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Limited-Time Kindle Sale for Book 1 of Flynn Nightsider, a YA Dark Fantasy Series, by Author Mary Fan

Author Mary Fan with the cover of her YA book, Flynn Nightsider and the Edge of Evil

With the growing and continued success of Young Adult (YA) literature, spanning quite possibly every genre imaginable, diving into a new story or looking for the next Hunger Games or Divergent can be a daunting task.

Mary Fan, a published author of ten years and contributor to the Workprint, knows the world of YA all too well. In addition to crafting many different book series in the genre, she is coming in on closing one of her recent book trilogies, the Flynn Nightsider series by summer’s end this year.

The first book, Flynn Nightsider and the Edge of Evil, originally published in 2018, is on promotion, being offered for free on Amazon Kindle until the end of the week, Saturday February 18th at time of publishing.


The cover of Flynn Darksider and the Edge of Evil, the first of a Young Adult dark fantasy and dystopian trilogy.
Cover design by Streetlight Graphics. Cover photo by Tom Castles. Featuring models Joe Rorem and Angel Fan.

To give readers a taste of Flynn Nightsider, we took the time to chat with Mary about Edge of Evil and the Flynn Nightsider universe.


Workprint: Flynn Nightsider and the Edge of Evil is available for free on Kindle until the end of this week. Can you tell us why readers should dive in? What separates this from other YA series?

Mary Fan: Edge of Evil starts with a pretty common YA concept– that magic and monsters are real– but turns it on its head. Instead of those with magic being underground good guys who secretly protect humankind from the monsters, as is the premise of a lot of YA fantasies, these magic folks have decided they have all this supernatural power, and they’re going to use it to rule the world. Not only that, but they’ve implemented a rigid caste system where those with magic are on top and those without are on the bottom, and the closer to magic you are, the more power you have. And the main character, a 16-year-old boy named Flynn, is as far from magic as you can get. So it’s basically the opposite of the whole “magical kid discovers powers” trope.

WP: What was your inspiration for writing this?

MF: I came up with the idea around 2012, when YA dystopia was having a moment, but only in the world of soft sci-fi (like The Hunger Games). Meanwhile, I’d grown up on a lot of the “magic kid” fantasies, and I wanted to combine the concepts, but also turn them on their heads. No spoilers, but let’s just say the revolution doesn’t go as Flynn thought it would.

WP: You’ve written two novels thus far, with the last book of the trilogy coming out this year. How does it feel reaching the end of a story?

MF: Very weird, especially since I first came up with the idea so long ago! But also satisfying. When I wrote the first draft of Edge of Evil, I had no idea where the series would go; only that I wanted a twist ending, and I’d figure it out later. Then I outlined the series and thought I know where I was going with it. But with the second book, Shards of Shadow, I suddenly got an idea for another twist ending that was going to get me into a whole lot of trouble. And of course I wrote that ending because it was more interesting than what I had planned, and Book 3, Ire of Inferno, has been about me finding (hopefully) clever ways to get out of the hole I wrote myself into.

WP: Can you give some insight about the worldbuilding of the Flynn Nightsider universe?

MF: In Flynn’s world, the monster apocalypse came and went a hundred years ago. Scores of supernatural beasts and malevolent spirits overran the earth and decimated the population, and the only reason humanity survived at all is because those with magic established protected cities. Now, those protected cities are totalitarian nightmares, the monsters are still out there, and you’ve got two choices: accept the dictatorship or get eaten.

WP: Flynn Nightsider is just one of the many series you have written, with this one being a dark fantasy dystopia story. Having written sci-fi and other forms of fantasy, what’s it like writing different genres?

MF: It’s a lot of fun! I bounce around a lot creatively, and I like to explore various speculative fiction genres. Writing series mean I do get to stay in a world I built for longer than one book, but in general I like to switch it up from book to book.

WP: What can readers expect by diving into the Flynn Nightsider and the Edge of Evil?

MF: Edge of Evil is definitely on the darker side of YA, though it stops shy of full-blown horror. Expect Hunger Games-style dystopian violence, with themes of rebellion and revolution, and also nasty monsters and evil ghosts like the ones the Winchesters fight in Supernatural. There’s lots of action for sure!

WP: Do you have any favorite Flynn books or is it like picking a favorite kid?

MF: That’s impossible to say right now since Book 3 isn’t finished yet, but I have a feeling even when it is, I won’t be able to pick. I mean, they’re all so different!

WP: You have written a plethora of YA novels over the last decade. What makes the YA genre so appealing to you? 

MF: I like how fun YA gets to be. Your main characters are teenagers, with all their headstrong impulsiveness and youthful flaws. They have room to make mistakes and grow in a way that can be frustrating with adult characters.

WP: You are also a co-editor of Brave New Girls, the anthology series that features YA sci-fi tales about teen girls skilled in STEM. Can you tell us more about that experience?

MF: Brave New Girls started in 2014 when my co-editor Paige Daniels and I were complaining about the lack of brainy girls as sci-fi heroines. Sure, you’d get the lab girl or blond bombshell with 9 PhDs, but you didn’t really get to see girl mechanics, hackers, etc. as the main characters. So we ran a crowdfunding campaign to put together the first Brave New Girls and had so much fun putting that together, we kept going. We’re publishing Volume 7 this summer!

WP: Finally, what would be your advice to writers trying to get their works out there?

MF: My advice is to always remind yourself that publishing is a lottery, not a meritocracy, and that “meritocracy” was originally coined as a dystopian term. Rejection is frustrating, as is seeing others get what you want, but don’t let that get to your head. Just because you’ve received your 500th rejection the same day someone on Twitter is boasting about their 5-book deal doesn’t mean they’re a better writer than you, only a luckier one. And don’t forget that writing is, first and foremost, meant to be something you do because you love it, and that matters more than any flashy deal.


Make sure to take advantage of this kindle deal for Flynn Nightsider and the Edge of Evil before the 18th to get your chance to dive into the intriguing world built by Mary Fan. Also, visit her website to learn more about her vast bibliography and the great work she’s done with Brave New Girls

Author Mary Fan next to a stack of books.
Mary Fan is an author of sci-fi/fantasy and YA books about intrepid heroines.

Amanda Waller sets the Cold War on fire in Waller vs. Wildstorm #1

Waller vs Wildstorm main

Amanda Waller is the most feared and single-minded person in the DC Universe, constantly demonstrating that anything is possible as long as you’re willing to get a little messy. But everything is about to get more complicated as finds herself battling the heroes (and villains) of the Wildstorm Universe in a four-issue DC Black Label limited series: Waller vs. Wildstorm.

While it’s the tail end of the Cold War, the world is still icy as ever with a new fight brewing over the soul of Checkmate. As the former head of Stormwatch, Jackson King (aka Battalion) is the present super-powered public face of Checkmate, but he’s forced to confront the problem that is Adeline Kane. Convinced she is dirty and responsible for unspeakable horrors, King must find a way to stop her.

Unbeknownst to him, Kane has a shrewd new partner – a ruthless young woman by the name of Amanda Waller. She’s got plans for how metahumans can be used in war, ideals be damned.

Written by Spencer Ackerman (author of Reign of Terror and Contributing Editor to the Daily Beast) and Evan Narcisse (DC Power: A Celebration, Batman: Gotham Knights – Gilded City, Marvel’s Rise of the Black Panther), Waller vs. Wildstorm revels in Wildstorm’s history of spy-fueled superhero moral dilemmas, placing Stormwatch at odds with Amanda Waller and the lethal likes of assassin Slade Wilson (aka Deathstroke!). 

Drawn by beloved artist Jesús Meriño (Wonder Woman, The Joker Presents: A Puzzlebox, Infinite Frontier), with a cover by Jorge Fornés (Rorschach and Danger Street), this once-in-a-lifetime debut issue is already available for pre-order. In addition, issue #1 boasts a variant cover by Eric Battle and as well as a 1 in 25 “ratio” variant cover by Mike Norton.

Waller vs. Wildstorm #1 drops in comic book shops and participating digital platforms on Tuesday, March 21.

Waller vs Wildstorm_v1 Waller vs Wildstorm_v2

Available For Pre-Order Now, On Sale Tuesday, March 21

Carnival Row Season 2 Episodes 1 & 2 Review: A Song of Violent Xenophobia 

carnival row promotional image of season 2

It’s been some time for fans of Carnival Row. After four years of waiting, the series returns to a two-episode-a-week schedule, kicking off with a dual-header that flies to new heights in shock value. 

For those who don’t remember, Carnival Row was, at its best, a show of mixed but powerful messages. Series creator Travis Beacham’s original idea focused on a story of xenophobia and refugees, set in a world where the Fae of fairy tales were displaced after losing their territories due to human wars. The show begins as an investigation of a fairy-killing Jack the Ripper-type, where inspector Rycroft “Philo” Philostrate (Orlando Bloom), took audiences through an investigative journey into the crime-riddled slums of Carnival Row

Highlights of the first season were Philo’s forbidden love story with Vignette (Cara Delivigne), an incestuous affair-riddled power struggle over the dynasty of the Chancellor, and a Beauty and the Beast retelling between social misanthrope yet wealthy Faun, Agreus (David Gyasi) and his high-society neighbor and heiress, Imogen (Tamzin Merchant).

Critics were not so kind with a 57% approval rating despite the 88% user score on Rotten Tomatoes. Still, I feel the second season’s first two episodes does a better job by going beyond the melodrama of manic pixie rogue girl meets detective Legolas, and focusing on what’s happened to Carnival Row’s denizens after the events of the season one finale. 

Last we left off, the Fae were segregated from the rest of the city, just as Jonah Breakspear (Arty Froushan) was anointed the new Chancellor after the death of his father. Accomplished with help from his lover/leader of the opposition party, his stepsister, Sophie (Caroline Ford), we learned at last season’s climax, how Sophie was the mastermind of every event in season one due to her powerful ambition to form an incestuous monarchy. All, unbeknownst to her brother.

I’ll admit when finally putting Carnival Row’s main story together as a whole it’s… pretty ridiculous. This is likely why it was announced that season two will be the final season as most critics found that the series was lacking in direction and message.

This is why I’m surprised to admit this as someone who didn’t care for, but then gave a chance to the show and its newest season only recently: the series is actually quite good. And the first two episodes of season two… are really good. 


Carnival Row S2 E1: Fight or Flight Review

Orlando Bloom (Rycroft Philostrate), Cara Delevingne (Vignette Stonemoss)

Season two begins with a whole lot of action. Whereas the original pulled in audiences with suspense and mystery, this new season goes into it knowing full-well we’re familiar with these characters, and instead, embraces a rather fast-paced fight club and a heist sequence happening simultaneously. Pretty much kicking off season two with a bang. 

If that weren’t enough, we see Philo do his best re-enactment of his Legolas days by battling a troll; whereas Vignette goes on to embrace her role as a rebel leader by heisting some medicine with her people, proving to herself and the Row, her value. This season, the show seems to be embracing the aptitude of its ensemble better, all to get a rounded perspective.

Now, it must be stressed, the season is a lot more gruesome this time around. If it’s been a while since you’ve seen the show, be prepared for the amount of shock unleashed in this episode as it’s difficult to watch at moments. Season two takes a look into the deteriorating state of affairs for the Fae. We get a gross glimpse at disease and poverty, and how bad the Fae, racistly called Critch by the police, keep getting abused. As a result, public executions as a show of force by the government are conducted to maintain order, with the Chancellor, struggling to maintain power in the Row.

On a personal note, I think the themes of the show hit harder now than they originally did in 2019. Given what’s happened with George Floyd, the war in Ukraine, and the fall of Afghanistan, so much has changed in a short timespan where I think the show benefits in exploring these themes now compared to when it first aired.

I stress this, because it’s obvious the Chancellor is not a terrible person, but rather, that Jonah is just a stupid person. Someone who’s so obviously in over his head. Skillfully played by Arty Froushan, there’s an ignorance to the character that’s subtle, yet defining, in that it makes the audience hate the character, but also, absolutely relate to him as a man who’s just trying to be someone after having his entire life/fate dictated to him his whole life. 

Though behind every idiot puppet in leadership, is always the real power-player pulling the strings. Sophie Longerbane is this real power, though in this case, the leader of the opposition seems to be in a conundrum as re-elections may be underway soon and she might not have her party’s full support.

Now, Sophie and Jonah’s usurping of power is a confusing point in the series? As chancellors and leaders can seemingly be inherited roles passed down to their children like in monarchies, but are somehow, still privy to… elections? It’s a confusing point but one that forces the real power players to prove themselves. Likely, in a grandiose gesture to come. Audiences should remember too: that Philo himself is also the Chancellor’s step-son. How this all plays into the show will be unraveled in the season-long journey.

As for the rest of the episode, sex work gets minimized now as the Row is less of a working lower-class refuge for Fae, and more of a detention camp for those the government deems impure. There are, however, a few topless scenes of Orlando Bloom and his chesticles if that’s what folks are looking for. 

In lieu of gratuitous sex is an abundance of murder, though not as gratuitous, as the depictions of the living-conditions of the Fae. This time around, we get quite a lot of scenes of the different types and casts of Fae-folk. Most importantly, Aoife the witch, who hasn’t fully departed from the series it seems – lingering magic left behind and all that. There’s also a new type of mysterious Fae-murders to solve.

Finally, Agreus and Imogen remain the most compelling of the show’s storylines. Not only because it breaks walls regarding interracial relations, but also because unlike the series’ other bleak themes, theirs is about love and kindness. Which is all the reason fans will be shocked to see what happens to them as their tale escalates in danger almost immediately.

Finally, I must stress, I never really liked Cara Delevigne as an actress, but I absolutely love her portrayal in this show. And the first episode only increases that love even further, as she’s really come into the role in a dalliance of curt toughness, while maintaining manic pixie cuteness.


Carnival Row S2 E2 Review: New Dawn

(L-R) Andrew Gower (Ezra), Tamzin Merchant (Imogen), David Gyasi (Agreus)

I’m not going to get into too many details for this episode because of its many embargo rules but suffice to say: shocking is the right word for it. This is the episode that’s easily the make-or-break moment for those looking to jump back into the series and I’d get to finishing this episode before making up your mind of whether or not to continue.

Without spoilers, I will say that episode two is grim. There are more than a few death scenes in this one and a lot of characters do not make it out alive. It’s all a very tense episode that tests the roles and responsibilities of Philo, Vignette, and Agreus. Taking the characters, but also, the Carnival Row extended cast, to new heights.

For instance, Tourmaline herself, played by Karla Patsy Crome, seems to be developing her own unique story arc. It’s wonderful given that she’s mostly played as a supporting role for Vignette thus far in the series, though scary once you realize for mysterious forces she’s messing with.

We also see the return of an old puppeteer and educator come back into the fray with lots of skullduggery involved, all for a storyline that’s as equally redemptive as it is ominous, because doing the right thing never seems to work out for those in Carnival Row.

This episode picks up right after the cliffhanger of episode one where things go from seemingly promising to utterly terrible, and many of Agreus’ plans go awry.

The ruins of places of refuge is a theme that permeates a lot of moments in this episode and actions get taken out of necessity for survival, leading to revelations and hasty decisions that go terribly awry across the board.

Put simply, the conflict between government and the impoverished Fae comes to a head regarding their rights to survive in this episode. All leading to a deathly consequences. Whereas the first episode set up an evident divide separating aristocracy from the sins of war, this episode, absolutely tears that away leaving many casualties in the process.


The Take

I’d give the series a watch as it gets really good. The cast hits their marks and the message seems more focused than ever before.

4/5 Stars

Levi Returns to La Brea In a Shock-Filled Episode

LA BREA -- "The Return" Episode 210 -- Pictured: (l-r) Josh McKenzie as Lucas -- (Photo by: Sarah Enticknap/NBC)

La Brea has just come off another unnecessary break with a great episode. The Return isn’t just about a familiar face coming back to 10,000 B.C. It’s also about a problem coming back in a big way for the people of the Clearing.

It all starts with an adorably fluffy wooly rhino being disturbed by a portal appearing nearby. A man in jeans and a jacket steps out casually and starts walking with a purpose. Meanwhile back at the Clearing, poor Eve is still recovering from her concussion in the overturned bus. She’s on the way to recovery, but can’t do much physically. Her children both worry about her, but they also quickly squabble about whether or not to trust James. As for Gavin, he’s gone to visit daddy dearest, though that mission gets sidetracked pretty quickly.

The Return | Billboard
LA BREA — “The Return” Episode 210 — Pictured: (l-r) Josh McKenzie as Lucas, Lily Santiago as Veronica — (Photo by: Sarah Enticknap/NBC)

Lucas still doesn’t trust Virgil, especially when he catches the man acting all sketchy. He tells Veronica about his suspicions, and is delighted when she agrees with him. She makes everything better, he says, but then is surprised when Veronica rebuffs his suggestion they move in together. She’s still reeling from the weird Aaron revelations last time, and is upset the man who kidnapped her is still on her mind.

Speaking of Virgil, he unexpectedly comes to relieve Scott of guard duty. Scott says he was waiting on someone else, but Virgil convinces him to go and grab a bite to eat. It seems harmless, until Virgil removes the handkerchief from his supposedly wounded hand and affixes it to a wooden pole, hoisting it high. Once he does so, Exile scouts in the woods spy it, and Taamet signals them all to action.

Back at the Lazarus tower, Ty is getting treatment for his otherwise fatal brain tumor, and things seem to be going well. Then James’ number two woman, who it turns out is named Kira, starts grilling him about possible ethical conflicts of interest in playing psychiatrist to James. He assures her he’s a professional, and turns down her digital notepad. He asks instead for a legal pad, and Kira willing agrees. Oddly, she’s written a note on the pad already telling Ty not to trust James, and to inquire about something called Project Blue Moon.

As Gavin is setting out for the tower, he finds the person that stepped through the portal. To his shock, it’s his friend Levi, and he’s rocking a Pedro Pascal scruffy Last of Us look. It definitely works for the man, and Gavin asks what brought him back. Apparently it’s been 10 years for Levi, and he claims portals kept opening up. He joined the DOD and wants to help rescue everyone. Gavin invites Levi to come and meet James, but it’s clear Gavin’s old friend is holding something back.

Sam and a small group are out hunting for Taamet when Riley tells him Caroline’s secret, swearing him to silence. They discover a smoke trail and by following it discover a spent cookfire with weapons branded with the Exile symbol. Back at the Clearing, Josh suspects grandma Caroline is keeping secrets. He doesn’t have much time to test the theory, as suddenly the Exiles attack in force, capturing nearly everyone. The only exceptions are Josh and sister Izzy, who take shelter in a car; Scott takes shelter in Eve’s bus; and Lucas spies Virgil running for cover, and goes to confront the man.

The Return | Exiles
LA BREA — “The Return” Episode 210 — Pictured: (l-r)Rohan Mirchandaney as Scott, villagers — (Photo by: Sarah Enticknap/NBC)

After dragging Virgil into a secluded room, he starts roughing him around. Despite only having one good arm, Lucas quickly gets the best of Virgil, and forces an admission that he helped the Exiles. Not only did he not warn the Clearing of their pending attack, but he killed Wyatt when the other man discovered him searching for something on their behalf. The reason for his complicity is soon made clear, when Sam and Riley discover Virgil’s wife, Jane, as a bound and blindfolded Exile hostage.

Josh and Izzy watch the Exiles hunting for the object Virgil mentioned. Josh wants to discover what it is, but instead Izzy rips off the rearview mirror and says they can use it to save their mom. Scott and Eve watch the siblings running about, about to get caught by an Exile patrol. Eve passes out from fear, and Scott grabs a nearby screwdriver to run interference. He distracts the patrol long enough, but then gets found by Taamet and takes a hard beating.

The Return | Captive
LA BREA — “The Return” Episode 210 — Pictured: (l-r) Lily Santiago as Veronica, Michelle Vergara Moore as Ella — (Photo by: Sarah Enticknap/NBC)

Ty plays psychiatrist and has a session with James. It’s fun watching him in his element, especially now that he’s on the road to recovery. Turns out, James has suffered from insomnia for a month. Ty initially diagnoses it as stress, but when he tries to dig into what triggered it, James only mentions a dream before deflecting further questions and leaving abruptly.

Gavin presses Levi for the full story, since he can tell his friend is holding something back. Levi swears he didn’t return for any romance with Eve. He actually fell in love and got married in his 10-year hiatus, but says his wife is now dead. Then Sam’s group runs across the men, and tell them about the Exile attack on the Clearing.

Ella and Veronica are busily talking about Aaron and how he ruined Veronica’s life when they get dragged out of their car. Lucas runs out saying he has what the Exiles are searching for, a book as described by Virgil. Unfortunately, Taamet presses for more details and it’s clear Lucas has no idea. To my surprise, Veronica fills in the blanks, and says the book belonged to someone she knew, and that she buried it with Aaron. Taamet sends them to dig it up, and warns Scott will perish if they don’t succeed fast enough.

The Return | Signal
LA BREA — “The Return” Episode 210 — Pictured: (l-r) Zyra Gorecki as Izzy Harris, Josh Martin as Jack Harris — (Photo by: Sarah Enticknap/NBC)

Izzy uses the mirror to signal a morse code message to Gavin, warning him to attack the smaller Exile group heading to dig up the book first. He’s not in a great mental space, and is instead going to attack the more well-defended clearing, but Levi convinces him to trust his daughter and follow her instructions.

Ty persists, and James reveals it wasn’t a dream that caused his insomnia, but a recurring nightmare about when Isaiah was taken from him. He was overwhelmed with grief and tried to shoot himself that day, and he’s still overwrought about not having a relationship with his son now that he’s all grown up. Then he starts reminiscing about how much Gavin loved the bio bay as a child, showing Ty pictures. One is a blue moon on a sea of stars.

The Return culminates in a couple of really tense exchanges. Veronica digs up the book moments before Gavin and company intercept, taking the Exiles hostage. Then they take back the Clearing pretty effortlessly, only for Taamet to run off. Scott and Lucas chase after him, but Taamet surprises Lucas and tackles him. Scott finds the courage to fight, and actually gets the better of the brutal Exile, stabbing him fatally in the gut.

Ty leaves the tower, and talks with Kira. They suspect Project Blue Moon is about James fixing his past by making it so Gavin never left his side. The problem is that this will destroy the current timeline, and make it so Ty never gets the advanced treatment he needs to survive.

Studying the book, it turns out that Aaron’s purloined book was actually Dr. Moore’s complete journal, with formulas to help them travel home. Shockingly, Taamet reveals the Exiles weren’t sent to recover it by James, but by Kira. And then The Return ends with Eve and Levi talking, and him revealing he came back with the sole mission of killing James.

The Return | Eve
LA BREA — “The Return” Episode 210 — Pictured: (l-r) Natalie Zea as Eve — (Photo by: Sarah Enticknap/NBC)

Another really solid episode of La Brea. I’m saddened by the rumors I’m hearing about the show ending soon, but hope they manage to keep up the positive momentum and at least end the next season on a high note.

Robert Kirby’s Graphic Novel Memoir ‘Marry Me a Little’ to Debut on February 21st

marry me a little

Robert Kirby, the acclaimed cartoonist and gay rights activist responsible for hits such as Curbside Boys and Boy Trouble, will release a graphic novel memoir published through Graphic Mundi, an imprint of Penn State University Press.

Called Marry Me a Little: A Graphic Memoir, this brave new title releases on February 21st with 7 different shareable Valentines using panels from the book’s sweetest moments to raise awareness for the Right to Marry for all.

Publishers Weekly Top 10 Spring 2023 Adult Comics & Graphic Novels selection, Marry Me a Little sees Kirby recount his experience of marrying his longtime partner, John, just moments after same-sex marriage was legalized in Minnesota in 2013. Married during a historic moment of gay rights uncertainty, the story takes place two years before the Supreme Court decision made same-sex marriage legal.

In the story, Kirby relates how he and John navigated this changing landscape in this touching graphic tale; how they planned and celebrated their wedding, and how the LGBTQ+ community is now facing the very real possibility of setbacks to marriage equality.

“Is it a love story? Sure. But there was a whole lot more going on in and around us regarding the idea of marriage,” said Kirby. “That’s what I tried to capture.”

Now, this personal memoir also takes into consideration Rob’s antipathy towards the institution of marriage, especially given the waves of adversity the two had to face over the years. Heartwarming, honest, and slyly humorous, Marry Me a Little is a wonderfully illustrated celebration of a romantic partnership between two men and the challenges that face them in this ever-changing landscape right now.

The graphic novel is already available in comic book shops and have been since February 8th. Books in the imprint are distributed in North America exclusively by Diamond Comic Distributors/Diamond Book Distributors.

Marvel Unlimited Does a Moon Knight Murder Mystery, Deadpool Love Story, and Spider-Man Late Date For Valentine’s Day 2023

Love Unlimited Deadpool

Happy Valentine’s Day to all our readers and would-be romanticists madly infatuated with comics. The latest from the Marvel Unlimited team is that there are 3 new vertical comics sparking this lovely occasion with Avengers Unlimited, Love Unlimited Deadpool <3’s The Marvel Universe (holy… is this serious?), and Spider-Verse Unlimited.

To top it all off, each one of these specials was written by some of the best writers the Marvel team has to offer with Alex Segura covering another epic Avengers Unlimited special, along with acclaimed Deadpool original creator Fabian Nicieza doing a lovingly fun one-shot of Deadpool that breaks all the Marvel barriers in a lesson about love. But that’s not all! The Marvel Unlimited app rounds it out with a Spider-Man and Black Cat date day romance adventure. One full of delays and of course: aerial acrobatics.

Full details are below of each comic with a small spoiler-free synopsis.



Moon Knight in Avengers Unlimited #33
Writer: Alex Segura Artist: Jim Towe Colorist: Andres Mossa Editor: Tom Brevoort. Part 1 of 4

Kicking-off with Spider-Woman battling the brothers grim, this story begins when Captain America calls in The Avengers over the sudden disappearance of Moon Knight. The fist of Konshu having gone missing after investigating the sudden death of one of his “Night Travelers” of his Midnight Mission (apparently, Moon Knight’s running a church of sorts).

After checking out a mysterious town over this even more mysterious murder, things go amiss as clues don’t add up to what it seems, in what’s starting off as a promising Spider-Woman and Captain America mystery. The first issue of a 4-part arc.



Deadpool in Love Unlimited #37
Writer: Fabian Nicieza Artist: Salva Espin Colorist: Israel Silva Editor: Jordan White. Part 1 of 6

I think Marvel’s description of this one probably sums it best:

Finally—a story focused on the Marvel Universe’s foremost expert on romance…Deadpool. Wait, that’s not right! …but that’s what it says here… “Wade Wilson, certified love expert, teaches the world about love.” This has gotta be a mistake.

That said, this one is a pretty fantastic introduction with a short arc from the creator of the character, himself. It’s a story where Red himself meets a very pretty red head over at the villainous bar with no name, only for things to go awry.

I can’t say the context of how or why… but let’s just say… valentine’s day gets naked. A pretty funny start to what’s always been a rather funny character.



Writer: David Pepose Artist: Nathan Stockman Colorist: Fer Sifuentes-Sujo Editor: Ellie Pyle

I feel like Marvel would never be the same without a story from its most hopeless romantic. In this one, we get a very fun and acrobatic race-to-the-clock storyline, as Peter tries his best to make it in time for his hot date with Felicia, AKA the Black Cat.

A very quick run through an average crime day while trying to meet his appointment, this one sees Peter battle through vulture goons and flower shop bandits, in what’s a very witty and fast-paced tale of seeing our hero try to find time for those he loves most.

Extreme Venomverse #2 Sees New Heroes, New Villains, and All-Symbiotes.

Cover: Marvel Comics/LEINIL FRANCIS YU

Extreme Venomverse, a five-issue limited series much like Edge of Spider-Verse, will debut a group of gooey fanged monstrosities as part of their Summer of Symbiotes. Featured as part of the 35th-anniversary celebration of the Venom character, the upcoming comic run will span the entirety of Marvel’s multiverse and will include some fan favorites in both Eddie Brock and Dylan Brock, along with some never-before-seen Venoms introduced for the very first time!

But that’s not all. Extreme Venomverse will feature numerous writers and collaborators showcasing stories all leading to the tragic Death of The Venomverse storyline. Whether your favorite new symbiotes will survive this summertime saga, likewise, remains to be seen…

On sale in May. Here are the details. As described in Marvel’s Most Recent Press Release:

  • Venom scribe Al Ewing and artist Vincenzo Carratù (Mary Jane & Black Cat) unite to tell a purrfect tale about your favorite cat burglar and a certain heist she may have pulled on Marvel’s First Family! Witness what happens when Felicia Hardy slips into her very own symbiote!
  • Revisit MARVEL: 1602, with Clay McLeod Chapman and Paul Davidson, as they introduce the creepiest Venom EVER!
  • David Pepose and Ken Lashley introduce you to the twist L.M.V.—LIFE-MODEL VENOM! Cyborg Spider-Man, eat your heart out!
Extreme Venomverse #2 cover art with venom and black cat in symbiotes
Cover: Marvel Comics/LEINIL FRANCIS YU





On Sale 5/24

Carnage Reigns This May When Miles Morales Faces Cletus Kasady


Cletus Kasady just won’t die, will he? The homicidal maniac has risen from the grave before, and now he’s doing so again in Carnage Reigns, much to the chagrin of the heroic Miles Morales.

The Summer of Symbiotes will have Miles face a horror unlike any he’s known before and will force the young hero to muster all his courage. Here are some details about the story coming this May:

Carnage Reigns 3

Cletus Kasady is back and badder than ever. With his soul trapped within the Extrembiote Armor created by Tony Stark during King in Black, Cletus has the means to level an untold amount of chaos and, well, carnage on New York City and the entire Marvel Universe. But like any good Tony Stark invention, the Extremis coursing through Cletus’ symbiotic veins needs POWER, and that means Cletus is HUNGRY. Good thing Brooklyn’s very own Spider-Man is there to stand in his way! If he survives their first encounter, that is.

“Carnage Reigns is an old-fashioned David and Goliath story pitting a greener Spider-Man against the most sadistic monster in the Marvel Universe—Cletus Kasady!” Paknadel explained to Bloody Disgusting. “Miles has only been this out of his depth on a handful of occasions, which is a gift from a storytelling perspective. I’ve really enjoyed crafting this tale with Cody Ziglar, and we’ve developed a really fun, really productive working shorthand and that fun is present on the page! We know this story will satisfy fans of both characters in their FIRST-EVER CROSSOVER!”

Carnage Reigns 1

It certainly sounds like an exciting event. And here I thought Miles had it rough during the whole Red Messiah ordeal. Check out details for Carnage Reigns below, and stay tuned for more Marvel stories!

On Sale 5/3

Miles Morales | Carnage Reigns

Written by CODY ZIGLAR
Cover by DIKE RUAN
On Sale 5/17

Cover by KENDRICK “kunkka” LIM
On Sale 5/31

Check Out This Sneak Peak of Avengers #1 Both Interiors Plus 5 Variant Covers


In the latest from Marvel comics, the company has finally revealed all of its soon-to-release variants for The Avengers 60th anniversary run this May. Written by Jed MacKay and drawn by breakout Marvel’s Stormbreaker artist C.F. Villa, these highly acclaimed covers had been slowly revealed all throughout last week, featuring cover art from Stuart Immonen, Daniel Acuña, Kael Ngu, Derrick Chew, John Tyler Christopher, and Paul Smith.

In this new run of the Avengers, the team will be playing out their story having knowledge of the upcoming tribulation events, which are a series of grand-scale disasters that will disrupt the entirety of the known universe.

The story has already been set up in last month’s Timeless, where Kang the Conquerer began his hunt for the unobtainable “Missing Moment.” How the Avengers plan to stop Kang, and whether or not they’re just pawns in some grander scheme (as time has proven again and again in these sorts of Avengers stories where time/reality manipulating beings are in play), will be a grander reveal.

“For me it’s about a question of scale – the bulk of my work has been on the scrappy, weirdo, street-level end where a guy with a mask and some goons is a major problem,” MacKay explained to ComicBook.com in an exclusive interview. “With Avengers, we’re looking at not one, but seven people who work at a much larger scale than Black Cat, Taskmaster or Moon Knight do, and in a much bigger and louder way than Doctor Strange and Clea. So, going into Avengers, I’ve been restructuring how I look at a comic book- the stakes are higher, the threats are bigger, and the heroes are Earth’s Mightiest.”

Atop of this, the company has released a first look at the interior pages of this upcoming Avengers relaunch which you can see below. These pages feature Captain Marvel, Thor, Iron Man, Black Panther, Captain America, Scarlet Witch, and Vision assembling against classic Avengers foe Terminus.


the avengers #1 60th anniversary art cover
AVENGERS #1 Written by JED MACKAY Art by C.F. VILLA Colors by FEDERICO BLEE Cover by STUART IMMONEN. On Sale 5/17

‘The Last of Us’ Episode 5 “Endure and Survive” Review

I think I’m starting to detect a pattern.

Each week, The Last of Us will give us a tender, heartbreaking backstory about some compelling new characters and then they slaughter them in front of our eyes.

RIP Tess, Frank & Bill, and this week… Well, let’s get into it.

We open with the victory celebration of the Free Kansas City movement. They’ve successfully overthrown the tyrannical FEDRA troops that were controlling the QZ, and the people are whooping it up like they just overthrew Saddam Hussein. FEDRA troops are being beaten to death with clubs and their bodies are dragged behind trucks. Kathleen has rounded up all the known informants and collaborators and crammed them in a cell where she gloats at them. Wow, must suck to be you now, huh? Bet you never thought you’d be on this side of the cell when you sold us out! She promises that she’ll go easy on them – just a little time in jail – if they tell her where Henry is.

Kathleen is obsessed with Henry since he’s the one who ratted out her brother and got him killed. No one is willing to speak out until she starts to leave and tells Perry, her number two, to kill them. Then someone shouts out that Henry is with Eldlestein, the doctor that Kathleen killed last episode. Kathleen leaves to go find them, and then tells Perry to kill them all anyway.

Meanwhile, Eldlestein is showing Henry (Lamar Johnson) and his little brother Sam (Keivonn Montreal Woodard) to a little attic hiding place. (Last week I thought Sam was his son. My bad) They only have a bit of food and jerky between them, and if they ration it out it will last about 11 days. Sam is deaf, communicating with his brother through sign language and a peel-up writing slate. Henry does his best to keep him calm, telling him that he needs him to decorate the loft. Sam’s eyes light up as Henry pulls a big bag of crayons out of his pack and tells him to get to work. The performances of Sam and Henry are lovely. You can feel the care and concern between the two of them and it feels completely natural.

After ten days, they’re out of food and Eldlestein has been captured. They need to get out of the loft and find a way out of town. They’re just about to leave when they see the shootout from last week, where Joel gets ambushed but still manages to kill his attackers. Henry gets a new plan. Follow that guy and get him to help. And that brings the episode up to where we left off last week, with Joel and Ellie getting rudely awakened with guns pointed at them. (We now know that those guns are empty, having been used to escape from Kathleen’s troops.)

Henry knows why they came up into the tower. They want to scout out a route out of town. Well, he knows the city, and if Joel can keep them safe, he’ll show them his secret escape route. Henry’s plan is to go through the underground tunnels that connect the buildings and that will get them outside of Kathleen’s territory that’s bounded by the interstate highways. There’s only one tiny flaw in that plan. Henry asks them if they notice anything odd about Kansas City, and he points out that there are no infected on the streets. FEDRA rounded them all up and shoved them into underground tunnels, just like the ones they have to walk through. (Oh hey, one guess why that basement was bucking and heaving in the last episode.)

As far as Henry knows, they’re locked up nice and tight, so they should have no problems at all! Joel grumbles, but figures that the odds are better with zombies than Kathleen’s Mad Max Militia out roaming the streets. Henry notes that he’s the most wanted man in the city, and Joel is probably number two. Henry explains what happened here. The Kansas City FEDRA were renowned as being vicious monsters, even by the standards of FEDRA, and after 20 years of clamping down, the resistance movement led by Kathleen’s brother took them out. Henry admired and looked up to him, but then Sam got leukemia. FEDRA had the medicine to cure him, and Henry had to trade something big to get it. The leader of the resistance. That explains a little more about why Kathleen is so single-minded about finding him. It wasn’t just her brother; he was their leader and Henry needs to be made an example of. (Kathleen later admits that her brother told her to forgive Henry, but she can’t.)

Meanwhile, Ellie is introducing Sam to the joys of the awful puns in her joke book, No Pun Intended, Volume Too. Henry comments that it’s the first time he’s heard him laugh in ages. Sam and Ellie are quickly bonding, laughing, and joking. Sam is teaching her some rudimentary signs, and Ellie is reading comic books to him, like the one they find in a basement bunker called Savage Starlight, with its motto, “Endure and Survive.” (While looking up the name of the comic online, I found out that these are actually collectible items in the game, so Sam and Ellie telling each other which issues they have is a cute little Easter egg for the gamers.)

They trek through the tunnels, and whaddya know, it actually goes pretty smoothly! No infected! No militiamen! They are walking through the streets on the outskirts of town and Henry is about ready to bust out singing when shots start to ring out. A sniper in a house has them pinned down, and he radios to Kathleen that he has them. Joel manages to sneak into the house and kill him, but it’s too late. The militia is on the way.

They pull up in a convoy, with a bulldozer clearing out old cars and almost running over Ellie. Joel manages to shoot the driver in time, causing the truck to veer into a building and explode from a fuel leak. But, now Kathleen has Henry and Sam and Ellie surrounded. Henry asks her to let the kids go, but she refuses. See, the girl was with the guy that killed Bryan, and Sam’s the reason Henry betrayed them in the first place. And really, maybe Sam should have died. Nothing says he gets to survive.

Henry tells Ellie to get ready to run off with Sam. He’s going to surrender himself and buy them some time. Henry comes out, hands up, ready to face Kathleen. Kathleen’s about to kill him when the burning plow starts to sink into the ground. Growls and squeals start to emerge, followed by a swarm of infected zombies rampaging everywhere. This includes one giant one that looks a lot like Bane from the Batman movies. (Online research tells me this is a bloater. I have no idea what that means, just that he looks scary AF.)

The scene devolves into utter chaos. The big zombie tears Perry’s head clean off. The militiamen start firing at everything. Zombies are running everywhere, chewing on anyone they get close to. From his perch, Joel picks off zombies that are getting too close to Ellie. Sam and Henry are hiding under a car, frantically kicking away zombies and I have no idea how they aren’t getting bitten. Ellie uses her trusty switchblade to stab their attackers and Joel snipes them to finish them off. Our trio make it out of the field of fire and are about to get away when Kathleen pops back up and yells at them to stop. She’s about to shoot them but has a moment of hesitation. Perhaps she’s thinking about her brother’s call for forgiveness? Perhaps it really is a bigger deal to gun down children than she lets on. Whatever the reason, that moment allows one of the zombies – a flippy little acrobat that had chased Ellie into a truck earlier – to leap on her and eat her. RIP Kathleen, it’s a shame we aren’t getting you as a recurring villain.

After their narrow escape, our heroes make it to an old motel where they hole up for the night. Joel and Henry chat in one room, while new best friends Sam and Ellie read more of their comics in the other. Joel invites Henry to come to Wyoming, even though they’re going to be walking. Meanwhile, Sam asks Ellie on his slate if she’s ever scared. After a couple of bravado answers, Ellie confesses that she’s scared all the time. (She tries to play that off as a joke about scorpions, but I think that’s closer to the truth.)

Sam writes “If you turn into a monster, is it still you inside?”  He then pulls up his pant leg and shows that he has been bitten. Ah jeez. I knew there was no way he got out from under that car without getting bit.

Ellie furiously starts writing on his slate that her blood is medicine. She shows him her own bite mark, then cuts her hand and presses the blood against his leg. She promises to sit up with him through the night to keep an eye on him. Ellie is desperate to help, but it does not seem like this is going to work. Still, Sam is a sweet kid and he had leukemia so maybe the writers could not wrench on our heartstrings quite so hard?

Ha ha! No. Ellie wakes up after falling asleep in her chair. Sam is sitting on the edge of the bed, and when Ellie goes to check on him, he turns on her and snarls. Her cries bring Joel and Henry into the room, and when they see Sam on top of Ellie trying to bite her, they both know the deal. Joel raises his gun, but Henry stops him and then shoots Sam himself. (It’s just like Old Yeller. Henry had to do it.) Henry is so distraught by this, that after everything he did and sacrificed to save Sam on so many occasions only to have him get infected anyway, he then shoots himself.

After they bury Sam and Henry, Ellie is all business. She asks Joel which way is west and then starts off, Joel trailing behind. The joyfulness and sweetness of her early scenes with Sam are long gone, and after another day of death and despair, a little more of her humanity is as well.

This week was a LOT and it really played on the audience’s sympathies and expectations. Henry is presented as a sympathetic character, but he sold out his friend to save his brother. Kathleen is presented as a brutal and vindictive leader, but she’s just standing up for her people against petty tyrants. Sam is a complete innocent, but was he worth betraying the resistance movement for, since even if he beats leukemia he isn’t going to have a long life span?

We are told repeatedly that the FEDRA troops in KC were absolute monsters who would intimidate people with torture and rape. However, we never see any of that. We do see Kathleen and her troops commit many atrocities – the murder of POWs, the use of state power to commit brutal personal vengeance, and hunting down innocent passers-by – so the audience’s sympathies are turned against them. Maybe everyone she ordered to be shot was a rat and a collaborator, but we heard last week and this week that FEDRA was manipulating desperate people with threats of death and by withholding life-saving medicine. And also, FEDRA actually did a good job of keeping the infected contained! Once FEDRA fell, no one was around to maintain the underground pens, and…whoops. It’s almost as though the message here is “Fascism is good because it keeps the streets safe.” Which is… not great.

The episode really dives into the humanity of the characters, and the limits they go to to try and preserve some shred of normalcy. However, they are verging on the edge of being trauma porn. They are detailing the apocalypse, so I am not expecting fields of bunnies. I would like to go a week without seeing a character get developed into fully three dimensions only to be torn in half by a bloater zombie.

The previews for next week promise a reunion with Joel’s brother, Tommy. Let’s see if he makes it out alive.

4 out of 5


Henry: That’s a weird fucking tone, man.

Ellie: That’s just the way he sounds, he has an asshole voice.

Ellie sassing Joel is fast becoming one of my favorite things.

Check Out the Latest Marvel Unlimited Infinity Comics


Today those that enjoy reading comic books digitally are in luck as Marvel has added several new stories on Marvel Unlimited. Among the Infinity Comics titles added are Who Is Moon Girl, Who Is Miracleman, and Kang the Conqueror: Only Myself Left to Conquer.

While both Moon Girl and Miracle Man are one-shots, Kang the Conqueror receives 10 issues to conquer himself in! So if you’re looking for some quick and compelling stories on an easy-to-access medium, you can check out Marvel Unlimited and Infinity Comics on iPhone, iPad, Android devices and PC.

Infinity Comics | Moon Girl and Thing

Check out more details on all these stories below. And stay tuned to The Workprint for more Marvel mayhem!

Infinity Comics | Moon Girl

One-shot launches on Wednesday, February 8
Writer: Mohale Mashigo
Artist: Jethro Morales
Colorist: Carlos Lopez
Editor: Lauren Amaro

Infinity Comics | Miracleman

One-shot launches on Wednesday, February 8
Ram V
Artist: Leonard Kirk
Colorist: Edgar Delgado
Editor: Mark Basso

Infinity Comics | Kang

10-issue arc launches on Friday, February 10
Collin Kelly, Jackson Lanzing
Artist: Carlos Magno
Colorist: Espen Grudetjern
Editor: Jeff Youngquist

“Fury #1” Celebrates 60 Years of Marvel Comics’ Top Super Spy!

Fury #1

Nick Fury has seen some things in the last six decades, he’s been front and center for some of Marvel’s most spectacular events, and played human vault to the biggest secrets in the Marvel Universe. Fury #1 is a brief history of this landmark anniversary set across Fury’s most well-known eras!

Come May, Al Ewing brings his story-telling talents to Fury #1 accompanied by a vibrant collection of the industry’s top artists: Scott Eaton, Tom Reilly, Adam Kubert, and Ramon Rosanas.

Our story begins when a mysterious new villain using the name S.C.O.R.P.I.O. sets their cross-hairs on Nick Fury Jr. It’s only fitting, as this codename has ties to Fury senior’s past and sets him on a course of top-secret missions that will lead a trail of breadcrumbs for fans to follow before revealing the bigger picture.

As Ewing’s story provides a constant throughline, each artist will present their unique take on the different lives of Nick Fury ranging from his days in the pages of Stan Lee and Jack Kirby’s Sgt. Fury and his Howling Commandos to his current position as the omniscient “Man on the Wall”.

Sixty years in comics can change a man, and Nick Fury is no exception, but the one-shot will offer a pivotal moment for the character that hopes to refresh both father and son! When a gorgeous rogue agent draws Nick Fury into her dangerous secret, he discovers a whole new lifetime of thrills…his father’s! Take a trip from the ’40s, through the ’60s, and back to today as this adventure unlocks long-buried Fury files! One mystery looms largest, who is S.C.O.R.P.I.O.? Finding out is gonna require more than just one Nick Fury to make sense of decades of questions.

“Nick Fury is an entire history of comics in one character,” Ewing said. “Shifting from a tough-talking WWII Sergeant specializing in impossible missions, to an U.N.C.L.E.-esque secret agent beating James Bond at his own game, to a Machiavellian man in the shadows making the grey moral choices we’ve come to associate with the evolving espionage genre. And when the original Fury went cosmic, his son followed in those same footsteps, doing all that with a modern spin and an eye on the silver screen portrayal of our favorite sci-fi spy-guy. So how to celebrate sixty years of Nick Fury? With 40 story pages of twists, turns, action, gadgets and old-school thrills – pitting the Fury family against a new menace with a mysterious connection to the earliest days of the Howling Commandos and setting both Nicks up for the adventures of a lifetime! Don’t yield, true believer – back S.H.I.E.L.D.!”

Check out Adam Kubert’s cover below and don’t miss this key chapter in Nick Fury’s legacy when FURY #1 hits stands in May!

Fury #1


Written by AL EWING



On Sale 5/24

The Winchesters: Season 1 Episode 10 “Suspicious Minds” Review

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Suspicious Minds” begins in 1957, when an Akrida-possessed femme fatale poses as a damsel in distress in order to get the drop on a handy lady named Dorothea (Kaytlin Borgen).

In the present, John and Mary are on research duty but get interrupted when the newly installed alarm system is triggered. Cut to Carlos and Lata on the road again, they’ve had no luck with their location hunt, but Carlos’ intimacy issues give Lata an idea. Back at the Clubhouse, Men of Letter alum, and mad scientist of sorts, Porter J. Hobbs (The Nanny’s Charles Shaughnessy) has arrived. Meanwhile, Carlos and Lata have gone to a hotel room where they promise a down-and-out Roxy (Bridget Regan) help for her nightmares.

Speaking of…

Porter claims he can make a potion to kill the Akrida but he needs stingers, so John and Mary attack possessed Officer Jones (Jeronimo Spinx). Randomly, we get a scene explaining why the Akrida haven’t killed our gang – blame their queen. Back on point, Porter is working on the policeman but John and Mary think he’s hiding something. Lata employs djinn magic Tony taught her to dream walk Roxy through her memories. John and Mary’s suspicions prove valid, but Porter gets the upper hand before they can take him down. Carlos and Lata’s story has a better ending with them finding the queen’s location!

Unfortunately, Mary wakes up tied to a chair in prep for surgery while John battles a golem (Jeff Chase). Things don’t end well for Porter/Jack Wilcox though – he’s crushed Mr. Burns style under the weight of his monstrosity and has to settle for being buried alongside his beloved. John goes home only to find Kyle waiting for him with a deadly surprise.

I really enjoyed this episode, especially compared to last week’s. First off, the story is already better, granted the random aside explaining why the Akrida haven’t murdered our gang of hunters was genuinely jarring but other than that everything else in the episode flows quite nicely.

After last week’s dumpster fire of a tale, “Suspicious Minds” was a streamlined affair and a welcome return to form. KISS everyone: Keep it Simple Stupid. All elements are connected in a way that is easy to understand while still managing two twists!

The second twist is led in a little ham-handed with that earlier Akrida scene, but the first twist is expertly hinted at in an off-handed comment by Mary. Not to mention this is a Valentine’s Day episode, I believe there’s no episode next week, and the love stories have a fine Supernatural bend. Jack and his beloved Dorothea’s tragic conclusion, Carlos and Anton’s more realistic intimacy issues, and even Lata and Tony’s dream dating all get love next to the main squeeze of John and Mary. I love it when a plot comes together.

Secondly, the guest stars are 100% here for it. Shaughnessy takes pleasure in playing the two-faced friend turned foe Porter J. Hobbs/Jack Wilcox – who doesn’t love his native British accent being dropped for that delicious southern lilt? Regan had been a confident badass when first she appeared as an Akrida lacky, but here we find her unpossessed Roxy fully drained and ready to give up post ordeal. Hell, even McCartan’s Kyle gets to have a little fun channeling his inner Tyler Durden for the “Fight Club” level finale that assures John Winchester run afoul of the law.

And that’s not to say our regulars didn’t hit it out of the park either. Roger and Donnelly carry this episode well on their shoulders, getting noticeably more comfortable in their characters’ skins each time they need to take a chunk of the story (which is most times). I have said that both of these actors did a great job in starting the series as their respective characters and I will say they continue to build on that fantastic beginning. My favorite parts in this episode are actually the scenes with Carlos and Lata – which isn’t entirely surprising because Fleites steals any scene he is in, but the way he plays off of Khurshid this time around is wonderful comic relief. They’ve put these two together a lot of times on this show, but this one, for me, really clicks. Though to be fair, they were probably one of the best parts of the Loki episode too.

There’s also their character development. Fleites’ Carlos is adorable as a boy in love who is afraid of being in love, while Khurshid’s Lata presents a solid support system in helping him realize facing his fears is a good thing. Though I am noticing a pattern they’ve decided to go with for these characters – Carlos plays the confident rogue with a wounded heart of gold while Lata is his loyal emotional spirit animal. At some point, these people will have to actually grow otherwise this is dangerously close to sitcom territory. Lata is at least proving capable of maintaining progress. She adopts more than just a research position this time around, getting her hands dirty (well, painted) in her contribution to the team’s efforts.

All in all, this is a fantastic episode. It uses the existing lore to build on the new lore, furthers the overall story, and manages to provide a few surprises along the way. I’m certainly curious to see if John can wiggle his way out of Kyle’s bloody trap.

‘The Blind Man Who Did Not Want to See Titanic’ Review: A Film Unlike Any You’ve Seen Before

The Blind Man Who Did Not Want To See Titanic Featured Image

The titular blind man may not want to see Titanic, but you’ll want to see The Blind Man Who Did Not Want to See Titanic if you’re into Finnish films with very long titles, and let’s face it, who isn’t? (I’m a fan of Finnish films with very short titles, like last year’s underseen Hatching.)

Writer-director Teemu Nikki offers a unique film experience by putting the audience in the perspective of Jaakko, a cinephile with an extensive film collection that he can no longer enjoy because of complications from multiple sclerosis. A disability that has left him blind and in a wheelchair (just like the actor who plays him, Petri Poikolainen).

Though that has not dulled his cinephilia in the slightest, as he refers to his legs, which are constantly in pain, as Rocky and Rambo. He also imagines the people in his life to look like characters from his favorite movies. People like Sirpa, a woman he met online with whom he speaks on the phone throughout the day, often first thing in the morning.

Sirpa is also disabled by disease. She is about to embark on a new round of treatment and has started to lose hope, fearing she may die before the two of them ever meet. So Jaakko decides to go see her. It’s only two taxi rides and a train ride away, right? All he needs is five strangers to help him. Unfortunately for Jaakko, he’s actually IN a movie, and a movie needs conflict, so one of those strangers will be the opposite of helpful.

Nikki spends quite a while establishing the relationship between Jaakko and Sirpa, and while Poikolainen commands the screen at all times by virtue of Nikki’s filming techniques, Marjaana Maijala deserves a lot of credit for delivering such a warm, heartfelt vocal performance.

I honestly could have spent the whole fucking movie just watching the two of them talk on the phone. I don’t know how the scenes were filmed and whether Poikolainen and Maijala ever conversed on set, but you absolutely feel the chemistry between them in their adorable flirtation…that does explain the title.

Jaakko’s a huge fan of John Carpenter, which endeared me to him immensely, but he’s got a real fuckin’ bugaboo about James Cameron going from making some of the greatest sci-fi and action films of all time to Titanic, and he refuses to watch it. Sirpa, naturally, loves it.

While there’s a little bit of discussion regarding Jaakko’s feelings about not being able to watch movies anymore, it wasn’t enough to hit me, a cinephile who fears losing one or more of his senses and not being able to watch movies anymore, in the feels, as the film’s more concerned with Jaakko’s mission to reach Sirpa.

Nikki and cinematographer Sari Aaltonen keep the camera at Jaakko’s level, filming only his face and occasionally his hands in focus and blurring the periphery to simulate for us the experience of not being able to see our surroundings. It’s a bold gambit that certainly takes some getting used to, as it’s uncomfortable not to get a wide or medium shot to orient us in a room or a tilt up to show us the face of people he’s talking to.

While I did admire Nikki’s commitment to this visual language, I did long for a greater sense of intentionality in the shot choices, as some shots would even have Jaakko a bit out of focus for no clear reason and the changing placement of the camera, which offers additional visual information in the margins, feels like it’s simply meant to offer a general sense of variety most of the time rather than enhancing the storytelling.

The visual language becomes key as Jaakko leaves his home and gets into trouble, at which point our inability to see the antagonists or his environs adds quite a bit of tension. And it’s all in the visuals, as there’s no musical score at all.

There’s an elegance to the way Nikki transitions into this tension because it’s filmed and treated just like every other scene in the film, which replicates that unsettling sensation of real life feeling like a movie. Jaakko, of course, invokes a movie during this time and banters with his captors because of course he does, that’s our Jaakko. Poikolainen gives an incredibly charming performance in a role literally made for him, and as with Kiera Allen in Aneesh Chaganty’s Run, casting a wheelchair user as a wheelchair user heightens the suspense when they’re in danger because we know we’re seeing someone who can’t just get up between takes.

That being said, the film runs the risk of painting disabled people as helpless victims to be preyed upon. Jaakko hears his neighbors being complete and utter assholes about his condition (and his use of medical cannabis??), and it’s supposed to contextualize his climactic rant about how he hates being looked upon with pity, but…the movie seems to invite the viewer to do so at times as well. Jaakko lives his life and finds love, it’s true, but in his dreams, he’s always running, and it’s clear a part of him views who he is now like his neighbors do. It’s a tricky line to walk between empathy and pity, and as an able-bodied person, I cannot honestly make that call.

Producer Jani Pösö, actor Petri Poikolainen, writer-director Teemu Nikki, cinematographer Sari Aaltonen, and actor Marjaana Maijala at the 78th Venice International Film Festival, where the film won the Armani Beauty Audience Award.

Poikolainen stays winning, though, and I really loved spending time with him. At only 82 minutes, the film could have been a little longer, especially to give the third act a bit more oomph and transition more fluidly into the lovely denouement. Despite some flaws, however, it’s a unique film that brings us a memorable character portrayed with an authenticity we don’t see very often. In the end, Jaakko and Sirpa won my heart, just like James Cameron won an Academy Award for directing Titanic.

4 out of 5 stars

Eversoul Hosts New Valentine’s Day Event


Lonely weeb hearts rejoice, as Eversoul, The mobile RPG from Kakao and Nine Ark is releasing a Valentine’s Day event exclusive. Available from now until March 2nd. The Valentine’s Event features a special stage called ‘Bonbon Chocolat Paradise’ which can be entered daily. In it, we see 7 levels with 2 stages each that will have players duking it out against Valentine’s costume-equipped monsters, with rewards coming in Everstones, Soul’s Memories, and Love Potions.

These love potions can be exchanged for costumed exclusives such as the “Pure Heart Chocolatier” for Rebecca and “Sweet Savage Maid” for Jacqueline. They can also be used to obtain special objects including a Floating High Sweet Balloon, Pure Love Merry-Go-Round, Sweets Tree, and the Chocolate Ferris Wheel – with an assortment of goods for decorating the town or buffing the player.  Atop of this, there will also be a special login bonus and Valentine’s Daily mission.

Players can bag Soul’s Memories which can be used to add Epic Souls Rebecca and Jacqueline for completing daily missions, along with other valuable resources and even more Love Potions via the Valentine’s Daily Mission Event.

For those who enjoy Eversoul’s PvP, loot earned for winning Arena matches are doubled for the event. In addition, the Hearts you give and receive with your friends will also double during this period, seeing you benefit from interacting with both friend and foe.

Rose Poison Velanna, a lovely yet deadly Soul with a passion for sword-swinging chaos has now joined the beautiful roster of playable characters as a formidable ally. This new Undead Warrior has a higher chance of being acquired through a pick-up summon event until February 15. Players also have a higher chance of pulling Undead support character Prim in a pick-up summon event which will run until February 23, making it the perfect time to reinforce your party with powerful Undead-type Souls.


Witness The Hulk’s Wrath From a New Angle in Hulk Annual #1


It’s no surprise that the Hulk is a terrifying force of nature. But in Hulk Annual #1, which comes out this May, we’ll get to see that fury from a different perspective. A documentary crew captures the birth of the green rage monster in The Viridian Project. The whole issue will be stitched together from found footage and will showcase Hulk versus the monstrous Giganto.

That’s not all. Hulk Annual #1, written by David Pepose and drawn by Caio Majado, will also set the stage for a new era of Hulk adventures. Readers will get an exclusive preview from the creative team taking the reign this summer.

Here’s what the writer of Hulk Annual #1 had to say about the opportunity:

“When my editor Wil Moss first reached out to me about writing this HULK ANNUAL, it took me a beat to wrap my head around the enormity of it all,” Pepose said. “The Hulk is such a massive character, just this larger-than-life figure who is equal parts man, monster, and unstoppable force of nature. And it’s that feeling of unfathomable scale that we’re looking to explore in ‘The Viridian Project,’ our found-footage story about a team of filmmakers shooting a documentary on the legacy of Bruce Banner… and the horrors they discover when they actually find him. It’s been incredibly exciting to dive into the Hulk’s adventures through this truly human lens, and I can’t wait for readers to witness first-hand what it’s like to ride out an encounter with The Strongest One There Is!”

Be sure and check out the full image for Gary Frank’s epic cover below. And stay tuned for more exciting stories from Marvel.

Hulk Annual #1

On Sale 5/17

The Next Phase of Infinity Saga Variant Covers is Coming!

Captain Marvel variant

If you’ve been enjoying Marvel Comics line of Infinity Saga variant covers then get ready because there’re more to come! Done as incredible poster-style pieces, each of these covers honors a specific film in the Marvel Cinematic Universe brought to life by the talents of some of the industry’s most renowned artists. These upcoming works of art will revisit the films that marked the end of the epic Infinity Saga. The first three Infinity Saga Phase 3 variant covers drop this month. Today, readers have the chance to find out which films will close out the series come March.

Peach Momoko presents her unique take on Carol Danvers’ breakout scene from Marvel Studios’ Captain Marvel. Aaron Kuder traps lightning in a bottle with his exhilarating Marvel Studios’ Guardians of the Galaxy Vol. 2 cover. Thor and Hulk’s epic showdown is stopped in time thanks to Mahmud Asrar’s Marvel Studios’ Thor: Ragnarok variant. Marvel Studios’ Captain America: Civil War’s pivotal clash between Captain America and Iron Man is cemented in ink and paints care of Steve McNiven. Steve Skroce creates a magnificent portrait of Stephen Strange as he rises to the rank of sorcerer supreme in Marvel Studios’ Doctor Strange. Finally, Ken Lashley brings to life the colorful and joyous people and land of Wakanda from Marvel Studios’ Black Panther.

Black Panther variant

On Sale 3/15


Captain Marvel variant


Dr. Strange variant

On Sale 3/22


Thor variant

On Sale 3/29


Captain America variant

On Sale 4/12


Guardian variant


The Biggest Takeaways From The Ant-Man and The Wasp: Quantumania Premiere and Digital Red Carpet 

PC: Marvel/Disney

We, like many other fans, attended Marvel’s digital red carpet premiere of Ant-Man and The Wasp’s Quantumania. With loads of exciting moments revealed throughout the night, the event was pretty intense, filled with cosplaying fans, a slew of celebrities, and unique reveals.

And while Ant-Man and The Wasp: Quantumania looks so much more serious film compared to the previous iteration, it’s evident from all the interviews and discussions prior to the movie, just how much of this movie focuses in on Scott and Cassie. All for what’s honestly, a look at their relationship gap in the five years that Scott’s been gone. 

There were a few big reveals on the carpet. Like how Peyton Reed was heavily inspired by old science fiction paperbacks, Heavy Metal Magazine, and electron microscope photography, to help cue the development team on how to build the Quantum Realm. Or with Evangeline Lilly, who confirmed that this time around, Hope’s more focused on her immediate family and the micro-level problems of her immediate family.

Katheryn Newton, who still can’t believe that she was even in this movie, similarly also had a character reveal in that apparently, she’ll choose Hank Pym over Scott to be her mentor. Her role in the movie is very much the center of Scott’s goals, with Christophe Beck, the composer of the film sharing that the electronic music of Cassie’s theme is what he’s most proud of… because it’s actually The Ant-Man theme backward!

Early reactions on the carpet and reports of the film’s first receptions have confirmed, that a large chunk of this movie breaks down the quantum realm – even calling the entire Quantumania set up something similar to Star Wars. But the biggest takeaway, is the man playing foil to Scott and Phase 5 of the MCU: the master of time itself, Kang the conqueror. Played by Jonathan Majors, both critics and crew agree, the actor steals the show. 

“One of the great joys of designing this and being a designer, when you design a set or world or environment, and the actor just becomes it,” said production designer, Will Htay regarding Majors’ performance. “Jonathan is a very generous man and was thanking me for it. He’s an awesome actor but I think the fans are gonna love seeing, Kang. It’s not he who remains… It’s Kang!”

Some other tweets after the movie premiere regarding Majors and the film’s expectations:


Black Girl Nerds:



The Hollywood Reporter:



Finally, the Red Carpet event was apparently co-promoted by Marvel Snap, who will be doing a month-long Quantum-Realmed themed season in honor of the premiere. Creator of Marvel Snap, Ben Rhode, was likewise on red carpet, and revealed the debut of a new Kang The Conquerer card, which allows you to rewind time to do over a turn again. They also revealed having different variants including a DJ Kang.

For anyone who wants to see what they missed out from last night’s event, check out the Red Carpet video just below.

Avengers #1 Variant Covers Feature Derrick Chew’s Scarlet Witch and Daniel Acuna’s Team Cover


Marvel has been revealing a series of new variant covers leading up to the debut of the rebooted Avengers line this May. Today’s reveal of Scarlet Witch was created by the incredible breathtaking artist, Derrick Chew. While yesterday’s cover reveal was revealed to be by the legendary artist, Daniel Acuna.

It’s been revealed that Wanda will finally be rejoining the team, herself in this upcoming Avengers reboot. Making matters complicated is that this will be the first time Wanda will be working alongside her ex-husband in years. All for a fresh take on a storyline that’s been tried and true through almost every iteration across the Marvel brand, both MCU and comics-wise.

In this brand-new 60th anniversary Avengers run, the team will have to make do with the knowledge of THE TRIBULATION EVENTS which are a series of grand-scale disasters that will spark upheaval throughout the known universe. The team will be led by Captain Marvel and will feature Iron Man, Thor, and Scarlet Witch. Revealed in last month’s TIMELESS, which likewise, also tied into Kang the conquerer’s ‘Missing moment’ hunt. The series promises to be an exploration of Kang’s quest and how it ties into the overall disaster-laden inevitable timeline.



Planet of the Apes returns to Marvel Comics thanks to David F. Walker & Dave Wachter, spectacular!

Planet of the Apes 2

Marvel’s exciting new Planet of the Apes comic series is dropping this April with stories by David F. Walker (famous for Luke Cage, Bitter Root) and the artistic stylings of Dave Wachter (known for Iron Fist: Heart of the Dragon, Star Wars: The High Republic – Trail of Shadows)! The never-ending debate of man or ape, who is Earth’s superior species, continues in the all-new ongoing series.

“Devolution” starts the new apes series. Humanity isn’t doing so well after the ALZ-113 virus has done its world tour. On the one side, science is hard at work on a cure; on the other side, a fringe group of psychos thinks ape genocide is the best solution. Juliana Tobon does her best to play peacekeeper but things are heating up quickly, and it won’t be long before the apes see how dark human nature can really get…

“Not only is Planet of the Apes my favorite film franchise, it was my favorite series of comics from Marvel when I was a kid,” Walker said. “Both the films and the comics ignited my imagination and helped me fall in love with the art of storytelling. To be part of Marvel’s return to the Planet of the Apes is more than an honor, it is a childhood dream come true.”

At the beginning of the year, Marvel Comics announced the Planet of the Apes franchise would be making a comeback to Marvel with new stories, collections, and even a thrilling variant cover series. There is a rich history between Marvel Comics and Planet of the Apes spanning over 40 years. First published by Marvel in 1974, the Planet of the Apes stories led to Adventures on the Planet of the Apes the following year — a full-color adaptation of the pivotal films. Planet of the Apes has endured for over five decades, dipping its toes into all media, including comics, books, films, television shows, video games, and toys, and Marvel is proud to dive into the depths of this groundbreaking saga once more!

Planet of the Apes 1


Written by DAVID F. WALKER


Cover by JOSHUA CASSARA – 75960620515800111

Planet of the Apes 2

Variant Cover by MIKE MCKONE – 75960620515800131

Planet of the Apes 3

Variant Cover by LOGAN LUBERA – 75960620515800151

On Sale 4/5

Quantum Leap Delivers a Contemporary Feel-Good Sports Tale

Ben councils Gia on an outdoor basketball court
Josielyn Aguilera as Gia, Raymond Lee as Dr. Ben Song (Photo by: Ron Batzdorff / NBC)

The original Quantum Leap with Scott Bakula always wore its heart right there on its sleeve, and one of the things I love about the current iteration with Raymond Lee is that it continues in that tradition with a bright-eyed earnestness that has (sadly, in my opinion) become rare on contemporary television. Sometimes, this earnestness can feel hopelessly, foolishly optimistic. Naive, even. And sometimes, it feels like TV shows, tripping over each other to prove themselves the savviest, end up feeling darkly cynical in their attempts to show that they know better. Like that annoying friend who shoots down your every idea by telling you how it could go wrong, thereby making themselves feel smarter.

When I realized that “Let Them Play,” while nominally historical in that it takes place in 2012, would be tackling the still-contemporary issue of trans kids in sports, I worried it might go in that direction, or end with some kind of downer, as so many “issues” stories do. Thank goodness, it did not. Perhaps the episode is unrealistically optimistic, but hey, isn’t every feel-good sports story?

Shruti and Gia smile at a car wash
Anita Kalathar as Shruti, Josielyn Aguilera as Gia (Photo by: Ron Batzdorff / NBC)

“Let Them Play” opens with Ben leaping into a high school girls basketball coach with half a minute left in a game and, in the heat of the moment, sending in an alternate player after one of the starters is injured. Little does he realize that in doing so, he put a target on that girl’s back. Not only is the girl, Gia, his daughter, but she’s trans. And some people aren’t happy that she was allowed to play. Ben must help Gia take on the bigots and keep her from running away, which in the original timeline leads to her untimely death.

Jenn and Magic talk to Dottie in a dim bar
Nanrisa Lee as Jenn, Ernie Hudson as Magic, Shakina Nayfack as Dottie (Photo by Ron Batzdorff / NBC)

Meanwhile, Magic and Jenn go looking for the person who told Ben to leap in the first place: a bartender named Dottie. Except she doesn’t seem to remember doing so. And back at Quantum Leap headquarters, the current leap hits home for Ian, who has living memory of Gia’s story because they grew up in the same area and had of course heard about the trans girl who shot the winning basket at a big game.

Caitlin Bassett as Addison, Mason Alexander Park as Ian (Photo by: Ron Batzdorff / NBC)

That last part might turn out to have bigger implications than another emotional character heart-to-heart confession, which Quantum Leap isn’t shy about indulging in.

I’m really impressed with how well the show has melded its parallel storylines lately—namely, Ben’s history-fixing adventure and the contemporary sci-fi mystery element back at Quantum Leap headquarters. A big part of that success is in showing how Ben’s adventures are affecting the crew back home, and by being super efficient with the mystery-solving parts (they pack a lot of info into two or three minute-long scenes).

As someone who’s a total sucker for a feel-good sports tale, the primary storyline in “Let Them Play” was super enjoyable to watch. Yes, it’s a simplified version of reality. Yes, it heads in a cheesy, inspirational direction—it’s true to genre in that sense. But you know what? Sometimes, we need those tales, even when in the real world, things aren’t so sunny. Especially then, I’d argue.

Raymond Lee as Dr. Ben Song, Brigitte Cali Canales as Miriam, Josielyn Aguilera as Gia (Photo by: Ron Batzdorff / NBC)

It’s easy to feel for Gia, a girl who just wants to be like other girls. And the story deftly sidesteps the “savior” trope that many sports tales indulge in. Ben is there to help, yes, but ultimately Gia herself who pulls through.

This week’s episode is sure to incense some types, but given that it’s a show whose principal cast includes exactly zero cis-het white men yet never makes it a thing (thank goodness), those types might not have been watching in the first place. And Quantum Leap has always been on the side of equality—Sam Beckett was always standing up to misogynists and racists and other bigots in the original series. That’s another tradition I’m glad this current show has chosen to carry on with.

Knock at the Cabin Review: Make the Choice…to See This Movie!

Poster for Knock at the Cabin

I answered the Knock at the Cabin, and in walked… M. Night Shyamalan’s best movie next to The Sixth Sense?? I know that doesn’t sound right, and I don’t believe it myself, but since I haven’t seen some of his older films in a while, I’ve got to go with my gut because this movie fucked me up. It’s an incredible showcase for Shyamalan’s skills as a director, and unlike some of his previous films I may be more fond of (Unbreakable, Signs, The Village, The Visit, Split), it’s a simple, tight, focused story that has less room to disappoint narratively when it’s engaging you so viscerally.

Based on Paul Tremblay’s The Cabin at the End of the World—an objectively better title, why did they change it—the film, like the book, wastes little time establishing the premise and then simmering in tension until the end. Eric (Jonathan Groff) and Andrew (Ben Aldridge) and their adopted daughter, Wen (Kristen Cui), are enjoying their vacation when Leonard (Dave Bautista), Sabrina (Nikki Amuka-Bird), Adrian (Abby Quinn), and Redmond (Rupert Grint) titularly knock at the cabin and ask them to make a terrible choice: they must willingly sacrifice one of the three of them, or all of humanity will perish. It is an utterly absurd notion that the film treats with the utmost seriousness, and that is so up my alley it has its own mailbox. Apart from a few flashbacks that serve to flesh out this small family, pretty much this entire 100-minute movie takes place in or around the cabin, so that means for approximately 85 minutes of this movie, I wanted to claw my own face off out of sheer terror. This was practically Skinamarink levels of being trapped in a nightmare, and like Skinamarink, it’s a film that understands how to use the visual medium to unsettle the audience. (Also like Skinamarink, some people just found it boring, and I was sorry they couldn’t get into it like I did.)

Frequent Robert Eggers collaborator Jarin Blaschke and Greener Grass cinematographer Lowell A. Meyer shot the film with nineties cameras, as Shyamalan wanted to give it an “old-school thriller” look, and so the film occasionally goes out of focus in certain areas, blurring the edges around characters or objects, which lends the film an eerie quality appropriate for a cabin at the end of the world. It feels otherworldly in its isolation. Shyamalan also favors extreme close-ups that can be jarring on a huge silver screen, but that uncomfortable closeness simultaneously allows for greater connection to the characters and enhances our uneasiness at being in this situation with them. The film introduces this visual language right up top in the opening conversation between Leonard and Wen, which could be shown in a film class for a simple demonstration of how to use the camera to say something the dialogue does not. Because on the page, it’s just a friendly conversation between a child and a stranger, but editor Noemi Katharina Preiswerk never leaves their faces, choosing precise moments to switch to shots that subtly move closer and closer as the danger creeps in, and when it switches to canted angles, the universal sign for disorientation, you know it’s bad news. This whole film is just exquisitely shot, and Shyamalan displays so much restraint in depicting devastating emotions and brutal violence, it’s beautiful.

While I could go on and on about the visuals, I would be remiss not to mention composer Herdís Stefánsdóttir—are Icelandic composers inherently fantastic??—who delivers an excellent score that adds texture without calling too much attention to itself. That’s the thing about this movie: it’s incredibly well crafted, with every aspect of film used toward a singular purpose.

Shyamalan completely sells the apocalyptic dread while also making us feel the conflict that every character is having, both the Invaders and the Invadees. Because while obviously we sympathize with the family, it’s clear the people asking them to make the choice struggle with their role in this, each one of them bringing a distinct energy. Bautista, the gentle giant. Amuka-Bird, the helping healer. Quinn, the mordant Millennial. Grint, the angry asshole. They’re just four ordinary people trying to save the world. Or they’re four ordinary people under a shared delusion that the world is ending. The trick of the film is that either option is terrifying for the family, and while Eric and Andrew initially, vehemently choose the latter option, Eric slowly drifts toward the former, which allows for some conflict between the characters as well as giving the audience reason to doubt themselves. This movie kept putting me face-to-face with the idea of the literal end of the world and how hopeless everything would seem in that moment while also floating the unfathomable idea of trusting some strangers that killing someone you love more than anything in the world would stop it.

Shyamalan rewrote Steve Desmond and Michael Sherman’s Black List-featured adaptation of the novel, and who knows what to attribute to whom, but the combined efforts do give the film a more chilling inevitability in its structure compared to the book, which I found underwhelming as an audiobook listened to over two weeks. I found the story much more effective in this compressed experience, not to mention when given the Shyamalan treatment in its ending. While Shyamalan does succeed in bringing out the ambiguity of the book for much of the film’s runtime, anyone who’s seen a Shyamalan film knows that dude loves explaining his movies, so if you’re a person who hates having things explained, too bad, I love having things explained to me because I am a plebeian dunderhead. The way Shyamalan reframes the story to comment on humanity really worked for me, holding both the beauty and ugliness of the species at once, and to do it in the context of this unconventional family of a gay white couple with an Asian daughter made it all the more resonant.

While I completely understand some disappointment that the film perhaps did not dig as deeply into its themes and premise as it could have, I found that even though it explained more than the book, what it left unexplained made it all the scarier. I walked out of the theater shaken by the experience.

4.5 out of 5 stars

Moon Girl and Devil Dinosaur is both Groundbreaking and Fun: Here Are 7 Takeaways From The Executive Producers and Cast

Lunella brushing Devil Dinosaurs Teeth in Moongirl and Devil

Moon Girl and Devil Dinosaur is what you get when you take the groundbreaking aesthetics of Into The Spider-Verse plus the cutesy caption cutaways of Ms. Marvel, and then focused it in on adventures with an adorable puppy-like T-Rex. It’s a tale focused in on the rise of a young black girl superhero, herself a master at science, who’s helping her community out of the goodness of her heart… all while juggling school, friendships, and most importantly: family.

Moon Girl and Devil Dinosaur releases on February 10th on the Disney channel and then on February 15th for Disney Plus. The pilot will be an hour-long spectacle that introduces the characters’ origins and their area of the city in the lower East side. Having seen the first few episodes, our early thoughts are that the show is perfect for kids, is both incredibly funny and well-voiced, and has great themes of representation, with a surprisingly powerful message in episode 5 that makes a strong social commentary about hairstyles and hair loss, regarding black women in culture.

The Workprint was able to attend the MoonGirl and Devil Dinosaur press junket with a series of journalists and the show’s voice cast and creative teams. In attendance, included executive producers Laurence Fishburne and Steve Loter along with the series protagonists Diamond White as Lunella Lafayette and Fred Tatasciore as Devil Dinosaur.

Here are seven things we took away from the press conference, edited and combined in an abridged version for the sake of clarity.

1. How did you guys decide on the design for the show
to make sure it not only contributed to the action, but also, the culture that’s being represented?

Steve Loter: Well, I think that we wanted to make sure that we were doing something unique. “Spider-Verse” was a huge inspiration for us. It really kinda blew the doors wide open to do superhero animation that looked really specialized and unique. Laurence and I connected early, and we kinda talked about the vision of the show and what it should look like. Laurence is a huge comic book fan, so we used that as kind of a springboard for the visual styling, particularly the line work on the characters and the overall look of the show. 

Laurence Fishburne: Yeah, we had a lot of conversations about backgrounds and about the environment, the color palette, and all of these kinda textures. Like you guys talked about the graffiti as one of the elements in our backgrounds and textures for New York and the Lower East Side.

Laurence Fishburne: We are people who really, really love animation from, you know, the very beginning of our lives. It’s just a joy for us to be creating this kind of show which, as Diamond said, is a show like we’ve never seen before. 


2. How is Moon Girl and Devil Dinosaur different in terms of making an animated product?

Lawrence Fishburne: Well, it takes a lot longer. And, uh, we aren’t really, um…connected to the MCU, officially. Our show is really a family show. So, you know, maybe we’re not gonna save the world, but we are gonna save the Lower East Side. 

Laurence Fishburne: Animation’s come a long way. I mean, if you consider just anime alone, right? Or you know, stop motion? Obviously what we’re doing is another step in the evolution of animation. Steve referenced the Spider-Verse. There’s another one (Spider-Verse) coming that looks…even wilder than the first one, so… 

Steve Loter: Yeah, it’s a type of thing where it does feel like animation is for everybody and we wanted to make sure that this show was four quadrant. That’s an industry term which basically means it’s for everybody. It’s for parents, and kids, and grownup kids that may not have kids. It was really important for us to make sure that this show got everyone’s attention and everyone enjoyed it, for sure. 


3. Diamond, how much of yourself do you see in Lunella Lafayette, AKA Moon Girl, and what does it mean to be a part of a show that’s so powerfully progressive?

Diamond White: (I see) A lot of myself. I grew up being African American and when I was 13—actually, not when I was 13. When I was seven, all I wanted was a character like this to come to life. So it’s cool to have someone of my skin tone and of my hair texture really be there. The representation is…it means a lot to me. 

Diamond White: We made history being Marvel’s first teenage Black girl superhero. So it’s important to see that kind of representation. It’s a show that I needed growing up and I feel like it really does make a difference. Like the show says, one girl can make a difference. This show is going to make a difference in a lot of people’s lives so I’m just excited to be a part of it. 

Moongirl and Devil Dinosaur animated series

4. Can you talk about this specific version of New York in Moon Girl and Devil Dinosaur?

Steve Loter: Absolutely, yeah. I grew up in New York, uh, in the 80s and 90s in that zone. And I was there kinda at the beginning of graffiti art, a New York prior to gentrification, so I was there at kind of the perfect time where creativity, imagination, music, art, poetry, and books was still very vibrant and alive in New York. I wanted to make sure that we could capture that in the show. ‘Cause I’ve seen New York, um, misrepresented in a lot of animated properties, so I had to make sure it was accurate. So we relied on a lot of New York kinda artistic benchmarks—the Andy Warhol silk screening process, um, Basquiat graffiti art, street art murals—to kind of find the flavor of New York we wanted to capture. I knew that I had to get it right ’cause if I didn’t, I couldn’t go back to New York. They wouldn’t allow me back in. So I had to make sure I did it right. 


5. Aftershock (the pilot’s antagonist) is such a terrifying embodiment of gentrification as a villain. I’m wondering if you can talk about her development and why it was important that this was the first villain in the TV show?

Steve Loter: Being that Aftershock is the first villain in the series, the first real formidable villain that Lunella faces as Moon Girl, we really did wanna encapsulate a lot about what the mission statement was of the series. That one girl makes a difference storyline which is super important. So to have Aftershock coming into the Lower East Side sapping it of its- its energy—a lot of, you know, proverbial notions there—basically it’s a statement about gentrification. It’s a statement about losing community and neighborhood and connection. So yeah, it was really important for Aftershock to kinda be the conduit—no pun intended—for that kind of story. Um, but yeah, totally intentional. And it’s the daughter of Electro, so that’s always fun, too. 

6. Talking about representation, is nerd the new cool?

Laurence Fishburne: Yeah, well, I- I’ve always thought that, um, it was smart to be cool. No. I’m sorry. I always thought it was cool to be smart. 

Gary Anthony Williams: I like both. Go back to that other one. 

Laurence Fishburne: Yeah. And it doesn’t matter what your gender, what your color, what your faith, uh, what country you live in. I’ve always thought that it was really, really cool to be smart. Um, and I think it’s just important for us to have this kind of representation because you can’t be what you can’t see. So if more young girls of color get to see an experience of a person like Lunella, then perhaps, they won’t be afraid to show their intelligence and to lead with their intelligence, you know? I think it’s just a good thing to do. 


7. What was your initial reaction to “Moon Girl and Devil Dinosaur” being renewed for a second season even before the show premiered on Disney Channel? 

Laurence Fishburne: (Cheers.) 

Steve Loter: Basically that, yeah. Yeah I mean, it was- it was—what a great feeling because we knew we had more stories to tell. Um, it was kinda—as- as Season 1 goes on, the story gets more serialized. (00:23:30) You- you see kind of an antagonist kind of rise up from the background. Um, and we just felt like there was so much story to tell. I mean, we’re hoping for past Season 2 because we feel like Lunella Lafayette has a lot more stories to tell. 


Checkout Moon Girl and Devil Dinosaur February 10th on Disney Channel and February 15th on Disney+

Thank you again to the teams at Disney+ and Metro for the opportunity.

Moon Girl and Devil Dinosaur’s animation was provided by Flying Bark Productions. Season one features voice acting from Alfre Woodard as Lunella’s grandmother, Mimi; Libe Barer as Lunella’s best friend and manager, Casey; Sasheer Zamata as Lunella’s mom, Adria; Jermaine Fowler as Lunella’s dad, James Jr.; Gary Anthony Williams as Lunella’s grandfather, Pops.

Season one will also feature guest voice appearances by Alison Brie, Andy Cohen, Daveed Diggs, Maya Hawke, Jennifer Hudson, Method Man, Cobie Smulders, Wesley Snipes and more.

For more info on the character checkout Marvel’s Moon Girl 101 summary below.

The Last of Us Episode 4 Recap: Please Hold My Hand


After last week’s tearful interlude with Bill and Frank, The Last of Us dives right back into  horror. And road trips. And terrible, terrible puns. And the real enemy out there. Not the fungus, but the humans left behind. (the Last of Us, if you will)

Ellie is in the bathroom of a gas station, examining the gun she stole from Frank’s nightstand. She’s practicing her quick draw moves like she’s Ralphie with his Red Ryder BB gun, but it’s clear from the way she ejects the magazine and checks the chamber that she’s handled weapons before. She still hides it from Joel in her backpack.

Joel is siphoning gas from abandoned cars outside, which they have to do quite a lot. The gas is so old it’s almost water at this point, but it’s better than walking to Wyoming. Ellie tries to bond with Joel by telling him groaners from the only book she has: No Pun Intended, Too by Will Livingston. (Too? Instead of Two? Get it?) This is making me feel retroactively bad for all the road trips I went on with my parents when I forced them to listed to my Weird Al cassettes.

The drive is pretty smooth at first. The road is open, which frankly surprised me given the state of the roads around Boston. (Joel says something about the army clearing the roads with plows, but that’s a lot of road to clear off) They settle into the rhythms of a road trip — Hank Williams on the stereo,  falling asleep after saying you’re not even tired, finding an inappropriate magazine in the back seat (a porno mag from Bill and Frank’s collection, which leads Ellie to ask “how does he even walk around with that thing?”) — and all goes well.

Until they hit Kansas City.

A mass of cars is blocking a tunnel through the city. (Guess FEDRA didn’t get everything clear!) And from the looks of the bodies in the seats, they’ve been there a while. This forces them off the highway and into the city, And that’s where everything goes to shit.

They get lost in the maze of streets. Ellie notices what should be the local QZ, except there are no FEDRA guards anywhere. And that’s when they get ambushed. A decoy asks for help, and when Joel speeds around him, the windshield gets hit with a cinder block, and he drives over a nail strip then crashes into a store front. They get pinned down by gunfire, with his attackers telling him to just give them his stuff, and he’ll get out, no problem. (Yeah, right.) He covers Ellie while she elbow crawls to a hole in the wall to hide. (Again, from the elbow crawl, it’s real clear that she’s had some training) Joel kills one from across the street, and then gets the other one when he comes closer. However, he misses the last one, who gets the drop on him and starts to choke him with his shotgun barrel. Joel is choking and wheezing and looks overmatched, but then Ellie sneaks over and shoots the attacker in the back.

He’s not dead, just wounded, and it sounds like Ellie got his spine since he starts crying that his legs don’t work. He’s young, not a lot older than Ellie, and he begs for his life. His name is Bryan, and they can have his knife, just go get his mom, please…

It’s one thing in a game or a movie to mow down faceless attackers, and these guys were trying to kill Joel and Ellie. But it’s certainly another to kill a defenseless person. Even if that’s what is called for, because that kid would surely sound the alarm and get more marauders after them. Joel takes her gun sends Ellie back behind the wall. Then he picks up Bryan’s knife.

Kansas City is now “free.” A resistance militia movement has defeated FEDRA and now runs the city. They’re led by Kathleen (Melanie Lynskey), who certainly has no qualms about exacting bloody vengeance on the FEDRA “collaborators” who gave tips to the soldiers. Her own brother was killed by them after someone ratted him out. She is focused, to say the least. She is about to shoot her old family doctor in the head, since he was an informant, when a convoy pulls up with the bodies Joel and Ellie left behind. Bryan is still hanging in there, but he’s a goner. (I am assuming that Kathleen is the mom he was referring to) Kathleen asks if a doctor could help, and the medic shakes his head no. So she goes back to the doctor’s cell and shoots him.

She is quick to blame Henry, who is somewhere in the city. She’s sure that he’s the one who tipped off FEDRA about her brother. She orders everyone to start searching the city, house by house, until they find him.

Meanwhile, Joel and Ellie are holed up in a bar, waiting until the cars fan out, so they can go hide in the highest building in town and try to find a route out. Joel takes this time to try and talk to Ellie about what happened, with her shooting a guy. With stammers and false starts, he tries to tell her that it wasn’t her fault, that last guy got the drop on him and that shouldn’t have happened. Ellie tells him he’s not very good at this. Joel asks her where she learned to use a gun. FEDRA school. She asks if he had to shoot people before, even innocent ones. He gruffly says that they did what they had to do to survive. Ellie admits that wasn’t the first time she had to hurt someone, but she doesn’t want to talk about it, and then she starts to cry.

Again, it’s a great performance by Bella Ramsey. She’s playing Ellie as tough and sassy, trying to crack jokes and act wise, but it covers for someone who has been damaged by her environment. (I mean, if you spend your entire life running from the mushroom monsters and FEDRA goons, how could you not have some trauma?) This is one of the few times she’s let that trauma seep through.

Joel tells her a little about his brother, Tommy, calling him a “joiner.” He joined the army for Desert Storm back in the day, but it didn’t make him feel very heroic. He joined the Fireflies, again hoping to make a difference, but apparently that didn’t work out either. So now he’s on his own. He gives Ellie her gun back and tells her to keep it in her pack. She doesn’t, of course, and puts it in her coat pocket.

Kathleen gets an update from her number two. They found where Henry was holed up. It’s an attic, covered with kid’s drawings of two black men as supermen, flying through the air. Kathleen sees the pile of empty cans on the floor and realizes that they’re out of food. Henry won’t let his son, Sam, starve, so she orders the men to guard all the provision stockpiles. On the way out, her second takes her to a back room to show her something. The floor is heaving and buckling. I’m not an architect or anything, but I’m pretty sure that’s not what people mean when they talk about buildings “settling.” Pretty sure that’s a sign of the fungus coming out. Kathleen tells him to lock the building off and that they’ll tell everyone once Henry is caught.

Joel and Ellie make it to the tower and start up the stairs. They’ll get as high as Joel’s 56-year-old knees can carry them and then they’ll camp out. They get to floor 33 out of 45 (which is a lot better than I would have done). Joel is laying some glass down on the floor as a warning to wake them should anyone show up. Ellie asks if the crunch will wake him up, since she’s noticed he doesn’t hear so good out of his right ear. A consequence of all the gunfire he’s lived through. He tells her to stick to her switchblade if she wants to keep her hearing.

As they settle in for the night on some old office couch cushions, Ellie asks him if he knew that diarrhea was hereditary? Joel is confused. What? Yeah, says Ellie, it runs in your jeans!

Another stupid pun from Will Livingston. But even though Joel calls it the stupidest thing he’s ever heard, he starts to laugh. This might be the first time Joel has smiled this entire series! Including the flashbacks to the before times! They drift off to sleep. Maybe things will be okay!

Or maybe not. Ellie tries to wake Joel, who is sleeping on his right side, meaning his bad ear is up. When she finally gets him awake, he sees they aren’t alone. Henry and Sam are there, and Henry is pointing a gun at them.

And that’s where we end.

One thing I really like about this show is the way kids still try to be normal kids, despite everything else going on. Ellie has her joke book. Sam likes to draw. You know, normal stuff! Not like basic weapons training. Even in the darkest times, a poop joke can still make you laugh.

I’m also looking forward to seeing the contrast between Henry and Sam and Joel and Ellie. Two adults with kids, trying to stay alive. (And again, since it’s just Joel and Ellie on the poster, I don’t have high hopes for Henry and Sam.) Also looking forward to more Melanie Lynskey, She didn’t get a lot to do this week, but I’d wager we’ll see a lot more of her as she obsessively tracks down Henry. You don’t hire a solid actress like her and not give her some excellent scenes.

We’ll be back here on Friday. HBO announced that next week’s episode would air a little early so as not to conflict with the Super Bowl. Which is good! Because I was definitely going to have to call in a substitute since I will be watching my beloved Eagles. #FlyEaglesFly

4 out of 5

Line of the Week: Ellie: What did the mermaid wear to math class? An algae bra!

Doctor Doom Does the Unimaginable in 700th Fantastic Four Issue


A little while back, we covered the gorgeous Alex Ross variant covers for the latest Fantastic Four arc by Ryan North and Iban Coello. Now we have more news about the upcoming storyline, and the chaos it might hold for the iconic superhero family. As they try and put the pieces together after a traumatic event, none other than legendary villain Doctor Doom steps in to take advantage of the chaos.

Doctor Doom travels across time and space to undo the damage wrought by the Fantastic Four. But knowing Doom, there’s a very good chance he’ll either make things worse, or twist them to his own diabolical ends. Here’s what writer Ryan North has to say about the double-sized 700th issue event:

“I feel privileged to be writing the Fantastic Four at any time, honestly, but getting to have a big milestone issue happen on my watch is certainly lucky – and it’s an opportunity I didn’t want to waste,” North said. “A big anniversary issue like this demands a similarly big story, something meaningful, impactful, and memorable. And given that it’s a supersized issue with more room to play, everything aligned to do a story with the Fantastic Four’s most meaningful, impactful, memorable, and supersized villain: Doctor Doom. Doom demands nothing less than the biggest issue of the year being dedicated to him, and I dare not defy Doom. It’s a big twisty story that brings the Fantastic Four to their new home and views what’s happened to both families over the past year in a new light. The Fantastic Four are down, but not out, and Doom senses an opportunity…”

If you like what you hear, you’ll be happy that Fantastic Four #7 goes on sale May 17th. Be sure and check out the particulars below, and keep reading The Workprint for more exciting comic book news!

Fantastic Four | Doom Issue 700

Written by RYAN NORTH
Cover by ALEX ROSS
On Sale 5/17

The Winchesters – Season 1, Episode 9: “Cast Your Fate to the Wind” Review


Horrible puns aside, this episode starts with vampires orchestrating an armored truck robbery by way of a car crash. The next day we see John and Mary going over the picture of Dean Winchester when they run into Kyle (Ryan McCartan). This sparks a conversation about their relationship status, but then Carlos chimes in over the radio with a case. The vampires were after a Men of Letters artifact—an amulet that can show the user their immediate future. Unfortunately, John touches the thing and sees himself being killed by a vampire. Diana (Austin Boyce), an expert on the amulet, gives the gang more insight into how it works but also sells them out to the vampires. The head vampire (Jared Wofford) gets the amulet and takes off with his crew. Worried about John’s safety, the gang benches him at the clubhouse with Millie while they go hunting for the clan, but this backfires, with John winding up in the exact place he’s fated to die. Despite a good effort by Mary and Carlos, John resorts to having Millie kill him so the head vampire can be incapacitated long enough to be defeated. This insane strategy works, and John is obviously brought back to life. But the twist ending is that Betty (John’s ex) and Kyle have begun a partnership of sorts, and Kyle, unbeknownst to Betty, is possessed by an Akrida!

Whew! What a cuckoo-bananas episode, right? As someone who watched the mothership series for all fifteen seasons and was highly curious about this spinoff, I can honestly say the back half of this first season is definitely not playing it safe. Episode 9 packs a lot of plot into an hour, but not all of it is necessary or even good.

My main problem with this episode is the story, which was also my main problem with the last episode, but this episode doesn’t have the advantage of Carlos being the center of attention or Loki making a fabulous cameo appearance. Whereas those two elements, plus the acting all around, really saved the last episode from being trash, this episode doesn’t have those advantages to cover for its weak story.

The idea of a vampire cult that worships gods of fate and tries to get a magic amulet in order for them to rule better is… shaky at best. Yes, the series takes place in the ’70s, so a cult is in keeping with the times, but still. Granted, Diana does her best to make the case for it, and I’ll admit the mob mentality of it does have a ring of rational, but overall? Eh. I feel like this would have been a fine opportunity to bring in a new threat—perhaps a rival to the Men of Letters who use the amulet to build power and dominance… but sure, vampires acting like the mob or the royal family works too, I guess.

The secondary story of Betty is also paper thin until the very end, where it is revealed that Kyle and her have formed some kind of weird partnership. This is mildly amusing because Kyle is pro-Mary and Betty is pro-John, but ultimately, this twist came out of fucking nowhere and nearly snapped my neck it was forced into play so hard. The big problem here is just the randomness of it. Betty hasn’t been heard or seen since that one episode where she essentially existed to create a barely-there love triangle with John and Mary (before they were officially a thing). I mean, I get that Betty is the type of Supernatural throwaway character who will occasionally resurfaces from time to time like Garth or Sheriff Jody Mills, but who knows if she’ll actually become that. This is literally her second appearance in this series, and frankly, it feels extremely forced. It might be because this whole time the gang has been going off to active crime scenes and investigating weird shit and Officer Betty’s nowhere to be seen, so why is she around now?

Kyle seemed like he was going to be a bigger player when he originally showed up and then straight-up disappeared. Yes, he showed up in one other episode after his initial debut, but mostly he was given the part of plucky reporter who benefits off the wacky adventures of our Scooby gang. Here, he has returned, somehow started up a working relationship with Betty, and gotten himself possessed by the Akrida. Uh… the fuck?

Which brings me to my final grudge against this episode: John’s stupid sacrifice. John’s plan to kill himself in order to force the vampire to drink dead man’s blood is insanity. The fact that Millie agrees to this plan is insanity. The fact that Mary and Millie manage to bring him back from the dead is insanity. Are you sensing a pattern here? Hell, the only purpose this craziness serves is to 1) resolve the fate John saw, 2) give Mary an opening to reveal her and John’s relationship to the gang, and 3) allow Millie a shot at emotional growth. Notice I didn’t include “help Mary kill the head vampire,” because we already saw her kill five other vampires without any real problem, and she 100% did not need the assist. In John’s defense, he didn’t know she killed the other vampires, but another strike against him is that if Mary had been killed by the vampires, he would have essentially fucked his mom over completely—unless, we assume Millie is perfectly comfortable decapitating a monster after it has just killed her only child. Mind you, this is a lady who has never fought monsters before, so while the argument could be made for a grief-fueled rage attack, it doesn’t necessarily guarantee her success.

The episode isn’t all bad though, despite the clunky vampire cult side of things. Carlos makes a fine argument for a vampire heist movie. The fight sequences are also fun and engaging from Mary’s one-woman show in the underground halls of the clubhouse to Carlos’ magnificent “holy-water-hair-commercial” move that helps her get access in the first place. Do I believe that Mary Campbell would be able to single-handily kill five vampires when it’s been shown that Sam and Dean struggle with less than that unless they’ve got some kind of ambush on their side? Fuck no, but I’m not gonna say it isn’t fun watching the lie. In their defense, shows of this nature have a very wishy-washy execution of the strength and speed of their supernatural creatures. One minute, a vampire’s backhand can break a man’s neck, the next it just throws our protagonist against a nearby wall—at which point the protagonist’s ability to endure physical punishment becomes conveniently elastic. Long story short? It’s a fantasy… don’t overthink it.

Overall, I’m not a big fan of this episode for a number of reasons. The one I haven’t yet discussed in full but hinted to is the acting. I wish more of the performances in this episode were up to snuff. The main gang does their due diligence, but the guest stars don’t really feel into it. The only one who I considered admirable in their effort was Javier Vazquez Jr.’s Diego—the armored truck guard who speaks to Carlos about his harrowing run-in with the vampires. Perhaps it’s because he doesn’t have much he needs to act off of, maybe he’s just a better actor than the rest. Whatever the case, I found it noticeable. The vampires are completely nameless killing machines, the head vampire doesn’t even get a name, much less a personality. Would it have killed you to include a scene of them praying to their gods of fate? Or even a cool heist planning sequence? No, instead we get these inane scenes with Betty and Mary, and Betty and Millie… no thanks.

Ah well, let’s see if they can’t improve next week.

Demon Wars Will Introduce a Separate Scarlet Witch!

Demon Wars Scarlet 2023 cover by Peach Momoko

Featured in the most recent issue of Demon Wars: Down in Flames, Marvel’s highly acclaimed artist Peach Momoko weaves her own creative chaos magic by imbibing life into yet another superhero. This time, the Scarlet Witch, in this upcoming May in Marvel’s latest Demon Wars: Scarlet Sin. 

The story will be the conclusion to Momoko’s Demon Wars series, which are the current era of hybrid Marvel Comics classics tied with traditional Japanese folklore also known as the Momoko-verse. Introduced in Demon Days: X-Men #1, these rehashed classics featured East Asian-influenced versions of the Avengers, X-Men, and more.


In the current era, the Yokai are at war, and Mariko Yashida, the descendent of the Oni King, must choose a side as the fate of the world is at hand. But suddenly, a mysterious yokai with incredible power arrives and changes everything. Someone whose sole desire is to paint the world… Scarlet?

“When designing Momiji, Demon Wars’ version of Scarlet Witch, the first thought that came to mind to represent Scarlet Witch was her anger and betrayal,” Momoko explained in a Marvel press release. “So with this in mind, I was inspired to create her around the Hannya idea. Hannya in Japan is used in Noh theater to represent a woman’s anger and jealousy, and these vengeful spirits turn her into a demon.”

“In Demon Days, most of my characters, even though many were yokai, were all yokai living in the human world, so they had to ‘look human.’ But in Demon Wars, the story takes place in the Ikai, the yokai world, so I had more freedom in designing the characters,” she continued. “They can be human, animal, or an out-of-this-world creature design. So I had lots of fun designing each character. Demon Wars is coming to an end, and I can’t wait to see how readers will react. Thank you!”

Pronty, The Underwater Shooting Extravaganza, Sets a Nintendo Switch Release Date


Released a few years ago but now soon to be available on the Switch, Pronty is a deep-sea Metroidvania action-adventure type of series where the player uses a ‘Bront’ (A Javelin Robot Weapon who’s also, your partner) to defeat a slew of enemies along a 2D plane. Now available on Switch, the series comes to Switch on March 7th, with an MSRP of $14.99/€14.99/£13.99 with a 10% discount on pre-orders until Monday, March 6 at 11:59 PM PT.

“Since the PC version of Pronty was released, we’ve received a constant stream of feedback from players asking for the game on consoles,” commented Ariel Pang, Joy Brick Inc., Overseas Business Division Manager. “We’re very grateful for the community’s support and are super excited to finally deliver Pronty on Nintendo Switch!”

The storyline is that in the future, humans have colonized the sea and have crafted hundred of underwater metropolises, essentially forming a new Atlantis. Now in danger from a mysterious threat, players can solve puzzles and discover the secrets of the deep in this fun little shooter. 

Full details here from their official press release:

Pronty, the aquatic metroidvania from developers 18Light Game Ltd., FunZone Games, Joy Brick Inc., and published by Happinetunder the Happinet Indie Collection, dives onto Nintendo Switch Tuesday, March 7, 2023. Be one of the first to dive into Pronty with a 10% pre-order discount available on the eShop starting today, Feb. 2 at 6:00 AM PT until Monday, March 6 at 11:59 PM PT.

Something fishy is going on in the kingdom of Royla! Horrifying sea creatures corrupted by toxic waste terrorize the country’s citizens. Guide Pronty and Bront, his robotic swordfish companion, as they embark on an epic adventure to restore peace to the once-thriving underwater utopia. 

Explore an interconnected modern Atlantis. Swim through expansive waters with “zero-gravity” movement, and clash with more than 40 ghastly sea monsters across 100+ levels. Execute long-range attacks and form an impenetrable defense around Pronty as Bront dashes across the map with one-of-a-kind underwater Javelin combat mechanics. 

There is always a bigger fish, and there’s always an optimal build for Pronty’s exotic encounters. Prioritize offense, defense, movement, or a combination of all three when unlocking special powers on Pronty’s Memory Board. Adapt to every deep-sea danger and switch moves at a moment’s notice with hot-swap abilities, enabling quick strategy changes on the fly. 

Every success sends Pronty and Bront further down into the unknown depths. Increase the pressure with multiple difficulty modes, and visit Neptune’s Hall in Boss Rush mode to put the duo’s skills and abilities to the ultimate test. The Nintendo Switch release will include the full version of Pronty plus DLC previously released on Steam. Bask in the ambiance of the sea with underwater sound design and epic electronica soundtrack, accompanied by an ever-increasingly mysterious atmosphere brought to life with a vibrant, polished line art style.

New WandaVision Variant Cover Unveiled for Scarlet Witch #3 by David Nakayama

Cover Art: David Nakayama

Fans of WandaVision can enjoy a new variant cover revealed by Marvel Comics today. The Westview and MCU-themed TV series inspired an ultra-sharp-looking variant cover available for Scarlet Witch #3 drawn by acclaimed artist, David Nakayama.

The cover honors the Emmy Award-winning series in a poster-styled cover with Wanda front and center, dueling Visions firing laser beams at each other during the show’s epic climax, Monica Rambeau, and everyone’s favorite spell caster from behind the scenes, Agatha Harkness. The cover is featured for Steve Orlando and artist Sara Pichelli’s continuing all-new SCARLET WITCH run available in stores right now.

This ongoing Scarlet Witch comic series sees Wanda Maximoff in an entirely new light as a superhero who comes to those in desperate need. Available for hire through this mysterious metaphysical door, behind it, lies a mysterious witchcraft shop and the Scarlet Witch. Whenever the need is great and all hope is lost, friend or foe, the Scarlet Witch will be there helping her powers to anyone who needs them whenever they’re at their lowest.

It kicks off when a woman falls through Wanda’s door with a terrifying story of a town gone mad, which is not an unfamiliar premise to viewers of the character’s TV series. As a result, the Scarlet Witch has to muster all of her chaos magic to help resolve this town’s dire problem.

Now, WandaVision was easily one of the most groundbreaking series upon its release. It was the American Film Institute’s winner for Television’s Best Program of the Year and won an Art Direction Guild Award for Excellence in Production Design for a Television Movie or Limited Series. The series also won a Hollywood Critics Association award for best streaming limited series and a highly coveted Nebula Award for Outstanding Dramatic Presentation.

Atop of this, there were two Critics Choice Super Awards given to Elizabeth Olsen, for best Superhero in playing Wanda Maximoff, and Best Villain for Katheryn Hahn’s Agatha Harkness. The show was also nominated for an Annie Award for Best Sponsored Production and is available streaming with a Disney+ subscription right now.

The ongoing comics run seems to be playing heavily into all of this with the first two issues in stores now, and this third issue, along with the variant cover, hitting comic book shops near you on March 8th.

Kimura Returns To Torment X-23 in Deadly Regenesis


Laura’s diabolical handler is back to make her life a living hell in Deadly Regenesis! Yes, none other than Kimura has returned, and she’s brought an old friend of X-23 along with her. Their name is Haymaker, and though new to the comics, they have a dark history with the deadly assassin turned-hero.

Deadly Regenesis | Design

Writer Erica Schultz and artist Edgar Salazar will bring this to fans in the latest issue of Deadly Regenesis, hitting shelves next month. Here’s a quick idea of what to expect from the issue:

Kimura, Laura’s sadistic former handler from the Facility, is back with a vengeance to try to break X-23’s spirit and this time, she’s recruited a mysterious figure from Laura’s past to help her do the job—HAYMAKER! A skilled fighter with a personal vendetta against Laura, Haymaker is more than a match for X-23 and will earn their spot as X-23’s new archnemesis. After Haymaker (Jordan Gastin) makes their first appearance, readers will learn more about their backstory throughout the series.

You can get more details straight from Marvel about the series below. And stay tuned to The Workprint for more exciting stories from an iconic comic empire.

Deadly Regenesis | Kimura Cover

X-23: DEADLY REGENESIS #1 (OF 5) – 75960620401400111
Design Variant Cover by JAN BAZALDUA – 75960620401400131
On Sale 3/8

X-23: DEADLY REGENESIS #2 (OF 5) – 75960620401400211
On Sale 4/12

On Sale 5/31