Dan Abnett and I.N.J. Culbard's Wild's End is most aptly and succinctly described as War of the Worlds meets Wind in the Willows; a classic alien invasion tale set in an English village in the 1930s, with the unusual twist that all the characters are anthropomorphic animals --- an approach that allows readers to make a different kind of attachment to the book's beleaguered cast. Sometimes animal heroes are actually easier to identify with and sentimentalize.
In the first Wild's End story, the residents of Lower Crowchurch averted the threat of alien invasion --- or so they believed. The sequel, The Enemy Within, posits that the aliens may already be among us. Of course, the 'us' in this situation consists of adorable talking squirrels and cats and foxes as they wrestle with the paranoia, violence and horror of alien infiltration. Check out an exclusive preview.
I've talked to artist Chris Burnham a few times at conventions, and I've always got the feeling that if there's one character that he's super into, more than anything else, it's 2000 AD's Judge Dredd. The guy is a fan of Mega City One's unique brand of law-enforcement thrillpower like few others, and now, he's finally getting a chance to draw him in an official capacity.
On September 30, with the release of 2000 AD prog 1950, Burnham will join the small group of American artists who have lent their skills not just to Dredd, but to the cover of the magazine. And if that wasn't enough of an incentive to check it out, it's happening just in time for one of the magazine's new reader-friendly issues, featuring the start of four new story arcs.
In my experience, the best comics are the ones that answer questions that you didn't even know you were asking until you saw them, and Wild's End #1 does that pretty beautifully. The question: Wouldn't War of The Worlds have been better if it was about a sleepy English hamlet populated entirely by friendly anthropomorphic animals? The answer: Yes. Yes it would be.
As weird as that premise sounds, it's not that shocking that the book would turn out great. It's the product of writer Dan Abnett (Guardians of the Galaxy) and artist INJ Culbard (Brass Sun), and if there's one thing I've learned from previous experience with those creators, it's that they're more than capable of taking strange sci-fi premises and running with them to create something incredible -- which is exactly what they've done here.
A few weeks ago, I read through Ian Edginton and INJ Culbard's Brass Sun and loved it. It's got a compelling plot, engaging characters and it's set in a world full of possibilities for strange adventure. Of course, it's also beautiful, with some of the best art that you can find on the stands.
That's why today, we're shining the spotlight onto it again with a gallery of Culbard's incredibly striking covers, from both the American miniseries release and its original serialized run in the pages of 2000 AD. Check them out below, including an exclusive first look at the final covers for issues #5-6. free of logos and other trade dress.
As it is prone to do perhaps more often than some of its American competition, British sci-fi weekly 2000 AD has designed its latest issue to be especially welcoming to new readers. Four brand new stories begin in this week's 2000 AD Prog 1850, each meant to introduce audiences to the unique blend of art, attitude and insanity that can typically be found every week in "the galaxy's greatest comic." Among them, a new Judge Dredd strip as well as new work by Al Ewing (Mighty Avengers), Pat Mills (Marshal Law), Ian Edginton (Victorian Undead), and INJ Culbard (The New Deadwardians).
The new-reader-friendly prog is part of a concentrated effort to raise awareness of 2000 AD and Judge Dredd in particular so as to persuade the powers that be that a Dredd movie sequel is something they should put into production at once. That effort includes an official Dreddsequel petition and the latest issue of Judge Dredd Megazine, which introduces a new strip that will continues the continuity of the cult favorite Karl Urban film.
What I love about the comic book anthology is the frequently anarchic approach they can take to compiling disparate creators and stories. It's like putting a bunch of great cartoonists, writers and artists -- some of whom you know, some you've never heard of-- in a playlist and hitting "shuffle...
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