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Behemoth’s New Monster

Steve Ekstrom

A little bit of full disclosure to start: I’ve known Steve Ekstrom for years. He served with me on the Best Shots team at Newsarama, and wrote for my ShotgunReviews.com. I joined him when he spearheaded the Imminent Press Kickstarter for Terminal. He lettered part of Sparkshooter. In a way, that makes me an ideal interviewer rather than a conflicted one, because I know where the bodies are buried; I helped bury some myself. But now, Steve, who has worked in and around comics for years, is back with a new title, a new job, and a new mission. He’s the new Editorial Director for up-and-coming publisher Behemoth Comics. And like that name might imply, there’s here to do some damage.

Graphic Policy: Some people might remember you writing for Newsarama many moons ago. I’ve talked to a lot of other people about this, so here goes: in what way was working in comics journalism a help, and in what ways was it a hindrance, when it came to breaking into comics? Would you do that differently now?

Steve Ekstrom: Wow, big guns first, I still like the cut of your journalistic jib after all this years, my friend.

I think being a journalist in comics for nearly a decade taught me a lot of valuable lessons in professionalism like “Don’t go into business for yourself while you’re working on projects for other people or publishers” or “This is the proper decorum for interacting with established creators” or “Try not to ruin your own career by writing really negative reviews full of hyperbole that attack the creators ability to make a paycheck.”

Those are all lessons I had to learn through experience. I feel like a cat that’s missing three or four lives now but I’m still out here trying to tell stories and make comics. [laughs]

I will admit that journalism did open doors for me in that it gave me a degree of notoriety and the ability to guarantee smaller publishers at least one interview to cover their content because, contrary to popular belief, most major websites do NOT adequately cover lesser-known indie creators who are just starting out. It’s an unfortunate byproduct of needing all your articles to drive clicks and/ or the need to be first with major news items for trending moments on social media.

In terms of doing things differently, I would have played less World of Warcraft when I was still just starting out. I would have tried to save more money to pay professionals to get things done faster. I was very fortunate to get to work with artists and colorists who were starting out just like me and we were all hungry and working for free. We needed small amounts of content to create a body of work to show competency so that’s what we did. Did I offer to pay in exposure? Sure, a little bit. If you’re just starting out and you put the right squad together magic can happen.

Graphic Policy: I think that Matt Brady is an underappreciated figure in comics in the 2000s. What impact did he have on you?

Steve Ekstrom: Let’s be honest here: You gave me my first invite to the party. You saw that I had some writing talent on MySpace of all places way back in the middle of 2006. You offered me a spot in the Best Shots squad. I didn’t even KNOW how big Newsarama was until I spoke to my old college friend, Adam Tracey, who was the Managing Editor of Toyfare Magazine at the time.

Matt Brady gave me my first paycheck as a journalist in the comics industry. He gave me the confidence to be the work horse I wanted to become in my first year at Newsarama and he let me earn my spot. I will always be forever indebted to the two of you.

In all seriousness, I want to see Matt write a Power of the Atom book at DC. He pitched it to me one time when we were heading to a mixer for DC Comics in San Diego and it was glorious. I’ve also had the pleasure of editing some of Matt’s work a couple of years ago; he’s incredibly talented.

Make some more damn pamphlets, Matt.

Graphic Policy: Tell us about your experience with DC’s old ZUDA program.

Steve Ekstrom: It was eye-opening to say the least. I learned so much about actually “making” comics in that time period. The 4:3 format was unique and frustrating because it changed the way you tackled a page and the “grid”.

I also learned a lot about marketing a project for a competition. So much hustling is needed! It was kind of the same sort of month long sprint you make with a crowd-sourcing campaign. This was also way back before everyone and their mother was online every single day for 12 hours a day on their phones. And I totally sucked at Twitter back then…and, well, I still do.

Mostly, I learned a valuable lesson regarding “word economy” in sequential storytelling. I shoehorned a ton of information into our 8 page submission thinking, “Oh, yeah, if they can get past the heavy lifting in the intro, they’ll get action-packed explosions and wrestling with albino crocodiles in the next 8 page segment.” Not so much. We came in third for the month with over 60,000 views for “The Ares Imperative”. [laughs]

Graphic Policy: You’ve been on the positive and the negative side of crowdfunding experiences. What did you learn from both outcomes? And what do you think of the ways the crowdfunding is being used today?

Steve Ekstrom: I know that I’ve failed more than I’ve succeeded but that’s just part of the process. You’re not living your life if you’re not failing upward at times.

Truthfully, there’s a lot of nuance to it. Knowing which month to campaign or which extras to add or how to get estimates on everything connected to your funding goals and still hitting a reasonable over-funded benchmark for the project you’re presenting. All of it. It’s a LOT. The goal also has to make sense in regard to what you’re offering. I totally messed up on my first Kickstarter because I had no concept of scope. We were trying to raise $20K and we didn’t even have stories in the can yet. If you’ve never tried to crowd-source a book: DON’T DO THAT. Have stuff to show potential backers.

When we funded on our second outing, I learned how to be a small publisher. I learned how to package an entire book from concept to marketing to printing and distributing it out of my house. It was absolutely exhaustive but I loved every minute of it.

I want to see crowd-sourced comics continue to flourish and I want platforms like Kickstarter to keep creating opportunities for creators to make new comics that don’t have the luxury of bigger publishers’ bank rolls. I think there are murky lines being crossed when bigger companies have the scratch to make their own books without sourcing but I also understand that crowd-sourcing is just pre-ordering with extra steps most of the time. I could talk about the merits of these sorts of scenarios all day with the right group of creators.

Graphic Policy: In addition to writing, you also developed your lettering talents and began picking up work. What motivated you to do that, and is that something you plan to continue?

Steve Ekstrom:
Honestly? I made the same mistake most eager new creators and I devalued paid letterers by trying to learn how to do it cheaply on my own thinking that it would be “easy”. I was incredibly wrong.

Looking back, I got lucky because I have a touch of OCD so I would pour myself over my lettering until it looked professional on my first published story but it was still nowhere near the perfect digital stuff done by Nate Piekos or Richard Starking. I have learned to love the craft of lettering and typography.

The most important lesson I can impart on new creators: PAY THE LETTERER. You’re going to think that lettering is the least important aspect of the book. You’re wrong. Your story is the least important, writer person. The technical aspects of the book can easily carry a shitty story. Lettering is the least important part of production when new creators are considering what’s important. However, bad lettering is the FIRST aspect of a book to take a reader out of their experience reading your project if it’s done poorly.

I’d been lettering my own projects for roughly a decade before I felt comfortable enough to charge money for my services. Now, I offer to edit as I letter and it works really well with well-conceived projects that need minor polishing. They get both services for one low rate.

Going forward, I will be lettering for my limited number of clients as well as on most of the projects I will be writing or editing because it allows me to have tighter control over the production of the overall work. Now that I’m joining up with Behemoth, I may even start lettering some of their books I’m not connected to directly. I’m not allergic to money and I love making comics professionally. Let’s make this bread!

Graphic Policy: How did you first become involved with Behemoth?

Steve Ekstrom:
Mark Bertolini approached me to letter a project called “Feeder” with artist Darryl Knickrehm. Mark worked on Terminal Pulp Anthology with me and I absolutely loved Darryl’s style when I saw his work on The Argus at Action Labs. I jumped at the opportunity to have my name on the cover of this project.

Mark introduced me to Nathan [Yocum] and we got on the phone and talked for like 3 hours. He reminds me of a much more gigantic version of my best friend, Mark. He and I just live on this crazy wavelength made out of frenetic ambition, late night taco bell runs, horror movies and content strategy regarding making comics. He’s a soul brother, for sure.

Graphic Policy: You’ve just been named Editorial Director; can you outline what that job IS and what it DOES?

Steve Ekstrom: For me, I think one of the most important things a small publisher needs is brand identity. The comic industry has a sea of hobbyists and amateur creators who want to make comics so there is a massive body of work you have to swim through to get to the surface, to be seen and sell your products.

Having a clear cut vision for the direction of the creator-owned books is important. Understanding the marketplace and what sorts of books you want representing your brand is so crucial to competing in a large marketplace that has a diminishing number of brick and mortar stores with budgets and fickle readers. We’re all fighting for the same $20 every week. And you know what I’m going to say next…

$20 is $20.

Joking aside, I bring a wealth of practical business experience as a journalist and indie creator to the table. Behemoth was just a natural fit. They approached me about having a role at the company and said, “What would you like to do?” so I told them I wanted to help them create a monolithic brand and I wanted to have my hands on as many projects as a guy with two hands and a Doc Ock harness could handle. I love this industry and I would happily spend the rest of my life making these damn pamphlets.

As for my major role, I am going to be handling a new imprint of direct-to-digital projects called D2D. We’re still relatively small as a brand so investing in up-and-coming creators is a little risky in that we have a narrow margin for error if we pick up a project that doesn’t end up selling as well to retailers as our sales forecasts project. So, we want to create a space for creators who have projects that may not be quite ready for “prime time” but still could use an opportunity for growth and experience through our digital storefront on Comixology. It’s a win-win situation when you consider the outcome.

Rising stars can have a recognizable brand on their product while they learn to market on a smaller scale with less risk of having to worry about print thresholds in a competitive marketplace. In the event that we discover a sleeper hit digitally, we can turn around and produce a print run of a project or collect a trade with minimal overhead costs.

Graphic Policy: You’ve already expressed an interest in assembling unknown talent. Can you speak on why that’s important to you?

Steve Ekstrom:
This is where I guess I should also mention I’m also going to be the editor of a direct-to-digital anthology project that we’re calling PRIMER. One of my first projects was published in an old anthology series called NEGATIVE BURN from Desperado Studios back in 2008. At the time, Negative Burn was the BEST place to find tomorrow’s creators and a lot of big names today got their first big breaks in that anthology.

I want to do the same thing with PRIMER. I know how hard it is to make comics and have them reach the right people so that you can develop yourself professionally. This is my chance to remember where I came from, to honor the people who gave me my first opportunities and to “pay it forward” by helping young creators who have the drive to persevere and the hunger to want to make polished, professional looking products. Again, it creates more opportunities for me to make comics. It doesn’t get any better than that but…

Making comics isn’t easy. Like at all.

The people who make it to the top of this industry are 1% of 1% of 1% of a body of people who all want to tell stories and all want to compete for the same five bucks. If you aren’t competitive and you aren’t constantly growing or developing your skills, you’re probably not going to get to write Spider-Man or Batman if that’s what you aim to do. Most of us have to earn that right with hard work and quantifiable sales figures. Hell, I’m still trying to get to that point in my career, too. [laughs]

All that said, there’s still going to be fairly strict submission process for D2D and PRIMER. I am going to be working with Nathan as well as our other Senior Editor, Kevin Roditeli, to iron out clear cut guidelines for our entire brand.

Graphic Policy: You’ve already worked on an anthology yourself with Terminal Pulp Anthology. What makes for a good collection, and how do you make Behemoth’s stand out?

Steve Ekstrom:
Ironically, the best advice I’ve ever heard about an anthology is this: “Your anthology can only be as good as the worst story” and, let me tell you, that advice is painfully accurate. I have spent a lot of time collecting all the popular anthologies that have come out over the past 20 years. All of them have a range of stories but the one factor that I remember seeing most? Technical proficiency.

As I said earlier, the least important part of a comic is the story and that’s coming from a guy who went to school to be a writer. It’s incredibly humbling to accept this as a truth. Good art, exceptional coloring, technically polished lettering can all elevate a mediocre story. So, yeah, be a good writer and know your craft but this entire medium is still visually based. Bring the quality with the visual elements so that those elements in turn elevate your story.

I plan to curate the line initially by privately approaching folks who are on the cusp of breaking into the big leagues. I want well-constructed shorts so I can set the bar for people who want to submit so they can, in turn, set the bar for themselves.

In 2008, I had my first submission packet put together for a project. It was drawn by a guy who was local to me, my cousin who had experience as a graphic designer helped me flat color the sample art and letter all of it with, yep, you guessed it, Comic Sans and it was atrocious. But I didn’t know any better. I had romanticized my efforts. I was ready to submit this turd straight to Image because I was “ready”.

I was working for Newsarama in San Diego at Comic-Con International and I showed my submission to CB Cebulski who was, at the time, promoting his project called “Wanderlust” at Image. He gave me the best advice of my career when he kindly didn’t rip my heart out of my chest and show it to me after looking at my atrocious submission.

He said, “Okay, I want you to look at your submission packet and look at this copy of my comic. Imagine that you had $5 and you walked into the comic shop and you saw your project sitting next to my project. Not knowing anything about either of these projects, based on your eye for quality as a fan of comics, which one of these two books would you buy based on the quality alone.”

I sat quietly for a short moment as dread built at the base of my stomach because I knew the answer instantly. I pointed at his book. He patted me on the arm and he said, “Look at the books that make it to the shelf. That’s what you’re competing against. Your project has to be as good as all of the other books that make it onto the shelves.”

It was an incredibly humbling lesson and probably the roughest one to learn first but it put me into a frame of mind where I knew I had to make every effort my best effort. I hope to impart that on others through the production of quality content.

Soko

Graphic Policy: Tell us about SOKO.

Steve Ekstrom: Soko is a really awesome police procedural/ crime project in a similar vein to that of Criminal or the movie The Departed and it is set in Serbia. I’m working on it with up-and-coming Serbian writer, Vanja Miskovic, as well as Italian artist Antonio Fuso who is on a hot streak right now with his project Wyrd being developed for television over at Dark Horse and Stargazer finishing up a healthy run at Mad Cave. We also have Antonio’s studio-mate Stefano Simeone on colors; he’s the artist for a Mega Man Fully Charged at BOOM!. We’re also sporting this ridiculously awesome cover on the first issue by one of my all-time favorites, Serbian artist, RM Guera who most folks will remember for his epic run on Scalped at Vertigo.

This book is stacked with talent. Vanja and I both are very proud of what we’ve put together and we can’t wait for it to hit shelves in the late fall.

Without giving too much away because the solicits are coming soon, Soko focuses on systemic corruption in law enforcement while exploring modern dilemmas in that region of the world that are connected to human trafficking as well as fuel smuggling.

Graphic Policy: What other Behemoth books should people be checking out RIGHT NOW, and why? What makes a “Behemoth book”?

You Promised Me Darkness is absolutely chewing up the market right now as it keeps breaking these crazy sales records as a black and white horror comic in a marketplace where four-color comics reign supreme. I am absolutely loving all the excitement looming for this series as it hits shelves over the summer. There are some really exciting licensed books that we’ll be announcing soon enough that will probably turn some heads, too. We’ll have to wait and see! I don’t want to spoil anything just yet.

Also, check out Kevin Roditeli’s Happy Tank imprint. This guy is an absolute animal whose energy is contagious. He’s at the helm of our MFKZ project that I think is going to be big deal book this year.

Graphic Policy: It’s no secret that comics is a volatile field. Behemoth is making important deals with the likes of Simon & Schuster and Netflix. How critical is that to the ongoing success of a young company, and how to those alliances impact the development of new titles?

Steve Ekstrom: I think the most important thing we can do is continue to provide top-notch content. I know that seems like such a generic answer, but when you think about it, quality is really all it boils down to when you’re in a market where two companies hold 90-ish% of the sales figures.

We just have to keep making solid choices on the content we’re going to produce. Nathan and Ryan have some really fantastic concepts for marketable products coming down the pipeline that I would have never conceived on my own. I can’t wait to talk more about this stuff as it comes to fruition.

Other than quality, we just need to keep finding hungry talent with projects that fit our mold. This is a savvy brand that, while we may have sort of an outlier’s sensibility, we’re also determined to put out technically competent, well-crafted comics and graphic novels as well as innovative cross-promotional materials like miniatures, shirts and even records. We’ve got vinyl, man! How cool is that?

Graphic Policy: Last words: what do you personally want the world to know about you and the work you’re about to do?

Steve Ekstrom: I’m an ambidextrous Scorpio with a penchant for 70’s R&B and enchiladas? Nah, that’s pretty much common knowledge…

Right now, I am connected to seven or eight ridiculously amazing projects as either a writer, a letterer, an editor or some amalgamation of those three roles and I cannot wait to share these stories with the world.

I’ve spent my entire life loving comics as a fan. I grew up and went to school to learn how to write because I was a storyteller as a kid. I entered this industry as a guy who wanted to bring reader response criticism from the classroom to book reviews and I knew I wasn’t discovering fire or anything but I wanted to put butts in seats and I did it. I care about this business and I want to give back to it after a lifetime plus some of entertainment and joy.

I get to curate my own line of comics. I want to work with anyone that is hungry and motivated like me. I want to give a platform to new creators who understand how to make professional looking comics. This is a business first and foremost. We have to walk a line between commercially viable products, fine art and counter culture that surfs the edges of the cultural zeitgeist.

Keep your eyes on the Behemoth website and our social media for announcements concerning submission guidelines for D2D and PRIMER as well as other news about shows we will be attending later in the year and the release dates for all of our upcoming projects.

We’ve got content scheduled all the way out until the middle of 2022.

And we’re really just getting warmed up. All hail Behemoth!

Graphic Policy’s Top Comic Picks this Week!

Way of X #1

Wednesdays (and now Tuesdays) are new comic book day! Each week hundreds of comics are released, and that can be pretty daunting to go over and choose what to buy. That’s where we come in

Each week our contributors choose what they can’t wait to read this week or just sounds interesting. In other words, this is what we’re looking forward to and think you should be taking a look at!

Find out what folks think below, and what comics you should be looking out for this week.

Alien #2 (Marvel) – The first issue was solid bringing the Alien world to Marvel. It was both familiar and new and has us excited as the aliens are loose!

Batman/Fortnite: Zero Point #1 (DC Comics) – The two properties have crossed over in video games and now we get the comic version. It’s an interesting start that plays more to fans of the game than comic readers.

Girls of Dimension 13 #1 (AfterShock) – Four young women are invited to live in a building in NYC. That building has a portal to twelve other dimensions. A malevolent being known as Abraxis is on the other side and the women are all that stands in its way.

Guerilla Green (BOOM! Studios) – A graphic novel about a guerilla gardening movement. It’s a unique topic for a graphic novel, so score some points with that alone.

Hana-Chan & the Shape of the World (Yen Press) – Collecting six short manga from 2018 and 2019, the stories are fun, cute, with fantastic art. Great for all ages.

Jonna and the Unpossible Monsters #2 (Oni Press) – Rainbow has finally found her sister, Jonna, after a year of searching. But, being on her own, Jonna is a bit feral. Will she remember her sister?

Lovesickness: Junji Ito Story Collection (VIZ Media) – Collecting ten stories from Junji Ito!

The Many Deaths of Laila Starr #1 (BOOM! Studios) – With humanity on the verge of discovering immortality, the avatar of Death is fired and relegated to the world below to live out her now-finite days in the body of twenty-something Laila Starr in Mumbai.

The Mighty Valkyries #1 (Marvel) – The Valkyries must redefine their role and we want to see what Marvel does with this group now.

Old Guard: Tales Through Time #1 (Image Comics) – A new anthology set in the world of The Old Guard. The series has a rotating cast of creators delivering their own spin.

Specter Inspectors #3 (BOOM! Studios) – It’s a fun ghosthunting series.

Stray Dogs #3 (Image Comics) – The first two issues have been amazing mixing Don Bluth-like art with a murder mystery.

Ultramega #2 (Image Comics) – The debut delivered over-the-top kaiju action and an unexpected ending. We want to see where the series is going.

Unikorn #1 (Scout Comics/Scoot) – Mae inherits a horse from her mother… that’s really a unicorn? Discover the truth in this journey of healing.

Way of X #1 (Marvel) – There’s been a lingering sinister aspect to Krakoa and the new X-Men status-quo. Nightcrawler steps up to take on the mutants’ inner-darkness.

You Promised Me Darkness #1 (Behemoth Comics) – Gaining special auras from Halley’s Comet, two siblings are on the run from an evil being known as the “Anti-everything” that feeds on these special auras.

Steve Ekstrom Joins Behemoth as new Editorial Director

Steve Ekstrom

Behemoth Comics has announced the addition of comic book creator Steve Ekstrom to their company as the new Editorial Director.

Ekstrom’s role will primarily focus on the development of new creator-owned content with Behemoth’s Publisher, Nathan Yocum. Ekstrom will have expanded creative roles on several licensed projects connected to recent popular horror and sci-fi films as well as developing branded content for some popular projects featured on Netflix. Ekstrom is also spearheading the development of a direct-to-digital imprint, D2D, with the launch of a digital anthology in late 2021 sold exclusively by Behemoth on Comixology.

Steve Ekstrom is an award-winning writer and accomplished indie comics writer, letterer, editor and publisher with various credits at DC Comics, Image Comics, Top Shelf Publications, Pilot Studios, Imminent Press, Tin Star Studios and 803 Studios.

Ekstrom and Vanja Miskovic recently signed a creator-owned deal with Behemoth for the Serbian crime comic, SOKO, with artist Antonio Fuso, and colorist Stefano Simeone. SOKO #1 will launch in November 2021 with a cover by RM Guera.

Behemoth imprint Happy Tank to publish the Animated Film’s best-selling French comic, MFKZ

3 years after the release of the animated film adaptation, Happy Tank imprint of Behemoth Comics has acquired the English publishing rights to the Ankama Editions / Label 619 french published comic series MFKZ (Mutafukaz) which has sold an impressive 300,000 copies so far in the French market.

The Animated Motion Picture directed by Guillaume “Run” Renard and Shōjirō Nishimi succeeded to grab a cult following in the USA with its distribution on Netflix. The movie stars Giancarlo Esposito, Danny Trejo, and Rappers RZA, and Vince Staples.

The series is coming to the english comic market with its first issue launching in June. MFKZ #1 is an oversized special issue opening for preorder at comic book stores as part of Behemoth Comics’s April Previews Solicitations. Happy Tank’s plan for MFKZ is to make it nothing less than their flagship. The team at Behemoth is confident in the success of the series with a publication plan for multiple years.

RUN’s cult franchise is described as a genre mashup that centers on young Angelino and his pal Vinny, who live in a tenement in an Los Angeles-inspired dystopian metropolis. Following a scooter accident, Angelino starts experiencing migraines and strange hallucinations, as well as fits of rage-inspired superpowers, as he slowly awakens to the truth of his origins: He is half-human and half-Macho, a supernatural alien race that is bent on taking over the planet.

Graphic Policy’s Top Comic Picks this Week!

By the Horns

Wednesdays (and now Tuesdays) are new comic book day! Each week hundreds of comics are released, and that can be pretty daunting to go over and choose what to buy. That’s where we come in

Each week our contributors choose what they can’t wait to read this week or just sounds interesting. In other words, this is what we’re looking forward to and think you should be taking a look at!

Find out what folks think below, and what comics you should be looking out for this week.

Batman: Black & White #3 (DC Comics) – The series so far has been fantastic with a mix of creative voices and very different styles and takes on the classic character.

By the Horns #1 (Scout Comics) – Marisan Naso and Jason Muhr are back together for a new series about a woman on an act of murderous revenge against unicorns who trampled her husband.

Crossover #4 (Image Comics) – The series started off as “spot the comic reference” but it has shifted into an interesting story about xenophobia, immigration, and more.

Frank at Home on the Farm #2 (Scout Comics) – The first issue was full of mystery and we’re excited to see where this series goes because we’re honestly not sure!

Girl Haven (Oni Press) – Koretris is a haven for girls where no men or boys are allowed. When Ash, a boy, is sent there by a spell a whole bunch of questions are raised. Read our review.

I Breathed a Body #2 (AfterShock) – The first issue was an intriguing mix of horror and commentary about social media and we want to see what else it has to say.

Kaiju Score #4 (AfterShock) – This heist comic during a Kaiju attack has been fun so far but how else can things go wrong and what other double-crosses are left? We want to find out!

Marvel’s Voices: Legacy #1 (Marvel) – An impressive group of creators come together for this themed anthology. We’re always fans of seeing how different creators handle characters and checking out new voices.

Nailbiter Returns #10 (Image Comics) – The second volume of the horror series wraps up and it’s a bloody doozy.

Nuclear Family #1 (AfterShock) – Based on Philip K. Dick’s short story Breakfast at Twilight, the series is Cold War era science fiction that we’re excited to read.

Paranormal Hitmen #1 (Behemoth Comics) – Two hitmen are hired by a Government agency to hunt and kill ghosts but also need to deal with the mobsters after them.

Savage Circus #3 (Heavy Metal) – The issue begins the pivot from the first two issues of setup getting ready for the action to come. It’s so great and entertaining, read our review!

Stray Dogs #1 (Image Comics) – A suspense thriller starring dogs!? Yeah, we’re intrigued by this one.

Two Moons #1 (Image Comics) – A Pawnee man fighting for the Union during the Civil War discovers horrors worse than combat.

Warhammer 40,000: Marneus Calgar #5 (Marvel) – The miniseries wraps up as Calgar takes on the Chaos forces!

Graphic Policy’s Top Comic Picks this Week!

We Live #5

Wednesdays (and now Tuesdays) are new comic book day! Each week hundreds of comics are released, and that can be pretty daunting to go over and choose what to buy. That’s where we come in

Each week our contributors choose what they can’t wait to read this week or just sounds interesting. In other words, this is what we’re looking forward to and think you should be taking a look at!

Find out what folks think below, and what comics you should be looking out for this week.

Abbott 1973 #2 (BOOM! Studios) – Some solid mystery continues in 1970s Detroit with a tinge of politics thrown in.

Black Cotton #1 (Scout Comics) – In this alternate timeline the social order of “white” and “black” is reversed and we’re all in to see where this series takes the concept.

Black Friday #1 (Scout Comics/Black Caravan) – Years of pent-up negative energy from Black Fridays has built up and unleashed something very evil and dark into a superstore.

Black Widow #5 (Marvel) – The series has been amazing mixing action with some great visuals.

History Comics: The Wild Mustang, Horses of the American West (:01 First Second) – Learn how horses were brought to the Western Hemisphere by Spanish conquistadors and immediately became a crucial part of the American story.

Hollow Heart #1 (Vault Comics) – EL used to be human. Now he’s a jumble of organs in a bio-suit. EL is also in tremendous pain and has been for a very long time. Described as a queer monster love story, the concept seems very unique.

The Immortal Hulk: Flatline #1 (Marvel) – The series of one-shots have done a great job of allowing various creators tell their tales of this version of the Hulk. So far, they’ve been great.

King in Black #4 (Marvel) – It’s an event that’s really be paying off. Can’t wait to see where it all goes.

Michael Jackson in Comics (NBM) – A biography mixing comics and documentary chapters taking us from the Jackson 5 through his solo career.

Mieruko-Chan Vol. 2 (Yen Press) – What other strange encounters await Miko?

M.O.D.O.K.: Head Games #3 (Marvel) – The issue has been laugh out loud funny with every issue.

Pepper Page Saves the Universe! (:01 First Second) – Pepper encounters a strange cat named Mister McKittens and stumbles into a volatile science experiment run by a sinister substitute teacher named Doctor Killian. Yeah, we’re in for this.

The Recount #2 (Scout Comics) – The first issue blew us away with American citizens taking up the government corruption into their own hands.

Savage #1 (Valiant) – Teenage heartthrob. Feral social icon. Dinosaur hunter? Kevin Sauvage has a taste of home when a mutant dino threat invades England!

Second Coming: Only Begotten Son #2 (AHOY Comics) – Chaos, weirdness, and corndogs reign when Jesus innocently stumbles into Bible Safari, a profit-squeezing amusement park that trades in his image. That alone has us reading this fantastic take on religion and superheroes.

The Shadow Doctor #1 (AfterShock) – A Black doctor in the 1930s us unable to get work in Chicago’s hospitals and turns to the Prohibition-era Chicago Mafia to make some money.

Steambound #1 (Behemoth Comics) – Hound is a knight of the order’s restricted council while Yaeger is genetically modified and works for the city’s criminal cartels. They’ll force to team up again.

We Live #5 (AfterShock) – Extinction day hits humanity. We’re at the edge of our seats.

White Lily #1 (Red 5 Comics) – Lilya Litvak is destined to become the greatest female fighter pilot of all time, flying for the Russian Army in World War II against the Germans. But first she has to get through the training.

Young Hellboy: The Hidden Land #1 (Dark Horse) – An unknown adventure of a younger Hellboy!

Exclusive: Behemoth Comics hires Kevin Roditeli as Head Editor of Licensed Titles

Behemoth Comics is making moves in 2021 and has announced that it has hired Kevin Roditeli as Head Editor of the licensing division. Roditelli joined Behemoth as a creator in 2020 as the creator/writer of the graphic novel Freak Snow: Washed in The Blood. Roditeli’s role will be quality control and communication between the creative teams and licensors.

Roditeli started being active in the comic book industry in 2016 editing his first graphic novel Sane6 by Rob Cannon while co-owning a comic book shop in Trois-Rivières, Québec. Between 2017-2019 he contributed to the editing and/or marketing of over 20 comic series while being the marketing director of the convention Cosplay Fest.

Behemoth Comics has capitalized by signing multiple licensing agreements with high-profile film and game studios. The fresh licensing deal productions will start early in 2021, bringing over 30 writers and artists to work on dream franchises to adapt into comic book form. More licensing announcements will come from Behemoth as soon as the second quarter of 2021 and features AAA video games and major motion pictures adaptations.

Behemoth recently announced a global distribution deal with Simon & Schuster.

Behemoth

Graphic Policy’s Top Comic Picks this Week!

Yasmeen #5

Wednesdays (and now Tuesdays) are new comic book day! Each week hundreds of comics are released, and that can be pretty daunting to go over and choose what to buy. That’s where we come in

Each week our contributors choose what they can’t wait to read this week or just sounds interesting. In other words, this is what we’re looking forward to and think you should be taking a look at!

Find out what folks think below, and what comics you should be looking out for this week.

A Girl Walks Home Alone at Night #2 (Behemoth Comics) – A vampire story taking place in Iran, the first issue had a lot of potential and has us intrigued to see what’s next.

Dark Nights: Death Metal The Secret Origin #1 (DC Comics) – he heroes search for a way to defeat the Darkest Knight through the universe’s past, while Superboy Prime faces down the demonic Batman!

Firefly: Blue Sun Rising #1 (BOOM! Studios) – The event wraps up and promises big changes.

Gloomhaven: Fallen Lion (Source Point Press) – The popular board game comes to comics!

King in Black #2 (Marvel) – The first issue was over the top excitement with impressive visuals. It was a solid start to the next Marvel event and actually paid off a great build up to it.

King-Size Conan #1 (Marvel) – Celebrating 50 years of Conan in comics including Kevin Eastman’s first work at Marvel!

Picture of Everything Else #1 (Vault Comics) – A murder mystery revolving around the art world taking place in Paris at the beginning of the 20th century.

Red Winter (Scout Comics) – If you missed this crime series, it’s now collected and well worth picking up if you’re interested in crooked cops and dirty, gritty, stories.

Scarenthood #3 (IDW Publishing) – The horror series has been solid so far with a focus on parents attempting to solve a horror mystery.

Sea of Sorrows #2 (IDW Publishing) – The first issue created a solid atmosphere and mixed with great art, it was a solid start for those that like tense thrillers.

Undiscovered Country #11 (Image Comics) – The series has kept us on our toes with every issue. We have no idea where it’s all going and what’s next which has made for an entertaining and exciting read.

Yasmeen #5 (Scout Comics) – One of the best series of the year. It’s an emotional punch with each issue but well worth the read.

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