Originally published by DC Comics in 1988, Cinder and Ashe is a comic by Gerry Conway, José Luis García-López, and Joe Orlando about two mercenary/detective friends who are unable to escape and reconcile with the horrors of their shared past in Vietnam -- a past which has become actualized with the returning of a mad killer who they both thought was long dead. The story takes place in New Orleans with flashbacks to Vietnam, and some stops in Washington, DC and Iowa.
Now available in a collected edition, the book is a well preserved testament to the artistry of one of comics' best storytellers.
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 five or ten. And since there's no more definitive authority than ComicsAlliance, we're taking it upon ourselves to compile lists of everything you could ever want to know about comics.
This week, as Marvel's Spider-Verse crossover rolls on, we sift through the mountains of radioactive spider bites to pick the five best alternate versions of the Amazing Spider-Man, from the pig that brought us Captain Americat to a shockingly popula
There are a lot of great things about the Batman '66 ongoing series, but I think my favorite is how it's been expanding the Dutch-angled, pop-art universe of the original TV show beyond its three-season run. There have been new adventures for the show's roster of special guest villains, new locations, and even new characters in the form of additions like the Arkham Institute's Dr. Holly Quinn and the massive, atomic-powered Bat-Robot.
On top of all that, the not-at-all surprising success of the Batman '66 revival has expanded the universe in one of the most interesting ways by finally giving us one of the biggest missed opportunities in the character's history: A full adaptation of Harlan Ellison's unproduced Two-Face story.
I've known that this story was out there for a while because it always comes up in discussions of great superhero stories that never happened, and finally getting to read it in this week's Batman '66: The Lost Episode was a fantastic experience -- not just because the story itself was fun, but because the way it was presented was amazing.
Readers demand a lot from superhero comics: consistency, continuity, adherence to the rules of the universe, compelling heroes, magnetic villains, satisfying endings, and the list goes on.
But those of us who have been reading for years (if not decades) are chiefly looking for one big thing above all else: novelty. We want to see something we’ve never seen before; characters we recognize as the heroes and villains we love being put into scenarios and settings wholly unlike what’s come in nearly 80 years of superhero comics.
That’s notoriously hard to do. Many times, stories end up being very similar to what’s come before, and when creators do try something new, they elicit complaints from readers who don’t like particular changes or decisions. But what if you could strip away those pressures and build a superhero comic that’s so strange and unique that it’s a must-read?
That’s what Jiro Kuwata’s 1960s Batman comics, currently being republished as the DC Digital Series Batman: The Jiro Kuwata Batmanga, are. A strange combination of classic Batman comics, the 1960s Batman TV-show, Marvel-Age science-based storytelling, mysticism, cartoon physics, Tokusatsu, and of all things, Scooby-Doo, it isn’t like any comic I’ve ever read. It’s endlessly surprising, and I love it.
In the overwhelmingly male comic book industry, it has been a challenge for some editors and readers to see the ever growing number of talented women currently trying to make a name for themselves. With that in mind, ComicsAlliance offers Hire This Woman, a recurring feature designed for comics readers as well as editors and other professionals, where we shine the spotlight on a female comics pro on the ascendance. Some of these women will be at the very beginning of their careers, while others will be more experienced but not yet “household names.”
Cartoonist Corin Howell attended the Savannah College of Art and Design and graduated with a degree in Sequential Art. Also one of the first students of the Murphy Apprenticeship with the great Sean Murphy, she writes, draws, and colors her projects, which so far have included work for Viz and Oni, as well as work she's self-publishing.
Welcome back to Up To Speed, home of the the Flashest Recaps Alive. Here we’ll recap the episodes, dispense some Flash Facts and talk about what works, what doesn’t and where the series might be headed, as we try and keep up with the adventures of Central City’s finest hero, Barry Allen: The Flash dundundundundundun–AH-AAAAAH!–Defender of the Universe!
This week, we’re looking at the sixth episode episode of the first season, “The Flash Is Born,” which features a greasy hunk in muscle shirts, guys being dudes, and a karate robot. On your marks, get set, GOOOOO!
I've been a fan of Fred Van Lente's comics work for almost ten years now, and the one thing that I love more than anything else about his work is that every time he starts up a new series, it almost always feels like something completely different. You can draw parallels between books like Incredible Hercules and Archer & Armstrong, of course, but neither one of those feels quite the same as G.I. Joe or Taskmaster. The one thing that really unites them, and the one thing that comes through pretty clearly if you ever interview that that guy about his work, is that there's a lot of research that goes into everything he writes, and it's research that comes through in very strange ways.
Case in point: Resurrectionists, a new ongoing Dark Horse series from Van Lente, Maurizio Rosenzweig and Moreno Dinisio that provides a pretty amazing vehicle for delivering that research directly to the reader, and does it with one of the biggest, weirdest high concepts I've seen in a long time.
Last week's Agents of SHIELD was a mixed bag, presenting the second season at its weakest as it revisited those malingering season one plot threads, but with the promise of something a lot stronger in our first (holographic) look at the Inhuman city of Attilan (maybe). This week, we find out if the show intends to grab hold of that exciting new 'secret city' storyline with both hands, or if it's just going stick it in a drawer for the rest of the season while Skye moans about her dad.
'The Things We Bury' is directed by Milan Cheylov and written by DJ Doyle, and it features at least one welcome return cameo, and a villainpalooza thanks to Reed Diamond, Kyle MacLachlan, and Tim DeKay. So let's break it all down in our unique 'SHLEID' recap format.
A few years back, when there was first talk about a TV show based on The Flash, I remember hearing people say that the character could get a stronger foothold with the American public in a time when shows like CSI were so popular. The argument was that people would have an easier time getting their heads around the idea that Barry Allen was a police scientist, and that blew my mind. I mean, is the day job really the thing that people should be interested in when they're watching The Flash? Isn't the part where he can run super-fast and fight guys with ice guns the more important part of that whole franchise?
Besides, I think we can all agree that it was way better back in 1991, when the Flash worked for the IRS as the world's first superhero taxman.
In a big year for comic book characters on the big screen, none were bigger or more swoonsome than Christopher Michael Pratt, the swaggering prince of twinkle-eyed handsomeness who brought boring 70s obscurity Star-Lord to thrilling, sexually stimulating life in this year's Guardians Of The Galaxy, and briefly made us feel alive again in this numbing, disconnected modern hellscape of free wi-fi and gluten free brownies.
As is our long-standing tradition here at ComicsAlliance, we name a "sexiest man alive" every year without fail. Previous winners include Harry Hamlin, Mark Harmon, and two-time winner Namor McKenzie. This year there was never any doubt that our winner was going to be Peter Quill himself, Chris Pratt. Because Chris Hemsworth was in literally nothing. NOTHING. Sometimes it's really hard to get out of bed, you know?
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