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AWA Studios’ *Little Black Book* is a lean, nasty AWA Studios’ *Little Black Book* is a lean, nasty crime thriller about a good man discovering how quickly morality can become negotiable. Cole has spent his life on the straight and narrow, deliberately avoiding the criminal world that defined his father. But when his family is threatened, all that restraint disappears. He reaches for the one thing he swore he would never need: his father’s little black book. That choice gives the story its real charge. Cole doesn’t gradually drift into darkness—he invokes it the instant the people he loves are in danger. The book becomes less about whether he can survive the underworld and more about what was always lurking inside him. His father’s legacy isn’t just a list of dangerous names; it’s a door Cole knows how to open, and once he does, he proves disturbingly comfortable walking through it. Felipe Cunha’s gritty, sunbaked art gives the whole thing the feel of a modern Western soaked in crime and consequence. *Little Black Book* is fast, brutal, and refreshingly unsentimental, but its best idea is also its simplest: Cole may have rejected his father’s life, but when pushed hard enough, he knows exactly how to use it. #littleblackbook @awastudiosofficial
AWA Studios’ *Telepaths* is a six-issue sci-fi thr AWA Studios’ *Telepaths* is a six-issue sci-fi thriller from J. Michael Straczynski and Steve Epting built on a killer premise: a global electromagnetic event leaves millions of people able to read minds. Overnight, privacy becomes obsolete, secrets become liabilities, and society starts coming apart at the seams. Straczynski wisely treats telepathy less like a superpower than a social weapon. Police, politicians, prisoners, and ordinary people are forced to confront what happens when thoughts are no longer private, turning the book into a tense story about fear, prejudice, control, and the ugly ways people react to those they can’t understand—or contain. Epting’s grounded, realistic art keeps the concept from drifting into flashy sci-fi. The world feels familiar, which makes its collapse more unsettling. *Telepaths* is smart, tense, and politically charged—a strong high-concept thriller that asks whether knowing what people really think would bring us closer together or tear us apart faster. #jms @awastudiosofficial #telepaths
AWA Studios’ *The Madness* is a savage six-issue s AWA Studios’ *The Madness* is a savage six-issue superhero revenge thriller from writer J. Michael Straczynski and artist ACO. Sarah Ross, a super-powered thief known as the Raven, makes the mistake of stealing from someone with enough political influence to have the government come after her. The assassination attempt fails to kill Sarah—but wipes out her family, sending her on a bloody campaign against the government-sponsored “heroes” responsible. Straczynski takes a familiar revenge setup and pushes it into much darker territory, using Sarah’s hunt to explore grief, corruption, moral compromise and what happens when superheroes become extensions of political power. Complicating matters is the Raven herself—an apparent second personality, or possibly something more—who drives Sarah toward increasingly brutal choices. The result feels less like conventional cape-and-cowl heroics and more like *The Authority* or *Watchmen* filtered through the relentless momentum of a revenge movie. ACO’s artwork is a major part of the appeal. His layouts are aggressive and cinematic, constantly shifting perspective and panel structure to give the action a widescreen, almost film-storyboard intensity, while David Lorenzo’s inks and Marcelo Maiolo’s colors keep the book sharp, atmospheric and frequently explosive. *The Madness* is violent, cynical and unapologetically pulpy—a superhero comic about what happens after the supposed good guys cross a line they can never uncross. #themadness @awastudiosofficial #awastudios #lms
If you see @destinationgeekhq at Howl-o-Scream ton If you see @destinationgeekhq at Howl-o-Scream tonight, make sure to ask for a sticker! Limited supplies available!
ROM began as a **Parker Brothers electronic toy in ROM began as a **Parker Brothers electronic toy in 1979**, but it was Marvel Comics that gave the character a soul. Writer **Bill Mantlo** and artist **Sal Buscema** transformed the simple Space Knight concept into a sweeping cosmic saga about Galador, the Dire Wraiths, sacrifice, and identity. The toy faded quickly; the comic became the legend. Marvel’s ***ROM*** ran for 75 issues, weaving the Space Knight into the wider Marvel Universe alongside the X-Men, Hulk, Fantastic Four, and others. What could have been disposable licensed material instead became one of Marvel’s great cult books, with ROM emerging as a genuinely tragic and heroic figure. Licensing issues eventually pushed the character off the board, leaving fans waiting decades for a true return. Now ROM has entered **Skybound’s Energon Universe**, appearing in ***Void Rivals*** and bringing his war with the Dire Wraiths into a whole new cosmic playground. It feels less like a cameo and more like the beginning of ROM’s next great chapter. Nearly fifty years after starting life as a blinking plastic toy, the Space Knight is somehow cool all over again. H
Hal Jordan is the archetypal Green Lantern: fearle Hal Jordan is the archetypal Green Lantern: fearless test pilot, reckless adventurer, and stubborn believer that almost any obstacle can be overcome through sheer force of will. Chosen by the dying Abin Sur to wield one of the universe’s most powerful weapons, Hal became a member of the Green Lantern Corps and quickly established himself as one of its greatest champions. His confidence has always been both his strength and his flaw; Hal is at his best when courage borders on audacity and at his worst when certainty becomes arrogance. What makes Hal compelling, however, is how spectacularly he has failed. His transformation into Parallax, destruction of the Corps, death, and eventual redemption gave the character a mythology built around guilt and second chances. Geoff Johns’ *Green Lantern: Rebirth* reframed that fall while preserving its emotional weight, restoring Hal without simply erasing the consequences. Since then, his greatest battles have often concerned not whether he possesses enough power, but whether he deserves the trust placed in him. Hal Jordan ultimately represents the central idea behind Green Lantern better than almost anyone: courage is not the absence of fear but the decision to act despite it. He is not the wisest Lantern, the most disciplined, or even always the most likable. He is the man who looks at impossible odds, grins, and flies directly toward them. That mixture of swagger, stubbornness, failure, redemption, and indomitable will is what has made Hal Jordan one of DC Comics’ defining heroes. #lanterns #greenlantern #dccomics
Scott Snyder and Jim Lee’s **Superman Unchained** Scott Snyder and Jim Lee’s **Superman Unchained** is a big, muscular celebration of Superman built around one provocative idea: what if the United States had possessed its own secret Superman for decades? That figure is Wraith, an immensely powerful alien covertly deployed by the military since World War II. His existence forces Superman to confront an uncomfortable reflection of himself… a being with comparable power who sees obedience, nationalism, and lethal force as perfectly reasonable uses of that power. Snyder keeps the story grounded in the essential question of what separates Superman from simply being the strongest weapon on Earth. Wraith may be faster, stronger, and more willing to do whatever is necessary, but Clark’s restraint and compassion become the real measure of his strength. General Sam Lane, Lois, Lex Luthor, and the terrorist organization Ascension complicate the conspiracy, but the heart of the series is Superman refusing to let anyone define what his power is *for*. And visually, **Superman Unchained** is Jim Lee operating at blockbuster scale. His Superman is enormous without seeming brutish, capable of filling a page with sheer physical presence while still retaining Clark Kent’s humanity. Massive battles, collapsing machinery, aircraft, military hardware, and explosive double-page compositions give the book the feel of a summer action film, but Lee’s best moments are often the quieter ones: Superman hovering above the world, battered but resolute, looking less like a god than a man continually choosing to do the right thing.
Baron Karza is BACK, baby, thanks to @skyboundent Baron Karza is BACK, baby, thanks to @skyboundent and the Energon Universe. Also, we revisit Transformers the movie for its 40th anniversary, and more! Star Trek 60th Anniversary, Transformers Apology Tour MASK #3 Batman Day Batman #12 #micronauts #baronkarza #energon
Skybound’s *M.A.S.K.* #3 ends with the kind of rev Skybound’s *M.A.S.K.* #3 ends with the kind of reveal that radically enlarges the series’ ambitions: **Miles Mayhem is answering to Baron Karza**, the legendary armored tyrant of *Micronauts*. Dan Watters and Pye Parr stage Karza almost like an apparition—an enormous, demonic machine-god looming over Mayhem as the V.E.N.O.M. commander reports to him. Parr keeps the recognizable horned helmet and massive mechanical physique of the classic character while making him feel considerably more imposing and sinister. The implication is immediately unsettling: Mayhem, dangerous enough on his own, may only be a lieutenant in a much larger scheme. More importantly, Karza’s appearance feels like another door swinging open in the **Energon Universe**. He was the central despot of Marvel’s original *Micronauts* mythology, ruling the Microverse when the classic series began in 1979, so placing him behind events in *M.A.S.K.* potentially brings an entirely new cosmic dimension into the interconnected world of *Transformers*, *G.I. Joe*, *Void Rivals* and now *M.A.S.K.* It’s a wonderfully audacious cliffhanger: three issues into what initially looked like a high-tech espionage-and-supercar book, Skybound suddenly hints that Matt Trakker’s war may stretch far beyond V.E.N.O.M.—and possibly far beyond Earth. Without a doubt, one of the greatest comics to hit stands in the late 70s was Bill Mantlo and Michael Golden’s THE MICRONAUTS. Amazing visuals, engrossing storytelling. Based on the toy line of the same name, The Micronauts captivated a generation of comic readers with heroic, epic drama and masterful illustrations. Newly collected by @marvel, check out the Omnibus hardcover for a timeless classic! And come back for @skyboundent’s MASK #4!
Truth! #thephantom Truth! #thephantom
The Funnybooks crew is back to chat the latest Mar The Funnybooks crew is back to chat the latest Marvel movie release, Spider-Man: Brand New Day! Follow link in bio to Funnybooks.
*Absolute Green Lantern*, Volumes One and Two, rec *Absolute Green Lantern*, Volumes One and Two, recasts the mythology as an atmosphere of dread rather than a straightforward space adventure. The familiar confidence of the Green Lantern concept is replaced by uncertainty, isolation and the sense that humanity has made contact with something vast, ancient and fundamentally unknowable. Green light no longer feels reassuring; it feels invasive, almost supernatural, illuminating just enough to reveal how much remains hidden. Much of the series’ power comes from its refusal to explain itself too quickly. Characters move through fragmented memories, incomplete evidence and competing interpretations of what has occurred, while every answer opens the door to a larger and more disturbing question. The mystery has the texture of conspiracy fiction and cosmic horror, creating the constant impression that unseen forces are observing, judging or manipulating events from beyond ordinary perception. The artwork reinforces that darkness through heavy shadows, stark empty spaces and eruptions of unnatural green that cut across otherwise muted environments. Even moments of spectacle carry an ominous stillness, as though the universe is holding its breath. Across both volumes, *Absolute Green Lantern* becomes less a story about conquering fear than about living inside it—searching for meaning in a reality that may be hostile, indifferent or simply too alien to understand.
*Absolute Martian Manhunter, Volume One: Martian V *Absolute Martian Manhunter, Volume One: Martian Vision* may be the boldest reinvention in DC’s Absolute line. Deniz Camp recasts John Jones as an FBI agent investigating seemingly random violence while sharing his mind with an incomprehensible psychic entity called “the Martian.” Blending detective fiction, psychological horror and metaphysical science fiction, the book preserves the character’s core themes—telepathy, divided identity and alienation — while discarding nearly every familiar element of his origin. Javier Rodríguez’s artwork is the book’s defining achievement. Ordinary reality is rendered with relative restraint, then overwhelmed by vivid color, fractured bodies, amorphous thought-forms and layouts that shift with Jones’s perception. Emotions become physical shapes, psychic impressions break through panel borders, and the Martian appears less as a conventional superhero than as a living symbol composed of eyes, flames and color. The abstraction is not decorative; it allows the reader to experience Jones’s unstable, expanded consciousness directly. The book draws on the paranoid fiction of Philip K. Dick and Thomas Pynchon, the cosmic imagery of *2001*, and identity-bending comics such as *Shade, the Changing Man*. Rodríguez’s visual language also recalls Steve Ditko, Jack Kirby, Chris Ware, Osamu Tezuka and Alberto Breccia. Yet these influences are fused into something distinctive: a surreal, expressionistic comic in which color becomes thought, abstraction becomes empathy and Martian vision becomes an entirely new way of seeing reality.
Jeff Lemire’s *The Fury of Firestorm* takes one of Jeff Lemire’s *The Fury of Firestorm* takes one of DC’s most visually spectacular heroes and transforms his powers into the foundation of an unnerving science-fiction horror story. Ronnie Raymond arrives in the small town of Bedford, Colorado, no longer behaving like the exuberant young hero readers remember. Buildings become sand, human beings are turned to glass, and the laws of matter appear to bend according to impulses Ronnie may not fully control. Rather than treating Firestorm’s molecular abilities as colorful superhero magic, Lemire emphasizes how terrifying they would be in the hands of someone unstable—or something no longer entirely human. The central mystery concerns the relationship between Ronnie, Professor Martin Stein and the Firestorm Matrix itself. As Lorraine Reilly searches for a way to save Ronnie, the series gradually revisits the fractures between the two men who once shared Firestorm’s body and consciousness. Lemire draws upon decades of continuity without allowing it to overwhelm the narrative, presenting Ronnie and Stein’s partnership as a damaged surrogate family built upon manipulation, resentment and buried guilt. By the fourth issue, the suggestion that the Matrix may possess its own will has turned the familiar question of who controls Firestorm into something far more disturbing: Ronnie may not simply have gone rogue, but may be trapped inside the Nuclear Man. Rafael De Latorre’s artwork, colored by Marcelo Maiolo, gives the book an appropriately severe and disquieting visual identity. Ordinary streets, laboratories and domestic memories become increasingly alien as Firestorm reshapes both matter and people, while changes in artistic texture help distinguish Ronnie’s brighter past from the cold horror of the present. The result is not a conventional superhero revival but a tragic examination of power, identity and broken trust, one that respects Firestorm’s history while making the character feel dangerous and unpredictable again. Four issues in, *The Fury of Firestorm* stands as one of the most distinctive books in DC’s Next Level initiative and a compelling reinvention of the Nuclear Man. @dccomics #newc
Just couldn’t help myself. So many good movies to Just couldn’t help myself. So many good movies to add to the collection. @criterioncollection #criterioncollection
Dan Abnett’s Flash Gordon for Mad Cave Studios fee Dan Abnett’s Flash Gordon for Mad Cave Studios feels like an especially smart match of writer and property: Abnett knows how to do big-screen space opera, military urgency, cosmic weirdness, and character-forward adventure without apologizing for the pulp roots. Mad Cave positions his run, with artist Manuel Garcia, as a “new era” beginning with Flash Gordon #0 and then continuing with Flash Gordon #16, effectively treating the arc as a fresh entry point for readers. The premise is pure Flash: the universe has moved on, Flash is back on Earth, Mongo is now impossibly distant, and official space travel is being left to the “experts” rather than a former football hero with a sword, a reckless streak, and a habit of saving the day anyway. When a massive object — maybe a meteor, maybe a planet, maybe something stranger — heads toward Earth, Flash does what Flash does: he refuses to stand down and heads toward danger before bureaucracy can finish clearing its throat. What makes this promising is that Abnett is not merely reviving nostalgia; he is using nostalgia as rocket fuel. The best Flash Gordon stories have always worked because they are ridiculous and sincere at the same time: ray guns, tyrants, strange planets, impossible odds, and a hero who wins because courage is contagious. Mad Cave’s broader Flash Gordon line is clearly built to honor the Alex Raymond legacy while expanding it for new readers, and Abnett’s run looks like the part of that project most aimed at restoring Flash as a full-throated, swashbuckling science-fiction hero rather than a museum piece.
The puissant purple people of Pinellas Prime are a The puissant purple people of Pinellas Prime are among the most formidable warrior races known to the settled stars. Towering, broad-shouldered, and blessed with deep violet skin that shimmers like polished amethyst beneath their world’s twin suns, they have built an entire civilization around the ideals of courage, honor, and personal excellence. To the people of Pinellas Prime, color is not merely decoration but a sacred language. The richer and more vibrant one’s hue, the greater one’s achievements are believed to be. Warriors returning victorious from battle often undergo elaborate ceremonies in which their skin is adorned with radiant pigments, transforming them into living chronicles of their deeds. Though outsiders sometimes mistake their flamboyant appearance for vanity, the purple people are disciplined and relentless fighters. Their armies march beneath banners of brilliant magenta, indigo, and royal violet, creating spectacles as dazzling as they are terrifying. Generations of conflict on their harsh homeworld forged them into masters of close combat, tactical maneuvering, and psychological warfare. Enemies frequently report being unnerved by the sight of thousands of brilliantly colored warriors advancing in perfect formation, singing thunderous battle hymns that echo across the battlefield like rolling storms. Yet the greatness of the purple people extends beyond war. Their cities are masterpieces of color and architecture, with crystalline towers that catch the sunlight and scatter it into vast rainbows visible from orbit. Artists, poets, and philosophers hold places of honor alongside generals and champions, for the people of Pinellas Prime believe that beauty and strength are inseparable virtues. Their most cherished saying, carved above the gates of their capital, declares: “Let your colors shine so that even the stars remember your name.”
Among the great horror comics of the 21st century, Among the great horror comics of the 21st century, few are as unsettling, emotionally devastating, and visually memorable as The Red Mother. Rather than relying on gore or shock value alone, the series builds its terror through dread, obsession, and psychological disintegration. The story begins with a seemingly simple tragedy—a young woman loses an eye during a brutal attack, but gradually unfolds into a nightmare involving impossible visions, sinister symbols, and an ancient, hungry force lurking behind reality itself. Every issue tightens the screws, transforming grief and trauma into a gateway for cosmic horror. What elevates The Red Mother above many of its contemporaries is its masterful fusion of intimate human drama with supernatural terror. Protagonist Daisy Walker is not a monster hunter or action hero; she is an ordinary person struggling to reclaim her life after a devastating loss. As her world becomes increasingly distorted, readers experience the horror through her uncertainty and vulnerability. The result is a story where emotional wounds are every bit as frightening as the eldritch forces stalking the shadows. The comic understands that the most effective horror is not merely about what lurks in the dark. It is about what that darkness does to the human soul. The artwork by Danny Luckert is equally responsible for the book’s reputation. Luckert’s pages are drenched in ominous reds, sickly shadows, and dreamlike imagery that make the world feel perpetually on the verge of collapse. Strange masks, impossible architecture, and recurring symbols create a visual language of dread that lingers long after the book is closed. Combined with Jeremy Haun’s deliberate pacing and psychological focus, The Red Mother stands as one of the finest horror comics of the modern era—a work that demonstrates how comics can deliver terror as effectively as any novel, film, or television series.
Despite their fearsome reputation, Imperial doctri Despite their fearsome reputation, Imperial doctrine emphasizes that gorilla cyborgs are not mere war machines. They are regarded as valued personnel of the Empire and are afforded many of the rights, privileges, and honors granted to enlisted service members. Veteran gorilla auxiliaries frequently serve for decades, becoming respected figures aboard warships and frontier garrisons alike. Young Marines often arrive expecting lumbering beasts and instead encounter disciplined professionals known for quiet loyalty, unshakable courage, and a surprisingly dry sense of humor. Among the Corps there is an old saying: “When the line must hold, send Marines. When the impossible must be done, send a gorilla with a cybernetic toolkit.”
Alien Vol. 2: Revival is the second major story ar Alien Vol. 2: Revival is the second major story arc in Marvel’s modern Alien comics line, written by Phillip Kennedy Johnson with artwork by Salvador Larroca. Collecting Alien issues #7–12, the series continues Marvel’s expansion of the grim, industrial horror universe made famous by the films. The story shifts away from military action and corporate intrigue toward something more spiritual and frontier-oriented. It centers on a remote terraforming colony on the moon Euridice inhabited by the “Spinners,” an isolated Appalachian-inspired religious sect attempting to build a peaceful agrarian life far from Earth. Their fragile paradise collapses when a spacecraft carrying Xenomorphs crashes into their settlement, unleashing terror among colonists who interpret the creatures through the lens of faith, prophecy, and divine punishment.
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