The Diamond Retailer Summit is underway in Baltimore this weekend, timed to coincide with Baltimore Comic Con, and Marvel has taken the opportunity to unveil more new titles for the All-New All-Different line relaunch, including ongoing series for two former West Coast Avengers, Moon Knight and Mockingbird.
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Kurt Busiek and Benjamin Dewey's Autumnlands is set in a fantasy world that may or may not be the far-off future. Magic is dying, and the humanoid animal members of a highly hierarchical society devise a last-minute plan to bring the savior and progenitor of their world to their present day.
If you've been wondering why I've been a little more excited lately, why bird songs are a little sweeter or why food tastes a little better, it's because the latest storyline of DC's digital-first Batman '66 comic has involved Batman and Batgirl heading to Japan to take on Lord Death Man.
Jeff Parker, Sandy Jarrell and Jordie Bellaire have done a pretty amazing job creating story that I wish would've happened on television, but giving it the unlimited budget for stuff like a new Japanese Batmobile and an army of ninjas, and it's pretty great. To get some insight into just how it all happened, I spoke to Parker for his thoughts on bringing in other period-specific villains, why Lord Death Man is so much more exciting than his original American counterpart, and ideas for other non-Gotham location that could use a visit from the Caped Crusaders!
As a Briton living overseas, I am always delighted to see people from the old country shamelessly milk their Britishness to sell themselves abroad. The more we ham it up, the more people seem to love it, as evidenced by Eddie Redmayne's Oscar win. So it's in that same glorious spirit that Titan Comics is playing up the "Downton Abbey and crumpets" angle for its May comics promotion, Best of British, featuring new and classic works from a roster of creators that includes Peter Milligan, Si Spurrier, Alan Martin, D'Israeli, and the late Brett Ewins. Check out the trailer above, debuting exclusively on ComicsAlliance.
Back when I was a kid, my single favorite episode of Batman '66, the one that I liked even more than the one where the Joker tried to conquer Gotham City by winning a surfing competition and becoming "King of the Surf and All The Surfers," was the one where Batman, Robin and Batgirl took a trip to Londinium in order to fight Lord Ffogg and his small army of mod pickpockets. Something about getting those characters out of that version of Gotham City is always interesting to me.
So you can imagine how excited I was when opened up this week's issue of Batman '66 and found out that Jeff Parker, Sandy Jarrell, and Jordie Bellaire had taken Batman and Batgirl on an international trip to Japan to battle it out with Lord Death Man. I'll admit that I'm predisposed to like this stuff, but trust me: It is basically perfect.
Image held the latest in its series of one-day Image Expo events in San Francisco on Thursday, putting a spotlight on a slate of new titles for 2015, and introducing some new creators to the Image family. In concert with the expo, Image also released a new Humble Indie Bundle that includes an Image Expo Preview book containing art from the newly announced titles, plus some forthcoming books that were previously announced.
Titles featured in the preview include Savior by Brian Holguin, Todd McFarlane, and Clayton Crain; Injection, by Warren Ellis, Declan Shalvey, and Jordie Bellaire; No Mercy, by Alex De Campi, Carla Speed McNeil, and Jenn Manley Lee; Island, by Brandon Graham and a whole host of artists; RunLoveKill, by Eric Canete, Jonathan Tsuei, Leonardo Olea, and Manu Fernandez; and Starve, by Brian Wood and Danijel Zezelj; the book also includes a one-page ad for Marjorie Liu's new book with Sana Takeda, Monstress, and an ad for the second season of Pretty Deadly, by Kelly Sue DeConnick and Emma Rios.
A more appropriate name for DC Comics' Convergence event, at least the miniseries that will accompany the main series for two months next spring, may be "Nostalgia Trip."
DC has been rolling out titles and creative teams for the 40 planned series week by week. The first batch focused on the publisher's pre-New 52 continuity. The second focused on the 1990s (including WildStorm), and the third seemed to center on the 1980s.
The fourth and final group of miniseries, which DC announced Tuesday, covers a much wider time period: All of DC's pre-Crisis On Infinite Earths continuity. And there's another twist: They all take place on defined and listed alternate Earths which existed before the company's last line-wide reboot in the 1980s.
Marvel’s recent relaunch of Moon Knight saw the white-clad vigilante pare things down to a bare minimum as he stalked the streets by night, taking down gangs, gunmen, and anything else that posed a threat to innocent people. In the hands of Warren Ellis, Declan Shalvey and Jordie Bellaire, the character was reinvented, stepping away from past characterizations to form a new identity. Across just six issues the creative team stamped a brand on the book that may mark how people approach the character and concept from here onward.
From The Dead collects the entirety of Ellis, Shalvey and Bellaire's run on the book. It features a series of deft action sequences, and builds a convincing new world for Moon Knight to walk in, though Ellis's sparse and low-key scripts effectively cede the floor to the artists, allowing penciller Shalvey to create that world and colorist Bellaire to establish the tone. The series is a methodically structured exercise in comics storytelling, with Shalvey excelling in his depiction of a run-down, black and white world of straggling criminals.
Most comics tend to have a high-concept fueling them; some twist which reveals the characters live in a heightened world where readers can’t predict what will happen next. The rules keep changing, and that’s how we define the characters we read. The cast of Fables could have anything happen to them in each issue – their capacity to endure the fantastical is one of their central traits. By contrast, the first issue of Vertigo's new eight-part miniseries The Kitchen is set in a totally real, unfiltered world, where the characters and setting feel authentic and full. The central trait of this series is that is starts from such a relatively unremarkable premise and does so much with it.
From Ollie Masters, Ming Doyle, and Jordie Bellaire, The Kitchen surprises from the concept on. This is kitchen-sink drama, the type Michael Gambon and Julie Walters might’ve appeared in twenty years ago, but with an updated, contemporary sense of space and character. Rather than the typical angry young man, here we have three very angry women. Set in the wilds of Hell’s Kitchen in the 1970s, the ice in their hearts and fire in their fists promises that something's eventually going to crack.
Having been one of the creators who saved superhero comics in the 1990s, it can be difficult to think of Kurt Busiek as anything other than a superhero comic writer. But between all of his high-profile runs on big Marvel and DC books and undisputed classics Marvels and Astro City, Busiek has frequently played in the fantasy genre with great results. If you've never read The Wizard's Tale, Arrowsmith, or his run on Conan, you've been missing out on an aspect of Busiek's all-world talent that shouldn't be overlooked, and it's time to getcha life right.
Created by Busiek and Benjamin Dewey (I Was The Cat), Tooth & Claw is a fantasy about the end of magic, a mythical hero, and a dog-boy named Dunstan. And somehow, given all those words I just typed, it's also a dark Mature Readers comic about the suddenness and finality of death.