David Walker and Bilquis Evely have teamed up at Dynamite for the first-ever comic adaptation of Ernest Tidyman’s ‘Shaft’ character, delivering an exhilarating, game-changing opening issue to a series that should make stars of the entire creative team.
Surprisingly, the book deftly skips away from the John Shaft seen in film and TV, instead dialling back in time to look at the young Shaft, just out the military. The original books talk briefly about this time in the character’s life, mentioning his brief stint as a boxer; this is where Walker chooses to focus as his series starts off. The story of the first issue sees Shaft just getting started as a boxer when he's asked to take a dive, and that hook is all Walker needs to create a solid sense of place and character. The story gives us a look at a confident but less seasoned John Shaft, still feeling out his place in the world and deciding what kind of mark he wants to make.
In this second and final part of our in-depth interview, Simone talks about her initial concerns about working on Red Sonja at Dynamite, her relaunch of Secret Six, her passionate fan base and her "secret" comics agenda.
Annuals get a bad rap. I'm pretty sure it's because they formed the core of some truly terrible crossovers starting in the '90s -- lookin' at you here, Bloodlines -- but there's nothing congenitally wrong with them. In their purest form, annuals are just extra comics, and since we all like comics, that ought to be something to get excited about. And in the case of Dynamite's Flash Gordon Annual 2014, we've got something worth getting excited about.
Flash Gordon is already one of my favorite books on the stands, and this week's Annual continues that trend by providing a fantastic roster of great stories -- including a solo tale for Dale Arden that needs to be made into an ongoing series yesterday.
Of all the spooky characters that I throw the spotlight on at Halloween, there's one that I've never really written too much about: Vampirella. That seems like a pretty big oversight, too. I mean, I once wrote about the Tomb of Dracula anime for Halloween, you'd think I could muster up a few words for one of the most recognizable horror characters of the '70s, right?
Well, the fact is, Vampirella's not actually that scary. I mean, despite her name, she's not actually a vampire. She's an alien from planet Drakulon, a planet where water has the same composition as blood. Or at least, I think that's how it worked, until 1997, when it was revealed that Drakulon was the product of memory implants and she was actually the daughter of Lilith, mother of all vampires, who sent her to destroy a 2,000 year-old conspiracy organized like a vampire Catholic Church (complete with a Vampire Pope) with the help of a time-traveling nun. Hoo boy. This is going to get complicated.
Next month, the world's most famous fictional Private Dick / Sex Machine / Bad MotherSHUTYOURMOUTH will make his first-ever appearance on comic shop shelves, when Dynamite Entertainment releases the premiere issue of Shaft, by the creative team of David Walker and Bilquis Evely. And while John Shaft is a well known figure to moviegoers and soul music listeners worldwide, this title promises to focus on the rough-and-tumble version of the character that originated in Ernest Tidyman's series of novels. We spoke to series writer Walker about the character's long history in multiple media, and his plans for the comic incarnation.
Author Ian Fleming's British super-spy James Bond is one of the most iconic characters in modern fiction, and thanks to the Daniel Craig-led reboot that began with the movie Casino Royale in 2006, he's as popular today as he's ever been. Dynamite Entertainment hopes to tap in to that popularity, as it announced today that it has acquired the worldwide rights to publish James Bond comics in print and digital, starting in 2015.
This is big news for Dynamite as it heads in to New York Comic-Con. The publisher is well versed in licensed properties, including Flash Gordon, Red Sonja, and Tarzan; but Bond has the potential to be their biggest license, with the best name recognition and audience reach.
I consider myself to be a pretty big Flash Gordon fan, but when you get right down to it, I only really like one very specific version of that character: The one from the amazing 1980 movie where he takes down Ming the Merciless while rocking out to Queen. I love that movie to pieces, but it's a very specific kind of love that doesn't necessarily transfer to other version of the franchise. Every time Flash, Dale and Dr. Zarkov make their perennial return to the comics page, it always leaves me pretty cold, and even though I'm the biggest possible fan of Jeff Parker, Doc Shaner, and Jordie Bellaire, there was a part of me that expected that the new series from Dynamite would end up doing the same thing.
And then I read the issue where Ming orders Flash to fight to the death in a gladiatorial battle against an army of beast-men, and Flash straight up gets in front of a space camera to cut a Stone Cold Steve Austin promo about how he's going to tear their horns off and choke them out with their own tails, and I realized things were going to be just fine.
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.
September's covers include masterclass composition from Genndy Tarkakovsky and Noelle Stevenson, some beautiful uses of light, color, and contrast, and some very different portraits of gods, old and new.
Traditionally speaking, TV tie-in comics have been a pretty mixed bag. The ones that are bad tend to fall flat pretty hard, ranging from forgettable to outright terrible. Occasionally, it's because they feel like cheap cash-ins, but more often, it's just a simple case of the tie-in not being able to capture the same spirit and feeling of the source material. But sometimes, every once in a while, you get something like the Bill and Ted's Excellent Comic Book series that Evan Dorkin did for Marvel back in the '90s, where he took the Wyld Stallyns on a full year of increasingly bizarre adventures and ended up making something that's actually amazing, or the recent Eisner-winning Adventure Time comics.
This week marked the launch of Dynamite's Bob's Burgers comic, and while it's only one issue in, I'm already going to go ahead and say that it goes far beyond capturing the spirit of the show, to the point where it feels like it could be a lost episode. It's not just a great translation of Bob's Burgers to comics, it's great Bob's Burgers, period.
Mostly because it starts with Erotic Friend Fiction about Tina being a horse.
With the rise of digital comics, one of the biggest sticking points for consumers has been the idea of ownership, but this summer, we're seeing a big move towards a DRM-free model. The latest publisher to step up to the plate: Dynamite Entertainment, which launched a new digital storefront today, offering comics for download in PDF format.
In celebration of their launch -- and of their tenth anniversary -- Dynamite has thrown a couple of extras into the launch. First, they've put a selection of first issues on sale for ten cents each, including Vampirella, The Boys and The Trial of Sherlock Holmes. Second, they're donating 10% of Dynamite digital's profits for the first month to the Comic Book Legal Defense Fund.
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