That was definitely the case when I opened Before We Sail, a post-apocalyptic survival comic written by Carlos Yacolca with art by Michelle Lino. I didn’t know what to expect, but I knew I was about to be hit with something emotionally heavy. And I was.

The Setup

Before We Sail is a seven-part serialized graphic novella that launched in Aces Weekly Volume 75 on July 7, 2025. It marks the comics writing debut of Carlos Yacolca, and it doesn’t hold back. The premise sounds familiar at first: pirates, zombies, societal collapse. But the heart of the story isn’t in the undead or the action. It’s in the survival. That’s the word that matters most.

Set in a crumbling version of Lima, the story follows Jonathan and Kath, two people trying to escape the chaos on land and reach the sea. They’re not just searching for safety. They’re trying to hold on to some sliver of meaning in a world that seems to have lost all of it.

Narrative Style and Emotional Core

What makes Before We Sail stand out isn’t just the setting or the high-stakes plot. It’s the way the story is told. Yacolca uses handwritten letters and journal entries to go deep into his characters’ emotional landscapes. You get dialogue and action, yes, but you also get internal monologues that carry the weight of grief, anxiety, and uncertainty.

The apocalypse outside mirrors the one within. There’s fear, despair, and moments when continuing to live feels like the hardest choice of all.

The Art That Grounds It

Michelle Lino’s return to comics after a six-year break adds something special to this project. Her art uses heavy ink and shadow to build a world that feels tense and unpredictable. Every panel has weight. Every expression feels real. The world is terrifying because it’s believable.

Final Thoughts

Before We Sail doesn’t try to reinvent the genre. Instead, it strips things down to the most essential questions. What does it mean to live when the future is gone? What does it mean to keep writing, caring, or hoping when nothing is guaranteed?

This debut leaves an impression. It’s a reminder that indie comics don’t just tell stories. They tell truths. They sit with you, make you reflect, and sometimes, remind you why you’re still holding on.

A few months back, my friend Saurabh from Comix.one introduced me to ANA, a comic from Cynation Comics (he also slipped me Gods Among Men from the same crew, but that’s a story for another time). Since then? I’ve been harboring a not-so-secret crush.

• I went to sign my comics—and grabbed a few more while I was at it.

• I did a giveaway of a fully signed ANA issue.

• I listen to their music when I shower.

• I’m planning to see them perform live.

• I’ve been chatting with them on Instagram.

• And when I take photos with people I like, I make sure to casually flash their comic in the shot. You know, like a cool brand ambassador. Uninvited.

So why all the fuss about ANA?

Glad you asked.

If you’ve been following me for a while, you know I don’t review comics unless they spark something. Could I crank out 100 reviews a week if I treated them like chores? Sure. But I don’t want to. I want to write about comics that hit a nerve—a memory, a feeling, an idea. Good or bad, just not boring.

And ANA? It was good.
Then I met the team.
And it became epic.

What’s ANA about?

The inter-dimensional goddess ANA arrives in our world, searching for the greatest champions Earth has to offer. Her motives are unclear—but one thing’s certain: if you’re in her way, you’re toast.

She assembles a team of misfits—lost souls trapped in the monotony of modern life. Eager, talented, but green. They’ve got to learn fast, because a threat looms on the horizon: an ancient foe with modern tech and a sinister plan that might already be reshaping reality.

(Yes, that’s copy-pasted from the Kickstarter. But trust me, this one delivers.)

A Little Personal

I’ve done every job under the sun. Started young. Worked in construction, coffee shops, pubs, bakeries. Managed an internet café. Factory line at a dip factory. Hell, I even made coffins with CNC machines.

Some jobs I loved—working at a coffee shop? Bliss. Others? Soul-crushing.

There’s a moment early in ANA where you meet these everyday people, trapped in the same loop so many of us know. And I thought: If someone walked into that factory and handed me a mask and said “go live your life,” I’d have it on before they finished the sentence.

That’s what ANA taps into. That pull toward something more. That spark you thought you lost.

Okay but… is it just feelings?

Not at all. It moves. I didn’t know ANA had such a strong action backbone until I cracked it open. And I would’ve still loved it without the fights. But I’m glad they’re there—because damn, Ben Sullivan’s art does not miss.

From the moment ANA descends in a blaze of goddess-level power, the pages explode with energy. The character designs are slick and distinctive — the pink mohawk, the masked warriors, the cats (yes, the cats), it all pops. The fight choreography? Insanely fluid. You can feel every impact, every dodge, every mid-air twist. And somehow, amidst all the chaos, the emotion still lands. Whether it's a panel filled with blood and fury or a comedic beat with a wide-eyed cat doing kung fu mid-sentence.

The coloring is loud in the best way: saturated, glowing, kinetic. The lighting effects during action scenes practically singe the page. And I have to give props to the page layouts, they’re clean and readable even when packed with motion, which is no small feat with this kind of high-octane storytelling.

In short: if this was a movie, it’d be directed by the Wachowskis and scored by a synth-metal band you accidentally discovered at 2AM and now follow religiously.

And trust me, that ending? It’ll leave you wanting more. Not that your thirst will be quenched any time soon—because there’s no second issue. Yet. But there will be. And if the first blew your mind, the second’s going to scatter the pieces.

OK I feel I haven’t stretched this enough but I really think that the team behind ANA are exceptionally talented and creative people. So do yourself the favor and do follow them. I am sure that whatever they are going to produce next is also going to be a hit.

So -

Ana Khristenko - Co-creator, Editor-in-Chief

Josh Mak - Co-creator, Story writer

Aaron Mak - Co-creator, Script writer, Letterer

Ben Sullivan - Artist (Pencils, Inks)

Wilson Go - Colourist

Kibar - Cover Artist

I am now off to bed … don’t you dare bother me.

Fun times.

Jumping straight on to the news

Superman & the DC Universe

James Gunn, co‑head of DC Studios, dives deep into the success of Superman, which has grossed over $177.7 M domestically. He discusses the film’s “pocket‑universe” mechanics, cameos (John Cena, Bradley Cooper, Milly Alcock), the portrayal of Ultraman, and gives fans a peek at future DCU plans—including hints at Guy Gardner and Metamorpho in the Justice League lineup

DC K.O.: Mortal Kombat‑Style Tournament

DC Universe is launching DC K.O., a five‑issue crossover event set for October 2026. Picture 36 DC heroes—Superman, Power Girl, Vixen, and others—thrown into a gladiatorial, Mortal Kombat‑style arena battling Darkseid. The series is co‑written by Joshua Williamson and Scott Snyder

David Dastmalchian’s Graphic Novel Through

Actor‑writer David Dastmalchian (from The Suicide Squad, Ant‑Man) is releasing Through via Z2, a deeply personal graphic novel tackling mental health through a mystical journey. Illustrated by Catt Staggs, with cover art by David Mack, it's now available for pre‑order

As I mentioned on the previous issue, I have started the “forever” indie giveaway. Today is actually the end of round 2 (and the start of round 3) and thanks to Comix.one a lucky person won “Future Tales” which I had the pleasure of reviewing a few months back.

Here’s the whole instagram post about it

If you haven’t done so yet, give me a follow on instagram to stay up to date with the giveaways. It’s exceptionally late but tomorrow I will kickstart the 3rd round of giveaways!

Thanks for reading!

I met tens of creators and I am so excited to be sharing their work with all of you.

Remember, if you want to join the giveaway, all you have to do is jump in this post and comment to participate!

Now for some news!

Marvel launches "Age of Revelation" X‑Men event

Marvel is restarting the X‑Men franchise today (July 16), 30 years after Age of Apocalypse. The dystopian “Age of Revelation” event begins with a prelude by Jed MacKay and Humberto Ramos, in which Doug Ramsey becomes the antagonist controlling Earth. It’s the first of 16 new series set a decade into the future, replacing the main X‑Men lineup indefinitely

San Diego Comic‑Con reveals star‑studded 2025 lineup

The official SDCC 2025 schedule (July 24–27) includes the first-ever appearance of George Lucas, panels for Star Trek: Strange New Worlds, Alien: Earth, Peacemaker, King of the Hill, and several new film and animation previews (e.g. Tron: Ares, Project Hail Mary, Rick and Morty)

Ireland’s Dublin Comic-Con teases gaming floor & Frank Miller

Dublin Comic-Con (Aug 9–10, 2025) has announced a new gaming floor sponsor, guests including Frank Miller, Jamie Campbell Bower, and Vincent D’Onofrio, plus a streamer-hosted panel and high-tech giveaways

First look at Mole Man in Fantastic Four: First Steps tie-in

Marvel unveiled the MCU’s Mole Man, played by Paul Walter Hauser, in the Fantastic Four: First Steps comic. Unlike the comics, this version leads a political movement for his underground people. The feature ties in with the Phase 6 film due July 25

Thanks for reading!

James Gunn’s Superman Reboot Garners Critical Acclaim

James Gunn's Superman, premiering on July 11, 2025, has revitalized the DC Universe with a fresh, optimistic tone. Starring David Corenswet as Clark Kent, the film has earned an 84% rating on Rotten Tomatoes. Critics praise its blend of classic comic elements and modern storytelling, highlighting the performances of Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor .

DC’s Upcoming Film Slate Expands

Following Superman, DC Studios has announced several films as part of its "Chapter 1: Gods and Monsters" initiative.

• Supergirl: Woman of Tomorrow (June 26, 2026)

• Clayface (September 11, 2026)

• Dynamic Duo (June 30, 2028)

• The Brave and the Bold (TBA)

These films aim to explore diverse characters and storylines within the DC Universe .

Marvel Revives Swimsuit Special After 30 Years

On July 9, 2025, Marvel released Marvel Swimsuit Special: Friends, Foes & Rivals, blending narrative content with pinup art. This edition also ties into the video game Marvel Rivals, featuring in-game swimsuit costumes .

DC's Superman Treasury 2025: Hero for All Launches

As part of the "Summer of Superman," DC released Superman Treasury 2025: Hero for All on July 2. This oversized issue, written by Dan Jurgens with art by Bruno Redondo, offers a hopeful narrative celebrating Superman's legacy .

Notes from the Creator

Today marks the finale of the first giveaway round. I am so excited about this initiative because I wholeheartedly believe that it will help creators reach more people around the world.

Sounds so small right now but I have big plans for giveaways in the future.

Creators from Australia getting a community in US. Creators from the Netherlands getting audience in Japan. I want people to meet their favorite creators and maybe help them reach more people.

At the same time as a collector I want people to get cool shit. Tonight someone (chances from US due to my channel following) is going to get their hands on a comic from a local Melbourne, Australia team with the signatures from the entire team!

Two weeks from now when the next giveaway takes place, another lucky person is going to get their hands on another amazing copy, maybe some figures, maybe a t-shirt maybe maybe maybe. The possibilities are endless.

Thanks for reading and stay tuned for the rewards!

All those smiling families, barely holding it together, screaming internally: “I can’t pay rent next month because of this trip!”… Ah, the memories.

But as creepy as theme parks can be, they’re the perfect setting for horror—which is exactly why Murder Kingdom by Fred Van Lente, Chris Panda, and Becca Carey is such a brilliant and unsettling read.

I like to believe that most people working in theme parks want out. It’s the only way I can keep a sliver of faith in humanity. That’s certainly true for Tanith, our protagonist. After choking on someone’s MeeMaw’s ashes (yes, really), she finally decides: enough. Time to ditch the park and take my chances with the hygienic nightmare that must be the cat cafe down the road.

Unfortunately, life (and horror stories) don’t let you off that easy.

Soon, Tanith is pulled into a nightmare scenario—one where she’s no longer just playing a role in the park but becoming the protagonist. Suddenly, eating meemaws becomes the least of her worries. And that’s when the proverbial shit hits the fan.

I won’t spoil anything because this comic is full of twists, turns, and genuinely wild moments. Fred Van Lente pulls off something that feels smart, ironic, and self-aware without losing the tension or the stakes. Murder Kingdom has easily climbed to the top of my 2025 reading list.

I haven’t read any other reviews yet—I like to form my own thoughts first—but growing up in the ’90s, this story hit all the right notes. It reminded me of those genre-savvy horror films like Scream, I Know What You Did Last Summer, Friday the 13th, Halloween—where the characters either lean into the clichés or fall victim to them in exactly the ways you expect… and still somehow enjoy every second. Seriously kids… there is a serial killer on the loose. Maybe going skinny dipping next to where they were last seen is not such a good idea.

I don’t watch much TV anymore, but if you love horror that’s self-aware, satirical, and just a little unhinged—Murder Kingdom is your next must-read.

The art from Panda just follows through to the end. We are talking about some gruesome stuff in play. Guts hanging, flesh dissolving, bear traps … Panda can make you think that you might actually prefer a little bit of light during your night reading tonight. You are not scared… it’s just good for your eyes to put the lights on…

P.S.

Seriously now… the fact that people hold character through pretty much every provocation thrown at them in theme parks is crazy to me. Some of them theme park workers need an oscar. Bravo!

If you want to participate on the giveaway remember that you need to comment the instagram post. Also please consider liking my and comix.one’s instagram account to stay up to date with the upcoming giveaways!

Thanks for reading!

Some News

Jim Shooter, Marvel Legend, Passes Away at 73

Jim Shooter, former Marvel Editor-in-Chief and a pivotal figure in the comic industry, died after a battle with esophageal cancer. He began writing for DC Comics at age 14 and later revitalized Marvel in the late 1970s and '80s with bold editorial leadership, introducing major crossover events and graphic novels. Shooter also co-founded Valiant and Defiant Comics. Tributes have poured in from across the industry, recognizing his lasting impact.

The Twilight Zone Returns as Comic Anthology

IDW Publishing, in collaboration with Paramount's new imprint IDW Dark, is launching a black-and-white anthology comic series based on the iconic television series The Twilight Zone. Set to debut on September 24, 2025, the first issue titled "Blanks" is written by Dan Watters and illustrated by Morgan Beem. The series will pay homage to the original 1959 TV show by Rod Serling, featuring unsettling sci-fi, fantasy, and horror stories that explore deeper societal and psychological themes. The initial release includes five standalone issues by different creators including Tom Scioli, James Stokoe, Nate Powell, and Francesco Francavilla.

Highlights

There are so many amazing issues to highlight but I had to pick probably the best few that I got my hands on these past couple of weeks. I think I posted one before but I had the chance to meet the team and get some signatures on the cover so I am posting it again.

Gamemasters: The Comic Book History of Roleplaying Games by Fred Van Lente, Tom Fowler & Bill Crabtree

I had the ultimate pleasure to receive this from Fred Van Lente himself. I spoke about FVL before and along with my love for D&D it’s not surprise that this goes at the top of my best list. It is published by Clover Press and I believe it’s available now on Amazon and other sites so if you are into RP, definitely jump on the wagon.

Murder Kingdom by Fred Van Lente, Chris Panda & Becca Carey

There are tons of horror comics out there but Murder Kingdom, hands down, takes the lead for this year. I enjoyed every panel. It’s gruesome, it has mystery, suspense and you know what?… it’s fun!

If you’ve watched those horror movies that you thought “What the hell are they doing? Why are they not running?” this is it.

ANA by Josh & Aaron Mak, Ana Khristenko, Ben Sullivan, Wilson Go ( they are a band…)

I mean it when I say this is a band and together they have a comic of the same name. They also created a indie publishing studio called Cynation Comics and they publish other cool stuff such as “Gods Among Men”. Now imagine that… touring the world, playing cool music, writing comics… That’s the life.

The above copy is the one I am going to giveaway so … sign up!

It Rhymes with Takei by By George Takei, Steven Scott, Justin Eisinger & Harmony Becker

I’ve never known anything that George Takei made that I didn’t like. Every page of this massive book made me respect Takei even more than I knew I possible could. Loved it and I can’t recommend it enough.

I believe the book is now available on Amazon and other places.

Thanks for reading and please consider supporting the artists and creators above!

None of the above links are affiliate so I don’t get a commission from anything.

A little bit over 20 years ago, I was already a seasoned player when I put together my tribute for the 30 years of Dungeons & Dragons. My experiences back then, different as they might have been from the experiences of most I met afterwards, became the snowball that created an avalanche that helped shape my person.

Dungeons & Dragons was the medium that helped me shape memories and friendships that lasted me a literal lifetime.

The soul of my tribute can be extracted into probably a few lines (even though the tribute itself was lengthy).

Role Playing has been a part of me for the entirety of my life. It has helped me deal with situations fictional but also very real at an age where things that happen around us seem to be having a major impact inside of us.

Difficult days became more bearable because of a fire that we’d put on and a handful of friends around it pretending to be people that could deal with situations that bothered us in real life.

I wish I could say that I kept playing D&D but I can’t. But the lessons and skills I got as a kid rolling dice at a dark basement hiding from our parents, stuck with me till today.

All of this just to really say that

1. When I got my hands on Gamemasters: The Comic Book History of Roleplaying Game by Fred Van Lente and Tom Fowler just brought up a thousand feelings and memories and you should expect a review very soon.

2. I am starting a session in one of the upcoming weeks with an online group.

Keep playing!

Super excited about this issue. Yes there are news, and yes there are reviews but this one is dedicated to what I call (for now) the forever giveaway. Yes it’s a catchy name for something that is definitely not going to run for ever! I mean forever is a long time. BUT, I have a growing library of indie comics, and that’s not going to stop any time soon so I am going to be doing a giveaway every couple of weeks.

Here’s the plan in a bit more detail.

• Every 2 weeks I am going to run a giveaway contest

• It will last 2 weeks (till the new one kicks in)

• I am going to announce the winner both in my newsletter and Instagram (and other socials in due time)

• I am going to randomly pick a winner using a random picker tool and record the whole process

• I am going to randomly pick a comic from the indie shortbox/es

• I am going to ship it to the winner and we’ll all be happy.

How to participate

• You need to follow @101comicss on Instagram

• You need to follow @comix_app on Instagram

• You need to comment on the giveaway post of that week so I know you are interested

In order to join this week’s giveaway do the above here

News Highlights

Marvel & DC Launch Major Crossover Event

Marvel/DC: Deadpool/Batman #1 is confirmed as the first major Marvel–DC crossover in decades. It features:

• A flagship team-up starring Deadpool and Batman, accompanied by multiple backup stories

• Filmmaker/writer Kevin Smith returned to pen a Green Arrow/Daredevil tale with art by Adam Kubert

• A whimsical crossover starring Jeff the Landshark and Krypto the Superdog, created by Kelly Thompson & Gurihiru

• An epic Captain America + Wonder Woman team-up story by Chip Zdarsky & Terry Dodson

“Captain America and Wonder Woman are the best their worlds have to offer… genuinely exciting.”

Zdarsky

The issue launches September 17, 2025, featuring collectible variants and tucking in “secret” stories yet to be revealed.

Why this matters: It marks a notable thawing of the Marvel–DC boundary, reviving an iconic crossover element last seen decades ago. Plus, Kevin Smith's return adds a nostalgic fan-favourite touch.

Spider‑Man ’94 Animated Series Cliffhanger Resolved

Marvel is set to resolve the iconic cliffhanger from the 1994 Spider‑Man: The Animated Series with a comic continuation titled Spider‑Man ’94, a four-issue miniseries by J.M. DeMatteis and Jim Towe.

• The miniseries answers: How did Peter and Mary Jane reunite after MJ returned from the multiverse?

• It introduces two villains who were absent from the original show.

• Launches September 3, 2025, featuring cover art by Ron Lim, Nick Bradshaw, and John Tyler Christopher.

Why this matters: The animated series helped popularise the Spider‑Verse concept, and fans have waited almost three decades (“nearly three decades” noted ) for this resolution.

James Gunn Maps DC’s “Gods and Monsters” Phase

In an Entertainment Weekly exclusive, James Gunn (co-CEO of DC Studios and upcoming Superman director) outlines DC’s “Gods and Monsters” creative path.

• Superman (film) releasing July 11, 2025, is framed as a central pillar in a cohesive DC Universe.

• Gunn is balancing his dual role by collaborating with studio creatives. Key ongoing/DCU projects: Peacemaker Season 2, Supergirl, Lanterns, Clayface—the latter by Mike Flanagan.

• He teased undisclosed titles he’s writing and might direct, alongside support for isolated “Elseworlds” stories like The Batman by Matt Reeves.

• Gunn emphasises quality control, long‑term storytelling, controlled social media presence, and fan patience.

Why this matters: Gunn’s words mark DC’s departure from emergent franchise chaos, shifting to unified planning and internal stewardship—something fans and industry observers have awaited.

Remember to join this week’s Giveaway!

Thanks

Highlights

The Twilight Zone Comic (IDW Dark)

A new black‑and‑white anthology comic based on The Twilight Zone series is coming from IDW Publishing’s Dark imprint. Launching September 24, 2025, it’s a 5‑issue run with a fresh creative team including Dan Watters, Morgan Beem, Nate Powell, Tom Scioli, James Stokoe, and Francesco Francavilla

Mister Miracle Adult Animated Series (DC Studios)

DC Studios is developing an adult‑oriented animated series centered on Mister Miracle, based on Tom King & Mitch Gerads’ acclaimed 2017 comic. Creator Tom King will serve as showrunner and EP. It's part of a broader slate from DC's Gunn–Safran era

The Eternaut Becomes Netflix Hit

The Argentine sci‑fi comic The Eternaut (1950s) has been adapted into a Netflix series that hit 10.8 million views in its first week. The adaptation retains the comic’s themes of collective heroism and resonates with contemporary social and political struggles.

Notes from the Creator

In my day job I speak with people that have multi million dollar startups. People that receive funding from VC north 100 million dollars. I’ve been consulting startups for decades and I never felt anxious or shy. I know my thing very well and so I always had this “I’m just going to have a chat with a friend” vibe.

This past few weeks I exchanged emails with a comic writer that I just adore his work and I almost felt like a school boy.

I feel amazing whenever I talk with any comic creator and meeting with them on those local events has just been amazing.

Some I talk about in these issues, some I just publish on Instagram but I want to step this up even further and start meeting with creators from across the board. Publish their work, their stories, what brought them here.

So one of these days, you’ll notice that you might get a new story in your email. “Creator Spotlight” or something of the sort and hopefully that will become a regular.

Indie Highlights

I’ve been reading tons lately but a few have reaaaaally caught my eye.

The Future is ****** by Fred Van Lente is one of the best comics I read in the last few months. Check out my full review but I am writing this post while literally having issue 2 in front of me so I might actually write a new one for that soon.

Talgard by Gary Proudley that I had the chance to meet and chat on OzComicCon few weeks back.

The other one is The Mycelium Complex by Daniel Reed. I haven’t had the time to write a review yet but this one is coming soon and trust me it’s good. I couldn’t be happier that I picked all 3 issues directly from Daniel.

Right before starting this newsletter I finished Rootfolk by Lukas Fauset and Marco Defilo and I am itching to write a review for that soon as well. I loved the first issue so it goes in here. (for now as a picture only)

Thanks for reading!

I consider myself pretty lucky. I’d been eyeing Talgard online for a while, so being able to pick up a copy directly from Proudley was great. On top of that, I got to meet Katie Houghton-Ward and Trev Wood, both of whom contributed artwork to the short stories inside.

It’s no secret that I’m a huge fan of Conan, Kull, Red Sonja, and pretty much any sword-swinging barbarian. I honestly don’t know what exactly draws me to these characters. Even back when I played D&D, I always chose to play a Barbarian — much to my wife’s ongoing disbelief. If you knew me personally, you’d understand why that’s so funny.

I think what appeals to me is the simplicity of their world: pure strength, facing impossible odds, and charging headfirst into battle. Some might say their entire existence is an ode to stoicism — and I like that.

What makes Talgard stand out from most hack-and-slash stories is that Talgard isn’t just brawn — he’s got brains, too. In a D&D world, you might not even classify him as a Barbarian, but more as a Fighter with a bit more strategy and depth. Personally, I always gave my Barbarians a few extra Intelligence or Charisma points to set them apart, so I really appreciated this take.

And while Talgard doesn’t focus on endless battles — often it’s his cleverness that gets him through — the short stories are sharp, well-crafted, and give you a real sense of who Talgard is and how he thinks.

Would I love to see more hacking and slashing? Of course. But does the story suffer because of the focus on brains over brawn? Not at all. I thoroughly enjoyed Talgard and can’t wait to pick up Tome Two. Ideally, I’d love to buy it in person again just to tell Proudley how much I enjoyed the first volume — but I’m also eager to keep reading. It's a good problem to have.

That said, there’s something powerful about how creators push through despite being excluded. Whether they manage to find a spot inside these events or work from the outside, their resilience stands out.

Think about it: you’re working tirelessly to break into an industry that doesn’t always seem to care about its own core. It’s a tough reality — but you’ll see what I mean soon enough.

Highlights

• One years since the tragic passing of Benny Potter aka Comicstorian.

• George Perez would have been 71 this year.

• James Gunn's "Superman" Sets the Stage for a New DCU: The upcoming film, directed by James Gunn and starring David Corenswet as Superman, introduces a reimagined Man of Steel who embodies hope and moral integrity. This film launches the "Gods and Monsters" era of the DC Universe, featuring characters like Lois Lane (Rachel Brosnahan), Lex Luthor (Nicholas Hoult), and the Justice Gang, which includes Hawkgirl, Mister Terrific, and Green Lantern Guy Gardner.

• Justice League's Future Teased: While the Justice League hasn't formed yet in this new universe, Gunn hints at its eventual emergence, suggesting that both the "Superman" film and "Peacemaker" Season 2 will be pivotal in setting up the broader DC narrative.

• Wonder Woman Film in Development: A new Wonder Woman movie is officially in the works, separate from the previously announced "Paradise Lost" HBO Max series. Details about casting and storyline are still under wraps.

Notes from the Creator

Whenever I go to an event, I follow a simple routine. First, I hunt for the indie comics. Then I make my way through Artist Alley (if there is one), and finally, I take a quick look at the rest before heading out.

I’ve never been particularly interested in the figures, TCGs, cosplay, or the endless other things you find at a Comic-Con. Don’t get me wrong — I don’t dislike them — they’re just not my thing. Of course, there are always exceptions, but those exceptions usually come with a hefty price tag, so I tend to skip them.

As I mentioned in a previous issue, every year it feels like fewer people I care about supporting show up at these events. Recently, I spoke with someone who used to work at these conventions, and I shared my theory: it’s becoming increasingly difficult for local artists to afford a table, and on top of that, organizers seem to be limiting how many tables go to comic creators or artists.

So, I decided to do a little digging, specifically for Oz Comic-Con.

Getting exact prices wasn’t easy. They didn’t use to list them publicly ahead of time, and you had to submit an “expression of interest” form to even see the costs. Add to that the fact that most Australian event websites still feel like they're stuck in the late 90s.

Still, from what I could gather over the past four years, the price for a standard 2x2m table has jumped by about 60% — from around $350 to $550. Along the way, they also seem to have quietly removed some of the previous discounts (like cheaper electricity or lighting options, which now cost extra).

The person that I talked to that used to work there told me tables were as low as $200 less than 10 years ago. That is 175% increase. Just what every local artist wants to hear.

At this year’s event, I counted:

• 1 comic back-issue table

• 1 mini comic store setup by King Comics

• About 4 or 5 tables with local comic creators

That’s out of roughly 400 total tables/booths. There were more tattoo booths at Comic-Con than actual comic ones.

Now, I’m no event manager. My experience with running events is just about zero. But I struggle to understand why anyone would bother booking a table at an event where only 7 out of 400 booths are comic-related.

Sure, you might think, “Well, maybe I'll stand out since there’s less competition.” But honestly, the crowd isn’t really there for you. I bought everything I could from the local creators, spent some time chatting with them, and even then, Sunday was dead. I spent about 20 minutes at each table, and most people just walked by, glanced, and kept going.

When I asked the creators how the day was going, I got the usual polite answer: “Yeah, it’s been a bit slow, but hopefully it’ll pick up.” This was already around noon.

Thanks for reading!

Support indie creators!

If you have the time please read the above it makes sense in the end and bonus point, you get to know me a bit better by the end of it.

Story

When I was a kid, I remember reading a pirate story over and over again. I was completely hooked. The freedom, the adventure, the anarchy—it was everything I wanted. I lived in a mountain village, with no sea in sight, but somehow, pirate life spoke to me. I’ve always been a bit of a difficult child. My mum insists I was the best, but honestly, if my kids grow up the way I behaved, I might just die of a stroke.

As I got older, my uncle introduced me to Star Wars, Dune, and the brilliant worlds of Isaac Asimov. So my pirates leveled up. They became space-faring rebels, system-hackers, rogue thinkers. Different ships, different weapons, different rules—but always the same rebellious spirit. They were still beings who refused to let others step on the necks of the innocent.

That spirit is exactly what *The Future is ****** * captures. At its core, this is a story about beings protecting other beings from control, exploitation, and power run amok. I originally wrote “people protecting people,” but in sci-fi, that term starts to lose meaning fast.

The official summary puts it best:

The Hacker Wars are over. The Black Hats won. Who will save us from the world that’s coming?

Black Mountain—a rogue band of digital ronin, freebooters, and hackers—fight against a world ruled by data barons, artificial overlords, and technological terrorists. Each operative is paired with a sprite, an AI partner as unpredictable as the human it serves. At the center is Wheeler, a former black hat hacker dragged back into a war he thought he’d escaped. His team includes:

Martina De León – an Olympic-level infiltrator who operates in the real world.
Sally Chu – a hardware engineer fresh from nine years living in orbit.
Eli Nilsson – a system vulnerabilities expert stuck between reality and augmented reality.
Art & Arf – a machine intelligence obsessed with human creativity—and the dog it’s tethered to.

Their mission? Stop Jason Roanoke, a self-declared visionary who once controlled global supply chains, private armies, and the lives of millions. Now ruling from Tranquility Base, a lunar fortress beyond the reach of governments, Roanoke has become the first corporate king of space. The future itself is his to shape—unless Black Mountain can stop him.

This is *The Future is *******, a 60-issue cyber-sci-fi epic fusing the shadow warfare of Mr. Robot, the kinetic action of The Matrix, and the high-stakes espionage of Ghost in the Shell.

And yes, this is ambitious. A 60-issue arc in today’s comic landscape is no small thing. But Van Lente pulls it off by building a fully realized world. I don’t know if he used his usual panel-by-panel script style here, but if he did, it’s even more impressive. That writing method means everything you see—the pacing, the visual cues, the environments—started with his words. That’s not to take away from Ennio Bufi’s phenomenal art, but it does highlight the level of collaboration and vision required.

Now just so you don’t get the wrong impression: this isn’t a team of hackers sitting behind desks typing code. This is more like Ocean’s Eleven meets The Matrix with a bit of Mr. Robot thrown in. They break into AI-guarded facilities. They create malware to disrupt enemy systems. They storm lunar fortresses. They rescue the innocent from techno-tyrants.

Oh—and did I mention space? Killer whales with guns? Yeah. That happens.

I’ll admit, I had to stop halfway through (kids, life, you know how it goes) and came back to it a couple of days later. I ended up re-reading the whole thing from the start—and honestly, it was even better the second time. There’s a lot packed in: AI, MI, dense hacker slang, layered conversations, and action. But if you don’t have twins bouncing around the room while you're reading, you’ll be just fine.

Art

I don’t recall ever reading a comic illustrated by Ennio Bufi before, but he’s definitely on my radar now. His art hits the mark in every panel. I have to say, and I have no idea if it was intentional, but come on… Wheeler, the leader of the Black Mountain gang, has to be based on Dolph Lundgren. There’s just no way around it. I’m half-expecting him to take off that visor and confirm it.

Now picture being an artist and getting a brief that includes orcas with guns and lasers helping a team of digital ronin in exchange for keys to a salmon farm. It’s wild, and Ennio pulls it all off brilliantly. The characters, the environments, the AI sprites—they all flow together with style and clarity.

Andrea Meloni’s colors elevate everything. I’ve said this in other reviews, but I’ll say it again: I love the purple and pink hues, and they’re everywhere here. From the digital UIs to the weapons and even the MI characters floating around, the color palette helps guide the eye and set the tone.

With such a wide cast of characters and elements, the coloring really helps differentiate what’s what. The lettering by Taylor Esposito is also spot on. Whether it's emails, newspapers, holographic overlays, or the crack of gunfire, the typography adds just the right layer of polish.

This is one of those comics where everyone involved deserves a serious round of applause.

Conclusion

The Future is ****** is big, bold, and unapologetically dense, and that’s a good thing. It throws you into a world that feels just a step ahead of our own, filled with rogue hackers, unpredictable AI, corporate overlords, and high-stakes chaos that makes every panel feel urgent.

Fred Van Lente and Ennio Bufi are not just telling a story. They are building a full-blown universe that feels lived in, dangerous, and strangely believable. This is the kind of comic that rewards your attention and challenges you to keep up. If you’re anything like me, you’ll end up flipping back to the beginning just to enjoy the whole thing all over again.

I read biographies every now and then. One of the last ones I picked up was from Sam Neil and after about a chapter I was convinced I’ve had amnesia some time in my past and just no one really told me. I mean I was an active kid, I know for a fact I banged my head around a few times but this is unprecedented.

There are two points in this story and I am about to mention them so refrain from hitting that “back” arrow.

I always thought about writing my stories in one format or another, in the past but I am not sure if I ever really gave it an honest thought. It was always more like “Ha… that would be a good story for a comic” type of situation.

But seeing that I am spending quite a bit of time reading and writing about comics it felt like I could at the very least see how the whole script writing works. My search led me to no other than Fred Van Lente.

Fred has a Domestika course for beginners that I just found too appealing not to give a shot.

I know I know… I am just pushing this even further than usual.

Here’s the whole point about the memory shit I mentioned before.

First point. In the introduction of this course I became aware that I am jealous of Fred and at least part of the life he lived (since obviously I only know about him what I saw in that course). The story about growing up with comics, the book that his uncle gave to his family and the fact that he still has it with his own lettering inside. It broke me.

I always mentioned how I wanted to grow up with comics. Hand to heart I tried. But for whatever reason it was not possible for me and when he was explaining the magic feeling about his mother reading him stories at night from that comic book. I never felt more jealous of anyone (that day).

Point two. Hearing him introduce himself I figured out that I’ve read a few of his previous works as well. From Hercules to Hulk to some random bits and pieces through the years. I am just exceptionally bad with names. My entire life I meet someone on the street that he seems to remember me and I am like “No way he knows my name so we are going to be equally embarrassed” Only for them to be like

“Hey Angelos!! it’s been 16 years my god! remember this and that”

And I am like

“Hey buddy/friend/mate/!!”

Thankfully people really don’t take offense that easy I think… (i hope).

This introduction took a lot more space than what I thought so think I will publish it separately for everyones’ convenience but here’s the gist of it. I hold Fred Van Lente in extreme regard. I am jealous of him and I love his work.

Onto the actual review though for The Future is ******.

I mentioned it today to the owner of my LCS. I think we’re all guilty of the same thing. We swear we won’t spend money on things we don’t need, and then we do. Compulsive buying, decision fatigue, a love of comics, and just like that—badabim badaboom—I’m down a few (tens) of thousands of dollars.

I had never read anything by C. Samnee before, at least not to my knowledge, and I had no idea what Jonna was about. But for some reason, the cover reminded me of my kids, and that was enough.

Story

An epic tale of sisters, survival, and some monster-punching.

Rainbow has been looking for her younger sister, Jonna, for over a year--since the monsters appeared and the world began to dry up. Going from settlement to settlement, Rainbow asks every survivor she meets: Have you seen my sister?

Then, one day, Jonna's spotted out in the wild: filthy, but strong. Strong enough to knock back a towering monster with one punch. All this time, she's been surviving. On her own. Without Rainbow. Without anyone.

But there are more dangers in the world than monsters, and when the two sisters reunite, they'll discover the secrets of this new and terrifying world firsthand.

There’s so much action packed into these 12 issues that even though I just finished reading them, my brain feels scrambled. All I can picture are vivid colors and Jonna leaping from tree branches to mountain boulders.

The story follows Jonna and Rainbow, two sisters separated after strange monsters begin roaming the earth. A year passes, and Rainbow—the older sister—is moving from camp to camp, searching for Jonna. Hungry and alone, the only thing keeping her going is the hope of finding her little sister and their father.

Until she does. And everything changes.

I won’t lie—I read all 12 issues back to back. Chris Samnee did something with Jonna and the Unpossible Monsters that I haven’t seen in a while. The story is funny, adventurous, mysterious, and full of heart.

There aren’t many comics I’m setting aside for my girls to read when they’re older, but this one is definitely on that list.

The story of Jonna is about more than survival. It’s about love, family, friendship, and betrayal. It’s about losing everything and still pushing forward. I want people to read this book because it has something meaningful to offer everyone.

Art

The art is absolutely stunning. This might sound like a stretch, but it takes a wild imagination to create monsters that feel both bizarre and functional—and the ones in Jonna just make sense. The way they move (yes, the art is that good—you can tell how they move), their details, and the vibrant color work… everything is on point.

But it doesn’t stop there. The world-building in this comic is layered and intentional. Samnee didn’t just drop monsters into a familiar setting—he built an entirely original world from the ground up. Even before the chaos begins, the creatures, landscapes, and little details suggest that this world has always had its own strange logic. It’s not quite ours, and that’s what makes it so compelling.

And the expressions—don’t even get me started. Rainbow’s emotional journey is visible in every panel, from her grief and determination to the fire in Jonna’s eyes when she fights. Every panel feels like a shot from an animated adventure film.

You’ve heard me say it before: backgrounds matter. They add depth, tell their own story, and bring the world to life around the characters. They say every bad situation can lead to something good—well, if being stuck inside during COVID gave us Jonna, that’s a win in my book.

Conclusion

Jonna and the Unpossible Monsters is the kind of comic that reminds you why you fell in love with comics in the first place. It’s bold, energetic, and full of emotion, with a world that feels alive and characters you want to root for. Whether you're here for the wild monsters, the sibling bond, or the sheer joy of watching something beautifully drawn unfold, this series delivers. It’s a rare blend of heart and spectacle, and one I’ll be passing on to my kids when they’re ready.

You can stop holding your breath — I finally hit publish.
It’s that time of your Wednesday where you catch up on indie comic news and tolerate my usual rambling about stuff you may or may not care about.

But seriously, take a moment to read the middle section. I felt like I needed to explain a few things there.

Thanks!

Interesting News

Colleen Doran’s adaptation of the Good Omens is now finished and at the printer!

You can find more details at Collee’s Funny Business newsletter or at their kickstarter campaign.

Colleen Doran's Funny Business

Good Omens Graphic Novel FINISHED and at Printer

Copypasta from the Kickstarter page…

Read more

a year ago · 58 likes · 12 comments · Colleen Doran

Massive Indies Expands Lunar Comics Distribution And Reduces Fees

Massive Publishing has recently expanded its Massive Indies program, enhancing access to Lunar Distribution for independent comic publishers and studios. This initiative aims to fill the distribution void left by Diamond Comic Distributors' Chapter 11 bankruptcy earlier this year.

Celebrating the LGBTQIA+ Community with DC’s 2025 Pride Covers

DC Comics has unveiled its 2025 Pride Month celebration, featuring a vibrant array of variant covers that honor LGBTQIA+ characters and creators. These covers are part of the annual DC Pride anthology, which this year centers around a century-old LGBTQ+ tavern in Gotham City, serving as a gathering place for heroes and villains alike

Indie Spotlight

This is going to be a bit different because I’ve been going through some amazing stories in the past few days but I managed to only write one review. So first thing first -

The Future Is ****** by Fred Van Lente

I don’t have this review ready and trust me this one needs a good chunk of time to write a decent review. The story is long and the first issue is a volume sized book. But here’s the cover to give you something to look for till the review comes along.

Jonna and the Unpossible Monsters by C Samnee & L. Samnee

Likewise. This was such a random buy but it definitely was worth it. I loved reading it and I am already working on the review. Probably going to go out a few hours after this newsletter goes out. Again… here’s a pretty picture of me holding it.

Notes from the Creator

We are what we repeatedly do. Excellence, then, is not an act, but a habit.
Aristotle

I try to be consistent. Once you do it for a while it becomes a habit and hopefully once it’s a habit it’s not easy to break and so I don’t really have to try anymore. I like the struggle. I try to imagine the story of Sisyphus often and the constant struggle to move that boulder up that mountain only to have it roll back and start all over again.

I read at some point the interpretation of Albert Camus.

The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy.

We can still find freedom and contentment in embracing that struggle consciously. The moment Sisyphus accepts his fate and finds purpose in the effort, he becomes powerful.

With this newsletter it sometimes still feels that I am pushing the boulder up. And then during Wednesday the boulder goes all the way down again. My way back to the boulder there are this voices that say

“Wow all this for a few hundred subs”
”Not a lot of things to write.”
”The kids are asleep, you can probably do anything else other than this”

I started this newsletter with a goal to publish at least once a week. Initially it was news but then I broke some personal stuff. There are weeks that not a lot of shit happens in comicsland and pushing only the personal stuff feels like it’s not what you signed up for.

But here I am, 9.30PM writing the newsletter because it’s the boulder I gave to myself. So! If news are thin or if the “Notes from the Creator” section is boring, I apologize in advance but this is going out no matter what.

Thanks for being part of this!

PS. I have no idea if I can somehow publish this at a more humane time depending your location. I am currently hitting publish at whatever time I am done but please do let me know if you want me to look into this or if you don’t really mind reading this on your 3am toilet trip.

I made a post along the lines of, “I’d love to feature your work in my newsletter.” To my surprise, that quiet little subreddit sent me over 30 comics to check out. Most of them were getting ready for Kickstarter campaigns.

I went through as many as I could, though not all, at least not as quickly as I would have liked. Some were short 20–24 page issues, but others were full-length books with over 200 pages. In some cases, there was even another 200-page volume I had to read first just to catch up. I definitely overestimated how much time a father of twins with a full-time job could spare.

To make things even trickier, more creators started messaging me days or weeks after the original post. The number of requests kept growing.

One story that almost slipped through the cracks was The Coretan Times.

But I wasn’t going to let this one pass me by. I read it as soon as it came out. I just didn’t have the mental energy to write something that lived up to how good it was.

Story

These days, I read a lot of comics without knowing much about them beforehand. That kind of early exposure is usually a privilege reserved for mainstream books, which benefit from months of advance hype or publisher marketing.

To be honest, I probably haven’t done the best job keeping up with indie creators either. Over the past year, I’ve mostly just grabbed comics from my local shop, backed a few campaigns on Kickstarter, or picked up interesting ones from Comix.one.

Usually, I can tell right after I finish reading whether I really liked something. I don’t show much emotion while reading, except maybe squinting at tiny fonts.

When I opened The Coretan Times, it felt like another blind read. I’d never heard of Dylan P.G. before he reached out. The title didn’t give much away either, so I had no idea what I was getting into.

But by page two, no exaggeration, I thought, “This is going to be good.”

By the end of chapter one, I was hoping there was more already published.

Here’s the official description:

“As the end of times is heralded, the Coretans must stop a mysterious abduction ring, fight terrorists, and restore political order across all Lifekind.”

Honestly, it’s not a great summary. It doesn’t really capture the heart of the story, though it does leave you with a lot of questions. Maybe that was intentional.

To me, The Coretan Times feels like a blend of Star Wars, Saga, and The Incal. Like those, it’s a sweeping space opera full of rebellion, moral tension, and deep worldbuilding.

At the time of writing, there are two chapters available. I’m already hooked. The story is layered, politically rich, and has some nice touches of humor through the character interactions.

I’m in.

Read The Coretan Times Online

Art

Let me explain this part with a quick comparison.

When I first started reading The Walking Dead, I was obsessed. Not necessarily because of the story, which had its flaws. (Rick survives a coma for weeks with no medical care? Buildings covered in overgrowth as if decades passed?) What really grabbed me was the art. Tony Moore’s work was next level. Every panel had purpose. Every character, zombie, and building was drawn with care and individuality.

Then around issue seven, the art changed. Charlie Adlard stepped in, and while his work was solid, it felt like the series traded quality for speed. Panels started losing their backgrounds. Some faces were reused between scenes. The overall visual detail dropped significantly.

Reading The Coretan Times reminded me of how I felt during those early Walking Dead issues. Everything was incredibly detailed. The character designs, the architecture, the environment—every panel felt considered.

It’s entirely black and white, and it doesn’t miss a beat. There are a few colored illustrations available, and they look great, but the black and white presentation fits the tone perfectly.

In comics, the background isn’t just filler. It’s storytelling. Imagine watching Star Wars with no environments, just the characters talking in front of blank screens. That would strip away so much of what makes the world feel alive. The Coretan Times understands that. Husen A.A., the artist, absolutely nails it.

The world feels immersive and fully realized. Every page invites you in.

If you’re into ambitious sci-fi with bold art and layered writing, The Coretan Times is a must-read.

Read The Coretan Times Online

Conclusion

The Coretan Times is one of those rare indie gems that feels fully formed from the start. The writing pulls you into a complex, evolving universe, while the art backs it up with an incredible level of detail and care. It’s ambitious, confident, and unafraid to take its time building something bigger than a single issue can contain. If this is just the beginning, I can’t wait to see where it goes next. Keep your eye on this one—it’s something special.

PS

They’ve put up their own website where each chapter is going in at the time of release but I found the design a bit clanky. It’s not really easy to read because zoom in or out works weird and sometimes it takes you to the next page without wanting etc.

But they also publish on GlobalComix and other platforms.

Please consider supporting them because the comic is awesome, the team is awesome and I want to read more of what they have to offer!

Indie Highlights

News Highlights

Marvel & DC Unite: Deadpool/Batman Crossover Announced

For the first time in over two decades, Marvel and DC are collaborating on a crossover event featuring Deadpool and Batman. The event kicks off with Deadpool/Batman #1, written by Zeb Wells and illustrated by Greg Capullo, releasing on September 17. This will be followed by Batman/Deadpool #1 in November, penned by Grant Morrison with art by Dan Mora. Each issue will include backup stories featuring other Marvel and DC character pairings, with more details to be revealed.

Punisher Returns in 'Red Band' Series

Marvel has announced Punisher: Red Band, a new five-issue limited series launching on September 10. Written by Benjamin Percy and illustrated by Julius Ohta, the series is described as the most violent in Punisher history. Frank Castle returns in his classic skull emblem costume, resuming his brutal crusade against crime. The series will be polybagged for explicit content and coincides with Jon Bernthal's return as Frank Castle in the streaming series Daredevil: Born Again.

Notes from the Creator

Yesterday I stumbled across Colleen’s latest article, and it really kickstarted a wave of thinking—not just around creativity, but also luck, destiny, or whatever name we want to give to the circumstances we’re born into.

Colleen Doran's Funny Business

Delays are not Denials

Our culture celebrates young, brash geniuses, and can’t get enough of innovators who create something spectacular before age 30, even if they never do another thing their entire lives…

Read more

a year ago · 56 likes · 13 comments · Colleen Doran

For most of my life, I believed I wasn’t a creative person. I even took a career aptitude test when I was younger, and it told me I had close to zero creativity. But I’ve never let those kinds of labels define me, and that one didn’t either.

Colleen makes a great point: our location, our surroundings, our circumstances—these things often shape how others perceive our creativity. And they shape how we act too. The version of you that’s constantly stressed or in survival mode doesn’t have the same capacity to imagine or create as the one who feels safe and supported.

It’s easier to see far when you’re standing on the shoulders of giants. It’s easier to create when you’re not worried about bills, kids, or your next meal.

These days, I consider myself the most creative person I know in my industry. I owe most of my success to that creativity—something I only started building in earnest after turning 30.

I’m 37 now, and I don’t think I’ve ever felt more creative. It’s not just about work anymore. It spills into everything: writing, drawing, experimenting, learning. I finally have the mental space to think deeply and act intentionally—and that has made all the difference.

Don’t let age define who you are. Don’t let labels other people put on you define who you are. You can be anything or anyone you want to be as long as you put the work.

Thanks for reading!

Angelos

I don’t actually know the guy, but his mind is a horror show—and I mean that as the highest compliment. I hope it stays that way for as long as he wants it to, because the stories he tells are nothing short of perfection.

I’m not sure how many comics he’s created beyond Beneath the Trees Where Nobody Sees and now Free for All, but honestly, this kind of quality over quantity is more impressive than a long list of hits and misses.

Free for All doesn’t quite fit into horror or mystery, but it definitely comes from a mind bursting with dark imagination. Unique stories are rare—and unique hack-and-slash stories? Even rarer.

Story

The premise is simple, and since this is a one-shot, the comic doesn’t waste time getting there. But really, the plot is just the setup—the spectacle is what you’re here for.

Set in a dystopian future, the World Finance League randomly selects billionaires and trillionaires and forces them to make a choice: either donate half their wealth to the public good… or defend it in a ritual death match.

Ted Brooks, a real estate tycoon with 22 victories under his belt, has kept his fortune by being ruthless. But now he’s forced to face his ex-wife, Luella Dominguez—a woman who’s been waiting, training, and preparing for this moment. But can she truly defeat the man who built an empire by any means necessary?

That’s the setup. What follows is 56 pages of savage, high-stakes combat: brutal fights, shattered bones, severed limbs, caved-in skulls. It’s visceral, relentless, and impossible to look away from.

I mean… I’m not a violent person. If someone honks at me in traffic, the most I’ll do is maybe flip the bird. But Free for All had me thinking… what if?

Art

If I didn’t have kids in the house, I’d already be printing posters from this comic. Since they’re too young to be reading my newsletter, I’ll just leave a visual sample instead.

Horvath’s artwork is a gritty, grimy delight—full of texture and tension. His panels carry a rough, chaotic energy, mixing grotesque realism with a darkly stylized flair. The fight scenes are brutal but choreographed with a kind of nightmarish elegance: improvised weapons, desperate movements, moments of violence that are almost balletic.

The color palette helps push that gruesome spectacle further—intense, often jarring, never dull. And while Free for All was mostly drawn between 2016 and 2019, prior to Beneath the Trees, you can still see Horvath’s knack for visual storytelling and his ability to make the absurd feel chillingly grounded.

There’s a satirical bite to every page, not just in the writing but in the way characters are drawn, the staging of each panel, and the brutal absurdity of a society that literally fights to hoard wealth.

Final Thoughts

Free for All is sharp, vicious, and wildly entertaining. It's a social critique wrapped in blood and satire, delivered by a creator who clearly knows how to wield both pen and blade. If you’re in the mood for a one-shot that’ll punch you in the face and then make you think about late-stage capitalism, this is the comic for you.

I was never really a big fan of horror. Back in the day, we used to crowd into those VIP rooms at internet cafes and binge horror flicks with the gang, but aside from a handful of memorable ones (and I’m being generous here), the genre never truly hooked me.

Sure, there were jump scares—but if I wanted to feel terrified, I could just watch the nightly news.

That said, when I picked up The Mummy a few weeks ago, I was genuinely excited. The original Mummy movies are among the few horror classics I’ve actually enjoyed. I’ve always been more into creature features than slashers—werewolves, vampires, mummies… that’s my jam.

So when I spotted Universal Monsters: The Mummy on the shelf, I instinctively grabbed it. I hadn’t read any reviews and didn’t know what to expect, but seeing Faith Erin Hicks on the cover gave me that final push.

I’m glad it did.

Subscribe now

Story

Universal Monsters: The Mummy opens in 1920s Thebes, introducing us to Helen, a young woman of mixed heritage—half Egyptian, half British. The first issue centers on her struggle to find a place in a society where she’s both of the people and of the colonizers.

It’s hard to bond with rebellious local teens when your family controls most of the jobs and wants to dig up their ancestors.

The plot loosely follows the bones of the original Mummy story. For those unfamiliar, here’s the quick version:

Ancient priest dies (bad breakup, buried alive—classic).
Gets resurrected 3,000 years later by nosy archaeologists.
Throws on some ancient linens and starts stalking a modern woman he thinks is his reincarnated lover.
Goes from “Hey, I think we dated in a past life” to “Let’s get embalmed together.”
Spoiler: things go south.

Art

Faith Erin Hicks brings a unique visual style to this adaptation, blending expressive linework and cinematic panel design with a gothic horror aesthetic. Her art captures the dusty, haunting feel of 1920s Egypt while still feeling personal and grounded.

There’s a subtle cartoonish charm in her characters, but it’s balanced by emotional depth and a textured ink wash that gives the pages a vintage, almost film-grain feel.

Colorist Lee Loughridge complements this perfectly with a moody, subdued palette that enhances the supernatural tones and somber mood. His colors deepen the tension and give the world a sense of lived-in eeriness.

Together, Hicks and Loughridge deliver a respectful and visually rich homage to the 1932 original—familiar yet fresh, and just creepy enough to make you keep the lights on.