress. Director Dan Trachtenberg, best known for being at the helm of acclaimed cult-hit 10 Cloverfield Lane, leads in the process of crafting a genre piece that is intense and compelling from beginning to end. His filmmaking decisions, from his focus on practical effects to implement a new Predator design, and even consulting with a Comanche culture-bearer in the late Juanita Pahdopony, show that he displays a lot of adoration for this series while still wanting to push it in new directions. The authenticity of the depiction of Comanche culture is one of the film’s most endearing qualities, and it’s an element made possible by producer Jhane Myers. Creating this representation of a Native American tribe in the early 18th century with this level of authenticity is almost unheard of in blockbuster films, making Prey all the more important. There’s a nice bit of historical commentary in the movie as well, established by the invasive presence of French fur traders. The movie opens with a line of narration from Naru about a monster coming to their lands. Obviously, this implies the Predator. However, in the film’s opening moments, Sarii is caught in a spring trap. There are two invading “monsters” at play here, and while the Predator is the most immediate and direct threat, the traders are some of the first in a long line of dangers to come.

Director Dan Trachtenberg and Producer Jhane Myers

Prey‘s script, written by Patrick Aison and co-written by Trachtenberg, keeps itself feeling fresh due to the aforementioned efforts while still paying homage to the films in the series before it. The movie keeps all those core elements of a Predator film intact but with more thematic resonance than prior entries. There are scenes that are absolute homages to prior films. Not just easter eggs either (which are there, but used sparingly), but direct filmmaking parallels. The fact that in the year 2022, in the era of franchise films beating audiences over the head with endless references to other pieces of media, having one that scratches this itch more subtly is a welcome treat on its own. Jeff Cutter’s cinematography is likely the best in the series, with beautiful lingering shots that utilize the environment’s natural light. While there is no doubt some environmental CGI at work, it’s utilized so well that it goes mostly unnoticed. There are a couple moments where the VFX betrays the film’s modest (though still unrevealed) budget.

These visual hiccups are the film’s one shortcoming, and it’s not the fault of the VFX studio but Disney’s decision to cut whatever budget the film had and then throw it exclusively on a streaming service. It’s an utterly bizarre decision that, due to the recent events over at Discovery/Warner and HBO Max, is also a bit disconcerting. Disney clearly doesn’t entirely know what to do with their ownership of the Predator IP (or its sister series in Alien), but there is a silver lining in that regard. Disney just throwing thumbs-ups to projects in this series gives creators a level of freedom that they didn’t have a few years prior with such an intense focus on massive franchise potential – a problem created by Disney with the MCU and Star Wars. Of course, the flip side is that they end up pawning these projects off on streaming services, so let’s hope a physical release is forthcoming.

After some unfortunate detours, Prey is the re-imagining the Predator franchise desperately needed. A combination of great filmmakers in Dan Trachtenberg, Patrick Aison, Jeff Cutter, and others with the cultural insight provided by producer Jhane Myers and consultant Juanita Pahdopony has resulted in a genre film as thematically resonant as it is badass. With excellent characterization, fantastic additions to Predator lore, perfect pacing, and some of the best Native American representation done in a Hollywood film, Prey is the best film in the series since the 1987 original.

Monkeys Fighting Robots Youtube

Review: DETECTIVE COMICS #1063 – Something Ancient This Way Comes

By

Justin Munday

-

Contemporary comics master Ram V and artistic icon Rafael Albuquerque comes the second chapter of their Gotham Nocturne with Detective Comics #1063. With Dave Stewart on colors, Ariana Maher on letters, and a backup from Si Spurrier, Dani, and Steve Wands, this issue doubles down on the dark mystery and Gothic intensity of the prior issue. With a script that is as complex as it is compelling and some of the most unique visuals in a DC comic in years, this is a chapter that will decide which readers are in for the long haul to see where Ram and Albuquerque are taking us.

“Old friends Bruce Wayne and Harvey Dent share a moment together asking: At what point does Gotham not need a Batman anymore? As Batman’s investigation around Gotham leads him to encounter more and more demonic beings, the one thing they all have in common is…they’re all people he fights to keep off the streets and behind bars. But when Two-Face appears asking Batman for help, is he friend or foe? And is whatever’s going on with Batman already too late to do anything about?…Is he the detective or the devil?”

Writing & Plot

If one could glean anything from first issue of this run, as well as most of his other work, then it’s easy to imagine the atmosphere Ram V continues to set up with Detective Comics #1063. While the prior issue sets up an ancient threat and potential personal horrors for Bruce, this chapter doubles down on the mysteriousness while bringing in a familiar face. This chapter is intentionally slower than the last, with more focus on character conversations, exposition, and the mounting power of whatever demon is plaguing Bats. While this is mainly a dialogue and narration-heavy issue, the delivery of the script and how it’s paced are what is so unique about this comic. Every sequence, from Bruce and Harvey’s opening conversation in the jazz club to the mysterious foe’s mentat-like info dumping, are presented with their own atmospheric flavor. As strange as calling word balloons and narrative boxes “atmospheric” may seem, that’s exactly what Ram V accomplishes. There are so many kinds of writing in this comic, from the distinct dialogue to the crooning of a jazz singer, to the enigmatic and dark poeticism of the demon haunting Batman. Every bit of it is equally compelling in a different way. Ram V manages to combine a sense of bleakness with that of the grandiose, like a great gothic opera (so yes, like Phantom of the Opera). Si Spurrier’s backup, The Coda pt. 2, blends in perfectly with the version of Gotham in the main story. A mixture of police conspiracy and unnerving supernatural thriller provides a mysterious and tense finish to the newest chapter of the most exciting Bat-book in years.

Art Direction

While Ram V does provide a brilliant script and framework, what truly makes this comic so alluring is the visual work of Rafael Albuquerque. Already an acclaimed horror artist as well as having prior Batman work, Albuquerque crafts a gothic crime experience unlike any we’ve gotten in a Bat-comic in Detective Comics #1063. Just like in the prior chapter, Albuquerque designs these characters and Gotham itself along the lines of the current DC universe, but with his own atmospheric twists. Harvey Dent has never looked more sophisticated or imposing than he does with his gold mask, especially while dispensing secrets to Bruce Wayne in a smoky Jazz club. The fashion of Gotham’s new invaders is a mixture of modern wealth and a sort of ancient mystic-garb. Albuquerque’s take on the current Batman costume fits in almost like a piece of the looming architecture around him – only that said architecture continually appears more and more oppressive. That’s the real aesthetic mark of Albuquerque’s work here. This is the most threatening not just Batman’s new foe but Gotham itself has felt in a Batman book in many, many years. This comic continues to ooze atmosphere thanks to Albuquerque’s visual approach as he matches Ram V’s story direction. His compositions carry every scene with a steady pace while maintaining that uneasy atmosphere. Using the demon that hunts Bruce as a backdrop for entire panels as it torments Batman’s mind is some brilliant stuff, creating some of the most memorable shots ever in a Batman comic.

Dave Stewart returns to provide colors and perfect the atmosphere to this chapter of Detective Comics. The veteran colorist draws the reader into this ultra-dark take on Gotham, with his smoky shades and fog-cloaked tones effectively finishing off the most atmospherically rich take on a Batman comic in years. The backup story is almost as effective, with Dani’s uniquely “messy” pencils filled by Stewart’s colors making for a distinctly Vertigo-esque visual experience. The lettering from Ariana Maher on the main story and Steve Wands in the backup is stellar, with dynamic approaches that utilize multiple fonts based on the type of passage or who’s speaking. The letters are the final touch on a visual experience that goes down as one of the most memorable artistic approaches in a DC comic this year.

Verdict

Detective Comics #1063 is a complex and atmospherically intense chapter in this new era of Bat-comics. Ram V pens a script that takes its time with characters and concepts, mixing compelling dialogue with fascinating exposition and memorable prose-like passages. The visuals from Rafael Albuquerque and Dave Stewart are stunning and perfectly dark, crafting this uniquely-gothic take on Gotham and its denizens ahead of the coming threat. It’s Batman meets Jacob’s Ladder in a sense, with a sense of uneasy psychological horror mixed with the classic vigilante comic we all know and love. Be sure to grab this newest issue when it hits shelves on August 23rd!

Monkeys Fighting Robots Youtube