Tag Archives: joelle jones

Early Preview: Batman #33

Batman #33

Writer: Tom King
Artist: Joëlle Jones
Color: Jordie Bellaire
Cover: Joëlle Jones
Variant Cover: Olivier Coipel
U.S. Price: $2.99
On Sale Date: October 18, 2017

Meanwhile, back at Wayne Manor, we’re all waiting to find out Selina Kyle’s answer to Bruce Wayne’s proposal (find out in BATMAN #32 on October 4). A whole new story arc of Batman begins as artist Joëlle Jones joins series writer Tom King for “A Dream of Me” part one!

Following his marriage proposal to Catwoman, Batman leaves Gotham City on a quest of renewal and redemption. As he travels and fights, he encounters members of his family—each disturbed by Batman’s journey, each ready to stand in his way, each ready to push back against Batman’s stubborn determination to evolve into something better than a superhero.

Preview: Mighty Morphin Power Rangers Adult Coloring Book

Mighty Morphin Power Rangers Adult Coloring Book

Publisher: BOOM! Studios
Writer: N/A
Artists: Bachan, Daniel Bayliss, Ryan Browne, Jamal Campbell, Elsa Charretier, Jorge Corona, Benjamin Dewey, Sean “Cheeks” Galloway, Jason Ho, Corin Howell, Rebekah Isaacs, Joëlle Jones, Jonathan Lam, Denis Medri, Christopher Mitten, Takeshi Miyazawa, Robb Mommaerts, Goñi Montes, Tradd Moore, Philip Murphy, Dan Mora, Daniele Di Nicuolo, Jefte Palo, Walter Pax, Missy Peña, Paul Pope, Hendry Prasetya, Khary Randolph, Paul Reinwand, David Rubín, Thony Silas, Cory Smith, Dominike “Domo” Stanton, Babs Tarr
Cover Artist: Daniele Di Nicuolo
Price: $16.99

Colors are an important part of how Jason, Kimberly, Zack, Trini, Billy, and Tommy identify themselves as Mighty Moprhin Power Rangers, and now the power to showcase those colors is in your hands.

Featuring over 90 black-and-white illustrations from an array of artists such as Goñi Montes, Paul Pope, David Rubin, Hendry Prasetya, Daniele Di Nicuolo, and many more, it’s color morphin time in the first-ever Mighty Morphin Power Rangers Adult Coloring Book.
Fans, colorists, and even Bulk and Skull now hold the power to bring a unique look to the Rangers, zords, villains, and city of Angels Grove. Stay inside the lines, and may the Power protect you.

Review: The Odyssey of Sergeant Jack Brennan

Anyone who has been in the military and been on deployment, all have different experiences. Most people who are not or never have been in the military would even know, that there is a good number of military members who have never been and will never be on deployment. For those of who have been, we always get these pre-deployment briefings, letting us know what can we expect. This is where we find out where we are going, what is our mission and the expected length of the deployment.

There is a ton of things that most of these briefings, don’t tell you, and the main thing to me, has always been PTSD. There is nothing like when you are somewhere public, with people doing normal things, and certain things just trigger you, and it is nothing you can explain to your family and/or friends. Only people who have been deployed, can truly understand what you go through, and not everyone gets PTSD, but enough of us do, and most keep it under control but those unfortunate souls, who can’t, suffer the most and may pay the ultimate price. In The Odyssey of Sergeant Jack Brennan, writer Bryan Doerries brings you to a world, which finds parallels between Homer’s Odyssey and those of most military members on deployment, where most of these characters suffer from some form of PTSD.

Within the first few pages, the reader and is introduced to Sgt. Jack Brennan. whose infantry squad has been cleared to go back home, but he wants them to know a few things. This is where he tells his men the story of Odysseus, even embellishing part of the original story, for them to relate it things he and them have encountered in war and at home. As the story moves forward, the reader realizes even though the story is familiar, just how affecting, PTSD has always been, as Homer spoke of it in various ways through the Odyssey. By the end of the book, the back and forth narrative between the infantry squad’s story and the Odyssey, leaves the readers the same place these men want to be… home.

Overall, an excellent story,that draws comparisons between modern military deployments and those of ancient times. The story by Doerries, is smart, affecting, and emotional, as it reminded me of scenes from my own life. The art by Ruliffson, Jones, Andersen, Meconis, and Bertozzi, is seamless and complements the story. Altogether, an important book, that may serve as a primer for those with family members who are in the military and for a better understanding of PTSD.

Story: Bryan Doerries
Art: Jess Ruliffson, Joelle Jones, Justine Mara Andersen, Dylan Meconis and Nick Bertozzi
Story: 10 Art: 9.0 Overall: 9.5 Recommendation: Buy

Preview: Supergirl: Being Super #4

Supergirl: Being Super #4

(W) Mariko Tamaki (A/CA) Joëlle Jones
In Shops: Jun 28, 2017
SRP: $5.99

Having her life torn to shreds and burned to ash has forced Supergirl to choose between the world she was born on and the world that adopted her. Can Kara Danvers find a way to be super-or will she crash and burn?

C2E2 2017: Joëlle Jones Talks About Her Creative Process, Housewife Assassins, & That Moment from Supergirl: Being Super


My first interview at the 2017 edition of C2E2 was with the talented writer/artist Joëlle Jones. I first fell in love with her gorgeous lines, macabre sense of humor, and impeccable style in the 2015-2016 Dark Horse Comics miniseries Lady Killer that she co-wrote with current Vertigo editor Jamie S. Rich and illustrated herself. Lady Killer is about a seemingly stereotypical 1960s housewife named Josie Schuller, who raises her two kids and makes dinner for her husband, but is secretly an assassin. She was also the artist on the lovely slice of life graphic novel 12 Reasons Why I Love Her from Oni Press and a Mockingbird one-shot from Marvel Comics.

I got to chat with Jones about her work on Lady Killer and its sequel as well as her heartbreaking work on the DC Comics series Supergirl: Being Super, a modern retelling of Supergirl’s origin story, while she worked on a beautiful Catwoman commission. Read until the end for a cameo from another famous pop culture assassin.


Graphic Policy: One of the first things that attracted me to Lady Killer were the styles that the characters were wearing, especially Josie. I was wondering what some of your style inspirations were for the series.

Joëlle Jones: I always try to look at the old Sears catalogues. There’s a lot of people who can them in, but mostly, I use the old sewing patterns.

GP: I think I remember seeing some of those at my grandma’s house. I really like the way you draw Josie’s kids in Lady Killer? Did you have any particular influences, like newspaper comics etc.

JJ: It was old Valentine’s Day cards from the 1950s that Pete Hawley did. They’re so cartoon-y, and they make me giggle. I just wanted to do an homage to him.

LadyKillerCoverGP: In Lady Killer 2, Josie is doing some sketchy things, like killing everyone and even teaming up with Nazis. Was there any particular things you added to your writing and art to keep her sympathetic in spite of doing all these deplorable things?

JJ: I wasn’t consciously trying to make people sympathetic to her. Hopefully, part of it is that I love [Josie], and I hope that’s enough to get across. Lady Killer is a kind of book that I would do no matter if people read it or not. I try to entertain myself and get me laughing or interested, and luckily it’s worked out that it’s successful.

GP: I was so glad when Lady Killer got a sequel. What were some of your favorite assassination scenes to draw in the either the first Lady Killer or the sequel?

JJ: I always like what I most recently did, but some of the scenes stand out over time. Like when she killed the stripper and strangles her. I wanted to draw that scene just so I could do the nipple tassels twirling around. The only purpose for that [splash page] was me wanting to draw that.

GP: The old school pasties. Very nice. So, in Lady Killer 2, the Schuller family moves from the Pacific Northwest to Florida so how did the shift in setting influence your work on the series?

JJ: I wanted to put them in a whole new place and shake everything up. I wanted to make them uncomfortable. The first series I kind of wrote with training wheels because Jamie [Rich] was there to help me. For the second series, I really wanted to do it on my own. I wanted to break away from what I did in the first series and put myself in that uncomfortable position. I did the same thing with the [Schuller] family to cover up the jitters.

GP: What have been some of the challenges of working with a co-writer to doing everything but the colors by yourself?

JJ: It’s actually been really freeing. I don’t like to sit down and write scripts. I start in with the art, and my scripts look like a mix between doodles and words. It was so much easier to not have to explain to anybody what I wanted to do. I just wanted to jump write in and do it.

GP: So when do you add the dialogue?

JJ: I add the dialogue at the very last minute when the art’s all finished.

GP: What can readers expect from the big finale in the upcoming Lady Killer 2 #5?

JJ: I don’t know. I haven’t written it yet. I do know where I wanna go and hopefully everyone will like it. Obviously, there’s gonna be a lot of blood. You can expect gore.

GP: That’s one of thing I love about the series: the over the top violence and black comedy. Like 60s housewife sitcom with a little Tarantino on top.

One of my favorite moments in Lady Killer was when you added a little flashback with Josie’s mother-in-law and set her up as a “lady killer” of the past. If you theoretically could do a spinoff of Lady Killer, what era would you set it in and why?

JJ: That’s my favorite too! Maybe it’s because of all the movies I’ve been watched, but I would really like to do a Great Depression/Dust Bowl one. That’s what I’m into now, but it could change tomorrow and be the disco 1970s.


GP: That would be so awesome with the big afros and everything. Another series of yours that I’m a big fan of is Supergirl: Being Super. In issue 2, Supergirl’s best friend dies. It made me cry on my lunch break at work. How did you get in an emotional state to draw something so powerful?

JJ: Yeah, it’s heartbreaking. It’s all down to the way that Mariko [Tamaki] wrote it. The script is powerful on its own. It didn’t take much to get me there. She sent me the script, and I opened it up and started crying alone in my studio. It was so sad.

GP: It’s so unexpected because it was previously such a lighthearted book.

JJ: I had no idea that was going to happen.

GP: What is the difference in your creative process between Lady Killer and doing everything versus Supergirl: Being Super where you worked with inker, Sandu Florea? Do you draw differently?

JJ: I do a little bit. Sandu inked the first issue, and I took over on the inks for issues two through 4. It’s work as usual, I guess. I’ve been working off other people’s scripts for ten years so it’s back to the normal collaboration with someone else. It’s nice to get my foot off the gas for a while.

GP: My favorite character in Supergirl: Being Super is definitely Dolly. I love that girl. How did you come up with the design for her?

JJ: Mariko had an idea going in, and then we collaborated after a few sketches. I love drawing her clothes the best. She wears basically what I wanna wear all the time. She’s so fun to draw.

GP: She’s so comfortable in her own skin and is definitely style goals.

I have one last “just for fun” question. Who would win in a fight between John Wick and Josie, and why?

JJ: That’s tricky because Josie won’t use guns. Let’s say it’s hand to hand fighting. Josie’s got it. If he sneaks up on her, she’ll probably go down.

Joelle Jones is currently the artist on Supergirl: Being Super from DC Comics and the writer and artist on Lady Killer 2 from Dark Horse Comics.

You can find her on Twitter and on her website.

Preview: Supergirl: Being Super #3

Supergirl: Being Super #3

(W) Mariko Tamaki (A/CA) Joëlle Jones
In Shops: Apr 26, 2017
SRP: $5.99

Kara Danvers’ hidden memories of her life on another planet are bubbling to the surface-but is she alone here on earth? Following the devastating events of the Midvale Earthquake, Kara and Dolly struggle to piece their lives back together-but what’s up with Coach? Their mentor is acting strangely, and her odd behavior goes from curious to downright creepy when Kara follows her back to a Lexcorp bunker deep underground. What she’s hiding will change Kara’s life forever-all will be revealed and a hero will need to be super in this penultimate chapter!

Early Preview: Supergirl: Being Super #3

Supergirl: Being Super #3

Written by: Mariko Tamaki
Art by: Joëlle Jones
Cover by: Joëlle Jones
U.S. Price: $5.99
On Sale Date: April 26, 2017

Kara Danvers’ hidden memories of her life on another planet are bubbling to the surface—but is she alone here on earth? Following the devastating events of the Midvale Earthquake, Kara and Dolly struggle to piece their lives back together—but what’s up with Coach? Their mentor is acting strangely, and her odd behavior goes from curious to downright creepy when Kara follows her back to a Lexcorp bunker deep underground. What she’s hiding will change Kara’s life forever—all will be revealed and a hero will need to be super in this penultimate chapter!

Joëlle Jones’ DC Collectibles Cover Girls Collection

Eisner Award nominated artist Joëlle Jones has been tapped to take over the popular DC Collectibles Cover Girls statue line. Announced today during the DC Collectibles panel at WonderCon, the fan-favorite artist for Supergirl: Being Super and Lady Killer will give fans and collectors her unique take on iconic DC Super Heroes and Super-Villains. Jones will first take on mischievous vixen Harley Quinn, with Supergirl, Batgirl, and Mera statues slated to follow in 2018.

Created in 2009, the DC Cover Girls line has been graced by talented artists, most recently with famed designers Adam Hughes and Stanley Lau leaving their mark through creative interpretations of the renowned characters. With an already strong presence at DC through her work on the critically acclaimed comic, Supergirl: Being Super, Jones will lend her unique style and uncanny ability to capture energy and expression, and hail as the first female designer of the Cover Girls line.

Inspired by the powerful women of the DC Universe, Cover Girls has been a long-running line for DC Collectibles, with dynamic depictions of the most famous superheroines and supervillains in the form of premium 9” statues.

Get a first-look at how Joëlle plans to put her spin on the fierce female characters below.

Review: Supergirl: Being Super #2

supergirlcoverEven though it begins with a disaster movie level cataclysm and concludes with nods to Kara’s Kryptonian roots, Supergirl: Being Super #2 continues to focus on her emotions and relationships and not crime fighting. In this case, the big emotion is grief, and most of Mariko Tamaki‘s plot is centered around Kara, her friend Dolly, her parents, and the town of Midvale’s reaction to the passing of Kara’s best friend Jen. There are a lot of hugs, sentiments, and eating. Joelle Jones’ range as an artist is a perfect fit for this story using different kinds of facial expressions and touches between characters as Kara goes through her days without Jen.

And where pencil, ink, and words don’t suffice, there is Kelly Fitzpatrick’s colors. Up to this point, the palette of Supergirl: Being Super has been bright and bucolic like its small town setting or Kara and her friends’ track uniforms. But when Jen falls to her death, a black pall engulfs the page, and it returns later in the issue when Kara wonders about her real origins and the cape that she was wrapped in when her parents found her. However, these and the presence of a yellow/green color that disrupts Kara’s abilities (Kryptonite, perhaps.) are reserved for the most dramatic moments of the comic. Fitzpatrick goes for muted greys when Jen’s sister is speaking at her funeral, or Kara and her dad are sitting in the barn. It’s just plain sad.

Tamaki and Jones show that there’s no one set way of dealing with grief in Supergirl: Being Super #2. Kara does a whole host of things to come to terms with Jen’s death from eating a lot of cereal, texting silly jokes about her with Dolly, running super fast, and a dark guilt about her powers glitching out so she couldn’t catch Jen. The scene where Kara is running in the field reminded me of when my grandfather passed away seven years ago, and I just shot baskets to do something active and focus on something else for a while. You can feel her pain in Fitzpatrick’s yellows and Jones’ sonic boom speed lines as Kara realizes she is never going to anything fun or interesting with Jen ever again and collapses with one tear down her face. She has hit her emotional breaking point, and her powers are a reflection of that.

Kara’s mom is a superhero in her own right. She immediately hugs and consoles Kara when supergirlinteriorshe is sitting in the ambulance after Jen’s body falls in the rift and even does the little things like send her a “check-in” text to pick more of the cereal she likes on her run. She gives Kara some great advice and words about how she will survive and endure, and that this experience will make her a stronger, better person. This is one of the most heart-wrenching moments of an issue filled with them as Joelle Jones draws Kara just collapsing on her mom’s shoulder. Her dad is less touchy-feely but reads Kara’s body language while she’s sitting on the couch and offers to sit with her out in the barn. This leads to a flashback that shows their closeness that even if he is a man of few words, he has helped her understand the nature of her powers and the responsibility that goes with them. But Kara can tell that he’s scared too, and the being behind her power loss, the earthquake, and this issue’s trippy ending are quite frightening as Tamaki and Jones keeps their true nature wreathed in vaguely Kryptonian shadow.

The friendship between Kara and Dolly is flat out amazing, and they really help each other out in this tough time. Tamaki and Jones capture the bond between them in a pair of panels where they walk away from each other after stuffing their faces with burgers and shakes at the local diner. Kara and Dolly take one and then embrace in a big, damn hug as the emotions pour out in Dolly’s dialogue. They’re really there for each other with silly jokes and stories about Jen once doing a liquid diet that turned her poop green or just being real about how they feel about losing her either over text or in person. On a more artistic note, I really enjoyed that Jones framed the diner scene from the POV of Kara and Dolly’s food instead of their faces to show how they’re focusing on tasting goodness instead of feelings for just a moment.

Mariko Tamaki, Joelle Jones, and Kelly Fitzpatrick turn in an authentic, heartbreaking tale of grief, loss, and friendship in Supergirl: Being Super #2 that is honestly one of the saddest comics I’ve ever read.

Story: Mariko Tamaki Art: Joelle Jones  Colors: Kelly Fitzpatrick
Story: 10 Art: 10 Overall: 10 Recommendation: Buy 

DC Comics provided Graphic Policy with a FREE copy for review

Review: Supergirl: Being Super #1

supergirl-being-super-1Origin stories are tiring, played out, and usually reek of a cheap emotional grab. (See the dozens of times Martha Wayne’s pearls have fallen on the ground in various comics, TV shows, and movies.) However, Mariko Tamaki, Joelle Jones, Sandu Florea, and Kelly Fitzpatrick buck that trend in Supergirl: Being Super #1. The comic features a 16-year-old Kara living life in the small town of Midvale, which is where pre-Crisis Supergirl grew up and went to high school. It’s an authentic coming of age story that is divorced from most of the teen movie cliches, like the main character being a total outsider, pointless “jocks vs. nerds” battles, or the obsession with heterosexual romance.

For example, Kara runs track, but is also interested in feminist theory, falls asleep reading The Unbearable Lightness of Being by Milan Kundera, and talks about being a part of revolutions. Her best friends are Dolly, a lesbian slacker/conspiracy theorist, and Jen, a driven future Olympic athlete. Her dad might nod off when she talks about feminism and not believe in celebrating birthdays, but gives her good advice and takes her out for ice cream. Her mom has a job with late hours, but also makes a mean spaghetti and gives Kara awesome pink shoes for her birthday. By the end of Supergirl: Being Super #1 and thanks to 50 story pages, Tamaki and Jones give us a handle on Kara’s dreams and aspiration as well as the personalities of her family and friends. A lot of Supergirl stories like focusing on her alien origins, but this only pops up as a mystery in the corners of the narrative with n’ary a word about Krypton or the House of El. Kara just wants to be normal.

Lady Killer artist Joelle Jones is one of the finest artists in comics, and she excels at making Kara and her friends look like actual teenagers hitting that sweet spot between cartooning and photorealism. Acne, freckles, bed head, and rad purple undercuts are all part of the equation, and Jones can evoke teen squabbles with pair of pointing fingers. Inker Sandu Florea, who inked my favorite issues of Batman and Robin Eternal, is the comic’s secret weapon adding texture and depth to cornfield vistas, track meet fans, piles of dirty clothes, and especially the laughs, smiles, and consternations of the character. Kelly Fitzpatrick uses a medium color palette with plenty of skin tones, browns, and tans. When she uses a brighter color, it’s to draw attention to a major story or character beat like Kara’s pink shoes she gets as a birthday gift from her mom, the weird green substance that pops from her acne (Kryptonian puberty is difficult.), or the blue track uniform that foreshadows her future superhero costume.

Supergirl: Being Super #1 is paced naturally and doesn’t skip to the superheroics instead showing what a typical day looks like in Kara’s life. There’s a funny subplot about the track team getting special Fit Bit-type monitors that Dolly isn’t a fan of and leads to some banter between her and Jen plus destruction of school property. Kara’s inner monologue is self-aware with just a dash of teenage sarcasm and plenty of uncertainty because she doesn’t know her “origin”. She knows that she has it good with friends, nice parents, and a peaceful town, but the creepy dreams won’t leave her alone. An inability to be satisfied is the human condition, and Kara truly embodies it in Supergirl: Being Super between bites of hamburger and awkward conversations with her mom.

Supergirl: Being Supergirl #1 is all about being a teenager in its epic, messy, and yet normal glory that happens to star one of DC Comics’ most iconic characters. I can definitely see it ending up in the pantheon of DC’s other great “origin” comics like Batman Year One, Superman Birthright, and Wonder Woman Earth One. It is also refreshing to see teenagers drawn like actual teenagers and have real teenage problems unhampered by heavy-handed metaphors courtesy of the creative team of Mariko Tamaki, Joelle Jones, Sandu Florea, and Kelly Fitzpatrick.

Story: Mariko Tamaki Pencils: Joelle Jones Inks: Sandu Florea Colors: Kelly Fitzpatrick
Story: 10  Art: 10  Overall: 10  Recommendation: Buy 

DC Comics provided Graphic Policy with a FREE copy for review

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