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Exclusive Preview: Archie 1955 #5

ARCHIE: 1955 #5 (of 5)

Script: Mark Waid and Brian Augustyn
Art: Ray-Anthony Height, Joe Eisma, Rick Burchett, Glenn Whitmore, Jack Morelli
Cover: Laura Braga
Variant Covers: Rick Burchett, Cary Nord
On Sale Date: 2/12
32-page, full color comic
$3.99 U.S.

This is it—the show-stopping conclusion of Archie’s rise to fame at the birth of rock ‘n’ roll! Archie’s star is soaring, but not everyone—even Archie himself—can handle his newfound fame.

ARCHIE: 1955 #5 (of 5)
Cover by Laura Braga

Preview: Archie 1955 #4 (of 5)

ARCHIE 1955 #4 (OF 5)

Script: Mark Waid and Brian Augustyn
Art: Derek Charm, Glenn Whitmore, Jack Morelli
Cover: Peter Krause
Variant Covers: Mike and Laura Allred, Jamal Igle
On Sale Date: 1/8
32-page, full color comic
$3.99 U.S.

Archie reaches the pinnacle of rock and roll heaven; hit records, TV, movies and thousands of adoring fans, but cracks are beginning to show–it’s terrifying at the top but the possibility of falling from it is far worse.

ARCHIE 1955 #4 (OF 5)

Archie’s star is rising in this advance preview of Archie 1955 #4!

ARCHIE 1955 #4 (of 5)

Script: Mark Waid and Brian Augustyn
Art: Derek Charm, Glenn Whitmore, Jack Morelli
Cover: Peter Krause
Variant Covers: Mike and Laura Allred, Jamal Igle
On Sale Date: 1/8
32-page, full color comic
$3.99 U.S.

Archie reaches the pinnacle of rock and roll heaven; hit records, TV, movies and thousands of adoring fans, but cracks are beginning to show–it’s terrifying at the top but the possibility of falling from it is far worse.

ARCHIE 1955 #4 (of 5)

Preview: Archie 1955 #3 (of 5)

ARCHIE 1955 #3 (OF 5)

Script: Mark Waid and Brian Augustyn
Art: Ray-Anthony Height, Glenn Whitmore, Jack Morelli
Cover: Ben Caldwell
Variant Covers: Jerry Ordway, Paul Renaud
On Sale Date: 12/11
32-page, full color comic
$3.99 U.S.

Archie’s making a big splash on the radio waves! But that’s nothing compared to his television debut. Archie’s star is rising quickly—but how does everyone else in his life feel about it?

ARCHIE 1955 #3 (OF 5)

Archie’s a rock star in this advance preview of Archie 1955 #3!

ARCHIE 1955 #3 (of 5)

Script: Mark Waid and Brian Augustyn
Art: Ray Anthony-Height, Glenn Whitmore, Jack Morelli
Cover: Ben Caldwell
Variant Covers: Jerry Ordway, Paul Renaud
On Sale Date: 12/11
32-page, full color comic
$3.99 U.S.

Archie’s making a big splash on the radio waves! But that’s nothing compared to his television debut. Archie’s star is rising quickly—but how does everyone else in his life feel about it?

ARCHIE 1955 #3 (of 5)

Preview: Archie 1955 #2 (of 5)

ARCHIE 1955 #2 (OF 5)

Script: Mark Waid and Brian Augustyn
Art: Tom Grummett, Bob Smith, Rick Burchett, Glenn Whitmore, Jack Morelli
Cover: Derek Charm
Variant Covers: Ray Anthony-Height, Khary Randolph
On Sale Date: 10/30
32-page, full color comic
$3.99 U.S.

BRAND NEW SERIES from the writing team that brought you ARCHIE: 1941! Archie Andrews’ rise to music superstardom begins to take form and all of Riverdale is captivated with their new crowned prince of rock and roll—but the cost of fame is already starting to add up.

ARCHIE 1955 #2 (OF 5)

Archie’s star is rising in this advance preview of Archie 1955 #2!

ARCHIE 1955 #2 (of 5)

Script: Mark Waid and Brian Augustyn
Art: Tom Grummett, Bob Smith, Rick Burchett, Glenn Whitmore, Jack Morelli
Cover: Derek Charm
Variant Covers: Ray Anthony-Height, Khary Randolph
On Sale Date: 10/30
32-page, full color comic
$3.99 U.S.

BRAND NEW SERIES from the writing team that brought you ARCHIE: 1941! Archie Andrews’ rise to music superstardom begins to take form and all of Riverdale is captivated with their new crowned prince of rock and roll—but the cost of fame is already starting to add up.

ARCHIE 1955 #2

Preview: Archie 1955 #1 (of 5)

ARCHIE 1955 #1 (OF 5)

Script: Mark Waid and Brian Augustyn
Art: Tom Grummett, Bob Smith, Glenn Whitmore, Jack Morelli
Cover: Audrey Mok
Variant Covers: Jinky Coronado, Francesco Francavilla, Aaron Lopresti, Pete Woods
On Sale Date: 9/18
32-page, full color comic
$3.99 U.S.

BRAND NEW SERIES from the writing team that brought you ARCHIE: 1941!

Can a rocking teenager from a small, sleepy town find fame and fortune through this new phenomenon called “rock and roll”? When Archie Andrews proves to a local DJ that he’s got the makings of a hip-shaking stardom, he begins an ascent to fame that will carry with it both triumph and tragedy.

Exclusive Extended Preview: Archie 1955 #1

Check out this exclusive expanded preview of Archie: 1955 featuring unseen interior art by Tom Grummett. Archie: 1955 is a spiritual follow-up, though not a sequel, to Archie: 1941 and is written by Mark Waid and Brian Augustyn. The series follows Archie through a bright and fast early rock and roll career.

The final order cut-off is August 26, 2019.


ARCHIE: 1955 #1 (of 5)

Script: Mark Waid and Brian Augustyn
Art: Tom Grummett, Bob Smith, Glenn Whitmore, Jack Morelli
Cover: Audrey Mok
Variant Covers: Jinky Coronado, Francesco Francavilla, Aaron Lopresti, Pete Woods
On Sale Date: 9/18
32-page, full color comic
$3.99 U.S.

BRAND NEW SERIES from the writing team that brought you ARCHIE: 1941! Can a rocking teenager from a small, sleepy town find fame and fortune through this new phenomenon called “rock and roll”? When Archie Andrews proves to a local DJ that he’s got the makings of a hip-shaking stardom, he begins an ascent to fame that will carry with it both triumph and tragedy.

ARCHIE: 1955 #1 (of 5)

Mark Waid and Brian Augustyn Talk Taking Archie to War in Archie 1941

Archie 1941

Archie has been around for decades and while we might know the Riverdale kids for their high school hijinks they’ve also seen unique and interesting takes.

Archie 1941, recently released in trade, is a tale set in Riverdale during World War II. It finds Riverdale dealing with the impact of the impending conflict on the small town and in the personal lives of Archie, Betty, Veronica, Jughead, and Reggie.

We got a chance to talk to writers Mark Waid and Brian Augustyn about the research that went into the series and its honest look at the homefront during that time.

Graphic Policy: Where’d the concept for Archie: 1941 come from? Was that something you pitched to Archie or did they come to you?

Mark Waid: That was cooked up by the home office and was a great idea.

Brian Augustyn: The front office at Archie came up with that, 1941 being the year Archie made his debut in Pep Comics. Great inspiration.

Archie 1941

GP: What type of research did you do for it? There seems to be an eye for the design and detail of the time.

MW: Both Brian and I dug in deep. We wanted to get it all right — the language, the homefront shortages, the hints of an isolationist, “keep us out of this” movement — we hit every internet resource we could.

BA: We lived on the internet, of course, and a trip or two to libraries. Movies from the time helped, too. Also, my parents and grandparents lived through that time and I, fortunately, remembered a lot. Alas, they’re gone now, so I hope Diamond ships to the great beyond.

GP: Some of the scenes, especially in the fourth issue are very cinematic. Were there any influences in the war sequences as far as the visuals and pacing?

BA: Pete brought his dedication and talent to capture the period and the combat scenes brilliantly.

Archie 1941

GP: The series really stands out in the beginning as it doesn’t have everyone completely on board with the war. You could easily have fallen into a jingoistic trap but you didn’t. Why was it necessary to show this side of history?

MW: Again, accuracy. In today’s era of instant global information, where worldwide news is delivered to us 24/7, we forget that in 1941 most people got their news from the local daily newspaper or occasionally from radio, neither of which was in a position to really, truly convey the drama happening in Europe.

BA: I don’t think either Mark or I are jingoists anyway, but especially when working with history, there’s no need to impose opinions over the true drama. Also, that period and the war presented us with great real-life stories. We found some really awesome true events and personal stories.

Archie 1941

GP: Is there anything particular about Archie and his friends that makes it a bit easier to explore history with them?

MW: They’re elastic characters, as proven by the fact that they’ve been around, vital, and a recognized part of pop culture for 80 years. They can adapt to any circumstance, any era.

BA: We all know them so well after all these eras, and because they’re such everypeople they are perfect in any kind of story.

GP: There’s a death of a well-known character in this. How freeing is it for you as writers to be able to do that sort of thing?

MW: Tremendously. The flip side to the characters having been around and vital for 80 years is that it’s dangerous to shake up the status quo too much — you never know what you might accidentally break.

BA: It was driven by the story, and layered the last chapter with tragedy over the layers of joy and relief. It was a fitting turn of events.

Archie 1941

GP: Visually for that sequence, and the battles as a whole, you all shied away from blood and gore when you could have easily gone that route. What went in to the thinking about going that way?

BA: We don’t need gore, and anyway, the combat played out to be mostly seen from a distance, with planes buzz bombing the scattering troops.

GP: So many stories surrounding the war focus on the battles themselves. In Archie: 1941 there’s also a focus on the impact at home. Did you have a more war focused take at one point? Why was it important to show the impact on the home front?

BA: Not at all; it was always going to be Riverdale-centric. The war’s effect on the families at home was ultimately our favorite part.

Archie 1941

MW: It was always largely — at first, exclusively — about the homefront. Riverdale is as much a “character” in the Archieverse as are the kids. It was Brian who suggested we follow Archie overseas, and it was a good call.

GP: On the home front aspect, you also dive into topics like profiteering and cooperation with Germany and Nazis by some Americans. This is a pretty brutally honest and truthful take on the war you don’t hear in school. Thoughts on that?

BA: Those were realities of the period and added texture to our historical tale.

MW: Again, historical accuracy. That, second only to telling a good story, was of great importance to us. Getting back to what I said earlier, not every average American had a true perspective on what was really happening overseas. Veronica’s father, Mr. Lodge, would certainly have been doing business with the Germans prior to Hitler’s declaration of war — he was wealthy because he was a globalist when many millionaires were nationalists.

Archie 1941

GP: It’s interesting to explore history through comics. Is there anything to the medium that benefits those sort of lessons?

BA: Any entertainment that uses history as the spine of the narrative both gains depth and is made palatable to a consumer who might not want a “history lesson.”

MW: It’s a vital storytelling medium. By that, I mean it’s more visceral than simply words on the page of a history book. And unlike a TV documentary, comics allows the reader to take his or her time reading the story, absorbing it at their own pace and being given the luxury to dwell on — and really think about — the parts that move them.

GP: Thanks so much and look forward to seeing what you do with the next decade in Archie 1955!

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