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I’m so impressed with artist Dan Mora’s work on Michael Alan Nelson’s Hexed, that I had to share a sampling of it here with all of you! The little bit that I can find out about Dan Mora on the web is that he lives in Costa Rica, he’s done graphic design work & many illustrations for numerous print/online publications, and loads of concept art/character design work, as well. In it’s previous incarnation, Hexed introduced the great artist Emma Rios to the world, and now it’s Dan Mora’s turn to find legions of new fans.

Hexed, published by Boom Studios, is up to issue 9 now; it will be interesting to see if Mora sticks with that series a while longer or if one of the “Big 2″ scoops him up. Either way, I’ll be following for the good arts!

You can find more of Mora’s artwork, and see many revealing artist process posts, on his “Behance” site here.

For more comics related art, you can follow me on my website comicstavern.com - Andy Yates

Lately the words “All-Ages” have become a buzz phrase without a clear definition. Some publishers use it to brand their comics for kids, while others have geared it towards a polarizing audience outside of anything branded “Mature”. BOOM! associate editor Whitney Leopard has recently led discussions at various cons about the importance of all-ages comics. Sunday at Wondercon the latest informative session was held; among her group for this particular one was Derek Fridolfs (Lil Gotham), Shelli Paroline (Adventure Time), Mairghread Scott (Transformers), and Melissa Paglucia (Above The Clouds).

After a rundown of the groups first experiences as comic fans (ranging from Bone, Star Wars, and even Manga), the panel delved into the meaning of what all-ages books should be. These topics are something all comics fans that want to see the industry thrive and be around for future generations to read should be talking about. Today’s market caters towards older readers (age 18-49). Places like Boom! and IDW, who are publishing a fair amount of inclusive comics, are still too rare of an occurrence. Fridolfs talked about how children’s bookstores are carrying graphic novels and how they demonstrate how important that audience will be once the older generation phases out. When you think about it, regular Batman books aren’t even for kids. Children who’ve only heard about the Nolan movies don’t always get to see them cause some parents might not feel like it’s appropriate for their kids, but every child has heard of the character and might want to see it in whatever form they’re allowed.

Typically words like “silly and fun” are associated with all-ages, but can there be heavier stories in this genre? One of the points made by the group is how polarizing this type of book is suppose to be. Even though books like these should be inclusive for kids; if the heavy stuff is handled responsibly then the story is even more valuable for that piece of its intended audience. Editors are around to decide if you’ve gone to far or not far enough as a storyteller. Paglucia gave the example about how David Peterson’s Mouse Guard nails an all-ages aspect by how immersive the world is for kids to look at while teaching them about real issues in life they’ll have to encounter.

Another stereotype of all-ages books is there association with licensed properties such as Adventure Time, My Little Pony, Skylanders, etc. Is there room for original material in the world of all-ages? While the group believes there is a market for it; licensed properties have a “joy” according to Scott.  One of their latent effects is the ability of the books to sort of trick kids into reading. In today’s –YouTube let’s play– world most young children have dismissed the pleasures of reading, but they’d be open to reading a comic about their favorite licensed property and that could be a gateway into reading other things.

According to the group another challenge in pushing all-ages comics lies with the retailers. Every shop is different and some merchandise smarter than others. Some shops separate them out from the rest of their catalogue, while others hide them in the back. According to Leopard, smarter shopkeepers make sure they’re featured and within reach of the audience they’re intended for. One problem that still puzzles creators who want to do all-ages books is the trepidations shown by publishers. Scott’s first issue of Guardians of the Galxy animated sold out in stores to everyone’s surprise but her’s. Most major publishers spend much of their time enticing older readers that they find themselves afraid of alienating them by making comics geared towards younger audiences. “I’m surprised it took DC years to grasp the idea that little kids like Batman,” according to Scott.

As for the future of all-ages comics, Fridolfs feels small companies are picking up the slack of the bigger publishers, but keeping the books accessible is paramount. In addition to making them easy to find, it also means keeping the stories short and always welcoming to new readers. Scott would like the medium to expand beyond the boundaries of the page, making them have a level of activity or immersion that lets people play with the story. Even if imploding Transformer cupcakes would never be done in the book, kids should be able to express that idea somewhere if they really like the characters. Paroline wants to see more educational comics and long form stories such as the coming of age nature of a Harry Potter type story. Paglucia had ideas for shops to be more inviting for younger readers by having rewards programs such as “tell us what you like” and “read so many and you’ll get a free one”.

When the subject of recommendations for books came up; the mix was eclectic ranging from Gotham Academy to Reed Gunther. In a way Gotham Academy is a true all-ages book even though it isn’t marketed that way.

The panel was a great subject for comics fans.  By no means is all-ages a new concept. When you think about it, the medium itself began as all-ages. Superhero comics were intended for kids but military soldiers in war time were reading them on the front lines in WWII and back then the books were always geared towards attracting new and young readers.  As an industry, comics should return to that aim. Once the industry figures out how to really once again say comics are for everyone, they can start saying comics go beyond all-ages to all-races and all-sexual orientations.

I hope this panel appears at every show. If you’re a fan that wants to voice your opinion on the future health of comics publishing, it’s an opportunity to engage with one of the most responsible gatekeepers in the industry.

• Valiant announced VALIANT ORIGINS a web series spotlighting the origins of Valiant’s biggest heroes. 10 episodes will be released bi-weekly Valiant’s official YouTube channel.  Heroes in the spotlight include Bloodshot, X-O Manowar, Ninjak, Livewire, Quantum and Woody, Divinity and more.

• In July Valiant is releasing the BOOK OF DEATH. Teaser art by Robert Gill.

• Teenage Mutant Ninja Turtles co-creator Kevin Eastman is now exclusive with IDW with many new projects to be announced. “Kevin is one of my oldest friends in comics and it makes me extremely happy that he’s going to be part of the IDW team, said IDW CEO and Publisher, Ted Adams. “Kevin’s contribution to pop culture can’t be overstated and everyone at IDW is looking forward to helping him bring his new ideas into the world.”

• Archaia is release an Art of Mouse Guard book in July:

THE ART OF MOUSE GUARD 2005-2015

Author: David Petersen

Artists: David Petersen, Mike Mignola, Stan Sakai, Bill Willingham, Various

Cover: David Petersen

Format: 12″ x 12″, 368 pages, color and B&W, hardcover

On sale: July 2015

Celebrate the first 10 years of a comics classic from the very first sketch. For the first time since the series debut, David Petersen’s process for creating the world of Mouse Guard and bringing it to life in stunning illustration is documented in exquisite detail. With never-before-seen sketches; 100 pages of full-color, oversized artwork; and commentary from colleagues, collaborators, and Petersen himself, readers and fans get an unprecedented look behind the pages at how their favorite characters and adventures were born.

• Boom is releasing Adventure Time with Fionna & Cake: Card Wars, a miniseries by Jen Wang (In Real Life) and Britt Wilson, also in July.

Cake is a Card Wars champ who can’t be beat, and Fionna…is really tired of getting beaten! They set off in search of a challenger who can really test Cake’s mettle. When they stumble across some gamer slugs, they think they’ve hit the jackpot, but these guys have never heard of Cake and refuse to even play with her!

 

• And Dark Horse is releasing TEN new series!

Barb Wire #1

Chris Warner (W)

Patrick Olliffe (A)

On Sale in July

Nail-hard tough and drop-dead gorgeous, Barb Wire is the baddest bounty hunter on the mean streets of Steel Harbor, where gangsters can lift bulldozers and leap rusting factories in a single bound. The hunting is stupid good and the bounties are hella big—if Barb lives long enough to collect!

King Tiger #1

Randy Stradley (W)

Doug Wheatley (A)

On Sale in August

Blood, death, and fire—the darkest kind of magic. A monstrous secret from King Tiger’s past has found the mystic warrior, but can Tiger’s skills and sorcery triumph against an unthinkable supernatural obscenity linked to his own destiny? If the Tiger falls, the Dragon will rise!

Negative Space #1

Ryan K Lindsay (W)

Owen Gieni (A)

On Sale in July

When one man’s writer’s block gets in the way of his suicide note, he goes for a walk to clear his head and soon uncovers a century-old conspiracy dedicated to creating and mining the worst lows of human desperation. A corporation has manipulated his life purely so they can farm his suicide note as a sadness artifact that will be packed and shipped to ancient underwater creatures who feed off our strongest and most base emotions. Our hero partners with a cult intent on exposing the corporation, and only a suicide mission can solve the whole mess.

The Tomorrows #1

Curt Pires (W)

Jason Copland (A)

On Sale in July

A bold new speculative-fiction comic from the mind of writer Curt Pires, each issue illustrated by a different brilliant artist!

The future: art is illegal. Everything everyone ever posted online has been weaponized against them. The reign of the Corporation is quickly becoming as absolute as it is brutal—unless the Tomorrows can stop it.

They told you the counterculture was dead. They were wrong. Welcome to the new reality.

Death Head #1

Zack Keller, Nick Keller (W)

Joanna Estep (A)

On Sale in July

When Niles and Justine Burton go camping to get a break from their stressful lives, they expect to find peace . . . not an abandoned village hiding an ancient evil. In a turn of events ripped straight from a horror movie, a brutal killer wearing a plague doctor’s mask begins hunting Niles, Justine, and their two kids. Who is the Plague Doctor? What does he want? And how will the family survive?

Zodiac Starforce #1

Kevin Panetta (W)

Paulina Ganucheau (A)

On Sale in August

They’re an elite group of teenage girls with magical powers who have sworn to protect our planet against dark creatures . . . as long as they can get out of class! Known as the Zodiac Starforce, these high-school girls aren’t just combating math tests. They’re also battling monsters—not your typical afterschool activity! But when an evil force from another dimension infects team leader Emma, she must work with her team of magically powered friends to save herself—and the world—from the evil Diana and her mean-girl minions!

From Kevin Panetta (Bravest Warriors) and Paulina Ganucheau (TMNT: New Animated Adventures, Bravest Warriors), this super-fun and heartfelt story of growing up and friendship—with plenty of magical-girl fighting action—delivers the most exciting new ensemble cast in comics!

Adam.3 #1

Scott Kolins (W/A)

On Sale in August

Award-winning writer and artist Scott Kolins (Past Aways, The Flash, The Avengers, Solomon Grundy) premieres Adam.3.

On a futuristic island paradise populated by talking animals and monitored by orbiting control satellites, the peaceful lives of Adam and his wife Skye are troubled by growing tension between Adam and his previous son, Beo. The situation goes from bad to worse when an alien invader infects the animals—turning them into aliens themselves. When Beo is captured, Adam must battle his transformed animal friends to save his son—and their island home!

Power Cubed #1

Aaron Lopresti (W/A)

On Sale in September

On his eighteenth birthday, Kenny’s inventor father gives him a phenomenal piece of matter-reinterpreting technology, attracting the attention of a bumbling Nazi scientist and an elite government agent. Aaron Lopresti delivers a comical coming-of-age tale in a fantastic sci-fi universe!

The Steam Man #1

Mark Miller (W)

Joe R. Lansdale (W)

Piotr Kowalski (A)

On Sale in October

The Old West (but not as we know it): Giant robots that run on steam power are created to take down invading Martians and armies of killer albino apes in an all-out brawl. The Steam Man, a giant metal man operated by a team of monster hunters, seems to have the town protected and the West under control, until a crazed and powerful vampire comes to town to bring forth the apocalypse.

Chimichanga: Sorrow of the World’s Worst Face #1

Eric Powell (W)

Stephanie Buscema (A)

On Sale in late 2015

Wrinkle’s Traveling Circus’s most adorable bearded girl and her savory-named beast are back, and there is a new act in store! Come one, come all to the Sorrow of the World’s Worst Face! But beware: those who look behind the curtain are in for an awful treat, and it’s not just his face we’re talkin’ about!

Hit 1957 #1 (of 4)

Story : Bryce Carlson

Art: Vanesa R. Del Rey

Colors: Niko Guardia

Publisher: BOOM! Studios

 
Hit: 1957 is the second volume in the Bryce Carlson series and continues its dark and violent dive into the depths of 1950’s corruption in Los Angeles. While it certainly doesn’t blaze new territory, it does deliver on the promise of sharp noir with only the slightest of hiccups.

Writer Bryce Carlson picks up the series two years after the events of the original. Mickey Cohen is out of jail and the LAPD have seemingly regained control of the city. The underworld is however a different story. A battle for Los Angeles has been raging between infiltrating crime boss Domino and detective Harvey Slater’s morally gray area task force. That’s really the direction the story goes, as Slater must deal with the war on organized crime, pressure from internal affairs, and the kidnapping of Bonnie Blair.

Russ Manning Award winner Vanesa R. Del Rey takes on art duties for the book and in a word, it’s stellar. She has a knack for cinematic angling. When you combine her heavy lining with the moody colors of Niko Guardia it makes for a noir combination that’s just right. The opening sequence of the book illustrates that magic hour pop of the day just right. This natural auburn cast by the setting of the sun is depicted as an augment on the emotional tone of the characters. Though it isn’t all sunshine, towards the end of the book its look feels a little inconsistent with some of the face work.

Overall the book is solid, though its jumps can be a bit jarring at times. Carlson writes a story for California history buffs. You’ll see a lot of seediness, which marred an influential period in the economic and social development of Los Angeles. In a book like this you won’t always be able to tell the good guys from the bad, and that’s the mark of any good noir. Crime stories aren’t fast by nature and their fury heats to a boiling point subtlety and that’s what you’ll see here. Hit: 1957 isn’t blazing any new trails with its content or plot devices, but it does so many things right that it warrants picking up for a chance at your pull list.

Giant Days #1

Story: John Allison

Art: Lissa Treiman

Colors: Whitney Cogar

Letters: Jim Campbell

Publisher: Boom! Box

1. Unless you religiously follow web comics, you’ve probably never heard of John Allison.
a. True, but you should be reading Bad Machinery. 
b. False

2. Giant Days is a book about____
a. Three girls beginning their first year of university in England.
b. The angst that comes along with wanting to reinvent yourself in a new place.
c. A bet settled by a cafeteria blunder.
d. All of the above.

3. Susan Ptolemy’s problems begin____
a. At the beginning of page one.
b. When a mysterious boy from her past named McGraw transfers to her school.
c. She catches her friend in a compromising moment.
d. She doesn’t have any problems (No that would be an awful story).

4. Esther De Groot is_____
a. The trio’s drama magnet.
b. A raven haired goth with horrible luck when it comes to boys.
c. A former member of a Black Metal Society with a weird mystical tattoo.
d. All of the above.

5. Daisy Wooton is______
a. Home schooled and naive.
b. Not a pervert, just enjoys watching napkin folding videos.
c. Both A&C
d. None of the above.

6. Lissa Treiman’s art in the book is______
a. Quirky, a mix of newspaper comic strip with the emotional grandiose of Scott Pilgrim.
b. Dark
c. Stick figures
d. Gory

7. What’s happening in the page above
a. An example of Whitney Cogar’s subtle yet distinct color work with the characters.
b. A funny visual gag you’ll see throughout the story.
c. Susan asserting herself as the group’s leader.
d. All of the above.

8. Does Giant Days have any flaws?
a. Yes, it’s too perfect.
b. No.
c. Yes, for a book set against the background of higher education they never entered a classroom.
d. Yes, a slice of life story needs a little more emotional stakes.

9. Should you buy Giant Days?
a. No, you should only read books with capes and tights where nothing relevant happens.
b. Yes, because you’re a well rounded person who can appreciate comical stories with down to earth characters.

10. Extra credit essay:
Giant Days is a book with the feminine voice of HBO’s GIRLS and the charm of the Sunday comics in the newspaper. John Allison crafts characters with genuine yearnings who blend together nicely. Lissa Treiman’s art is the best compliment a cleaver and whimsical story like this could get. Though first issue felt like it needed a bit more build in the tension, the series is worth getting on board for. I can’t wait to see these chicks get into more problems.

Score: 98% 

You’ll need to repeat the course – @bouncingsoul217

Written by: Brian Lynch

Pencils by: Jerry Gaylord

Inks by: Jerry & Penelope Gaylord

Colors by: Whitney Cogar

Publisher: Boom Studios

As a fan of both of the goofy, strange and wonderful Bill and Ted movies, I wanted to like Bill and Ted’s Most Triumphant Return #1. And for the most part, I did. It’s got View Askew Productions veteran Brian Lynch on writing duties, who has done solid work for IDW’s Buffy the Vampire Slayer series spin-off Spike: Asylum. It’s got the art of Jerry Gaylord, who has lovingly personified other franchises like TMNT and Adventure Time. Yet while Bill and Ted were very much themselves, they also seemed to lose a little something in the translation.

Bill and Ted picks up right where Bill and Ted’s Bogus Journey left off, with the titular boys from Wyld Stallyns high off their winning performance at the San Dimas High School battle of the bands. All your Bill and Ted favorites are there, Death, the Princesses and the Stations! Future nemesis De Nomolos is carted off in handcuffs, swearing revenge on the Stallyns and It’s not long before the media is clamoring to know when the pair will write their next epic single. Stopping home to check in with their newborns, left in the care of the now reformed “good” robot Bill and Ted, the boys find themselves wading through a field trip from the future San Dimas High that has phone-booth time traveled into their bedroom. And we’ve only just gotten halfway through the comic.

This is what left me a tad disappointed by this first issue. It felt a little more like a tour through a Bill & Ted theme park than a story in it’s own right. But this is a problem not unique to this comic, so some leeway must be given in this first issue of this comic adaption of the wildly successful, if critically mixed, Bill & Ted franchise. Still, the tour through all of the Bill and Ted characters we know and love should have moved along a bit quicker. Also missing was the somewhat dark, more adult sense of humor from the films. This book read more like a Saturday morning cartoon. Not the officially licensed Saturday Morning Bill & Ted cartoon, but a cartoon nevertheless.

Still, Lynch has the voice of Bill and Ted down pat: their dialogue seems very natural and unforced, and Jerry Gaylord’s art is a marvel: the characters look so good I almost wish this book would some how be the jumping off point for another animated series. I would’ve liked more Rufus interaction right up front, and not just for sentimental, George Carlin-related reasons. More Rufus interjections could have provided some framework that could have made the Bill and Ted interactions with fans, friends and followers seem a little less aimless. This may have been avoided due similarities with Evan Dorkin’s Bill and Ted’s Excellent Comic Book series.

Still, for fans of the San Dimas metalhead duo this comic will go down smooth and leave you with a smile on your face. It’s also bound to drum up buzz for that new Bill and Ted sequel that Alex Winters has been chumming the waters for since 2010.

Last month, via the BOOM! Studios PR mailing list, I received a letter, containing a copy of a guest editorial by Ross Richie, CEO and founder.

You can read it here.  Go ahead… I’ll wait.

Here’s his reason for doing this:

We know where we’ve been—our favorite eras, our favorite characters, our favorite runs. We already know all of that. I’ve got a garage full of Silver, Bronze, Copper, and Modern Age comics and I love them.

But the medium of comics has never been more on the forefront of driving pop culture and as fans of this art form, we have a rare opportunity to take that interest to the next level and embrace an entire generation of potential fans who don’t read comics right now.

We can make a new Golden Age.

At BOOM!, we’ve carefully selected new projects in 2015 that we believe will help Push #ComicsForward. These projects will take on risky subject matter, introduce new characters from diverse backgrounds, and debut a swath of new creative voices to the industry.

So…  an invitation to join the conversation, which, as many know, I’ve been having for … twenty-plus years.

So… here are my suggestions….

Wait…  I should preface this by saying… while I’ve never really spoken with Mr. Richie (he’s a busy man!), I do respect what Boom! and Archaia are doing in comics, and I like him even more now that he’s pushing #ComicsForward and hoping to start a conversation.  I’m not being critical, just constructive.  Even if you don’t really care about this, go and check out what they publish.  You’ll find a lot of good titles to read, no matter what interests you.  (Also, thank you, Keith Giffen.  I owe you a drink.)

1)  Comics publishers need to think outside the comics shop.  I understand how important comics shops are to the industry, but you’re preaching to the choir.  If you want to fill the nave, you’ve got to go outside and spread the good word.  I don’t think we’ll see another boom in comics shops, if only because it’s hard to set up a small business with the Internet overshadowing everything.

Most publishers know the entry-level stuff:  EANs on the back covers of books, digital comics available for reading, sending out review copies and networking with journalists…

Yet… the comic book Direct Market is a pittance compared to the Book Trade!  ($800 Million : $27 Billion)  The American Booksellers Association has about 2000 members, which means that publishers could double the potential market just by selling to those smaller independent stores, which aren’t much different than comics shops.  (Those owners are just as dedicated and passionate!)  Of course, with bookstore distribution, those titles are also available to online retailers, and the bigger chain stores, which doubles or triples the market again.

But wait…   What if there was a way for readers to sample books for free?  Books which are curated by knowledgeable experts who have spent years and thousands of dollars honing their passion, eager to advocate and recommend titles to those seeking knowledge or fulfilment?  A market, much like the Direct Market, which buys books on a non-returnable basis, so there is little risk to the publisher?  What if there were THOUSANDS of locations scattered across this country, where a person could enter freely, without shame or trepidation?  What if some of these places were in grade schools, or universities, readily available to students?  Titles kept on shelves for years, sometimes forever, readily available to anyone, anywhere?

Gosh!  I wonder where I can find such a place?   I wonder where these experts meet?  They sound like a cool bunch of people who would probably be interested in titles that entice people to read.

2)  Comics publishers need to think inside the comics shop.  How many shops are specialty bookstores?  How many are hobby shops?  How many are man caves?  How many look and act like porn shops with posters covering the windows and a mostly male clientele seen exiting the store clutching plain brown bags of merchandise?  (Hattip to Evan Dorkin.)

It’s been almost twenty years since The Friends of Lulu published their retailer handbook.  (Again, go read.  It’s got a great introduction by Neil Gaiman!)  Most comics shops are aesthetically appealing to the general public, offer a welcoming environment, and even have some awesome employees.

All could do better.  They have to, to survive in this marketplace.  Every shop should have a dedicated section for kids and parents, with seating.  (No space inside?  How about a bench outside?)  Stores should have a professional website, updated weekly (if not more frequently) with an e-commerce store.  There should be weekly events to create community, and offsite events to promote comics and find new allies.  If the bottom line allows, offer monthly promotions.  Be creative!  Or let the staff be creative!

3)  “All Ages”.  Ugh…  This really could be a subset of #1 above.  In book publishing, yes, you hope a title appeals to a wide audience.  However, in the initial marketing to librarians and booksellers, every publisher knows the core audience whom the book to whom the book will appeal.  Yes, lots of adults read “Harry Potter”.  Yes, in the Eighth Grade, my friend was reading and collecting Stephen King novels.  There are many classics, originally written for adults, which are considered suitable for a younger audience (Alice in Wonderland, Robinson Crusoe, Little Women…).  I can sell Watchmen to a variety of readers using a variety of talking points, but when I do, it’s usually for one particular reason, based on the customer I’m selling to.  (It could be someone looking for a murder mystery.  It could be a fan of science fiction.  It could be a U.S. Senator who was a prisoner of war during the Vietnam War.)

“All Ages” doesn’t work as a descriptor.  I believe it was created to avoid the stigma of “comics are (only) for kids”, which is understandable.  If we follow the spirit of “pushing comics forward”, we need to realize that there are a multitude of comics available for a multitude of different audiences, and that the most important audience of all is children and teens.

Hollywood does have an “all ages” designation: the G rating.  But movie studios don’t promote the rating, and I was surprised how many popular movies actually had the rating.  I think it’s a kiss of death, bringing to mind The Adventures of the Wilderness Family.  (Don’t tell them it’s good for them!)  So, yeah, go ahead and make a family-friendly movie that plays to all four quadrants (and sometimes appeals to none of them).  But don’t be afraid to make something that has a more focused appeal.

Teens… that’s a pretty easy audience.  The cool kids have mastered the leveled readers and have discovered that almost everything published barely exceeds an Eighth Grade reading level.  Add in the illicitness of reading something they shouldn’t, and it’s hard to keep a teen, especially one with a sharp intellect, from discovering all sorts of interesting stuff to read!

Kids… that’s more difficult.  How well does a child read?  What’s the interest level of the child?  Is it age-appropriate?  Is it parent-appropriate?  This is where the publisher plays an important role, by marketing the book properly to those most likely to be interested in the title.

Comics publishers need to look at their catalogs and figure out how to market every book they acquire.  Many publishers specialize in certain genres, markets, and/or audiences.  Others, like BOOM!, have a varied list.  The smarter publishers set up imprints, to better brand their titles to readers and retailers.  BOOM! offers:  BOOM! Studios, Archaia (literary comics), BOOM! Box (alternative), KaBOOM! (kids).

4)  I want to see more imports.  If a German graphic novel can be marketed to roughly 100 million readers in Europe, why can’t that same title be marketed to readers of English?  (Most publishers, if they have an international presence, will buy the English language rights for the entire world.)  We’ve already seen the success of Japanese manga (thank you, Pokemon, for saving the American comics industry!), and there has been a slow trickle of French titles appearing each year.

What aren’t we seeing?  Would you be interested in the true story of a serial killer of Weimar Germany, who loved young boys and threw their corpses into the local river, and who was an inspiration for “M”?  How about a Japanese manga that reads as if Grant Morrison wrote a fictionalized biography of Bob Kane? Or maybe some of the manga that’s being produced in Germany and France?

5)  I want to see more diversity.  I love non-fiction comics.  Partly, it stems from my curiousity, but partly, it was a defense mechanism against people who scoffed at comics.  “See?  I’m learning about the Trojan War!  It’s one big crazy soap opera!”  I truly believe that “applied comics” can be a great learning tool, even used to teach kids how to construct giant spaceships and adults how to build a loft bed.  Also, it’s easier to convince librarians and educators to buy them… and once they buy them, students can read them!

I love that libraries have graphic novel sections, and promote those titles.  But… I want to see comics mainstreamed in with the other books.  So that when someone browses the cookbooks looking for vegetarian recipes, they find this.

I also want more varieties of fiction as well!  The broader the variety of good and great graphic novels, the easier it is to recommend them to someone new!  It can even be a new twist on an old story.

6)  I’m waiting for The Enlightenment.  Mr. Richie states, “We can make a new Golden Age.”  The problem with Golden Ages is… we don’t know when we’re in the middle of one until it passes.  Also, it seems to reek a bit of nostalgia.  “If only we could return to those halcyon days…” which, of course, runs counter to the whole #ComicsForward ideal.  Myself, I like to follow the art historians.  Right now, we’re in a renaissance. A dark age has passed.  Old works, long forgotten, are being rediscovered.  Works from foreign cultures influence and inspire innovation.  New technologies allow ideas to spread easily.

We all know what happened during the Renaissance in Europe.  Da Vinci.  Galileo.  Luther.  de’ Medici.  Shakespeare.  Machiavelli.  The New World…

I love all the amazing stuff that’s being published now.  It’s so easy to find stuff, or stumble upon stuff.

That’s great, but…  The Age of Enlightenment.  130 years of amazing advancement!  What if comics shops were the new coffeehouses?  What if the decade of manga, the decade of mainstreaming, was obliterated by the decade of hypercomics?  Kids innately learning the tools of cartooning, and making crazy experimental stories, shared online, maybe coalescing into comics circles, with an American Comiket or four, like MoCCA Fest being held in a convention center!  Studios and communes and schools and workshops and retreats and summer camps!

Within the next ten years, I want to see an explosion of discussion, debate, philosophies, ideas!  I want universities to offer degrees on how comics communicate ideas, and how that can innovate the transmission of data.  I want comic books to be commonplace!  Where it’s just another format, and people don’t even think twice about reading it.

7)  I want more comic cons!  Every city which has an auto show, a boat show, any type of consumer show aimed at the general public… should also have a comics show!  I don’t care if it’s some local promoter, or part of a multi-city circuit.  It can be a Comics Arts Festival, a Comic Con, or just something held at the local library or Lions hall.  Or even a comics club that meets after school!  It’s about making comics easier to find.  It’s about creating networks and community.  It’s about validation.  It’s about celebration!

ALSO!  If you’re an illustrator working in comics, you should be at arts festivals.  If fantasy and science fiction illustrators can do that successfully, comics creators can as well.  If you’ve got posters, t-shirts, and all that etsy stuff at your artist alley table, then you should consider renting space at arts fairs.

8)  I want more comics evangelists!  I love spreading the good word wherever I go.  But I’m a weekend warrior, attending about ten comics shows a year.  I’m not a circuit rider. I’m not traveling overseas (although I would love to!).  We need more people out there speaking and talking and listening.  We need more cultural organizations sponsoring cultural exchanges.  We need friends telling their friends about great stories they have read.  We need activists willing to testify about the inherent worth of comics.  We need creators willing to visit schools (not for the faint of heart!) and talk to students and educators.

9)  We’ve established a presence in school libraries.  Now we need to convince the art instructors.  I’m not in this sphere.  I talk to librarians, but I don’t know many in the art education community, unless they’re also comics creators. If we can get art instruction in grade schools, we can encourage kids to be creative earlier.  There are various “comics in the classroom” programs out there already, and comics clubs at schools have been in existence for decades.  Do the national conferences discuss using comics?  I’m fairly certain…all it takes is an art instructor/comics fan getting approval from an administrator to teach a class.  Add in the encouragement from state legislation regarding multicultural education and cross-disciplinary learning standards, and comics fits in quite nicely.

10)  We need more ideas.  I can only think up so many crazy ideas.  We need more people asking “What if…” and “How about…?” and “…and then what happens?” We need more thinkers and dreamers and doers.  Got an idea?  Share it below!  Meet some friends for morning coffee or happy hour drinks. Maybe hold a mini comic con cocktail party!  Compare and contrast.  Discuss amongst yourselves.   Just drop us a line when you do.  Why should you have all the fun?!  Besides, we’ll probably have a few suggestions of our own!

Written by: Jimmy Palmiotti and Matt Brady

Art by: Dominike “Domo” Stanton

Colors by: Paul Little

Letters by: Jim Campbell

Publisher: Boom Studios

I came into Big Con Job #1 cold: Amanda Conner’s lively cover art shows a bunch of aging space-opera stars at a convention table. Their larger than life TV personas are depicted on banners that stretch high behind their real life counterparts; looming over the actual people behind the clearly much younger characters. The images overwhelm and diminish them. It’s a great piece of art because on first glance it has a self-aware, lighthearted look to it. After reading the issue, however, that cover takes on a much darker tone.

Palmiotti and Brady have created a group of characters instantly familiar to fans of comic books, science fiction and fantasy in general: aging TV stars wearily working the convention circuit to earn their daily bread. There’s the buxom, Princess Leia-like love interest to the pulpy, Captain Kirk-ish Buck Blaster in the aptly-named series ‘Treck Wars’. The pair look out into a sparse audience that has turned on them: asking accusatory, confrontational questions and demanding answers from the actors (Blaze Storm and Danny Dean) who obviously had very little input on their character’s development.

There’s nothing lighthearted about the look Big Con Job’s writing team provide into the hardscrabble lives of the increasingly obsolete actors. They can’t pay their rent and are getting evicted; they’re getting stiffed on promised appearance fees and drooled over by the invasive fans they must cater to. In one particularly gut-wrenching scene, Poach Brewster, the man behind the show’s Spock-esque scientist, breaks up with his younger partner. She’s a beautiful actress on the rise, and he knows his melancholia is holding her back. As he clutches her pillow to his face the next morning, I actually turned my face away from the panels. I keenly felt the anguish of these characters. I’m sure the recent loss of Leonard Nimoy added poignancy to Brewster’s story; thank goodness Nimoy had a rich artistic life post Star Trek.

Some intensely heartbreaking scenes are still to come. A warning: if you struggle with depression, or are just having a rough day, you might want to read this issue when the clouds disappear. But you should read it. I was shocked by the unexpected depth, not just of the plot but also of Dominike Stanton’s art. It seemed to subtlety change from page to page, morphing so the characters and settings matched the tone of the story. In the convention scenes, where the actors put on their best imitations of happiness and nostalgia, the art becomes rounder, and more stylized. When Dean and Brewster try to drink away their pain, the images seem to stretch slightly, giving them a more strung-out look.

It all lays the groundwork for a strange heist scheme, which name-checks the San Diego Comic Convention just before the book ends. Most heist narratives waste little time in defining the “why” of the robbery or con-job; it’s enough to know that money is at stake, or perhaps a loosely-sketched blackmail scenario. Not so in Big Con Job. The why is painful, understandable and relatable. Comic readers may not be washed up actors well-past their 15 minutes of fame, but they have loved the characters portrayed by those people. Have traveled with them in their hearts and minds to distant lands and planets; but will they follow them past the adventure scenes and epic battles through the dismal struggles of the real-world people behind the fame?  To see what likely-illegal schemes that desperation and tragedy can push a person to consider? For my part, I’m ready to watch this group break bad: I can’t look away.

Written by: Ryan Ferrier

Illustrated by: Devaki Neogi

Colors by: Neil Lalonde

Letters by: Colin Bell

Publisher: Boom Studios

The time period of Boom Studio’s limited series Curb Stomp is somewhat tough to pin down. The clothing styles vacillate from the 50s through the 70s, which of course form the template for the hot styles of today. The convenience stores have a modern look, as does the one television set I spotted (there’s nary a cell phone or a computer to be found). At least for now, it doesn’t really matter: Curb Stomp traffics in a genre defined by the pulp novels and exploitation films of those aforementioned eras, so it makes sense that the look of it is something of a review of these periods.

The story itself is also somewhat timeless:  several marginalized neighborhoods surrounding a large city are defined by the gangs that rule them. Newport gang “The Wrath” runs guns and Bayside crew “The Five” runs drugs, leaving the working class people of Old Beach caught between the two. And that’s where the all-woman gang “The Fever” come in. Rather than junk or firearms, The Fever deal justice: with bats, fists and switchblades. “The cops don’t come to Old Beach,”
explains gang-leader Machete Betty,” our justice is D.I.Y.” Rounding out the crew are Violet Volt, Daisy Chain, Derby Girl and Bloody Mary. These ladies are fiercely loyal to each other, as much friends, pillaging each other’s collections for punk rock records, as they are a badass gang of broads who fight dirty.

Though the moniker and set-up are firmly grounded in girl-gang pastiche, the racial make-up of the The Fever is a breath of fresh air. Though not explicitly stated, at least three of the group appear to be non-white: Bloody Mary is asian, Violet Volt is black and Machete Betty just might be latino if the cover art is representative. If it seems odd that I’m so unsure of their ethnicity, you just have to see the comic for yourself: Neil Lalonde has had a field day coloring it. His use of bright and contrasting hues gives the book a pop-punk look, an Andy Warhol sensibility. This really worked for me, especially during a scene in which a crooked city politician makes an alliance with the leaders of The Wrath and Five gangs. There, Lalonde’s use of sickly greens and yellows sets the perfect tone.

Speaking of the art, let’s talk about newcomer Devaki Neogi’s beautiful work on this issue. While we’ve seen some very lovely and modern main-stream comic styles from other Boom titles released this year, Neogi’s art reminded me powerfully of the work of seminal indie comic artists like Charles Burns and Daniel Clowes. The characterizations of the Fever members are sexy, but powerful. These ‘aint your silver-age pin-ups. The clothing and styles the individual Fever members sport seem authentic, if a little showy.

And what of the violence? With a title like Curb Stomp, I worried that it might be handled in an exploitative way — in-step with the exploitation films that lend the book it’s look. Not so. There’s an interesting (if a tad unrealistic) truce amongst the gangs that disallows the use of firearms on each other, leaving skirmishes to be settled with fists and bats rather than drive-by’s. The titular scene forms the spine of the tale: and leaves the perpetrator sick to their stomach. Ferrier plays his plan for the four issue series close to the chest, leaving this first installment to mostly introduce the characters and define the borders of the city and it’s denizens. In our  recent interview with the series creator, Ferrier stated the series would have “real social issues and…a lot more messages in it.”  The loose sketch of the story is interesting, and if the later issues match the intensity of the art it might be a very interesting series.

By Matt O’Keefe

Ryan Ferrier jumpstarted his comic book writing career with the self-published Tiger Lawyer in 2010. In it he playfully poked at the wide breadth of interpretations of licensed characters, both story-wise and artistically, by splitting his creator-owned comic into two parts: one goofy and broad and the other dark and gritty, but both about the same protagonist. From there, Ferrier has gone on to build a career out of comics in both the styles he introduced in Tiger Lawyer #1. He balances writing more eclectic comics like D4VE from Monkeybrain and soon in print from IDW with darker ones like Brothers James and the upcoming Curb Stomp and Sons of Anarchy for BOOM! Studios. I spoke to Ryan about his humble small-press beginnings and speedy rise to publishers like Monkeybrain, BOOM! and IDW.

Art by Felipe Torrent.

I thought the split between the fun and the serious in Tiger Lawyer was really clever. What made you decide to go that route?

It wasn’t planned; it just kind of happened. It started as a joke. I posted the script online for the funny half and Matt McCray, the artist, really got into it and said we should make it into a comic. So we did it and it steamrolled from there. That was all unplanned. After that half of the comic was completed I decided I wanted to put out a full issue and not just an ashcan, and at the time I really wanted to work with Vic Malhotra, whose art I just love. So we paired up and took it in a different direction with the crime noir more serious half. Because it was so unplanned we didn’t feel that we had to do it all fun [like the first half] and we could just do whatever we wanted with it. It was just comics people kind of goofing off, jamming with it. It just kind of took off from there. People dug it so we kept doing it.

Art by Brian Level.

How’d you get people to pay attention to Challenger Comics when it first started up?

It has (or had, I haven’t touched it in a while) a pretty small following, but the people who did follow it were really cool and excited about it. And I think a part of it was how everyone involved in Challenger Comics had already worked hard for years trying to “break in.” So each person that contributed kind of had their own equity in the sense that they all had people rooting for them and followers from their other work. And it can’t be understated how important social media is for creators just starting out. Twitter’s just been amazing about getting the word out and spreading links around and getting attention. So it was kind of a culmination of all those different things. And the first year that we did Challenger we put out just a ton of comics. I had several banked up from before the site had even launched, and in the first year we had over a dozen [on the site]. We hit the ground running, which is now kind of biting us in the butt because Challenger slowed down a lot. I think that’s partly because everyone involved is seeing bigger work. So it’s a lot harder for any of us to make a free short because we’re just so busy right now.

Yeah, I saw that like three people from Challenger Books have had books published Monkeybrain?

Yeah. Monkeybrain was really cool. We all kind of got on that Monkeybrain train this year and that was just a really interesting transition. And I’m even seeing now that a lot of people who were or are involved in Monkeybrain stuff are catapulting to other things like Mike Moreci, Ryan Lindsay and Paul Allor. They’re all getting big work now so I think i think Monkeybrain’s a logical next avenue for people putting all their work online and getting their work out there independently like with Challenger. But at the same time Monkeybrain has top names doing books there. Gabriel Hardman has Kinski and Joshua Williamson has Masks and Mobsters. The closest thing I can equate Monkeybrain to, and I use this comparison a lot with Challenger, is that it’s a really cool online convention for people really into making interesting comics their own way.

Art by Fiona Staples.

D4VE is coming out from IDW as single issues, right?

Yeah, that starts in Mid-February.

Why the shift from graphic novels to single issues for a Monkeybrain book?

You know, I’m not entirely sure. I’m certainly very cool with it. I think when I first started talking with IDW we were talking under the assumption that it would go right to trade. I can’t speak for Alison [Type] or Chris [Roberson], who run Monkeybrain, or anyone at IDW but I think that D4VE has had some good feedback and I think people dig it. At least I hope that’s why they want to do it in singles. But yeah, I’m interested in seeing how it does in a different market. Although at the same time there’s not too much difference between putting out a book at Monkeybrain and putting out a book in print with the exception of page count. That’s something a little bit different in the case of D4VE because of its digital roots. Some issues run a couple pages short, some run over. So that’s really the only kind of logistical challenge, but yeah, I’m really excited to see how it all plays out.

Art by Valentin Ramon.

How did you tackle the page count challenge?

Well, in the case of D4VE with IDW we’re doing a whole bunch of new backmatter, so every issue is going to have some really cool original stuff. I know Issue 1 has a couple pin ups but moving forward with Issues 2-5 there’s going to be a whole bunch of cool stuff that me and Valentin [Ramon, the artist] are working on right now. And we’re doing all-new covers as well. I think each issue is going to have 3-4 variants and Valentin did a whole row of covers that connect to each other. It’s pretty exciting

Do you worry if cheap digital will cannibalize the sales for the print version?

That’s a really good question. I have thought about that many times, and I honestly don’t really know what to expect because this is also my first book at a bigger publisher. It’s my first time solicited in previews and being in regular comic shops and being on the shelves and stuff like that. Up until now I’ve just been super indy swinging it on my own, so I’m really curious to see how it goes. I think we’re still in a period of feeling out digital comics and I think there’s still a really big audience that is print only and an audience that’s digital only. I’ve heard lots of people say that they’re excited to read D4VE but they’re print people so they’ll get it once a trade comes out. So I’m hoping that [the print version finds an audience]. But at the same time I’m really just happy to have anyone read it, whether it be on ComiXology or the print books. I hope they buy the print books because I want them to be successful and I just quit my day job so [laughs] I would like to keep some money and hopefully it snowballs into more work. But I’m kind of not worried too much about it. More than anything, I’m grateful to have anything out. It’ll be interesting.

Art by Devaki Neogi and Neil Lalonde.

How’d you land a miniseries at BOOM Studios?

That’s a good question. I think I’m still figuring that out [laughs] but BOOM is awesome I love BOOM very much and they have been really really good to me. I guess long story short was that I met BOOM at a convention a few years ago and just started talking to them and some of their peoples. I actually started out lettering for BOOM. I do a lot of lettering still, and that for me has been a really good way to meet people in the industry, get experience and talk to editors. I don’t want to say sneak in through the backdoor because there’s no such thing, but for me lettering stuff was a way to build a relationship with editors and other creators. So yeah, that’s more or less how it happened. I started out lettering RoboCop two years ago and they were really nice to give me work and I’ve just been pitching stuff to them for awhile now and they were really stoked about Curb Stomp. Now that’s coming out, I think, two weeks after D4VE.

Art by Brian Level.

Curb Stomp seems to to be in a somewhat similar vein to Brothers James. Is that accurate?

I think in the sense that it’s not at all like D4VE or Tiger Lawyer you’re definitely on the right track. I think Brothers James is a little more of a genre book. I kind of hate using that term, but it’s really grindhousey pulpy. It knows what it is, it knows it’s in that cinematic, gritty world. I think that, if anything, Curb Stomp has a little more brightness to it. Which is really weird because Curb Stomp deals with more real social issues and there are a lot more messages in it than there were in Brothers James. And I think that Curb Stomp has a wider array of characters and different kinds of characters. That’s not at all to put down Brothers James because I love Brothers James. That was like my first passion project and I love what Brian and I have done with it; it was one of my favorite books to work on. But [Brothers James and Curb Stomp] are similar in that they’re really ultra violent but not in an offensive way, I hope. They’re more serious books and they’re more gritty. But Curb Stomp has a lot of humor and atmosphere and interesting and fun character stuff.

Art by Toni Infante.

You mentioned the violence isn’t offensive in Curb Stomp and Brothers James. The violence in the Sons of Anarchy TV show is offensive to some people. How do you address that in the comic version? 

That’s a very good question. It’s very, very interesting writing Curb Stomp and Sons of Anarchy at the same time because in Curb Stomp there are a lot of my beliefs and a lot of real issues that we’re tackling. And not to fault Sons of Anarchy, but it knows what it is and it knows the kind of content that it has. So there are a lot of differences in how to approach Sons of Anarchy as opposed to Curb Stomp. Like, if I wrote the kind of violence in Sons of Anarchy that I write in Curb Stomp, it wouldn’t feel like Sons of Anarchy. But at the same time I think [Sons of Anarchy] is a modern book. It’s a really great show so there’s wiggle room there, but there’s a distinct difference in how to approach both of them. I’m about an issues into Sons and it’s been a really interesting experience. Although they’re both in the same wheelhouse as gang-related, violent, kind-of-thriller books they’re like apples and oranges in terms of what headspace I need to get into to write them.

Your career has been progressing at a steady clip. Have you been following any sort of game plan to get where you are now?

Oh, man. That’s a tough one. I think it’s very, very apt that you ask me this today, because I finally came to terms that I’m going to quit my day job in a few weeks. I’m at that point in my career when it’s really, really fucking terrifying. This is it and I’m either going to fail spectacularly or at best kind of keep my head above water. But I think the game plan… lettering’s helped out a lot, but it’s not something that you can rest on entirely, just hope writing gigs come out of it. Over the past six or seven years I’ve made a lot of sacrifices and just worked myself to the bone. That’s what you have to do; you have to work so much and for very little. You have to work and know that most of [what you’re working on] is not going to get published. You just have to kinda hope that you get good and nurture relationships. There are so many things that affect a career. There are so many different factors that go into getting a comic book series greenlit. I honestly don’t really know anything beyond that you just have to hustle. So that’s kinda what i’m going to keep doing. I’m not going to slow down now that I don’t have a day job. After taking the leap you just have to hustle ten times faster [laughs].

You can find Ryan Ferrier on Twitter and Tumblr. D4VE #1 just went on sale last week and Curb Stomp #1 comes out tomorrow 2/25. 

By: Lindsey Morris

Lesson #1 : Appearances can be deceiving. 

Help Us! Great Warrior is the latest effort from cartoonist Madeleine Flores, who took the strip from humble beginnings on Tumblr to the eight-issue limited series it now has with BOOM! Box. The comic found a strong following quickly when it was introduced online, so it’s no surprise that this new iteration has already seen acclaim and success. Who wouldn’t be able to relate to a lumpy warrior whose main concerns are looking cute, eating junk food, and defeating evil?

Lesson #2 :  The sooner you beat the baddies, the sooner you can have dessert.

Flores and colorist Trillian Gunn create a landscape of pastel imperfection where monsters roam freely, sleepy time is mercilessly interrupted, and there is just never enough cake to go around. A cruel world, indeed. The titular Great Warrior is constantly called upon to help fight demons, but sometimes she just has better things to do, you know? All work and no play never worked out for anyone.

Lesson #3 : Honesty is the best policy. 

From lamenting her lack of deodorant, to trying to pawn off heroic missions on her friends, Great Warrior is a charming goofball of a lead character. Her supporting cast of ladies, Hadiyah and Leo, bring personalities that help balance the levity of the book, offering more serious tones to the mix. Between the three of them, and Great Warrior’s new companion Buckets, they make a ragtag group of champions that will surely dominate the day in the issues to come.

Help Us! Great Warrior #1 is an excellent introduction to a great all-ages comic steeped in fantasy, snacks, and friendship.

By Davey Nieves

CLUSTER #1

Story: Ed Brisson

Art: Damian Couceiro

Color: Michael Garland

Publisher: Boom! Studios

Given the rash of criminal activity celebrities get away with dominating headlines today, Cluster feels like a timely commentary on current events. Ed Brisson’s story follows the semi-celebrity daughter of a politician, Samara Simmons. We pick up Samara’s story in the middle of her hitting rock bottom as she’s arrested for operating a vehicle under the influence after the accident she causes kills someone close to her. While someone like her in the real world might get away with simple community service; in Brisson’s dystopian future any crime that involves weapons or the death of another person is an automatic life sentence in prison. In a world where laws are absolute, appeals take the form of a 15 year military service suicide mission.

Prisoners who sign up for the program are taken to Midlothian, a habitable planet the government has gone to war over against an alien race known as the Pagurani. Just when the circumstances couldn’t get any bleaker, prisoners are equipped with a “punch” in their chest. When sent on missions, the device must be checked into the prison within 24hrs or the prisoner will excruciatingly die from internal organ liquification. By the end of the first issue all hell breaks loos on Samara’s first mission and she along with a group of prisoners find themselves in a race against time to keep their insides from turning to strawberry Quik.

The opening chapter of Cluster is a bit predictable but solid all around. Brisson lays a lot of exposition down in these pages but manages to keep it from crossing into boredom. We still don’t see the reasons to root for Samara, but the premise is interesting enough to warrant a return for issue two. Hopefully as the series goes on and the supporting cast become more fleshed out Samara’s redemption story will add more layers to the character.

Damian Couceiro’s art continues to evolve from his previous work on Full Moon Fever and Murder Book. His sequentials are on point and the hard boiled action scenes are superb. Where his work could be ramped up is in the character designs themselves. A story like Cluster is a world that’s being designed and an artist should take big chances when illustrating on that type of scale, which is an issue for the creative marriage of writer and artist to tackle.

Cluster is an intriguing premise that strives to combine the hopelessness of a prison movie with the action drama of survival story. Issue one doesn’t execute to it’s full potential but succeeds enough to see if they can work out the kinks in the next chapter.

By Davey Nieves

Munchkin #1

Writers: Jim Zub, Tom Siddell, John Kovalic

Illustrators: Mike Holmes, Rian Sygh, John Kovalic

Colors: Fred Stresing

Letters: Jim Campbell

Publisher: BOOM! Box

The world of table top card games is a universe in and of itself. Much like exploring space you have to be willing to come into contact with any life forms you discover. My sea crab nature prevents me from doing so but I can appreciate the cunning and strategy involved in crafting a game like D&D, Magic The Gathering, or Cards Against Humanity. Apparently I’m not the only one; BOOM! Studios BOOM! Box imprint decided to do a comic book series based on the popular card game Munchkin.

Originally a satire of fantasy roleplaying, the game has since taken on non-fantasy and non-gaming elements, and the new comic series is a direct reflection of that. For anyone that’s never played Munchkin; the game is more of a parody take on card gaming, only with a purpose. Kick open the door. Kill the monster. Steal the treasure. Screw over everybody you come in contact with. Welcome to the quirky world of Munchkin. The book features four stories set in and around the world of the game, featuring Spyke, Flower, and all the other characters, monsters, and settings players have come to love.

Let’s just talk about the best and worst of the stories found in this first issue, because there’s a fit for each. Jim Zub writes a great six page story dealing with one of the game’s most prominent themes, betrayal. One experienced character seemingly guides a noob through a dungeon as he’s simply trying to level up. The jokes in the story are sharp enough that you’ll ignore the “saw that one coming” ending. Tom Siddell’s “Humans Got No Class” story definitely lacks the punch that the others in the book capture. The story is about a group of players trying to lure their friend into joining the game only for the rug to be pulled out from under them. While it has its own charm, the punchline of the story just doesn’t make you laugh as much as the other tales did. Tom also writes a three page opening called “What is a Munchkin?” that’s hilarious.

For a book that has three different artist; the style feels universal and not one bit out of place in this cover to cover satire on gaming tropes. Mike Holmes, Rian Sygh, and John Kovalic each illustrate a story (sometimes two) and each capture necessary whimsy the sight gags need to keep the readers attention. While Rian’s work is probably the smoothest of the three none ever feel foreign compared to the others.

Overall Munchkin is a fun read for fans and non-fans alike, but any lasting appeal will only land with hardcore fans. Bonus, there’s even an exclusive Up A Level card for players that ships with the first print of every issue. BOOM! Box knows who they’re selling this book to and have designed it that way. If you already know and enjoy the world of Munchkin go pick this up.

If you remember the word munchkin as something uncle Jesse called Michelle on Full House then follow Dave on twitter@bouncingsoul217

By Davey Nieves

In 2015, BOOM! Studios celebrates 10 years of publishing comics, and to commemorate this milestone, the publisher has assembled what it considers to be its top 10 moments of the past decade—all highlights that contributed significantly to the company’s founding, rise, and continued growth. Straight from the mouth of BOOM! it reads as a chronological time line of the publishers history.

December 2004: Comics writer Keith Giffen, in Los Angeles for a comic book convention, has a beer on a Saturday night with Ross Richie and pushes Richie to start his own comic book publishing company.

June 2005: The first BOOM! Studios book, Zombie Tales #1, ships (6/29/2005), showcasing work from Mark Waid (Daredevil), Keith Giffen (Future’s End), and Dave Johnson (100 Bullets). BOOM!’s focus on original content over the next decade spawns bestsellers like Irredeemable, The Woods, and Lumberjanes as it launches the careers of next-generation talent like Rafael Albuquerque (The Savage Brothers, American Vampire), Emma Rios (Hexed, Pretty Deadly), Aaron Kuder (Key of Z, Green Lantern: New Guardians), Jordie Bellaire (Malignant Man, Captain Marvel), and Russell Dauterman (Supurbia, Thor), among many others.

December 2006: BOOM! Studios publishes its first licensed comic book, Warhammer: Damnation Crusade #1. BOOM! goes on to work with some of the biggest brands in the world, including 20th Century Fox, Disney, Cartoon Network, MGM, Peanuts Worldwide, Paws, and The Jim Henson Company.

July 2007: Mark Waid is named Editor-in-Chief and goes on to become the company’s Chief Creative Officer, contributing numerous original titles to the company’s lineup before returning to freelance writing in December 2010.

March 2009: The first KaBOOM! (previously BOOM! Kids) comics, Incredibles: Family Matters #1 and The Muppet Show Comic Book #1, ship (3/25/2009). BOOM! Studios is the first Disney licensee to be granted the ability to generate new canon material for any Pixar property.

January 2010: Voted on by comic shop retailers, BOOM! Studios wins its first “Best Publisher Under 4%” Diamond Gem Award for 2009. It is awarded this honor four more times since, earning the award five out of the last six years. The publisher wins its first Harvey Award for Roger Langridge’s work on The Muppet Show Comic Book (8/28/10) that same year and its first Eisner Award for Shannon Wheeler’s I Thought You Would Be Funnier a year later (7/22/11).

June 2013: BOOM! Studios announces its acquisition of Archaia (6/24/13) (publisher of titles like Mouse Guard, Jim Henson’s Tale of Sand, and The Killer), adding the company as a wholly-owned imprint alongside its other imprints, KaBOOM! and BOOM! Box, and expands the range of diverse content Archaia publishes.

August 2013: “2 Guns” opens in theaters (8/2/13) starring Denzel Washington and Mark Wahlberg. The film is based on the BOOM! Studios five-issue series created by Steven Grant and illustrated by Mateus Santoluoco.

October 2013: BOOM! enters into a first-look deal with 20th Century Fox for feature films (10/2/2013) and then signs a first-look deal with Fox for television the following year (8/20/2014).

February 2014: Former DC Comics President & Publisher Paul Levitz joins BOOM! as a consultant and a member of the Board of Directors. Levitz categorized his role as the voice of experience that says, “Well, we tried to attack that problem this way [at DC Comics]; it didn’t work that way. Maybe times have changed, but let’s think about what the issues were and try to find a way around what the dilemmas were.”

As for the future, Boom! Studios has an entire year full of announcements lined up and are already off to a great start with their new book Burning Fields. It looks like the next ten years could be even bigger for the little publisher that could.

By Davey Nieves

BURNING FIELDS #1

Story: Michael Moreci, Tim Daniel

Art: Colin Lorimer, Joana Lafuente

Publisher: Boom!

In 2014, Curse did something I didn’t think possible. It told a werewolf story that didn’t suck. The 21st century has been all about glamourizing horror to some extent. It was awesome that a book like Curse could come along and craft a raw story about one of the monsters that’s never really received their due, the Werewolf. Now in 2015 the team of Michael Moreci, Tim Daniel, and Colin Lorimer are back to work through more of their demons while sending a chill up your spine.

Their new book, Burning Fields is an analog combination of old school horror like The Thing in combination with the geopolitical drama of a Zero Dark Thirty. Where it plants its feet and sets itself apart is in the perpetual insecurity these pages bring and that is far from a bad thing.

Burning Fields is the story of Dana Atkinson, a dishonorably discharged army investigator, who’s pulled back to the Middle East when a group of American oil technicians disappear under bizarre circumstances. Dana is a true badass with the inner demons to match. In the first few pages we see her razor wit in arguing with her former commander and later her toughness as she dispatches would be assassins. The first issue also touches on the unstable political nature of the Middle East as we see both the American Military and Iraqi people’s side of the conflict. Indeed this entire opening issue leans heavy on tensions of various kinds from interpersonal to political and still manages to let the characters build through this tense fog.

Colin Lorimer’s illustrations are perfect for a dramatic horror story like this one. He’s no stranger to emotional drama having done books like X-Files, Harvest, and of course Curse. What sets Burning Fields apart from his previous works is how he masterfully brings out the necessary emotion on a page and seamlessly shifts it to a different mood without jarring the audience. On one page he can capture the turmoil in Dana’s eyes to evoke distress while on the very next page call forth the restlessness of local Iraqis in a marketplace standoff. To go along with this exquisite line work are Joana Lafuente’s colors. She uses tones similar to what Patricia Mulvihill used towards the end of 100 Bullets and gets the same moodiness on the pages in a very horror friendly way.

If there’s any flaw with the book it’s that it may not feel necessary to have eight issues by the end of the story. My only minor gripe about issue one was that I’d like to have known more about the supernatural evil Dana uncovers in the oil field which could have cut it down to seven issues. Being fully on for all eight issues I hope they allow all the volatile elements in the story to be breathe enough.

Boom Studios isn’t known for the number of original books but the quality of them. Burning Fields has the potential to not only join Irredeemable, Incorruptible, 2 Guns, and Curse but also surpass them.

Talk to Davey on Twitter about Comics, cats, and relationships. He prefers it be about cats. 

By Bruce Lidl

Lost somewhat in the initial burst of news from last week’s ImageExpo was the announcement of a new Image Humble Bundle offering, beginning that morning and lasting until January 21. The “Humble Image Comics Bundle 2: Image Firsts” is a massive collection of digital comics that can be purchased for whatever price the consumer chooses. Included in the basic bundle are the beginning issues of a number of recent series, including Alex + Ada, Deadly Class, C.O.W.L., Elephantmen 2260 Book One, Minimum Wage, God Hates Astronauts, Genius, and Satellite Sam. Paying at least $15 also gets you the slightly higher profile titles The Manhattan Projects, The Wicked + The Divine, The Fuse, Velvet, Sex Criminals, Wytches, The Walking Dead Vol. 22: A New Beginning (#127-132), The Fade Out #1, Nailbiter, Stray Bullets, Southern Bastards, and Shutter. And finally, a stretch price of $18 brings The Walking Dead Compendium One (#1-48), East of West: The World, and Saga Book One (#1-18). For anybody at all interested in Image brand comics, the price truly cannot be beat, especially as the retail price of the comics would be over $300 according to Humble Bundle. Also, purchasers are strongly encouraged to mark a portion of their price paid towards charity, in this case the comics creator focused Hero Initiative. As of this evening, the Image bundle has generated almost $318,000, with over five days left to go.

The current offering is the third Humble Bundle to include Image titles. The first time Humble Bundle included any digital comics was the Image bundle in April 2014 that generated almost $400,000 revenue in two weeks, with titles including Saga, Walking Dead, Fatale, Invincible and Chew. Image imprint Skybound also did a special Comic-Con Humble Bundle in July 2014 as well, which was almost entirely Kirkman based titles such as The Walking Dead, Invincible, Thief of Thieves, and Super Dinosaur. That bundle alone generated $232,000.

Other comic publishers that have released Humble Bundles since April include Dark Horse, Oni, Dynamite, BOOM!, IDW, Top Shelf and Valiant. According to Kelley Allen, Director of Books for Humble Bundle, comics publishers are eager to work with them, and she has a number of ebook and comics bundles planned in 2015 alongside Humble Bundle’s traditional gaming focused offerings. The average revenue number for the comics based bundles so far has been $288,000 for the 14 day period. According to Allen, non-gaming bundles allow Humble to “break out from their core gaming audience” but from the comics perspective, they can also create “enormous crossover” by getting great comics in front of the very large Humble Bundle community. With a very clearly defined, and devoted, young male demographic, Humble Bundle chooses comics with both a logical appeal, like Transformers, Star Wars and The Walking Dead, but Allen also curates high quality titles that may stretch demographic borders. She “pushed very hard” to include titles like Sex Criminals in the latest Image bundle, trusting the Humble Bundle audience to appreciate an outstanding title, even without prior awareness.

While the Humble Bundles may help expand the reach of digital comics, they are also helping to encourage comics publishers to feel comfortable with forgoing DRM protections for their products. Humble Bundles, regardless of content, gaming or ebooks, do not use Digital Rights Management anti-copying technologies, both for philosophical reasons and from a practical standpoint. As Allen pointed out, why use DRM when the consumer could theoretically decide to purchase the content for one cent in any case? Even Dark Horse, which has been very reluctant to forgo DRM generally, was convinced to try not using it for their big Star Wars themed Humble Bundle in October and was rewarded with sales over $375,000 for the two week offering.

Fundamentally, the Humble Bundle “pay what you want” approach reflects exactly the insights independent game developers have learned over the years in regards to digital sales. Since their products are almost universally available to be pirated, often in formats that are actually *more* user friendly than the official versions, game creators have learned to embrace the concept of giving customers compelling reasons to purchase, in the recognition that they do not have to anymore. Distribution options like Steam and Humble Bundle provide explicit value beyond what a pirated version can give, whether through ease of use, personal connection to the creators, community recognition, charitable giving, etc. The Humble Bundle experiment really leverages the unique potential of digital distribution, as the pay what you want model could not really scale in a system that necessitated fulfillment and postage charges. With this almost “donation” type model there is no extra expense for the seller after the first sale, everything after that is essentially “profit.” And the possibility that the new readers exposed to the material may become fans, and go on to make further purchases, even print purchases in local comic books stores, only heightens the value of the Humble Bundle offering. We are likely to see a number of interesting comics based bundles in 2015 and we will learn if this kind of non-traditional sales can become a significant portion of publishers’ revenue, in much the same way digital has already established itself recently.

Boom!’s creator-driven Boom ox line is expanding next month with Help Us! Great Warrior from Madeline Flores. It’s based on her webcomic and follows a Great Warrior who keeps her village safe., and the appeal to the crowd that likes Lumberjanes is obvious.

Covers and variants:

Help Us! Great Warrior #1 Main Cover by Madeleine Flores

Help Us! Great Warrior 10 Years Incentive Cover by Shelli Paroline and Braden Lamb

(Full wraparound image shown)

Help Us! Great Warrior #1 Retailer Incentive Cover by MAiS2

Ed Brisson of Sheltered and Sons of Anarchy fame has just announced a brand new project over at BOOM! Studios entitled Cluster. The book follows Samara, the leader of a group of cons. Samara is sentenced to prison for her crimes, and then given an option to join to go kill aliens on a planet called Midlothian or stay in jail. Samara chooses to join the military cause leaving her stranded on a planet with a horde of baddies. Damian Couceiro, who has previously worked with Brisson on Sons of Anarchy and Murder Book, is joining the author with illustrations on the title.

Brisson elaborates further on the premise in this quote from CBR who also announced the title:

I don’t want to give away too much, but will say that a lot of the people serving time have bogus sentences. In the story, you can trade your life sentence in for a tour of duty — get out in 15 years. But, what constitutes a life sentence? In a future where both the military and prison system are privatized, where they feed into one another, is anyone going to get a fair shake?

The author also teased that there may be something deeper going on than meets the eye in Cluster:

Our lead character in the book, Samara, is someone who could have avoided being there. Her father is in a position where he may have been able to prevent her from spending time in prison, let alone serving 15 years fighting aliens on a distant planet. However, she’s there because she has a desire to pay penance for what she’s done, something that we don’t quite learn until much later on.

Cluster #1 is available at finer comic shops on February 4th.

This thing is going on with a new publisher called Joe Books, and the credits on Boom! Studio’s long ago (2010) Darkwing Duck series. Yes. The Outhouse has a succinct round-up but as best as I can make out, here’s what happened:

* In 2010 Boom! published a Darkwing Duck comic book, edited by Aaron Sparrow and written by Ian Brill.

* Sparrow left Boom! after three issues were published. Depending on who you ask, he either left notes for Brill or actually wrote most of the subsequent series, leaving Brill’s name as writer on the credits.

* In the intervening years, Sparrow and Brill engaged in an internet kerfuffle over who actually wrote these books. (Links are in the Outhouse piece, and I’m not gonna look them up.)

* In recent days, a new publisher has emerged, Joe Books, led by Adam Fortier, formerly of Speakeasy and Boom and several other places. While they haven’t been making a lot of pr moves, they did announce a Darkwing Duck omnibus in this month’s Previews…with Sparrow rewriting it to bring it closer in line to his vision, as related by artist James Silvana:

Aaron Sparrow, the editor and driving force of the DW comics has gone back and painstakingly rewritten the book to bring it in step with the classic Disney Afternoon series. I also had the opportunity to revisit the art and make this edition the true Terror That Flaps In The Night. This omnibus also features the stellar work of Darkwing creator Tad Stones, artist Sabrina Alberghetti, writer Ian Brill, colorists Andrew Dalhouse and Lisa Moore, letterer Deron Bennett and cover artist Amy Mebberson.

* This led Brill to take to Tumblr to state how hurt he was by all this:

Currently a reprint collection of the Darkwing Duck comic that we worked on in 2010 and 2011 is being offered in Previews. In the announcement of this collection it said to be “painstakingly rewritten” to “bring it in step with the classic Disney Afternoon series.” We believe that this will not be the book that readers enjoyed when the series was originally published. We do not feel it is right to rewrite comics for a reprint collection. Since we feel this book will not reflect our intentions for the material we wish for our names to be removed from the book, and for our names to not be used in the promotion of the book. We have contacted Joe Books and made this request. This is our only and final comment about the situation. 

-Former Darkwing Duck writer Ian Brill and former Darkwing Duck editor Christopher Burns

* So heated was the controversy that former Boom! marketing director Chip Mosher chimed in on the situation with his own timeline, supporting Brill.

Could James, the artist on the book, have communicated with his good friend Aaron about each issue and then incorporated some of Aaron’s comments in future issues even though Aaron wasn’t officially involved in the series? Sure. I expect as much as they are very close. But that’s not “writing” or “co-writing.” Ian sat down at his laptop on every script. He broke down the pages and story beats and wrote the dialogue. That’s what writers do. They write!

It’s always disappointing in comics to see someone take credit for another’s hard work. I give Aaron a ton of credit for getting the series going at BOOM! and keeping the Darkwing Duck flame alive for the past three years. But I have real problems with him taking credit for Ian’s work and I think everyone who has written a comic would find it painful to have their former editor re-write their work without asking them about it first. It’s just a really sad, sad situation.

And there you have it.

What no one has come out and said is….IT’S FREAKING DARKWING DUCK, NOT THE WORKS OF SHAKESPEARE!

I poked around and found…passions running high on this topic! Disney fans seem to have taken up the “Sparrow Is The Original Author” campaign on various forums, which is…just like Disney fans. That is all I will say about that. I also understand that many times Disney proper tinkers with licensed work in various formats, and this may be one of those things.

Still…it’s Darkwing Duck! A character I worked on during my Disney years and loved very much. Gosslyn and Launchpad and Negaduck…it was a pretty good world. I’ve never read these new comics, but I’m sure they’re fine whoever wrote them, but my advice to Sparrow (who I don’t know) and Brill (who used to write for me when he was a journalist) is move on and create something of your own!

If you want a REAL Darkwing Duck scandal, read this post by the great Doug Gray on how I, as editor, ruined his marvelous “Darkwing vs. Fluffy Trilogy” stories from 1993! This was one of my favorite stories I got to edit at Disney Adventures, and I don’t remember why I made so many changes but…Doug, I’m sorry. I would do it all differently now.

I haven’t seen much press from Joe Books aside from some stuff on BC. The website is minimal. Piecing all this together it looks like they have the Disney/Pixar comics license for a while, so all I can say is: TALESPIN. IT IS TIME.

Boom! Studios is turning 10 in 2015, as we mentioned the other day. And Publisher Ross Richie has every right to make a victory lap—he;s stayed lean and smart, put out some good yarns, picked up some game-changing licenses such as Adventure Time, and even made a pretty good movie (Two Guns.) The 10th anniversary hoopla will be marked by special variant covers. Every new launch will have a special variant “10 Years” cover … but perhaps it’s best if I quote the press release to explain what is going on, because it’s a little complicated. But I’m sure the covers will look very nice.

Every launching issue in 2015 will include a uniquely designed “10 Years” incentive variant cover featuring work by one of 16 of the industry’s best cover artists. Each artist (or artist team) will provide all the covers to all of the newest titles coming out from BOOM! or one of its imprints (KaBOOM!, Archaia, and BOOM! Box), with the roster rotating each quarter. The special “10 Years” covers will be retailer incentives available to order for retailers for every 10 copies they order of the title’s main cover.
 
For the first quarter of 2015 (January-March), the artists are:
 
• All launching BOOM! Studios titles: Trevor Hairsine (Captain America, Eternal Warrior)
• All launching KaBOOM! titles: Joe Quinones (Harley Quinn, Big Trouble in Little China)
• All launching Archaia titles: Ramón Pérez (Amazing Spider-Man, Jim Henson’s Tale of Sand)
• All launching BOOM! Box titles: Shelli Paroline & Braden Lamb (Adventure Time, The Midas Flesh)
 
Cover artists for the remaining quarters of 2015 will be announced at a later date.
 
In January, new launching titles to receive the “10 Years” Cover treatment include:
 
• Burning Fields #1 (BOOM! Studios)
• Adventure Time: Marceline Gone Adrift #1 (KaBOOM!)
• Feathers #1 (Archaia)
• Munchkin #1 (BOOM! Box)
 
The cover images will be revealed closer to each title’s order deadline.
 
In addition, BOOM! will select one launching title each month and slip one, rare exclusive cover intermixed into every 100 copies of the main cover printed. Dubbed the Jackpot Variant, these special covers will show up randomly at any comic shop that orders at least one copy of the title. For January, that title is Munchkin #1, a new ongoing series from BOOM! Box based on the hit adventure card game. The Jackpot Variant cover for Munchkin #1 is illustrated by Evan Palmer (Cooking with Food).
 
Finally, should any of its new titles in 2015 launch with a final combined initial order of over 10,000 copies, BOOM! will unlock an additional 1-in-10 intermixed special variant that will ship with the main cover.
 
To help mark its 10th anniversary, BOOM! will include a new “10 Years” trade dress logo that will be featured on the covers of all its single-issue releases in 2015.

“We’re very proud to reach our 10th anniversary here at BOOM! Studios, so to celebrate, we wanted to make sure we included the people that helped us get where we are today: comics retailers and fans,” said BOOM! Studios Editor-in-Chief Matt Gagnon. “This yearlong program brings in some of the best artists in the industry and is designed to celebrate this milestone with all of our supporters. I can speak for our entire team when I say we’re looking forward to the next 10 years of publishing great comics!”

Comics biggest distributor Diamond has slowly been working to make Halloween a huge promotional day for comics shops, with special comics, contests and more. Let’s face it, it doesn’t take too much to get in the Halloween mood, and the promotion has been a big success. You can see a list of special Halloween comcis on the Halloween Comicfest website, such as this one spotlighting Boom! Studios spooky anthology with seasonal stories from Adventure Time, Fraggle Rock and more. This particular story features writing by Bryce Carlson and art by Frazer IRving in a VERY DIFFERENT Adventure Time story.

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As everyone knows, the worst thing about the Javits Center besides the oppressive low ceilings and lack of affordable food is getting away from it , since catching a cab on the West side is impossible and the 7 subway extension hasn’t opened yet. Sigh. But Uber will be there and they’ve teamed up with a bunch of comics companies  and Chevy to wrap nine cars. There will also be prizes and giveaways and …stuff. And if you tweet about your ride with the hashtag #chevynycc you may be named one of the 10 best photos. I believe this is the last day you can get a free ride however.

I’m told that getting an Uber at Javits is just as hard as getting a car, but you can bet a lot of people will be Ubering it up.

As part of the partnership, Chevrolet will wrap nine different vehicles that fans can Uber to New York Super Week, throughout New York City. Some of these cars will also be on display at the Javits center during NYCC. The full lineup of cars can be found below:

• BOOM! Studios – Chevrolet Cruze will be wrapped with various characters from Boom! Studios.

• Dark Horse – Chevrolet Volt will be wrapped in characters from the Fire & Stone comic book series featuring Aliens, Predator, Prometheus, and Alien vs. Predator.

• Image – Chevrolet Sonic will be wrapped with imagery from the new hit series WYTCHES, by comic superstars Scott Snyder and Jock.

• Valiant Entertainment – Chevrolet Equinox will be wrapped with artwork from the upcoming series The Valiant – by New York Times best-selling writers Jeff Lemire & Matt Kindt and Eisner Award-winning artist Paolo Rivera.

• IDW – Chevrolet Equinox will be wrapped with images of the famed Eric Shanower and Gabriel Rodriguez comic character Little Nemo.

• New York Super Week – Chevrolet Tahoe will be wrapped with New York Super Week artwork..

• Random House – Chevrolet Tahoe will be wrapped with classic characters and scenes from George R.R. Martin’s new book, The World of Ice and Fire: The Untold History of Westeros and the Game of Thrones.

• SEGA – Chevrolet Suburban will be wrapped with Sonic the Hedgehog and friends from SEGA’s upcoming Sonic Boom video games and animated series.

• TBS – Chevrolet Impala will be wrapped with characters from Seth McFarlane’s hit series American Dad.

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Fall approaches, which means that publishers are releasing new titles!

Boom! Studios and Archia have announced a new list of titles via catalog site Edelweiss, offering some interesting and fun titles for Winter gift giving! (Yes, you can give yourself a gift!  You’re a good person, and what better way to celebrate the end of a good year, or forget the end of an annus horribilis, than with a great graphic novel!)

Here is a barebones listing of titles!  Click on the links to see covers and sample pages!

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The Secret History Omnibus Volume 3
Jean-Pierre Pecau, Igor Kordey
FRONTLIST
September 2, 2014
Grades 10 And Up
$34.99 USD
344 pages
Color illustrations throughout
Hardcover
Comics & Graphic Novels / Historical Fiction
Series: Secret History
9781936393596, 193639359X

Summary: Four immortal brothers and sisters leap through time, consumed in an epic struggle to influence and shape the history of Western civilization.
Since the dawn of time, Dyo, Reka, Aker, and Erlin, the four Archons who head the Four Houses, have fought each other to control the fate of hunmankind. But times change, and an evil Fifth Archon, William of Leece, is attempting to bring about the Apocalypse. From Moses’ challenge to the Pharaoh to the origin of the Grail myth; from the Pope’s extermination of the Cathars to Nostradamus’ travels in Italy; from the Spanish Armada and the Great Fire of London to Napoleon’s conquest of Egypt; and finally to the Angel of Mons appearing over the trenches of World War I: a secret occult history of the world.
— —
Jim Henson’s Tale of Sand Screenplay
Jim Henson, Ramon Perez, Jerry Juhl
FRONTLIST
September 30, 2014
Grades 6 And Up
$24.99 USD
128 pages
Hardcover
Performing Arts / Screenplays
9781608864409, 1608864405

Summary: The lost screenplay that inspired Archaia’s Eisner winning Jim Henson’s The Tale of Sand.
Between 1967 and 1974, Jim Henson and his longtime writing partner Jerry Juhl developed three drafts of a screenplay for a feature length film called Tale of Sand. It is the only feature length screenplay written by Jim Henson that he was never able to produce in his lifetime. In 2012, Archaia published a graphic novel adaptation as realized by illustrator Ramón K Pérez which went on to win three Eisner Awards and two Harvey Awards. This is an incredible and unfiltered look behind the curtain at how Ramón K Pérez took Jim Henson and Jerry Juhl’s original 76-page screenplay and turned it into one of the most critically acclaimed graphic novels of the last decade. Pages of black-and-white artwork, layouts and the complete original screenplay make this a must-have for Henson fans, artists, and fans of the creative process. This beautiful hardcover features the final draft of the screenplay and 9 all new black-and-white pages illustrated by Ramón K Pérez that were cut during the production process of the original graphic novel. It also contains 19 of Ramón’s original inked pages from the graphic novel and 16 pages of layouts, plus never-before-seen drawings and artifacts created by Jim Henson from the Jim Henson Archives.
— —
Jim Henson’s Tale of Sand Box Set
Jim Henson, Jerry Juhl, Ramon Perez
FRONTLIST
September 30, 2014
Grades 8 And Up
$49.99 USD
256 pages
Hardcover
Comics & Graphic Novels / Media Tie-In
9781608864393, 1608864391

Summary: A limited collection of Jim Henson’s lost screenplay boxed for new and old fans alike..
Between 1967 and 1974, Jim Henson and his longtime writing partner Jerry Juhl developed three drafts of a screenplay for a feature length film called Tale of Sand. It is the only feature length screenplay written by Jim Henson that he was never able to produce in his lifetime. A Tale of Sand follows scruffy everyman, Mac, who wakes up in an unfamiliar town, and is chased across the desert of the American Southwest by all manners of man and beast of unimaginable proportions. Produced with the complete blessing of Lisa Henson, A Tale of Sand will allow Henson fans to recognize some of the inspirations and set pieces that appeared in later Henson Company productions. In 2012, Archaia published a graphic novel adaptation as realized by illustrator Ramón K Pérez which went on to win three Eisner Awards and two Harvey Awards. This is an incredible and unfiltered look behind the curtain at how Ramón K Pérez took Jim Henson and Jerry Juhl’s original 76-page screenplay and turned it into one of the most critically acclaimed graphic novels of the last decade. Pages of black-and-white artwork, layouts and the complete original screenplay make this a must-have for Henson fans, artists, and fans of the creative process. This beautiful hardcover features the final draft of the screenplay and 9 all new black-and-white pages illustrated by Ramón K Pérez that were cut during the production process of the original graphic novel. It also contains 19 of Ramón’s original inked pages from the graphic novel and 16 pages of layouts, plus never-before-seen drawings and artifacts created by Jim Henson from the Jim Henson Archives.
— —
Dead Letters Vol. 1
Christopher Sebela, Chris Visions
FRONTLIST
September 9, 2014
Grades 8 And Up
$9.99 USD
112 pages
Trade Paperback
Comics & Graphic Novels / Crime & Mystery
Series: Dead Letters
9781608864539, 1608864537

Summary: Waking up in a fleabag motel with bandaged arms and a revolver on his desk, Sam doesn’t remember a thing – not how he got here, where here is, or who he is. But the armed men knocking on his door do and Sam will have to use every trick from his forgotten repertoire to outrun and outsmart his way through a hardboiled wonderland of gang wars, femme fatales and big secrets. Creators Christopher Sebela (GHOST, HIGH CRIMES) and newcomer Chris Visions are two fresh voices that are about to take the industry by storm. Don’t miss out on a wholly unique take on crime fiction.
— —
The Woods Vol. 1
James Tynion, IV, Michael Dialynas
FRONTLIST
September 23, 2014
Grades 8 And Up
$9.99 USD
96 pages
Trade Paperback
Comics & Graphic Novels / Science Fiction
9781608864546, 1608864545

Summary: On October 16, 2013, 437 students, 52 teachers, and 24 additional staff from Bay Point Preparatory High School in suburban Milwaukee, WI vanished without a trace. Countless light years away, far outside the bounds of the charted universe, 513 people find themselves in the middle of an ancient, primordial wilderness. Where are they? Why are they there? The answers will prove stranger than anyone could possibly imagine. As fans of James Tynion IV’s work in the Batman universe (BATMAN ETERNAL, RED HOOD AND THE OUTLAWS), we were eager to publish his first original comic series. Plus, THE WOODS gives us that same eerie, small-town horror feel we get whenever we read a Stephen King novel. If you’re fan of teen conspiracy comics like MORNING GLORIES, SHELTERED, and REVIVAL, you’ll immediately be sucked into THE WOODS.
— —
Bravest Warriors Vol. 4
Pendleton Ward, Mike Holmes
FRONTLIST
January 7, 2015
Ages 8 And Up, Grades 4 And Up
$14.99 USD
128 pages
Trade Paperback
Juvenile Fiction / Comics & Graphic Novels / Superheroes
Series: Bravest Warriors
9781608864591, 1608864596

Summary: Join Beth, Wallow, Chris, Danny and Plum as they travel the multiverse saving folks and generally being totally rad dudes! Having to go undercover at a Miss Multiverse Pageant, will our heroes be able to save the day? Will they be able to figure out where all the missing brains are going? Who will sav–what was that again…MISSING BRAINS?! Based on the hit web series from ADVENTURE TIME creator Pendleton Ward! POWER! RESPECT!
— —
Adventure Time Candy Capers Mathematical Edition
Yuko Ota, Ananth Panagariya, Ian McGinty
FRONTLIST
January 13, 2015
Ages 8 And Up, Grades 4 And Up
$29.99 USD
160 pages
Hardcover
Juvenile Fiction / Comics & Graphic Novels / Media Tie-In
Series: Adventure Time
9781608864584, 1608864588

Summary: FINN AND JAKE ARE MISSING?! Don’t worry Candy Kingdom, Peppermint Butler and Cinnamon Bun will…protect…you? This is a mini-series you definitely don’t want to miss, with talent of Yuko Ota and Ananth Panagariya of JOHNNY WANDER writing our candied heroes and Ian McGinty of UGLY DOLL on art, there is nothing that can go wrong!
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Adventure Time Vol. 5 Mathematical Edition
Braden Lamb, Shelli Paroline, Ryan North
FRONTLIST
February 11, 2015
Ages 9 And Up, Grades 4 And Up
$24.99 USD
128 pages
Hardcover
Juvenile Fiction / Comics & Graphic Novels / Media Tie-In
Series: Adventure Time
9781608864799, 1608864790

Summary: Princess Bubblegum is facing a lot of trouble when one of her experiments backfire on her, the land of Ooo is in danger…and so are her friends! Without the help of Finn and Jake, it’s up to Princess Bubblegum to clean up her own mess, and hopefully save her kingdom in the process. This fifth volume of the over-sized, hardcover Mathematical Editions collects Adventure Time issues #20 through 24 at a newly reduced price of $24.99!
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Adventure Time Vol. 5 OGN
Zachary Sterling, Danielle Corsetto
FRONTLIST
March 11, 2015
Ages 8 And Up, Grades 4 And Up
$12.99 USD
160 pages
Trade Paperback
Juvenile Fiction / Comics & Graphic Novels / Media Tie-In
Series: Adventure Time
9781608864843, 1608864847

Summary: Finn & Jake wake up in the treehouse after having the same troubling dream of something calling their names. The boys find a little purple cube with a small face on one side. They soon discover that it’s able to fabricate and activate a little hovering prism, which transforms into a triangular screen, which they all start to watch together. It begin in the Ice Kingdom…Finn and Jake better be prepared for the adventure of a lifetime! Written by the super talented Danielle Corsetto (ADVENTURE TIME PIXEL PRINCESSES) and illustrated by amazing Zachary Sterling, this is going to be a crazy ride!
— —
Adventure Time Vol. 6
Ryan North, Braden Lamb, Shelli Paroline
FRONTLIST
March 11, 2015
Ages 9 And Up, Grades 4 And Up
$14.99 USD
128 pages
Trade Paperback
Juvenile Fiction / Comics & Graphic Novels / Media Tie-In
Series: Adventure Time
9781608864829, 1608864820

Summary: Finn is cursed! It looks like Magic Man is at it again and it’s up to our heroes to save Ooo before Finn forgets everything…again. This is going to be an adventure you’ll want to remember!
— —
Peanuts Vol. 5
Charles Schulz, Mona Koth, Vicki Scott
FRONTLIST
March 11, 2015
Ages 8 And Up, Grades 3 And Up
$13.99 USD
128 pages
Trade Paperback
Juvenile Fiction / Comics & Graphic Novels / General
Series: Peanuts
9781608864836, 1608864839

Summary: The entire gang has a chance to shine in this brand new volume of all-new PEANUTS adventures and classic Charles Schulz strips. Featuring stories starring the Snoopy and Woodstock, Linus, Lucy, Schroeder, Sally, Marcie, Franklin, Peppermint Patty, and Good Ol’ Charlie Brown! Peanuts volume 5 collects issues #
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Lumberjanes Vol. 1
Noelle Stevenson, Shannon Watters, Brooke Allen, G…
FRONTLIST
April 8, 2015
Grades 4 And Up
$??.??? USD
128 pages
Trade Paperback
Comics & Graphic Novels / Contemporary Women
Series: Lumberjanes
9781608866878, 1608866874

Summary: Friendship to the max! Jo, April, Mal, Molly and Ripley are five best pals determined to have an awesome summer together…and they’re not gonna let any insane quest or an array of supernatural critters get in their way! Not only is it the second title launching in our new BOOM! Box imprint but LUMBERJANES is one of those punk rock, love-everything-about-it stories that appeals to fans of basically all excellent things. It’s Buffy the Vampire Slayer meets Gravity Falls and features five butt-kicking, rad teenage girls wailing on monsters and solving a mystery with the whole world at stake. And with the talent of acclaimed cartoonist Noelle Stevenson, talented newcomer Grace Ellis writing, and Brooke Allen on art, this is going to be a spectacular series that you won’t want to miss. Collects Lumberjanes #1-#4.
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Regular Show Vol. 3
Allison Strejlau, KC Green
FRONTLIST
April 8, 2015
Ages 8 And Up, Grades 4 And Up
$14.99 USD
128 pages
Trade Paperback
Juvenile Fiction / Comics & Graphic Novels / Media Tie-In
Series: Regular Show
9781608864850, 1608864855

Summary: It’s time for a good dose of cleaning as Benson tries to organize the Park’s yearly garage sale…only Rigby is having some trouble letting go. Banished to the garage Rigby comes across a mysterious pogs container that is about to give everyone at the Park a strong dose of the 90′s…and a pog match for their own souls. REGULAR SHOW volume 3 collects issues #9-#12 of the hit series based on the Cartoon Network animated comedy.
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Curse
Michael Moreci, Tim Daniel, Riley Rossmo, Colin Lo…
FRONTLIST
January 6, 2015
Grades 10 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Horror
9781608864621, 1608864626

Summary: Laney Griffith is a man who will do anything to save his son from leukemia, but the cost of treatment has broken him financially. When he pursues an elusive murderer in the wilderness of his small, rural community, in the hopes of securing a substantial bounty, Laney is confronted with something he never could have expected: a werewolf. The captive lycan, in human form, turns Laney’s life upside-down, forcing him to confront his haunted past and race against the clock—because the wolf will return, and Laney’s son’s condition continues to worsen. CURSE is a story of a family’s survival at all costs. BOOM! Studios has a long history of publishing some of the industry’s best modern horror, and CURSE takes us back to our roots with a werewolf story unlike any you’ve ever seen.
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Revelations
Paul Jenkins, Humberto Ramos
FRONTLIST
January 7, 2015
Grades 8 And Up
$19.99 USD
112 pages
Trade Paperback
Comics & Graphic Novels / Crime & Mystery
9781608864607, 160886460X

Summary: A potential successor to the dying pope is killed at the Vatican. Long-time atheist and hard-edged London detective, Charlie Northern, is put on the case by a Vatican priest, and long forgotten friend. He must solve the case that the local police cannot, coming face to face with hundreds of years of conspiracy and corruption in the seat of the world’s wealthiest religion. The beautiful work of Humberto Ramos unfolds a story of religion, atheism, murder, and mystery, as told by Paul Jenkins. Fans of BBC’s Sherlock and Luther will not want to miss this tale of corruption through the eyes of an outsider.
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Sons of Anarchy Vol. 2
Jesus Hervas, Damian Couceiro, Ed Brisson
FRONTLIST
January 27, 2015
Grades 10 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Media Tie-In
Series: Sons of Anarchy
9781608864782, 1608864782

Summary: The town of Charming is more dangerous than ever.. In this new story arc set after the events of season three, Gemma and Tara must keep the peace on the homefront as Jax, Clay, and the others serve their time in prison. With bridges getting burned every day, the Sons of Anarchy work hard to get as many allies as they can before time runs out. There’s a power vacuum left all along the West Coast and the Sons of Anarchy are determined to make sure the right crew fills it with whatever force necessary, and deadly force is always on the table… This volume collects issues #7-10 by new series writer Ed Brisson (The Field, Sheltered).
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Clive Barker’s Next Testament Vol. 2
Clive Barker, Mark Miller, Haemi Jang
FRONTLIST
February 11, 2015
Grades 10 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Fantasy
9781608864898, 1608864898

Summary: God has returned to the world in a manner that only horror master Clive Barker could imagine. His name is Wick and he is the God of Colors, the god of the Old Testament, and he is displeased with humanity. Wick’s flock continues to grow, but this brings him no pleasure – what he asks of Julian next may bring his closest disciple to the breaking point. Meanwhile, Tristan & Elspeth meet a pastor who knows plenty about both of them…and Julian. Meanwhile, Julian is forced to make a very public display of loyalty to Wick, as their flock meets resistance from an unexpected source, and Wick’s jealousy leads to a show of force unlike any of his previous acts…
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Dead Letters Vol. 2
Christopher Sebela, Chris Visions
FRONTLIST
February 11, 2015
Grades 10 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Crime & Mystery
Series: Dead Letters
9781608864911, 160886491X

Summary: Sam Whistler can’t remember who he is, what he’s done, or why he is Here. What he’s been told is that Here is the place between Heaven and Hell…and that he’s been recruited by God to set things right Here. Sam’s second case begins “Here”: As the freshly spawned gang war between Ma and Jones rages across the supernatural metropolis, Sam is enlisted by the new powers-that-be to infiltrate the amorphous Boroughs of the city in search of a terrorist cell planning to wreak havoc on the fabric of Here itself. Collects issues #4-8 of the supernatural crime series, Dead Letters.
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The Returning
Jason Starr, Andrea Mutti
FRONTLIST
February 11, 2015
Grades 8 And Up
$14.99 USD
112 pages
Trade Paperback
Comics & Graphic Novels / Horror
9781608864935, 1608864936

Summary: It’s the near future, and some people who have had Near-Death Experiences have come back “changed.” They exhibit extreme behavioral changes, becoming increasingly paranoid and violent, and no one knows why. People who have had NDE’s fall immediately under suspicion, and in some cases, are murdered by justice-seeking vigilantes. It is in this world where Beth, a quiet high school student with a bright future, will learn just how quickly friends and family will turn on her when she has the bad luck of surviving the worst night of her life… Award-winning novelist Jason Starr (Wolverine Max, The Chill) and artist Andrea Mutti (Conan, The Girl with the Dragon Tattoo) deliver a gripping but deeply human drama set in an uncertain world. Collects the complete story from The Returning #1-#4.
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Suicide Risk Vol. 4
Mike Carey, Elena Casagrande
FRONTLIST
February 17, 2015
Grades 8 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Superheroes
Series: Suicide Risk
9781608864614, 1608864618

Summary: Mike Carey’s gripping deconstruction of the superhero genre heats up in this latest volume!With an entire country in their grasp, the super-villain team NIGHTMARE SCENARIO has forced the world’s leaders to come to the table for negotiations. But Just-A-Feeling’s namesake warns of an even greater, bloodier calamity, and every life Leo has managed to save helping Nightmare Scenario against his will, is suddenly at risk…
— —
Evil Empire Vol. 1
Max Bemis, Ransom Getty
FRONTLIST
March 11, 2015
Grades 10 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels / Science Fiction
9781608864942, 1608864944

Summary: We’re often introduced to totalitarian establishments with pundits already fully in power and it’s up to our hero to bring back order and peace. EVIL EMPIRE explores how unfolds in a real-world setting. How close to the precipice are we right now in the world we live in? Would we let it happen? More specific to this tale: Would we secretly WANT it to happen? Politically charged rapper Reese decries injustice. As she sneers at election year advertisements, the star of the ad, Sam Duggins, makes a surprise appearance backstage. The aspiring politician seeks to tap into the energy of Reese’s fanbase by befriending her and, presumably, winning her endorsement. Then one action tears the country apart in a debate over the meaning of right and wrong, and Reese is not about to stand by as the American people support the rantings of a mad man. But how far will people go to take a stand in what they believe in? Say Anything frontman and Polarity creator Max Bemis’ gripping story explores the world watching modern society gradually evolve (or is it devolve?) into an evil empire.
— —
Loki: Ragnarok and Roll
Eric M Esquivel, Jerry Gaylord
FRONTLIST
October 13, 2015
Grades 8 And Up
$14.99 USD
128 pages
Trade Paperback
Comics & Graphic Novels
9781608864904, 1608864901

Summary: The Norse god Loki has been exiled to Earth and becomes the world’s biggest rock star and gains a legion of devout worshippers! It’s a new experience for Loki. He likes it. The other gods? They don’t like it so much, as Loki soon learns… in the original series from Eric M. Esquivel (FREELANCERS) and Jerry Gaylord (FANBOYS VS. ZOMBIES). Collects entire 4 issue comic series.
— —
The Woods Vol. 2
James Tynion, IV, Michael Dialynas
FRONTLIST
March 11, 2015
Grades 9 And Up
$14.99 USD
112 pages
Trade Paperback
Comics & Graphic Novels / Horror
9781608864959, 1608864952

Summary: On October 16, 2013, 437 students, 52 teachers, and 24 additional staff from Bay Point Preparatory High School in suburban Milwaukee, WI vanished without a trace. Countless light years away, far outside the bounds of the charted universe, 513 people find themselves in the middle of an ancient, primordial wilderness. Where are they? Why are they there? The answers will prove stranger than anyone could possibly imagine. Catch a glimpse of Bay Point Preparatory High School before the fateful events of October 16, 2013 in this new story arc. On opening night of the school’s rendition of “A Midsummer Night’s Dream,” the lives of the students and faculty crossed paths in an almost premonitory way, seeding the various horrors to come. Collects The Woods #5-8.
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RUSH’s Clockwork Angels: The Graphic Novel
Neil Peart, Kevin J. Anderson, Nick Robles
FRONTLIST
April 7, 2015
Grades 8 And Up
$19.99 USD
144 pages
Trade Paperback
Comics & Graphic Novels / Media Tie-In
9781608863686, 1608863689

Summary: Owen Hardy, like all the people of Albion, has lived his whole life under the rule of The Watchmaker. His entire life has been planned down to the exact second. But what happens when a young boy decides that things should not always goes as planned? Rush’s CLOCKWORK ANGELS is a testament to the band’s creative versatility—it has been successful as a concept album, novel, and international tour. Now, Rush drummer and lyricist Neil Peart and New York Times bestselling author Kevin J. Anderson are bringing the story of CLOCKWORK ANGELS to comics, where newcomer artist Nick Robles will bring the journey of Owen Hardy to visual life! Die-hard Rush fans have longed for Peart’s narrative songwriting to be adapted into comic book form for decades, but fans of steampunk fantasy will enjoy journeying into the world of Albion thanks to Anderson’s skilled storytelling. Collects the complete story originally published in CLOCKWORK ANGELS #1-#6.
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The Last Broadcast
Andre Sirangelo, Gabriel Iumazark
FRONTLIST
October 13, 2015
Grades 9 And Up
$29.99 USD
200 pages
Hardcover
Comics & Graphic Novels / Crime & Mystery
9781608866939, 1608866939

Summary: Always trespass. A group of urban explorers in San Francisco discovers a secret bunker belonging to the long-vanished 1930s stage magician Blackhall the Incredible at the same time as young, out-of-work magician Ivan receives a mysterious package that points him toward a possible conspiracy involving Blackhall’s death in 1934. Both groups dive into the mystery, not yet realizing that it’s about the change their lives forever. The cunning, daredevil urbEx members of Backbone will win you over as the ragtag, Ocean’s Eleven-style crew of the sewers and abandoned warehouses. Iumazark’s Brazilian/Japanese-fusion indie art style brings edgy energy to every dark corner. And fans of THIEF OF THIEVES and the film NOW YOU SEE ME will find comparisons to entice them. Collects the entire series originally published as THE LAST BROADCAST #1-#7.
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Translucid
Claudio Sanchez, CHONDRA ECHERT, Daniel Bayliss
FRONTLIST
April 8, 2015
Grades 9 And Up
$19.99 USD
160 pages
Trade Paperback
Comics & Graphic Novels / Superheroes
9781608864973, 1608864979

Summary: The Horse has been the arch-enemy of The Navigator for years. But The Horse feels The Navigator’s moral compass slipping, and even a villain can’t let that happen. The Horse decides to get a closer look into The Navigator’s past that he’s buried deep in his subconscious and find out what drives a person to make the right choice, and what propels someone to make a selfish one. Created and written by Coheed and Cambria frontman Claudia Sanchez (Amory Wars) and Chondra Echert (Key of Z) with stunning neon art from newcomer Daniel Bayliss, this volume collects the complete story originally released in TRANSLUCID #1-#6.
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Dark Crystal : Creation Myths Volume 3
Jim Henson
FRONTLIST
April 14, 2015, Ship Date: April 14, 2015
$??.?? USD
96 pages
Hardcover
Comics & Graphic Novels / Fantasy
9781608864355, 1608864359
— —

These comics-based Humble Bundle’s continue to do very well. a Boom! bundle is wrapping up a few hours from when you read this already having raised more than $242,898.07 with 23,784 purchases. Charity proceeds benefit the CBLDF. Hurry up and you can still get all the following:

After initially offering over 90 issues of a wide variety of comics when it launched on August 6,BOOM! Studios added an additional tier of titles on August 13 to help boost interest in the raise. Titles that were added include:
Fairy Quest: Outlaws (collects the complete miniseries)
Written by Paul Jenkins
Illustrated by Humberto Ramos
In Fablewood, where all fairy tales live side-by-side, Red Riding Hood and Wolf risk everything so that they can remain friends.
Polarity TP (collects the complete miniseries)
Written by Max Bemis
Illustrated by Jorge Coelho
From the mind of Say Anything frontman Max Bemis comes a story about a man with bipolar disorder who discovers his meds have been, in fact, suppressing his super powers.

Suicide Risk Vol. 1 TP (issues #1-4)
Suicide Risk  Vol. 2 TP (issues #5-9)
Written by Mike Carey
Illustrated by Elena Casagrande
This smart deconstruction of the superhero genre tells of a beat cop, who, after watching too many of his friends die at the hands of super-powered villains, decides to take a risk by artificially unlocking his own abilities.

Protocol: Orphans #1-4 (collects the complete miniseries)
Written by Peter Facinelli, Rob DeFranco, and Michael Alan Nelson
Illustrated by Mariano Navarro
Grabbed up by the United States government and thrown into training camps, orphans around the country have been raised to become America’s next generation of super spies. Now, as adults, they live amongst us, ready for “the family” to call them back into action.

The initial campaign contained:

Curse #1-4 (collects the complete miniseries)
Written by Tim Daniel and Michael Moreci
Illustrated by Colin Lorimer and Riley Rossmo
To pay for his son’s medical treatment, a man sets out to earn the bounty on a killer who has been terrorizing his small town, only to discover the murderer is a werewolf.
Day Men #1-3
Written by Matt Gagnon and Michael Alan Nelson
Illustrated by Brian Stelfreeze
To protect their vampire employers during the daytime, a select group of humans are trained to serve as their fixers, problem-solvers, and protectors.
Dead Letters #1-4
Written by Christopher Sebela
Illustrated by Chris Visions
A man wakes up with no memory of how he got where he is and will have to use every trick from his forgotten repertoire to outrun and outsmart his way through a hardboiled wonderland of gang wars, femme fatales, and big secrets.
Evil Empire #1-3
Written by Max Bemis
Illustrated by Ransom Getty and Andrea Mutti
Say Anything frontman Max Bemis’ gripping story explores a scenario in which we watch modern society gradually evolve (or is it devolve?) into an evil empire.
Hit #1-4 (collects the complete miniseries)
Written by Bryce Carlson
Illustrated by Vanesa R. Del Rey
In 1955 Los Angeles, while infamous gangster Mickey Cohen rots in a prison cell, clandestine groups of LAPD detectives moonlight as sanctioned hitmen knows as “Hit Squads.”
Imagine Agents #1-4 (collects the complete miniseries)
Written by Brian Joines
Illustrated by Bachan
An agency responsible for keeping kids’ imaginary friends in line is confronted by a plot by an evil faction to become real.
RoboCop: Last Stand Part 1 TP (4 issues)
Written by Frank Miller and Steven Grant
Illustrated by Korkut Öztekin
Based on Frank Miller’s unused screenplay for the RoboCop 3 film, RoboCop takes a last stand against OCP to protect the citizens of Detroit.
RoboCop (2014) #1-2
Written by Joshua Williamson
Illustrated by Carlos Magno
Picking up right after the end of the first film, a deadly and charismatic criminal is released from jail and instantly targets RoboCop for destruction.
Sons of Anarchy #1-11
Written by Christopher Golden and Ed Brisson
Illustrated by Damian Couceiro
Based on the hit FX Network TV show. The only people standing between the daughter of an old SAMCRO member and certain death are the Sons of Anarchy.
Those who pay more than the average price will also receive:
Hacktivist #1-4 (collects the complete miniseries)                                                    
Created by Alyssa Milano
Written Collin Kelly and Jackson Lanzing
Illustrated by Marcus To and Ian Herring
The owners of the largest social media company in the world moonlight as do-gooder hackers, but are compromised when the US government moves in.
Mouse Guard: The Black Axe #1-6 (collects the complete miniseries)
Written by David Petersen
Illustrated by David Petersen
This is the third collected volume in the continuing saga of the Eisner Award-winning and critically acclaimed fantasy comic series about an elite group of warriors charged with protecting the mouse territories.
Planet of the Apes Vols. 1-4 (16 issues)
Written by Daryl Gregory
Illustrated by Carlos Magno
Find out what happens 1,300 years before the arrival of Colonel George Taylor from the original 1968 Planet of the Apes movie! Ape and Human societies have reached a new golden age, but peace never lasts for long.
Six-Gun Gorilla TP (6 issues) (collects the complete miniseries)
Written by Simon Spurrier
Illustrated by Jeff Stokely
On another world in the 22nd century, a rogue gorilla gunslinger and his companion wander across a wilderness in the grips of a civil war, encountering lawlessness, natives, and perversions of civilization in a world at the crossroads between the past and the future.
Translucid #1-3
Written by Claudio Sanchez and Chondra Echert
Illustrated by Daniel Bayliss
From the mind of Coheed and Cambria’s Claudio Sanchez and his wife/writing partner Chondra Echert, this is the superhero story you’ve wanted but never thought you’d see, exploring the thin line between heroes and villains, and the space between childhood hope and loss.
The Woods #1-3
Written by James Tynion IV
Illustrated by Michael Dialynas
An entire high school is transported to a strange, primordial wilderness and confronted with trying to survive.
Readers who pay $15 or more will receive all of the above, plus:
Bee and PuppyCat #1-2
Written by Natasha Allegri and Garrett Jackson
Illustrated by Natasha Allegri
Based on the popular web series, it’s a quirky new take on the magical girl genre with Bee, the forever unemployed main character who can’t seem to figure out life, and the mysterious PuppyCat, a stray…whatever it is…that she stumbled across who has a powerful secret.
Bravest Warriors Vol. 1 (4 issues)
Written by Joey Comeau
Illustrated by Mike Holmes
Based on the hit animated series! Join Chris, Wallow, Beth and Danny, four 16-year-old heroes-for-hire, as they warp from galaxy to galaxy, saving alien races with the power of their…emotions.
Lumberjanes #1-4
Written by Grace Ellis and Noelle Stevenson
Illustrated by Brooke Allen
Jo, April, Mal, Molly, and Ripley are five best pals determined to have an awesome summer together…and they’re not gonna let any insane quest or an array of supernatural critters get in their way!
The Midas Flesh #1-8 (collects the complete miniseries)
Written by Ryan North
Illustrated by Braden Lamb and Shelli Paroline
The space crew of Joey, Fatima and Cooper have decided to return to Earth—a planet completely sectioned off, abandoned, and covered in gold—to find out exactly what happened to this once thriving planet and see if they can use that knowledge against the evil empire that’s tracking them down. As luck would have it, they just landed the most powerful weapon in the universe: some ancient dead guy’s body.
As with all Humble Bundles, customers can choose how their purchase dollars are allocated, between the publisher, Humble Bundle, and the determined charity (CBLDF).

Remember that Boom! Studios conspiracy book we were teasing last week? The cpinsorators have been revealed: Writer Justin Jordan and artist Ariela Kristantina (Death of Wolverine) will unveil DEEP STATE in NOvember. According to pr,

it’s about John Harrow, a man who works for the U.S. government to ensure the nation’s secrets stay that way—secret. In the first story arc, Harrow recruits a new partner to help him control the fallout after a secret about the 1969 moon landing gets out. And no, it’s not the popular conspiracy theory that some believe the moon landing was faked and created on a sound stage. Rather, it’s something far more sinister and this main cover image by Matt Taylor should tease it a little better.