At this point, I'm going to go ahead and assume that you're already familiar with Copra, the amazing tribute to Suicide Squad written, drawn, lettered, and published by Michel Fiffe. I mean, it's pretty consistently been one of ComicsAlliance's picks for the best thing going since it started. Unfortunately for newer readers, there was a while where it was pretty difficult to jump on.
Owing to its nature as a self-published project, the single issues of Copra have been extremely scarce -- especially the early ones with a very limited print run. Thankfully, now you can get the whole thing. This month, Copra: Round Two is being solicited, collecting #7 - 12 of what Fiffe calls "The Juggernaut of Violence" and finishing the book's debut story.
I think it's safe to say that we've all gotten used to the idea of webcomics making the transition into print, whether it's through a Kickstarter campaign or being picked up by a publisher. It happens all the time, but it's a whole lot more rare to see it go the other way around, with a printed comic going up on the web -- which is exactly what's happening this week with Brian Clevinger and Scott Wegener's Atomic Robo.
After seven years of science adventures across multiple eras, Atomic Robo is transitioning to a full-time webcomic at Atomic-Robo.com on Wednesday, January 21, The whole series will be online for free, building up to the debut of the tenth volume, Atomic Robo and the Ring of Fire, this Summer.
Sarah McIntyre, the author and illustrator of popular children's books including Jampires, There's A Shark In The Bath, and You Can't Eat A Princess, has presented an inspiring response to the massacre at the offices of Charlie Hebdo earlier this week. On her Twitter account she declared, "Let 2015 be the year more people from around the world take up cartooning/comics to tell their stories."
Cartoonists responded to the deaths at Charlie Hebdo -- which included the deaths of five of their peers -- with cartoons that encouraged defiance and free expression. McIntyre took the idea one step further, encouraging people who have never expressed themselves through cartoons to see this as a moment to stand up and tell their stories. On her Livejournal she offers advice on how to get started.
This week, we're taking a look at a handful of comics that were produced with the crowdfunding help of Kickstarter, from magical realism to filthy, filthy porno and more! Did your favorite make it onto the list? Check it out and see!
Since his well-publicized walk-out from WWE the night after last year's Royal Rumble event, there's really only been one place where fans were sure they could see former WWE Champion CM Punk: Comics. Not only was it recently announced that he'd be writing for both Marvel and Vertigo, but until the story caught up with his real-life departure from the company, he was a regular character in WWE Superstars, the truly bizarre, nominally wrestling-themed comic being published by Papercutz. Now, it seems that is no longer the case.
As reported by WrestlingInc.com, WWE is removing Punk from the comic for all future printings, presumably replacing him with a different character in what has to be one of the weirdest retcons of all time.
Charming all-ages comics that teach important lessons about gender -- while not actually being about gender at all -- are a unique and powerful thing. Luke Pearson’s Hilda books from Nobrow Press/Flying Eye Books are stories about a young girl named Hilda. She could have been any gender at all within the framework of the plots, but the choice to have a female lead in these stories serves a powerful purpose that extends beyond the page.
The title of the first book in the series, Hildafolk, is a play on the Icelandic huldufólk. Huldufólk are elves in Icelandic mythology thought to live in the rocky landscape: they sometimes had tiny houses built for them by Icelanders. The main character of Hildafolk is a young girl named Hilda who lives in a rocky, mountainous area with her mom and her pet fox-with-antlers, Twig. Quite quickly, Hilda’s world is established with a population of mythical creatures. Hilda is a risk-taker and wants to explore her world; she clearly considers herself an adventurer as well as a documentarian.
In common with a fairly significant chunk of the comics community, Brian K. Vaughan was in New York on September 11th, 2001, and witnessed the events of that day first-hand. Sublimating his experiences into his art, Vaughan penned Ex Machina, a modern masterpiece that used an alternate version of 9/11 to explore America's relationships with its heroes. But just as the long-term effects of September 11th are still palpable, Vaughan has continued to explore the anxieties of post-9/11 American throughout his work.
Last week, I mentioned that Lost in the Andes, Fantagraphics' amazing new book Donald Duck stories by Carl Barks, had one of the weirdest Christmas stories I've ever read. And for me, that's saying something: Christmas comics are one of the few things I go out of my way to collect regardless of who the creators are and who puts them out. I love the darn things, and over the years, I've read hundreds of 'em, going back through my favorites every year.
And even with all that, The Golden Christmas Tree might just take the fruitcake. After alll, most of the other Christmas stories I've read don't involve a harvest of tears or someone turning into a woodchipper.
It probably won't surprise anyone if I say that Archie Comics has published a lot of Christmas stories over the past 60 years, but you have to understand that when I say "a lot of Christmas comics," I mean a truly ridiculous amount. Just to give you an idea, there are two separate characters in the Archie universe -- Jingles and Sugarplum -- who are magical Christmas imps who use their powers to give the gang a hard time during the holidays. They have done stories like that so many times that they actually needed a spare.
And as you might imagine from the fact that I just used the phrase "magical Christmas imps," Archie's holiday stories tend to be a little weird. But none of them -- and I say this as someone with two paperbacks' worth of Archie Christmas comics -- skew quite as far into madness as the one where Little Archie meets the alien Santa Claus from Planet Peewee.
Outside of David Uzumeri, who spent a good portion of last week learning about Spiral Dynamics just so he could talk about Pax Americana in excruciating detail, I'm as big a fan of Grant Morrison as you're likely to find. For me, JLA, New X-Men, his seven year run on Batman and even the 11 issues of Aztek that he co-wrote with Mark Millar are easily on my list of the all-time greats. That said, if we're being completely honest with each other, I'm not that keen on his work outside of mainstream superheroes. I can take or leave The Invisibles and The Filth didn't do much for me, and while I like Joe the Barbarian a lot, that book basically has Snake-Eyes from G.I. Joe in it, so it barely even counts.
As a result, I wasn't really paying attention to Annihilator, the book Morrison and Frazer Irving are doing through Legendary, until the aforementioned Uzumeri was singing its praises. Curiosity got the better of me, so today I sat down with the first four issues to see if it was worth all the hubbub, and the result was that I liked it a lot. It's a bizarre and compelling sci-fi epic where Irving is doing some of the best work of his considerably impressive career -- and on top of that, it is quite possibly the most Grant Morrison comic of all time.
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