Tag Archives: Comics

IDW Publishing to Bring Douglas Adams’ Dirk Gently to Comics

Dirk GentlyIn partnership with Ideate Media, IDW Publishing has announced that Dirk Gently will be appearing in his first-ever comic-book series in 2015, helping to prove the interconnectedness of all things, the precept by which Dirk Gently, Douglas Adams’ beloved fictional “holistic detective” lives.

Following the recent announcement that Gently will be developed for television by IDW Entertainment and Ideate Media with Circle of Confusion as Executive Producers and Max Landis as showrunner, IDW will also launch an ongoing series of all-new Dirk Gently adventures as comic books.

The series launching in spring 2015, will be written by Chris Ryall, IDW’s Chief Creative Officer/Editor-in-Chief and creator/writer of series such as Zombies vs Robots, Groom Lake, and The Hollows. The series artist will be Tony Akins, and Chew co-creator Rob Guillory has contributed a first cover image, too. Full story details and release information will follow soon.

Adams’ Dirk Gently, who appeared in Dirk Gently’s Holistic Detective Agency, Dirk Gently’s Long, Dark Tea-time of the Soul, and the unfinished Dirk Gently fragment that Douglas was writing at the time of his death The Salmon of Doubt, is a charismatic, mysterious, troubled, brilliant, figure—cursed with a relentless intellect, psychic powers he doesn’t fully understand or want, a gift for self-mythologizing, and a supernatural ability to detect disturbances in the fabric of reality. Dirk has found a strange calling as a private detective for impossible crimes, the likes of which will take many forms in the comics.

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Marvel Teases House of M #1 in Summer of 2015

House_of_M_2015

Review: Father’s Day #1

fd 001Father’s Day tells the story of a man on the run and a lost long lost daughter that is trying to find him.  While the story opens with a bang and finishes with one, there is little going on in the middle.  For those familiar with comics as a medium, they are likely to see parallels here with a more famous entry, A History of ViolenceA History of Violence (later made into a movie) tells a similar story of a man on the hideout from a violent past, who is once again thrown back into his old life by events outside of his control.

Father’s Day is similar in a lot of ways to this story, at least on the surface and the unique aspects of the story, at least from the first issue seem mostly superficial.  Instead of a blue collar father with a loving family, this is a man on the run whose daughter discovers him, and it is the daughter where any originality in this story might come.  Unfortunately for the story the daughter comes off as mostly two dimensional and although she is portrayed as edgy, it doesn’t really come through for the character either.  The resulting tension between father and daughter is therefore more of an afterthought to the two of them being chased by random mob hitmen.  As with the case of other series, it is therefore likely the same with this one that while it offers this story over four issues, it might have been better to go for more and to build up the characters first as opposed to this story we were immediately demanded to care about the father and daughter that we know almost nothing about.

In a sense there is nothing really wrong with this story, but at the same time it lacking in both originality for its content and in the approachability of the characters.  There is some promise here, as with such randomly presented characters, that indeed something could come of this by the second issue, but equally there is probably not enough of a hook here for the first issue to draw in the readers for another try.

Story: Mike Richardson Art: Gabriel Guzmán
Story: 6.0 Art: 6.0 Overall: 6.0 Recommendation: Pass

Dark Horse provided Graphic Policy with a FREE copy for review

Steve Orlando Discusses his Contribution to Vertigo Quarterly

Vertigo-CMYKIn April, Vertigo launched Vertigo Quarterly: CMYK, their latest anthology series featuring some of today’s hottest, and most talented creators. Each issue references the colors that compromise the four-color printing process: cyan, magenta, yellow and black. So far, the two issues released have kept up the quality I’d expect in any Vertigo comic, two more issues await to hit shelves.

We got to talk to four of the creators involved Rachel Deering, and Jody Houser who had contributions to Vertigo Quarterly: Magenta, and Matt Miner and Steve Orlando who will have contributions in the upcoming Vertigo Quarterly: Yellow.

We decided to ask all four creators the same questions about their experience, and history in comics, allowing you the reader to see how all four answered. A big thanks to Steve Orlando who helped set this up!

We’ve run the first three interviews of this series, our first interview with writer Matt Miner, second with Jody Houser, and third with Rachel Deering. Up next is Steve Orlando!

Graphic Policy: How did you get started in the comic industry?

Steve Orlando: Tyler Niccum! You may have picked up the trade paperback of Undertow, my book from Image that is on the stands right now. WELL if you did then you saw a tripped out, beautiful story by the totally unique artist Tyler Niccum, who has been a friend of mine for years. We have been collaborating on tiny human stories for years, at least since 2006, and in 2008 Tyler asked me to work on him for his story in Outlaw Territory from Image, which ended up being my first widely published worked. THEN we pitched a second story, featuring a Hessian Revolutionary War deserter, and it was so well received they put it in as well! Suddenly Tyler and I had two published stories on our hands. We’ve never looked back, and it was oddly circular that Tyler was able to come back and join Artyom and me for our TPB.

GP: How did you get to be a part of Vertigo Quarterly: Yellow?

SO: I owe my spot on the book to gentlemen and comics lovers Will Dennis and Greg Lockard. The folks at Vertigo were not scared by my previous Mystery in Space short that starred drug-taking, naked centaurs, and offered me a chance to return. SO when I told them my Yellow story would be about 1800s Indian painting and a folktale about cow’s urine, they were similarly unafraid and I was similarly pleased. These are two guys that love comics and have supported me since the beginning.

GP: When you signed up for the project, what were you told as far as what you could do with your entry?

SO: Anything! And that was actually more daunting than having directives for me. I must have spent a cumulative week on the internet researching arcane, nebulous, or esoteric associations with the color yellow. I read everything I could, just to marinate my brain. After my last story, strange is what they expected, and its what I was happy to supply.

GP: Did you talk to any of the other creators at all? Make sure you weren’t going to do similar things?

SO: Interestingly enough this is a question no one has asked yet, and I actually didn’t. In my case my story was done so far ahead that they hadn’t even locked down the rest of the team yet. But with a cow’s urine myth I didn’t think I was treading on anyone.

GP: Did you go and look at the previous Vertigo Quarterly issues before coming up with your entry?

SO: I’ve definitely read every story in CMYK so far, but I turned my story in before Cyan broke, so that I could be free of influence.

GP: What’s it like working with Vertigo? That publishing name has certain panache when it comes to what they produce.

SO: Vertigo is a great place to be. These are people that just want to help you, work with you to make your comics even better. The Vertigo team is smart and respectful– the type of notes you appreciate and know come from the right place. And the best part? They’re never afraid of any story I’ve imagined– no matter how crazy.

GP: Did it being a “Vertigo” comic change the approach to what you put together for the issue?

SO: Not at all! But after the previous anthology I knew what to expect– that being almost absolutely freedom to craft the story I had in my mind. You can’t set out to make one type of comics or another, just a kick ass comic.

GP: It seems anthologies have been a constant in comics, though never at the forefront. What do you think an anthology brings to the table that might be different from other comics? Why do you think we don’t see more of them, especially to highlight new talent?

SO: I think the pros of anthologies echo the cons. They’re a great place for bold, new voices. They’re a great way to chock a bookfull of diverse stories into a smaller package. You get a lot of different ideas in one place. In some ways, they’re just focused, quicker, and more pop. But that’s also what makes them sometimes a hard sell– it’s impermanent, and thus, there’s the idea that they “matter” less. They’re basically collections of flash fiction in an industry (in America at least), based on serials that run for decades at a time. They’re the anti-serial. So I think sometimes people don’t know what to make of them.

GP: What’s the difference between going about creating a short comic like this than a normal full issue?

SO: Economy! You may need to smash that full issue into eight pages, but make it just as satisfying. You have to enter late and leave early, and screenwriters say. It’s concentrate. No, it’s distillation maybe. So you trim an idea to its essential core, the leanest of leans, and you loose it on the world.

It’s fiction bullion.

GP: What advice would you give to those wanting to get started in comic industry?

SO: Make comics! The best, the only way to get better at your craft and to show your strengths is to make comics. It sounds absurd maybe, and yes the Joker says “If you’re good at something never do it for free,” but the truth is you have to show your focus, and your passion, but making comics happen even if no one is telling you to at first.

GP: What else do you have on tap?

SO: 2015 is on tap! Nothing that can be announced now, but much talk is on the gossip. I’ve been researching Slavic fighting styles and Australian film of late, I’ll say that.

Around the Tubes

It’s a new week! Anyone read any solid comics this past weekend?

Around the Tubes

Dual Pixels – Turning The Tide On Human Trafficking With Comics – Great to see!

 

Around the Tubes Reviews

The Beat – The Rise of Aurora West

CBR – Daredevil #9

The Herts Advetiser – Deadpool vs. Carnage

Nerdly – Kick-Ass 3

The Battle Against ISIS with Comics

Suleiman Bakhit, speaking at the TEDGlobal 2011 TED Fellows Talks, Monday, July 11, 2011, in Edinburgh, Scotland. Photo: James Duncan Davidson / TED

Suleiman Bakhit, speaking at the TEDGlobal 2011 TED Fellows Talks, Monday, July 11, 2011, in Edinburgh, Scotland. Photo: James Duncan Davidson / TED

While bombs are being dropped, and bullets are flying in an attempt to stop Islamic State in Iraq and Syria (ISIS), others are taking a more peaceful approach to shape the hearts and minds of those on the ground.

Suleiman Bakhit is a Jordanian social activist who thinks we can fight the terrorist organization with comics books. Bakhit thinks that narratives and myths are a key. Bakhit thinks that a toxic shame is a lot of what drives the violence.

In an interview with Wired.com UK, he explained:

Healthy shame is a source of learning, it lets you know boundaries. Toxic shame says you are unworthy as a human being, you are unworthy of human connection. This leads to violence in an attempt to replace that toxic shame with pride.

After Bakhit began publishing his own comics, he was attacked with a razor blade by extremists.

I had to cauterise my own wound with a piece of steel. But two good things came out of this. One, my dating life improved exponentially. And the second thing was that I realised that they were trying to mark me with shame, to transfer their own shame to me, and replace it with pride.

The idea of taking on the terrorists with comics came from asking kids who their heroes were. When first asked, they named people seen in extremist propaganda. Bakhit then gave out free comic books. Three months later, those extremists were replaced with comic book characters. The simple issue as he sees it, a huge need for positive role models and positive narratives. Fight extremist propaganda with a counter mythology filled with men and women, and most importantly make it positive and personal.

Bakhit ended his interview with this thought to ending the extremism.

The best way to accomplish this. The best technology we have to cultivate heroic motivation is this medium right here. The comic book.

Preview: Planet Gigantic #1

PLANET GIGANTIC #1

Writer(s): Eric Grissom
Artist Name(s): David Halvorson
Cover Artist(s): David Halvorson
32pgs./ FC/ All Ages
$3.99 (reg)

When two genetically-engineered teenagers crash-land on a strange planet, they must
learn to rely on themselves and their still-developing powers as they face down a giant rock
monster. Also in this issue: Lyana the Seeker braves a cursed tomb in search of the fabled Eye
of the Sun.

planetgigantic-1_1

Graphic Policy Radio Returns Live this Monday!

GP Radio pic MondayThis Monday is a brand new episode of Graphic Policy Radio, the show that mixes comics, geekdom, and politics. It’s been a bit since our last episode and we’re back to cover some of the latest releases as well as conventions. The show airs live at 10pm ET.

On tap this week is:

  • Batgirl got a new look, new location, a new status-quo in Batgirl #35. We discuss the change for the character.
  • Gotham Academy #1 came out and the series attempts to fill a much-needed gap in the DC Comics line-up. We talk about the new series’ first issue and recent changes for DC.
  • New York Comic Con recently descended on New York City’s Javitts Center. We talk about the convention and the numerous announcement that came out of it.

We’ll discuss the above and more in a brand new episode! We want to hear from you too. You can call (619) 768-2952 with your thoughts, or Tweet us @graphicpolicy.

Review: Deadly Class #8

There has been an interesting mystery lurking throughout the entirety of Rick Remender and Wes Craig’s Deadly Class. Readers have been forced to guess who the deformed, monstrous figure constantly looking to attack Marcus is. The one big hint the comic gave before was that this man formed a grudge against Marcus during his time at the orphanage; something also kept mostly in mystery up to this point. Issue #8 gives loads of answers and totally delivers. Deadly Class #8 is a visually-interesting, exciting, and twisted look into a very revealing segment from the past of this book’s protagonist.

deadly ass cuv

The coloring here, from Lee Loughridge, is done in a very simplistic fashion, bathing the pages in such a way that simultaneously makes it look like a flashback and something simply stylish and cool. At the start, pages are soaked entirely in yellow, and then it shifts to red, and then green, at which point the colors blend along with the heightening of the story’s franticness. Out of context this minimalistic take on coloring is neat, but it’s especially impressive in how it fits the story of the comic. Aside from this bold change, characters look as gross and intimidating and the action looks as dynamic as brutal as ever. Deadly Class #8 is a fantastic looking comic.

In terms of plot, what’s delivered here is disturbing enough to be downright enticing to read. This portion of Marcus’s upbringing spent in a hugely fundamentalist and generally evil Christian orphanage sure was terrifying. Like the art, the plot functions well in a vacuum but even better in context. The strange and nauseating events of this issue, along with the triumphant, action-packed fight back Marcus gives, is great fun on its own. Good turns to great whenever the rest of the series is taken into consideration, this issue serving as an explanation for so much of Marcus’s character.

This issue was a long time coming, and it did not disappoint. The concept of a school for young assassins may have seemed potentially trite at the start of this series, but Remender pleasantly surprised whenever the series turned into something much different. Deadly Class is a fascinating character study on a bunch of sad, screwed up kids; they just so happen to attend some crazy classes sometimes.

Story: Rick Remender Art: Wes Craig
Story: 8.75 Art: 8.75 Overall: 8.75 Recommendation: Buy

To check out Matt’s about.me, click here.

Image Comics provided Graphic Policy with a FREE copy for review

Preview: Zombies! Deadpools! Zombie Deadpools! Return of the Living Deadpool #1 is Coming!

This January, he rises from the grave! And this time, there are thousands of him! Prepare for an undead epic like you’ve never seen before in Return of the Living Deadpool #1 – the follow up to last year’s smash hit limited-series Night of the Living Deadpool! Fan-favorite writer Cullen Bunn and newcomer artist Nik Virella take you to a world overrun by undead Deadpools!

To “cure” the horror of a zombie outbreak, the Merc With a Mouth used his own healing factor to save the day. Any zombie that ate Deadpool transformed…into another Deadpool!

In an interview with Marvel.com, Bunn said:

So there are thousands of Deadpools, all of them originating from the one and only Wade Wilson. Every time a zombie takes a bite out of one of these Deadpools, the zombie becomes Deadpool. But the ‘copy’ is degrading from rebirth to rebirth. You know how Deadpool has numerous personalities? Well, these newly created Deadpools start to latch onto different aspects of Deadpool’s split psyche, forming factions. And these factions don’t all get along!

As hordes of Deadpools battle for undead supremacy against the zombie hordes, witness a world gone completely insane! Time to find out what’s worse – an army of flesh eating corpses, or an army of wisecracking Deadpools. You decide this January in Return of the Living Deadpool #1!

RETURN OF THE LIVING DEADPOOL #1
Written by CULLEN BUNN
Art by NIK VIRELLA
Cover by JAY SHAW
On Sale in January!

Return_of_the_Living_Deadpool_Cover_1

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