If you were to pull a random sampling of professionals from across the comics industry and poll them on their favorite modern-day creators, Mike Mignola's name would doubtlessly rank near the top. Since he burst on the scene at Marvel in the early 1980s, pencilling an obscure limited series about a talking space raccoon, he's matured brilliantly – from his seminal work at DC Comics (pencilling books including World Of Krypton, Cosmic Odyssey, and Batman: Gotham By Gaslight), to his work at Topps, Marvel, and other companies in the early '90s (on Ironwolf, Bram Stoker's Dracula, various X-books, and many other titles), to his move into creator-owned comics with the mighty Hellboy, he's maintained a unique voice and an immediately recognizable art style, bettering himself with each successive project, evolving and refining his voice at every opportunity.
Whether it's baby Hellboy eating a forbidden breakfast, a snake and a magician flying kites, or a robotic super-spy with a detachable head in the employ of President Lincoln, there's a dry-yet-absurd tone to Mignola stories that drips with the glee of innovation and possibility, yet manages to keep it all contained within straight-faced third-person storytelling. And so, today, a few days after his 54th birthday, we're excited to celebrate Mike Mignola's career with a few fellow fans (who also happen to be notable comic-makers in their own right).
About a decade after the formation of the Comics Code Authority in 1954 effectively killed off EC Comics' popular line of horror comics, Warren Publishing aimed to bring back some of that malevolent magic. The result was the anthology series Creepy (and later, its sister book, Eerie). Published as a black-and-white magazine, the series didn't have to adhere to the Comics Code's strict content standards, and as such, was able to push the envelope in ways comics in the mid-1960s generally couldn't.
Now, the book's current publisher, Dark Horse, is celebrating the magazine's 50th anniversary with a big, blowout issue featuring work by Fred Van Lente, Corinna Bechko, Dustin Nguyen, Peter Bagge, Alison Sampson, and Art Baltazar, among others.
Geof Darrow made a welcome return to the pages of the Dark Horse Presents anthology recently, in the first issue of its latest relaunch, with a new Big Guy and Rusty the Boy Robot story. Missing was Darrow's collaborator on the original 1995 comic, Frank Miller; in an interview prior to the release of the new short story, Darrow said he'd talked to Miller and hoped he would still come on board to write some dialogue, but it didn't read as overly convincing, so it wasn't a surprise to see him listed as the sole author in this edition. Needless to say, a Miller-less Big Guy makes for a very different reading experience.
A great comic book cover is an advertisement, a work of art, a statement, and an invitation. A great comic book cover is a glimpse of another world through a canvas no bigger than a window pane. In Best Comic Book Covers Ever (This Month), we look back over some of the most eye-catching, original and exceptional covers of the past month.
August offers a feast of shape and color, with striking covers by Scott Fischer, Victor Santos, Chrystin Garland, and Tula Lotay, some bold juxtaposition, and a quirky take on a pulp archetype or two -- including a Nazi airship and some poor sap being held in a giant hand. It's a classic!
One of the best things about digital comics is that you can read them online pretty much anywhere, but sometimes, every now and then, you want to read them in print. Whether it's the extra features that inevitably come with a printed collection, the texture of paper or just the comforting reminder that physical objects exist and you are therefore not alone and isolated in a formless void, printed webcomics have a lot to offer today's discerning reader, and Dark Horse is stepping up to give you three of the most exciting collections of the year.
Set for release next spring, Eisner winning digital comic Bandette and the webcomic Polar: Eye For An Eye are returning to Dark Horse for the book trade customers, but the third, Murder Book is a newcomer, and it looks awesome.
Dark Horse Comics have announced a renewed strategy to expand the number of all-ages graphic novels they publish, with a concentrated push into the market for 2015 with the launch of four new titles: Rexodus, The Courageous Princess, Veda: Assembly Required, and The Return of the Gremlins.
Andrew MacLean is an illustrator and comics artist we've been admiring for a long time. Part of the uniformly excellent stylists at Brand New Nostalgia, MacLean has appeared in our Best Art Ever (This Week) feature and earned couple of solo spotlights as well for his great work, which is an uncanny blend of a kind of simple, airy animation style with detailed manga, woodblock art, sci-fi Eurocomics and old fashioned American adventure comics. In storytelling, MacLean's biggest claim to fame has been the self-published Head Lopper -- which is, blissfully, precisely what it sounds like, a swords-and-scorcery type comic that affords MacLean to show off his talent for action and humor. Additionally, his work is featured in Brand New Nostalgia and Out Of Step Arts' kaBOOMbox anthology, a particularly cool-looking collection funded with Kickstarter that will be available at conventions later this year and online soon.
But MacLean's going to make a much bigger splash in the comics scene in 2015, when Dark Horse releases his debut graphic novel ApocalyptiGirl: An Aria For End Times. The 96-page book features story, art, color and lettering by MacLean, who, based on the preview pages provided exclusively to ComicsAlliance, has leveled up in a big way since beginning work on Head Lopper.
Back in March, I spoke with Kelly Sue DeConnick about the unorthodox creative process behind Dark Horse's new Prometheus/Alien/Predator comics. Essentially, DeConnick and four other writers -- Paul Tobin, Chris Roberson, Christopher Sebela and Joshua Williamson -- got in a room together and hammered out one big story that will be told in a collection of miniseries. DeConnick had a huge notebook in which she collected a sort of series bible.
Now, those comics are about to be released into the world, starting with Prometheus: Fire and Stone by Tobin and artist Juan Ferreyra on Sept. 10. Dark Horse has released a trailer that digs into the process a bit and reveals a little about one of the characters who will appear throughout the series, Angela Foster.
Public-safety media is taking a step away from filmstrips and pamphlets toward something much cooler: comic books. In Oregon, anyway.
The Oregon Office of Emergency Management has partnered with Milwaukee, Oregon-based Dark Horse Comics to release Without Warning, a free, 12-page comic all about earthquake safety. It's not just a bunch of safety tips with pictures, either. Writers Jeremy Barlow and Althea Rizzo and artist David Hahn have developed a real story about a girl trying to get back to her family in the aftermath of a disaster.
For anyone who still had a little doubt in his or her mind about whether Frank Miller -- the man who wrote and drew Sin City, which is basically all about tough guys fightin' over dames (and also lady ninjas hanging out with prostitutes) -- is nostalgic for a perceived golden age of dudeliness, look no further than his new 20Q interview in Playboy.
One of the interview's wrap-up questions is about whether Miller prefers an old-fashioned ideal of masculinity, and Miller answers that he'd like to see "the 1940s-style gentleman" make a comeback.
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