Review: DO A POWERBOMB #2 – Necromancers Love Wrestling

Ever-rising creator Daniel Warren Johnson (Beta-Ray Bill, Murder Falcon) returns to his ambitious creation of wrestling and sorcery with Do A Powerbomb #2. Featuring colors by Mike Spicer and lettering from Rus Wooton, this 2nd chapter isn’t as explosive as its predecessor but still packs plenty of punch, emotional weight, and a massive twist readers will be trying to wrap their heads around for weeks to come. With DWJ’s signature style of character writing and insane visuals, this is a fantastic comic that promises more radness yet to come.

“Lona Steelrose is brought to another dimension and given an opportunity that could change everything. Will she join the DEATHLYFE tournament?!”

Writing & Plot

Daniel Warren Johnson slows down *just* a bit to let his main players talk and make decisions in Do A Powerbomb #2. While the opening issue was a high-flying and dive-bombing issue of wrestling badassery and massive emotional trauma, this issue fully introduces the crux of the main plot. Necro the necromancer (it’s a DWJ comic, what’d you expect) offers Lona Steelrose a chance to bring her mother back to life by competing in his outer-dimensional wrestling tournament. The main problems here? One: It’s a tag-team tournament, and Lona doesn’t have a partner. Two: I don’t want to spoil a great bit, but let’s just say Necro is new to TV and takes it very seriously. The plot moves from here to Lona hunting down a possible partner and landing on an insane and potentially devastating twist that will have readers reeling right up to the next issue’s release. While this issue is a bot less action packed (there is still one brutal wrestling scene to be had), Johnson’s tight story construction and ever-impactful character writing keep this issue compelling. Necro is obviously meant to be our untrustworthy villain, but it’s difficult not to like him. He’s like if Skeletor were to be banished from Eternia and land at a Judas Priest concert and make that his whole aesthetic. Johnson’s even-toned writing that switches from absurd humor to heavy interpersonal moments has become a key aspect of his storytelling, and that is on full display in this 2nd chapter of Powerbomb.

Art Direction

While he is a great writer, no one sees one of Daniel Warren Johnson’s comics on the stand and thinks about how well-written it must be. Do A Powerbomb #2 is, just like the rest of his work, a feat of artistic prowess and more of DWJ flexing just how damn good he is. His over-the-top designs and layouts coincide with his attention to detail to craft a comic that feels sweepingly epic yet intimate when it needs to be. Necro is a peak design for Johnson, with an aesthetic that is, once again, as likeable as he is obviously dastardly. He looks like if Vic Rattlehead and Randy Savage decided to hang out and went on a punk binge. Johnson’s entire cast is easy to identify with unique, signature designs that make them easy to identify in or out of wrestling garb. While we don’t get as much of that big wrestling action this time around, what we do get is still spectacularly choreographed and hits like a freight train. What’s so fantastic about Johnson’s art though is that his quiet conversations sequences are just as impressive as his huge action scenes. This is due in part to his careful animations and how he portrays emotion in his cast of characters. A big part of that visual experience though is his composition. Johnson perfectly mixes huge splash pages and larger panels with small panels that capture minute moments and features within a scene. This helps with the flow of action and with the weight of those heavy conversations that are had in this comic.

Colorist and frequent DWJ collaborator Mike Spicer is back to kill it on yet another comic. His rich, electrically powered tones perfectly capture the atmosphere of Powerbomb just like they do in all of Johnson’s other projects. At this rate, I couldn’t imagine anyone else filling in the Wonder Woman: Dead Earth artist’s pencils, as Spicer injects an unmatched energy in his work. The lettering from Rus Wooton has the same stylized hand-drawn aspect that the rest of the visual experience does. His fonts match the Johnson’s pencils and fluctuate based on character tone naturally. Overall, Powerbomb #2 is yet another artistic heavy-hitter from one of the best visual teams in the business.

Verdict

Do A Powerbomb #2 is an outstanding follow-up chapter that allows Johnson and his team to fully flex their talents in a show of weighty character scenes and kick-ass action. Daniel Warren Johnson pens an issue that mixes great humor, brutal wrestling action, and more impactful character storytelling in a fashion that has become his storytelling signature. His art, along with Mike Spicer’s colors, continues to melt faces as it explodes off the page with kinetic action, incredible detail, and thoughtful composition. Be sure to grab this new issue when it hits shelves on July 20th!

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Review: A Gentler Post-Apocalypse in FLAVOR GIRLS #1

Hank Essman

Flavor Girls #1 is a book that’s been in the works for a while. Starting from creator Loïc Locatelli-Kournwsky’s designs for magical-girl characters years ago, their world slowly evolved and took form, with him posting all sorts of illustrations, bios, and mini-comics on his website. The years-long gestation added a lot of different influences to the mix, from post-apocalyptic alien invasion narratives to Eurocomics to more traditional magical girl manga. But writer Loïc Locatelli-Kournwsky and colorist Eros de Santiago have finally pulled all those threads together, so let’s see if their efforts bear fruit.

Twelve years before the comic takes place, an alien ship appeared hovering above the Pacific Ocean. Climate disasters followed, and a team of earth’s chosen diplomats was met only with violence. All that saved humanity from extinction was the appearance of the mysterious “Flavor Girls,” a team of warriors in colorful costumes blessed with powers from something called the “mother tree.” And in the present, after falling into a giant pineapple, young activist Sara finds herself the latest recruit. It’s a far cry from the U.N. job she’d been applying for. But making a difference might mean waving a pineapple wand and taking the alien “Argarthians” head-on.

One of Loïc Locatelli-Kournwsky’s most significant accomplishments in this issue is how he incorporates so many different ideas and influences without descending into tonal whiplash. This is a comic where the fruit-themed magical girls have to allow national representatives into their magically time-displaced fortress to avoid disrupting the delicate political balance of a post-apocalyptic world. Yet none of those elements ever entirely overpower one another. Locatelli-Kournwsky’s breezy pacing certainly helps. While the opening scenes of carnage could easily set a grim tone, a quick shift to light banter between friends keeps things fun. The point-of-view character, Sara, also contributes to the tone by following in the Sailor Moon tradition of reluctant heroism punctuated by pratfalls and freakouts. She’s a good kid but has a ways to go before she fully matures into her new role.

Also counteracting the chaos in the premise is Locatelli-Kournwsky’s clear, methodical, beat-by-beat visual storytelling. Pages are mostly set into precise grids, each action getting dedicated panels for both wind-up and follow-through instead of cutting to the most dramatic poses within each scene. For example, when a monster lands to block the protagonist’s path, a panel is set aside to show it jumping first. This also gives the characters time to emote through small displays of body language, which is especially important in a book dedicated to setting up a team dynamic.

The other creator working with Locatelli-Kournwsky is colorist Eros de Santiago, whose soft pastels gel perfectly with the gentle, rounded art style. The biggest emphasis is on primary blues, yellows, and pinks, which become harsher or more subdued based on the scene’s mood. But these are nature-based heroes, so their forest hideout adds a healthy helping of green to the mix. It all comes together into a colorful, welcoming atmosphere.

Locatelli-Kournwsky’s lettering eschews the bold all-caps standard of the American industry for a font with a sloping, handwritten look more typical of Eurocomics. Rather than bolded, emphasized words are underlined, exclamations written in a scratchier, messier style. It’s all a piece with the comic’s somewhat gentler approach, and the artist’s involvement helps it blend in effortlessly with the art.

VERDICT

Flavor Girls #1 is a genre-blending passion project that could easily fall apart if it didn’t have an experienced creator at the helm. The book trades in casual confidence that makes all its disparate choices feel simple and natural. It’s out today from Boom! Studios, so make sure to pick it up.

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REVIEW: X-MEN RED #4 Is A Tale Of Death And Resurrection

Jeremy Carter

The X-Men line is the best it’s been in a long time. With big-name writers like Kieron Gillen, Gerry Duggan, and Al Ewing all penning books, it’s hard to argue that the X-Men won’t thrive. This week X-Men Red #4 comes out. Things heated up last month as Magneto joined the Arakki great ring. This will have an effect on the mutants of Mars. This week’s issue delves into the politics of the great ring as well as some problems with resurrection.

WRITING

Al Ewing has been slaying it on this title. For this issue, we have 3 storylines going on at the same time. Magneto deals with being a member of the great ring. Storm meets with other world Illuminati. Sunspot deals with being reborn and the consequences of dying. Perhaps the most interesting part of the issue is the plot involving Sunspot. Although he is not himself anymore, Ewing uses Rockslide as a tragic character to represent a botched resurrection. He was unable to be brought back properly because he died on Otherworld. His conversation with Sunspot is both eye-opening and tragic. In another storyline, T’Challa talks to Storm about mutant resurrection. Ewing shows everyone that Storm is a true boss and not someone to mess with. She confronts an intergalactic Illuminati and never budges on her stance. Ewing ties all of these stories together based on the new reveal that mutants are able to come back from death. Each story flows nicely and is interesting in its own way. Ewing continues to put out superb work on every issue.

ART

The pencils in this issue have three different artists. One for each story in the book. Juann Cabal handles Magneto’s chapter, Andres Genolet works with the Sunspot story, and Michael Sta. Maria does the Storm Portion. Cabal does a great job of using scale in many of his images. Our first page shows the great ring with a gigantic tree in the background as our mutants look small in comparison. Cabal also uses a lot of close-up panels of characters as they speak at the table. This allows the conversation to feel more intimate to the reader.

The art dips a little during the Sunspot portion of the issue. Genolet has a less descriptive and detailed style of art. Genolet uses a less is more strategy, and the transition from Cabal’s detailed work to Genolet’s is a bit of a stretch. Having said that, Genolet does have the most emotional of the 3 stories. It’s weird having emotions from panels with a rock talking about his life, but Genolet does convey emotion on Rockslide wonderfully.

Michale Sta. Maria takes over for Storm’s part of the issue. His style is more similar to Cabal, so this area feels familiar. Sta. Maria has the task of drawing a room full of tough characters. Emotion emitting from this crew as they decide what to do about the resurrection protocols can be a little trying. Hulking is a character that Sta. Maria uses for the audience to relate to. He’s young and generally feels out of place at some of these things. Sta. Maria conveys his hesitancy and naivete at times like this wonderfully.

Colors for this issue and all three stories are handled by Federico with Blee. This isn’t an easy task for Blee as a colorist. Each story has its own feel and vibe, and color scheme. The background is a cold blue for the Storm part of the story. This could be due to the fact that the characters are involved in a tough conversation or that the characters themselves have the ability to be cold. For the emotional Sunspot story, the colors are dark with rays of light shining through. This could signify hope. Maybe someday Rockslide will be able to get back to normal. The rays of light streaming in with vibrant yellows certainly mean something. The Magneto Portion is a mix of reds and blues. Blee could have used this to sum up the situation with the great ring. A mix of hot and cold characters discussing a hot button issue. The issue overall is brilliantly colored and reflects the mood of the story.

Letter duty falls to Ariana Maher. Maher has a knack for putting the word balloons exactly where they need to be. When Sunspot is brought back, he’s in a crowded room filled with mutants. Maher places the word bubbles out of the way so that we can take in the pencils and not be distracted by the talk. The balloons blend in perfectly with the picture.

CONCLUSION

X-Men Red #4 is an issue that cements the characters of the book through old-fashioned dialogue. Al Ewing has written three amazing and entertaining conversations that pull emotion out of readers. The art on the issue is filled with great layouts and wonderful colors. X-Men Red #4 is out at a comic shop near you!

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Review: DARK SPACES: WILDFIRE #1 – Re-Education Through Fire

Justin Munday

From modern comics all-star writer Scott Snyder (Batman, American Vampire) and breakout artist Hayden Sherman (Above Snakes) comes a story unlike any we’ve seen in the comics medium – and seldom seen in any other medium – with Dark Spaces: Wildfire #1. Published under IDW’s new line of originals and featuring the colors of Ronda Pattison with lettering from Andworld Design, this first issue is a deeply compelling chapter from the perspective of human beings most often used and forgotten by society. With an outstanding, humanizing script and phenomenal visual work, Wildfire is one of the best debut issues of the year.

“Six weeks into the slow burn of the historic Arroyo Fire, a crew of women from an inmate firefighting program are risking everything on the frontlines when their newest recruit – a white-collar convict with a deep network of shady dealers – discovers they’re mere miles from her crooked former associate’s mansion. When she proposes a plan to abandon their duties and hunt for riches under cover of smoke and ash, the team must decide if they’re ready to jeopardize their one sure path back to normalcy for a shot at a score that would change their lives… But is this a flicker of fortune or a deadly trap?”

Writing & Plot

Scott Snyder turns in one of the finest scripts of his wildly impressive career with Dark Spaces: Wildfire #1. Mostly known for horror stories and Batman comics, the contemporary heavyweight switches gears to write a human story embedded in our actual reality – and nails the landing. This crew of inmate firefighters are some of the most “real” feeling characters in recent comics. The mix of information-laced dialogue, internal narration from main character “Ma,” and varied, naturalistic dialogue go even further to make this book feel even more palpable. Snyder also works wonders here by setting up a fantastic twist & mix of genres. This is a brilliant blend of heist and survival, and even though this is just the introductory stage, the whole concept is constructed so thoroughly that it lends confidence in how great this whole series will be.

Snyder’s strongest decision here is humanizing these women well-beyond the fact that they’re inmates. He talks about their mistakes to some degree – we only learn what one person, the white collar criminal of the bunch, has done – but their past is never the focus. Ultimately the conclusion that is drawn is that, while these women are great at what they do, they are only so because they look out for each other. Snyder fully acknowledges the inherent corruption in this criminal justice system, and that using criminals as slave labor is morally reprehensible. These women decide to pull off this heist partially out of revenge against the kind of people who take advantage of them, but also out of sheer necessity. They know society will never treat them fairly, so why should they play by its rules – especially since those rules are horribly skewed, if not outright nonexistent.

That’s just good writing.

Art Direction

Great characters and burning landscapes need an artist with stellar directing and an eye for detail. Fortunately, Dark Spaces: Wildfire #1 has notable newcomer Hayden Sherman to craft this comic’s visual experience. The Above Snakes (which just landed last week) artist gives each of our leading ladies a distinct look and key features that make them feel more real. Their animations and acting are stellar, pulling readers in and making the cast easy to empathize with. Sherman’s landscape work here is also outstanding, especially since the vast majority of the setting is on fire. There’s an almost ethereal quality to how they render fire swallowing up forests. Much of this too is due to the color work, which we’ll get to in a minute. However, the most impressive aspect of Sherman’s work here is their composition and blocking. Their direction is absolutely seamless despite utilizing many irregular types of panel construction. Figures often overlap or undercut panels, and the panels themselves tend to be “floating” atop the background rather than make up the page’s construction. Sherman’s composition makes the experience highly atmospheric, all while telling a very straightforward and character focused story.

The visual experience is rounded out and perfected by Ronda Pattison’s outstanding colors. Her striking gradients of violets and flaming oranges capture the devastation of a forest fire while also rendering the carnage as beautiful. Many of the panels are spot-on with how the night sky looks when lit by a raging blaze. While Pattison’s entire range of colors here is stellar, it it this aspect that makes this comic appear as an absolute wonder. The lettering from Andworld Design has a uniquely hand drawn appearance to it while still being easy to read. The design choices within the word balloons and narration boxes are relatively minimalistic, but the overall experience matches the rest of the book very well. Wildfire overall is a brilliantly designed and stunningly drawn comic.

Verdict

Dark Spaces: Wildfire #1 is a phenomenally executed, character-focused opening chapter to this new series from IDW. Scott Snyder pens one of the best scripts of his already landmark career, with an issue that tackles multiple political quandaries, blends slow-burn action genres, and is still deeply human. The visuals from Hayden Sherman and Ronda Pattison are immensely impressive and sharply designed, making for one of the best first issues of the year so far. Be sure to grab this new release when it hits shelves on July 20th!

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Why You Should Read TMNT: THE LAST RONIN – “If This Be The End…”

Justin Munday

July 16, 2022

TMNT: The Last Ronin is a 5-issue mini-series that was originally plotted by Eastman and Laird over 30 years ago and brought to life with the help of co-writer Tom Waltz. Along with a slew of talented artists including Esau and Isaac Escorza and Ben Bishop, colors by Luis Antonia Delgado, and lettering by Shawn Lee, this landmark mini-series was gifted with a murderers row of Turtles talent to craft a comic story that works as both a stirring tribute to stories past, and a fitting potential end to decades of TMNT comics.

In the year 2022, it is hard to capture the influence that the Teenage Mutant Ninja Turtles have had on comics and pop culture at large. From the now-classic 1990 film and its sequels, to numerous animated series, video games, and subsequent comics, the heroes in a half-shell are some of the most immediately recognizable fictional characters in all of media. Even those who have never seen any of the movies or read one of the comics could still likely name all four turtles and some of the extra cast. It’s surreal then that all of this started with a pair of friends drawing a black and white comic in a tiny living room in New Hampshire in 1984. Since then, Kevin Eastman and Peter Laird, along with dozens of collaborators, have continued the tales of the TMNT in hundreds of comic books over the span of 38 years. With that kind of legacy, and so much story that’s been told – how does it end? How can it end?

It should be made clear that The Last Ronin is not the *actual* end of TMNT comics at IDW. There will be, as far as anyone can know and hope, always be Turtles comic stories – as long as there are people waiting in the wings to tell them. The story that Eastman, Laird, and Waltz have crafted here is a sort of hypothetical “what if?” After years of war between the Hamato clan and the Foot clan, a decisive series of battles leaves only one member of the Turtles alive. After living in exile, he returns to New York to find the city under the authoritarian control of the Shredder’s grandson, and the newest rendition of the Foot Clan’s army. Now, while reconciling with the tragedy of his past and learning to trust his new allies, the last turtle – the last Ronin – fights to retake the city he and his brothers once defended. The comic splits at times into two narratives: the “present” story with the Ronin returning to New York, and the past, which shows readers exactly what happened to the brothers, Splinter, and their allies. Both plots are equally riveting, but watching the final moments of each of the brothers as they fought to the end is sure to leave many a Turtles reader’s heart feeling heavy.

As emotionally devastating as it is ass-kicking, the creators have written a story that encapsulates what the TMNT have been about as a cast and concept for their entire existence. While Splinter and his brothers are gone, the specters of the latter act as guiding voices for the remaining turtle – whose identity is actually a major twist, so I won’t divulge it here. Functioning as both reflections of his psyche and reminders of why he must carry on, the Ronin carries forward with his brutal mission with the help of allies new and old. Their identities are, once again, a spoiler, but I’ll just say that their reveal will be a welcome surprise for fans. The addition of the new cast members in and of itself is a reminder to readers of this mini-series that the TMNT – and what they mean as characters – will never go away, even if their stories ever eventually came to a proper end.

Even more impressive than the already top-tier writing is The Last Ronin‘s exploration of the Turtles’ history through art. Much like the script, the visual team’s work is both a modern treatment and a tribute to years past. Ben Bishop and the Escau’s both craft a style that utilizes modern approaches but still feels like an Eastman and Laird comic. The mix of contemporary polish and 80’s indie grunge captures the distinct aesthetic that Turtles comics have always had, but to a somehow even higher degree. The Last Ronin looks like it could be a super-impressive indie book, and that was likely the goal. This element of timelessness is especially noticeable when the story transitions to flashback pages drawn by Kevin Eastman himself. This is a noticeable visual change, but what remains so impressive is how the story doesn’t skip a beat. The modern artists trade pages with the original in an experience that feels like it’s coming full circle. The Ronin still has that signature design that’s sorta ugly, but also cool and strangely lovable that has been a staple since the original years. There are specific panels and sequences that will go down not just as some of the most memorable scenes in comics this year, but as some of the most impactful moments ever produced in a Turtles comic.

The final battles of the lost brothers are beautifully constructed and choreographed, and the homage panel for each character upon their death is equally striking and gut-wrenching. Watching the toll on the last brother in the “present” fight as he struggles physically and mentally with what has happened is equally devastating. The panels where the other brothers show up in the background of the first issue as they’re “talking” to their brother are a strange mix of haunting and reassuring. The art here wears the TMNT’s major influences on its sleeves too, with numerous homages to the legendary Frank Miller; a man who Kevin Eastman himself states was one of the primary reasons these comics exist. Luis Antonia Delgado’s colors paint the air of a polluted cyberpunk NYC at one moment and the snowcapped vistas of an ancient Japanese village the next all in a vibrant palette that perfectly matches the aims of the script and pencils. Shawn Lee’s lettering does much the same, with a distinct and easy to read font with cool, hand-drawn feeling SFX work that, like every other visual aspect here, blends classic and modern into a seamless reading experience.

TMNT: The Last Ronin is bookmark and a monument. This 5-issue mini-series is a a love-letter from the original creators, with the help of Tom Waltz, to both their creation and the fans that have supported these characters to the astronomical success they have achieved. A tale of tragedy, redemption, emotional renewal, and mutant turtle-powered ninjutsu, The Last Ronin is everything a reader would expect from a top-tier turtles comic – along with a lot of elements they would never see coming. A powerful script that is still wildly fun, visuals that perfectly ride the line between modern detail and old-school sensibilities, and some of the most memorable moments in comics in recent memory, all make for quite possibly the greatest single story in these characters’ long history. Now available in a gorgeous oversized hardcover, TMNT: The Last Ronin is a must read for fans of the heroes in a half-shell – no matter how you found them in the first place.

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Review: The Black Phone shines with bone chilling tale

Eric Trigg

Scott Derrickson has returned to the horror Genre with The Black Phone, an adaptation of Joe Hill’s short story. After terrifying audiences in 2012 with Sinister, Derrickson reunites with Ethan Hawke for a new horror masterpiece. The Black Phone is an unnerving, and anxiety-inducing experience that is held together by powerful performances. There have already been talks of a sequel, and if it’s anything like this, bring on the next outing.

The Black Phone knows how to make you root for the characters on screen while also keeping you on the edge. It Effectively builds tension throughout and creates a very terrifying experience. The performances from the cast are spectacular, and the film keeps jumpscares to a minimum. Hawke is joined by Mason Thames, Madeleine McGraw, Jeremy Davies, and Miguel Mora.

After being abducted by The Grabber (Hawke), Finney Shaw (Thames) finds himself trapped in a basement. His only hope of escaping is a disconnected phone on the wall, which allows Finney to hear the voices of past victims who are determined to keep him safe. Derrickson co-wrote the film with C. Robert Cargill, and the story wins you over due to the compelling sibling dynamic found at the core. Finney and his sister Gwen (McGraw) have a bond that shines throughout the film.

Before diving into the terror, The Black Phone takes a reasonable amount of time to let its audience breathe in the characters. Finney and Gwen live with their moderately abusive father, and everyone seems to be coping with a recent loss. Finney is bullied at school, and Gwen isn’t afraid to defend her brother. The pair get to stand up for each other enough that it tells you how much the characters need each other.

This allows a genuine feeling of concern to develop once Finney is taken. It’s understood that Gwen needs her brother, so I was invested in his safe return. While The Black Phone has an effective device to keep you engaged, it doesn’t deliver many details about The Grabber. Still, the mystery surrounding the character is only enhanced due to the film keeping his story nonexistent. Fans of the Halloween series might also compare the approach to Michael Myers, who is a mysterious force.

Derrickson and Cargill have fleshed out a horrific story with a wonderful message for young children. At its core, The Black Phone is a tale about a young boy learning to stand up for himself and have more confidence. A message that many might overlook during the constant terror on screen. The supernatural aspect is handled well, but some aspects remained vague. It’s implied that Finney and his sister have a gift due to their family history.

McGraw is an absolute scene-stealer as Gwen Shaw. The emotional pain she displays during one sequence is heartbreaking, but Gwen also possesses a smart mouth. A scene, in particular, involving two detectives delivered a hilarious scene of dialogue due to McGraw’s wonderful performance. Thames is incredible as her brother, Finney. Chemistry is present the entire time, and I was sold on these two being siblings.

Thames tremendously captures the pressure Finney feels along with the lack of confidence he wears, which makes him a target for bullies. Hawke delivers a bone-chilling performance as The Grabber. Hawke has been on a roll this year, and this has become my favorite performance of the year for him. He gets lost in the role and becomes this nightmare-fueled child-murdering maniac.

Derrickson’s direction is becoming a noticeable style, and that’s great to see as a fan of his. Borrowing certain aspects from Sinister as a nod such as the Super 8 effect. Visuals in the film are clear nods to his last project with Hawke. Reeling the audience into unexpected jumpscares, that never becomes tiresome or ill-timed. The pacing is handled brilliantly, so events never felt like they were dragging.

Minor logic holes aside, The Black Phone is another solid effort from Derrickson. The child performances are the standout, but Hawke is just as memorable in his role despite the lack of character development. If this sequel happens, I’m curious to see the approach because The Black Phone is an impressive new horror film.

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Marvel Comics Exclusive Preview: VENOM: LETHAL PROTECTOR #4

Anthony Composto - EIC

July 14, 2022

marvel comics exclusive preview venom lethal protector

VENOM: LETHAL PROTECTOR #4 hits your local comic book store on July 20th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview for you!

About the issue:
Eddie Brock has been through absolute hell. The love of his life has found another man, a dangerous cadre of criminals are after a bounty on Venom’s head, and worst of all, his only ally, the VENOM SYMBIOTE, is in critical condition, its anatomy pushed to the absolute limit. And somehow, things are about to get much, MUCH worse!

The issue is by writer (and Venom co-creator) David Michelinie and artist Ivan Fiorelli, with colors by Bryan Valenza, and letters by Travis Lanham. The main cover is by Paulo Siqueira and Matthew Wilson.

Check out the VENOM: LETHAL PROTECTOR #4 preview below:

Are you reading VENOM: LETHAL PROTECTOR? Sound off in the comments!

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AfterShock Comics Exclusive Preview: KAIJU SCORE: STEAL FROM THE GODS #4

Anthony Composto - EIC

July 14, 2022

aftershock comics exclusive preview Kaiju Score Steal From the Gods

KAIJU SCORE: STEAL FROM THE GODS #4 hits your local comic book store July 27th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
An ancient kaiju has just awoken, and Michelle and her crew are partly responsible. The question is, do they try to fix the problem or do they salvage the heist? It isn’t an easy question, since one of those answers will likely cost the lives of more of her crew. Everything comes crashing down – and up – in this final installment, and it’s not going to end like anyone expected.

The series is by writer James Patrick and artist Rem Broo, with colors by Francesco Segala, and letters by Dave Sharpe. The cover is by Broo.

Check out KAIJU SCORE: STEAL FROM THE GODS #4 preview below:

Are you reading KAIJU SCORE: STEAL FROM THE GODS? Sound off in the comments!

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Marvel Comics Exclusive Reveal: IMMORTAL X-MEN #7

Anthony Composto - EIC

July 13, 2022

IMMORTAL X-MEN #7 is due to hit your local comic shop in October, but thanks to Marvel Comics, Monkeys Fighting Robots has the privilege of revealing the cover and solicit text for you today!

The comic is by writer Kieron Gillen and artist Lucas Werneck, with a cover by Mark Brooks.

About the issue:
A SERIOUS BAMF! — A.X.E. TIE-IN!

Even if you’re the heart of the X-Men, there’re days you want to tear out people’s heart. Judgment day is one of them. What extreme steps will Nightcrawler take in the name of the Spark?

Each issue of IMMORTAL X-MEN focuses on a different member of The Quiet Council, the current leaders of mutantkind, with this issue turning the spotlight to Nightcrawler. As the solicit text states, this issue will also serve as a tie-in to JUDGEMENT DAY, Marvel’s summer event starring the Avengers, X-Men, and Eternals (A.X.E.).

Check out the IMMORTAL X-MEN #7 cover below:

Are you reading IMMORTAL X-MEN? Sound off in the comments!

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Review: IMPACT WINTER #1 – Reign of Fire Meets 30 Days Of Night

Justin Munday

From Audible series creator and screenwriter Travis Beacham (Pacific Rim, Clash Of The Titans) and artist Stephen Green (Sea Of Stars, Hellboy) comes a unique and entertaining blend of apocalyptic survival in the prequel one-shot Impact Winter #1. Featuring colors by Matt Hollingsworth and lettering from Andworld Design, this double-sized one-shot provides great backstory, excellent pacing, and compelling lore to help flesh out the world and cast of characters from the hit Audible series. Featuring a stellar script and fantastic visuals, this is a great start for fans of horror and vampire stories needing something new, and a must-read for fans of the original Audible story.

“It’s been one year since a comet hit Earth and blotted out the sun. Now, the world is a dark, cold landscape ruled by vampires.
In the British countryside, a band of survivors has formed a resistance in the fallout shelter of a medieval castle. Among them is Darcy, a young, headstrong fighter waiting for the chance to prove she can be on the front lines. But when that opportunity comes, Darcy will come face to face with the true horrors of this new world.”

Writing & Plot

Taking place some time before the Audible series, Impact Winter #1 works great as both a jumping on point for newcomers and strong backstory for current fans. Travis Beacham’s script has the narrative feeling of an audiobook, but restrained enough to let the visual storytelling of the comics medium take the lead. The double-sized page count is well-utilized in introducing a young Darcy and the post-apocalyptic world she has to inhabit. All of the events leading up to this point, with Darcy and other survivor’s hiding in a castle against the night hordes of vampires, are handled with a compelling mix of character interaction and overhead narration. Beacham’s script handles exposition by way of Darcy’s journal, which functions as the comic’s narration. He handles this element particularly well, as the writing feels natural and like actual dialogue. As such, the exposition pairs well with the actual in-story dialogue, which is equally well-written. Every character has their own unique voice, making the story have more stakes and its world more lived-in. The plot itself, like most vampire stories in recent years, is a sort of genre-salad. There are elements of 30 Days Of Night, The Road, The Witcher, and even Rob Bowman’s 2002 dragon-apocalypse film Reign Of Fire to be found in this story’s potential influences. This is in no way a negative criticism, as this sort of influence-blending is precisely what makes this one-shot so entertaining, and makes for a fantastic backstory/entry point into Beacham’s vampire apocalypse.

Art Direction

With an influx of Vampire and post-apocalyptic comics over the last few years, making one of these stories stick out largely comes down to the art. Fortunately, Impact Winter #1 has Stephen Green on hand to craft this one-shot’s visual experience. Green’s wholly unique character animations and design language help craft this world into something that stands out to readers while still serving the overall story Beacham has created. Every cast member has a distinct look, with outstanding acting pulling the readers into the lives of these people – especially Darcy. Green’s careful eye for design and composition help keep this 44-page comic moving along at a tense yet brisk pace. The action hits hard with well-choreographed moments of excitement that melt away into scenes of quiet intensity and contemplation. The blending of modern appliances and weaponry with that of the Middle Ages looks seamless in this one-shot – likely a holdover from Green’s work on Hellboy.

This comic’s aesthetic is tied together by the colors of the massively talented Matt Hollingsworth. This new world darkened by ash and clouds is perfectly fleshed out by his heavy shadows and tones. His lighting work is especially impressive, as every page is rendered with pale moonlight or candlelight. There’s one sequence where Darcy and another character are having a conversation in a dark room lit only by a hall light through a partially closed door. The accuracy to which the lighting element of that scene is particularly stellar. Overall, this is a beautifully dark and exceptionally well-animated horror comic.

Verdict

Impact Winter #1 is a highly engaging and entertaining one-shot prequel comic. Travis Beacham’s script for this double-sized issue offers perfect pacing and an excellent blend of naturalistic, expository narration, great dialogue, and solid characterization that makes for a great starting point for his Audible story. The visuals from Stephen Green and Matt Hollingsworth are brilliantly animated, fittingly dark, and well-composed for an atmospheric and intense reading experience. Be sure to grab this one-shot when it hits stands on July 13th!

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