Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1

Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1

      Dynamite Entertainment is getting in the holiday spirit this week with the launch of the one-shot comic ThunderCats Ho!(liday) Special 2025 #1; check out the official preview below for an exclusive look.

      During a mission in the snowy peaks of Third Earth, the ThunderCats encounter Snowman, the last of his kind, as the Festival of the Claw approaches—a day filled with celebration, feasting, and gift-giving, as well as a time for Snowman to honor those he has lost. With no one left to share his customs with, Snowman imparts his traditions to the ThunderCats, who can relate to the challenge of moving forward after significant loss.

      At the same time, just outside Snowman's village, Queen Tartara’s royal guard is getting ready to exploit the holiday as a chance for a surprise attack. However, even during this sacred time, not every Thunderan is letting their guard down!

      Written by ThunderCats: Lost author Ed Brisson and illustrated by Fabio Gallo, this special 40-page one-shot kicks off the festivities, featuring seasonal covers by Fabio Gallo, Sebastian Piriz, and Robert Quinn.

      ThunderCats Ho!(liday) Special 2025 #1 will be available for purchase on December 17, retailing at $5.99.

Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1 Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1

Other articles

The Top 12 Superhero Films of All Time, Ranked The Top 12 Superhero Films of All Time, Ranked Which superhero movie is the best of all time? In our opinion, it's one of the following, ranked from the least remarkable to the ultimate classic. Akira Kurosawa's 20 Most-Loved Early Movies Akira Kurosawa's 20 Most-Loved Early Movies In Long Take, Akira Kurosawa presents 100 of his favorite films. Below are the first 20, compiled by Kazuko Kurosawa and translated by Anne McKnight. Nuns vs The Vatican: Director Lorena Luciano Attempts to Challenge the Vows of Silence. Nuns vs The Vatican: Director Lorena Luciano Attempts to Challenge the Vows of Silence. In the powerful new documentary Nuns vs the Vatican, director Lorena Luciano aims to shed light on the narratives of silence, hierarchy, and, ultimately, Art the Clown and The Little Pale Girl are added to Mezco’s 5 Points collection with the Terrifier 2 action figure set. Art the Clown and The Little Pale Girl are added to Mezco’s 5 Points collection with the Terrifier 2 action figure set. Mezco Toyz has officially presented its 5 Points action figure set featuring Art the Clown and The Little Pale Girl from Damien Leone’s horror sequel, Terrifier 2. It is currently available for pre-order, with a price… Neon has unveiled a poster and trailer for the US release of Julia Ducournau's (Raw, Titane) psychological body horror film, Alpha. The cast of Alpha features Tahar Rahim, Golshifteh Farahani, Mélissa Boros, Emma Mackey, Finnegan Oldfield, and Louai El Amrousy. Check out the trailer below… Alpha tells the story of a troubled 13-year-old girl who lives with her single mother. Their lives take a turn when she comes home from school with a tattoo on her arm. SEE ALSO: Check out our review of Alpha here. Alpha is set to premiere in US theaters on March 27th. About Amie Cranswick: Amie Cranswick has been a member of the editorial team at Flickering Myth for over ten years. With a background in publishing and copyediting, she has been the Executive Editor of FlickeringMyth.com since 2020. Neon has unveiled a poster and trailer for the US release of Julia Ducournau's (Raw, Titane) psychological body horror film, Alpha. The cast of Alpha features Tahar Rahim, Golshifteh Farahani, Mélissa Boros, Emma Mackey, Finnegan Oldfield, and Louai El Amrousy. Check out the trailer below… Alpha tells the story of a troubled 13-year-old girl who lives with her single mother. Their lives take a turn when she comes home from school with a tattoo on her arm. SEE ALSO: Check out our review of Alpha here. Alpha is set to premiere in US theaters on March 27th. About Amie Cranswick: Amie Cranswick has been a member of the editorial team at Flickering Myth for over ten years. With a background in publishing and copyediting, she has been the Executive Editor of FlickeringMyth.com since 2020. Casey Chong shares a selection of seven films related to influencer culture that you should consider adding to your watchlist. Influencer culture, which includes social media influencers and vloggers, is often portrayed… Zhengyang Du is an independent and innovative director and cinematographer. His portfolio includes both documentary and narrative films, characterized by a serene and subtle visual style that conveys understated emotional tension. Du's work has gained significant recognition within the film industry. His short films, such as “Waiting For A Separation” (2023), “In the Light” (2022), and “Leave Me” (2021), have been featured in esteemed international festivals, including the Cannes Short Film Corner and the FIRST International Film Festival, among others. He has also earned accolades, including a nomination for Best Experimental Short at the 2021 HiShorts! Xiamen Short Film Week and an Honorable Mention at the 2023 Atlanta Film Festival. Most recently, his directing and cinematography project “Beings” received an Honorable Mention at the 45th Thomas Edison Film Festival (Oscar-qualifying) in November 2025. This prestigious festival, established in 1981, is renowned for honoring innovative films across various genres. “Beings” stood out among 948 submissions, earning one of just 25 Honorable Mentions. “Beings” is an experimental documentary expressed through four symbolic forms—the iron fish, the captive horse, the abandoned vehicle, and the disabled martial artist. This film reflects on how “beings” uphold dignity and significance in the face of control, decay, and physical limitations. Transitioning between stillness and resistance, each vignette captures a distinct state of being constrained yet persistently alive. The Essence of “Beings” After establishing a strong reputation with festival-acclaimed works in both documentary and narrative formats, Zhengyang Du approached “Beings” from a deeply personal perspective. Upon his arrival in Orange County, the unfamiliar surroundings evoked a quiet sense of wonder; he wandered with his camera, observing the world with a restrained, introspective gaze. Cinematography became a means of calmly witnessing the existence of people and objects, with seemingly random encounters unveiling unexpected beauty. However, the act of capturing images raised a profound question: does filming itself hold meaning, and if so, what does it mean to simply exist? Through this ongoing exploration, Zhengyang gradually recognized that existence itself might serve as the purpose, rather than merely as a means to an end. To exist requires enduring pain; transcending pain is what imbues life with emotional significance. “Beings” examines how living entities maintain dignity amid control, decay, and physical limitations. Flowing seamlessly between stillness and resistance, each vignette illustrates a state of being restrained yet vibrantly alive, suggesting that persistence may constitute the most essential gesture of existence. Visual Approach In “Beings,” Zhengyang expands the visual language found in his award-winning short films and well-known commercials for reputable brands such as Nike and Tilta. However, he refines it into an even more subdued cinematic grammar. The film's aesthetic is grounded in tranquility and minimal intervention: the camera shares the same space as its subjects, observing them with quiet patience rather than heightening movement. The editing prioritizes gentle rhythms over speed, allowing imagery and emotions to develop organically. A subtle chromatic shift—from color to monochrome and back—mirrors the film’s emotional journey, hinting at a complex cycle of vitality, suppression, and renewal. This visual evolution holds conceptual importance. Severed branches illustrate a life taken away; when reshaped into fish forms by human hands, they imitate living entities, yet their restored appearance comes with the loss of their original freedom. Similarly, horses confined in dark stables, blindfolded and restrained, represent another facet of captivity. The imagery remains devoid of color until a white horse begins to thrash and gallop; its forceful hooves and intensifying cries gradually reintroduce color into the frame, symbolically restoring vitality, agency, and a fragile sense of freedom. Production and Collaboration “Beings” was filmed entirely in Orange County, facing challenges more conceptual than technical. Instead of elaborate setups, Zhengyang aimed to uncover the invisible connections among these fragments of existence, allowing each moment to resonate softly with the next. This approach necessitated patience and a commitment to observation without imposing narrative direction—a challenging discipline that ultimately shaped the film’s contemplative tone. The production was also heavily collaborative. Zhengyang expresses heartfelt appreciation for filmmaker Ruoyu Wang, who was closely involved during the filming period, and to Master David and the martial artists of Pakua OC, whose kindness provided access to their martial arts studio. Their trust, patience, and presence were vital to the film's realization, contributing both logistical support and a spiritual dimension to the creation of “Beings.” Interpretation and Experience In contrast to works that attempt to dictate interpretation, “Beings” resists prescriptive meanings. Du highlights that he does not aim to instruct audiences on how to engage with the film; instead, he hopes viewers might temporarily set aside analytical impulses. Like Zhengyang Du is an independent and innovative director and cinematographer. His portfolio includes both documentary and narrative films, characterized by a serene and subtle visual style that conveys understated emotional tension. Du's work has gained significant recognition within the film industry. His short films, such as “Waiting For A Separation” (2023), “In the Light” (2022), and “Leave Me” (2021), have been featured in esteemed international festivals, including the Cannes Short Film Corner and the FIRST International Film Festival, among others. He has also earned accolades, including a nomination for Best Experimental Short at the 2021 HiShorts! Xiamen Short Film Week and an Honorable Mention at the 2023 Atlanta Film Festival. Most recently, his directing and cinematography project “Beings” received an Honorable Mention at the 45th Thomas Edison Film Festival (Oscar-qualifying) in November 2025. This prestigious festival, established in 1981, is renowned for honoring innovative films across various genres. “Beings” stood out among 948 submissions, earning one of just 25 Honorable Mentions. “Beings” is an experimental documentary expressed through four symbolic forms—the iron fish, the captive horse, the abandoned vehicle, and the disabled martial artist. This film reflects on how “beings” uphold dignity and significance in the face of control, decay, and physical limitations. Transitioning between stillness and resistance, each vignette captures a distinct state of being constrained yet persistently alive. The Essence of “Beings” After establishing a strong reputation with festival-acclaimed works in both documentary and narrative formats, Zhengyang Du approached “Beings” from a deeply personal perspective. Upon his arrival in Orange County, the unfamiliar surroundings evoked a quiet sense of wonder; he wandered with his camera, observing the world with a restrained, introspective gaze. Cinematography became a means of calmly witnessing the existence of people and objects, with seemingly random encounters unveiling unexpected beauty. However, the act of capturing images raised a profound question: does filming itself hold meaning, and if so, what does it mean to simply exist? Through this ongoing exploration, Zhengyang gradually recognized that existence itself might serve as the purpose, rather than merely as a means to an end. To exist requires enduring pain; transcending pain is what imbues life with emotional significance. “Beings” examines how living entities maintain dignity amid control, decay, and physical limitations. Flowing seamlessly between stillness and resistance, each vignette illustrates a state of being restrained yet vibrantly alive, suggesting that persistence may constitute the most essential gesture of existence. Visual Approach In “Beings,” Zhengyang expands the visual language found in his award-winning short films and well-known commercials for reputable brands such as Nike and Tilta. However, he refines it into an even more subdued cinematic grammar. The film's aesthetic is grounded in tranquility and minimal intervention: the camera shares the same space as its subjects, observing them with quiet patience rather than heightening movement. The editing prioritizes gentle rhythms over speed, allowing imagery and emotions to develop organically. A subtle chromatic shift—from color to monochrome and back—mirrors the film’s emotional journey, hinting at a complex cycle of vitality, suppression, and renewal. This visual evolution holds conceptual importance. Severed branches illustrate a life taken away; when reshaped into fish forms by human hands, they imitate living entities, yet their restored appearance comes with the loss of their original freedom. Similarly, horses confined in dark stables, blindfolded and restrained, represent another facet of captivity. The imagery remains devoid of color until a white horse begins to thrash and gallop; its forceful hooves and intensifying cries gradually reintroduce color into the frame, symbolically restoring vitality, agency, and a fragile sense of freedom. Production and Collaboration “Beings” was filmed entirely in Orange County, facing challenges more conceptual than technical. Instead of elaborate setups, Zhengyang aimed to uncover the invisible connections among these fragments of existence, allowing each moment to resonate softly with the next. This approach necessitated patience and a commitment to observation without imposing narrative direction—a challenging discipline that ultimately shaped the film’s contemplative tone. The production was also heavily collaborative. Zhengyang expresses heartfelt appreciation for filmmaker Ruoyu Wang, who was closely involved during the filming period, and to Master David and the martial artists of Pakua OC, whose kindness provided access to their martial arts studio. Their trust, patience, and presence were vital to the film's realization, contributing both logistical support and a spiritual dimension to the creation of “Beings.” Interpretation and Experience In contrast to works that attempt to dictate interpretation, “Beings” resists prescriptive meanings. Du highlights that he does not aim to instruct audiences on how to engage with the film; instead, he hopes viewers might temporarily set aside analytical impulses. Like The new documentary The Stringer questions whether the iconic photograph of the Vietnam War, attributed to Associated Press photographer Nick Ut, was actually misattributed to him.

Comic Book Sneak Peek – ThunderCats Ho!(liday) Special 2025 #1

This week, Dynamite Entertainment is celebrating with the launch of the one-shot comic ThunderCats Ho!(liday) Special 2025 #1; take a look at the official preview below for a sneak peek… While on a…