Everyone loves comic book trivia, but with 75 years of superhero comics behind us right now, there’s always some new obscure fact to learn. That’s why ComicsAlliance is going deep into the minutiae of your favorite characters in our continuing video series. You think you know comics? Well, here’s a few things you might not know!
Boy howdy, how about that Preacher trailer, huh? It sure makes me want to learn a series of twelve things about the cult classic comic written by Garth Ennis and drawn by Steve Dillon, and published by DC's Vertigo imprint. I hope someone lays out for me the dates of its publication, the inspiration for it, the major players in the series, and what kind of merchandise I can currently buy of it before Hot Topic puts out an Arseface body pillow!
AMC gave us a taste of its long-awaited Preacher adaptation just before the weekend, but at long last, Jesse Custer, Tulip and Cassidy have arrived in their all their heavenly glory. Check out the first full look at Seth Rogen and Evan Goldberg’s AMC Preacher by the official trailer!
Marvel has revealed a slate of new titles at a retailer summit in London ahead of this weekend's MCM Comic Con, including the long-touted second Iron Man book from Brian Michael Bendis, International Iron Man, which sees him reunited with his former Daredevil collaborator Alex Maleev.
Marvel also announced a new Punisher series from Becky Cloonan and Steve Dillon; a Nighthawk series from David F. Walker, with no artist named; and a Hyperion series from Chuck Wendig and Nik Virella, plus a digital first five-issue mini series, X-Men: The Worst X-Men Ever, from Max Bemis and Michael Walsh, which is not about Maggott and is therefore misleadingly named.
One of the most enduring series in American comics history is Preacher, the Vertigo series from the creative team Garth Ennis, Steve Dillon, Matt Hollingsworth and Clem Robins. It's the story of a young couple --- and their best friend, a chirpy vampire --- who go on a personal crusade against divinity, and the series takes on everything that comes at it: sex, violence, family, religion, war, hate, race. It’s powerfully made, a force of nature that rebels as hard as it can, creating a tale that's sensationally sordid and gleefully graphic.
And yet what’s most interesting about Preacher is that it takes a turn halfway through the run, almost abandoning the central conceit to give readers something unexpected. (Stop reading here if you don't want to be spoiled.)
Because it turns out that one of our heroes is actually the greatest villain in the book.
A few leaked set photos marked the last we’d heard from Seth Rogen and Evan Goldberg’s AMC take on the iconic Preacher for some time, but Jesse Custer is finally ready to turn things upside down. The sinful comic-inspired series has officially set a mid-2016 premiere date, while the first poster certainly inverts expectations.
It’s been a good long while since we’ve heard from AMC’s Seth Rogen-Evan Goldberg shepherded Preacher, even as our first photo failed to shed much light on its characters. Now, new set photos have revealed a much clearer look at fan-favorite characters ‘Arseface’ and the vampire Cassidy, though you may wish to gird your stomachs.
Writers Seth Rogen and Evan Goldberg are slowly but surely working on the pilot for AMC's new TV adaptation of the Garth Ennis/Steve Dillon Vertigo series Preacher, and as they write, it appears they're also recruiting cool directors.
Rogen struck up a Twitter conversation with Duncan Jones, director of Moon (which is super great) and Source Code (which is flawed but well made) -- and also, incidentally, the son of David Bowie -- to gauge his interest. Right now, Jones is working on a Warcraft movie, but he seemed extremely enthusiastic about taking the reins on some Preacher episodes.
Q: I'm interested in Hitman as a character in the larger DCU, and "the area of Gotham so bad that Batman doesn't go there," because Batman is a dude that has paid multiple visits to a planet literally called Apokolips. -- @kingimpulse
A: For those of you who haven't been following the War Rocket Ajax podcast, Matt and I have been spending the entirety of 2014 ranking every single comic book story ever on a master list from the best (Amazing Spider-Man #33) to the worst (Identity Crisis). Last week, we finally got around to Hitman, and while it eventually fell between The Dark Knight Returns and Impulse #3, the conversation that we had about it involved me mentioning that Tommy Monaghan lived in a section of Gotham called "the Cauldron," which was so thoroughly lawless that they didn't even really notice when No Man's Land swept through.
There's a pretty obvious reason why it went down that way, of course, but the more I thought about your question, the more I realized that it's the core of Hitman's complicated relationship with the universe where it's set, which is one of the best things about that comic.
Comics have seized center stage at the venerable British Library in London this summer in an exhibition celebrating the history of British comics and the work of British creators. Subtitled, 'Art and Anarchy in the UK', the Comics Unmasked exhibition places an emphasis on protest, outsider culture, and anti-authoritarian voices.
Curated by Adrian Edwards, Paul Gravett, and John Harris Dunning, Comics Unmasked draws heavily on the British Library's own collection to establish and define Britain's relationship to the comics art form -- stirring up nostalgia, scandal, and some surprising discoveries along the way. And Kieron Gillen's giant head.
Q: Supposedly it takes three pages to hook a reader before they drop off, so what are the best opening three pages in a comic? -- @shutupadiran
A: Huh. I don't think it's going to surprise anyone to find out that I'm a dude who thinks a lot about how comic books are structured and what you can do within that structure, but I've never heard that bit about the first three pages being where you have to hook the reader. It makes sense, though -- when you look at it, those first three pages, along with the cover, form a distinct storytelling unit, and it's the first thing you see when you pick up and pop open a comic.
Thinking back on comics that I love, there's a really distinct pattern there. I like stuff that builds to a big last page just fine, but the ones that I tend to rave about when those first issues hit always open up strong. It's like the first five seconds of a song. Some of them might build to a crescendo as they go along, but when you have something like the famous beat from "Be My Baby" or the opening harmonics from "I Get Around," you know instantly that you've got something.
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