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Thanksgiving Has Never Been this Bloody with The House That Eats Flesh

The House That Eats Flesh

A special announcement to all you gore fans. Coming soon to a horror theater near you, a new slasher film that will make you think twice about spending demonic house with friends on Thanksgiving Day. Paying homage to the classic blood and guts carnage films of yesteryear, The House That Eats Flesh is bound to be an all-time cult classic and fan favorite. Helming the director’s chair will be Josh Graves, in his first directorial debut with producer, Noellie Burger, that will combine both talent and imagination and bring this film to life. It promises to not have any CGI for your grizzly entertainment.

Though this film is set to go into productions next year, Lydia Mason, a cast member reached out to me about the film while Josh Graves has created an Indiegogo funding site for a chance for fans like you to be apart of this exciting project. To help with production costs and expenses, I’m asking our readers to give just a little of your hard work earning and donate. And as an incentive, the more you donate, the more they will appreciate you. The levels of donations can be either from $10.00 to $4000.00 and with every donation, you will be rewarded well for your efforts like a shout-out, owning a prop used in the film, a chance for an autographed photo by the lead horror actress herself, Lisa Wilcox (From Nightmare on Elm Street V) and much much more.

If you’re a die-hard fan of gore and love seeing the sight of blood, spewing guts, and beautiful, alluring women, then make this film happen and go on The House That Eats Flesh on Indiegogo, and your donations will go along way to make this horror fantasy into one perfect scary reality to watch. And tell them Raven Steel sent ya!

A House to die for…

Please Like. Please Share. And above all, please Love!

This has been a Raven Steel Exclusive.

ECCC and C2E2 Set for December 2021 While a New Metaverse is set for the Spring

ReedPop

ReedPop has announced new 2021 dates for Emerald City Comic Con (ECCC) and Chicago Comic & Entertainment Expo (C2E2), and unveiled plans for a series of digital Metaverse events to take place now through summer 2021.

Typically held in the spring, ECCC will now take place at the Washington State Convention Center in Seattle, WA on December 2-5, 2021, with C2E2 following at McCormick Place in Chicago, IL on December 10-12, 2021.

While in-person events won’t start up again until later in the year, fans won’t have to wait too long for an opportunity to geek out with fellow pop culture lovers. ReedPop will kick off next year’s con season with a spring Metaverse, followed by virtual events set for the summer. In addition to providing a year-round community for like-minded fans to connect with each other and share their fandoms, ReedPop is leveraging Metaverse as the online world offering access to exclusive content, nerdy merch, and one-of-a-kind celebrity experiences. Through Metaverse, fans can experience a 365-day celebration of all things pop culture and join in on the ultimate comic con experience from anywhere in the world.

We Live #1 Gets a Third Printing

We Live is a hit with the first issue going into a third printing. This is only the second time a comic from AfterShock has gone to a third printing.

The year is 2084 and the world has changed. Wracked by calamities and crawling with monsters, the last remaining humans face a dangerous existence.

And now, the Earth has been sent a message from the deepest reaches of space – a dark countdown to the extinction of all humanity. But there is hope! Five thousand children will be rescued by these mysterious message-senders.

This is the journey of Hototo, one of the lucky five thousand – but only if his teenage sister, Tala, can safely deliver him to the nearest Beacon before time runs out.

We Live is written by Inaki Miranda and Roy Miranda with art by Inaki Miranda, color by Eva de la Cruz, and lettering by Dave Sharpe. You can check out our reviews of the first issue here and here.

We Live #1

Savage #1 Debuts February 2021 from Max Bemis, Nathan Stockman, Triona Farrel, Hassan Otsmane-Elhaou, and Valiant

Savage #1 brings monster mayhem to comic shops this February.

Hit musician and critically-acclaimed writer Max Bemis and energetic artist Nathan Stockman present Savage, an action-packed adventure that’s loaded with animated artwork, lots of laughs, and a completely unpredictable story.

Kevin Sauvage, aka Savage, grew up on a remote island populated by bloodthirsty dinosaurs and terrifying marauders. The wild child knew only one thing: survival. Now, he’s living in London and has become a breakout viral sensation. As Savage learns to live in his new environment, a taste of home comes to London as dinosaurs invade the city! It’s time for Savage to do what he does best: hunt!

Savage #1 unleashes dinosaur-hunting fun this February 17th, 2021, featuring colors by Triona Farrell, letters by Hassan Otsmane-Elhaou, and covers by Marcus ToChristian WardStacey Lee, and Giuseppe Camuncoli.

Savage #1

Exclusive Preview: Knock Em Dead #1

KNOCK ‘EM DEAD #1

Writer: Eliot Rahal 
Artist: Mattia Monaco 
Colorist: Matt Milla 
Letterer: Taylor Esposito 
Cover: Andy Clarke with Jose Villarrubia 
Incentive Cover: TBD
$4.99 / 32 pages / Color / On Sale DECEMBER 2

Sometimes you kill. Sometimes you get killed. But no matter what, everyone dies the first time they go on stage.  

Pryor Brice has always wanted to be funny. And now, he’s taken the plunge and started doing stand-up comedy. Unfortunately, his older sister – Ronan – wants her brother to stop daydreaming and focus on his future.  

Pryor is determined to succeed…the only problem is: He totally sucks at stand-up. That is…until an accident changes everything, leading both Pryor and Ronan to discover comedy isn’t all it’s cracked up to be. 

KNOCK ‘EM DEAD is a supernatural horror about comedy, brought to you by writer Eliot Rahal (MIDNIGHT VISTA, HOT LUNCH SPECIAL) and artist Mattia Monaco.

Knock Em Dead #1

Review: Dark Nights: Metal Infinite Hour Exxxtreme!

Dark Nights: Death Metal Infinite Hour Exxxtreme!

Dark Nights: Death Metal has been a mixed bag of an event. Often, the one-shot tie-ins have been better than the main series. They’ve also been vital to the main story. The one-shots have filled in gaps fleshing out key moments not taking place in the main series but referenced there. Dark Nights: Death Metal Infinite Hour Exxxtreme! is Lobo’s mission in the event. Hired by Lex Luthor, Lobo is tasked with obtaining Death Metal which can remake the universe. Made up of a trio of stories, Dark Nights: Death Metal Infinite Hour Exxxtreme! is a flimsy one-shot. In the end, it’s a comic that’s neither exciting, interesting, or funny.

Frank Tieri kicks off the first story “Part I: The Batman Who Frags“. In a drawn out sequence, Lobo bounces between trying to drink, capture a bounty, and also tangles with the Lobo version of Batman, The Batman Who Frags. Tieri is joined by artist Tyler Kirkham, colorist Arif Prinato, and letterer Dave Sharpe. As has hampered some of Dark Nights: Death Metal, the story feels like it’s more focused on introducing the Lobo Batman than actually getting the story going. With a distraction of a bounty to bring in, some fights and events that are a bit choppy, the kick-off never quite makes sense in its narrative. Why did The Batman Who Frags show up? How did he find Lobo? It’s a segment that kicks off a series of events rather than a flowing narrative.

The second part by Becky Cloonan, artist Rags Morales, colorist Andrew Dalhouse, and letterer Rob Leigh is titled “What the Frag is a Death Metal Anyway!?“. Blackhawk Island and Hawkman are at the center as Lobo tracks down the Death Metal. Again, the story devolves into a series of events than narrative as Lobo must tussle with Black Monday and then convince Hawkman to turn over the metal. An attack from the air by The Batman Who Frags feels out of the blue and not explained enough as much of what happens. It, just happens. Why would Hawkman trust Lobo? Why wouldn’t Hawkman use the power of the Death Metal himself? There are so many questions out there that just kills the narrative if one takes a moment to think about it at all.

Wrapping up the trio of stories is “Lobo Land!” from writer Sam Humphries, artist Denys Cowan, inks by Bill Sienkiewicz, colorist Chris Sotomayor, and letterer Dave Sharpe. With the Death Metal in hand Lobo does what he does best and gets distracted. Again, it adds little to the narrative and again opens up questions. Lex Luthor was able to snatch Lobo initially but doesn’t once he has the metal?

Instead, Brainiac is part of the story sent by a missing Luthor. It’s a series of jokes as Lobo changes realities creating different versions of himself in a series of one-page jokes. They’re not even long enough to nail down the joke with barely a setup. It also adds little to the story and feels more of an exit that’s created because there were pages to fill and unsure of a way to wrap up the issue for Dark Nights: Death Metal #5. What the team does evoke is classic Lobo stories and the kinetic, almost Mad Magazine-like rapid-fire jokes.

Dark Nights: Death Metal Infinite Hour Exxxtreme! is just an ok tie-in. Yes, it probably tells something important that won’t be covered in the main series but it also doesn’t feature enough to stand out. It feels like something that probably could have been told in a few pages stretched out to over 30. Most of it is filler with the meat of the story featuring little explanation and a resolution that takes place in a few panels. It’s about as filler as filler gets.

Story: Frank Tieri, Becky Cloonan, Sam Humphries Art: Tyler Kirkham, Rags Morales, Denys Cowan
Ink: Bill Sienkiewicz Color: Arif Prianto, Andrew Dalhouse, Chris Sotomayor Letterer: Dave Sharpe, Rob Leigh
Story: 5.0 Art: 7.5 Overall: 5.0 Recommendation: Pass

DC Comics provided Graphic Policy with a FREE copy for review


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Review: American Vampire 1976 #2

American Vampire 1976 #2

If you read the first issue of American Vampire 1976 and came out of it a little lost and confused, American Vampire 1976 #2 is what you’re looking for. The first issue played off of previous knowledge of the series in its set-up. This second issue explains what you need to know to enjoy the series. The stakes, the characters, it’s all laid out here for new readers and a reminder for long-time fans.

For those who don’t know, this latest volume takes place in 1976. Evil vampires are looking to wake up an ancient evil. To stop them, Skinner Sweet is recruited to steal a train which holds clues to stop it all.

Writer Scott Snyder does a fantastic job with this issue. American Vampire 1976 #2 acts as an easy way to catch up on everything you might not know and missed. It also really moves the story along in a quick pace. We’re much further in the story than I expected at this point. Things have flown with a fun aspect about it all.

In between Snyder cementing who these characters are, we also get some solid action, great humor, and horror. American Vampire 1976 #2 feels almost like the real start of the series to the previous issue’s tease and setup. It’s been years since I’ve read a comic from the series and it was beyond helpful to get this issue. It’s the perfect reminder as to what I didn’t remember. For new readers, it’ll be vital as the first issue. It packs a lot in but left out the “why” new readers should care.

Rafael Albuquerque’s art continues to be fantastic. Joined by Dave McCaig on color, the visuals of the comic bounce between horror and action. There are some fantastic sequences that drive things along and it’s all delivered with 70s cool. Albuquerque’s Gerald Ford is a little lacking but that’s a minor issue for a comic that otherwise looks great. What truly stands out is the team’s ability to balance its various genres. The comic is part heist and part horror and the two are balanced visually. If the horror aspects went a bit “scarier” or “gory” they would feel off or even more extreme to the issue’s focus on a heist.

The big sequence is a train robbery that relies more on the action and grand visuals and sequences made for the big screen. That sequence too eventually goes into horror territory with the need to that sequence to balance out with others in the comic. If other parts of the comic were a bit scarier or gorier, it’d lessen the pop for what happens later in the comic. It’s a solid balance done where one genre aspect never overpowers the other and the two deliver an entertaining balance.

American Vampire 1976 #2 is a fantastic second issue. It takes a step back to make sure all readers are caught up and on the same page while hurtling the story forward balancing its various aspects. While it’s the second issue, it feels like the true start to things and is as good a starting point as the first issue. If you were a bit confused by the debut or feel like you were missing something give this second issue a shot and get caught right up.

Story: Scott Snyder Art: Rafael Albuquerque Color: Dave McCaig
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


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Be a Part of the Nuclear Family in February 2021 with Stephanie Phillips, Tony Shasteen, JD Mettler, and Troy Peteri

AfterShock Comics has announced a new comic series, Nuclear Family from writer Stephanie Phillips, artist Tony Shasteen, colorist JD Mettler, and letterer Troy Peteri. This is the fourth series between the publisher and Phillips. The series is based on Philip K. Dick’s short story Breakfast at Twilight.

America, 1957. Elvis dominates the airwaves and apple pie is served after every meal. But, with the dark cloud of nuclear holocaust looming, Korean War vet Tim McClean’s major concern is taking care of his family in the atomic age.

When the first bomb does drop on an unexpecting Midwest city, Tim and his family find
themselves plunged into a strange new world, where what’s left of the Unites States has gone underground while continuing to wage war on Russia with unthinkable tactics.

Nuclear Family #1 is out February 24, 2021, with a main cover by Shasteen and Mettler and an incentive cover by Tony Harris.

Nuclear Family #1

Review: Punchline #1

Punchline #1

Throughout “Joker War,” Punchline to me came off as an attempt to create a new Harley Quinn. A Joker companion that wouldn’t become an anti-hero and instead could remain a villain. As the event progressed, you could tell she was a bit a schemer but as a whole, the character fell a little flat to me in her use. Punchline #1 though is exactly what I’ve been waiting for as far as the character. It’s an exploration of her descent into the world of the Joker and is a not so subtle exploration of Trump’s America.

Written by James Tynion IV and Sam Johns, Punchline #1 is the character’s origin. We get to see her first crossing the path of the Joker and Batman and her journey to become Punchline. It’s an interesting issue that focuses on radicalization and the media.

With an impending trial, Punchline is doing what she can to continue the Joker’s vision, to bring “his joke” to the world. Through a series of podcasts and various characters we learn why a shy, quiet girl would seek out and become a partner to a sadistic murderer. We also get to see society’s reaction to her crimes and their manipulation to profess and cheer on her “innocence”.

The comic is an exploration of Trump’s America. An obvious criminal who has committed horrific acts on the populace and those who are not only willing to look the other way but also support and celebrate him. Punchline is a complicit enabler. She’s the Stephen Miller to the Joker’s Trump. Her mission is logical and focused and she sees her “boss” as a means to an end to achieve her goal which is intertwined with his. And much like the current administration, she uses the media to distort and manipulate the masses to achieve what she needs and wants.

That would make an interesting enough story but Tynion and Johns explore the chaos Punchline sows. We know her crimes and her guilt but she uses social media and specifically podcasting, to build support. We get to see the reaction and radicalization of her supporters as the story builds resulting in large rallies proclaiming her innocence. She’s the celebrity criminal who has duped those around her. It’s a reflection of what we see today with the claims of a rigged election and protests around the country. A group manipulated into believing a fantasy.

Punchline’s “adversary” in Dr. Leslie Thompkins also feels like it’s a stand-in and commentary on our political leadership. Thompkins could easily be the personification of opposition, easily manipulated by Punchline to achieve a goal. Thompkins is Pelosi, Schumer, and Democratic leadership to Punchline’s Trump and McConnell. A well-meaning individual who is out of their element and dealing with a force the likes of which they have never dealt with before. One who is playing a different game by completely different rules.

And again, that would make for an amazing story but there’s more. There’s also the aftermath of the “Joker War”. Already teased in the pages of Batman, those who supported Punchline and the Joker have slithered their way back into society, hiding their allegiance and complicity in the chaos and destruction. Much like the reckoning of those who have supported the abuses of the Trump administration, we are forced to question those around Punchline and where their loyalty lies. Is it with law, order, and justice, or is it with chaos?

This is the challenges we face today with those who just months ago said “f your feelings,” praised kids in cages, and supported the stripping of rights of their fellow Americans still among us. How does society treat them? Are they willing to atone for their sins? Are they the danger that lurks underneath? How can we look at our fellow citizens again and not question where their loyalty is and where they stood when it mattered?

Tynion and Johns are joined by Mirka Andolfo on art. Romulo Fajardo, Jr. provides colors with Gabriela Downie the letterer. For as solid as the writing is, the art matches the quality. It’s a fantastic looking comic with interesting use of panels. It plays off of the framing of the exploration well too. We’re forced to go back and forth between Punchline as she grows into her role and the current impending trial. Through that, we bounce around balancing the different visual aspects of the story including solid use of social media.

It’s all quite effective especially in that the visuals don’t give us an expected spiral into madness. Instead, the visuals take us along a journey of radicalization without shock. We too are asked to join in on the big picture and accept Punchline’s vision. There isn’t shock, there’s an invitation to enjoy through imagery. Like Trump, the visual is key to acceptance.

It’d have been interesting to have read Punchline #1 in the wake of a Trump re-election but that’s not reality. Instead, with President-elect Biden the reality, the comic is a clear exploration of the wake of the last four years and Trump’s America. It also teases what those four years mean for the world as Punchline, much like Trump, has sold his brand to other countries. Punchline’s “joke” is Trump’s nationalism. They’re both a cancer that threatens to engulf us, slowly killing society. Punchline #1 is one of the most intriguing comics to be released this year by the big two and shows that costumed superheroes can explore our society effectively. This is a comic that’s not to be missed.

Story: James Tynion IV, Sam Johns Art: Mirka Andolfo
Color: Romulo Fajardo, Jr. Letterer: Gabriela Downie
Story: 10 Art: 10 Overall: 10 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review


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