The post Comic of the Week: “The Muppets Take the Marvel Universe” appeared first on G33K-HQ.
]]>
“The Muppets Take the Marvel Universe” is a collection of stories contributed by different writers and artists. They vary in length, but the longest one is “The Greatest Show (Not) On Earth,” written by Chip Zdarsky and illustrated by Pete Woods. This is the big team-up, where the Muppets must get the help of the Avengers (and other Marvel heroes) to rescue one of their cast from Mojo and his sinister streaming service, Mojo+.
One of the most important elements of this story is how well the characters from both universes interact, and what elements from Marvel and Muppets mesh. I’m happy to say that “The Greatest Show (Not) On Earth” absolutely nails it. As soon as Dr. Bunsen Honeydew brings his fellow Muppets to “The Interdimensional Council of Bunsens” (a clear reference to Marvel’s Interdimensional Council of Reeds), the crossover elements fall into place perfectly.
Chip Zdarsky finds excellent combinations of Marvel and Muppet characters to meet and interact with to give us the best gags and character moments alike. Howard the Duck creates a smooth transition from the Muppet animals to Marvel heroes, after which everyone finds a good counterpart. We get Fozzie Bear and Spider-Man teaming up for the wisecracks, Deadpool and Gonzo bonding over their shared weirdness, and Emma Frost finding a kindred spirit in Miss Piggy.
All the while, Zdarsky maintains strong voices for all of the characters, Muppet and Marvel alike, making their interactions feel natural and not making one outshine the other. Characters like Statler and Waldorf get to heckle, Sam the Eagle embraces Captain America’s patriotic attire, and even Iron Man and Rowlf get a good little heart-to-heart. The comic even has a good blend of Muppet Show comedy and Marvel Comics action, seamlessly transitioning without making either feel like an afterthought.
So yes, it is quite funny.
Pete Woods does a fantastic job with the artwork as well, making the Muppets fit in with the Marvel Universe without losing their distinct designs. While the Muppet characters maintain their puppet appearances, their body language and the way they’re framed in the panels make them properly emote and mesh with the Marvel superheroes. Of course, Woods also does a great job with the Marvel characters, capturing their iconic designs with a style that has just enough detail and color to make them stand out without contrasting their Muppet counterparts.
One of the best elements of Woods’ art style comes through in how he frames the characters within the panels and the angles he draws them from. Important moments can stand out more with nicely angled shots, like when we see Rowlf expertly play the piano from a slightly tilted view from above. Other moments receive equal thought and care, like the upward angle when we’re introduced to the Council of Bunsens that adds weight to the moment, or the splash panel where the Avengers burst through the Muppet Show banner.
Throughout the story, the colors are bright and clean, which helps bring the disparate character designs together and makes every page visually engaging. The Muppets, in their greens and pinks and blues, fit in naturally with the Avengers and their respective shades. When the colors shift, such as the darker corners in the Mojoverse, it helps subtly shift the mood and control the atmosphere to make key moments stand out all the more.
However, “The Greatest Show (Not) On Earth” is only part of “The Muppets Take the Marvel Universe,” so you might be wondering: do the other parts work just as well?
The other stories in “The Muppets Take the Marvel Universe” are shorter, coming in at five pages each. These provide opportunities to focus on individual characters meeting up, like Rocket and Groot meeting “Pigs in Space,” or Bruce Banner and Hank Pym making an appearance at Muppet Labs with Bunsen and Beaker.
Well, I’m happy to say that each of these stories is just as entertaining. While they’re more bite-sized stories, the writers and artists do a lot with the five pages they have.
“A Terrible Invention” (written by Kyle Starks, illustrated by Mike Henderson, and colored by Yen Nitro) brings the science sides of both worlds together, as doctors Banner and Pym discuss Bunsen’s disregard for both lab safety and Beaker’s personal safety. It’s filled with amusing dialogue from the exasperated scientists and ends with a great gag, including a fantastic full-page panel of… well, I won’t spoil it, but it works wonderfully.
“Pigs of the Galaxy” (written by MacKenzie Cadenhead, illustrated by David Baldeon, and colored by Yen Nitro) has the feel of a classic “Pigs in Space” sketch, complete with dramatic narration, bickering between the characters, and special guest stars Rocket and Groot. It’s pitch-perfect in story, pacing, and voice, making it feel like it was pulled straight from an episode of “The Muppet Show.”
“Bad Man” (written by Phillip Kennedy Johnson, illustrated by Athila Fabbio, and colored by Mike Atiyeh) is perhaps the most unique of the stories, featuring a nearly dialogue-free story where Wolverine meets Doctor Teeth and the Electric Mayhem Band. The lack of dialogue means the art has to do a lot to convey the narrative and control the pacing, but Fabbio’s artwork handles it nicely. This also has the most distinct art, leaning a little more to the cartoonish side than the others, but in doing so makes the characters more expressive in their faces and body language, so it sells the story all the better.
“Just What the Chef Ordered” has the largest creative team, with Ashley Allen and Chef Paul Carmichael on the story (but just Ashley credited for the script), Paco Medina as the artist, and Yen Nitro back on colors. This story has Doctor Strange trying to get a soup to help Clea recover from a sickness from the Dark Dimension, but the only person capable of cooking such a soup is the Swedish Chef. This is a comedic story that embraces the wackiness of the Chef and Marvel’s multiverse, filled with bright colors and strong lighting.
Finally, “Muppets Assemble!” (written by Adam F. Goldberg and illustrated by E.J. Su) is a short story with a simple but fun concept: what if the Muppets auditioned to be Avengers? This gives a chance for a few characters who didn’t get a chance to appear in earlier stories to appear, such as Lew Zealand and Pepe the King Prawn, as well as get a few more gags out of popular characters.
“The Muppets Take the Marvel Universe” is fun and full of love for both “The Muppet Show” and the Marvel Universe. The characters work together better than anyone could have expected, thanks to the top-tier work of the writers and art teams. Each story had its fair share of laugh out loud moments, and it’s clear from the detail that went into every element that the comic is a work of love from everyone on it.
Here’s to another 50 years of Muppets and Marvels alike.
The post Comic of the Week: “The Muppets Take the Marvel Universe” appeared first on G33K-HQ.
]]>The post Comic of the Week: “Batman/Superman/Weird Al: World’s Weirdest” appeared first on G33K-HQ.
]]>
“Batman/Superman/Weird Al: World’s Weirdest” is written by Mark Waid and Tyrone Finch, with Dan Schoening and Fico Ossio on the art, Luis Antonio Delgado on the colors, and Steve Wands as the letterer. That’s an all-star team already, and they bring their A-game. (Weird Al himself is included in the credit for “vibes,” which is pretty fair.)
Comics with celebrity crossovers can often be hit-or-miss. While the best seamlessly integrate the guest star into the plot without feeling out of place, others have a random celebrity show up to save the day while the superhero the comic is about mostly provides commentary. “World’s Weirdest” may put Weird Al on an equal level with Batman and Superman, but it does so in an entertaining way that makes sense narratively.
“World’s Weirdest” is an appropriate name for the comic (as well as a play on “World’s Finest,” but you already knew that), as it’s a tribute to, well, being weird. Comics have plenty of weirdness that we can all enjoy, but even beyond the pages, it’s important to enjoy the goofier things in life (like the music of “Weird Al” Yankovic). The comic highlights this message by showing us the greatest threat to weirdness and comics alike: mundanity.
So, what’s the plot? Without spoilers, “World’s Weirdest” kicks off as a plague of normality infects one of the weirdest parts of the DC universe: the 5th Dimension, home of interdimensional imp Mr. Mxyzptlk. He turns to Batman and Superman for help, but they quickly discover that only one man is weird enough to be immune: “Weird Al” Yankovic.
That covers the basics. The rest is a fun, comedic adventure where the heroes (including Al) have to figure out what’s going on and save the day, filled with entertaining character interactions and a great tribute to being weird. (Also an accordion-themed homage to “The Devil Went Down to Georgia,” of course.)
Mark Waid and Tyrone Finch keep the comic running at a good pace, with engaging and entertaining dialogue throughout. A personal favorite is Batman telling Weird Al that Robin loves his albums, and Batman tolerates them, but Al himself gets plenty of good lines. The writers not only have the voices and personalities down for DC characters like Batman and Mr. Mxyzptlk, but they also capture Al’s nicely.
Most notably, Weird Al fans will notice more than a few references to Al’s songs and recurring gags, from Harvey the Wonder Hamster to his taste for Twinkie wiener sandwiches to getting “the room next to the noisy ice machine for all eternity” (from the song “Everything You Know is Wrong”).
As it’s just one issue, “World’s Weirdest” only has so many pages to tell a complete story, but it doesn’t feel rushed. There’s enough time to set the stakes, bring the characters in, and carry the plot through to a satisfying ending while staying consistently entertaining across each page. Without spoilers, the antagonist behind the plot is a great choice, avoiding the usual go-to baddies Batman and Superman face and using a thematically appropriate foe with enough power to be a proper threat.
Above all else, “World’s Weirdest” is a story about embracing the things that make us weird. When Weird Al talks about spreading the message “that it’s okay to be weird,” I felt that to my core. This is a comic that embraces the strangest and goofiest aspects of comics while encouraging us to love what’s weird about ourselves.
How about the artwork? “World’s Weirdest” features illustrations by Dan Schoening and Fico Ossio, with colors by Luis Antonio Delgado bringing it all together. Their styles match nicely, so there are no jarring shifts between artists, and it’s visually engaging all around.
Schoening and Ossio do a great job bringing the comic to life, from the utterly insane world of the 5th Dimension to the streets of Metropolis. The 5th Dimension in particular is overflowing with detail that makes it feel alive, otherworldly, and absolutely bonkers, featuring sights like a car that’s also a giant hatching egg, a pink elephant on a large ball, and what appears to be a building-sized croissant… and that’s just in the background. That makes the shift all the more jarring as the world is overrun with mundanity, heightening its impact.
Similarly, the artists do a great job with the character designs. Batman, Superman, and all the other recognizable comic characters already have familiar silhouettes, and the artists capture them nicely with a good balance of detail. Weird Al himself gets a slightly exaggerated design that brings out his features well, like the shape of his face and his iconic Hawaiian shirts.
During the final showdown, the artwork really goes all-out. Music flies across the page as the landscape shifts, and the panels themselves bend as space warps around them. It helps maintain the pacing for the comic while helping the core moments land all the better and adding intensity to each scene, as a good comic clash should.
Delgado’s color work does a great job setting the atmosphere as well, shifting between bright, vibrant colors and a dull gray as needed.
When normalcy overtakes an area, it becomes saturated with dark shades of brown and gray, which makes the brightness of Al’s shirts and Superman’s blue stand out even more. It contrasts well with the bold, expressive colors of the 5th Dimension, as well as with the familiar tones of Metropolis, making the shift all the more notable.
Likewise, when Al plays his music, the glowing tones of the tunes nearly fly off the page, illuminating the area as we read. The color work brings out the artwork and enhances each scene, keeping us drawn in to the moment and feeling the mood each moment conveys.
If you’re a fan of “Weird Al” Yankovic, you probably already bought this comic and have it sitting right between your old VHS copy of “UHF” and that one concert t-shirt that’s completely worn out but you can’t bring yourself to throw out. (We all have those, right? It’s not just me?)
But if you’re on the fence, “World’s Weirdest” is absolutely worth reading, with fantastic work from the writers and artists alike. It’s a great tribute to Weird Al and all the weird things that make comics so much fun and life more bearable.
The post Comic of the Week: “Batman/Superman/Weird Al: World’s Weirdest” appeared first on G33K-HQ.
]]>The post Comic of the Week: “Dungeons & Dragons: Total Party Killers” #1 appeared first on G33K-HQ.
]]>
“Dungeons & Dragons: Total Party Killers” is written by Christopher Hastings (of “The Unbelievable Gwenpool” fame) and illustrated by Denis Medri, with colors by Dan Jackson and lettering by Lucas Gattoni. There will be spoilers as we delve into the comic, but nothing that wouldn’t already be spoiled by reading the solicitation.
As mentioned, “Total Party Killers” is not a story of adventurers, but rather, monsters. However, Hastings builds up to it nicely by starting with an adventuring party exploring an evil wizard’s lair. As they delve onwards, they encounter a peculiar assortment of monsters, such as a gibbering mouther performing as a bard, and a gelatinous cube with a surprising assortment of wizardly items floating about inside it.
The buildup and reveals are paced nicely, introducing one monster at a time as we learn how the wizard controlled them with a powerful magic item. Thus, when we get the reveal that the monsters are baiting adventurers to free them, there’s plenty of foreshadowing in place. (And that’s about as far as the spoilers in this review will go.)
At the same time, this makes us sympathetic to the monsters, as we see their camaraderie and desire to be free. It’s a good contrast to the adventurers, who have spent most of the comic being self-aggrandizing and disdainful of the monsters they encountered. It’s an effective introduction and a fun little reveal, which also parallels another twist (that we will not be spoiling here).
The monsters themselves are great choices, featuring an assortment of iconic D&D foes. Each one has a distinct personality and voice that comes through in every line of dialogue, making them instantly appealing.
We have a gelatinous cube (with wizardly training and magic items), a mind flayer (who currently has druidic magic after eating a druid’s brains), a death knight, and a baby beholder.
(Yes, I’m well aware that beholders don’t have children, and reproduce by dreaming other beholders into existence. Hastings knows this too and has the characters address it. Regardless, Looksy the baby beholder is an adorable mascot character who quickly grabs readers by the heartstrings.)
Rounding out the party is a lycanthrope rogue, whose ability to shift into human form serves a story purpose, plays into the reveal, and gives readers a more human-looking central character to connect with.
As a result, we get a party that’s both filled with classic monsters and matches adventuring party roles.
The story is well-paced, bringing us through the wizard’s lair, introducing the characters, and kicking off the plot without feeling rushed or dragging things out. Considering it’s a four-issue mini-series, that type of pacing is just what the comic needs to give us a full story in the time it has.
Fans of D&D will be pleased to know that Hastings clearly knows his lore. There are little details, like name-dropping locations in the Moonsea or using specific spells, that show his knowledge of the setting, as well as more plot-relevant characters and locations that will be familiar to fans of the Forgotten Realms.
That brings us to the artwork. “Dungeons & Dragons: Total Party Killers” is illustrated by Denis Medri, with colors by Dan Jackson. Medri’s artwork matches the tone of the comic perfectly, with bold line work and clean designs that make everything stand out nicely.
On a scale of “cartoon to realistic,” Medri’s artwork leans more toward the cartoon side, with distinct silhouettes and larger-than-life character designs, rather than relying on more natural shapes and heavy detailing. This is to the comic’s favor, especially when we get to the monsters. For those characters, Medri’s designs work wonders, capturing key details of iconic creatures without making them look terrifying to readers.
Also, Looksy is adorable, and Medri does a great job making it expressive with nothing but eleven eyes and a mouth.
Medri’s artwork also works well for the action scenes, especially when the characters start spellcasting. The lighting effects and arcane runes make the spells come to life on the page, while the melee action flows well.
The color work matches Medri’s style nicely, using bright tones against the colder backgrounds to make the characters and spell effects pop. Jackson’s colors also lean towards cleaner shades, which keeps the characters at the center of attention in each panel.
It helps that he gives each character a distinct color scheme as well, both for humans and monsters. Tilli’s blue hair makes her instantly recognizable, and the green hue and magic of Mucus Cubus, the gelatinous cube, complements it nicely. Even Strago the death knight, whose color scheme is mostly dark greys and metals, stands out with his glowing red eyes.
All in all, “Dungeons & Dragons: Total Party Killers” is a ton of fun for longtime fans of D&D and anyone looking for a good story. Hastings’ great characters, pacing, and story, combined with Medri’s artwork and Jackson’s colors, make this comic a joy to read.
“Total Party Killers” introduces a new band of soon-to-be beloved characters, and I can’t wait to see where the story takes these adventurers monsters heroes.
The post Comic of the Week: “Dungeons & Dragons: Total Party Killers” #1 appeared first on G33K-HQ.
]]>The post Comic of the Week: “DIE: Loaded” #7 appeared first on G33K-HQ.
]]>
It’s been more than a few weeks since our last Comic of the Week, but there’s a very good reason for that. No, it’s not that there were no comics worthy of a review – there are so many fantastic comics coming out these days, it’s hard to keep up with them all. Rather, it’s just that I came down with tendinitis, so I haven’t been able to write reviews for quite some time.
So with that out of the way, let’s return to the world of “DIE: Loaded,” written by Kieron Gillen, illustrated by Stephanie Hans, and lettered by Clayton Cowles. (Please note that this will involve spoilers for both this issue and the previous one.)
“DIE: Loaded” #7 starts the second story arc of the comic, and picks up after the shocking end of #6, with half the party dead after a sudden but inevitable betrayal. However, in the world of DIE, dead players still get to participate. The surviving characters, consisting of the POV character Sophie and Tommy (the elderly father of Matt, a central character from the previous “DIE” comic) have to pick up the pieces and figure out what to do next while their deceased companions are reanimated as flesh-eating Fallen.
This transformation doesn’t take the other characters out of the story or turn them into mindless monsters. Instead, they’re still active, but driven by rage and hunger while slowly losing themselves. This adds a new sense of urgency and tension to the story, as the only way Fallen can be returned to life is by killing (and eating) someone else, while also keeping the characters in the narrative as both central characters and ticking time bombs.
However, the need to address that problem turns this issue into a more emotionally impactful look at Tommy, who’s grappling with an issue far more real and frightening than any fantasy world or mystical monster. “DIE: Loaded” #7 is actually a character-driven story, where we get to know Tommy more.
Once we read those words, the entire issue is transformed. We’re taken through an emotional journey as Tommy recounts his slow realization that dementia is creeping in and his memories are drifting away. Even in the fantasy world of DIE, this becomes more terrifying than any Fallen or otherworldy monster. It’s real, and while every threat and monster in DIE is based on the characters’ own real-world struggles and anxieties, knowing this is a thing that can happen to any of us makes it hit all the harder.
Of course, writer Kieron Gillen still takes time for the other characters. We get to see more of Sophie’s traumas and anxieties manifest through a heckling elf, see her interact with more of the gods of DIE’s world, and enjoy a fun play on modern geek culture with fantasy characters cosplaying as humans. Everything connects together so seamlessly as it builds on the story and world, keeping us as readers engaged as we’re drawn further in to the setting and characters.
The artwork by Stephanie Hans remains superb. Her artwork has an etherial quality to it, emphasized by the watercolors and intentionally limited color pallets. Even moments where characters are talking are made all the more engaging by the lighting, colors, and composition, where practically every panel is a work of art unto itself.
The character designs are distinct and capture the characters’ personalities and powers, from the deities that Sophie barters with to the way Tommy’s outfit blends fantasy and cyberpunk elements. Heck, even the elf cosplaying as an IT guy is overflowing with important details, like the noticeable divide where his wig and skin meet, or the name badge that says “Hoo-Man.”
The use of shadows also makes certain characters or scenes stand out strongly, adding dramatic effect and atmosphere, while the colors set the mood perfectly. For instance, one tense scene relies primarily on shades of red against a black background. Not only is this visually striking, but the colors emphasize the emotion of the scene, adding to the sense of danger, anger, and anxiety.
The original “DIE” comic is a tough act to follow, telling a gripping and compelling story in exactly 20 issues. But “DIE: Loaded” continues to be an equally engaging sequel, constantly throwing new ideas and twists at us that deepen our understanding of the characters and the world of DIE. Suffice to say, the second arc of the “DIE: Loaded” story is off to a strong start.
The post Comic of the Week: “DIE: Loaded” #7 appeared first on G33K-HQ.
]]>The post Comic of the Week: “Marvel/DC: Spider-Man/Superman” #1 appeared first on G33K-HQ.
]]>
Marvel Comics and DC are teaming up again, with Spidey and Supes joining forces. While we missed the timing to include March’s “Superman/Spider-Man” team-up, this comic continues the crossovers, just with the order reversed on the title. So of course a cross-company team-up like this has to be our Comic of the Week.
“Spider-Man/Superman” is an anthology of team-up stories, so it’s written, illustrated, and colored by multiple creators. Among the credits are familiar names like Geoff Johns, Jason Aaron, Dan Slott, and Stephanie Phillips, to name a few writers, as well as artists like Humberto Ramos, Todd Nuack, and Sara Pichelli. Credit must also be given to the colorists, including Muntsa Vicente, Brad Anderson, Federico Blee, and Louise Simonson. There’s only one name consistent between each and every story, and that’s Joe Caramagna as the letterer.
So, with all those talented creators on the team, how is the comic?
Each story in “Spider-Man/Superman” presents different scenarios where the characters meet, and gives them all chances to shine and showcase their personalities. The largest story has Brad Meltzer, Pepe Larraz, and Matthew Wilson on a team-up tale called “Our Kryptonite,” but others feature team-ups with Spider-Man Noir and the early version of Superman, Gwen Stacy and Lana Lang, Miles Morales and Superman, and even Jane Foster as Thor teaming up with Wonder Woman.
The details for each story differ from writer to writer, featuring different types of team-ups. We have Spider-Man and Superman trapped by villains and talking each other through it, Ghost Spider and Supergirl forming a rivalry, The Thing being inspired by Superman to do more than clobber, Steel and Thor meeting up, and more. Each one gives their respective characters an opportunity to show off their personalities and bounce off each other in ways we’d never get to see outside of this crossover, like Superman giving Miles Morales a pep talk, while highlighting each of their strengths.
The entries vary in length, with the longest being over 20 pages, and the shortest coming in at two. The writers and artists make full use of however much or little space they have, telling a satisfying story or snippet in each one.
The key to this lies in the characters above all else, as the comic highlights what makes each of them timeless. Superman inspires. Spider-Man perseveres. Wonder Woman sees the good in everyone. The stories that capture these core elements hit the key emotional beats they need to showcase the characters and the love that the writers and artists hold for them. Some do it better than others, but overall the writers nail it more often than not.
By focusing on these central character traits, “Spider-Man/Superman” manages to tell multiple character-driven stories that carry emotion along with the action. Sure, seeing Superman breaking free of the Venom symbiote is cool, but it’s the conversation before that, where Superman and Spider-Man share what motivates them, that makes the story land. The balance of character dynamics and team-up action make the stories land, while focusing on the timeless elements of the heroes.
Each story also features a different artist, showcasing an array of styles. Pepe Larraz, Gary Frank, Todd Nauck, and Sara Pichelli are some particular stand-out artists, but credit must be given to all of them. The art styles tend to match the stories nicely, with artists that can bring out both the action and the emotional moments.
For instance, Marcos Martin and colorist Muntsa Vicente bring Dan Slott’s Spider-Man Noir/Superman story to live with a distinct style, utilizing bold designs that go light on the detail to make characters pop more while looking similar to older art styles that suit the time frame of the comic. Martin occasionally shapes the comic panels into letters to emphasize the sound effects, blending the diegetic sound with the framing of the comic to add a nice emphasis to the moment.
While opinions will vary about which story is best, and some work better than others, there’s a little something for everyone. Obviously, Spider-Man and Superman fans will get the most out of the comic, but it also takes the time to highlight other iconic characters. (Personally, my favorite story is “Our Kryptonite,” while my least favorite is the Ghost-Spider/Supergirl team-up “Remarkable,” but even my last pick still has plenty to appreciate.)
Overall, “Spider-Man/Superman” is a rare and welcome crossover. It features works of passion by creators that love the characters, and takes the time to focus on the elements that have made the characters timeless. If you’re a fan of either Superman or Spider-Man, or just want to get a Marvel/DC crossover for your collection, you’ll want to pick up this comic.
The post Comic of the Week: “Marvel/DC: Spider-Man/Superman” #1 appeared first on G33K-HQ.
]]>The post Comic of the Week: “MAD About DC” appeared first on G33K-HQ.
]]>
Given that, how could it not be our Comic of the Week? (Yes, we’re still calling it Comic of the Week, even though it’s been several weeks since the last one. It’s still the comic of this week, so the column name works.)
“MAD About DC” is many things. It’s simultaneously a MAD Magazine/DC Comics creative crossover, a special issue of MAD filled with takes on DC Comics, and a loving bit of self-parody/deprecation from comic book creators.
As such, there’s no story to follow, but we can certainly review the overall quality of the art, writing, and humor.
“MAD About DC” is a team project by multiple creators, including Chip Zdarsky (who does triple duty as a writer, artist, and Guest Editor), Skottie Young, Tini Howard, Mark Waid, Jim Zub, Ramon Perez, Gerry Duggan, Kelly Sue DeConnick, Gail Simone, and many, many more. It’s clearly a passion project from everyone involved, drawing on everything from personal experiences to deep lore cuts to humorous hot takes.
These are creatives who have been working in comics for years, which means they know the characters and the industry inside and out. Yet in nearly every gag, there’s a serious sense of love for both the medium and the fans.
For instance, take “The Five People You Meet at Comic Cons,” written by Tini Howard and illustrated by Mattie Lubchansky. It’s clearly drawn from Tini’s own experiences at conventions and the type of attendees she’s encountered over the years, including some humorous commentary. Yet it ends with a moment of sincere appreciation for the fans who come by and talk to her, making it clear how much she appreciates them.
Or, consider “Society for the Licensing and Appraisal of (Human) Beings,” or “S.L.A.B.” for short, written by Kelly Sue DeConnick and illustrated by Valentine De Landro. This bit takes the concept of graded comic slabs and turns them on the fans and collectors, but there’s still a clear affection for them, including the retailers, cosplayers, and congoers (while also taking shots at NFT collectors).
Naturally, there’s plenty of good-natured humor on every page. And occasionally gross-out humor, too. Some personal favorites include Kyle Starks’ “MAD Guide to Dial ‘H’ for Hero Fails,” “The MAD Guide to Batman’s VIllain’s Secret Identities” (written by Ryan North and illustrated by Erica Henderson, the unbeatable team behind “The Unbeatable Squirrel Girl”), and Gail Simone’s Teen Titans PSA “Beware the Blunder at Make-Out Point” (illustrated by Colleen Doran, who nailed the old school look with copious amounts of Ben Day dots).
Each page is filled with laugh-out-loud humor, by and for people who love comics. The artwork is also perfectly suited for each gag, whether it’s using the caricature-like style of MAD Magazine parodies (down to the square text boxes and typewriter font) or showcasing the artist’s unique style.
The writers are even happy to take jabs at themselves, with “Absolute Batman” writer Scott Snyder writing a parody of his own series, including a gag about the series’ tendency to turn Batman’s rogues into “eldritch monsters” with absolutely massive muscles. Artist James Harren matches Nick Dragotta’s style nicely, while adding humorous exaggerations that make it land. The fact that colorist Frank Martin also does the colors for both “Absolute Batman” and the “MAD About DC” parody is icing on the cake, bringing the same intense darkness and shading of the comic to the comedy.
Of course, this is still an issue of MAD Magazine (sort of), so there are some MAD staples in it. Jim Zub and Ramon Perez give us a Green Lantern crossover with Spy vs Spy in “Guy vs Spy,” in which Guy Gardner takes on the white Spy, with a combination of snark and slapstick, as well as wonderfully humorous artwork that manages to suit both characters nicely.
We also get DC versions of MAD staples, like “Snappy Answers to Stupid Questions” focused on DC heroes. Even Sergio Aragones also gives us “A MAD Look at Comic Shops,” bringing his trademark humor that’s appeared in MAD Magazine for years to the issue.
And of course, it wouldn’t be an issue of MAD Magazine without a fold-in on the back page (that’s right, comic fans: you have to choose between maintaining the comic’s condition and getting to enjoy the fold-in gag! How devious…)
Still, an issue like this comes down to one big question: is it enjoyable? Absolutely. “MAD About DC” is a laugh riot on every page, filled with both affection and self-parody from writers, artists, colorists, and letterers alike. It blends the satirical humor of MAD Magazine with the talents of DC’s creative teams, making a humorous tribute to comic books for fans to enjoy.
The post Comic of the Week: “MAD About DC” appeared first on G33K-HQ.
]]>The post Comic of the Week: “The Muppets Noir” #1 appeared first on G33K-HQ.
]]>
“The Muppets Noir” is written, lettered, and illustrated by Roger Langridge, a writer and artist from New Zealand, also known for comics including “Frankenstein Meets Shirley Temple,” IDW’s “Popeye” and “The Rocketeer: Hollywood Horror,” and a few Muppets comics for Boom Studios and Marvel, so he has experience with Muppet comics. Dearbhla Kelly provides the colors, bringing both the Muppet Studios set and gray-toned noir setting to vibrant life.
So, what is the plot of “The Muppets Noir?” As one would expect, it’s a Muppet version of a black and white detective story, featuring Kermit the Frog as a private eye who narrates his every thought (you can practically hear the saxophone playing in the background while reading), taking on a case that leads him through encounters with other Muppets as various characters. Hijinks ensue.
However, the comic also uses a framing device, where it’s all Kermit’s dream, after he gets knocked out in a way that could only happen in The Muppet Show. This framing helps introduce some key elements to the story, including Kermit’s detective name and the recurring use of pies throughout the story, while adding a layer of explanation for things like random musical numbers.
Kermit’s detective story is pretty typical noir fare, which is appropriate for the comic. He’s hired to find a runaway heiress (played by Miss Piggy, naturally), and his quest takes him across the city, where he encounters familiar Muppet characters in new but appropriate roles.
We get appearances from Muppet Show staples like Fozzie Bear and Gonzo, along with recognizable characters like Crazy Harry and Sweetums in smaller roles, and a creative assortment of background characters. They all work well in their respective roles, like Sam the Eagle as a cop who’s all too eager to hand out tickets, while helping move the story forward at a steady pace.
(Of course, Miss Piggy wouldn’t let a comic go by without her having multiple appearances, so she keeps appearing in obvious disguises throughout the story; what that means for the narrative will be revealed in time.)
The comic also uses a fun story tool for musical numbers, as Kermit’s detective character has a condition where being around pies makes him see everything as a musical. This is accompanied by a shift in the color scheme, adding vibrant colors or a sepia tone to the normally black and white background, along with the dialogue switching to rhyming schemes to set a general tune for the musical number. The rhyme scheme, character positions, colors, and even text boxes help set the tune of musical numbers, so you can get a good idea of how the song goes even without musical accompaniment.
This is a comedic story above all else, and writer/artist Roger Langridge does a good job with both the visual and story humor. We get good gags both in the Muppet Studio and the flashback, ranging from clever jokes to slapstick bits to character-driven humor, so it’s easy to get a laugh out of the comic. All the while, the characters stay true to the Muppets we know and love, as Langridge has a good grasp of their voices and personalities.
Visually, the comic does a good job capturing both the chaos of The Muppet Show and the stylings of a noir detective film. The way panels are set often reflects how the camera angles and shot compositions would look in an episode of The Muppet Show, a Muppet movie, or a noir film, and while the panels are primarily regular squares, they shift shape during the musical numbers to make the moments feel all the more dreamlike and active.
Langridge’s artwork falls cleanly on the cartoon side of the realism-to-cartoon scale, as is appropriate for a comic about the Muppets. It’s not hyper-detailed, but there’s enough filling each panel to make it feel active and alive, with well-placed shadows and lining to add texture and depth to the images.
The designs for some characters match up perfectly with their Muppet counterparts, while others feel more like their designs are given a more humanoid form to better match the story. So while they don’t always match the puppets in every detail, it makes them easier to move across the panel in a way that feels natural. Kermit has a noticeable shift once he dons his detective outfit, which appears to be an intentional choice.
The colors by Dearbhla Kelly also deserve praise, bringing a bright tone to the Muppet Studios stage before shifting to shades of gray for the noir moments. The colors are mostly flat tones, but there’s just enough shading to add light and shadows around the characters that help add volume to the designs.
Color and lack thereof play noticeable roles in setting the atmosphere; we go from the colorful set to a black-and-white world, where only the characters and sound effects have color and vibrancy to them. But when the world shifts to a musical number, the color scheme changes too, further emphasizing the change.
So, is “The Muppets Noir” worth reading? If you’re a Muppets fan, especially one with an appreciation for film noir, you’re going to have a good time. If you’re not a Muppets fan… I’m sorry your life is so devoid of joy. Overall, “The Muppets Noir” is a fun Muppet story that works with the characters well and plays with film noir tropes, making it a most sensational, inspirational, celebrational, and perhaps even Muppetational comic.
The post Comic of the Week: “The Muppets Noir” #1 appeared first on G33K-HQ.
]]>The post Comic of the Week: “Uncanny X-Men” #22 appeared first on G33K-HQ.
]]>
At this point, our Comic of the Week reviews aren’t exactly weekly, but our schedule slippage doesn’t mean there’s a lack of great comics out there. It just means we’re overdue to look at another top pick. So let’s catch up with the X-Men and the Outliers in “Uncanny X-Men,” written by Gail Simone, illustrated by David Marquez, and colored by Matthew Wilson.
For those who haven’t been following the latest events in the mutant side of Marvel, after the fall of Krakoa and the subsequent defeat of Orchis, the X-Men are scattered into multiple teams again. “Uncanny X-Men” follows a combination of fan favorite X-Men (Rogue, Gambit, Jubilee, Nightcrawler, and Wolverine) and their new mentees, a group of new mutants called the Outliers, as they try to make a place for themselves in Louisiana.
Issue 22 starts a new story arc, which brings back a character from an earlier story: Mutina, who is both the star of the mutant-themed horror film “Murder Me, Mutina” and a mutant with murderous tendencies herself.
Mutina’s portrayal is an interesting blend of influencer/celebrity and sociopathic killer. She’ll go from asking to join the X-Men for the good PR to threatening everyone in nearly the same breath, taking glee as she torments her targets both physically and psychologically.
Sure, there may some people who will take issue with how a girl dressed like she’s on her way to an anime con can walk away from a fight with Wolverine, but that’s not new or surprising. Regardless, the combination of Mutina’s powers, mind games, and sheer lack of morality makes her appropriately threatening and an engaging character. (Also, her design is absolutely memorable and captures both her personality and public facing persona nicely, so I do hope to see people cosplaying her at conventions.)
Of course, that’s not all the issue is about. The story also puts a spotlight on Nightcrawler, who gets a chance to shine as the X-Men and Outliers celebrate his birthday. We get a moment to see his growing relationship with MacKenzie DeNeer (a woman whom he met after saving her daughter), how much the others appreciate him, and how he steps up when the stakes are high.
It highlights not only Kurt’s fighting skills (but absolutely takes a moment to showcase how he can wield three swords at once by using his tail) but also his heart. While Nightcrawler can absolutely take down bad guys in a fight, he’ll first try to offer a hand and a chance at redemption, and writer Gail Simone captures that heart in his dialogue and internal narration wonderfully.
So story-wise, “Uncanny X-Men” #22 is very strong, with great character moments for both a hero and villain. Now let’s look at the art.
“Uncanny X-Men” is illustrated by David Marquez, with Matthew Wilson on the colors. They’ve worked on the comic alongside Simone since issue 1, and the comic is all the better for it. Marquez’s artwork brings life and personality to the characters, capturing their body language and expressions with nice subtle touches that make them feel alive. Depending on the need, the art can shift between a soft style that goes light on the details and a sharp, highly detailed close-up, adding the appropriate atmosphere to the scene.
During action scenes, Marquez uses the comic’s panels to control the pacing, alternating between different sizes and widths depending on the speed and intensity of the motion. At some points, the characters pop out of the panels, crossing over into the next just enough to carry the reader’s eyes through. That, along with the motion lines and red streaks of Mutina’s knives, keeps the fights flowing nicely from moment to moment.
Wilson’s colors are well-suited for Marquez’s art, shifting between tones to control the mood while helping the characters stand out. In the darker scenes, Wilson strikes a great balance between the dark backgrounds, shadowed characters, and light sources to highlight the characters, keeping them in focus without compromising the atmosphere.
The use of shadows makes the colors slightly subdued, which helps them feel more natural than a more cartoonishly bright comic. It’s an appropriate choice for “Uncanny X-Men,” which often focuses on the lives, emotions, and struggles of the characters, rather than flash alone (but there is still plenty of flashy action when the moment calls for it).
If you haven’t been reading “Uncanny X-Men,” you’ve been missing out, but issue 22 is a great jumping-on point. Gail Simone, David Marquez, and Matthew Wilson are at the top of their game in every issue, bringing the character drama, development, and action readers love to see in an X-Men comic.
The post Comic of the Week: “Uncanny X-Men” #22 appeared first on G33K-HQ.
]]>The post Comic of the Week: “Absolute Batman” #15 appeared first on G33K-HQ.
]]>
“Absolute Batman” has been going strong, but issue 15 kicks off what promises to be one of the most significant moments in his story… by focusing not on Batman, but his most iconic enemy.
That’s right: it’s time to meet the Absolute Joker.
“Absolute Batman” #15 is written by Scott Snyder, illustrated by Jock, and colored by Frank Martin. This issue follows the Bane story arc, wherein Batman was pushed beyond his physical limits, and his friends were broken to become the Absolute versions of the classic Bat-villains they were always going to be (except they may be allies? Time will tell).
After that action-packed issue, which featured a kaiju-sized Bane, issue #15 takes things slower, focusing on narration and backstory to transition readers to the next arc.
In this issue, we get the Joker’s backstory, as narrated by Alfred (with Bruce occasionally piping in with questions and commentary). Then we get it again. And then a third time. Each time the story gets darker, as we go from the public-facing narrative to the more sinister side that Alfred’s research uncovered, to the truly twisted truth that he can only guess at.
Unfortunately, I can’t say much about that story here, because that would be going too far into spoiler territory. However, it is a fitting story for this version of the Joker, shrouded in thematic symbolism, a bit of social commentary, and a blend of horror and the supernatural that makes this Joker his own type of monster. The delivery is well-paced and deliberate, bringing us deeper and deeper into the true horrors as we go, without losing the voice of the narrator.
This gives us a Joker that’s very different from the main universe’s version. While the classic Joker is the man who laughs, the Absolute Joker doesn’t even smile. This Joker also serves as a foil to Batman in having a similar reversal from their mainline DC versions – as mentioned, this Bruce Wayne doesn’t have his family fortune, so now the Joker is the one wealthy beyond reason.
He’s a media multibillionaire with a long family history, and of course, a dark, hidden side. His crimes aren’t flashy or murderous gags, but a combination of self-enriching and sadistic, committed for his personal gain and pleasure alike. It’s properly unnerving.
But with all these changes, is the Absolute Joker still the Joker? One thing that the “Absolute” comics do is maintain the core elements of the characters, no matter how much their circumstances change; Superman is still an alien who uses his incredible powers to protect people, Wonder Woman is a mythological warrior who sees the good in the world and will do whatever she can to fight for it, and Batman is a normal man who’s trained his body and mind to their limits to ensure no one else has to suffer the same kind of loss that he did.
For the Joker, there’s so much about him that’s already different from his main universe self, but the most important thing is his relationship to Batman in their parallels and contrasts. While how well that plays out in “Absolute Batman” has yet to be seen, at the very least, there are still parallels between them, not to mention the clown motif, so this Joker still feels like a Joker, even with all the differences.
As for the artwork, artist Jock and colorist Frank Martin do an excellent job bringing Scott Snyder’s story to life. The art is stylized with rough and jagged yet detailed designs, using heavy shadows to maintain the atmosphere. During the flashbacks, it uses a muted color scheme to indicate the era, while the modern-day scenes maintain Jock’s style while shifting to brighter colors.
Just as the story shifts three times, so too does the artwork create its own parallels, showing us different versions of the same scene to illustrate the difference between the story people know and the truth. Then, when we get to see the Joker’s true face, the art takes a shift towards the truly horrific, using scattered panel pacing and angles to increase the tension before giving us a bone-chilling two-page spread of the Joker’s true form.
The artwork sets the tone nicely, using shading and colors to manipulate the atmosphere and pull the reader into each scene. It carries the reader through the dialogue and into the world, while using panel size, shape, and placement to control the pacing.
“Absolute Batman” #15 is an excellent introduction to the Absolute version of the Joker, using both the narration and artwork to craft a chilling story. At the same time, that means I’m going to limit what I say here, because it’s a comic that must be read to truly appreciate it.
The Absolute Joker is here, and it’s an issue not to be missed.
The post Comic of the Week: “Absolute Batman” #15 appeared first on G33K-HQ.
]]>The post Comic of the Week: “DIE: Loaded” #1 appeared first on G33K-HQ.
]]>
The original “DIE” comic, which ran from 2018 to 2021, told the story of a group of adults who, when they were teenagers, were trapped in a role-playing game world, and then found themselves pulled back in as adults. The world of DIE isn’t a magical high fantasy world like your typical isekai series or the Dungeons & Dragons cartoon, but a deadly realm made from a combination of classic stories and the characters’ own traumas, fears, desires, and unresolved issues.
It ran for 20 issues, telling a complete story filled with intense character drama, high stakes, literary references, and an exploration of the very nature of games, storytelling, identity, and escapism. In other words, it was awesome.
There’s also a proper RPG based on the world and mechanics of “DIE.” (Don’t worry, while players take the role of gamers pulled into the world of DIE, no real players have actually been isekai’d, at least not to the best of my knowledge.)
So fans were elated when writer Kieron Gillen announced that he’d be writing a new “DIE” comic, with artist Stephanie Hans returning to continue bringing her unique artistic style to the story.
Now all that remains is one question: Can “DIE: Loaded” capture that same magic? Let’s explore…
“DIE: Loaded” picks up a year after the first story ended. Ash resumes the role of narrator, catching us up with the cast of the first “DIE” comic and how things have changed in the year since they’ve returned. Suffice to say, there’s a lot to catch up on, including some good, some bad, and plenty of uncertainty.
After all, this isn’t the kind of comic where characters return home with all their issues sorted out and a happy ever after waiting for them; it’s the kind of comic where their challenges in the game world are a reflection of their issues outside of it, and facing one doesn’t mean the other is suddenly fixed.
As the narration catches us up to speed, we’re confronted with very real, very human issues – characters struggling with parenthood, gender, responsibilities, loss, familial conflicts, and adapting to a world in the wake of the COVID-19 pandemic. Even though we’re reading a comic where characters are about to get pulled into a fantasy game world, the real-world problems they face are completely relatable and make them feel alive. Each character has a distinct personality, flaws, voice, and struggles, which come through in every moment we spend with them as readers.
The first part of the issue takes its time reintroducing us to its world and characters, introducing new characters, and showing us the impact of a major death from the previous series. The pacing is controlled, shifting between the narration taking us through scenes and the characters conversing (or clashing, as the case may be), before kicking it up as a new game begins.
In the first “DIE” comic, the characters we followed had gone through the game world once before, so they knew the world and their powers. We, as readers, were shown their past journeys through flashbacks and learned about the world through them. In “DIE: Loaded,” it’s a new cast of players (so far, at least), so the position is reversed – as readers, we’re at least somewhat familiar with the world and its mechanics, while the characters are new and must learn how everything works. This shift keeps things fresh, so we can see the story through a new set of eyes.
Of course, the new players are still connected to the original cast, which means we get some emotional gut-punches with a nice dash of foreshadowing and dramatic irony.
Now let’s talk about the art. Stephanie Hans, who illustrated the original “DIE” comics, returns for “DIE: Loaded,” which means that the new comic looks just as amazing as the first. Hans uses a soft, watercolor-like style for her artwork, focusing primarily on single color schemes per page in a way that makes each panel a work of art.
Hans’s character designs make each character’s voice, emotions, and personality come through in every panel, motion, and expression. The scenery and settings feel real and lived in while still maintaining that distinct artistic style she brings to each image, complete with lighting effects that both set the atmosphere and draw the reader’s eyes across the page.
Inside the game world, the artwork maintains its style while adding otherworldly settings, creatures, and effects. At one point, we’re given a two-page spread showing the different gods of the world, and each of them has a creative, evocative design that makes them truly feel divine. When we see powers in action, the way the gentle, smooth artwork blends each motion and moment turns comic panels into paintings, and goddamn does it look good.
When we want to talk about the colors, I can quote my review on Multiversity Comics from the previous “DIE” run, because her color work is just as good as before (if not better):
“And the colors. My god, the colors. Stephanie tends to use certain shades for each scene (usually red or blue) in a way that washes over everything in its select hue. Yet the way she works the shades in each scene makes the images all the more striking, with the colors contrasting or blending to brilliant effect. Her use of complementary colors strikes a great balance, like the orange light of magic illuminating the blue darkness of an empty dungeon.”
Kieron Gillen and Stephanie Hans haven’t missed a beat, picking up the story from “DIE” and moving it forward with the same gravitas, humanity, and expert craft that made the first comic a masterpiece. “DIE: Loaded” is off to a strong start, which means we can brace ourselves for an emotionally resonant story that changes the way we look at games and the very nature of storytelling. Again.
The post Comic of the Week: “DIE: Loaded” #1 appeared first on G33K-HQ.
]]>