JH Williams III

Devised by the Ignition Sequence (Isotope proprietors James Sime and Kirsten Baldock and iFanboy co-founder Ron Richards) MorrisonCon was first announced in January as a kind of hip, forward-thinking antidote to the organizational chaos and overt commercialism of the traditional comic book show...

Art: Guillem March has apparently redrawn his original cover to Catwoman #0, which was parodied by himself and others for its exaggerated anatomy. Movies: Amy Adams says that her take on Lois Lane in The Man of Steel won't be quite as competitive with Clark Kent when it comes to reporting at The Daily Planet...

First announced back in January, MorrisonCon is designed to be a stylish and forward-thinking antidote to the chaos and commercialism of the traditional comic book trade show. Curated by Grant Morrison and the Ignition Sequence (a collaboration of Isotope proprietors James Sime & Kirsten Baldock and iFanboy co-founder Ron Richards) MorrisonCon features no showroom floor, no merchandise dealers

We are not the mainstream. That's a truth understood by anyone who identifies as lesbian, gay, bisexual, transgendered or in any other way queer. We are not the audience. We are not the market. We are not the people. It's also a truth understood by a lot of people with a passion for comics...

We were disappointed to learn last week that Amy Reeder would no longer be drawing Batwoman. Since the title's inception, Reeder was to alternate story arcs with artist and co-writer J.H. Williams III, who'd set an incredibly high aesthetic bar for the popular Kate Kane character, but Reeder stated that "creative differences" had made the situation "untenable...

DC Comics and Amy Reeder have confirmed that the artist will no longer draw issues #9-11 of Batwoman. Instead, Trevor McCarthy will handle those issues before series co-writer and co-artist J.H. Williams III returns to the rotation with August's issue #12 as planned...

One of the great things about digital comics is how much potential there is to get great stories that just didn't hit the first time around into the hands of new readers. Without the print and distribution costs seen in traditional channels, publishers are able to make a few of the more obscure parts of their back catalogs available to readers at much less risk than they would with a printed comi