MPH, the new super-speedster book from Mark Millar and Duncan Fegredo, debuts from Image Comics this week. And apparently it's pretty awesome, because it's already getting its own movie, optioned by Lorenzo Di Bonaventura just one week after Fox bought the rights to Mark Millar and Leinil Francis Yu's Superior. If Millar didn't already have a tight-enough grip on the nexus of Hollywood and comics, Superior and MPH movies would give him the metaphorical finger-strength to squeeze it into a diamond. So is MPH worthy of the same treatment as Kick-Ass and Wanted? Please read this next part with the inner voice of Dateline's Keith Morrison: Or is Hollywood, much like Roscoe Rodriguez in MPH, moving a little... too... fast? Thank you for playing.
Last week, Image Comics announced that Jim Zub and Steve Cummings' Wayward would be launching in August. Billed as "the perfect new series for wayward Buffy fans," the new ongoing series is focused on a group of teens in Tokyo, dealing with the monsters of Japanese mythology, and it's Zub's first creator-owned title since he launched Skullkickers back in 2010.
To find out more, I spoke to Zub about the inspiration for the series, why you won't be seeing Rori, the main character, running around with a slice of toast in her mouth, and how her feelings of being isolated reinforce what's going on in the series. Plus, we have an exclusive first look at the variant cover for Wayward #1 by Adam Warren!
The first couple hours of Telltale Games' newest episode of its video game version of The Walking Dead, "In Harm's Way," feel a little strange. Things move fairly slowly, and most of what the player does is fairly mundane. You do chores, basically. There's high drama, for sure, but a lot of it is happening around the lead character, Clementine, rather than to her.
Then the last act hits, and things go absolutely crazy. The story gets darker and more intense than it ever really has in the series, which is a high hurdle to clear. The shift, along with a few distracting creative decisions, make for what's probably the most uneven chapter in the series so far, but that seems to kind of be the point.
Writer Ed Brubaker and artist Sean Phillips have collaborated on a number of different spins of the noir variety over the years: hard-luck stories (Criminal), supervillain parables (Incognito), even mixing in Lovecraftian on occasion (Fatale). Now, the creative team is taking on another aspect of noir: old Hollywood's seedy underbelly.
The first project announced since the two inked their five-year carte blanche deal with Image Comics, The Fade Out will kick off August 20 with a 40-page first issue which will include exclusive back-matter articles not to be collected in later editions. Readers can also buy an oversized "movie magazine replica" edition of The Fade Out #1, with eight extra pages of art.
Get ready for more insanity from the Power Persons Five.
Writer/artist Ryan Browne's God Hates Astronauts, which started as a webcomic about crude, perhaps psychopathic superheroes battling outrageous villains and each other, and was eventually published in hardcover thanks to a massively successful Kickstarter, is coming to Image Comics as an ongoing series this August, and he promises all the silliness of what came before, though the plot may be a little more defined. We sat down with him at this year's C2E2 show to talk about what's in store, what has changed about the series, making deadlines, and what else might be in the pipeline.
This week, Chris and Matt are talking at length about Futures End #1 by Brian Azzarello, Keith Giffen, Dan Jurgens, Jeff Lemire and Patrick Zircher, which continues the killing trend set off by the Free Comic Book Day #0 issue. Then they talk about Rat Queens #6 by Kurtis Wiebe and Roc Upchurch and Moon Knight #3 by Warren Ellis, Declan Shalvey and Jordie Bellaire!
Joe Kelly and J. M. Ken Niimura’s I Kill Giants is one of the best and most honest depictions of a child’s reaction to loss in the comic book form. Barbara Thorson, our heroine, is precocious, prickly and daring, devoted to her career as a giant killer. Actual, mythical giants, she insists -- beasts only she is able to keep at bay with her legendary warhammer, Coveleski. After a long day of being the weird kid in fifth grade and researching giant lore (in Dungeons and Dragons manuals), she returns to a harried household living within the shadow of terminal illness. Her guidance counselor pleads with her to address her issues head on, to abandon her fantasy life -- but Barbara stands firm, maintaining that her work is essential. The truth lies somewhere in between.
Stories about of grief are tricky, and quickly made maudlin when a child enters the mix. But Barbara is real child, reacting the way real children do to trauma -- and Kelly isn’t afraid to err on the side of brattiness. She is hopeful, steely, caustic and lonely, and because of it, the story shines.
With the deluxe fifth anniversary edition of I Kill Giants on sale this week, ComicsAlliance spoke with writer Joe Kelly about escapism, loss, diverging from his superhero and adventure writing, and of course Dungeons & Dragons.
Daniel Freedman and Sina Grace's Burn the Orphanage was one of my favorite new comics of the last year, which was probably a pretty predictable reaction. I mean, I am a dude who thinks of the side-scrolling Beat-'Em-Up video game as the apex of storytelling, so a comic inspired by classics like Final Fight and Streets of Rage, full of bone-crushing action and tag team combo moves? That is right up my alley.
This week, the second series drops, and as all great sequels do, Burn the Orphanage: Reign of Terror raises the stakes and upgrades the enemies to provide an even bigger challenge for Rock, Bear and their new ally Jess, and that can mean only one thing: Robots. Robots that will be punched.
This week marks the release of the first issue of Nailbiter, a new Image Comics series from writer Joshua Williamson and artist Mike Henderson that examines how a sleepy town in Oregon called Buckaroo could be the home to more than a dozen serial killers. Though the cover to the first issue is a rather shocking depiction of violence, the series itself is more than just blood and guts. Nailbiter digs deep into what serial killing does to the families and neighbors of the people who commit those crimes as much as it does the killers themselves.
ComicsAlliance sat down in a noisy concourse at this year's C2E2 in Chicago with Williamson to talk about Nailbiter, what inspired it, and how he's perhaps upending reader expectations.
This week, Chris and Matt get a little sidetracked while talking about Batman Eternal #4, which is scripted by John Layman and has art by Dustin Nguyen, and get into a discussion about writing comics like TV shows. After that, their discussion about Southern Bastards #1 by Jason Aaron and Jason Latour weirdly heads into a discussion about Bruce Jones' Incredible Hulk run. Finally, they talk about CMYK #1, and some of the controversy around it.