“Lemon Scented You” started with the usual coming-to-America prologue, but in an unusual way.  It showed how Nynyunnini came to America when early humans first migrated here.  Since the prehistoric setting would have drastically increased the cost of the episode, they decided to animate it.  Instead of the typical sleek and shiny CGI that is so popular now, they opted to go with a darker and grittier aesthetic modeled on stop-motion to give it an eerier quality.

LaValle’s Monster is cold and bionic at first glance, but it’s surprisingly all heart. We are first introduced to him sprawled out while he sits atop a mammoth ice tower, his power billowing over. He sits alone, ripped shorts blowing in the wind, hollow eyes as he sits on his throne tower of ice. Chilling, yet within an instant, he is diving through the ice to destroy two wale poachers, morning the death of the creature while smashing their heads off. The Monster is about to join the ranks of a group of vigilantes when he hears of the news of Dr. Frankenstein and her lab, infuriating him.

Disaffected and spoiled Snaldrialooran teen Ixdahan Daherek became an unexpected hero during his exile to Earth in Heart of Earth and found himself drawn back towards greatness when he stumbled across a plot for universal conquest in his second adventure, Heart of Mystery; however, nothing could prepare him for the sheer megalomaniacal wackiness of the Zoktylese plan to subjugate “non-sentient” worlds to cultivate more fields of the root that form the basis of their diet.  Add in the fact that Ixdahan has become a little less, well, corporeal due to events at the end of the previous book, and the youngster is struggling to come to terms with his new situation while he transitions from youth to man. 

Even though it’s called Vixen: The Movie, this isn’t exactly a movie. It’s actually an animated web series, with episodes of around five minutes apiece, assembled here in a single, cohesive structure. You might think that would be cumbersome, but in fact, it’s pretty seamless for the most part. The only clue that this isn’t just a regular animated superhero movie is the fact that there are two or three completely independent story arcs within the space of a little over an hour.

After the events of last week, the Doctor is aware that aliens known as the Monks have been running computer simulations to invade Earth.  In “The Pyramid at the End of the World,” a five-thousand-year-old pyramid appeared overnight, and it is revealed that the Monks’ plan has come to fruition.

“>Run away from life.
You try to run away from life, but it always catches you.”

Things are vicious in the waste, bub.

James Stokoe’s vision for Aliens: Dead Orbit is one of visceral terror. The Xenomorph is nightmare fuel, not because its origins are unknown, but because it spits in the face of what is natural. It laughs at what we know with absolute certainty to be true. They are an aberration of sex and sexuality. Aliens is a highly subversive creation, as it was with Giger’s art. It somehow, more than most things, captures the imagination of its viewers unlike most other cinematic monsters, because it is tangibly amoral. As a species, we mean nothing to it.

It’s been awhile since I’ve read a Mike Mignola book, so I thought I’d give this new run of Joe Golem: Occult Detective a try. I haven’t read any of the other Joe Golem: Occult Detective books, so the title of the book is the only angle I have to understand what’s up going for me. Otherwise, I don’t get a really good handle on who Joe Golem is in this first issue.

Superheroes. Death. Good versus evil. In the comic book world, it’s often you might find all of these characteristics within one comic book. What happens when someone, or a group of people in this case, decide to focus on individual components to make a story interesting and develop enough depth to be curious to see what happens next? In Hiatus Studios does just that with their anthology, Shards: Volume 1.

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