Tag Archives: comixology originals

ComiXology and Delcourt Reveal a Promethee 13:13 Poster by Shawn Martinbrough and Jock

ComiXology and Delcourt Group join forces to bring readers everywhere the upcoming comiXology Originals title Promethee 13:13, a prequel to Christophe Bec’s best-selling, mind-bending, science-fiction bande dessinée, Promethee. The Promethee 13:13 team along with original Promethee creator Christophe Bec will be in attendance at the 46th annual Festival International De La Bande Dessinée – happening January 24-27, 2019 in Angouleme, France – to promote and discuss new details about this upcoming title.

Coming this year as part of the comiXology Originals line of exclusive digital content, Promethee 13:13will be exclusively available as two 48-page volumes on Kindle and comiXology and available to members of Prime Reading, Kindle Unlimited, and comiXology Unlimited at no additional cost. Each volume will be simultaneously released in English and French worldwide at debut.

To celebrate this announcement, the all-star Promethee 13:13 creative team of Andy Diggle, Shawn Martinbrough and Jock, along with Promethee original creator, Christophe Bec, will appear at the Delcourt Group booth in Le Monde des Bulles Marquee to sign an exclusive, limited edition poster illustrated by Shawn Martinbrough, with colors by Jock, Friday, January 25th from 5-6pm, and Saturday January 26thfrom 7-8pm. Additionally, the Promethee team along with comiXology Originals Head of Content, Chip Mosher, Directeur Editorial at Delcourt Group, Jean Wacquet, and Editor Will Dennis, will discuss this upcoming comic series during the Past, Present and Future: Promethee 13:13 panel, Thursday, January 24th at 4:30pm at the Conservatory Gabriel Fauré in Angoulême, France.

Promethee 13:13 is a psychological sci-fi horror comic full of alien conspiracy, written by Andy Diggle with art by Shawn Martinbrough, colors by Dave Stewart, covers by Jock, and headed by veteran editor Will Dennis.

Darla, a successful author, has visions of apocalyptic invasions and being abducted by aliens as a child. After years of medication she’s put it behind her, until one day while speaking at a mental illness conference in San Diego, her life gets turned upside down. At the same time, strange things begin to happen during the latest space shuttle Atlantis mission. Promethee 13:13 tells the thrilling fast-paced space drama leading up to the moments of September 21, 2019 at 13:13.

Review: The Stone King #2

The Stone King #2

The world is filled with “quicksand” and you may never know when you have stepped into it.  There is the literal sense of the word which most people only see in movies. Then there’s the metaphorical version, one which envelopes you when you least expect it. These are things throughout life that cause panic.

The first time I ever heard about it was in a movie called The Replacements starring Keanu Reeves and a now retired Gene Hackman. The way Reeves’ character described it in one scene is about getting so deep in trouble that you lose all senses. It was not until I joined the military and been in some near-death experiences that I felt what that sense of urgency was. In the second issue of The Stone King, we find Ave seeing firsthand the wrath she has unleashed.

We pick right up after the Stone King has invaded the city looking for what Ave took from him. As everything around her crumbles, she looks to save everyone she cares for. As Ave looks for healing moss to help someone close to her she soon gets arrested for looting. As the city guard humors Ave, he soon realizes that she may be the only hope city has before being totally demolished.

Overall, the second issue is action packed that’s a turning point for the series and happens to introduce us to some new characters. The story by Kel McDonald is lighthearted at points and heavy at other moments. The art by Tyler Crook is vivid and alluring. Altogether, it’s an excellent second issue that should bring in new fans.

Story: Kel McDonald Art: Tyler Crook
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

Review: The Stone King #1

The Stone King #1

When it comes to stories revolving around thieves, there aren’t too many that grips you from the beginning. Thieves are usually frowned upon and rarely any redeeming qualities can be yielded from such characters. One of the more infamous thieves is Aladdin, a character which has been both glorified and villainized, depending on which interpretation you may follow. His heart is ultimately good and what he does is out of necessity.

One of the most storied thieves in fiction and quite possibly in history is Robin Hood. What most people know of this infamous thief, is that “he stole from the rich and gave to the poor.” His story is remixed once again in the new Taron Eggerton /Jamie Foxx movie. The film gives the legend a new twist as a heist thriller that takes place during medieval times. It lacks the cool tricks of modern heist stories but it doesn’t mean it doesn’t contain the same level of intrigue. The new comiXology Original digital comic series The Stone King also combines fantasy with melodrama and thrills.

Early in the comic we meet Ave, a thief born into the trade who harvests healing moss unbeknownst to the creature known only as the Stone King. It’s a method outlawed in the land. Her whole life changes when she finds a hidden treasure on the creature. It’s something that can change her fortunes. She returns home hoping that her haul has given her a new status with the guild of thieves. By issue’s end, The Stone King comes looking for the treasure Ave found and will not stop until it is found.

Overall, the comic is an engaging medieval caper that exceed expectations within the first few pages. The story by Kel McDonald is gripping and action packed. The art by Tyler Crook is beautiful. Altogether, the comic’s a heist story that’s so much more than that and will have readers wanting to read more.

Story: Kel McDonald Art: Tyler Crook
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

comiXology provided Graphic Policy with a FREE copy for review

ComiXology Originals Debuts Special Edition of Goliath Girls #1 & All-New Goliath Girls #2

On December 5th, comiXology Originals will debut an exciting Special Edition of Goliath Girls issue #1 featuring never-before-seen process art, character development, script pages, and more from writer Sam Humphries and artist Alti FirmansyahGoliath Girls continues with the all-new issue #2 debuting on the same day in both English and Japanese.

Goliath Girls is a story about hope during wartime and the power of sisterhood. The fate of the world lies in the hands of three teenage girls – Zelda, Eunice, and Juliet – and their pet kaiju Ginger Spice. Join them as they fight to not only save humans from gargantuan kaiju known as “goliaths,” but also to save goliaths from humans. In issue #2, the Goliath Girls must battle a giant space ape and face further trouble (romantically, parentally and otherwise).

Starting December 5th, both Goliath Girls #1 Special Edition and Goliath Girls #2 will be available to members of Prime Reading, Kindle Unlimited, and comiXology Unlimited, and also available for sale on comiXology and Kindle for $2.99.Issue #2 will also be simultaneously available in Japanese same day in Japan through Amazon.jp and worldwide, upon releaseThe print collected edition will be available via Print-on-Demand exclusively on Amazon.com.

In the world of Goliath Girls, monsters will rise, cities will fall…but best friends are forever!  Zelda, Eunice, and Juliet are three best friends: orphans of the Kaiju Generation, and adoptive mothers to their own baby Goliath! For years they’ve searched for the elusive King of All Goliaths, the one fabled to bring the Forever War to an end. But they’re not the only ones on his trail.

In addition to the new Goliath Girls releases set for this Wednesday, comiXology will also host a Sam Humphries sale featuring some of his outstanding work from across notable comic publishers!

Elephantmen 2261: Holiday Special comes to comiXology Originals this December

On December 12, 2018, ComiXology Originals releases Elephantmen 2261: Holiday Special, the first ever Elephantmen holiday issue by the long time creative team of writer/letterer Richard Starkings, artist/colorist Axel Medellin, with a stunning cover by Boo Cook, and a holiday backup story by Richard Starkings and Superfreaks artist Margaux Saltel.

Hip Flask’s fellow Information Agent, Vanity Case, lost her father when she was just a child… and Hip’s friends Savannah, Hunter and Jet lost their grandfather just over a year ago. In Elephantmen 2261: Holiday Special, Hip decides it is his job to cheer them up for the holidays…

But that’s not all. This stand-alone one-shot includes a special holiday short story outside of the Elephantmen universe written by Richard Starkings with art by Margaux Saltel titled, MARZIPAN! about a little alien who meets a little girl. Girl falls in love with little alien. Alien falls in love with Marzipan. Little girl loses little alien!

Not familiar with Elephantmen? Elephantmen are human/animal hybrids designed to fight a war. But the war is over, and now they live among us. Debuting nearly 15 years and 80 issues ago from Image Comics, comiXology recently released the 5-issue who dunnit miniseries Elephantmen 2261: The Death of Shorty as part of the comiXology Originals line of exclusive digital content. Both Elephantmen 2261: The Death of Shorty #1-5 and Elephantmen 2261: Holiday Special are included in Prime Reading, Kindle Unlimited and comiXology Unlimited at no additional cost and available for purchase only on comiXology and Kindle.

The Stone King, the Latest comiXology Original Debuts this Wednesday

On November 14, comiXology debuts issue #1 of the 4-part miniseries, The Stone King, a coming-of-age fantasy adventure written by Kel McDonald with gorgeous art by Tyler Crook. The highly anticipated series features a rock giant, a flying dog, and a young teenage thief who must learn to take responsibility for her mistakes.

The Stone King is a fantasy story about Ave, a young woman who is trapped in a life of petty crime. In an attempt to advance the life she desires, the young thief often steals magic moss from the Stone King. One day, she steals a bit more than magical moss and things very quickly go awry. The Stone King goes on a rampage, threatening Stoneport, the fishing and trading city Ave calls home. In order to save the city, Ave must track down the rare gem and return it to its rightful owner to make things right.

Announced earlier this year at a press conference during Comic-Con International San Diego, The Stone King is part of the comiXology Originals line of exclusive digital content. Starting with the first issue debuting November 14, each subsequent monthly issue will be available to members of Prime Reading, Kindle Unlimited, and comiXology Unlimited at no additional cost, and available for sale on comiXology and Kindle for $2.99. The collected edition will be available via Print-on-Demand exclusively on Amazon.com.

The Stone King joins other comiXology Originals including, Superfreaks by Elsa Charretier, Pierrick Colinet and Margaux Saltel, Elephantmen 2261: Death of Shorty by Richard Starkings, Axel Medellin and Boo Cook, Ask For Mercy by Richard Starkings and Abigail Jill Harding, Savage Game by Ryan Kalil, Shawn Kittelsen and Chris B. Murray, Grave Danger by Tim Seeley and Mike Norton, Goliath Girls by Sam Humphries and Alti Firmansyah, Teenage Wasteland by Magdalene Visaggio and Jen Vaughn, Hit Reblog by Megan Kearney and curated by Hope Nicholson, and more.

In addition to being purchasable on comiXology and Amazon, comiXology Originals are also available through Prime Reading, Kindle Unlimited, and comiXology Unlimited. Prime Reading offers Amazon Prime members a rotating selection of over a thousand top Kindle books, magazines, short works, comic books, children’s books, and more – all at no additional cost. Kindle Unlimited offers over 1 million titles, thousands of audiobooks, and select current issues of popular magazines for just $9.99 a month with a 30-day free trial. ComiXology Unlimited offers over 15,000 comics, graphic novels and manga for just $5.99 a month with a 30-day free trial.

Eisner Award Winning Digital Comic Harvey Kurtzman’s Marley’s Ghost is Now $1.99

Halloween is over, Thanksgiving hasn’t happened yet, but the holiday season is already upon us! And in keeping with that ever earlier tradition, Eisner Award winning Harvey Kurtzman’s Marley’s Ghost, drops from $6.99 to $1.99 for a limited time on comiXology and Kindle. It’s a great time to read this gorgeously illustrated graphic novel adaptation of Charles Dickens’s beloved classic A Christmas Carol.

In the 1950s, legendary comics creator Harvey Kurtzman had plans to adapt Charles Dickens’s classic story A Christmas Carol into what would become known as a graphic novel. Kurtzman was the creator of MAD magazine, Playboy’s Little Annie Fanny, and TRUMP magazine. The project was never brought to fruition and the pages, thumbnails, and notes that Kurtzman had created remained unfinished. Artist Gideon Kendall and writers Josh O’Neill and Shannon Wheeler– under the supervision of the Kurtzman Estate and book packagers Kitchen, Lind & Associates – teamed up to finish Kurtzman’s dream project for comiXology Originals. Harvey Kurtzman’s Marley’s Ghost adapts and expands upon Kurtzman’s extensive breakdowns and notes to make his long-lost vision a reality.

Earlier this year Harvey Kurtzman’s Marley’s Ghost won “Best Digital Comic” at the prestigious Eisner Award 2018 Ceremony during Comic-Con International San Diego.

comiXology Originals and Comix AF Reunite for a New Series Fair Trade from Tini Howard and Eryk Donovan

ComiXology reunites with Comix AF for the newest addition to the comiXology Originals lineup: Fair Trade. Debuting spring of 2019, Fair Trade is written by Tini Howard and illustrated by Eryk Donovan.

To celebrate this announcement, Eryk Donovan will be at New York Comic Con signing limited quantities of the exclusive Fair Trade poster at the comiXology Artist Alley table #1B5. He will also appear in two comiXology-hosted panels – The New Comics Publishing Frontier and The Voices of ComiXology Originals.

Fair Trade isa series for magical girls-gone-bad! Fair Trade is a classic mafia-style story of a blooming prodigy with more skill than good sense, set in a city where inspiration is the trade and magic colors outside the lines.

The 5-issue miniseries will be available on Kindle and comiXology and individual release dates are forthcoming. The series is free to read for members of Amazon Prime, Kindle Unlimited and comiXology Unlimited. A print collected edition will be available via Print-on-Demand exclusively on Amazon.

Earlier this year, on July 18, comiXology and Comix AF debuted the exciting horror/spy mashup series Grave Danger on Kindle and comiXology, featuring a slew of monsters by Tim Seeley and artist Mike Norton.

NYCC 2018: ComiXology Originals and Delcourt Assemble All-Star Team for Promethee 13:13

ComiXology and Delcourt Group, the leading independent comic book publisher in France, join forces to bring readers everywhere a prequel to Christophe Bec’s best-selling, mind-bending, science-fiction bandes dessinées PrometheePromethee 13:13. Created by Andy Diggle and Shawn Martinbrough with covers by JockPromethee 13:13 will be exclusively available on Kindle and comiXology through comiXology Originals. To celebrate this announcement, the all-star Promethee 13:13 team will be signing exclusive, limited edition posters illustrated by Jock at the comiXology NYCC Artist Alley table #1B5.

Coming 2019.

Promethee 13:13  istwo 48-page volumes will be available on Kindle and comiXology – individual release dates forthcoming. Volumes will be simultaneously available in English and French same day worldwide. It’ll be free to read for members of Amazon Prime, Kindle Unlimited and comiXology Unlimited.

Amazon Isn’t Indie and Small Press’ Enemy, It’s Another Platform to Sell

If you read The Comics Journal, it might seem like one of the Four Horsemen of the Apocalypse was descending on Small Press Expo which takes place in Bethesda, Maryland this weekend. In an article entitled “A Plague Comes to SPX” RJ Casey makes the case that Amazon and comiXology‘s involvement in the show is an “affront” to those who attend and exhibit at the show.

comiXology is a digital platform that acts as a storefront for digital comics and was purchased by Amazon some years ago. Since then, the company has expanded allowing individual creators to upload their comics to sell through comiXology Submit and more recently launched a line of original comics called comiXology Originals.

Amazon and comiXology are bringing one of those originals, Hit Reblog, to SPX along with some of the creative team behind it and giving away printed copies to attendees. They’re also sponsoring portions of the convention.

Some feared when comiXology was acquired Amazon they would flex their market dominance putting pressure on publishers and brick and mortar stores. In the years since the focus has been more on experimentation and slowly integrating the service into the Amazon family such as Amazon Prime and Kindle. Even before Amazon, comiXology was the 800lb gorilla in the digital comics market and at any time could have easily become a tyrant with their exclusive contracts and market dominance. Though there were alternatives earlier and after, they remain the gold standard service by which all others will be measured. None have come close to matching what comiXology delivers.

While it is understandable to be nervous about Amazon’s entrance into the comics market and apprehensive due to their questionable treatment of employees, reality is their store had already been in the comic market for years selling individual comics and graphic novels and accounting for an unknown, but vital, amount of sales. Well before comiXology, Amazon had a section dedicated to comics with regular promotion and since the acquisition, those promotions have become better focused and better curated running appropriate sales during events such as San Diego Comic-Con and Small Press Expo raising awareness. ComiXology Originals are free to read for Amazon Prime a service millions are already paying for.

While the TCJ article spends a decent amount of time advocating for the rights of Amazon employees, its actual focus on the comics aspect seems to fall short in both facts and conclusions.

The fear seems to be, Amazon sponsorship of Small Press Expo is a trojan horse to take over independent comics as if there is one publisher by which that can be accomplished. The article and those concerned supporting it make indie and small press comics out to be both on the edge of collapse, easily broken, and also so lucrative that Amazon of course would want to snatch it up. It’s Schroedinger’s business. Both fragile and also immensely successful as is.

What the article fails to mention is that Amazon is already in the small press comic game and has been for years as both a platform and a publisher. Not only can creators self publish through their many services but the company also has Jet City Comics launched in 2013. They were already in the original comics publishing game well before the comiXology acquisition and that included distribution through comic stores. For a behemoth that is portrayed as so focused on closing brick and mortar stores, it’s strange that in their business model of their own comic line would include brick and mortar stores.

The article claims that Amazon wants to be “your printer, distributor, and most likely, publisher and editor.” As stated by Bedside Press‘ founder Hope Nicholson, Hit Reblog is published and owned by Bedside Press, not comiXology and not Amazon. An attack on the comic is an attack on a small press comic company. Similarly, Savage Game, the first comiXology Original comic to be printed, is owned by Cryptozoic.

Amazon and comiXology are the distributor and printer at most, very different than other comic publishers and more akin to a combination of Diamond Comic Distributors, the monopoly that currently is the major comic distribution service, and a possible printing company. Honestly in a way they’re like Image, a brand that comes with some benefits but in the end are creator owned. comiXology Originals sound more like paid for exclusives, a value added for comiXology and Amazon Prime customers and subscribers. They’re also willing to sink money into promoting comic projects featuring varied subjects and different creative voices that we don’t normally hear from other publishers.

The article also mentions a hit on “artistic freedom and intent” with a focus on the paper on which the comics are printed. While different printings can create a different reading experience, the focus on this, much as the article as a whole, screams of elitist gatekeeping as if there is one way to print a comic. ComiXology is providing these creators, and all of those that participate in comiXology Submit, a creator owned platform and the ability to do as they please with a possible visibility that can’t be replicated by any current comic publisher or distribution system. Amazon for years has provided print on demand services and it’s only natural that this be incorporated into this latest experiment of theirs.

As C. Spike Trotman emphasized in the comiXology Originals San Diego Comic-Con announcement panel, the ability to work with comiXology and Amazon is a value added and provides an opportunity to open doors. These are opportunities that might not exist to her as an already successful independent comic publisher (one who has been a regular at SPX for years). This is a comic creator who has raised over $1 million on Kickstarter. Trotman pointed out despite that success some doors are still closed to her. Amazon and comiXology are partners to possibly help open some and explore others neither have ever imagined.

With those incorrect conclusions and facts, the TCJ article warns of dire times when Amazon will force indie creators to print through them and undercuts creators through their platform. As if there’s not other on demand printing options and also downplays the do-it-youself nature of indie comics.

The reality is, a sale on Amazon because an individual saw the comic at a convention is still a sale. Yes, the creator will make less, but they’re still making money that most likely will have never been made otherwise. Conventions like SPX are as much about visibility and advertising as they’re about direct sales to the consumer. Conventions are about raising awareness and getting on attendees’ radars. That fee for the table, that’s the advertising fee. What you make there is some of which you make back immediately from that advertising. And Amazon’s cut of the sales through their platform? That’s no different than selling through Diamond or to comic shops directly or through Kickstarter or Etsy or Indiegogo which all take their piece of the pie. Amazon and comiXology are the technology platform through which these individuals can sell their wares globally and if done right get their creations before an audience that might not otherwise see them. That’s something TCJ’s parent Fantagraphics should be well aware as they use both Amazon and comiXology as two of their sales channels. It’s not an either or, it’s an all of the above to sell comics.

But where the article absolutely fails is its advocacy for attendees to throw copies of Hit Reblog in the trash. As if that comic is less worthy to be at the show than any other. TCJ seems to forget that the beauty of small press and indie comics is that anyone can make them. The paper it’s printed on, the format it comes in, and the ability of the creators are varied. Indie comics and small press are all an experiment. None of it is right, none of it is wrong. No one can “own” small press and indie comics because anyone can create them. Walk up and down the aisles at Small Press Expo and you can see that from the high quality books published by the likes of Fantagraphics, Drawn & Quarterly, and Top Shelf, to the comics xeroxed, stapled, and folded by the attendees themselves. RJ Casey, TCJ, and Fantagraphics has seem to have forgotten this and are becoming the gatekeepers they themselves would have decried years ago.

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