It's Star Trek's 50th anniversary and between the well-received Star Trek Beyond, the fact that all of Trek is available streaming basically everywhere, a new TV show coming next year, and the continued release of new novels and comics, it's a good time to be a fan of the USS Enterprise and its brethren.
Comics have been a part of Trek lore from almost the very start. Beginning in 1967, when the original Trek was wrapping up its first season on NBC, Gold Key published a series that only had two consistent features: an irregular publishing schedule, and an almost total disregard for how the characters actually looked.
San Diego Comic Con is without a doubt the biggest event on the industry’s calendar, and people will be flying from around the world to attend panels, watch trailers, meet creators, and make friends. This year’s event is bigger than ever, with so much going on every single day that it can be difficult to sift through all that information and decide how to spend your time.
Yesterday we gave a rundown on what to expect on Thursday and Friday, but things heat up as the weekend kicks in and the major studios make their presence known. Expect big reveals from Marvel Studios, DC's TV offerings and more, plus great panels featuring your favorite creators in comics.
Welcome to The Issue, where we look at some of the strangest, most interesting and most distinctive single-issue comic stories ever to grace the medium. To mark the upcoming release of X-Men: Apocalypse, and the upcoming reveal of the top 100 X-Men of all time, we're also celebrating our own "Mutant Week" here at ComicsAlliance.
For the Mutant Week edition of The Issue, we're looking at two issues published nearly 15 years apart, in two completely separate runs with a largely different roster of characters, and a core concept that switched from government-sponsored superteam to mutant detective agency --- but it's the same title, the same writer, and almost exactly the same format. The books are X-Factor Vol 1 #87 and Vol 3 #13, "X-Aminations" and "Re-X-Aminations" --- or as they're more commonly known, those issues of Peter David's X-Factor where the team goes to therapy.
Many of comics’ most popular heroes have been around for decades, and in the case of the big names from the publisher now known as DC Comics, some have been around for a sizable chunk of a century. As these characters passed through the different historical eras known in comics as the Golden Age (the late 1930s through the early 1950s), the Silver Age (the mid 1950s through the late 1960s), the Bronze Age (the early 1970s through the mid 1980s) and on into modern times, they have experienced considerable changes in tone and portrayal that reflect the zeitgeist of the time.
With this feature we’ll help you navigate the very best stories of DC Comics’ most beloved characters decade by decade. This week, we’re taking a look at Aquaman.
Maestro, the despotic senior incarnation of the Hulk from Peter David's classic "Future Imperfect" storyline, is back in one of the Battleworld zones of Secret Wars, and in the pages of the new Future Imperfect series from David and Greg Land. From the looks of the fancy jewelry he's wearing on Rafa Garres' fantastic variant cover for issue #2 --- debuting exclusively on ComicsAlliance --- the other Marvel heroes haven't fared so well in Maestro's domain.
On sale now, the first issue of the new Spider-Man 2099 series by writer Peter David, artist Will Sliney and colorist Antonio Fabela is the very definition of a light comic. It's loaded with jokes and goofy asides -- most of them pretty funny. There's a throwaway villain. The colors are bright and appealing. It's mostly a really enjoyable read.
Until the one moment that bothered the hell out of me. Expect some spoilers below.
The Marvel Unlimited app is a gigantic, messy cache of awesome and terrible old comic books: a library of 13,000 or so back issues of Marvel titles, available on demand for subscribers with tablets or mobile phones. Like any good back-room longbox, it's disorganized and riddled with gaps, but it's also full of forgotten and overlooked jewels, as well as a few stone classics. In Marvel Unlimited Edition, Eisner-winning critic Douglas Wolk dives into the Unlimited archive to find its best, oddest and most intriguing comics.
In today's edition: Who needs Godzilla when you've got Fin Fang Foom? One of the most ridiculous of the many monsters Stan Lee and Jack Kirby dreamed up in the pre-Fantastic Four era, the giant green (or maybe orange) dragon was first revived in 1974, and has shown up on a fairly regular basis over the past couple of decades. Sometimes (as in Kurt Busiek and Sean Chen's Iron Man) he's taken very seriously; sometimes (as in Warren Ellis and Stuart Immonen's nextwave) he's not. Here are some of his most entertaining appearances in the Unlimited archives.
Dan Slott must have been saving up his jokes over the past 16 months or so.
The Amazing Spider-Man #1, the issue that officially reintroduces Peter Parker to the Marvel Universe after a lengthy absence during which his body was under the control of Doctor Octopus, is chock full of laugh lines that really hit. Slott, artist Humberto Ramos, inker Victor Olazaba and colorist Edgar Delgado get the tone just right, but I couldn't help but feel that the story itself was a bit lacking in forward momentum, as the lingering effects of Superior Spider-Man dominated the issue's lead story.
If you weren’t aware of it before the past few weeks, even a passing interest in the recent Internet comics community likely informed you of the medical-expense-related plight a high-profile pair of comic book creators have been experiencing . First, there was Stan Sakai, the creator of Usagi Yojimbo, in dire straits because of an extended hospital stay for his wife, Sharon. Then there’s Bill Mantlo, the co-creator of Rocket Raccoon, who was severely injured in a skating accident 22 years ago and has required full-time care ever since. (He’s been under care for two decades, but Rocket's appearance in the forthcoming Guardians of the Galaxy movie has brought him back into the public eye.)
Both of these men have had to turn to donations from fans and colleagues to help with their considerable expenses, and those people have made admirable efforts to help these creative artists whose work has brightened their lives. Generosity is a good thing. But it shouldn’t have to be this way.
Besides the obvious one, it’s hard to think of a writer more connected to an X-book than Peter Davidand X-Factor. (Chris Claremont and Uncanny X-Men being the obvious one, obviously.) After a two-year stint in the early nineties that remains a fan favorite, David relaunched X-Factor in 2005 and made it the most consistent X-book on the racks for his entire run. For eight years, X-Factor was routinely funny, inventive, filled with convincingly human characters, well-delivered messages, and twists that could knock you flat on your ass. The title wrapped in September of last year, shortly after David suffered a well-publicized stroke, and just a few weeks later, it was announced that the title would relaunch again as All-New X-Factor, which dropped this week. With Carmine Di Giandomenico on art, Peter David is again writing one of his most popular titles, but even with David at the controls, the new book has a lot to live up to. Does it?
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