#danny Looks incompetent in that first image but i promise he's not <3 he's just mildly carbon monoxide poisoned and got a head rush <3 | Explore Tumblr Posts and Blogs

fox-guardian · 1 year

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I am asking about the stoker swap au

In short, it's an AU in which Danny survives his encounter with The Stranger and goes to work at the institute instead of Tim! Tim is still alive, Danny has NO formal qualifications to be working at the institute, and Tim is So Stressed because he lied on his applications. Danny takes on Tim's role in the institute, while Tim gets increasingly worried for his safety <3 That part does not get easier when he actually moves down to the archives <3

and now because i was thinkin real hard about it and got bored of just typing roughly the same synopsis over and over again, HAVE SOME DOODLES TOO <3 three things i've already written and one i Really Want To Write So Badly But It's So Far Away <3

[ID: Four drawings on a soft lavender background featuring Magnus Archives characters. The first is a drawing of Danny Stoker after falling down a ladder leading up to an attic. He is dressed in academic clothing and is on his back, with his lower body still partially on the ladder. One foot is on a rung and the other is sticking out in the air. He looks to be in pain and he has swirls for eyes and little bees are flying around his head. Next to him are Jon, also dressed academically and holding Danny's coat, and an old woman wearing a black dress and a shawl. She looks at Danny with concern and Jon is startled by Danny's fall, visibly jolted.

The second drawing shows Danny and Sasha, both dressed academically, sitting at her desk looking at a computer screen. Danny is slouching with a horrified expression, while Sasha smiles, looking chipper. The computer is labelled "the horrors".

The third drawing shows Danny and Elias sitting across from each other at Elias' desk. They are both wearing black suits with ties and both have slicked back hair. Elias is smiling politely at Danny with his hands folded on the table, and Danny is smiling confidently back at him with his hands folded in his lap. Over the drawing is multiple faded drawings of Danny in different forms of panic. One has him sweating and screaming "I'm Doomed" with his hands in his hair, another has him looking oddly calm and posed like a corpse with a bouquet of flowers over his chest saying "This is the day I die", and the last one has him bent in half, laying face down in a puddle of tears, clawing at the floor, with his feet out in front on either side of him. "Crying noises" is written above him.

The last drawing is of Tim and Elias. Tim is gripping Elias by the lapels, yelling in his face with a furious and challenging expression, while Elias is sweating nervously and holding his hands up defensively, looking confused and afraid. His glasses are broken and bent and one of his eyes is swollen half-shut. end ID]

~~~~

the first two drawings are from danny's first field work outings with jon and sasha respectively, the third is from his first interview with elias, and the last is a scene i haven't written yet that takes place directly after the prentiss incident, in which tim confronts elias for putting his employees (read: danny) in danger and then punching him in the face <3

i really wanted to draw tim super mad because i never draw those kinds of expressions and i think he deserves to punch elias in the face <3 i don't think he'd be Quite like that in the written scene itself but it was v fun to draw

#fg's art #the magnus archives #tma #danny stoker #jonathan sims #sasha james #tim stoker #elias bouchard #stoker swap au #fg's answers #asks #danny Looks incompetent in that first image but i promise he's not <3 he's just mildly carbon monoxide poisoned and got a head rush <3 #also im REALLY happy with the danny in the third image LOOK AT HIM

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eddycurrents · 7 years

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For the week of 2 October 2017

Three favourites for the week: Eugenic #1 by James Tynion IV and Eryk Donovan, Punisher: The Platoon #1 by Garth Ennis and Goran Parlov, and Slots #1 by Dan Panosian. Published by BOOM! Studios, Marvel/MAX, and Image/Skybound respectively.

Eugenic #1 is the start of the third of a thematic trilogy of end-world plague fictions (after Memetic and Cognetic) by James Tynion IV and Eryk Donovan and it looks like this one might be the most outright horrific.

Unlike the previous two stories, with Eugenic we start with a main pathogen or vector for the apocalypse already having ravaged the population. Tynion drops us into a society where the Red Cough has already killed or infected a sizable chunk of the population, leaving many still carriers for the virus, and effectively rendering the population sterile as all pregnancies seem to be stillborn. Into this chaos, a geneticist Dr. Cyrus Crane, has promised a vaccine to reverse the effects of the virus and allow people to repopulate.

This is when the real nightmare begins.

The premise for the series and the execution of the first issue is flawless. It makes us question who exactly is the “bad guy”, even when it seems like the monstrous acts are apparent. How far exactly would we go in order to ensure that things like birth defects or proclivity to certain diseases are removed from the genome, and what attachment to certain social stigma from phenotypes are allowed to remain? What happens when the children born from Crane’s vaccine mature is also a fascinating prospect for the rest of the series.

Then there’s Eryk Donovan’s art. He has a style that somewhat reminds me of Phil Hester and Ted McKeever, not quite as heavy on the use of ink and shadow and not quite as extreme in stylization, but still showing a good use of angularity, lines, and lanky features to put the reader somewhat on edge. His designs for the children are particularly effective. We see them as horrors, possibly monsters, but it will be interesting to see what happens when they become the norm, when they achieve adulthood. In a way, their appearance mirrors the classic Twilight Zone episode “Eye of the Beholder” in that in the future we will be the “freaks”.

This is some strong stuff and a good way to start the end of their apocalyptic trilogy on a high note. Highly recommended.

Punisher: The Platoon #1 is the glorious return of Garth Ennis to the Punisher. I’m of the opinion that everyone who loves comics should probably read Garth Ennis’ run on the Punisher. Particularly the “Welcome Back, Frank” storyline under the Marvel Knights banner, but especially his Punisher MAX. His work under the MAX imprint was some of the most mature, most harrowing war and crime comics that have been published. A highlight from that run was the Punisher: Born mini-series that Ennis did with Darick Robertson. It was essentially an original story for Frank, showing the events in the Vietnam War that truly shaped who the Punisher would become. It was basically a perfect melding of Ennis’ Punisher and his love for telling war stories.

Punisher: The Platoon acts as both a sequel and a prequel to Born. When I first read the announcement for this series, I wasn’t sure it was necessary, but having read the first issue, I’m glad it’s here. I’m glad Ennis is back on the Punisher, I’m glad that he’s telling this story, and I’m glad that he’s taken his experience of telling nuanced war stories over the course of the past fourteen years since Born and brought it back to the Punisher.

This first issue frames the narrative as an interview with members of Castle’s first command in Vietnam, by the apparent unseen author of the Valley Forge incident chronicled in Born, and switches back and forth from the present to the events in Vietnam. It’s interesting to see the trust Castle gives to his men, as well as the no-nonsense approach to completing objectives. The story also seeds a mystery as to where the author is getting information and how he knows about activities on the other side of the conflict.

The series reunites Ennis with one of his Punisher MAX collaborators, Goran Parlov, and the work is seamless. Parlov truly is one of the greats working in the medium and it shows in the seemingly effortless way that he makes everything from a simple bar set-up to the tunnels of Vietnam to fatigues interesting visually. I’m also highly impressed in the usually stunning work of Jordie Bellaire as she manages to make the endless amounts of green in the Vietnam war, from those fatigues to the fields and jungles, a veritable verdant variety.

This is a good start, and I’m anxious to see the rest of the story.

Slots #1 is further proof that somewhere over his many years in the industry, Dan Panosian has managed to advance to art god-tier level. I remember Panosian primarily as an inker on many ‘90s X-titles, but he’s come a long way since then. I noticed again on covers from the mid-aughts to present day and he’s developed a beautiful style. There’s hints of Alex Toth, echoes of Jack Kirby, and elements of Darwyn Cooke that result in a highly thought out style that is just a joy to look at.

The series follows Stanley Dance, a one-time boxer turned grifter, who has seemingly run out of luck (represented in story as a cache of keys) and looks like he may be working towards an ultimate checkout, when he’s contacted by an old friend for help. This help involves him returning to Vegas and sinking himself back into a world that’s changed with the times, and may also see some of his past sins catch up with him. The characters that Panosian populates the book with Stanley, Betsy, Mercy, Les, Alex, et al sound and look like they’ve walked out of a Donald Westlake novel and it at once makes them feel familiar and the world comfortable.

Slots is probably as close as we’re ever going to get to a Darwyn Cooke Parker adaptation in comics again. I consider Cooke’s work there to be about as close to a perfect comics as possible, so that’s high praise indeed. Not to put any pressure on Panosian, but I hope this series lives up to the promise in this first issue.

Quick Bits:

All-New Guardians of the Galaxy #11 shifts focus back again to the Talons, this time bringing in Richard Rider and the Nova Corps when they discover a distress signal from Rider’s brother. It’s pretty dark, actually. Darker than the usual tone of the series, which gives a fair amount of gravity to the story. It also has some great art from Roland Boschi.

| Published by Marvel

The Archies #1 picks up more or less from where the one-shot left off. It gives a decent recap, though, so you shouldn’t necessarily need to pick it up (although I do recommend it anyway for the story). Alex Segura and Matthew Rosenberg give us a what happens next after their first successful gig, with the band seemingly drifting apart. It’s fun.

| Published by Archie Comics

Astonisher #1 is the second of the Catalyst Prime series that I’ve sampled and it’s pretty damn good. Where I find Incidentals a little obtuse in its narrative style, Astonisher just gets right into the characters motivations and set-up for the wider premise. Alex de Campi sets up an interesting character in Magnus Attarian, a kind of silver spoon wunderkind that actually seems to have a modicum of genius to back up his arrogance, and makes it more interesting in the powers of travelling into individuals’ minds. Pop Mhan’s energetic art also helps convey the strangeness of the various mental landscapes and how some people are still being effected by things following the Event. All around a good start for this book.

| Published by Lion Forge / Catalyst Prime

Black Bolt #6 concludes the first story-arc with the cast’s final attempt at a prison break. This series is simply great. Saladin Ahmed is populating the book with interesting and compelling characters, giving them unique voices and attitudes, and even manages to make Crusher Creel likeable, noble even. Added to that, Christian Ward’s artwork is gorgeous, capturing much of the same beauty that he’s employed previously in his ODY-C series with Matt Fraction.

| Published by Marvel

Cannibal #8 is one hell of a gut punch. As the second story-arc comes to a close, resolutions again aren’t necessarily happy or optimistic. Brian Buccellato and Jennifer Young again have the characters display a kind of bleak pragmatism as they deal with the fallout of Danny’s public revelation of cannibalism and Jolene’s return to town.

| Published by Image

Eleanor & The Egret #4 is the penultimate issue in this odd and whimsical series. This issue focuses on Detective Belanger, having been fired from his position due to what they see as gross incompetence, as he encounters the art-eating egret himself. John Layman and Sam Kieth’s story is weird, but highly enjoyable.

| Published by AfterShock

Elsewhere #3 is still as good as the previous issues, but it brings to light its pacing a wee bit more than the first two issues. It’s relatively slow in advancing plot, operating more like ten minute intervals between commercial breaks of a television series. By no means whatsoever does that mean it’s bad, it’s not, Jay Faerber and Sumeyye Kesgin have something wonderful on their hands here, just that it’s a very measured pace.

| Published by Image

Extremity #7 still feels like Ronin-era Frank Miller, when he was highly influenced by Katsuhiro Otomo and Goseki Kojima and it was showing in his work. Though Daniel Warren Johnson also gives a fair bit more depth to the characters and story.

| Published by Image / Skybound

Giants Days #31 continues Daisy’s war with her (former) roommates over her relationship with Ingrid. It’s disappointing to see her run from her problems at first and not recognize the negative impact that Ingrid has had on Susan and Esther, especially in regards to financial impositions, but I suppose often times a “first love” is blind.

| Published by BOOM! Entertainment / Boom! Box

Hack/Slash vs. Vampirella #1 has some amazing artwork. Rapha Lobosco has a style similar to Eduardo Risso and it perfectly suits the dark, bloody story that Shawn Aldridge is telling here.

| Published by Dynamite

Hawkeye #11 gives us the final confrontation between Kate and Masque!Kate and it’s pretty impressive. Leonardo Romero’s layouts and action choreography for the fights, especially atop the Hollywood Sign, are wonderful. How Kate handles the fight with Madame Masque is also interesting. Instead of just fisticuffs, Kelly Thompson presents her with reason, humour, and compassion towards Masque’s situation, that helps differentiate her from how she perceives her father and villainy in general.

| Published by Marvel

Hillbilly #8 has a nice back-up story illustrated by Simone Di Meo. At its heart it’s a ghost story, but there’s also an interesting bit of comeuppance of one’s “betters” in many morality tales. Like Eric Powell’s main narrative of Rondel, this is good stuff.

| Published by Albatross Funnybooks

Journey to Star Wars: The Last Jedi - Star Wars: Captain Phasma #3 further underlines Phasma’s willingness to do or say anything to get what she wants. The pilot compliments Phasma on a rousing speech to the refugees on Luprora, only to discover that it was empty, just words in order to get the people to do Phasma’s bidding. It’s interesting to see when you remember that Phasma’s whole reason for being here is a dogged determination to capture a “traitor” to the First Order to cover her own tracks.

| Published by Marvel

Motor Girl #9 advances both a bit of the alien plot and dealing with Sam’s PTSD, hallucinations, and remaining injuries. Terry Moore presents an interesting argument about the will and determination of wounded soldiers and what can hinder them when reintegrating into society.

| Published by Abstract Studio

Old Man Logan #29 is one tick closer to the finale, featuring the first part of thrilling confrontation between Logan and the Maestro. Much of this issue is dealing with that battle, trying to convince the other Hulk brood of Maestro’s malicious machinations, and dealing with the nuclear bombs being seeded across the world by Maestro’s minions. Ed Brisson and Mike Deodato Jr. have been doing something good with this entire arc, looking forward to what happens in the next issue.

| Published by Marvel

Regression #5 reminds me, amidst the baker’s dozen of other titles that he seems to be writing every month, that Cullen Bunn is a damn good horror writer. Danny Luckert’s artwork, weaving in and out of realism and fantastical horror, certainly helps set the tone for the series and makes it a joy to read, but the concept overall, of the terror potentially lurking in “past lives” unlocked through hypnosis and regression therapy is fascinating. And terrifying.

| Published by Image

Shadowman / Rae Sremmurd #1 is the latest in Valiant’s series of one-shots that give a different take on their properties; this time giving an updating and retelling of the Robert Johnson myth. I don’t know Rae Sremmurd, I’m sure it adds something fun for fans of the group, but knowledge of their work isn’t necessary for enjoyment of the book. Eliot Rahal also plays with the interesting idea that the nature of various afterlives are dependent on interpretation, with this particular devil shaping his according to his musical proclivities. It’s also really nice to see Doctor Mirage again, she’s one Valiant character who I’d love to see get another series. And, of course, Renato Guedes’ art is top shelf.

| Published by Valiant

Star Wars #37 is Jason Aaron’s last on the series, warranting extra pages and a second story. The main story illustrated by Salvador Larroca is told mainly from the perspective of SCAR Trooper Sergeant Kreel and it serves as a brutal counterpoint for why the Empire’s troops serve willingly to what we would consider a despotic regime. The second story, co-written by Dash Aaron and illustrated by Andrea Sorrentino, focuses on the Tusken Raiders and their almost symbiotic relationship with Tatooine’s sands.

| Published by Marvel

Star Wars: Darth Vader #6 brings the series timeline closer to that of the Star Wars: Rebels cartoon, showcasing the first meeting between Vader and the Grand Inquisitor. The battle between the two is wonderfully depicted by Giuseppe Camuncoli.

| Published by Marvel

Usagi Yojimbo #162 gently reminds you that Stan Sakai is a master storyteller.

| Published by Dark Horse

Venomverse #5 brings this mini-event to a conclusion. Overall, it’s been pretty fun. While I think some of the Edge of Venomverse stories were better, Cullen Bunn and Iban Coello have still crafted an enjoyable story with the main series. There’s also a hint at something more to come.

| Published by Marvel

Warframe #1 is interesting. I never really got into any of the lore behind the video game, but this seems like a good starting point. The artwork from Studio Hive, though, is the main draw. Their artwork has a similar texture and style to Clayton Crain’s and it’s very appealing. Great action scenes and they capture the tone and visual appearance of the game well.

| Published by Image / Top Cow

Other Highlights: Ab Irato #6, Astonishing X-Men #4, Avengers #672, Beautiful Canvas #4, Centipede #3, Cinema Purgatorio #12, Elephantmen #78, Iceman #6, Iron Fist #73, Jessica Jones #13, Manifest Destiny #31, Meanwhile #7, Moonstruck #3, Motor Crush #7, Paper Girls #16, Postal #23, Ringside #12, Rocket Girl #10, Royals #9, Spider-Man #21, Spirits of Vengeance #1, Venom #155, War for the Planet of the Apes #4, X-Men Gold #13

Recommended Collections: Hulk: World War Hulk Omnibus, Outcast - Volume Five, Planetoid - Volume Two: Praxis, Rapture, Royals - Volume One: Beyond Inhuman, The Visitor: How and Why He Stayed, William Gibson’s Archangel

d. emerson eddy welcomes you to the jungle. We’ve got fun and games. There’s Yahtzee and Monopoly over there, a row of gaming PCs and network ports are set up in the living room, and a massive D&D campaign should be starting at 6. There’s snacks and drinks in the kitchen.

#This Week in Comics #Eugenic 1 #James Tynion IV #Eryk Donovan #Punisher: The Platoon 1 #Garth Ennis #Goran Parlov #Slots 1 #Dan Panosian

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