Back in July, ComiXology addressed one of the biggest questions people had with its digital comics service: Do customers actually own the issues they buy?
The company unviled a DRM-free backup feature, but only for a handful of publishers, including Image Comics, Dynamite Entertainment, and Top Shelf Productions, among others. This week, ComiXology announced a second wave of publishers that will offer DRM-free downloads -- and no, Marvel and DC still aren't part of the deal.
If you spent a lot of time watching Cartoon Network when you were a kid (or when you were, you know, in your twenties, no judgment here), then one thing you probably wanted to see more than anything else was a gigantic crossover between all of their original programming. Who didn't want to see Professor Utonium and Dexter swap scientific notes, or find out what would happen if the Powerpuff Girls took on Aku from Samurai Jack?
Well, in case you weren't already aware, that's actually happening right now, in the form of IDW's Super Secret Crisis War, and next week, it hits Foster's Home For Imaginary Friends, courtesy of writer Ivan Cohen and artist Paulina Ganucheau, in a story about Pixel, shape-shifting robot that can duplicate any of the imaginary residents.
If there's one thing we've learned from our years on the Internet, it's that there's no aspect of comics that can't be broken down and quantified in a single definitive list, preferably in amounts of ten. And since there's no more definitive authority than ComicsAlliance, we're taking it upon ourselves to compile Top Ten Lists of everything you could ever want to know about comics.
Ever since Bloom County became a sensation in the early '80s, Berkeley Breathed has had an incredibly varied career. He followed Bloom County's initial success with two more popular comic strips, Outland and Opus; he won the 1987 Pulitzer Prize for editorial cartooning; he wrote and illustrated best-selling children's books; he adapted his own stories into a pair of animated TV specials, and he provided art for various environmental and animal-wellfare charities.
In recent years he's shifted his primary focus to film (production art and original projects), while also overseeing IDW's comprehensive collected editions of his strips. He recently teamed with IDW again for Berkeleyworks, a retrospective volume collecting a number of his paintings, sketches, and illustrations – and last month, he made a rare convention appearance, playing to a packed room at San Diego Comic-Con. ComicsAlliance spoke with Breathed about his career in cartooning, his work in other media, and his upcoming projects.
Andy Price has brought joy to licensed comics. His work on IDW’s My Little Pony: Friendship is Magic necessarily follows the established look of the animated TV series, but Price's playfulness and skill enliven every page: imaginative lettering, dramatically lit villains, too many background gags to count. The most recently completed arc of the series, 'Reflections,' encompasses an alternate universe, doomed love, some truly intense crosshatching, and a general willingness to play with the characters in a way licensed comics typically avoid.
Along with writer Katie Cook, Price has developed Hasbro’s land of pastel ponies into something a little wilder and a little weirder, yet ensured that it remains enormously compelling to kids and adults alike. ComicsAlliance sat down with Price at San Diego Comic-Con to discuss how he and Cook pulled this off, his thoughts on Brony fandom, and, of course, his pick for best pony.
Just in case you're not up to speed on classic newspaper strips, Winsor McKay's Little Nemo is one of the most innovative comics of the 20th century. Originally running in newspapers from 1905 to 1926, it was arguably one of the first real masterpieces of the form, with McKay's surreal dreamscapes taking the form of beautiful imagery and page layouts that creators are still trying to recreate today.
Now, Nemo is returning to the comics page in Return To Slumberland. Not to be confused with the forthcoming Dream Another Dream anthology, this new series from Eric Shanower, Gabriel Rodriguez and Nelson Daniel launches this week from IDW Publishing, and it is beautiful. Seriously, just hands down one of the prettiest comics I've seen in a long time, and even though the first few pages don't quite get into the strangeness of walking beds and stair-step city skylines, I get the feeling that all of that stuff shows up right where the preview ends.
I'm going to go out on a limb here and guess that you, the discerning ComicsAlliance reader, like to get good comics without paying a lot of money for them. That's a pretty safe bet, right? I mean, who doesn't like getting comics on the cheap, especially when they're critically acclaimed titles -- specifically, titles that have been critically acclaimed by us, America's Most Beloved Comics Reviewers?
That's why we're keeping an eye on the sales over at Comixology to help you find the best comics that you can grab on the cheap, and spend your weekend with some great stories. This week: Ed Brubaker and Sean Phillips' Fatale and IDW's line of Judge Dredd titles!
Under normal circumstances, I don't think that even I could recommend a $20 hardcover collection of one (1) 22-page comic book. Fortunately for me -- and unfortunately for my wallet -- "Silent Interlude" is a comic that has nothing to do with normal circumstances.
Originally released back in 1984 as G.I. Joe #21, the story is pretty uncontested as one of the all-time classics of modern comics, a "silent" story told with no dialogue, where Snake-Eyes infiltrated Destro's castle on a deadly mission to rescue Scarlett, who was busy breaking out at the same time. It's a pivotal moment for the series, setting up connection between Storm Shadow and Snake-Eyes that would become one of the driving forces of the franchise, but more than that, it's a really great comic, and this week's IDW's putting it out in a special hardcover, along with Larry Hama's original breakdowns.
Listen folks, I want to like the Teenage Mutant Ninja Turtles a lot. I have a huge amount of childhood nostalgia caught up in those characters, and as an adult, I can recognize TMNT as arguably the single most important independent comic book of all time, a cornerstone that paved the way for a revolution of creator-owned books that continues today. I want them to be good, but there's so much of it, spread across so much media, that it's hard to figure out what to get into if I want something that's going to live up to those high hopes.
Fortunately, Comixology celebrated the release of the latest Ninja Turtles movie with a sale on the current run of comics from IDW Publishing and gave me exactly the opportunity I was looking for. Since I had only heard good things about those comics -- and since everyone I asked about them told me to just get it all -- I took the plunge ad bought up everything they had, and I've been spending the last few days reading through. And seriously?
With the possible exception of those Sailor Moon toys that I dropped two hundred bucks on, Transforrmers vs. G.I. Joe #1 was the most exciting purchase I made last weekend at San Diego's Comic-Con International. It was pretty much guaranteed to be that way, too -- the #0 issue that came out on Free Comic Book Day and set up the ongoing story that Tom Scioli and John Barber would be telling was easily one of my favorite comics of the year so far. It was bright and engaging and weird, in exactly the way that a comic based on taking two toy properties and smashing them together to make one big story should be.
As far as weirdness goes, though, this first issue outstrips it by a long shot, and it does it by taking the high concept that I think we all expected from another Transformers vs. G.I. Joe story and turning it upside down, launching it into an entirely new echelon of strangeness. And it is great.
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